Boris

This week’s new issue of Uncut features another 50 Great Lost Albums – those that are unavailable new or as legal downloads right now – chosen by the mag’s readers. Consequently, I thought it’d be useful to put our original Top 50 online, as they appeared in issue 156 of Uncut (Neil Young was on the cover, narrowing it down a little).

The Woody/Larry coalition: not all it should be, sadly

Martin Scorsese finds his way in the unfamiliar territory of gothic noir – set in a mental asylum...

Hey, just a quick one as I’m on a timetable to get to Bat For Lashes in about 25 minutes, but I’ve just got back from seeing Jeremy Hardy in the Literary Arena, and wanted to get something up online sooner rather than later.

Lambchop's Kurt Wagner also added to this year's line-up

Morning all, here's the latest rundown. I guess the most significant new arrival this week is from Spiritualized: "Songs In A&E" just arrived. We're on Track Five right now.

Uncut has all the stage times that you'll need, right here

Within seven minutes of BBC1 picking up live coverage, Chris Rock gets in the first "C’mon motherfuckers". This shortly after David Gray and Damien Rice have murdered "Que Sera Sera", Snow Patrol have yelled, "Looking forward to Spinal Tap? We are!" and Geri Halliwell has walked onstage to say, "Isn‘t it great my band are back together?" While the eight concerts around the world constitute an immense, well-intended event, the Wembley show is a thoroughly surreal mish-mash of deafening hard rock, weightless aerobic pop and celebs spouting platitudes.

As I mentioned yesterday, Wild Mercury Sound is taking a holiday in Texas next week. The pile of new albums will have to wait a while; I've got fine things by Rufus Wainwright, Battles, The 1990s and Alberta Cross here that I haven't had time to write about yet. Next week, though, I'll be filing slightly frantic daily reports from the South By Southwest festival in Austin, as I try and see a good dozen or so newish bands a day. I've just been having a quick look through the list of artists playing, and I really want to check all these out, for a start.

A triple bill of iconic horror: Boris Karloff's Frankenstein's monster, Bela Lugosi's Dracula and Lon Chaney Jr's Wolfman. Admittedly creaky, these black-and-white chillers from the '30s and '40s still boast amazing gothic sets, mesmerising atmosphere and some riveting performances. More enchanting than scary, the best of them—James Whale's 1931 Frankenstein—appears here in its uncut form.