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Roddy Frame plays Aztec Camera’s High Land, Hard Rain in full at 30th anniversary show

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Roddy Frame plays Aztec Camera’s High Land, Hard Rain in full at 30th anniversary show
Roddy Frame played Aztec Camera's High Land, Hard Rain in full last night [December 1] at the first of three shows to mark the album's 30th anniversary. The show - at London's Theatre Royal, Drury Lane - ran across two sets. The first set featured both Frame solo and accompanied by bassist Amulf L...

Roddy Frame played Aztec Camera’s High Land, Hard Rain in full last night [December 1] at the first of three shows to mark the album’s 30th anniversary.

The show – at London’s Theatre Royal, Drury Lane – ran across two sets.

The first set featured both Frame solo and accompanied by bassist Amulf Linder and drummer Adrian Mehan. It consisted of pre-High Land, Hard Rain recordings, rarities and b-sides – including a performance of “Green Jacket Grey“, an unreleased song long rumoured to have been the title track for an album Aztec Camera recorded for the Postcard label.

The set set featured Frame accompanied by a full band – Linder, Mehan, guitarist Tom Edwards and keyboardist Owen Parker – for a performance of High Land, Hard Rain in order. During introductions to the songs, Frame revealed the title for the album came from Highlands Avenue, Acton, where he was living while writing part of it. He also revealed that Aztec Camera’s first professional engagement was supporting The Teardrop Explodes on the day of Ian Curtis’ suicide.

Frame will continue his High Land, Hard Rain shows on Tuesday, December 3 at The Bridgewater Hall, Manchester and Wednesday, December 4 at Glasgow Royal Concert Hall.

A vinyl-only reissue of High Land, Hard Rain is available now; a new Roddy Frame album is due for release in 2014.

Roddy Frame played:

FIRST SET

(Solo Acoustic)

Birth Of The True

How Men Are

Spanish Horses

Small World

The Spirit Shows

Just Like Gold

(Trio)

Green Jacket Grey

Orchid Girl

INTERMISSION

SECOND SET

High Land Hard Rain

Oblivious

The Boy Wonders

Walk Out to Winter

The Bugle Sounds Again

We Could Send Letters

Pillar to Post

Release

Lost Outside the Tunnel

Back on Board

Down the Dip

ENCORE

Killermont Street

Bigger Brighter Better

Somewhere In My Heart

Kim Shattuck leaves Pixies

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Kim Shattuck leaves Pixies
Kim Shattuck has revealed that her time playing with Pixies has come to an end. The bass player joined the band this summer after Kim Deal left the band. She posted the news of her departure on Twitter and Facebook, saying she was "disappointed" with the decision. In a recent interview with NME it...

Kim Shattuck has revealed that her time playing with Pixies has come to an end.

The bass player joined the band this summer after Kim Deal left the band. She posted the news of her departure on Twitter and Facebook, saying she was “disappointed” with the decision.

In a recent interview with NME it was revealed that Kim Deal had left the band in October 2012, though the news wasn’t announced until June 2013. Shattuck did not speak to NME during the interview – which was published earlier this month (November 23), suggesting there may have been friction within the group. Black Francis declined to say why she wouldn’t be taking part in the interview, simply saying: “I guess you could ask our manager”.

Meanwhile, Pixies have been announced as the first headline act of next year’s Field Day in London. The festival, which will expand to a two day event when it takes place over one weekend next year, confirmed that the band will headline on Sunday, June 8, 2014. For more information, see Field Day’s website.

The Who release first-ever digital box set app

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The Who release first-ever digital box set app
The Who have released a brand new iPad digital box set app, to complement the recently-released deluxe and super Deluxe editions of Tommy. The app, which has been described as the band's record label, Universal, as "the world's first-ever digital box set" is available on tablets and smart phones. ...

The Who have released a brand new iPad digital box set app, to complement the recently-released deluxe and super Deluxe editions of Tommy.

The app, which has been described as the band’s record label, Universal, as “the world’s first-ever digital box set” is available on tablets and smart phones.

Users can download the app for free from the iTunes store.

If they already have Tommy in their iTunes music collection they can play the full tracks on tablet devices along with the visuals and extra features that accompany the super deluxe set. If not, they can play 90-second edited previews through iTunes and buy them directly.

The book written by Richard Barnes, Mike McInnerney’s original artwork and photos included in the box are available to flip through and view using the pinch and swipe navigation of the iPad. As with the music, the photos and the book are included in the in-app purchase mechanic.

The digital box set also includes: a built-in music player (functional whilst reading the book and exploring the photos). The video section includes five tracks streamed into the app taken from The Who’s Live At The Coliseum ’69 show; a specially-developed Pinball Game as well as links to the official Who site, official store and social channels.

Bob Dylan sued for alleged “racism”

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Bob Dylan sued for alleged “racism”
Bob Dylan is being sued for alleged 'racism'. According to Slate.Fr – via Business Insider – a Croatian community association in France is suing Dylan for comments he made in the September issue of the French version of Rolling Stone magazine. In response to a question about whether he sees pa...

Bob Dylan is being sued for alleged ‘racism’.

According to Slate.Fr – via Business Insider – a Croatian community association in France is suing Dylan for comments he made in the September issue of the French version of Rolling Stone magazine.

In response to a question about whether he sees parallels between Civil War-era America and the US of today, Dylan said: “Mmm, I don’t know how to put it. It’s like . . . the United States burned and destroyed itself for the sake of slavery. The USA wouldn’t give it up. It had to be grinded out. The whole system had to be ripped out with force. A lot of killing. What, like, 500,000 people? A lot of destruction to end slavery. And that’s what it really was all about.

“This country is just too fucked up about colour. It’s a distraction. People at each other’s throats just because they are of a different colour. It’s the height of insanity, and it will hold any nation back – or any neighbourhood back. Or any anything back. Blacks know that some whites didn’t want to give up slavery – that if they had their way, they would still be under the yoke, and they can’t pretend they don’t know that.

“If you got a slave master or Klan in your blood, blacks can sense that. That stuff lingers to this day. Just like Jews can sense Nazi blood and the Serbs can sense Croatian blood.”

It is that final line that has got the attention of The Council Of Croats in France, who have taken offence to the comment and are suing Dylan and the French version of Rolling Stone.

According to the International Business Times, Vlatko Marić, secretary general of the organization, said: “It is an incitement to hatred. You cannot compare Croatian criminals to all Croats. But we have nothing against Rolling Stone magazine or Bob Dylan as a singer.”

You can read our review of Dylan’s Glasgow Clyde Auditorium shows from November 18, 19 and 20 here.

You can read our review of Dylan’s Albert Hall show from November 26 here.

Gene Clark – The Byrd Who Flew Alone

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Gene Clark – The Byrd Who Flew Alone

A dark chronicle of his life and works... For all that Gene Clark’s story is as peculiar as its wilful, idiosyncratic and volatile subject, it is also one of the most trodden trajectories in modern popular mythology. “Take a group of young men,” sighs one of Clark’s collaborators, David Crosby, “give them some money, introduce them to drugs… I don’t think there was anything wrong with the fact that we all of a sudden got laid a lot. But the money and the drugs. . . that’ll do it every time.” The Byrd Who Flew Alone is subtitled “The Triumphs And Tragedy Of Gene Clark”. It’s a straightforward chronicling of Clark’s life and his works, which never quite permits itself to become a celebration of his extraordinary and resonant gifts. This is partly because of an implicit suggestion that maybe the determinedly diffident Clark could or should have done (or at least sold) more, mostly because everyone knows how this particular cautionary fable ends: dead at 46, killed by a bleeding ulcer engendered by decades of drink and drugs, topped terminally up via the windfall generated by Tom Petty covering one of his oldest songs (“I’ll Feel A Whole Lot Better”, an irony about as leaden as they come). We’re told how Clark grew up poor, raised along with 12 siblings on the outskirts of Kansas City in a house without indoor plumbing. He was famous before he was out of his teens, recruited from his high school rock band by The New Christy Minstrels. He wearied, not unreasonably, of the Minstrels’ wholesome folk (in the archive footage of this period, Clark is conspicuously awkward in a suit and side-parting). Arriving in Los Angeles in 1964, he wandered into The Troubadour and saw Roger McGuinn playing American folk tunes rearranged in somewhat Beatlesesque fashion. Clark joined The Byrds. He was a megastar before he was 21. As The Byrd Who Flew Alone tells it, Clark spent his remaining 26 years struggling, with infrequent success, to reconcile an internal riot of contradictory instincts as he proceeded, as McGuinn recalls it, “From innocent country boy to road weary and just tired of it all”. Clark was at once a purist artist and a swaggering rock star. He craved pastoral simplicity, yet spent his money on Porsches and Ferraris. He never appeared happier than when playing music, but hated touring. He treasured the independence his success paid for, but paid little attention to his finances. He wanted to be left alone, but missed the applause when it wasn’t there. He was neither the first nor the last to attempt to drink, smoke, snort and shoot his way through these contradictions. Everyone who knew him speaks of him with a kind of affectionate sorrow. Yet the music that interrupts the rueful testimonies of family, friends and colleagues sounds nothing like failure. Though The Byrd Who Flew Alone does a serviceable job of relating Clark’s biography, it is difficult not to wish it dwelt a little less on how Clark screwed his health and life up, and a little more on the astonishing music he created despite the best efforts of his legion demons. The film – correctly – brackets Clark alongside the even more wretchedly self-destructive Gram Parsons as a godfather of modern Americana, but seems generally more intent on wringing its hands than applauding. In fairness, this is probably only to be expected when so many of the talking heads – including Clark’s wife, his kids, a brother and a sister, Crosby, McGuinn and Chris Hillman – are recalling first and foremost a husband, father, sibling or friend, rather than a musician. For those of us who weren’t obliged to worry about what his work was costing him, the niggling subtext to the effect that Clark under-achieved is risible. He was the principal songwriter on The Byrds’ first two albums. The solo records he made in the late 60s – one with the Gosdin Brothers, two with bluegrass maestro Doug Dillard – are pretty much the lodestone of country rock, for better (The Byrds, in cahoots with Parsons, finally caught up with Clark on Sweetheart Of The Rodeo) and for worse (Bernie Leadon, who played bass on the Dillard albums, later joined The Eagles, and took “Train Leaves Here This Morning With Him”). His 1974 album, No Other, is rightly described here by Sid Griffin as a classic. And the songs breathe still: Robert Plant and Alison Krauss’s 2007 stunner Raising Sand contained two Clark compositions. It is indisputably sad and outrageous that Clark’s name is not better known, but such is the fate of pathfinders in all fields: the ground they clear, often at considerable risk, ends up profitably settled by the meeker spirits who follow them. The Byrd Who Flew Alone is a richly merited monument, if one less succinct than Clark’s actual monument, a simple gravestone in his birthplace of Tipton, Missouri, which reads “Harold Eugene Clark: No Other.” Indeed. Andrew Mueller

A dark chronicle of his life and works…

For all that Gene Clark’s story is as peculiar as its wilful, idiosyncratic and volatile subject, it is also one of the most trodden trajectories in modern popular mythology. “Take a group of young men,” sighs one of Clark’s collaborators, David Crosby, “give them some money, introduce them to drugs… I don’t think there was anything wrong with the fact that we all of a sudden got laid a lot. But the money and the drugs. . . that’ll do it every time.”

The Byrd Who Flew Alone is subtitled “The Triumphs And Tragedy Of Gene Clark”. It’s a straightforward chronicling of Clark’s life and his works, which never quite permits itself to become a celebration of his extraordinary and resonant gifts. This is partly because of an implicit suggestion that maybe the determinedly diffident Clark could or should have done (or at least sold) more, mostly because everyone knows how this particular cautionary fable ends: dead at 46, killed by a bleeding ulcer engendered by decades of drink and drugs, topped terminally up via the windfall generated by Tom Petty covering one of his oldest songs (“I’ll Feel A Whole Lot Better”, an irony about as leaden as they come).

We’re told how Clark grew up poor, raised along with 12 siblings on the outskirts of Kansas City in a house without indoor plumbing. He was famous before he was out of his teens, recruited from his high school rock band by The New Christy Minstrels. He wearied, not unreasonably, of the Minstrels’ wholesome folk (in the archive footage of this period, Clark is conspicuously awkward in a suit and side-parting). Arriving in Los Angeles in 1964, he wandered into The Troubadour and saw Roger McGuinn playing American folk tunes rearranged in somewhat Beatlesesque fashion. Clark joined The Byrds. He was a megastar before he was 21.

As The Byrd Who Flew Alone tells it, Clark spent his remaining 26 years struggling, with infrequent success, to reconcile an internal riot of contradictory instincts as he proceeded, as McGuinn recalls it, “From innocent country boy to road weary and just tired of it all”. Clark was at once a purist artist and a swaggering rock star. He craved pastoral simplicity, yet spent his money on Porsches and Ferraris. He never appeared happier than when playing music, but hated touring. He treasured the independence his success paid for, but paid little attention to his finances. He wanted to be left alone, but missed the applause when it wasn’t there. He was neither the first nor the last to attempt to drink, smoke, snort and shoot his way through these contradictions. Everyone who knew him speaks of him with a kind of affectionate sorrow.

Yet the music that interrupts the rueful testimonies of family, friends and colleagues sounds nothing like failure. Though The Byrd Who Flew Alone does a serviceable job of relating Clark’s biography, it is difficult not to wish it dwelt a little less on how Clark screwed his health and life up, and a little more on the astonishing music he created despite the best efforts of his legion demons. The film – correctly – brackets Clark alongside the even more wretchedly self-destructive Gram Parsons as a godfather of modern Americana, but seems generally more intent on wringing its hands than applauding. In fairness, this is probably only to be expected when so many of the talking heads – including Clark’s wife, his kids, a brother and a sister, Crosby, McGuinn and Chris Hillman – are recalling first and foremost a husband, father, sibling or friend, rather than a musician.

For those of us who weren’t obliged to worry about what his work was costing him, the niggling subtext to the effect that Clark under-achieved is risible. He was the principal songwriter on The Byrds’ first two albums. The solo records he made in the late 60s – one with the Gosdin Brothers, two with bluegrass maestro Doug Dillard – are pretty much the lodestone of country rock, for better (The Byrds, in cahoots with Parsons, finally caught up with Clark on Sweetheart Of The Rodeo) and for worse (Bernie Leadon, who played bass on the Dillard albums, later joined The Eagles, and took “Train Leaves Here This Morning With Him”). His 1974 album, No Other, is rightly described here by Sid Griffin as a classic. And the songs breathe still: Robert Plant and Alison Krauss’s 2007 stunner Raising Sand contained two Clark compositions.

It is indisputably sad and outrageous that Clark’s name is not better known, but such is the fate of pathfinders in all fields: the ground they clear, often at considerable risk, ends up profitably settled by the meeker spirits who follow them. The Byrd Who Flew Alone is a richly merited monument, if one less succinct than Clark’s actual monument, a simple gravestone in his birthplace of Tipton, Missouri, which reads “Harold Eugene Clark: No Other.” Indeed.

Andrew Mueller

Jack White’s Third Man Records release special guitar pedal

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Jack White’s Third Man Records release special guitar pedal
Jack White's Third Man Records have created a special guitar pedal, called The Bumble Buzz. http://www.youtube.com/watch?v=tpK0CTEZGe8 The Bumble Buzz effects pedal is only available at the Third Man store in Nashville and online at Thirdmanrecords.com. The pedal is a special Black Friday release ...

Jack White‘s Third Man Records have created a special guitar pedal, called The Bumble Buzz.

The Bumble Buzz effects pedal is only available at the Third Man store in Nashville and online at Thirdmanrecords.com. The pedal is a special Black Friday release and goes on sale at 10am (CT) on November 29, sold in a wooden box complete with custom bandana. Click above to see Jack using the fuzz pedal in a video clip.

The pedal was made by Union Tube and Transistor and has been based on the pedal they made for Jack to use on his version of Little Willie John’s ‘I’m Shakin”, which featured on his 2012 solo debut Blunderbuss. A limited edition yellow version designed by Rob Jones is also available for Third Man Records’ Platinum Vault members to purchase.

Meanwhile, Third Man Records recently teamed up with Nashville Rescue Mission to hold the ‘Great Third Man Turkey Drive’, where customers at the Third Man Records store could donate turkeys or other essential items such as non-perishable food and winter clothing for The Nashville Rescue Mission’s Thanksgiving banquet, which provides turkeys for the city’s underprivileged families.

White is currently working on new songs with his band The Dead Weather, a tweet from his Third Man Records label revealed in August. The band are holed up in the Third Man studio in Nashville working on the album.

Mark Lanegan – Album By Album

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Mark Lanegan – Album By Album
As Mark Lanegan prepares to release a career-spanning compilation, Has God Seen My Shadow? An Anthology 1989-2011, early in 2014, we look back at March 2012’s Uncut (Take 178), where the Screaming Trees frontman and solo artist discusses the highs and lows of his catalogue, from collaborating with...

As Mark Lanegan prepares to release a career-spanning compilation, Has God Seen My Shadow? An Anthology 1989-2011, early in 2014, we look back at March 2012’s Uncut (Take 178), where the Screaming Trees frontman and solo artist discusses the highs and lows of his catalogue, from collaborating with Kurt Cobain, attempting to thrown session tapes into a river and embracing the synthesizer. Interview: Alastair McKay

___________________

His reputation precedes him. Over a 25-year recording career that began with grunge godfathers Screaming Trees and has included collaborations with Kurt Cobain, Greg Dulli (ex-Afghan Whigs) and Queens Of The Stone Age, Mark Lanegan has established himself as an artist who prefers to walk on the shady side of the street. The pain he sings about isn’t an act: he’s wrestled with addiction, and tried the patience of several producers during an erratically brilliant solo career that continues with the release of the (relatively) upbeat Blues Funeral. On his solo recordings, he’s moved from confessional folk to ’80s-influenced gothic rock. So it’s a welcome surprise to find this tattooed giant in cheerful mood. “I’m very happy these days,” Lanegan says with a dry chuckle. “I’m a little less dark. Though I still hold a daily séance!”

___________________

SCREAMING TREES – BUZZ FACTORY

(SST, 1989)

The Trees journey from Ellensberg to Seattle, hone hard rock/psychedelic influences and tap into energy of grunge

Before we did that, we did an entire double album and nobody was happy with the way it sounded. I know that sounds expensive, but back then we made records for a thousand dollars, so it was two thousand to make that record. We made it in a week. But we didn’t like it. Right about then I also heard the first Mudhoney EP, “Superfuzz Bigmuff”. Hearing Mudhoney made me feel like we were total pussies, because when you hear the bass and the drums, everything’s out there. I said, “We gotta get the guy who did this to do our record.” It was Jack Endino. So we went to Seattle – I slept on the floor at my sister’s – and made it in four or five days. We used maybe one of the songs from the double album; they were all new songs. [Lead guitarist] Gary Lee Conner wrote excessively, he’d write two, three or four a day sometimes: fully formed songs. He was just a machine. And the one song that came from the double album we ended up leaving off the record! It still didn’t have the power of the Mudhoney EP but it was a lot closer to being representative of what we sounded like live. And that was our first experience of working with Jack – it was great.

MARK LANEGAN – THE WINDING SHEET

(Sub Pop, 1990)

Abortive Kurt Cobain collaboration leads to stark first solo outing

Me and Kurt Cobain were both listening to a bunch of Lead Belly and diggin’ it. We thought: let’s do an EP of all Lead Belly songs. We did a couple, and both of us were like, “Nah, this is a bad concept.” We set it aside. [Sub Pop label boss] Jon Poneman came in and said, “Shame you guys didn’t finish that record, why don’t you make a solo record?” I couldn’t play guitar, and had only written some words for the Trees – which consisted of taking words that were already written and changing some to make them have some semblance of personality. Jon told me what they would give me for making the record. I was working in a warehouse, and I thought, ‘You know what, I could fuckin’ quit that job and live high on the hog!’ I got a Mel Bay chord book, and at the end of the day when I was lowering my last conveyor belt of boxes I would come up with a melody. I would have it in my mind on the bus all the way home. I would get home and find the chords. I did it the first day that I tried, and I did it 10, 12 more times, and I also took one of the songs from Kurt and I’s session, “Where Did You Sleep Last Night?”. I mainly saw it through because of the financial inducements, but I’m glad I did.

MARK LANEGAN – WHISKEY FOR THE HOLY GHOST

(Sub Pop, 1994)

Modest attempt to write Astral Weeks turns into Fitzcarraldo

I had heard Astral Weeks, and heard how it was made. I thought, ‘I’m going to make a record like that: really fast.’ So I found a jazz bass player and went to do some songs. What I wanted to do in three days ended up taking almost three years, in many different studios with many different guys. Basically, I lost my mind. I would have it in my grasp, and then would see another possibility. That was the form of my illness. I couldn’t be nailed down. I continued to generate more material. I would mix stuff four or five times. And I’m talking about intricate sessions.

I had started this other record with Terry Date, who did the first Trees record on a major, then moved on to several other guys and finally got around to Jack Endino again. We were trying to mix a song that I thought would be easy – but on the second day I was trying to figure out why it wouldn’t move forward and be the way I wanted to hear it – this is two, three years into the making of that record… I was like, you know, “Fuck this!” There was a creek out back, I grabbed the tapes, I was actually walking through the yard and he grabbed a hold of me and said: “No fucking way am I going to let you do that.” I was like, “Dude, I’m over this, I need to get rid of it.” I realised it was making me crazier, and I wanted to be clear of it.

I was deep in addiction for the entire thing. I travelled the world that way. I went to my sister’s house for Christmas dinner that way. I thought about music this way: it’s something that I have to do. But it was really a means to an end. It facilitated my lifestyle. Which included a need for a lot of money on a daily basis. It was like Fitzcarraldo – it was like dragging a boat over a mountain. But that was something I was compelled to keep doing. Only because I love music. I could have, at any point, put that record out, and it would have been fine. But I was compelled: despite all the extraneous bullshit I was putting myself through, I wanted it to be great. And I couldn’t be satisfied that it was great even when it was finished. Or even today. I’m surprised it ever got finished really. But it came as a relief, to finally let it go.

SCREAMING TREES – DUST

(Epic, 1996)

Trees reluctantly embrace big rock sound on their final studio album

That was the last real record we made. It wasn’t an easy time, mainly because of band relations. Also my personal problems made it difficult to get anything done. We had already done the basics for a record [with Don Fleming] that couldn’t be finished. It was another year before we started this one. George Drakoulias had been one of the guys we’d talked about when we first started with Epic, and we were like “No!” We were paranoid about sounding good. Although I did want an update on the sound I was wary of sounding like Black Crowes, for instance, who George produced. So we went with Terry Date, who we knew. That was a good choice. But later, we were like, “Ach, you know, I wonder if that guy George is still available?” And he was. In that regard, it was a great experience. Benmont [Tench] from the Heartbreakers played on some of that stuff – he played two Mellotrons, one with each hand, at the same time. George was, still is, a great guy to be around. But my perception is that my personal stuff overruled everything, and I’m sure those guys would agree – it made everything difficult. Although I was trying to do my best, it was not to be!

QUEENS OF THE STONE AGE – SONGS FOR THE DEAF

(Interscope, 2002)

Collaboration with Josh Homme on Desert Sessions leads to full membership of QOTSA on album simulating a drive from Los Angeles to Joshua Tree

Josh had toured as guitarist with the Trees on Dust, so we knew each other really well. He actually asked me to be on the first Queens record, but that was not to be, because of my problems. I did some singing on the second one, and then started touring with those guys. In between that, I did the Desert Sessions [Volumes 7 & 8] which I only worked on

for a day because I was working on a solo record at the same time. And the best thing about that was meeting Alain [Johannes] – and the song that I did for that record, which Al and Josh wrote, “Hangin’ Tree”, ended up on the next one [Songs For The Death], so I just joined. My circle of friends, musician-wise, wasn’t huge. I only knew these certain guys. Working with Josh has always been so much fun. The result is serious, but the process is a lot of comedy. Writing lyrics with him is one of the funnest things that I do. I can’t really describe it but he’s a really funny guy, and when we work together, it’s a comedy, basically. You either laugh or cry, almost!

MARK LANEGAN BAND – BUBBLEGUM

(Beggars Banquet, 2004)

Confessional album, with a more rounded sound and collaborations with the likes of PJ Harvey

I always start from some personal place. Some are more fictional, some are more based on reality, but they all do start from something real. So in that way, it is confessional, but no more so than the rest of them. When we first convened I went MIA for the first month, which caused Chris Goss – who was trying to produce it – dismay. Then I came back and was so over-the-top involved that it caused him further dismay. I burnt him out and moved on to somebody else. There were a lot of the same behaviours as on Whiskey…, but in a more condensed time period. I distilled the qualities that had made me so much fun to work with before! The guy who mixed the stuff that Chris produced said I was like Russell Crowe in A Beautiful Mind. But it got done. Actually I enjoyed it. I just don’t know if the guys who were forced to work with me enjoyed it – I know some of them did not. But at the end I was pleased, because I didn’t want to make another dusty strings record. I wanted to make something that I might listen to, like Can or Kraftwerk.

ISOBEL CAMPBELL & MARK LANEGAN – BALLAD OF THE BROKEN SEAS

(V2, 2006)

Cast as Isobel Campbell’s bit-of-rough, Lanegan embraces his inner Lee Hazlewood

All the records I’ve made with Isobel are really special to me. That one in particular. I was a fan of Belle & Sebastian, but I was also a bigger fan of the Gentle Waves records she made. When she contacted me, I was thrilled. I guess she didn’t really know who I was, but she had heard my voice and thought I would do for something she was doing. But after we did this EP, “Ramblin’ Man”, we met in Glasgow and got along really well. I said, “I want to make a record together,” and she was like, “Yeah.” She immediately started sending me all these great songs. I was like: “Are you kidding? This is fantastic!” Basically I sang them in Los Angeles and sent them back to her. I had no idea it would last three records and six years or whatever. It was really cool, because that’s something that’s really unique to my personal experience: singing songs written by a woman, and just letting it go. Isobel’s a huge talent. Those were records I did not lose my mind on! I was able to just put myself in her hands.

THE GUTTER TWINS – SATURNALIA

(Sub Pop, 2008)

Lanegan and Greg Dulli explore the dark corners of their psyches

Working with Greg is a constant comedy. If you’ve seen Ishtar, the songwriting process is very similar to that. It’s two guys in a room making up the most inane stuff to make themselves laugh, then we’ll go, “Oh, that’s not bad,” but it probably is. That record was started six, seven years before it was finished. I had guested with The Twilight Singers, and Greg had played in my band. At Christmas time at the end of one of those tours we made up a couple of songs. For years people were going, “What’s going on with you and Dulli?” We got together at Christmas a couple of years later and did more. Years went by, and I had even said what the name of the band was, joking around, so we had to finish it. This project is light relief, even though the result sounds pretty heavy. When I heard it I was like, “Oh man, this is pretty dark stuff.” It reminded me of the Sly Stone record, There’s A Riot Goin’ On: it’s a party, but not a fun one. The record ended up with us in a better state than when we started it. It started on a very dark Christmas and ended on a lighter one. We started on drugs, we finished not.

MARK LANEGAN BAND – BLUES FUNERAL

(4AD, 2012)

Some ’80s-influenced sounds lend a poppy edge to typically chastening lyrics, but there’s no disguising Lanegan’s good humour

Usually I write on guitar. This time I bought a couple of drum machines and a synthesiser, an old Casio keyboard. When we started we sort of had the same thoughts as when we did Bubblegum. I did some things with Alain Johannes: the process dictated what the songs sounded like. I didn’t mind that we used drum machine, synthesiser, on Bubblegum, so it just seemed natural. I rarely play anything for anybody, but I played “Gray Goes Black” to my girlfriend, and she said, “I can’t believe you’re making something so happy sounding.” I said, “Happy sounding? [What about] the words?” She says, “No, it’s happy sounding.” That’s cool. I’ve always done whatever I felt reflected what was happening. In other words, I never really give it much thought, though in the past I may have been given over to morbid introspection. I listened back to the record in the car, and I thought it was great driving music. Greg Dulli was the first person I played it to; he said it sounded like Echo & The Bunnymen and Peter Gabriel. He thought it was more representative of where I’m at now. I agree.

John Grant: “I was horribly embarrassed about who I was”

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John Grant: “I was horribly embarrassed about who I was”
John Grant reveals the impact Midlake had on his mental well-being in the new issue of Uncut, dated January 2014 and out now. The solo artist and former Czars frontman explains that he believes he never really fulfilled his potential until he worked with the Texan group on what became 2010’s Qu...

John Grant reveals the impact Midlake had on his mental well-being in the new issue of Uncut, dated January 2014 and out now.

The solo artist and former Czars frontman explains that he believes he never really fulfilled his potential until he worked with the Texan group on what became 2010’s Queen Of Denmark.

“I was horribly embarrassed about who I was,” Grant says. “But then Midlake gave me this push that I needed.

“And I always knew that I had it in me. I was the person that I wanted to be. I just couldn’t access him.”

Grant takes us through his entire back catalogue in the issue, recalling turbulent days with The Czars, his love of the Cocteau Twins and duetting with hero Sinéad O’Connor.

The new issue of Uncut, dated January 2014, is out now.

Bruce Springsteen’s handwritten Born To Run lyrics up for auction

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Bruce Springsteen’s handwritten Born To Run lyrics up for auction
Bruce Springsteen's manuscript for Born To Run is up for auction at Sotheby's on December 5, Billboard reports. The handwritten manuscript is expected to fetch between $70,000 (£43,000) and $100,000 (£61,000). Billboard reports that the document was written in blue ink on an 8½-by-11 sheet of r...

Bruce Springsteen‘s manuscript for Born To Run is up for auction at Sotheby’s on December 5, Billboard reports.

The handwritten manuscript is expected to fetch between $70,000 (£43,000) and $100,000 (£61,000).

Billboard reports that the document was written in blue ink on an 8½-by-11 sheet of ruled notepaper in 1974 in Long Branch, New Jersey.

The story also identifies significant differences between lyrics in this manuscript and the finished version.

You can view the auction lot here.

Springsteen recently confirmed details of his new studio album, High Hopes. You can read the track listing here.

Photo: Danny Clinch

Alex Turner teases next Arctic Monkeys album

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Alex Turner teases next Arctic Monkeys album
Alex Turner has discussed the possibility of a follow-up to the Arctic Monkeys current album AM. Speaking in this week's NME, which is available digitally and on newsstands now, Turner says he already has an idea for the record, mentioning the fact that a similar idea led to the creation of AM. "I...

Alex Turner has discussed the possibility of a follow-up to the Arctic Monkeys current album AM.

Speaking in this week’s NME, which is available digitally and on newsstands now, Turner says he already has an idea for the record, mentioning the fact that a similar idea led to the creation of AM.

“I think I can see there being something,” he says. “I can’t really confirm or deny that one. I can sort of imagine what it might be. I could see it when the record was finished. We’d met the deadline, but the thing was still sort of snowballing a little bit, and for that reason, we could still find ourselves walking into another one.”

Admitting that any potential project is in its very early stages, the frontman continues: “The songs aren’t there, it’s just an idea of mine. But that’s usually how it works: this time the idea definitely led the whole procession, rather than the songs themselves.”

Last week, meanwhile, Arctic Monkeys announced that they will play two huge outdoor shows in London’s Finsbury Park on May 23 and 24 next year, with support to come from Tame Impala, Miles Kane and Royal Blood, and will also headline Portugal’s Optimus Alive festival, which takes place in Lisbon on July 10.

This month in Uncut

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This month in Uncut
Morrissey, My Bloody Valentine, The Beatles and Lou Reed all feature in the new issue of Uncut, dated January 2014, and out now. We get the full lowdown on Morrissey’s very weird year from his friends, bandmates and industry insiders – from his hospital stays and cancelled tours, to the huge ...

Morrissey, My Bloody Valentine, The Beatles and Lou Reed all feature in the new issue of Uncut, dated January 2014, and out now.

We get the full lowdown on Morrissey’s very weird year from his friends, bandmates and industry insiders – from his hospital stays and cancelled tours, to the huge success of his Autobiography.

“We’re long overdue for the studio,” says guitarist Jesse Tobias. “There are two albums’ worth of songs ready.

“I’ve heard almost everything and feel it’s some of the strongest material to date. Musically diverse. Anthemic. Even in their infant stages the songs excite me.”

Kevin Shields speaks to Uncut about My Bloody Valentine, his songwriting methods, Primal Scream, m b v and Daft Punk’s marketing budget, while we unearth The Beatles’ lost Christmas singles and pantomime appearances.

Editor Allan Jones pays tribute to Lou Reed, recalling wild nights and vicious insults from the late Velvet Underground legend.

Can take us through the creation of their unlikely German chart hit “Spoon”, while John Grant discusses each album he’s made, from The Czars to Pale Green Ghosts.

Matthew E White reveals the records that changed his life, while we talk to Nick Lowe about his creative rebirth, having Johnny Cash over to stay and recording in Mosley’s old lock-up.

In our Instant Karma section, The Who discuss their 50th anniversary, Billy Childish explains his flotilla of seven-inch-carrying vessels and Parquet Courts introduce themselves.

In the 38-page reviews section, we take a look at releases from The Cure, Nick Cave, Tom Waits, Al Green, Ry Cooder and Neil Young.

The free CD, The Sound Of 2013, features tracks from My Bloody Valentine, Nick Cave & The Bad Seeds, John Grant, Matthew E White, Prefab Sprout, Richard Thompson and more.

The new issue of Uncut, dated January 2014, is out now.

Black Flag fire singer onstage

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Black Flag fire singer onstage
Black Flag vocalist Ron Reyes was reportedly fired in the middle of a show in Australia. Writing in a Facebook post that has since been deleted (via Exclaim), Reyes during a recent show in Australia, skateboarder Mike Vallely - who sang with the band at a 2003 reunion show - took the microphone fro...

Black Flag vocalist Ron Reyes was reportedly fired in the middle of a show in Australia.

Writing in a Facebook post that has since been deleted (via Exclaim), Reyes during a recent show in Australia, skateboarder Mike Vallely – who sang with the band at a 2003 reunion show – took the microphone from him and asked him to leave before finishing the set for him.

“On November 24th 2013 the last night of the Australian Hits and Pits tour with two songs left in the set Mike V comes on stage stares me down, takes my mic and says “You’re done, party’s over get off it’s over…,” wrote Reyes.

Ron Reyes added that it was a “relief”, stating that he hadn’t been seeing eye to eye with the band’s co-founder Greg Ginn and that he wanted to make amends with Flag, the other current incarnation of the seminal hardcore band. He wrote: “From the beginning I was happy for them and fully supported and understood why they would want to rock those songs and have a good time with friends and family. Yes I questioned their use of the name and logo but in no way questiond [sic] their motivation or right to do their thing. I envy them for they have succeeded in ways that were never possible with ‘Black Flag’. And once again for the record, I agreed to do Black Flag before I knew there was a Flag.”

Flag consists of other original co-founders, singer Keith Morris and bassist Chuck Dukowski, as well drummer Bill Stevenson and Stephen Egerton of Descendents. Black Flag is Ginn and drummer Gregory Moore and Reyes says that Mike Vallely will likely take over as the new singer of the band. Read the full deleted post here.

Hear lost Velvet Underground track “I’m Not A Young Man Anymore”

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Hear lost Velvet Underground track “I’m Not A Young Man Anymore”

"I’m Not A Young Man Anymore", a previously unreleased live track by The Velvet Underground has been revealed online. Scroll down to hear the song now. On December 3, Universal Music will reissue The Velvet Underground's 1968 album White Light / White Heat with "I’m Not A Young Man Anymore" being one of the tracks on the three disc release. The release was co-curated by John Cale and Lou Reed prior to the latter's death in October. The 30-track collection includes mono and stereo versions of the album plus bonus material, including new mixes as well as alternate and unreleased outtakes. Recorded at New York venue the Gymnasium on April 30, 1967, the live version of the song is rumoured to be the only time the band played "I’m Not A Young Man Anymore" at a gig. Written by Lou Reed, the song was never officially released by the band nor does it appear on any other live bootlegs. You can read the track listing for the White Light / White Heat reissue here.

“I’m Not A Young Man Anymore“, a previously unreleased live track by The Velvet Underground has been revealed online. Scroll down to hear the song now.

On December 3, Universal Music will reissue The Velvet Underground’s 1968 album White Light / White Heat with “I’m Not A Young Man Anymore” being one of the tracks on the three disc release. The release was co-curated by John Cale and Lou Reed prior to the latter’s death in October. The 30-track collection includes mono and stereo versions of the album plus bonus material, including new mixes as well as alternate and unreleased outtakes.

Recorded at New York venue the Gymnasium on April 30, 1967, the live version of the song is rumoured to be the only time the band played “I’m Not A Young Man Anymore” at a gig. Written by Lou Reed, the song was never officially released by the band nor does it appear on any other live bootlegs.

You can read the track listing for the White Light / White Heat reissue here.

Bob Dylan, Royal Albert Hall London, November 26, 2013

Michael Bonner
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Bob Dylan, Royal Albert Hall London, November 26, 2013
“You Brits need an injection!” rages the Australian in the gents’ toilet. He is unhappy, we learn, with what he perceives as the lacklustre response from the crowd at tonight’s show. It’s slightly odd, because what strikes me most about the audience who’ve turned out for the first of Bo...

“You Brits need an injection!” rages the Australian in the gents’ toilet.

He is unhappy, we learn, with what he perceives as the lacklustre response from the crowd at tonight’s show. It’s slightly odd, because what strikes me most about the audience who’ve turned out for the first of Bob Dylan’s three Albert Hall shows is how enthusiastic they appear: witness, in particular, the woman close to us who volubly and repeatedly demonstrates her desire to hear Dylan sing “Lay Lady Lay”, or the frequent whoops and cheers that pick up when Dylan starts a new song. What also strikes me about the crowd is how broad it is. Thinking back to some recent Albert Hall shows I’ve attended – CSN, in particular – the crowd there was very much of one type. Here, on the other hand, you can spot well-heeled couples in late middle age enjoying a bottle of house red, groups of thirtysomethings knocking back bottles of Spitfire, and swathes of men who look just like John Hurt’s War Doctor from last weekend’s Doctor Who.

Dylan himself arrives on stage at 7.30, dressed in his Civil War garb, standing at the microphone for a brisk rendition of “Things Have Changed”. Newsflash: he’s not wearing a hat. He seems quite mischievous tonight, but I can’t specifically locate what it is that makes me think that: the jaunty hand on the hip? The little jig of the leg? The elongating syllables he now favours? The raucous harmonica playing? The set – as it unfolds across two hours, with one intermission – is essentially the same as Dylan’s been playing recently, two miraculous Rome shows aside. As befitting an artist touring a current album, the set is skewed heavily towards material from Tempest: tonight, we get seven of the albums 10 songs. These are songs that play to the particular strengths of his current band. Listening to Together Through Life’s “Beyond Here Lies Nothin’” – salsa vibes, with Charlie Sexton’s wandering guitar lines a particular highlight – these dudes are the perfect interpreters of Dylan’s 21st century material: sensitive, sympathetic musicians with wide-ranging skills. I’m particularly taken by Sexton and Stu Kimball’s simpatico relationship, which on a breezy “Duquesne Whistle” resembles a more reserved version of Tom Verlaine and Richard Lloyd. Occasionally, their discreet noodling reminds me of the equally terrific work done by Leonard Cohen’s band on recent tours – another troupe of well turned out gentlemen with a taste for good hats.

On reflection, this is the first time I’ve seen Dylan inside at a smallish venue since Brixton in 2005; as great as the two Hop Farms, Finsbury Park, Wembley and 02 in between were, inevitably a great deal of nuance and detail got lost in venues that big. Here, in the less blustery confines of the Albert Hall, it is at last possible to really soak up the tremendous work being done by Sexton, Kimball, Donnie Herron, Tony Garnier and George Receli. Their fire-and-brimstone “Pay In Blood” is followed by a beautiful, mellifluous take on “Tangled Up In Blue”. They close the first half, meanwhile, with a wicked “Love Sick”, Kimball’s punchy upstrokes mingling with Sexton’s growling lead lines, and dominated by Dylan’s harmonica blasts.

The second half feels more energised, somehow. They open with “High Water (For Charley Patton)”, then into a lovely version of “Simple Twist Of Fate”, with Dylan’s piano playing nicely complimenting Sexton’s leisurely, rolling guitar melodies. “Early Roman Kings” is one of the night’s highlights. From the lean, Elmore Leonard-style lyrics – “All the early Roman kings / In their sharkskin suits / Bow ties and buttons / High top boots” – to the full-blooded roadhouse blues whipped up by the band, this was a persuasive example of how good Dylan’s current creative roll is. A similarly high-level ran through the haunting “Forgetful Heart”, from Together Through Life, which Richard Williams was also taken by, according to his excellent review of the show. Then, a jazzy “Spirit Of The Water” and a fierce “Scarlet Town” led us to “Soon After Midnight” and “Long And Wasted Years”: more highlights. As Damien Love pointed out in his review of last week’s Glasgow shows, “Long And Wasted Years” is the set’s showstopper. Led by Donnie Heron’s mournful fiddle, this is an elegantly played track about love, hardship and death – “We cried because our souls were torn/So much for tears, so much for these long and wasted years”. Epic gear, it’s good as anything Dylan’s done in years.

For our encore, we get a pleasingly subdued “All Along The Watchtower” before “Roll On John”, a song Dylan’s only played in Blackpool, Lancashire and here at the Albert Hall: two locations associated with its subject, John Lennon. It’s a great ending, incidentally, a graceful and moving comedown after the shows many, earlier peaks.

Follow me on Twitter @MichaelBonner.

Set list:
FIRST SET
Things Have Changed
She Belongs To Me
Beyond Here Lies Nothin’
What Good Am I?
Duquesne Whistle
Waiting For You
Pay In Blood
Tangled Up In Blue
Love Sick

INTERMISSION

SECOND SET
High Water (For Charley Patton)
Simple Twist Of Fate
Early Roman Kings
Forgetful Heart
Spirit Of The Water
Scarlet Town
Soon After Midnight
Long And Wasted Years

ENCORE
All Along The Watchtower
Roll On John

The Beatles, Tom Waits, Bruce Springsteen head up Uncut’s latest Sonic Editions photo collection

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The Beatles, Tom Waits, Bruce Springsteen head up Uncut’s latest Sonic Editions photo collection

We're delighted to reveal our latest exclusive hand-picked collection of iconic music photography: Uncut's Sonic Editions. The new 2014 collection contains 25 iconic images curated by editor Allan Jones. Including The Beatles, Bruce Springsteen, Ryan Adams, The Smiths, Bryan Ferry, Johnny Cash, Bob Marley, Debbie Harry and Tom Waits. Each image is available as a limited edition print, individually numbered, hand printed and framed to order, from £45/$75 unframed up to £75/$119 framed. Click here to view the full collection and find out more!

We’re delighted to reveal our latest exclusive hand-picked collection of iconic music photography: Uncut’s Sonic Editions.

The new 2014 collection contains 25 iconic images curated by editor Allan Jones. Including The Beatles, Bruce Springsteen, Ryan Adams, The Smiths, Bryan Ferry, Johnny Cash, Bob Marley, Debbie Harry and Tom Waits.

Each image is available as a limited edition print, individually numbered, hand printed and framed to order, from £45/$75 unframed up to £75/$119 framed.

Click here to view the full collection and find out more!

The 44th Uncut Playlist Of 2013

John Mulvey
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The 44th Uncut Playlist Of 2013

A pretty amazing week of new arrivals kicked off with the arrival of the beautiful thing pictured above; the Third Man/Revenant Paramount Records box set (Volume One, I should note). Lots to talk about there, not least the 800 tracks, and once I’ve had a deeper and more extensive listen I’ll try and blog about it properly. At first, though, opening up the hefty wooden “Cabinet Of Wonder”, it’s the lavish aesthetic of the whole package that’s so startling; genuinely, the most lavish - and justifiably lavish - box set I’ve ever seen. One of the many great things about it is how it doesn’t present this music, nearly a hundred years old in many cases, in an Old-Weird-American way; as The Other. Instead, while there may well be plenty of music that sounds strange here, the wood, the upholstery, the lavish books of adverts, the vintage slickness, all assert that Paramount was a commercial operation, not some mystical conduit. They were, in fact, furniture upholsterers - something that Jack White, scholar of blues, the intersections between artifice and integrity, and premium upholstery, understands very well. Other great new stuff here: New Bums are a duo of Ben Chasny and Donovan Quinn, and this is a self-released seven (there’s an album due next year). Black Dirt Oak are a mighty freeform out-folk jamming collective featuring Steve Gunn, Nathan Bowles, Dave Shuford and various other NNCK-related outliers. Along with all the nice reissues in this batch, please also find some time for Buchikamashi (Japanese New Age) and Bonnie ‘Prince’ Billy’s lovely and noble clip in support of Greenpeace’s Peter Willcox. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Harold Budd – Wind In Lonely Fences (1970-2011) 2 Black Dirt Oak – Wawayanda Patent (MIE Music) 3 New Bums – Slim Volume (NB) 4 Various Artists – The Rise And Fall Of Paramount Records Volume One: 1917-1927 (Third Man/Revenant) 5 Bruce Springsteen – High Hopes (Columbia) http://www.youtube.com/watch?v=rOPDhoZH91g 6 Red River Dialect – Live at Cafe Oto (Red River Dialect) 7 Evian Christ – Salt Carousel (Tri Angle) 8 Brigitte Fontaine – Est… Folle (Superior Viaduct) 9 Brigitte Fontaine – Comme A La Radio (Superior Viaduct) 10 Metronomy – I’m Aquarius (Because) 11 Lonnie Holley – Keeping A Record Of It (Dust-To-Digital) http://www.youtube.com/watch?v=-UKGmCMBP9E 12 Buchikamashi – Out Of Body Experience (Fort Evil Fruit) 13 Stephen Malkmus & The Jicks – Wig Out At Jagbags (Domino) 14 Bonnie ‘Prince’ Billy – Black Captain (Revised For Peter Willcox) (Greenpeace USA) http://www.youtube.com/watch?v=oXp-hsHq1Ck 15 The Necks & Evan Parker – Late Junction Sessions (BBC Radio 3) 16 Various Artists – A Spacebomb Family Album (Spacebomb) 17 Baldruin & Das Ensemble Der Zittrigen Glieder - Baldruin & Das Ensemble Der Zittrigen Glieder (Fort Evil Fruit) 18 Roger Eno – Little Things Left Behind: 1988–1998 (All Saints) 19 20 Tinariwen – Emmaar (Anti-) 21 Matt Kivel – Double Exposure (Olde English Spelling Bee) 22 Holden – The Inheritors (Border Community)

A pretty amazing week of new arrivals kicked off with the arrival of the beautiful thing pictured above; the Third Man/Revenant Paramount Records box set (Volume One, I should note). Lots to talk about there, not least the 800 tracks, and once I’ve had a deeper and more extensive listen I’ll try and blog about it properly.

At first, though, opening up the hefty wooden “Cabinet Of Wonder”, it’s the lavish aesthetic of the whole package that’s so startling; genuinely, the most lavish – and justifiably lavish – box set I’ve ever seen. One of the many great things about it is how it doesn’t present this music, nearly a hundred years old in many cases, in an Old-Weird-American way; as The Other. Instead, while there may well be plenty of music that sounds strange here, the wood, the upholstery, the lavish books of adverts, the vintage slickness, all assert that Paramount was a commercial operation, not some mystical conduit. They were, in fact, furniture upholsterers – something that Jack White, scholar of blues, the intersections between artifice and integrity, and premium upholstery, understands very well.

Other great new stuff here: New Bums are a duo of Ben Chasny and Donovan Quinn, and this is a self-released seven (there’s an album due next year). Black Dirt Oak are a mighty freeform out-folk jamming collective featuring Steve Gunn, Nathan Bowles, Dave Shuford and various other NNCK-related outliers. Along with all the nice reissues in this batch, please also find some time for Buchikamashi (Japanese New Age) and Bonnie ‘Prince’ Billy’s lovely and noble clip in support of Greenpeace’s Peter Willcox.

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

1 Harold Budd – Wind In Lonely Fences (1970-2011)

2 Black Dirt Oak – Wawayanda Patent (MIE Music)

3 New Bums – Slim Volume (NB)

4 Various Artists – The Rise And Fall Of Paramount Records Volume One: 1917-1927 (Third Man/Revenant)

5 Bruce Springsteen – High Hopes (Columbia)

6 Red River Dialect – Live at Cafe Oto (Red River Dialect)

7 Evian Christ – Salt Carousel (Tri Angle)

8 Brigitte Fontaine – Est… Folle (Superior Viaduct)

9 Brigitte Fontaine – Comme A La Radio (Superior Viaduct)

10 Metronomy – I’m Aquarius (Because)

11 Lonnie Holley – Keeping A Record Of It (Dust-To-Digital)

12 Buchikamashi – Out Of Body Experience (Fort Evil Fruit)

13 Stephen Malkmus & The Jicks – Wig Out At Jagbags (Domino)

14 Bonnie ‘Prince’ Billy – Black Captain (Revised For Peter Willcox) (Greenpeace USA)

15 The Necks & Evan Parker – Late Junction Sessions (BBC Radio 3)

16 Various Artists – A Spacebomb Family Album (Spacebomb)

17 Baldruin & Das Ensemble Der Zittrigen Glieder – Baldruin & Das Ensemble Der Zittrigen Glieder (Fort Evil Fruit)

18 Roger Eno – Little Things Left Behind: 1988–1998 (All Saints)

19

20 Tinariwen – Emmaar (Anti-)

21 Matt Kivel – Double Exposure (Olde English Spelling Bee)

22 Holden – The Inheritors (Border Community)

Morrissey reveals full track listing for “Satellite Of Love”

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Morrissey reveals full track listing for “Satellite Of Love”
Morrissey has revealed the full track listing, across all formats, for his Lou Reed tribute, "Satellite Of Love". Tracks include Your Arsenal's "You're Gonna Need Someone on Your Side", produced by Mick Ronson, previously unreleased live versions of his songs "All You Need Is Me," "Mama Lay Softly ...

Morrissey has revealed the full track listing, across all formats, for his Lou Reed tribute, “Satellite Of Love”.

Tracks include Your Arsenal’s “You’re Gonna Need Someone on Your Side”, produced by Mick Ronson, previously unreleased live versions of his songs “All You Need Is Me,” “Mama Lay Softly on the Riverbed,” the Smiths’ “Vicar in a Tutu” and a cover of punk scene-setters Buzzcocks’ “You Say You Don’t Love Me” that he recorded in London’s Hyde Park in 2008.

“Satellite Of Love” will be released as a 7″ picture disc, a 12″ and a digital download. A download of “Satellite Of Love” only will be available on December 3, whereas the vinyl releases and a three-track digital release are set for January 28 release.

The track listing is:

12-inch single:

A side

“Satellite of Love (Live)”

“You’re Gonna Need Someone on Your Side”

B side

“Vicar in a Tutu (Live)”

“All You Need Is Me (Live)”

7-inch single:

A side

“Satellite of Love (Live)”

B side

“You’re Gonna Need Someone on Your Side”

“You Say You Don’t Love Me (Live)”

Digital download

1. “Satellite of Love (Live)”

2. “You’re Gonna Need Someone on Your Side”

3. “Mama Lay Softly on the Riverbed (Live)”

You can read more about Morrissey’s year in the new issue of Uncut, in shops now.

The Beatles and Bob Dylan donate songs to Philippines benefit album

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The Beatles and Bob Dylan donate songs to Philippines benefit album

Tracks from The Beatles, Beyonce, Eminem, Bob Dylan and Muse are among those featured on a new charity album in aid of those affected by Supertyphoon Haiyan in the Philippines. Songs For The Philippines, which is 39 tracks long and available to buy now on iTunes also features contributions from musicians as diverse as U2, Madonna, One Direction and Lily Allen. Proceeds from the album will go to the Philippine Red Cross, while money gained from the iTunes ‘First Stream’ service will also go to help relief efforts in the country. The full tracklisting of Songs For The Philippines is as follows: The Beatles, "Across the Universe" Bob Dylan, "Shelter From the Storm" Michael Bublé, "Have I Told You Lately That I Love You" U2, "In a Little While" Bruno Mars, "Count on Me" Beyoncé, "I Was Here" Eminem, "Stan" (Live From BBC Radio 1) Cher, "Sirens" Adele, "Make You Feel My Love" Katy Perry, "Unconditionally (Johnson Somerset Remix)" One Direction, "Best Song Ever" Fun., "Carry On" Lady Gaga, "Born This Way (The Country Road Version)" Justin Timberlake, "Mirrors" Justin Bieber, "I Would" Alicia Keys, "New Day" Imagine Dragons, "30 Lives" Madonna, "Like a Prayer" Pink, "Sober" Kylie Minogue, "I Believe in You" Enrique Iglesias, "Hero" Red Hot Chili Peppers, "Factory of Faith" Linkin Park, "Roads Untraveled" Kings of Leon, "Use Somebody" Muse, "Explorers" Lorde, "The Love Club" Josh Groban, "Brave" Kelly Clarkson, "Stronger" Paolo Nutini, "Simple Things" Ellie Goulding, "I Know You Care" James Blunt, "Carry You Home" Pitbull featuring Christina Aguilera, "Feel This Moment" Earth, Wind & Fire, "Sign On" Apl.De.App featuring Damian Leroy, "Going Out" Sara Bareilles, "Brave" Jessica Sanchez, "Lead Me Home" Lily Allen, "Smile" The Fray, "Love Don't Die" The Beatles, "Let It Be" Other musicians have also recently come forward to lend their help to the ravaged country. David Byrne held a benefit concert with the cast of his musical Here Lies Love, about the life of the Philippines’ former first lady Imelda Marcos. Journey, meanwhile, donated $350,000 to the United Nations Food Programme to help those affected.

Tracks from The Beatles, Beyonce, Eminem, Bob Dylan and Muse are among those featured on a new charity album in aid of those affected by Supertyphoon Haiyan in the Philippines.

Songs For The Philippines, which is 39 tracks long and available to buy now on iTunes also features contributions from musicians as diverse as U2, Madonna, One Direction and Lily Allen.

Proceeds from the album will go to the Philippine Red Cross, while money gained from the iTunes ‘First Stream’ service will also go to help relief efforts in the country.

The full tracklisting of Songs For The Philippines is as follows:

The Beatles, “Across the Universe”

Bob Dylan, “Shelter From the Storm”

Michael Bublé, “Have I Told You Lately That I Love You”

U2, “In a Little While”

Bruno Mars, “Count on Me”

Beyoncé, “I Was Here”

Eminem, “Stan” (Live From BBC Radio 1)

Cher, “Sirens”

Adele, “Make You Feel My Love”

Katy Perry, “Unconditionally (Johnson Somerset Remix)”

One Direction, “Best Song Ever”

Fun., “Carry On”

Lady Gaga, “Born This Way (The Country Road Version)”

Justin Timberlake, “Mirrors”

Justin Bieber, “I Would”

Alicia Keys, “New Day”

Imagine Dragons, “30 Lives”

Madonna, “Like a Prayer”

Pink, “Sober”

Kylie Minogue, “I Believe in You”

Enrique Iglesias, “Hero”

Red Hot Chili Peppers, “Factory of Faith”

Linkin Park, “Roads Untraveled”

Kings of Leon, “Use Somebody”

Muse, “Explorers”

Lorde, “The Love Club”

Josh Groban, “Brave”

Kelly Clarkson, “Stronger”

Paolo Nutini, “Simple Things”

Ellie Goulding, “I Know You Care”

James Blunt, “Carry You Home”

Pitbull featuring Christina Aguilera, “Feel This Moment”

Earth, Wind & Fire, “Sign On”

Apl.De.App featuring Damian Leroy, “Going Out”

Sara Bareilles, “Brave”

Jessica Sanchez, “Lead Me Home”

Lily Allen, “Smile”

The Fray, “Love Don’t Die”

The Beatles, “Let It Be”

Other musicians have also recently come forward to lend their help to the ravaged country. David Byrne held a benefit concert with the cast of his musical Here Lies Love, about the life of the Philippines’ former first lady Imelda Marcos. Journey, meanwhile, donated $350,000 to the United Nations Food Programme to help those affected.

The Beatles’ “ahead of their time” Christmas singles uncovered

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The Beatles’ “ahead of their time” Christmas singles uncovered
The Beatles’ lost Christmas fan club singles are explored in the new issue of Uncut. The group’s seasonal releases chart their rise from family-friendly entertainers to psychedelic adventurers, and involve surreal pantos, long-suffering fan club secretaries, unhinged experiments and Kenny Eve...

The Beatles’ lost Christmas fan club singles are explored in the new issue of Uncut.

The group’s seasonal releases chart their rise from family-friendly entertainers to psychedelic adventurers, and involve surreal pantos, long-suffering fan club secretaries, unhinged experiments and Kenny Everett.

A host of people who worked on the Christmas singles tell the story, including fan club secretary Freda Kelly, engineer Geoff Emerick and press officer Tony Barrow.

“They were ahead of their time in terms of the comedy they could produce at the drop of a hat,” explains Barrow.

“Paid-up members were gobsmacked to receive a record of The Beatles talking to them. It was important to keep the fan club on side.”

The new issue of Uncut, dated January 2014, is out on Thursday (November 28).

London record shop for sale on eBay fails to find buyer

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London record shop for sale on eBay fails to find buyer

The owner of the oldest second-hand record shop in London has 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, stocks over 50,000 records. These were all included in the £300,000 'Buy It Now' price, along with the store's leasehold. Admitting that this was his "first and last" time using eBay, the shop's owner Tim Derbyshire told NME that the store will now close. "I gave it a go, it was on eBay for 30 days," he said. "I'll be closing down in January, I'll be gone by the end of the month. This is my last Christmas. I got about three phone calls about it in total." Asked how he feels about the lack of interest in buying the shop, Derbyshire remained philosophical. "I'm not too bothered really, that's life. I'll move on to something else, I may take up brain surgery. Most people have got a brain, well maybe not everyone." The businessman added that he may "leave the key in the door" when he vacates the property early next year. Speaking to NME earlier this month, Derbyshire admitted that he found it hard to establish the validity of the bids his store has attracted when the auction went live. On The Beat Records was opened by Derbyshire in 1979. Almost 35 years later it sells a range of collectible vinyl from 1960s psychedelia to grunge with funk, soul, jazz, folk, country and library music.

The owner of the oldest second-hand record shop in London has 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, stocks over 50,000 records. These were all included in the £300,000 ‘Buy It Now’ price, along with the store’s leasehold.

Admitting that this was his “first and last” time using eBay, the shop’s owner Tim Derbyshire told NME that the store will now close. “I gave it a go, it was on eBay for 30 days,” he said. “I’ll be closing down in January, I’ll be gone by the end of the month. This is my last Christmas. I got about three phone calls about it in total.”

Asked how he feels about the lack of interest in buying the shop, Derbyshire remained philosophical. “I’m not too bothered really, that’s life. I’ll move on to something else, I may take up brain surgery. Most people have got a brain, well maybe not everyone.” The businessman added that he may “leave the key in the door” when he vacates the property early next year.

Speaking to NME earlier this month, Derbyshire admitted that he found it hard to establish the validity of the bids his store has attracted when the auction went live.

On The Beat Records was opened by Derbyshire in 1979. Almost 35 years later it sells a range of collectible vinyl from 1960s psychedelia to grunge with funk, soul, jazz, folk, country and library music.

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