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Rolling Stones “mastermind” dies aged 80

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Prince Rupert Loewenstein, the former business manager of The Rolling Stones, has died aged 80. The Bavarian banker, full name Rupert Louis Ferdinand Frederick Constantine Lofredo Leopold Herbert Maximilian Hubert John Henry zu Loewenstein-Wertheim-Freudenberg, was the long-term financial advisor t...

Prince Rupert Loewenstein, the former business manager of The Rolling Stones, has died aged 80.

The Bavarian banker, full name Rupert Louis Ferdinand Frederick Constantine Lofredo Leopold Herbert Maximilian Hubert John Henry zu Loewenstein-Wertheim-Freudenberg, was the long-term financial advisor to the band for 40 years. He is understood to have died peacefully in the early hours of yesterday (May 20) after a battle with a long illness, reports Music Week.

In an article in Forbes, Keith Richards called Loewenstein “the mastermind of our setup.”

Loewenstein is credited with turning around the band’s financial fortunes. During almost four decades of handling the Stones’ affairs he helped Mick Jagger alone amass an estimated fortune of £200 million.

Loewenstein, the managing director of the merchant bank Leopold Joseph & Co, was invited to look after the Stones finances at the personal invitation of Jagger. His advice in the early 1970s prompted the band to abandon their UK residence for the south of France, helping them save millions while becoming Britain’s first musical tax exiles. He ended his business relationship with the band four decades later, in 2007.

He was born in Majorca in 1933 to Prince Leopold of the royal house of Wittelsbach, but was educated in England and studied History at Magdalen College in Oxford before going on to work in the City.

His funeral will be held on Friday (May 30) in London.

Watch Jimmy Page unveil unreleased Led Zeppelin tracks tonight!

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Jimmy Page will introduce music from his brand-new remasters of Led Zeppelin albums I, II and III at 7.30pm BST. Page will present the music live from the legendary L’Olympia Theatre in Paris, which is where the companion audio for Led Zeppelin I was recorded 45 years ago. This will be followed ...

Jimmy Page will introduce music from his brand-new remasters of Led Zeppelin albums I, II and III at 7.30pm BST.

Page will present the music live from the legendary L’Olympia Theatre in Paris, which is where the companion audio for Led Zeppelin I was recorded 45 years ago.

This will be followed by a question and answer session drawn from questions submitted by fans across the world.

Finally, both at the venue and online the brand new video for “Whole Lotta Love” will see its world premiere.

Just click back here at 7.30pm BST (or 2.30pm EDT and 11.30am PDT, in you’re watching from the States) and – as if by magic – watch Page reveal all live through the embed below.

http://www.youtube.com/watch?v=frUavIOFPOM

The Eagles on Desperado: “We were quite taken with the idea of being outlaws…”

In tribute to Glenn Frey, who died on January 18, 2016, we look back on the legend of 1973’s Desperado in this archive piece from Uncut’s June 2013 issue (Take 193). Forty years on, with help from Jackson Browne and JD Souther, the band tell the story of their “fucking cowboy record” recorde...

In tribute to Glenn Frey, who died on January 18, 2016, we look back on the legend of 1973’s Desperado in this archive piece from Uncut’s June 2013 issue (Take 193). Forty years on, with help from Jackson Browne and JD Souther, the band tell the story of their “fucking cowboy record” recorded in wild west London. “We’ve had the hits, now we want acceptance as serious artists…”

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Some 80 years after Bob Dalton met his bloody end during a shoot-out in smalltown Kansas, a book is being passed around a $60-a-month apartment in Echo Park, the low-rent Los Angeles locale where Glenn Frey, Jackson Browne and JD Souther live, write, drink, smoke and plot their futures.

The Album Of Gunfighters by J Marvin Hunter and Hoan H Rose contains photographs and brief biographies of the outlaws, bandits and bounty hunters of the Old West. Among the usual suspects – Jesse James, Billy the Kid, John Wesley Hardin – are the Dalton Gang, a band of train robbers from the early 1890s. Rootless and reckless, the Daltons lived outside conventional rules and were rarely seen until they blew into town, grabbed the spoils and split again. To the young musicians in Echo Park, hugely ambitious yet by no means immune to romance, certain parallels start to become apparent.

“We were quite taken with the idea of being, or at least portraying, outlaws,” says Souther. “It was a serviceable metaphor for our story.”

Alongside Browne, Souther was one of two honorary Eagles who would shortly co-write “Doolin-Dalton”, the lead song on the band’s second album. Although some of the participants now express reservations about the premise – “Generally, I thought there were limitations to the metaphor of musicians as gunslingers!” Browne tells Uncut – the framing device for the songs on Desperado had personal resonance for the Eagles. Frey was from Michigan, Don Henley from Texas. Bernie Leadon hailed from Minnesota and Randy Meisner from Nebraska. Like generations of Americans before them, including the Dalton Gang, they had each headed west in search of glory.

“All of us went out west,” says Leadon. “People would go to LA and fail, and the responsible ones would move back home and start a family, while the malcontent never-say-die type personalities said, ‘No, I’m staying!’ That was our story. The idea was: ‘How are we feeling about our lives and what we’re doing, and would the people in a gang have felt the same way?’ Breaking out of societal expectations and doing something extraordinary. We were just kids, but we were looking at our lives and trying to make reasonable comment about it.”

The result was an ambitious song-cycle that sold poorly, had no hits and was slated by their label as a “fucking cowboy record”. But the LP made the Eagles more than just another country-rock band. It made them mythic.

Wayne Coyne of The Flaming Lips – My Life In Music

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The Flaming Lips play London's Brixton Academy on May 28, ahead of their full cover of The Beatles' Sgt Pepper's Lonely Hearts Club Band on October 28 – but back in September 2010's Uncut (Take 160), frontman Wayne Coyne revealed the strange listening experiences that have shaped his life… Neil ...

The Flaming Lips play London’s Brixton Academy on May 28, ahead of their full cover of The Beatles’ Sgt Pepper’s Lonely Hearts Club Band on October 28 – but back in September 2010’s Uncut (Take 160), frontman Wayne Coyne revealed the strange listening experiences that have shaped his life… Neil on acid! The Beatles through one speaker! And Amy MacDonald… Interview: John Lewis

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The first record I ever bought

Jimi Hendrix – Crash Landing (1975)

I’m not proud of this buy. It’s one of many Hendrix records made after he died, completed by Alan Douglas with session musicians. My older brothers used to buy all the LPs I needed, but I bought this as nobody I knew owned it. So I was filled with glee, but that soon faded after putting it on. There’s one great, crazy, distorted song, “Peace In Mississippi”, but I’m not sure if Hendrix is even playing on it!

My first experience of sonic weirdness

The Beatles – Sgt Pepper’s Lonely Hearts Club Band (1967)

My older brothers listened to music on an eight-track cartridge, but they didn’t connect up their stereo system right. So, for years, all we could hear was the left side of the system. I listened to Sgt Pepper a lot, not realising that huge chunks of vocals and instruments were missing. When I hear a proper mix, it sounds wrong. My versions sound better! They have this eerie, empty quality.

The record that takes me back to childhood

The Bee Gees – Lonely Days (1970)

A strange arrangement, with spooky harmonies. It’s sloppy, slightly out-of-time, and with bad handclaps instead of a drumkit… but, I don’t hear it often enough, and when I do it’s like a time machine. Suddenly, it’s 1970, I’m in fourth grade, in love with my childhood crush. Music has that ability. It’s a motherfucker. You never know which spot in your mind is going to be illuminated. It can be wonderful, or treacherous.

My favourite Pink Floyd album

Pink Floyd – Meddle (1971)

I veer between loving the Syd stuff and then going for the Roger Waters-driven era. But I’ll pick Meddle as my favourite. It’s a group effort, with lots of Gilmour vocals. I also like The Dark Side Of The Moon. That was until we re-recorded it last year. Now we’re all sick of it, ha! We recorded every song in a weekend. It was entirely relaxed, no pressure, no desire for immortality. Often the best stuff is made like that.

My favourite jazz album

Miles Davis – Bitches Brew (1970)

I’m obsessed with Miles from [1969’s] In A Silent Way up to about 1975. Whenever I want to hear music that’s just a strange cacophony of sometimes melodic stuff, sometimes abstract stuff, I just have to listen to that. It’s not like pop music where you know every millisecond of it, it’s sprawling, freaky stuff. Every time I solve one mystery about the album, 10 other mysteries pop

up behind it.

The song I’d like to have written

Joe Cocker – You Are So Beautiful (1974)

This is basically a piano vamp with Cocker singing the same line, “You are so beautiful to me”, over and over, with hardly any other words. The chord changes go around in an endless cycle. It sounds so simple, but it’s devastatingly effective; it’s moving as hell. I think about songs I’d like to have written all the time, and they’re usually very simple and functional. “Happy Birthday To You”, that’s a killer.

My guilty pleasure

Amy MacDonald – A Curious Thing (2010)

When you’re young, you listen to certain music because it’s cool. Then you stop caring about that. So no musical pleasures are guilty to me. I saw Amy sing at some festivals over the last few years and thought, ‘Wow, this is powerful.’ When listing new music I liked, I’d mention her, and people would be like, “You like that?” And I was like, “Sorry, she’s not cool then?” But I was utterly blown away by her performances.

My favourite film soundtrack

Jerry Goldsmith – Planet Of The Apes (1968)

A landmark recording, and one that influenced the soundtrack to Christmas On Mars. Oddly, I don’t think the music is used very well in the movie. But on its own it’s fucking crazy. It’s dense, cleverly written, sometimes atonal and shronky, and I still don’t know what some of the sounds are. That’s what I love about it. I don’t think many girls are going to be dancing to it if you put it on at your house.

The first music I heard on acid

CSNY – Helpless (1970)

I’m often told our music has hallucinogenic properties, even though I don’t like LSD much. I distinctly recall my first experience of hallucinogens, and this Neil Young song playing. There’s something in the slide guitar part that is still a bad trigger for me – it haunts me to this day. In fact it’s probably derailed the interview! It’s crazy how a sweet, benign song can become freighted with danger because of your own experience of it.

My favourite dance record

LCD Soundsystem – Sound Of Silver (2007)

For me, dance music works by establishing a trance – one that relaxes your mind – but it can also be very dense. James Murphy is amazing. I saw LCD Soundsystem the other night, and there were moments where it reminded me of Black Flag in the early ’80s, when Greg Ginn would do these long, strange guitar jams. LCD were making music that was hypnotic and dancey, but with real rock intensity.

Black Sabbath: “We thought we were Pink Floyd meets The Beatles meets acid!”

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Black Sabbath talk through the creation of their greatest albums in the new issue of Uncut, dated July 2014, and out on Friday (May 23). Ozzy Osbourne, Tony Iommi and Geezer Butler discuss drugs, Top Of The Pops, ‘Satan’s Christmas’ and drowning out the Eagles, as they recall the making of ...

Black Sabbath talk through the creation of their greatest albums in the new issue of Uncut, dated July 2014, and out on Friday (May 23).

Ozzy Osbourne, Tony Iommi and Geezer Butler discuss drugs, Top Of The Pops, ‘Satan’s Christmas’ and drowning out the Eagles, as they recall the making of their albums, from 1970’s self-titled debut to 2013’s 13.

“Paranoid went from four tracks to 16 tracks. 16 tracks!” says Osbourne. “The temptation was to fuck around with effects: we thought we were Pink Floyd meets The Beatles meets acid, y’know?

“I could afford to have a bath and put some smelly stuff on. It was just a great period of my life. The early days are always the best.”

The new issue of Uncut, dated July 2014, is out on Friday (May 23).

Tom Petty announces release date for new album + tour details

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Tom Petty And The Heartbreakers have confirmed the release date for his new album, Hypnotic Eye. The band's first studio album in four years will be released on July 29; the band will begin a North American tour on August 3. Petty has also announced that every ticket purchased for the upcoming tou...

Tom Petty And The Heartbreakers have confirmed the release date for his new album, Hypnotic Eye.

The band’s first studio album in four years will be released on July 29; the band will begin a North American tour on August 3.

Petty has also announced that every ticket purchased for the upcoming tour will include a copy of Hypnotic Eye.

The album will also be available on high-resolution Blu-ray audio and also on vinyl formats: a single LP or a double-album containing a track unavailable elsewhere.

Fan club members will also release a digital album, Live 2013, when they purchase Hypnotic Eye.

You can watch a promo for the album below.

Tom Petty And The Heartbreakers will play:

August 3: San Diego, CA – Viejas Arena

August 5: Boise, ID – Taco Bell Arena

August 7: Eugene, OR – Matthew Knight Center

August 9: San Francisco, CA – Outside Lands Music and Arts Festival

August 12: Portland, OR – Moda Center

August 14: Vancouver, BC – Rogers Arena

August 15: George, WA – The Gorge

August 17: Edmonton, AB – Rexall Place

August 19: Calgary, AB – Scotiabank Saddledome

August 21: Winnipeg, MB – MTS Centre

August 23: Chicago, IL – United Center

August 26: Toronto, ONT – Air Canada Centre

August 28: Montreal, QC – Bell Centre

August 30: Boston, MA – Fenway Park

September 6: Arrington, VA – Lockn’ Festival

September 7: Darien Center, NY – Darien Lake PAC

September 10: New York, NY – Madison Square Garden

September 13: Hartford, CT – XL Center

September 15: Philadelphia, PA – Wells Fargo Arena

September 18: Raleigh, NC – PNC Arena

September 20: West Palm Beach, FL- Cruzan Amphitheater

September 21: Tampa, FL – Tampa Bay Times Forum

September 23: Nashville, TN – Bridgestone Arena

September 25: Houston, TX – Toyota Center

September 26: Dallas, TX – American Airlines Center

September 28: Tulsa, OK – BOK Center

September 30: Kansas City, MO – Sprint Center

October 1: Lincoln, NE – Pinnacle Bank Arena

October 7: Anaheim, CA – Honda Center

October 10: Los Angeles, CA – The Forum

Rare U2 recordings go up for auction

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A rare U2 live recording and audio from an interview are set to go up for auction. The recordings come from an early concert from the band, which took place at the Vera venue in Groningen, Holland on October 16, 1980. The live recording is made up of four songs, and the previously unheard interview audio is 15 minutes long and consists of Bono and The Edge discussing their plans for the band. Stockport's Omega Auctions have said that the interview includes quotes from the pair in which they say: "We don't like England". They also show their ambitions for the group, commenting: "U2 wanna be the biggest group in the world." In addition they add their thoughts on the United States, saying: "America is sick and wounded and has a lot of bad groups". The sale takes place on May 30 and the recordings are expected to sell for £1,000. The recordings also come with previously unpublished photos, shown above, which come complete with copyright, as does the interview audio. However, the live recording is being sold as an artefact and is therefore for personal use only. A spokesperson for U2 recently denied that the band have pushed back the release date of their 13th studio album to 2015. Investigations by Billboard suggested that the band would now be releasing their new LP next year. It reported that the band had booked further studio time with producers Paul Epworth and Ryan Tedder, who would join the project's main producer Danger Mouse. Speaking to The Guardian, a spokesperson for the band flatly denied the claims, saying: "U2's album is planned for this year (2014), is still on track and touring plans haven’t been confirmed yet."

A rare U2 live recording and audio from an interview are set to go up for auction.

The recordings come from an early concert from the band, which took place at the Vera venue in Groningen, Holland on October 16, 1980. The live recording is made up of four songs, and the previously unheard interview audio is 15 minutes long and consists of Bono and The Edge discussing their plans for the band.

Stockport’s Omega Auctions have said that the interview includes quotes from the pair in which they say: “We don’t like England”. They also show their ambitions for the group, commenting: “U2 wanna be the biggest group in the world.” In addition they add their thoughts on the United States, saying: “America is sick and wounded and has a lot of bad groups”.

The sale takes place on May 30 and the recordings are expected to sell for £1,000. The recordings also come with previously unpublished photos, shown above, which come complete with copyright, as does the interview audio. However, the live recording is being sold as an artefact and is therefore for personal use only.

A spokesperson for U2 recently denied that the band have pushed back the release date of their 13th studio album to 2015. Investigations by Billboard suggested that the band would now be releasing their new LP next year. It reported that the band had booked further studio time with producers Paul Epworth and Ryan Tedder, who would join the project’s main producer Danger Mouse.

Speaking to The Guardian, a spokesperson for the band flatly denied the claims, saying: “U2’s album is planned for this year (2014), is still on track and touring plans haven’t been confirmed yet.”

Roger Taylor forms Queen tribute band

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Queen drummer Roger Taylor has discussed forming a Queen tribute band. Taylor auditioned for members of the band - called The Queen Extravaganza - online and they are fronted by a French Canadian singer called Marc Martel. Taylor does not perform in the band, but has previously acted as their musical producer. "I spent some weeks with them in Canada rehearsing but they've found out what works and what they're good at, they've got some brilliant arrangements of a lot of our old stuff and I've sort of let them get on with it now," he said in a new interview with The Express. "It's great - I just go and see them occasionally and they're wonderful." The Queen Extravaganza performed on the final episode of American Idol in 2012 and then toured North America. They will tour the UK later this year, playing 14 dates in September. Speaking about other Queen tribute acts, Taylor commented: "Of the Queen tributes, some of them are very funny and some of them are really not funny at all. The terrible ones are cheesy and panto-like, more about dressing up in a Brian May wig and a Freddie Mercury moustache and what they're missing out is the fact that the music is quite complicated and actually not easy to perform." Meanwhile, Queen musical We Will Rock You will retire from London's West End stage after 12 years. The hit stage production will close on May 31 having first opened in May 2002. We Will Rock You is one of the 10 longest running musicals ever and it is estimated that 16 million people around the world, 6.5 million of those in London, have seen the production in one of the 28 countries it has been performed in. Speaking about the decision to cease production, co-creators Brian May, Roger Taylor and Ben Elton issued a joint statement on the official Queen website: "We want to thank every one of the many hundreds of incredible musical theatre artists, musicians and crew with whom we've had the privilege of working at the Dominion since 2002. And of course the incredible audiences who have rewarded them with over four and a half thousand standing ovations!" Queen will tour the US later this year. Adam Lambert will once again step in to provide vocals.

Queen drummer Roger Taylor has discussed forming a Queen tribute band.

Taylor auditioned for members of the band – called The Queen Extravaganza – online and they are fronted by a French Canadian singer called Marc Martel. Taylor does not perform in the band, but has previously acted as their musical producer. “I spent some weeks with them in Canada rehearsing but they’ve found out what works and what they’re good at, they’ve got some brilliant arrangements of a lot of our old stuff and I’ve sort of let them get on with it now,” he said in a new interview with The Express. “It’s great – I just go and see them occasionally and they’re wonderful.”

The Queen Extravaganza performed on the final episode of American Idol in 2012 and then toured North America. They will tour the UK later this year, playing 14 dates in September. Speaking about other Queen tribute acts, Taylor commented: “Of the Queen tributes, some of them are very funny and some of them are really not funny at all. The terrible ones are cheesy and panto-like, more about dressing up in a Brian May wig and a Freddie Mercury moustache and what they’re missing out is the fact that the music is quite complicated and actually not easy to perform.”

Meanwhile, Queen musical We Will Rock You will retire from London’s West End stage after 12 years. The hit stage production will close on May 31 having first opened in May 2002. We Will Rock You is one of the 10 longest running musicals ever and it is estimated that 16 million people around the world, 6.5 million of those in London, have seen the production in one of the 28 countries it has been performed in.

Speaking about the decision to cease production, co-creators Brian May, Roger Taylor and Ben Elton issued a joint statement on the official Queen website: “We want to thank every one of the many hundreds of incredible musical theatre artists, musicians and crew with whom we’ve had the privilege of working at the Dominion since 2002. And of course the incredible audiences who have rewarded them with over four and a half thousand standing ovations!”

Queen will tour the US later this year. Adam Lambert will once again step in to provide vocals.

Watch video for new Morrissey single, “Istanbul”

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Morrissey has released new single "Istanbul", and a spoken-word promo in which he recites the song's lyrics. "Istanbul" is the latest song to be taken from Morrissey's new album World Peace Is None Of Your Business. It's the third song from the album, following the title track and "The Bullfighter...

Morrissey has released new single “Istanbul”, and a spoken-word promo in which he recites the song’s lyrics.

Istanbul” is the latest song to be taken from Morrissey’s new album World Peace Is None Of Your Business.

It’s the third song from the album, following the title track and “The Bullfighter Dies”, to have a special spoken-word version filmed. The song can be downloaded via iTunes now, and the video can be seen below.

The tracklisting for World Peace Is None of Your Business is:

‘World Peace Is None Of Your Business’

‘Neal Cassady Drops Dead’

‘Istanbul’

‘I’m Not A Man’

‘Earth Is The Loneliest Planet’

‘Staircase At The University’

‘The Bullfighter Dies’

‘Kiss Me A Lot’

‘Smiler With Knife’

‘Kick The Bride Down the Aisle’

‘Mountjoy’

‘Oboe Concerto’

http://www.youtube.com/watch?v=r7fOJZ68gc0

Revealed! Paul Weller, Bob Dylan, Black Sabbath, Led Zeppelin, Jack White and Neil Young in the new Uncut

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There’s plenty to shout about in the new UNCUT, which goes on sale this Friday, May 23. First of all, we have an exclusive new interview with PAUL WELLER, as he prepares for the release of MORE MODERN CLASSICS, a compilation drawing on tracks from the last 15 years of his illustrious career, a period during which his music has become increasingly more adventurous and unpredictable. Most artists would probably have taken the release of such a retrospective as an opportunity to reflect nostalgically on past achievements. But Weller as he’s got older seems ever more restless and less inclined to look back when looking forward he currently has so much more to offer. Not long after he recently met Uncut and said what he had to say – about how the record business has changed and not always in good ways, the redundancy of box sets, politics, The Jam, the sci-fi memoir he may or may not be writing and his enduring love of making music – he was sitting in his car, giving us an exclusive preview of three new tracks he’s been working on. Next up, there’s BOB DYLAN. In the first of a major two-part look at what in many respects turned out to be the weirdest and most controversial decade in his career, many of his old collaborators reconsider Dylan’s 1980s, a time during which he embraced apocalyptic Christianity and otherwise saw his popularity and critical standing reduced to almost nothing, and discover a trove of neglected music. Elsewhere, let’s hear it for country legend DOLLY PARTON, who we meet in Nashville, and the great New Orleans pianist, arranger, songwriter and producer, ALLEN TOUSSAINT, who was interviewed by Richard Williams during a recent residency at Ronnie Scott’s. In particularly exciting news, CLIFF RICHARD was persuaded to contribute to this month’s issue and talks about the making of “Apache” by THE SHADOWS, whose guitarists HANK MARVIN and BRUCE WELCH are also on hand with their memories of recording this landmark track in British rock music. In our regular Album By Album feature, BLACK SABBATH - that is, OZZY OSBOURNE, TONY IOMMI and GEEZER BUTLER - talk us through their greatest albums, while Hollywood actor and general all round dude HARRY DEAN STANTON answers your questions in An Audience With and the redoubtable SHARON VAN ETTEN appears in My Life In Music. Across 40 pages of reviews, meanwhile, you can read about new albums from JACK WHITE, NEIL YOUNG, DAVE and PHIL ALVIN, FIRST AID KIT, THE FELICE BROTHERS,, BOB MOULD and CONOR OBERST, plus major reissues from LED ZEPPELIN, MOGWAI and MORISSEY. There’s also a report from THE GREAT ESCAPE FESTIVAL, where the Uncut stage hosted performances from THE HOLD STEADY, COURTNEY BARRETT, ETHAN JOHNS and TRANS. There’s quite a bit to yell about there, I think. Enjoy the issue. And if you’ve got anything you want to say about it, don’t forget to give me a shout. You can reach me at allan_jones@ipcmedia.com.

There’s plenty to shout about in the new UNCUT, which goes on sale this Friday, May 23. First of all, we have an exclusive new interview with PAUL WELLER, as he prepares for the release of MORE MODERN CLASSICS, a compilation drawing on tracks from the last 15 years of his illustrious career, a period during which his music has become increasingly more adventurous and unpredictable.

Most artists would probably have taken the release of such a retrospective as an opportunity to reflect nostalgically on past achievements. But Weller as he’s got older seems ever more restless and less inclined to look back when looking forward he currently has so much more to offer. Not long after he recently met Uncut and said what he had to say – about how the record business has changed and not always in good ways, the redundancy of box sets, politics, The Jam, the sci-fi memoir he may or may not be writing and his enduring love of making music – he was sitting in his car, giving us an exclusive preview of three new tracks he’s been working on.

Next up, there’s BOB DYLAN. In the first of a major two-part look at what in many respects turned out to be the weirdest and most controversial decade in his career, many of his old collaborators reconsider Dylan’s 1980s, a time during which he embraced apocalyptic Christianity and otherwise saw his popularity and critical standing reduced to almost nothing, and discover a trove of neglected music.

Elsewhere, let’s hear it for country legend DOLLY PARTON, who we meet in Nashville, and the great New Orleans pianist, arranger, songwriter and producer, ALLEN TOUSSAINT, who was interviewed by Richard Williams during a recent residency at Ronnie Scott’s.

In particularly exciting news, CLIFF RICHARD was persuaded to contribute to this month’s issue and talks about the making of “Apache” by THE SHADOWS, whose guitarists HANK MARVIN and BRUCE WELCH are also on hand with their memories of recording this landmark track in British rock music.

In our regular Album By Album feature, BLACK SABBATH – that is, OZZY OSBOURNE, TONY IOMMI and GEEZER BUTLER – talk us through their greatest albums, while Hollywood actor and general all round dude HARRY DEAN STANTON answers your questions in An Audience With and the redoubtable SHARON VAN ETTEN appears in My Life In Music.

Across 40 pages of reviews, meanwhile, you can read about new albums from JACK WHITE, NEIL YOUNG, DAVE and PHIL ALVIN, FIRST AID KIT, THE FELICE BROTHERS,, BOB MOULD and CONOR OBERST, plus major reissues from LED ZEPPELIN, MOGWAI and MORISSEY. There’s also a report from THE GREAT ESCAPE FESTIVAL, where the Uncut stage hosted performances from THE HOLD STEADY, COURTNEY BARRETT, ETHAN JOHNS and TRANS.

There’s quite a bit to yell about there, I think. Enjoy the issue. And if you’ve got anything you want to say about it, don’t forget to give me a shout. You can reach me at allan_jones@ipcmedia.com.

Pink Floyd announce 20th anniversary box set of The Division Bell

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Pink Floyd are releasing a 20th anniversary box set of The Division Bell. The box set features six discs, including three replica coloured or clear vinyl discs, 5 collectors’ prints, a Blu-ray disc and for the first time Andy Jackson’s 5.1 audio mix of The Division Bell. The box set will be re...

Pink Floyd are releasing a 20th anniversary box set of The Division Bell.

The box set features six discs, including three replica coloured or clear vinyl discs, 5 collectors’ prints, a Blu-ray disc and for the first time Andy Jackson’s 5.1 audio mix of The Division Bell.

The box set will be released on June 30.

Released in 1994, The Division Bell was the last studio album to be released by the band, who consisted of David Gilmour, Nick Mason and Richard Wright

The Division Bell 20th anniversary box set tracklisting:

Disc 1 – LP

Original album, remastered for vinyl in 2014 from the original analogue masters. Includes full-length tracks across 2-LP’s for the first time.

Disc 2 – Blu-Ray (all previously unreleased)

– 2014 Marooned video – directed by Aubrey Powell with stereo and 5.1 audio soundtracks

– 5.1 audio mix of The Division Bell by Andy Jackson in 96khz/ 24-bit

– HD audio stereo mix of The Division Bell by James Guthrie 96khz/ 24-bit

Disc 3

Red vinyl 7” single Take It Back (edit) / Astronomy Domine (live)

Replica 7” red vinyl in picture sleeve

Disc 4

Clear vinyl 7” single High Hopes (edit) / Keep Talking (edit)

Replica 7” clear vinyl in picture sleeve plus poster bag

Disc 5

Blue Vinyl 12” single High Hopes / Keep Talking / One Of These Days (live)

Replica 12” blue vinyl, laser etched design on reverse, picture sleeve. Includes 7 collectible film cards in a wallet

Disc 6 – CD Album

2011 Discovery version of The Division Bell in a new dedicated wallet

The box set will also contain 5, 26cm x 26 cm art prints designed by Hipgnosis/StormStudios.

Chuck E Weiss – Red Beans And Weiss

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SoCal boho's "alternative jungle music" finds its groove... First hoving into the wider rock consciousness via his titular appearance in Rickie Lee Jones's hit "Chuck E's In Love", Chuck E. Weiss is a longtime SoCal bohemian stalwart whose varied CV includes drumming for Lightnin' Hopkins and Willie Dixon, deejaying on station KFML, hanging out with Marshall McLuhan, and establishing Hollywood's legendary Viper Room back in 1993 with his chum Johnny Depp. His own music draws heavily on the kind of louche Americana Weiss covered in the History Of American Music class he used to teach at the University Of Colorado, enticingly titled "Flipsters, Hipsters, & Finger-Poppin' Daddies": a blend of R&B, jazz, cajun, jump blues, rumba, Tex-Mex and rockabilly that he dubbed "alternative jungle music". The belated follow-up to 2006's splendid 23rd & Stout, Red Beans And Weiss was executive-produced by Depp and another of Chuck's old chums, Tom Waits, though the latter's influence is slightly less evident here than on previous albums. It features a more condensed approach, still eclectic but less eccentric - an engaging distillation of Weiss's rumbustious style that locks the listener into a groove and doesn't let go. "Tupelo Joe" opens the album with bathtub-amphetamine grace, a blast of raucous rockabilly R&B with a berserker edge that recalls The Cramps. A bastard child of Bo Diddley and Hank Mizell, it features dizbuster guitar licks of twangsome mien over simple, driving drums, while Chuck sings of how "Tupelo Joe went to the show, Tupelo Joe ain't no shmoe," and suchlike jive, the lyric eventually breaking down into staccato-stutter syllabic nonsense, like he's talking in tongues.   In stark contrast, "Shushie" shifts into a 3am lounge-bar groove of loping double bass jazz guitar and sultry sax, Chuck's intimate croon deriving as much sensual promise from the name as he murmurs his affection for the coolest of feline companions: "Shushie, Shushie, she's hiding under the house/She'll be in labour soon, without a spouse". It's the most relaxed thing here, the majority of the tracks cleaving to a more earthy groove, as exemplified by the lumpy, rolling funk-blues of "The Knucklehead Stuff", or the low-slung rumba-rock R&B of "Bomb The Tracks", which finds Weiss in unusually political mood - albeit filtered through a boho sensibility - as he chides Stalin, Churchill and Roosevelt for not trying harder to stop the Holocaust death-camp deliveries: "Why didn't you bomb the tracks, Jack? Why didn't you stop the trains, James?...Hey, you know I'm a devout coward, and I would have bombed them tracks". Elsewhere, "Hey Pendejo" is a Doug Sahm-style Tex-Mex two-step, while Weiss gets to indulge both his scat-singing fancy in the jazzy "Oo Poo Pa Do In The Rebop", and his Little Richard wail on the swinging boogie "Dead Man's Shoes". The raw, gritty R&B of "Boston Blackie", meanwhile, brings to mind Tom Waits's Heartattack & Vine with its scarified slide-guitar stomp. Emulating the eponymous pulp-fiction gumshoe's claim to be "friend to those who have no friends", it's an opportunity for Chuck to extemporise a lengthy litany of names that gets more ludicrously amusing the longer it extends: "Freddie, Eddie, Mary, Sarah...", and so on, and on. Chuck's time playing with Dr John pays dividends on "The Hink-A-Dink", a distinctly un-PC portrait of dancing jungle natives led by "a cool native chieftain with a bone through his nose" that perhaps best conveys his notion of "alternative jungle music". With violin slithering snake-like through an undergrowth of low, sinister humming and wordless female backing wails, it sounds like nothing so much as an outtake from Gris-Gris. Another satisfying encapsulation of the Weiss aesthetic comes on a great version of the Stones' outtake fragment "Exile On Main Street Blues", which starts out as a basic Memphis piano blues, Chuck's voice strained and distant, as if heard through an antique speaker, before the drums and riffing horns roll in after the first verse and drive it up to Chicago in a sleek sedan: a brilliant musical allegory of the northward drift of black Americans seeking liberation from Southern poverty and prejudice, evoked with a proud, empathic swagger.  Andy Gill

SoCal boho’s “alternative jungle music” finds its groove…

First hoving into the wider rock consciousness via his titular appearance in Rickie Lee Jones’s hit “Chuck E’s In Love”, Chuck E. Weiss is a longtime SoCal bohemian stalwart whose varied CV includes drumming for Lightnin’ Hopkins and Willie Dixon, deejaying on station KFML, hanging out with Marshall McLuhan, and establishing Hollywood’s legendary Viper Room back in 1993 with his chum Johnny Depp. His own music draws heavily on the kind of louche Americana Weiss covered in the History Of American Music class he used to teach at the University Of Colorado, enticingly titled “Flipsters, Hipsters, & Finger-Poppin’ Daddies”: a blend of R&B, jazz, cajun, jump blues, rumba, Tex-Mex and rockabilly that he dubbed “alternative jungle music”.

The belated follow-up to 2006’s splendid 23rd & Stout, Red Beans And Weiss was executive-produced by Depp and another of Chuck’s old chums, Tom Waits, though the latter’s influence is slightly less evident here than on previous albums. It features a more condensed approach, still eclectic but less eccentric – an engaging distillation of Weiss’s rumbustious style that locks the listener into a groove and doesn’t let go. “Tupelo Joe” opens the album with bathtub-amphetamine grace, a blast of raucous rockabilly R&B with a berserker edge that recalls The Cramps. A bastard child of Bo Diddley and Hank Mizell, it features dizbuster guitar licks of twangsome mien over simple, driving drums, while Chuck sings of how “Tupelo Joe went to the show, Tupelo Joe ain’t no shmoe,” and suchlike jive, the lyric eventually breaking down into staccato-stutter syllabic nonsense, like he’s talking in tongues.

 

In stark contrast, “Shushie” shifts into a 3am lounge-bar groove of loping double bass jazz guitar and sultry sax, Chuck’s intimate croon deriving as much sensual promise from the name as he murmurs his affection for the coolest of feline companions: “Shushie, Shushie, she’s hiding under the house/She’ll be in labour soon, without a spouse”. It’s the most relaxed thing here, the majority of the tracks cleaving to a more earthy groove, as exemplified by the lumpy, rolling funk-blues of “The Knucklehead Stuff”, or the low-slung rumba-rock R&B of “Bomb The Tracks”, which finds Weiss in unusually political mood – albeit filtered through a boho sensibility – as he chides Stalin, Churchill and Roosevelt for not trying harder to stop the Holocaust death-camp deliveries: “Why didn’t you bomb the tracks, Jack? Why didn’t you stop the trains, James?…Hey, you know I’m a devout coward, and I would have bombed them tracks”.

Elsewhere, “Hey Pendejo” is a Doug Sahm-style Tex-Mex two-step, while Weiss gets to indulge both his scat-singing fancy in the jazzy “Oo Poo Pa Do In The Rebop”, and his Little Richard wail on the swinging boogie “Dead Man’s Shoes”. The raw, gritty R&B of “Boston Blackie”, meanwhile, brings to mind Tom Waits’s Heartattack & Vine with its scarified slide-guitar stomp. Emulating the eponymous pulp-fiction gumshoe’s claim to be “friend to those who have no friends”, it’s an opportunity for Chuck to extemporise a lengthy litany of names that gets more ludicrously amusing the longer it extends: “Freddie, Eddie, Mary, Sarah…”, and so on, and on.

Chuck’s time playing with Dr John pays dividends on “The Hink-A-Dink”, a distinctly un-PC portrait of dancing jungle natives led by “a cool native chieftain with a bone through his nose” that perhaps best conveys his notion of “alternative jungle music”. With violin slithering snake-like through an undergrowth of low, sinister humming and wordless female backing wails, it sounds like nothing so much as an outtake from Gris-Gris. Another satisfying encapsulation of the Weiss aesthetic comes on a great version of the Stones’ outtake fragment “Exile On Main Street Blues”, which starts out as a basic Memphis piano blues, Chuck’s voice strained and distant, as if heard through an antique speaker, before the drums and riffing horns roll in after the first verse and drive it up to Chicago in a sleek sedan: a brilliant musical allegory of the northward drift of black Americans seeking liberation from Southern poverty and prejudice, evoked with a proud, empathic swagger. 

Andy Gill

Paul Weller: “For all my love of the ’60s, I still wouldn’t want to be living in any other time but now”

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Paul Weller looks back on his days with The Jam and forward to his adventurous new music in the latest issue of Uncut, out on Friday (May 23). As he prepares to release his latest greatest hits collection, More Modern Classics, Weller rails against politicians and boxsets, plots sci-fi memoirs an...

Paul Weller looks back on his days with The Jam and forward to his adventurous new music in the latest issue of Uncut, out on Friday (May 23).

As he prepares to release his latest greatest hits collection, More Modern Classics, Weller rails against politicians and boxsets, plots sci-fi memoirs and some unlikely collaborations, and finds new ways to celebrate the enduring, evolving power of music.

“I’m not scared of the new,” he explains. “For all of my love of the ’60s, be it clothes or music, I still wouldn’t want to be living in any other time but now.

“If I had a time machine, maybe I might go back to 1964 to the Flamingo and see Stevie Wonder, but I wouldn’t want to stay there. I like the modern.”

The new issue of Uncut, dated July 2014, is out on Friday (May 23).

July 2014

Dolly Parton and Harry Dean Stanton are both in this month's Uncut, a bit of a dream come true. I was scheduled to interview Dolly once myself, at a rodeo in Spokane, which seemed too good to be true. This was September 1978 and there was only one catch. As part of a junket put together by RCA, I'd...

Dolly Parton and Harry Dean Stanton are both in this month’s Uncut, a bit of a dream come true. I was scheduled to interview Dolly once myself, at a rodeo in Spokane, which seemed too good to be true.

This was September 1978 and there was only one catch. As part of a junket put together by RCA, I’d have to go to Los Angeles first to also interview Al Stewart, the British songwriter who’d moved to California a few years earlier and has since had worldwide success with a number of hits including “Year Of The Cat”.

What I don’t mention to RCA is that I’ve played a small part in Al’s exile. A few years earlier during a very stoned interview with Roy Harper we end up making a list of all the wimpy singer-songwriters we mutually abhor, the kinds who write really wet songs, that a passing BP Fallon then christens ‘Drip Rock’. I then pen an article for Melody Maker taking the piss out of these strumming confessional troubadours, with Al coming in for some fierce treatment. He apparently reads the article and is so upset he packs his bags and heads for California, possibly without leaving a note for his mum.

Anyway, we’re no sooner booked into the swanky Beverly Hills Hotel – the Hotel California of Eagles legend – when I begin to feel very ill, spending the night before we’re due to drive up to Al’s place in Laurel Canyon wracked by heavy-duty coughing, sweats and chills. The next morning I’m coughing blood to boot. Suave RCA press officer Robin Eggar wonders if I’m actually well enough to interview Al. He doesn’t believe me when I tell him I’m fine, but off we go, the UK press posse soon agog at the vertiginous beauty of Laurel Canyon, where Al lives in some splendour.

I’m the first one to Al’s front door, a big oak thing with wrought-iron inlays. It’s the kind of door you want to rap robustly, but all I can muster is a feeble tap. The door opens, however, and there’s Al, looking tanned and wealthy. “Hi, I’m Al,” he beams, holding out a hand. I reach out to take it and am vaguely aware of the look of surprise on Al’s face when I pitch forward, falling with a crash through his front door. I’m aware of footsteps running up the wooden stairs behind me, people leaning over me and then a terrible hush, a graveyard quiet, the keen anticipation of people somewhat regrettably preparing to deal with an unexpected tragedy, a colleague snatched from them by whim or feckless fate. I then pass out. The next thing I hear is birdsong and lapping water. Am I in some benevolent ante-room of heaven, surrounded by fountains, seraphim and much cooing in the afterlife’s verdant foliage? No, actually I’m in Al’s garden, stretched out on a recliner by the side of his pool, sunlight coming through overhanging trees.

Al arranges for me to see his own doctor, who tells me I have viral pneumonia. This means I’m pretty seriously fucked, can’t travel, will miss the interview with Dolly and must take to my bed at the hotel.

After four or five days, I’m going out of my fucking mind and stroll down Sunset Strip to the Rainbow Bar & Grill, where I have my first drink in what seems a lifetime, following it with several more. By the time I leave I’m a little drunk. Out in the parking lot, there’s dust in the air, headlights sweeping through the night and someone I immediately recognise standing there looking baffled and possibly tipsy.

Before I know it, I’m walking towards him, hand outstretched.
“Harry Dean Stanton!” I shout in a bizarre hail-fellow-well-met bellow, startling myself.
“Harry Dean Stanton?” he says, giving me a squinty little look. “Hell of a coincidence, kid,” he says. “That’s my name, too.”
And with that, a car pulls up beside him, he fall backwards into the passenger seat and roars off into the night, one arm waving out the window as the car disappears around a corner and he’s gone, baby, gone.

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

UK’s largest loudspeaker unveiled

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The Science Museum in London have unveiled the centrepiece of a new installation by Aleksander Kolkowski, their Sound Artist in Residence in 2012. The item in question is the full-size reconstruction of the giant 27ft long 'Denman horn', designed in 1929 by the Museum’s then Curator of Communicat...

The Science Museum in London have unveiled the centrepiece of a new installation by Aleksander Kolkowski, their Sound Artist in Residence in 2012.

The item in question is the full-size reconstruction of the giant 27ft long ‘Denman horn‘, designed in 1929 by the Museum’s then Curator of Communications, Roderick Denman, to produce the widest possible frequency range.

A popular highlight of the Museum’s daily tours in the 1930s, the horn has been rebuilt by the Museum’s Workshops team.

Kolkowski said of the horn: “This audio leviathan, seemingly primed and ready to blast through the museum walls, instead offers up a uniquely immersive aural experience, one in which sounds and voices from the past and present converge.”

The Exponential Horn: In Search of Perfect Sound runs at the Science Museum from May 20 – July 27. You can find more details here.

Wilco’s Jeff Tweedy to release solo album

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Wilco's Jeff Tweedy is set to release a solo album. Details of the album are still to be announced, but, Pitchfork reports, Tweedy will be playing songs from the album on a solo North American tour, set to start at Detroit's Masonic Temple on June 5 and finishing up at the Newport Folk Festival in July. Tweedy will be backed by a new band on the tour, with son Spencer Tweedy on drums, Jim Elkington on guitar, Darin Gray on bass and Liam Cunningham on keys. Tweedy recently made a guest appearance in US TV series Parks And Recreation. Tweedy appeared as the frontman of a fictional band called Land Ho!, who was lobbied by Amy Poehler's character, government worker Leslie Knope. Wilco released their latest album The Whole Love in 2011. It followed their 2009 self-titled release.

Wilco’s Jeff Tweedy is set to release a solo album.

Details of the album are still to be announced, but, Pitchfork reports, Tweedy will be playing songs from the album on a solo North American tour, set to start at Detroit’s Masonic Temple on June 5 and finishing up at the Newport Folk Festival in July.

Tweedy will be backed by a new band on the tour, with son Spencer Tweedy on drums, Jim Elkington on guitar, Darin Gray on bass and Liam Cunningham on keys.

Tweedy recently made a guest appearance in US TV series Parks And Recreation. Tweedy appeared as the frontman of a fictional band called Land Ho!, who was lobbied by Amy Poehler’s character, government worker Leslie Knope.

Wilco released their latest album The Whole Love in 2011. It followed their 2009 self-titled release.

Led Zeppelin face plagiarism claims

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Led Zeppelin look set to face legal action over claims that their 1971 song "Stairway To Heaven" is copied a 1968 track by Spirit. Lawyer Francis Alexander Molofiy is attempting to block the forthcoming re-release of Led Zeppelin IV, stating that his client - late Spirit guitarist, Randy Alexander...

Led Zeppelin look set to face legal action over claims that their 1971 song “Stairway To Heaven” is copied a 1968 track by Spirit.

Lawyer Francis Alexander Molofiy is attempting to block the forthcoming re-release of Led Zeppelin IV, stating that his client – late Spirit guitarist, Randy Alexander – should be given a writing credit on the track, as it resembles Spirit’s 1968 song “Taurus”, reports Rolling Stone. He has said he will be seeking a copyright infringement lawsuit.

“The idea behind this is to make sure that Randy California is given a writing credit on ‘Stairway To Heaven’,” said Malofiy to Bloomberg Businessweek. “Its been a long time coming.”

Mark Andes of Spirit says Led Zeppelin would have heard “Taurus” when the two bands were on tour together in the late 1960s. “…it would typically come after a big forceful number and always got a good response. They would have seen it in that context,” he said. Speaking about the time lapse between the alleged plagiarism and legal action, he added: “The clarity seems to be a present-day clarity, not at the time of infringement. I can’t explain it. It is fairly blatant, and note for note. It would just be nice if the Led Zeppelin guys gave Randy a little nod. That would be lovely.” California’s family stated that they waited so long to take legal action as they could not previously afford it.

Rolling Stone says that a representative for the band has refused to comment on the case. The band will reissue their first three albums next month.

George Harrison guitar sells for over £390,000 at auction

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A guitar previously owned and played by George Harrison has sold for £390,653 at auction. The black-and-white 1962 Rickenbacker 425 was bought in Mount Vernon, Illinois in 1963 and was used by Harrison during performances that same year on shows Ready Steady Go! and Thank Your Lucky Stars. It was also played in the studio during the sessions which resulted in the recordings of "I Want to Hold Your Hand" and "This Boy" in October 1963. The guitar was sold by Julien's Auctions in New York on May 17, reports Reuters. The auction also saw the sale of a placard covered in doodles and signed by John Lennon and Yoko Ono, from their "bed-in" protest, which sold for £111,190, and a Hofner bass rented by Paul McCartney, which sold for £74,325. Meanwhile, Richard Lester's film A Hard Day's Night is to be re-released in cinemas and on DVD. The 1964 film has been fully restored and will be in cinemas and available to download on July 4. A limited edition DVD and Blu-ray release will follow on July 21.

A guitar previously owned and played by George Harrison has sold for £390,653 at auction.

The black-and-white 1962 Rickenbacker 425 was bought in Mount Vernon, Illinois in 1963 and was used by Harrison during performances that same year on shows Ready Steady Go! and Thank Your Lucky Stars. It was also played in the studio during the sessions which resulted in the recordings of “I Want to Hold Your Hand” and “This Boy” in October 1963.

The guitar was sold by Julien’s Auctions in New York on May 17, reports Reuters. The auction also saw the sale of a placard covered in doodles and signed by John Lennon and Yoko Ono, from their “bed-in” protest, which sold for £111,190, and a Hofner bass rented by Paul McCartney, which sold for £74,325.

Meanwhile, Richard Lester’s film A Hard Day’s Night is to be re-released in cinemas and on DVD. The 1964 film has been fully restored and will be in cinemas and available to download on July 4. A limited edition DVD and Blu-ray release will follow on July 21.

Crosby, Stills, Nash & Young’s long-awaited live 1974 boxset appears on Amazon

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Crosby, Stills, Nash & Young's long-awaited 1974 boxset now has a listing on Amazon.co.uk. Though no official announcement of the release has yet been made, the four-disc live set is, according to Amazon, released on July 7 on Rhino. In 2013, David Crosby told Uncut: "It’s pretty much all ...

Crosby, Stills, Nash & Young‘s long-awaited 1974 boxset now has a listing on Amazon.co.uk.

Though no official announcement of the release has yet been made, the four-disc live set is, according to Amazon, released on July 7 on Rhino.

In 2013, David Crosby told Uncut: “It’s pretty much all complete now. Y’know, I don’t know what to tell you, man. It’s ridiculously good!… At that point The Beatles were gone and there was only really us and the Stones doing that level of work… We were peaking.”

Amazon lists a full tracklisting, below, but as of now it remains speculative.

Disc: 1

1. Love The One You’re With

2. Wooden Ships

3. Immigration Man

4. Helpless

5. Carry Me

6. Johnny’s Garden

7. Traces

8. Grave Concern

9. On The Beach

10. Black Queen

11. Almost Cut My Hair

Disc: 2

1. Change Partners

2. The Lee Shore

3. Only Love Can Break Your Heart

4. Our House

5. Fieldworker

6. Guinevere

7. Time After Time

8. Prison Song

9. Long May You Run

10. Goodbye Dick

11. Mellow My Mind

12. Old Man

13. Word Game

14. Myth Of Sisyphus

15. Blackbird

16. Love Art Blues

17. Hawaiian Sunrise

18. Teach Your Children

19. Suite: Judy Blue Eyes

Disc: 3

1. Deja Vu

2. My Angel

3. Pre-Road Downs

4. Don’t Be Denied

5. Revolution Blues

6. Military Madness

7. Long Time Gone

8. Pushed It Over The End

9. Chicago

10. Ohio

Disc: 4

1. Only Love Can Break Your Heart

2. Almost Cut My Hair

3. Grave Concern

4. Old Man

5. Johnny’s Garden

6. Our House

7. Deja Vu

8. Pushed It Over The End

This month in Uncut

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Paul Weller, Bob Dylan, Black Sabbath and Dolly Parton all feature in the new issue of Uncut, dated July 2014 and out now. As he prepares to release his second greatest hits collection, More Modern Classics, Weller rails against politicians and boxsets, plots sci-fi memoirs and some unlikely coll...

Paul Weller, Bob Dylan, Black Sabbath and Dolly Parton all feature in the new issue of Uncut, dated July 2014 and out now.

As he prepares to release his second greatest hits collection, More Modern Classics, Weller rails against politicians and boxsets, plots sci-fi memoirs and some unlikely collaborations, and finds new ways to celebrate the enduring, evolving power of music.

“I’m not scared of the new,” he explains. “For all of my love of the ’60s, be it clothes or music, I still wouldn’t want to be living in any other time but now.”

Allan Jones examines Bob Dylan’s ‘lost decade’, the 1980s, with help from a host of the singer-songwriter’s collaborators, including Arthur Baker, Chuck Plotkin, Neil Dorfman and Fred Tackett, who discuss Dylan’s unusual working practices and their experiences working with him.

Ozzy Osbourne, Tony Iommi and Geezer Butler talk about drugs, Top Of The Pops, ‘Satan’s Christmas’ and drowning out the Eagles, as they recall the making of Black Sabbath‘s albums, from 1970’s self-titled debut to 2013’s 13.

Dolly Parton opens up to Uncut in Nashville, discussing her new album Blue Smoke, her routine for writing songs (it involves a mountain cabin, fasting and praying) and her attempts to keep grounded despite her huge success.

Harry Dean Stanton answers your questions about Buddhism, Dylan, Peckinpah, Nicholson, Hitchcock, Brando and chocolate bunnies, while The Shadows recall the making of “Apache”, and Sharon Van Etten charts her life in music.

Elsewhere, Allen Toussaint looks back over his stellar career, and reveals what it was like working with Ernie K-Doe, Irma Thomas, Lee Dorsey, The Meters, Frankie Miller, The Band, Little Feat and Labelle.

In our opening Instant Karma section, Uncut meets Jesse Hector, Mike Cooper, Dylan Howe and the artists recreating Gene Clark’s No Other album on the road, including Beach House, Daniel Rossen and Robin Pecknold.

In our 40-page reviews section, we examine new releases from Jack White, Neil Young, Ethan Johns, First Aid Kit, the Felice Brothers, Bob Mould, Santana and Conor Oberst, and reissues from Led Zeppelin (with a great, new Jimmy Page interview), Mogwai, Dead Moon, The Doors, Wilko Johnson and LCD Soundsystem.

We review new films including Pulp (A Film About Life, Death And Supermarkets), Jimmy’s Hall and The Two Faces Of January, DVD releases from Bruce Springsteen and Peter Gabriel, and the first series of True Detective.

Live reviews include The Hold Steady, Trans and Courtney Barnett at The Great Escape festival, and Ginger Baker and Rosanne Cash.

The free CD, Brand New Noise, features new tracks from Dave & Phil Alvin, the Felice Brothers, Sharon Van Etten, Ethan Johns and more.

The new issue of Uncut, dated July 2014, is out today (May 23).