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Early Brian Wilson recordings set for digital release

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Capitol Records is reportedly releasing a special digital-only collection of early Brian Wilson projects titled The Big Beat 1963 on Tuesday, December 17. The compilation features a collection of rare Beach Boys or Brian Wilson-related recordings from 1963. Most of these tracks have appeared on bootlegs over the years, but none have ever had a commercial release. The release seems to be related to EU legislation stating that if a recording is not officially released within 50 years of its creation, it will automatically fall into the public domain at the beginning of the 51st calendar year. Last year, Columbia Records released The Bob Dylan 50th Anniversary Collection, featuring studio outtakes and live material recorded by Dylan in 1962. The set was explicitly designed to copyright the material under new European laws, a source at Sony Music told Rolling Stone. According to a story published online the tracklisting is: The Big Beat — recorded by Bob & Sheri (Brian Wilson) First Rock and Roll Dance (Instrumental) — recorded by Brian Wilson (Brian Wilson) Gonna Hustle You (a.k.a. New Girl In School) [Demo] — recorded by Brian Wilson (Brian Wilson, Bob Norberg) Ride Away — recorded by Bob & Sheri (Brian Wilson, Bob Norberg) Funny Boy — recorded by The Honeys (Brian Wilson) Marie — recorded by Bob Norberg & Brian Wilson, with The Honeys (Brian Wilson) Mother May I — recorded by The Beach Boys (Brian Wilson) I Do (Demo) — recorded by The Beach Boys (Brian Wilson, Roger Christian) Bobby Left Me (Backing track) — recorded by Brian Wilson (Brian Wilson) If It Can't Be You (a.k.a. I'll Never Love Again) — recorded by Gary Usher (Brian Wilson) You Brought It All On Yourself — recorded by The Honeys (Brian Wilson) Make The Night A Little Longer — recorded by The Honeys (Carole King, Gerry Goffin) Rabbit's Foot (Unfinished track w/backing vocals) — recorded by The Honeys (Brian Wilson) Summer Moon — recorded by Vicki Kocher and Bob Norberg (Brian Wilson) Side Two (Instrumental)— recorded by Brian Wilson (Brian Wilson) Ballad Of Ole Betsy (Demo) — recorded by The Beach Boys (Brian Wilson, Roger Christian) Thank Him (Demo)— recorded by Brian Wilson (Brian Wilson) Once You've Got Him — recorded by The Honeys (Ginger Blake, Dianne Rovell) For Always And Forever (Demo) — recorded by The Honeys (Ginger Blake, Dianne Rovell) Little Dirt Bike (Demo) — recorded by The Honeys (Ginger Blake, Dianne Rovell) Darling I'm Not Stepping Out On You (Demo) — recorded by The Honeys (Ginger Blake, Dianne Rovell) When I Think About You (Demo) — recorded by The Honeys (Ginger Blake, Dianne Rovell)

Capitol Records is reportedly releasing a special digital-only collection of early Brian Wilson projects titled The Big Beat 1963 on Tuesday, December 17.

The compilation features a collection of rare Beach Boys or Brian Wilson-related recordings from 1963. Most of these tracks have appeared on bootlegs over the years, but none have ever had a commercial release.

The release seems to be related to EU legislation stating that if a recording is not officially released within 50 years of its creation, it will automatically fall into the public domain at the beginning of the 51st calendar year. Last year, Columbia Records released The Bob Dylan 50th Anniversary Collection, featuring studio outtakes and live material recorded by Dylan in 1962. The set was explicitly designed to copyright the material under new European laws, a source at Sony Music told Rolling Stone.

According to a story published online the tracklisting is:

The Big Beat — recorded by Bob & Sheri

(Brian Wilson)

First Rock and Roll Dance (Instrumental) — recorded by Brian Wilson

(Brian Wilson)

Gonna Hustle You (a.k.a. New Girl In School) [Demo] — recorded by Brian Wilson

(Brian Wilson, Bob Norberg)

Ride Away — recorded by Bob & Sheri

(Brian Wilson, Bob Norberg)

Funny Boy — recorded by The Honeys

(Brian Wilson)

Marie — recorded by Bob Norberg & Brian Wilson, with The Honeys

(Brian Wilson)

Mother May I — recorded by The Beach Boys

(Brian Wilson)

I Do (Demo) — recorded by The Beach Boys

(Brian Wilson, Roger Christian)

Bobby Left Me (Backing track) — recorded by Brian Wilson

(Brian Wilson)

If It Can’t Be You (a.k.a. I’ll Never Love Again) — recorded by Gary Usher

(Brian Wilson)

You Brought It All On Yourself — recorded by The Honeys

(Brian Wilson)

Make The Night A Little Longer — recorded by The Honeys

(Carole King, Gerry Goffin)

Rabbit’s Foot (Unfinished track w/backing vocals) — recorded by The Honeys

(Brian Wilson)

Summer Moon — recorded by Vicki Kocher and Bob Norberg

(Brian Wilson)

Side Two (Instrumental)— recorded by Brian Wilson

(Brian Wilson)

Ballad Of Ole Betsy (Demo) — recorded by The Beach Boys

(Brian Wilson, Roger Christian)

Thank Him (Demo)— recorded by Brian Wilson

(Brian Wilson)

Once You’ve Got Him — recorded by The Honeys

(Ginger Blake, Dianne Rovell)

For Always And Forever (Demo) — recorded by The Honeys

(Ginger Blake, Dianne Rovell)

Little Dirt Bike (Demo) — recorded by The Honeys

(Ginger Blake, Dianne Rovell)

Darling I’m Not Stepping Out On You (Demo) — recorded by The Honeys

(Ginger Blake, Dianne Rovell)

When I Think About You (Demo) — recorded by The Honeys

(Ginger Blake, Dianne Rovell)

The 46th Uncut Playlist Of 2013

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We have about 24 hours to finish the next issue, and not much longer to complete another Uncut Ultimate Music Guide due in January, so no preamble this week: lots to hear and anticipate below. (Thanks, though, for all your feedback on my Best Of 2013 list; much appreciated, as ever). Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Hiss Golden Messenger – London Exodus (Paradise Of Bachelors) 2 Matt Baldwin – Imaginary Psychology (Spiritual Pajamas) 3 Metronomy – Love Letters (Because) 4 New Bums – Voices In A Rented Room (Drag City) 5 Natalie Prass – If You Believe In Me (Spacebomb) 6 Michael Head & The Red Elastic Band – Artorius Revisited (Violette) http://www.youtube.com/watch?v=Alioyv8eOHk 7 Angel Olsen – Burn Your Fire For No Witness (Jagjaguwar) 8 Black Dirt Oak – Wawayanda Patent (MIE Music) 9 Linda Perhacs – The Soul Of All Natural Things (Asthmatic Kitty) http://www.youtube.com/watch?v=3n-nWy6fB00 10 Bonnie ‘Prince’ Billy – Black Captain (Revised For Peter Willcox) (Greenpeace USA) http://www.youtube.com/watch?v=oXp-hsHq1Ck 11 Suarasama – Timeline (Space) 12 Thee Oh Sees – Singles Volume 3 (Castle Face) 13 Rag Lore – Sabah el Mitragyna Reveries (Dying For Bad Music) 14 Ragtime Ralph – Volume 4 (http://delta-slider.blogspot.de/p/ragtime-ralph.html) 15 David Crosby – Croz (Blue Castle) 16 Mark Kozelek – O Come All Ye Faithful (http://www.caldoverderecords.com/christmas/index1.html) 17 Dawn Of Midi – Dysnomia (Thirsty Ear) 18 Four Tet – Beautiful Rewind (Text) 19 Four Tet – Pink (Text) 20 Matmos – The Marriage of True Minds (Thrill Jockey) 21 East India Youth – Total Strife Forever (Stolen) 22 D Charles Speer & The Helix – Doubled Exposure (Thrill Jockey) 23 The War On Drugs – Lost In The Dream (Secretly Canadian)

We have about 24 hours to finish the next issue, and not much longer to complete another Uncut Ultimate Music Guide due in January, so no preamble this week: lots to hear and anticipate below. (Thanks, though, for all your feedback on my Best Of 2013 list; much appreciated, as ever).

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

1 Hiss Golden Messenger – London Exodus (Paradise Of Bachelors)

2 Matt Baldwin – Imaginary Psychology (Spiritual Pajamas)

3 Metronomy – Love Letters (Because)

4 New Bums – Voices In A Rented Room (Drag City)

5 Natalie Prass – If You Believe In Me (Spacebomb)

6 Michael Head & The Red Elastic Band – Artorius Revisited (Violette)

7 Angel Olsen – Burn Your Fire For No Witness (Jagjaguwar)

8 Black Dirt Oak – Wawayanda Patent (MIE Music)

9 Linda Perhacs – The Soul Of All Natural Things (Asthmatic Kitty)

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

11 Suarasama – Timeline (Space)

12 Thee Oh Sees – Singles Volume 3 (Castle Face)

13 Rag Lore – Sabah el Mitragyna Reveries (Dying For Bad Music)

14 Ragtime Ralph – Volume 4 (http://delta-slider.blogspot.de/p/ragtime-ralph.html)

15 David Crosby – Croz (Blue Castle)

16 Mark Kozelek – O Come All Ye Faithful (http://www.caldoverderecords.com/christmas/index1.html)

17 Dawn Of Midi – Dysnomia (Thirsty Ear)

18 Four Tet – Beautiful Rewind (Text)

19 Four Tet – Pink (Text)

20 Matmos – The Marriage of True Minds (Thrill Jockey)

21 East India Youth – Total Strife Forever (Stolen)

22 D Charles Speer & The Helix – Doubled Exposure (Thrill Jockey)

23 The War On Drugs – Lost In The Dream (Secretly Canadian)

Neil Young & Crazy Horse add four more European dates

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Neil Young & Crazy Horse have added four new dates in Germany for 2014. In addition to an already announced date at London's Hyde Park, they will also play: July 20: Münsterplatz, Ulm July 25: Warsteiner HockeyPark, Mönchengladbach July 26: Filmnächte am Elbufer, Dresden July 28: Zollhaf...

Neil Young & Crazy Horse have added four new dates in Germany for 2014.

In addition to an already announced date at London’s Hyde Park, they will also play:

July 20: Münsterplatz, Ulm

July 25: Warsteiner HockeyPark, Mönchengladbach

July 26: Filmnächte am Elbufer, Dresden

July 28: Zollhafen Nordmole, Mainz

Tickets are available here.

Damon Albarn releases teaser for debut solo album

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A 20-second teaser for Damon Albarn's forthcoming solo album has been uploaded to the performer's official YouTube account. Shot in black and white, the video shows Albarn, from behind, playing a keyboard topped with two skulls and a stuffed owl. Following shots of musical instruments and recording equipment, the text reads "Damon Albarn, first solo album, coming 2014". Click below to watch. Albarn revealed that he was making a solo album in May, telling Rolling Stone that he was working with producer and XL Records label boss Richard Russell. "Richard does the rhythmic side, and I do everything else," Albarn said. "It's sort of folk soul." Quizzed further on working with Russell and the sound of his album, Albarn said: "We worked together on the Bobby Womack record, and really enjoy working together. He's done spectacularly well as a music mogul, but I think he wants to focus his energy on producing records. Making a solo record is can be such a disaster, so I thought if we're going to make a record with my name on it, I should get someone to really produce it – take that responsibility away from myself." Albarn also said he plans to tour his solo debut, and he intends to use the shows as an opportunity to play songs from across his catalogue, including those of Gorillaz, Blur and The Good, The Bad And The Queen. http://www.youtube.com/watch?v=jfVAhIKImtw

A 20-second teaser for Damon Albarn‘s forthcoming solo album has been uploaded to the performer’s official YouTube account.

Shot in black and white, the video shows Albarn, from behind, playing a keyboard topped with two skulls and a stuffed owl. Following shots of musical instruments and recording equipment, the text reads “Damon Albarn, first solo album, coming 2014”. Click below to watch.

Albarn revealed that he was making a solo album in May, telling Rolling Stone that he was working with producer and XL Records label boss Richard Russell. “Richard does the rhythmic side, and I do everything else,” Albarn said. “It’s sort of folk soul.”

Quizzed further on working with Russell and the sound of his album, Albarn said: “We worked together on the Bobby Womack record, and really enjoy working together. He’s done spectacularly well as a music mogul, but I think he wants to focus his energy on producing records. Making a solo record is can be such a disaster, so I thought if we’re going to make a record with my name on it, I should get someone to really produce it – take that responsibility away from myself.”

Albarn also said he plans to tour his solo debut, and he intends to use the shows as an opportunity to play songs from across his catalogue, including those of Gorillaz, Blur and The Good, The Bad And The Queen.

Led Zeppelin launches back catalogue on Spotify

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Led Zeppelin have signed a deal with Spotify allowing the service to stream their back catalogue. The band announced the news on their Twitter account at 15.30 GMT today [December 11]. "Led Zeppelin is now available on demand, only on @Spotify. Play now: http://spoti.fi/LedZep #StreamZeppelin" S...

Led Zeppelin have signed a deal with Spotify allowing the service to stream their back catalogue.

The band announced the news on their Twitter account at 15.30 GMT today [December 11].

“Led Zeppelin is now available on demand, only on @Spotify. Play now: http://spoti.fi/LedZep #StreamZeppelin”

Starting today, the band’s first two albums – Led Zeppelin, Led Zeppelin II – are available, with additional albums being released at midnight local time each day for the next four days.

Wednesday, December 11 – Led Zeppelin (1969) and Led Zeppelin II (1969)

Thursday, December 12 – Led Zeppelin III (1970) and Untitled fourth album (1971)

Friday, December 13 – Houses Of The Holy (1973) and Physical Graffiti (1975)

Saturday, December 14 – Presence (1976) and In Through The Out Door (1979)

Sunday, December 15 – The Song Remains The Same (1976), Coda (1982), BBC Sessions (1997), How The West Was Won (2003), Mothership (2007), and Celebration Day (2012)

Previously, Led Zeppelin were one of a number of groups to withhold their music from streaming services, having only agreed to let Apple sell their albums through iTunes in 2007.

Other big name artists who’ve currently resisted signing up include The Beatles, Oasis and AC/DC. Meanwhile, Thom Yorke has criticised Spotify calling it “‘The last desperate fart of a dying corpse”.

Bob Dylan joins Twitter

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Bob Dylan has joined Twitter. A Dylan Twitter account already exists as a more formal outlet for news regarding Dylan's activities. However, https://twitter.com/BobDylanTweets launched today [December 11] - which he describes as "my only official and personal Twitter account". Dylan opened with: ...

Bob Dylan has joined Twitter.

A Dylan Twitter account already exists as a more formal outlet for news regarding Dylan’s activities.

However, https://twitter.com/BobDylanTweets launched today [December 11] – which he describes as “my only official and personal Twitter account”.

Dylan opened with:

“My first tweet. Hi! Bob”

Followed a few minutes later by:

“Joining Twitter today. First time.”

You can follow the account here.

A spokesperson for Dylan has since confirmed that @BobDylanTweets is “definitely a fake account.”

Read more: http://www.rollingstone.com/music/news/rumor-control-bob-dylan-did-not-join-twitter-today-20131211#ixzz2nFsQCexf

Follow us: @rollingstone on Twitter | RollingStone on Facebook

Kim Shattuck on Pixies exit: ‘I would have preferred it if they told me face to face’

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Kim Shattuck has discussed her exit from Pixies for the first time, revealing that she was told the news over the phone by the band's manager. Shattuck was relieved of her duties as bass player in the band in November after joining in the summer as replacement for founding member, Kim Deal. Speaki...

Kim Shattuck has discussed her exit from Pixies for the first time, revealing that she was told the news over the phone by the band’s manager.

Shattuck was relieved of her duties as bass player in the band in November after joining in the summer as replacement for founding member, Kim Deal. Speaking in this week’s NME, which is available digitally and on newsstands now, Shattuck reveals that she was not expecting to leave the band, having agreed verbally to tour with them into 2014.

“I was surprised. Everything had gone well, the reviews were all good and the fans were super-nice about everything. They were like, ‘We love you, New Kim!’,” she says. “We said goodbye at the airport and the following morning the manager called me and said: ‘The band has made the decision to go with another bass player.’ I was shocked.”

Speculating as to why she may have been replaced, Shattuck says: “I get the feeling they’re more introverted people than I am. Nobody really talked about deep issues, at least out loud. There was a show at the Mayan in Los Angeles where I got overly enthusiastic and jumped into the crowd, and I know they weren’t thrilled about that. When I got offstage the manager told me not to do that again. I said, ‘Really, for my own safety?’ And he said, ‘No, because the Pixies don’t do that.'”

However, Shattuck does not bear a grudge toward Frank Black and his band mates: “I would have preferred it if they told me face to face as a group, but they’re nice people. I’m still a fan of the Pixies!”

Earlier this week it was confirmed that Paz Lenchatin will replace Shattuck for Pixies live dates in 2014, including headline slots at Primavera and Field Day.

Jason Isbell – Southeastern

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Rare example of sobriety and marriage causing great country music... Jason Isbell appears on the cover of Southeastern in a black-and-white, head-and-shoulders portrait, bearing the expression a man might when posing for a passport photo or a mugshot, or staring into the mirror of a hungover morning, wondering what he’s doing with himself. Whether or not this stark design was an artistic or budgetary consideration, it suits the album. Southeastern is in part about running away and getting into trouble, but mostly about figuring out where you want to be – and, more crucially, who you’d rather be with. The plaintive mid-paced ballad “Travelling Alone” is representative. The song is a creditable addition to the canon of lonely musicians’ laments, and/but the violin and backing vocals lending sunny counterpoint to the itinerant strummer’s angst are provided by Amanda Shires, as of this past February Mrs Jason Isbell. Southeastern is about many things, but it’s mostly, implicitly or explicitly, about her. Isbell’s previous album, 2011’s Here We Rest, was also a fretful rumination on homecoming, but the destination was Isbell’s native Alabama. Southeastern is a realisation that home is where the heart is; the albums would make more sense if they switched titles. Southeastern is not, however, a cloying collage of puppies and moonbeams. Isbell, to his evident amazement, is a contented man now, but it hasn’t always been that way; he was in rehab as recently as early 2012. Southeastern doesn’t flinch from the darkness, like Isbell wants a record of how bad it got, to remind himself not to go there again. Southeastern began as a solo acoustic album to be produced by Ryan Adams. It didn’t work out that way – it’s instead produced by Dave Cobb, whose credits include Shooter Jennings and The Secret Sisters – and it’s difficult to imagine how it would have. Though Isbell’s voice, at once husky and keening, grows ever more confident, and his signature lyrical backhanders and payoffs are honed ever sharper, both suit a more complex backdrop. Besides which, it would have been a shame to lose “Super 8”, a rollicking sequel/companion to Lynyrd Skynyrd’s “Gimme Three Steps”, foggily recalling an unruly aftershow party (“They slapped me back to life/And they telephoned my wife/And they filled me full of Pedialyte”). On most of Southeastern, the jinks occur at the lower end of the scale. Isbell can’t help measuring his new life against his old one, and wondering which is the real him. The sparse murder ballad “Live Oak”, suggestive of a Warren Zevon demo, wonders “There’s a man who walks beside me/He is who I used to be/And I wonder if she sees him and confuses him with me”. The pretty, Paul Kelly-ish “Different Days” has the narrator’s father reminding him “The right thing’s always the hardest thing to do” (not the first time Isbell has quoted the old man’s wisdom – the line could be an out-take from “Outfit”, the high point of Isbell’s contributions to Drive-By Truckers). “Stockholm” and “New South Wales” are homesick postcards, the latter briskly uncomplimentary of the local stimulants (“The piss they call tequila/Even Waylon wouldn’t drink.”) All of which is bookended by two beautiful love songs, each the more powerful for their deadpan gruffness. Opening track “Cover Me Up”, which has something of Richard Thompson about it, crests on the entreaty “Girl leave your boots by the bed/We ain’t leaving this room/Till someone needs medical help/Or the magnolias bloom”. The closer, “Relatively Easy”, finds the courage to make a difficult acknowledgement in the context of country and/or rock’n’roll, both genres defined by a fixation with absolutes: that pretty good is actually really good (“Here with you there’s always something to look forward to/My angry heart beats relatively easy”). “Southeastern” is Springsteen’s Tunnel Of Love or Dylan’s Blood On The Tracks with a happy ending, and it isn’t much shadowed by either comparison. It’s Isbell’s best album yet, and suggests that he’ll do better still. Andrew Mueller Q&A A lot of Here We Rest was about coming home to somewhere. A lot of Southeastern seems to be about coming home to someone. Is that a fair analysis? Sounds fair to me. Someone that sometimes might be a lover and sometimes might be yourself or your upbringing. Why is this a solo album rather than a 400 Unit album? I started out with the intention of making a solo acoustic album, but that got boring, so we called some folks in to play. Jimbo Hart wasn’t available. There could never be a 400 Unit album without Jimbo. You inhabit different characters on the album, but they’re all seeking and/or finding some sort of redemption. To what extent can they be read as once-removed autobiographies? Isn’t most fiction once-removed autobiography? That’s the beauty of writing songs rather than books: They aren’t filed based on what’s true and what’s fiction. Is the cocaine and tequila in New South Wales really that bad? Yes. Yes it is. The farther you get from Latin America, the worse those things tend to be. INTERVIEW: ANDREW MUELLER

Rare example of sobriety and marriage causing great country music…

Jason Isbell appears on the cover of Southeastern in a black-and-white, head-and-shoulders portrait, bearing the expression a man might when posing for a passport photo or a mugshot, or staring into the mirror of a hungover morning, wondering what he’s doing with himself.

Whether or not this stark design was an artistic or budgetary consideration, it suits the album. Southeastern is in part about running away and getting into trouble, but mostly about figuring out where you want to be – and, more crucially, who you’d rather be with. The plaintive mid-paced ballad “Travelling Alone” is representative. The song is a creditable addition to the canon of lonely musicians’ laments, and/but the violin and backing vocals lending sunny counterpoint to the itinerant strummer’s angst are provided by Amanda Shires, as of this past February Mrs Jason Isbell.

Southeastern is about many things, but it’s mostly, implicitly or explicitly, about her. Isbell’s previous album, 2011’s Here We Rest, was also a fretful rumination on homecoming, but the destination was Isbell’s native Alabama. Southeastern is a realisation that home is where the heart is; the albums would make more sense if they switched titles. Southeastern is not, however, a cloying collage of puppies and moonbeams. Isbell, to his evident amazement, is a contented man now, but it hasn’t always been that way; he was in rehab as recently as early 2012. Southeastern doesn’t flinch from the darkness, like Isbell wants a record of how bad it got, to remind himself not to go there again. Southeastern began as a solo acoustic album to be produced by Ryan Adams. It didn’t work out that way – it’s instead produced by Dave Cobb, whose credits include Shooter Jennings and The Secret Sisters – and it’s difficult to imagine how it would have. Though Isbell’s voice, at once husky and keening, grows ever more confident, and his signature lyrical backhanders and payoffs are honed ever sharper, both suit a more complex backdrop. Besides which, it would have been a shame to lose “Super 8”, a rollicking sequel/companion to Lynyrd Skynyrd’s “Gimme Three Steps”, foggily recalling an unruly aftershow party (“They slapped me back to life/And they telephoned my wife/And they filled me full of Pedialyte”).

On most of Southeastern, the jinks occur at the lower end of the scale. Isbell can’t help measuring his new life against his old one, and wondering which is the real him. The sparse murder ballad “Live Oak”, suggestive of a Warren Zevon demo, wonders “There’s a man who walks beside me/He is who I used to be/And I wonder if she sees him and confuses him with me”. The pretty, Paul Kelly-ish “Different Days” has the narrator’s father reminding him “The right thing’s always the hardest thing to do” (not the first time Isbell has quoted the old man’s wisdom – the line could be an out-take from “Outfit”, the high point of Isbell’s contributions to Drive-By Truckers). “Stockholm” and “New South Wales” are homesick postcards, the latter briskly uncomplimentary of the local stimulants (“The piss they call tequila/Even Waylon wouldn’t drink.”)

All of which is bookended by two beautiful love songs, each the more powerful for their deadpan gruffness. Opening track “Cover Me Up”, which has something of Richard Thompson about it, crests on the entreaty “Girl leave your boots by the bed/We ain’t leaving this room/Till someone needs medical help/Or the magnolias bloom”. The closer, “Relatively Easy”, finds the courage to make a difficult acknowledgement in the context of country and/or rock’n’roll, both genres defined by a fixation with absolutes: that pretty good is actually really good (“Here with you there’s always something to look forward to/My angry heart beats relatively easy”).

“Southeastern” is Springsteen’s Tunnel Of Love or Dylan’s Blood On The Tracks with a happy ending, and it isn’t much shadowed by either comparison. It’s Isbell’s best album yet, and suggests that he’ll do better still.

Andrew Mueller

Q&A

A lot of Here We Rest was about coming home to somewhere. A lot of Southeastern seems to be about coming home to someone. Is that a fair analysis?

Sounds fair to me. Someone that sometimes might be a lover and sometimes might be yourself or your upbringing.

Why is this a solo album rather than a 400 Unit album?

I started out with the intention of making a solo acoustic album, but that got boring, so we called some folks in to play. Jimbo Hart wasn’t available. There could never be a 400 Unit album without Jimbo.

You inhabit different characters on the album, but they’re all seeking and/or finding some sort of redemption. To what extent can they be read as once-removed autobiographies?

Isn’t most fiction once-removed autobiography? That’s the beauty of writing songs rather than books: They aren’t filed based on what’s true and what’s fiction.

Is the cocaine and tequila in New South Wales really that bad?

Yes. Yes it is. The farther you get from Latin America, the worse those things tend to be.

INTERVIEW: ANDREW MUELLER

The Replacements website opens for business

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The Replacements have launched a new website. The site - which can be found here - went live yesterday [December 10]. It includes a jukebox of the band's music, videos, a discography and a merchandise store. Earlier this year, the band reformed for their first gigs in 22 years. There is no news as to whether they will play any further dates.

The Replacements have launched a new website.

The site – which can be found here – went live yesterday [December 10].

It includes a jukebox of the band’s music, videos, a discography and a merchandise store.

Earlier this year, the band reformed for their first gigs in 22 years.

There is no news as to whether they will play any further dates.

Jeff Tweedy and Josh Homme to guest star in sketch show

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Jeff Tweedy and Josh Homme are set to make a guest appearance on American sketch comedy Portlandia when it returns for a fourth season next year. The show, which is written and performed by Sleater-Kinney and Wild Flag singer Carrie Browstein and ex-Saturday Night Live regular Fred Armisen, takes a...

Jeff Tweedy and Josh Homme are set to make a guest appearance on American sketch comedy Portlandia when it returns for a fourth season next year.

The show, which is written and performed by Sleater-Kinney and Wild Flag singer Carrie Browstein and ex-Saturday Night Live regular Fred Armisen, takes a satirical look at the hipster neighbourhood of Portland and the various characters that inhabit the area.

Previous musical guest appearances on the show have included Jack White, Jenny Conlee and Colin Meloy of The Decemberists, Eddie Vedder, St. Vincent, Joanna Newsom and Johnny Marr. Meanwhile, as well as Tweedy and Homme, Season Four of the show has also confirmed cameos from TV on the Radio’s Tunde Adebimpe, former Guns N’ Roses bassist Duff McKagan.

Lost Johnny Cash album to be released

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A newly uncovered Johnny Cash record called Out Among The Stars is due to be released next March, more than 30 years after it was originally recorded. 10 years after the singer’s death, Cash’s estate have decided to release the album, which they say has never been heard before, reports The Associated Press. The album was recorded between 1981 and 1984 with Billy Sherrill, but was never released by Cash’s then label Columbia Records and subsequently disappeared after the singer was dropped from the label. However, during the archiving of Cash’s estate, it was recently revealed that his wife June Carter Cash had kept the tapes. “They never threw anything away," said their son, John Carter Cash. "They kept everything in their lives. They had an archive that had everything in it from the original audio tapes from `The Johnny Cash Show' to random things like a camel saddle, a gift from the prince of Saudi Arabia." Despite Columbia’s original refusal to release the tapes back in the 80s, John Carter Cash has pressed for the 12 tracks that make up Out Among The Stars to be released, and the album will now be available from March 25 next year. The tracks feature duets between Cash and his wife, and between the singer and Wayne Jennings, while Marty Stuart - a member of Cash’s backing band – has been quoted as saying that he was “in the very prime of his voice for his lifetime” and that Cash sounds “pitch perfect” on the recordings. Out Among The Stars will be the fourth posthumous release since Cash’s death in 2003, and the first since 2010’s American VI: Ain’t No Grave.

A newly uncovered Johnny Cash record called Out Among The Stars is due to be released next March, more than 30 years after it was originally recorded.

10 years after the singer’s death, Cash’s estate have decided to release the album, which they say has never been heard before, reports The Associated Press.

The album was recorded between 1981 and 1984 with Billy Sherrill, but was never released by Cash’s then label Columbia Records and subsequently disappeared after the singer was dropped from the label. However, during the archiving of Cash’s estate, it was recently revealed that his wife June Carter Cash had kept the tapes. “They never threw anything away,” said their son, John Carter Cash. “They kept everything in their lives. They had an archive that had everything in it from the original audio tapes from `The Johnny Cash Show’ to random things like a camel saddle, a gift from the prince of Saudi Arabia.”

Despite Columbia’s original refusal to release the tapes back in the 80s, John Carter Cash has pressed for the 12 tracks that make up Out Among The Stars to be released, and the album will now be available from March 25 next year. The tracks feature duets between Cash and his wife, and between the singer and Wayne Jennings, while Marty Stuart – a member of Cash’s backing band – has been quoted as saying that he was “in the very prime of his voice for his lifetime” and that Cash sounds “pitch perfect” on the recordings.

Out Among The Stars will be the fourth posthumous release since Cash’s death in 2003, and the first since 2010’s American VI: Ain’t No Grave.

The Best Albums Of 2013 – The Editor’s Choice

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The current issue of Uncut comes with a rather spiffing free 52-page magazine that hosts our essential guide to the best new albums, reissues, box sets, films, DVDs and books of 2013. This year we’ve expanded our new album section to a Top 80, as voted for by the Uncut staff and nigh on 50 of our regular contributors. John has already posted a Wild Mercury Sound Best 143 Albums Of 2013, which you can see here . Below, I’ve listed the 20 albums I voted for in our end of year poll, plus 10 that didn’t quite make the final cut. Inadvertently, my number one choice might be considered controversial in the light of allegations made against Roy Harper since my list was compiled. I’m not quite sure how my vote would have been affected if the charges against Roy had been made public earlier, but I haven’t changed it retrospectively for the simple reason that I wanted to be faithful to my original choice and Man & Myth was the new album I played most in 2013. Anyway, I’d be interested as ever in your comments on the list below. As usual, please let me know at the usual address what you made of our Top 80 and my Top 30 and maybe even let me know what your own favourite albums of the year were. You can reach me on allan_jones@ipcmedia.com. It’s always good to hear from you. 30 Thee Oh Sees – Floating Coffin 29 Nick Cave And The Bad Seeds – Push the Sky Away 28 Promised Land Sound – Promised Land Sound 27 Guy Clark – My Favourite Picture Of You 26 Julia Holter – Loud City Song 25 Cian Nugent & The Cosmos - Born With The Caul 24 Diana Jones – Museum Of Appalachia Recordings 23 The Shouting Matches – Grownass Man 22 Richard Thompson - Electric 21 Endless Boogie – Long Island 20 Bill Callahan – Dream River 19 The Strypes – Snapshot 18 Lord Huron – Lonesome Dreams 17 Mark Kozelek & Desertshore – Mark Kozelek & Desertshore 16 Caitlin Rose – The Stand-Ins 15 Vampire Weekend – Modern Vampires Of The City 14 Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight The More I Love You 13 Hiss Golden Messenger – Haw 12 Houndstooth – Ride Out The Dark 11 Jonathan Wilson – Fanfare 10 My Bloody Valentine - mbv 9 Matthew E White – Big Inner 8 Okkervil River – The Silver Gymnasium 7 Israel Nash Gripka – Israel Nash Gripka’s Rain Plans 6 Kurt Vile – Wakin on A Pretty Daze 5 Jason Isbell – Southeastern 4 Pond – Hobo Rocket 3 Laura Marling – Once I Was An Eagle 2 Phosphoresecent – Muchacho 1 Roy Harper – Man & Myth

The current issue of Uncut comes with a rather spiffing free 52-page magazine that hosts our essential guide to the best new albums, reissues, box sets, films, DVDs and books of 2013. This year we’ve expanded our new album section to a Top 80, as voted for by the Uncut staff and nigh on 50 of our regular contributors.

John has already posted a Wild Mercury Sound Best 143 Albums Of 2013, which you can see here . Below, I’ve listed the 20 albums I voted for in our end of year poll, plus 10 that didn’t quite make the final cut. Inadvertently, my number one choice might be considered controversial in the light of allegations made against Roy Harper since my list was compiled. I’m not quite sure how my vote would have been affected if the charges against Roy had been made public earlier, but I haven’t changed it retrospectively for the simple reason that I wanted to be faithful to my original choice and Man & Myth was the new album I played most in 2013.

Anyway, I’d be interested as ever in your comments on the list below. As usual, please let me know at the usual address what you made of our Top 80 and my Top 30 and maybe even let me know what your own favourite albums of the year were.

You can reach me on allan_jones@ipcmedia.com. It’s always good to hear from you.

30 Thee Oh Sees – Floating Coffin

29 Nick Cave And The Bad Seeds – Push the Sky Away

28 Promised Land Sound – Promised Land Sound

27 Guy Clark – My Favourite Picture Of You

26 Julia Holter – Loud City Song

25 Cian Nugent & The Cosmos – Born With The Caul

24 Diana Jones – Museum Of Appalachia Recordings

23 The Shouting Matches – Grownass Man

22 Richard Thompson – Electric

21 Endless Boogie – Long Island

20 Bill Callahan – Dream River

19 The Strypes – Snapshot

18 Lord Huron – Lonesome Dreams

17 Mark Kozelek & Desertshore – Mark Kozelek & Desertshore

16 Caitlin Rose – The Stand-Ins

15 Vampire Weekend – Modern Vampires Of The City

14 Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight The More I Love You

13 Hiss Golden Messenger – Haw

12 Houndstooth – Ride Out The Dark

11 Jonathan Wilson – Fanfare

10 My Bloody Valentine – mbv

9 Matthew E White – Big Inner

8 Okkervil River – The Silver Gymnasium

7 Israel Nash Gripka – Israel Nash Gripka’s Rain Plans

6 Kurt Vile – Wakin on A Pretty Daze

5 Jason Isbell – Southeastern

4 Pond – Hobo Rocket

3 Laura Marling – Once I Was An Eagle

2 Phosphoresecent – Muchacho

1 Roy Harper – Man & Myth

Noddy Holder to earn £800,000 this year from Slade’s “Merry Xmas Everybody”

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Noddy Holder is set to earn £800,000 this year from Slade's festive 1973 hit, "Merry Xmas Everybody". The track is top of the Christmas song list when it comes to pulling in the royalties, with The Pogues in second place, set to earn £520,000 by the end of the year from "Fairytale Of New York" an...

Noddy Holder is set to earn £800,000 this year from Slade’s festive 1973 hit, “Merry Xmas Everybody”.

The track is top of the Christmas song list when it comes to pulling in the royalties, with The Pogues in second place, set to earn £520,000 by the end of the year from “Fairytale Of New York” and Mariah Carey in third, as she is likely to make £455,000 from “All I Want For Christmas Is You” in 2013.

The cash will come from PRS royalties, which stack up through radio, television, jukebox and shop plays as well as compilation album sales, reports Prezzybox.com. See how much the Top 10 festive tracks have earned so far this year below.

1. Slade – ‘Merry Xmas Everybody’ £512,000

2. Pogues – Fairytale Of New York’ £386,270

3. Mariah Carey – ‘All I Want For Christmas Is You’ £347,615

4. Wham – ‘Last Christmas’ £301,622

5. Cliff Richard – ‘Mistletoe & Wine’ £98,408

6. Band Aid – ‘Do they Know It’s Christmas’ £78,030

7. Shakin’ Stevens – ‘Merry Christmas Everyone’ £53,834

8. Pretenders – ‘2000 Miles’ £45,344

9. East 17 – ‘Stay Another Day’ £30,219

10. John Lewie – ‘Stop The Calvary’ £13,258

Lou Reed Remembered documentary to be broadcast this weekend

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Lou Reed Remembered will air at 9pm on BBC Four this Sunday [December 15] and will include contributions from Reed's former Velvet Underground bandmates Mo Tucker and Doug Yule plus Thurston Moore and Debbie Harry. Berlin guitarist Steve Hunter, novelist Paul Auster and photographer Mick Rock will...

Lou Reed Remembered will air at 9pm on BBC Four this Sunday [December 15] and will include contributions from Reed’s former Velvet Underground bandmates Mo Tucker and Doug Yule plus Thurston Moore and Debbie Harry.

Berlin guitarist Steve Hunter, novelist Paul Auster and photographer Mick Rock will also speak about Reed while Trash actress Holly Woodlawn will also appear.

A BBC statement about the documentary reads: “With the help of friends, fellow musicians, critics and those who have been inspired not only by his music but also by his famously contrary approach to almost everything, the documentary looks at how Reed not only helped to shape a generation but also helped to create a truly alternative, independent rock scene, while also providing New York with its most provocative and potent soundtrack.”

Neil Young announces more live dates for 2014

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Neil Young has announced four more tour dates for January 2014. Young will follow his four-night residency at New York's Carnegie Hall on January 6, 7, 9 and 10 with four Canadian shows to raise money for the Athabasca Chipewyan First Nation Legal Defense Fund. The run of shows has been branded ...

Neil Young has announced four more tour dates for January 2014.

Young will follow his four-night residency at New York’s Carnegie Hall on January 6, 7, 9 and 10 with four Canadian shows to raise money for the Athabasca Chipewyan First Nation Legal Defense Fund.

The run of shows has been branded ‘Honor The Treaties concerts and they will aid the native Canadians in their battle against oil companies and the government to preserve their land. Tickets go on sale December 13.

“The theme of the concerts is honour the treaties,” said Athabasca Chipewyan First Nation spokeswoman Eriel Deranger in a story on CTV Regina News . “All the ticket sales, all the proceeds from the concerts, not a single cent goes to anyone other than (the First Nation).”

“A Legal Defense fund was set up to support the ACFN‘s legal challenges against oil companies and government that are obstructing their traditional lands and rights,” says a press release quoted in Rolling Stone. “As people of the land the ACFN have used and occupied their traditional lands in the Athabasca region for thousands of years, hunting, trapping, fishing and gathering to sustain themselves and continue spiritual cultural rights passed down through generations.”

Yesterday, Young confirmed that he would return to the UK with Crazy Horse to play London’s Hyde Park on July 12. Support comes from The National.

The Honor the Treaties shows are:

January 12: Massey Hall, Toronto, Ontario

January 16: Centennial Concert Hall, Winnipeg, Manitoba

January 17: Conexus Arts Centre, Regina, Saskatchewan

January 19: Jack Singer Concert Hall, Calgary, Alberta

Pixies name Paz Lenchatin as new bassist

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Pixies have confirmed that bassist Paz Lenchatin, will replace Kim Shattuck for a series of live dates in America and Europe next year. Last week Shattuck revealed that her time playing with the band had come to an end. She, herself, was a replacement for original Pixies bassist Kim Deal who depar...

Pixies have confirmed that bassist Paz Lenchatin, will replace Kim Shattuck for a series of live dates in America and Europe next year.

Last week Shattuck revealed that her time playing with the band had come to an end. She, herself, was a replacement for original Pixies bassist Kim Deal who departed the band prior to the release of the group’s ‘EP1’ earlier this year. Lenchatin has previously played with Billy Corgan’s Zwan as well as A Perfect Circle and The Entrance Band.

Confirming the arrival of Lenchatin via press release, Pixies confirm she will play with the band on a 33 date US tour as well as European festival dates, including Primavera in Spain and Lollapalooza in South America. “We are really looking forward to playing with her on these dates,” said drummer Dave Lovering. “Working with different bass players is very new for the band, but we’re having a great time doing it.”

Lenchatin will also perform with Pixies when the band headline Field Day in London next year. The festival, which will expand to a two day event when it takes place over one weekend next year, confirmed that the US alt-rock band will headline on Sunday, June 8, 2014. For more information, see Field Day’s website.

The Who – Tommy (Deluxe and Super Deluxe editions)

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Another night at the opera, with demos and live versions... Another year, another ‘remaster’. Techies may claim otherwise, but one suspects the best way to listen to The Who's ‘rock opera’ is still via the primal technology of unscratched vinyl and a decent valve amplifier. For those hungering to hear Pete Townshend’s tale of the deaf, dumb and blind kid turned guru in 5:1 surround sound, however, here’s the ‘super deluxe’ version at an eye-watering £80, which also buys you 20 unreleased demos from Pete’s vaults, a 1969 concert performance (dubbed ‘bootleg’ though garnered from an official recording), a 20,000 word book by chronicler Richard Barnes and a repro poster. The deluxe edition delivers just the original and concert versions at a more manageable £14. The sonics of Tommy have always been a singular case in The Who’s catalogue, eschewing the bright pop sound of their early work without embracing the heavy rock dynamics that were already the norm on stage and which followed on Who’s Next. Instead came what Townshend called “deliberate blandness”, with Roger Daltrey’s vocals foregrounded over Townshends’s layered acoustic guitars, a modest input of power chords and Keith Moon’s hyper-active drumming set back in a production Moon found “very un-Who like”. Richard Barnes’ account of the album’s creation reveals that manager/producer Kit Lambert, in a hurry to get to Egypt, left the mix to engineer Damon Lyon-Shaw, albeit with detailed instructions. The band’s fear was that Lambert was planning orchestral overdubs; instead, he simply wanted Tommy to sound uncluttered. The concert version (mostly from a single Canadian show late in 1969) prove Lambert’s ideas were right. The performances have their moments – Daltrey is mostly outstanding – but Tommy live is a very different animal, with Townshend’s guitar, often turned up to eleven, weighing heavily on the songs’ drama. No shortage of power chords here – check the noisy “Amazing Journey” – or of Moon’s kit-thrashing. There’s no “Underture” and the piece emerges, inevitably, more rock than opera. The demos are another matter. Firstly they show just how meticulously the 20 year old Townshend planned Tommy, at least musically. There are few surprises compared to the finished album; Pete’s reedy pipes replace Roger’s gutsy holler, but the musical parts are all in place, though often played on shonky piano rather than guitar. Lyon-Shaw describes recording proceeding with a minimum of fuss. “The band would listen in the control room, talk over what was required, and then go to into the studio and re-interpret the demos. It was usually quite spontaneous. Very few bands could grasp what was played on demos and re-interpret the ideas into a finished product." The demos’ notable departures include a substantial amount of reverse guitar on “Amazing Journey” – the genesis of the entire opera according to Townshend – and on something called “Dream One”, an instrumental psych ramble studded with feedback and whoopee whistle. Ah, the joys of a home studio. Also included among the demos is a band version of Mose Allison’s “Young Man Blues”, a song that clearly wouldn’t leave Townshend alone, and which he hoped to include on Tommy alongside Allison’s “Eyesight to the Blind” (which became “The Hawker”). At under three minutes it’s a more concise and appealing take of the number than the pumped-up version on Live At Leeds, though still with Townshend’s guitar at its gnarliest. A find. The mini-book by Barnes, a friend from Townshend’s art school days, proves exhaustive and occasionally exhausting. It’s richly illustrated, prominent among the exhibits being the notebooks and envelopes on which Townshend planned ideas and jotted songs (a gloriously tatty “Pinball Wizard” among them). Tommy’s evolution from vibes-tuned autistic kid to pinball-playing guru was circuitous, receiving a vital shove from writer Nic Cohn, who judged what he heard “po-faced” and suggested the pinball motif. The ideas of Townshend’s adopted guru, Meher Baba, were always central, though fellow follower Mike McInnerney, who designed the artwork, rejects any idea of proselytising. “We’re not the Mormons!” he snorts. The opera’s plot, which bassist John Entwhistle claimed he “never understood before I saw the film”, remains unconvincing, but the spine of great songs on which Tommy is built – “Acid Queen”, “Sensation”, “I’m Free”, “Amazing Journey” among them – along with the catchy bridges and bravura playing, overcome its problems. “People who couldn’t get into the spiritual end of it could see it as a huge cartoon strip,” judged Townshend. Tired of playing crowd pleaser “Magic Bus” (“a nonsense number”), his opus renewed him. “With Tommy in our back pocket I felt I was riding two horses at once: a clod-hopping pantomime version on one hand, and a winged unicorn leading the heavenly host on the other.” Pete’s unicorn flew true. Tommy remains magnificent, the best (pace Arthur, Quadrophenia, Ziggy) of rock’s erratic operatic turns. Neil Spencer

Another night at the opera, with demos and live versions…

Another year, another ‘remaster’. Techies may claim otherwise, but one suspects the best way to listen to The Who‘s ‘rock opera’ is still via the primal technology of unscratched vinyl and a decent valve amplifier. For those hungering to hear Pete Townshend’s tale of the deaf, dumb and blind kid turned guru in 5:1 surround sound, however, here’s the ‘super deluxe’ version at an eye-watering £80, which also buys you 20 unreleased demos from Pete’s vaults, a 1969 concert performance (dubbed ‘bootleg’ though garnered from an official recording), a 20,000 word book by chronicler Richard Barnes and a repro poster. The deluxe edition delivers just the original and concert versions at a more manageable £14.

The sonics of Tommy have always been a singular case in The Who’s catalogue, eschewing the bright pop sound of their early work without embracing the heavy rock dynamics that were already the norm on stage and which followed on Who’s Next. Instead came what Townshend called “deliberate blandness”, with Roger Daltrey’s vocals foregrounded over Townshends’s layered acoustic guitars, a modest input of power chords and Keith Moon’s hyper-active drumming set back in a production Moon found “very un-Who like”.

Richard Barnes’ account of the album’s creation reveals that manager/producer Kit Lambert, in a hurry to get to Egypt, left the mix to engineer Damon Lyon-Shaw, albeit with detailed instructions. The band’s fear was that Lambert was planning orchestral overdubs; instead, he simply wanted Tommy to sound uncluttered.

The concert version (mostly from a single Canadian show late in 1969) prove Lambert’s ideas were right. The performances have their moments – Daltrey is mostly outstanding – but Tommy live is a very different animal, with Townshend’s guitar, often turned up to eleven, weighing heavily on the songs’ drama. No shortage of power chords here – check the noisy “Amazing Journey” – or of Moon’s kit-thrashing. There’s no “Underture” and the piece emerges, inevitably, more rock than opera.

The demos are another matter. Firstly they show just how meticulously the 20 year old Townshend planned Tommy, at least musically. There are few surprises compared to the finished album; Pete’s reedy pipes replace Roger’s gutsy holler, but the musical parts are all in place, though often played on shonky piano rather than guitar. Lyon-Shaw describes recording proceeding with a minimum of fuss. “The band would listen in the control room, talk over what was required, and then go to into the studio and re-interpret the demos. It was usually quite spontaneous. Very few bands could grasp what was played on demos and re-interpret the ideas into a finished product.”

The demos’ notable departures include a substantial amount of reverse guitar on “Amazing Journey” – the genesis of the entire opera according to Townshend – and on something called “Dream One”, an instrumental psych ramble studded with feedback and whoopee whistle. Ah, the joys of a home studio.

Also included among the demos is a band version of Mose Allison’s “Young Man Blues”, a song that clearly wouldn’t leave Townshend alone, and which he hoped to include on Tommy alongside Allison’s “Eyesight to the Blind” (which became “The Hawker”). At under three minutes it’s a more concise and appealing take of the number than the pumped-up version on Live At Leeds, though still with Townshend’s guitar at its gnarliest. A find.

The mini-book by Barnes, a friend from Townshend’s art school days, proves exhaustive and occasionally exhausting. It’s richly illustrated, prominent among the exhibits being the notebooks and envelopes on which Townshend planned ideas and jotted songs (a gloriously tatty “Pinball Wizard” among them). Tommy’s evolution from vibes-tuned autistic kid to pinball-playing guru was circuitous, receiving a vital shove from writer Nic Cohn, who judged what he heard “po-faced” and suggested the pinball motif. The ideas of Townshend’s adopted guru, Meher Baba, were always central, though fellow follower Mike McInnerney, who designed the artwork, rejects any idea of proselytising. “We’re not the Mormons!” he snorts.

The opera’s plot, which bassist John Entwhistle claimed he “never understood before I saw the film”, remains unconvincing, but the spine of great songs on which Tommy is built – “Acid Queen”, “Sensation”, “I’m Free”, “Amazing Journey” among them – along with the catchy bridges and bravura playing, overcome its problems. “People who couldn’t get into the spiritual end of it could see it as a huge cartoon strip,” judged Townshend. Tired of playing crowd pleaser “Magic Bus” (“a nonsense number”), his opus renewed him. “With Tommy in our back pocket I felt I was riding two horses at once: a clod-hopping pantomime version on one hand, and a winged unicorn leading the heavenly host on the other.”

Pete’s unicorn flew true. Tommy remains magnificent, the best (pace Arthur, Quadrophenia, Ziggy) of rock’s erratic operatic turns.

Neil Spencer

Bruce Springsteen’s “Born To Run” manuscript sells for $197,000

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A handwritten, working manuscript of Bruce Springsteen's 1975 hit "Born To Run" has sold for $100,000 over estimate. The piece of rock and roll history was auctioned in Manhattan earlier this week with an estimate of $70,000 (£42,918) to $100,000 (£61,312), but actually sold for $197,000 (£120,533) by Sotheby's in New York, reports the New York Times. The auction house said the document used to be in the collection of Springsteen's former manager, Mike Appel, but the seller was not revealed. The identity of the buyer is also a mystery. The manuscript shows Springsteen's processes as he works out the lyrics for the song, featuring alternative lyrics not heard on the finished record. Part of the text reads: "This town'll rip the (out your) bones from yourback / it's a suicide trap (rap) (it's a trap to catchthe young) your dead unless / you get out (we gotto) while your young so (come on! / with) take myhand cause tramps / like us baby we were born to run". There are words in the margins including "wild" and "angels" and one that looks like "velocity". The auctioneer said: "Although Springsteen is known to have an intensive drafting process, few manuscripts of "Born To Run" are available, with the present example being one of only two identified that include the most famous lines in the song." Bruce Springsteen will release a new album High Hopes in January 2014.

A handwritten, working manuscript of Bruce Springsteen‘s 1975 hit “Born To Run” has sold for $100,000 over estimate.

The piece of rock and roll history was auctioned in Manhattan earlier this week with an estimate of $70,000 (£42,918) to $100,000 (£61,312), but actually sold for $197,000 (£120,533) by Sotheby’s in New York, reports the New York Times.

The auction house said the document used to be in the collection of Springsteen’s former manager, Mike Appel, but the seller was not revealed. The identity of the buyer is also a mystery.

The manuscript shows Springsteen’s processes as he works out the lyrics for the song, featuring alternative lyrics not heard on the finished record. Part of the text reads: “This town’ll rip the (out your) bones from yourback / it’s a suicide trap (rap) (it’s a trap to catchthe young) your dead unless / you get out (we gotto) while your young so (come on! / with) take myhand cause tramps / like us baby we were born to run”.

There are words in the margins including “wild” and “angels” and one that looks like “velocity”. The auctioneer said: “Although Springsteen is known to have an intensive drafting process, few manuscripts of “Born To Run” are available, with the present example being one of only two identified that include the most famous lines in the song.”

Bruce Springsteen will release a new album High Hopes in January 2014.

Bob Dylan’s Newport Folk Festival guitar breaks auction record

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The guitar that Bob Dylan played at the Newport Folk Festival in 1965 has become the most expensive guitar ever to go up for auction. The Fender Stratocaster was sold Friday (December 6) for $965,000 (£590,430), topping the sale price for a guitar once owned by Eric Clapton which sold for $959,500 (£587,065) in 2004, reports Spin. The sale happened at Christie's in New York City and the guitar was bought by an absentee buyer. The instrument was sold with its original strap and hard shell case. For almost half a century, the guitar was in the family of the late Vic Quinto, a private plane pilot, who worked for Dylan's manager. The guitar was left in his plane and though he asked the management company what to do with the item, they failed to respond. Over this issue, a statement from Christie's read: "Representatives for Bob Dylan do not contest the sale of the guitar, and are aware of Christie's plan to bring it to auction."

The guitar that Bob Dylan played at the Newport Folk Festival in 1965 has become the most expensive guitar ever to go up for auction.

The Fender Stratocaster was sold Friday (December 6) for $965,000 (£590,430), topping the sale price for a guitar once owned by Eric Clapton which sold for $959,500 (£587,065) in 2004, reports Spin. The sale happened at Christie’s in New York City and the guitar was bought by an absentee buyer. The instrument was sold with its original strap and hard shell case.

For almost half a century, the guitar was in the family of the late Vic Quinto, a private plane pilot, who worked for Dylan’s manager. The guitar was left in his plane and though he asked the management company what to do with the item, they failed to respond. Over this issue, a statement from Christie’s read: “Representatives for Bob Dylan do not contest the sale of the guitar, and are aware of Christie’s plan to bring it to auction.”

Neil Young And Crazy Horse to play London’s Hyde Park

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Neil Young And Crazy Horse will headline a huge outdoor show at London's Hyde Park on Saturday July 12 next year. They'll be joined at Barclaycard British Summer Time by special guests The National, Tom Odell, Caitlin Rose, Phosphorescent and Flyte. Earlier this year, Neil Young And Crazy Horse c...

Neil Young And Crazy Horse will headline a huge outdoor show at London’s Hyde Park on Saturday July 12 next year.

They’ll be joined at Barclaycard British Summer Time by special guests The National, Tom Odell, Caitlin Rose, Phosphorescent and Flyte.

Earlier this year, Neil Young And Crazy Horse cancelled a number of gigs after guitarist Frank “Poncho” Sampedro sustained an injury.

Tickets go on general sale for the Hyde Park show on Friday December 13.

This year’s British Summer Time series of gigs were headlined by artists including the Rolling Stones.

AEG Live was awarded the five-year contract to create this event in Hyde Park towards the end of 2012.