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UK album sales drop by 10 percent in 2012

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UK album sales drop by 10 percent in 2012

The sales of albums in the UK fell by 10 percent in 2012. The statistics, released by the BPI, also reveal that the CD album market shrunk by a fifth, with sales of albums on CD down 19.5 percent year-on-year with only 69.4m albums sold. Sales of digital and physical albums combined fell overall again by 11.2 percent to 100.5m over the past 12 months – although singles sales hit a new high. Despite the overall fall, 16 albums released in 2012 sold over 100,000 copies and digital album sales rose 14.8 percent to 30.5m. Emeli Sande's Our Version Of Events was the best selling album of the year, selling 1.4m copies. Moreover, the UK singles market continued its boom with sales records being broken for the fifth successive year – 188.6m singles were sold in 2012, a rise of six percent. A staggering 99.6 percent of these sales came through digital releases. Reflective of the popularity of singles in 2012 is the fact that all of the top twenty selling songs shifted over half a million copies each. Speaking to Music Week, Geoff Taylor, BPI Chief Executive, said, “2012 was an encouraging year for UK artists and for music’s digital future. Digital albums grew strongly and singles sales hit a new record. Music fans are now streaming billions of songs from new services enabled by record labels. “The Jubilee celebrations and the London 2012 Olympics provided a great showcase for British music internationally, but market conditions at home remained difficult and pressure on the ‘leisure wallet’ impacted music sales on the high street. “However, the quality of our music and digital innovation by UK labels means we have excellent potential for domestic growth and to increase our share of the global music market. We hope Government will recognise the potential of digital music to contribute to economic recovery and provide more active support in 2013.” The top ten selling UK albums and Singles in 2012 according to official BPI data were as follows: Albums Emeli Sande - Our Version Of Events Adele - 21 Ed Sheeran - + Lana Del Rey - Born To Die One Direction - Up All Night Mumford & Sons - Babel Olly Murs - Right Place, Right Time Michael Buble - Christmas Coldplay - Mylo Xyloto Rihanna - Unapologetic Singles Gotye - Somebody That I Used To Know Carley Rae Jepsen - Call Me Maybe Fun feat Janelle Monae - We Are Young David Guetta - Titanium James Arthur - Impossible Psy - Gangam Style Nicki Minaj - Starships Jessie J - Price Tag Maroon 5 - Payphone Flo-Rida - Wild Ones

The sales of albums in the UK fell by 10 percent in 2012.

The statistics, released by the BPI, also reveal that the CD album market shrunk by a fifth, with sales of albums on CD down 19.5 percent year-on-year with only 69.4m albums sold.

Sales of digital and physical albums combined fell overall again by 11.2 percent to 100.5m over the past 12 months – although singles sales hit a new high.

Despite the overall fall, 16 albums released in 2012 sold over 100,000 copies and digital album sales rose 14.8 percent to 30.5m. Emeli Sande‘s Our Version Of Events was the best selling album of the year, selling 1.4m copies.

Moreover, the UK singles market continued its boom with sales records being broken for the fifth successive year – 188.6m singles were sold in 2012, a rise of six percent. A staggering 99.6 percent of these sales came through digital releases. Reflective of the popularity of singles in 2012 is the fact that all of the top twenty selling songs shifted over half a million copies each.

Speaking to Music Week, Geoff Taylor, BPI Chief Executive, said, “2012 was an encouraging year for UK artists and for music’s digital future. Digital albums grew strongly and singles sales hit a new record. Music fans are now streaming billions of songs from new services enabled by record labels.

“The Jubilee celebrations and the London 2012 Olympics provided a great showcase for British music internationally, but market conditions at home remained difficult and pressure on the ‘leisure wallet’ impacted music sales on the high street.

“However, the quality of our music and digital innovation by UK labels means we have excellent potential for domestic growth and to increase our share of the global music market. We hope Government will recognise the potential of digital music to contribute to economic recovery and provide more active support in 2013.”

The top ten selling UK albums and Singles in 2012 according to official BPI data were as follows:

Albums

Emeli Sande – Our Version Of Events

Adele – 21

Ed Sheeran – +

Lana Del Rey – Born To Die

One Direction – Up All Night

Mumford & Sons – Babel

Olly Murs – Right Place, Right Time

Michael Buble – Christmas

Coldplay – Mylo Xyloto

Rihanna – Unapologetic

Singles

Gotye – Somebody That I Used To Know

Carley Rae Jepsen – Call Me Maybe

Fun feat Janelle Monae – We Are Young

David Guetta – Titanium

James Arthur – Impossible

Psy – Gangam Style

Nicki Minaj – Starships

Jessie J – Price Tag

Maroon 5 – Payphone

Flo-Rida – Wild Ones

Aztec Camera – reissues

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Aztec Camera – reissues

Postcards from paradise... When Roddy Frame emerged, aged 16, on Glasgow’s Postcard Records, his band was compared by label Svengali Alan Horne to the Velvet Underground. Fanciful, maybe, but Aztec Camera’s debut 45 announced a songwriter of some precocity. That said, it’s a shame the poetic rush of the Postcard period was effectively abandoned after the first album, High Land, Hard Rain (9/10) (1983), which remains a career highlight. The youthful zest in “The Boy Wonders” and “Down The Dip” can’t be faked, and if the decision to bring in Mark Knopfler to produce the follow-up, Knife (6/10) (1984) added polish, it also removed the vim from a decent set of songs. In truth Knopfler’s production has aged reasonably well, but the cover of Van Halen’s "Jump" (a B-side extra) shows how Frame’s perverse streak could have been managed more creatively. Love (1987) (7/10) gave Frame got his first Top 10 hit (“Somewhere in My Heart”), and contains one of his best songs (“How Men Are”) but, small irony, his most popular set is also the most manicured. The live version of “Killermont Street” (an escapist hymn to Glasgow’s bus station) points ahead to Frame’s reinvention as a solo artist, but there was a creative rebirth with Stray (8/10) (1990), the most inventive and durable Aztec Camera LP. Diverse, yes, but it’s exhilarating to hear Frame switching-up from plaintive balladry (“Then Over My Head”) to the BAD-influenced “Good Morning Britain”. WEA had given up by the time of the Langer-Winstanley produced Frestonia (7/10) (1995), though it bears re-examination. Yet the pick of these fine Edsel reissues is Dreamland (1993) (8/10), a sweet, soulful album, produced by Ryuichi Sakamoto, and supplemented by a great live set from Ronnie Scott’s. Frame revisits the second Postcard 45, “Mattress Of Wire”, covers Fred Neil’s “Dolphins”, and extracts every ounce of emotion from an extended “Stray”. On reflection, nothing like the Velvets. Frame is an original; a Bowie fan, familiar with Dylan, happy to sound like a punk Julie London. Alastair McKay

Postcards from paradise…

When Roddy Frame emerged, aged 16, on Glasgow’s Postcard Records, his band was compared by label Svengali Alan Horne to the Velvet Underground. Fanciful, maybe, but Aztec Camera’s debut 45 announced a songwriter of some precocity.

That said, it’s a shame the poetic rush of the Postcard period was effectively abandoned after the first album, High Land, Hard Rain (9/10) (1983), which remains a career highlight. The youthful zest in “The Boy Wonders” and “Down The Dip” can’t be faked, and if the decision to bring in Mark Knopfler to produce the follow-up, Knife (6/10) (1984) added polish, it also removed the vim from a decent set of songs. In truth Knopfler’s production has aged reasonably well, but the cover of Van Halen’s “Jump” (a B-side extra) shows how Frame’s perverse streak could have been managed more creatively.

Love (1987) (7/10) gave Frame got his first Top 10 hit (“Somewhere in My Heart”), and contains one of his best songs (“How Men Are”) but, small irony, his most popular set is also the most manicured. The live version of “Killermont Street” (an escapist hymn to Glasgow’s bus station) points ahead to Frame’s reinvention as a solo artist, but there was a creative rebirth with Stray (8/10) (1990), the most inventive and durable Aztec Camera LP. Diverse, yes, but it’s exhilarating to hear Frame switching-up from plaintive balladry (“Then Over My Head”) to the BAD-influenced “Good Morning Britain”.

WEA had given up by the time of the Langer-Winstanley produced Frestonia (7/10) (1995), though it bears re-examination. Yet the pick of these fine Edsel reissues is Dreamland (1993) (8/10), a sweet, soulful album, produced by Ryuichi Sakamoto, and supplemented by a great live set from Ronnie Scott’s. Frame revisits the second Postcard 45, “Mattress Of Wire”, covers Fred Neil’s “Dolphins”, and extracts every ounce of emotion from an extended “Stray”.

On reflection, nothing like the Velvets. Frame is an original; a Bowie fan, familiar with Dylan, happy to sound like a punk Julie London.

Alastair McKay

Bobby Womack announces he’s suffering from Alzheimer’s

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Bobby Womack announces he’s suffering from Alzheimer’s
Bobby Womack has revealed he's suffering from brain disorder Alzheimer’s. The 68-year-old, who released his first single in 1954, has admitted he struggles to recall the names of his songs and those of his collaborators. He said: “The doctor says there are signs of Alzheimer’s. It’s not ...

Bobby Womack has revealed he’s suffering from brain disorder Alzheimer’s.

The 68-year-old, who released his first single in 1954, has admitted he struggles to recall the names of his songs and those of his collaborators.

He said: “The doctor says there are signs of Alzheimer’s. It’s not bad yet but will get worse.

He added: “How can I not remember songs I wrote? It’s frustrating. I don’t feel together yet. Negative things come in my mind and it’s hard for me to remember sometimes.”

Womack, who beat colon cancer in May, released his most-recent album The Bravest Man In The Universe in 2012, which was co-produced by Blur’s Damon Albarn and XL Recordings co-founder Richard Russell.

He added: “The most embarrassing thing is I’ll be ready to announce Damon and can’t remember his last name.”

This could be in reference to his appearance at an awards ceremony in September when he called Albarn ‘Damon Osbourne’ in his acceptance speech.

Womack was inducted into the Rock and Roll Hall of Fame in 2009, following a career spanning more than 50 years. He released his first single in 1954 under the name Curtis Womack And The Womack Brothers.

Alzheimer’s is the most common form of dementia and worsens as it progresses, eventually leading to death. It was first described in 1906, and is prevalent in those over 65. By 2050, scientists believe around 1 in 85 people will suffer from the disease.

Ray Davies: “I get very emotional when I write”

Tom Pinnock
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Ray Davies: “I get very emotional when I write”
Ray Davies sheds light on his new projects, including an opera, a film and a solo album, in the new issue of Uncut, out on Thursday (January 3, 2013). The former Kinks frontman also explains the conflicting feelings he experiences when songwriting. Revealing what he goes through when he realises h...

Ray Davies sheds light on his new projects, including an opera, a film and a solo album, in the new issue of Uncut, out on Thursday (January 3, 2013).

The former Kinks frontman also explains the conflicting feelings he experiences when songwriting.

Revealing what he goes through when he realises he’s writing one of his great songs, Davies says: “It’s a moment of excessive emotion. And I do get very emotional when I write, sometimes… It’s just a chill you get.

“You think, ‘Ah, this is something somebody’s never done quite this way before, and it’s coming from me, and I have a voice.’ That’s what I find disturbing, and a release. To know that there is something still to discover.”

The new issue of Uncut, dated February 2013, is out on Thursday (January 3, 2013).

February 2013

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February 2013
Before Melody Maker swept me off the street in the manner of a benevolent old codger taking a pallid waif into his kindly, white-haired care in something written to make you weep by the venerable Dickens, I worked for a bleak season or two in the mail order department of a bookstore near Piccadilly ...

Before Melody Maker swept me off the street in the manner of a benevolent old codger taking a pallid waif into his kindly, white-haired care in something written to make you weep by the venerable Dickens, I worked for a bleak season or two in the mail order department of a bookstore near Piccadilly Circus.

It was my habit in those days to take a late lunch in Ward’s Irish Pub, a famous drinking den of distant legend, a series of dark subterranean rooms beneath Piccadilly’s busy pavements. Ward’s one afternoon in September, 1973, was where I found out that Gram Parsons had died.

Someone had left a newspaper on the bar, opened to an inside page, where a story caught my attention, something about a rock star’s body found burning in the desert according to the headline. Whoever the rock star was, he clearly hadn’t been too famous if this small story, not much more than a footnote, was all the prominence the news of his passing had merited. But the circumstances of his death certainly invited investigation. I took a closer look and the next thing you know a jolt goes through me and I jerk like someone in an electric chair, the prison governor throwing a switch and the court’s reprieve arriving too late to save me from a trip to the yonder side of things. The rock star turned out to be Parsons, dead at 26 from an overdose. Calling Gram a ‘rock star’ was something of an exaggeration. The only place he’d been a star was in his wildest dreams. How many people reading the story would even have heard of him or the great albums he’d made? These included The Byrds’ Sweetheart Of The Rodeo, The Flying Burrito Brothers’ The Gilded Palace Of Sin and Burrito Deluxe, and his first solo LP, January 1973’s GP – Grievous Angel, finished just before he died, would come out posthumously. These were records that meant as much to me as anything by Dylan, the Stones, whoever. None of them sold during Gram’s lifetime, but his vision of what he called Cosmic American Music – a heady mix of rock, gospel, Southern soul, R’n’B and, most unfashionably then, country – has been vastly influential.

Astonishingly, the year The Beatles released Sgt Pepper and the Velvets, Jimi Hendrix and Pink Floyd released their mind-blowing debuts, Gram was rediscovering Hank Williams, Buck Owens and Merle Haggard, with hostile reactions from audiences, as his International Submarine Band colleague Ian Dunlop recounts in his excellent memoir, Breakfast In Nudie Suits. Country was for certain folk the most conservative of all forms of popular American music, synonymous in the public imagination with an unfortunate stereotype – men with big hats bawling into their beer, crude and unsophisticated – that made people look at you like you’d just joined the Ku Klux Klan if you admitted liking it. Gram railed against the caricature, tapped into the music’s dark, poetic traditions, inspiring what we call Americana, and making music that 40 years after his death and the distracting legend of it remains as beautiful and unforgettable as anything you’ll ever hear.

As Ryan Adams once put it, “If someone tells you they’ve got a cool record collection and they don’t have a Gram Parsons album in it, shoot ’em.”

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Gram Parsons “got into a maze with the Burrito Brothers”

Tom Pinnock
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Gram Parsons “got into a maze with the Burrito Brothers”
Gram Parsons' legendary solo career is examined in the new issue of Uncut, out on Thursday (January 3, 2013). The back-to-basics approach of the country-rock singer's acclaimed GP and Grievous Angel albums were in sharp contrast to the more psychedelic work of his previous group, The Flying Burrito...

Gram Parsons‘ legendary solo career is examined in the new issue of Uncut, out on Thursday (January 3, 2013).

The back-to-basics approach of the country-rock singer’s acclaimed GP and Grievous Angel albums were in sharp contrast to the more psychedelic work of his previous group, The Flying Burrito Brothers.

Parsons’ collaborator in his early band, The International Submarine Band, Ian Dunlop explains: “He’d got into a maze with the Burritos. The thing about the GP album is that he’s coming out of that maze wanting to make pure country music again.

“It’s country in the straight-ahead vein. A lot of the traditions and sentiments are pre-Bakersfield. It’s a late-’40s-and-early-’50s music that could roughly be classified as honky tonk.”

Uncut hunts down Parsons’ closest collaborators from the period to tell the story of the man who left The Byrds and the Burrito Brothers, and got kicked out of The Rolling Stones’ inner circle, before making his stunning last work.

The new issue of Uncut, dated February 2013, is out on Thursday (January 3, 2013).

Morrissey: “None of Bowie’s $20,000-a-day US guitarists had a grain of Mick Ronson’s natural style”

Tom Pinnock
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Morrissey: “None of Bowie’s $20,000-a-day US guitarists had a grain of Mick Ronson’s natural style”
Morrissey has paid tribute to guitarist Mick Ronson, best known for his work with David Bowie, in the new issue of Uncut. The former Smith has long been a fan of the guitarist, who produced his 1992 album Your Arsenal, and reveals the full extent of his admiration in the latest Uncut, out on Thur...

Morrissey has paid tribute to guitarist Mick Ronson, best known for his work with David Bowie, in the new issue of Uncut.

The former Smith has long been a fan of the guitarist, who produced his 1992 album Your Arsenal, and reveals the full extent of his admiration in the latest Uncut, out on Thursday (January 3, 2013).

“No matter how you juggle the words, Mick was not replaced in David’s life,” Morrissey tells Uncut. “None of David’s $20,000-a-day US guitarists had a single grain of Mick’s natural style, and even Eno only worked with David for 14 days. Mick had been David’s lifelong asset – no-one else.”

The whole story of Mick Ronson’s life is told in the new issue, with help from friends and collaborators, including wife Suzi Ronson, singer-songwriter Michael Chapman, Bowie producer Ken Scott and fellow Dylan’s Rolling Thunder Revue guitarist T-Bone Burnett.

The new Uncut, dated February 2013, is out on Thursday (January 3, 2013).

Uncut’s Top 30 comps, reissues and box sets of 2012

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Uncut’s Top 30 comps, reissues and box sets of 2012

Following on from yesterday's Top 75 new albums of 2012 post, here's our Top 30 compilations, reissues and box sets of 2012, with links to the original reviews where possible. Have a great Christmas and New Year, folks! 30 THE BEAT I Just Can't Stop It EDSEL 29 BILLY BRAGG & WILCO Mermaid Avenue NONESUCH 28 SIMPLE MINDS 5 x 5 EMI 27 MICHAEL CHAPMAN Rainmaker LIGHT IN THE ATTIC 26 VARIOUS ARTISTS Make It Your Sound Make It Your Scene: Vanguard Records & The 1960s Musical Revolution ACE 25 VARIOUS ARTISTS Country Funk 1969-1975 LIGHT IN THE ATTIC 24 DR FEELGOOD All Through The City (With Wilko 1974-1977) EMI 23 SENSATIONS’ FIX Music Is Painting In The Air RVNG INTL 22 ALEX CHILTON Free Again: The 1970 Sessions ACE 21 DAVID BOWIE The Rise And Fall Of Ziggy Stardust And The Spiders From Mars EMI 20 PAUL & LINDA MCCARTNEY Ram CONCORD 19 PALACE MUSIC Viva Last Blues DOMINO 18 VARIOUS ARTISTS Personal Space: Electronic Soul 1974-84 CHOCOLATE INDUSTRIES 17 VARIOUS ARTISTS Drive OST SONY CLASSICAL 16 AR KANE Complete Singles Collection ONE LITTLE INDIAN 15 TERRY RILEY A Rainbow In Curved Air ESOTERIC 14 REM Document EMI 13 RIDE Going Blank Again RIDE MUSIC 12 JERRY LEE LEWIS A Whole Lotta Jerry Lee Lewis SALVO 11 T.REX Electric Warrior: Deluxe Edition A&M 10 THE KINKS The Kinks At The BBC UNIVERSAL 9 PAUL SIMON Graceland SONY 8 ROXY MUSIC The Complete Studio Recordings 1972-1982 VIRGIN 7 LEE HAZELWOOD A House Safe For Tigers LIGHT IN THE ATTIC 6 VAN DYKE PARKS Song Cycle BELLA UNION 5 STEVE MILLER BAND Number 5 EDSEL 4 THE VELVET UNDERGROUND & NICO The Velvet Underground & Nico UNIVERSAL 3 BLUR 21 PARLOPHONE 2 MY BLOODY VALENTINE Loveless SONY 1 CAN The Lost Tapes MUTE

Following on from yesterday’s Top 75 new albums of 2012 post, here’s our Top 30 compilations, reissues and box sets of 2012, with links to the original reviews where possible.

Have a great Christmas and New Year, folks!

30 THE BEAT

I Just Can’t Stop It

EDSEL

29 BILLY BRAGG & WILCO

Mermaid Avenue

NONESUCH

28 SIMPLE MINDS

5 x 5

EMI

27 MICHAEL CHAPMAN

Rainmaker

LIGHT IN THE ATTIC

26 VARIOUS ARTISTS

Make It Your Sound Make It Your Scene: Vanguard Records & The 1960s Musical Revolution

ACE

25 VARIOUS ARTISTS

Country Funk 1969-1975

LIGHT IN THE ATTIC

24 DR FEELGOOD

All Through The City (With Wilko 1974-1977)

EMI

23 SENSATIONS’ FIX

Music Is Painting In The Air

RVNG INTL

22 ALEX CHILTON

Free Again: The 1970 Sessions

ACE

21 DAVID BOWIE

The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

EMI

20 PAUL & LINDA MCCARTNEY

Ram

CONCORD

19 PALACE MUSIC

Viva Last Blues

DOMINO

18 VARIOUS ARTISTS

Personal Space: Electronic Soul 1974-84

CHOCOLATE INDUSTRIES

17 VARIOUS ARTISTS

Drive OST

SONY CLASSICAL

16 AR KANE

Complete Singles Collection

ONE LITTLE INDIAN

15 TERRY RILEY

A Rainbow In Curved Air

ESOTERIC

14 REM

Document

EMI

13 RIDE

Going Blank Again

RIDE MUSIC

12 JERRY LEE LEWIS

A Whole Lotta Jerry Lee Lewis

SALVO

11 T.REX

Electric Warrior: Deluxe Edition

A&M

10 THE KINKS

The Kinks At The BBC

UNIVERSAL

9 PAUL SIMON

Graceland

SONY

8 ROXY MUSIC

The Complete Studio Recordings 1972-1982

VIRGIN

7 LEE HAZELWOOD

A House Safe For Tigers

LIGHT IN THE ATTIC

6 VAN DYKE PARKS

Song Cycle

BELLA UNION

5 STEVE MILLER BAND

Number 5

EDSEL

4 THE VELVET UNDERGROUND & NICO

The Velvet Underground & Nico

UNIVERSAL

3 BLUR

21

PARLOPHONE

2 MY BLOODY VALENTINE

Loveless

SONY

1 CAN

The Lost Tapes

MUTE

The 51st Uncut Playlist Of 2012

John Mulvey
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The 51st Uncut Playlist Of 2012

We seem to be posting a lot more lists than actual joined-up writing at the moment – Michael’s just put Uncut’s full Top 75 of 2012 on the website, with links, and is promising our Archive/Reissues chart tomorrow – but, hey, here’s another. Among some other good new arrivals, another strong recommendation for Parquet Courts: check them out here. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Parquet Courts – Light Up Gold (Dull Tools) 2 Atoms For Peace – Amok (XL) 3 Steve Mason – Monkey Minds In The Devil's Time (Double Six) 4 Johnny Marr – The Messenger (Warner Bros) 5 Various Artists – Change The Beat – The Celluloid Records Story 1980-1987 (Republic Of Music) 6 The Beatles – Abbey Road (Apple) 7 Purling Hiss – Water On Mars (Drag City) 8 The Traditional Fools – The Traditional Fools (In The Red) 9 Blue Gene Tyranny – Detours (Unseen Worlds) 10 Ensemble Pearl – Ensemble Pearl (Drag City) 11 Woodpigeon – Thumbtacks And Glue (Fierce Panda) 12 The Beatles – Help! (Parlophone) 13 Nick Cave & The Bad Seeds – Push The Sky Away (Bad Seed Ltd) 14 The Red Rippers – Over There… And Over Here (Paradise Of Bachelors) 15 Autechre – Exai (Warp) 16 Fela Kuti – The Best Of The Black President 2 (Knitting Factory) 17 Jessika Kenney & Eyvind Kang - The Face Of The Earth (Ideologic Organ)

We seem to be posting a lot more lists than actual joined-up writing at the moment – Michael’s just put Uncut’s full Top 75 of 2012 on the website, with links, and is promising our Archive/Reissues chart tomorrow – but, hey, here’s another. Among some other good new arrivals, another strong recommendation for Parquet Courts: check them out here.

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

1 Parquet Courts – Light Up Gold (Dull Tools)

2 Atoms For Peace – Amok (XL)

3 Steve Mason – Monkey Minds In The Devil’s Time (Double Six)

4 Johnny Marr – The Messenger (Warner Bros)

5 Various Artists – Change The Beat – The Celluloid Records Story 1980-1987 (Republic Of Music)

6 The Beatles – Abbey Road (Apple)

7 Purling Hiss – Water On Mars (Drag City)

8 The Traditional Fools – The Traditional Fools (In The Red)

9 Blue Gene Tyranny – Detours (Unseen Worlds)

10 Ensemble Pearl – Ensemble Pearl (Drag City)

11 Woodpigeon – Thumbtacks And Glue (Fierce Panda)

12 The Beatles – Help! (Parlophone)

13 Nick Cave & The Bad Seeds – Push The Sky Away (Bad Seed Ltd)

14 The Red Rippers – Over There… And Over Here (Paradise Of Bachelors)

15 Autechre – Exai (Warp)

16 Fela Kuti – The Best Of The Black President 2 (Knitting Factory)

17 Jessika Kenney & Eyvind Kang – The Face Of The Earth (Ideologic Organ)

Uncut’s Top 75 new albums of 2012

Uncut
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Uncut’s Top 75 new albums of 2012

Ladies and gentlemen... please enjoy our Top 75 new albums of 2012, with links to the original reviews where possible. Tomorrow, we'll post the Top 30 best reissues, box sets and compilations. 75. CARTER TUTTI VOID Transverse (MUTE) 74. BAT FOR LASHES The Haunted Man (PARLOPHONE) 73. THE JON SPENCER BLUES EXPLOSION Meat And Bone (BRONZERAT) 72. RUFUS WAINWRIGHT Out of The Game (DECCA) 71. LEE RANALDO Between The Times And The Tides (MATADOR) 70. SIMONE FELICE Simone Felice (REVEAL) 69. TY SEGALL Twins (DRAG CITY) 68. WOODS Bend Beyond (WOODSIST) 67. CORNERSHOP Urban Turban: The Singhles Club (AMPLE PLAY) 66. GOAT World Music ROCKET) 65. NITE JEWEL One Second Of Love (SECRETLY CANADIAN) 64. ORBITAL Wonky (ACP RECORDINGS) 63. CALEXICO Algiers (CITY SLANG) 62. IAN HUNTER & THE RANT BAND When I’m President (PROPER) 61. THEE OH SEES Putrifiers II (IN THE RED) 60. THE LIMIÑANAS Crystal Anis (HOZAC) 59. FATHER JOHN MISTY Fear Fun (BELLA UNION) 58. DONALD FAGEN Sunken Condos (REPRISE) 57. DAVID BYRNE & ST VINCENT Love This Giant (4AD) 56. POND Beard, Wives, Denim (MODULAR) 55. THE 2 BEARS Be Strong (SOUTHERN FRIED) 54. YETI LANE The Echo Show (SONIC CATHEDRAL) 53. PiL This Is PiL (PiL OFFICIAL) 52. CATE LE BON Cyrk (TURNSTILE) 51. LANA DEL REY Born To Die (POLYDOR) 50. LAETITIA SADIER Silencio (DRAG CITY) 49. DAMON ALBARN Dr Dee (PARLOPHONE) 48. HOWLIN RAIN The Russian Wilds (AGITATED) 47. ANAIS MITCHELL Young Man In America (WILDERLAND) 46. CAT POWER Sun (MATADOR) 45. JAPANDROIDS Celebration Rock (POLYVINYL) 44. SUN ARAW & M GEDDES GENGRAS MEET CONGOS Icon Give Thank (RVNG INTL) 43. NEIL YOUNG & CRAZY HORSE Americana (REPRISE) 42. DIRTY PROJECTORS Swing Lo Magellan (DOMINO) 41. FLYING LOTUS Until The Quiet Comes (WARP) 40. FIRST AID KIT The Lion's Roar (WICHITA) 39. DIRTY THREE Toward The Low Sun (BELLA UNION) 38. LIGHTSHIPS Electric Cables (GEOGRAPHIC) 37. PATTERSON HOOD Heat Lightning Rumbles In The Distance (PLAY IT AGAIN SAM) 36. SUN KIL MOON Among The Leaves (CALDO VERDE) 35. SIX ORGANS OF ADMITTANCE Ascent (DRAG CITY) 34. BOBBY WOMACK The Bravest Man In The Universe (XL) 33. MICACHU & THE SHAPES Never (ROUGH TRADE) 32. RICHARD HAWLEY Standing At The Sky’s Edge (MUTE) 31. HOT CHIP In Our Heads (DOMINO) 30. RY COODER Election Special (NONESUCH) 29. THE CHRIS ROBINSON BROTHERHOOD Big Moon Ritual (SILVER ARROW) 28. PAUL WELLER Sonik Kicks (ISLAND) 27. ALABAMA SHAKES Boys & Girls (ROUGH TRADE) 26. GRAHAM COXON A+E (PARLOPHONE) 25. PATTI SMITH Banga (COLUMBIA) 24. ALLAH-LAS Allah-Las (INNOVATIVE LEISURE) 23. JULIA HOLTER Ekstasis (RVNG INTL) 22. MARK LANEGAN BAND Blues Funeral (4AD) 21. THE BEACHWOOD SPARKS The Tarnished Gold (SUB POP) 20. THE XX Coexist (XL) 19. NENEH CHERRY AND THE THING The Cherry Thing (SMALLTOWN SUPERSOUND) 18. SHARON VAN ETTEN Tramp (JAGJAGUWAR) 17. GRIMES Visions (4AD) 16. THE TY SEGALL BAND Slaughterhouse (IN THE RED) 15. FIELD MUSIC Plumb (MEMPHIS INDUSTRIES) 14. PAUL BUCHANAN Mid Air (NEWSROOM) 13. DEXYS One Day I’m Going to Soar (BMG RIGHTS MANAGEMENT) 12. GO-KART MOZART On The Hot Dog Streets (WEST MIDLANDS) 11. TAME IMPALA Lonerism (MODULAR) 10. BRUCE SPRINGSTEEN Wrecking Ball (COLUMBIA) 9. NEIL YOUNG WITH CRAZY HORSE Psychedelic Pill (REPRISE) 8. GRIZZLY BEAR Shields (WARP) 7. TY SEGALL & WHITE FENCE Hair (DRAG CITY) 6. BILL FAY Life Is People (DEAD OCEANS) 5. FRANK OCEAN Channel Orange (ISLAND DEF JAM) 4. DR JOHN Locked Down (NONESUCH) 3. JACK WHITE Blunderbuss (THIRD MAN/XL) 2. BOB DYLAN Tempest (COLUMBIA) 1. LEONARD COHEN Old Ideas (COLUMBIA)

Ladies and gentlemen… please enjoy our Top 75 new albums of 2012, with links to the original reviews where possible. Tomorrow, we’ll post the Top 30 best reissues, box sets and compilations.

75. CARTER TUTTI VOID

Transverse

(MUTE)

74. BAT FOR LASHES

The Haunted Man

(PARLOPHONE)

73. THE JON SPENCER BLUES EXPLOSION

Meat And Bone

(BRONZERAT)

72. RUFUS WAINWRIGHT

Out of The Game

(DECCA)

71. LEE RANALDO

Between The Times And The Tides

(MATADOR)

70. SIMONE FELICE

Simone Felice

(REVEAL)

69. TY SEGALL

Twins

(DRAG CITY)

68. WOODS

Bend Beyond

(WOODSIST)

67. CORNERSHOP

Urban Turban: The Singhles Club

(AMPLE PLAY)

66. GOAT

World Music

ROCKET)

65. NITE JEWEL

One Second Of Love

(SECRETLY CANADIAN)

64. ORBITAL

Wonky

(ACP RECORDINGS)

63. CALEXICO

Algiers

(CITY SLANG)

62. IAN HUNTER & THE RANT BAND

When I’m President

(PROPER)

61. THEE OH SEES

Putrifiers II

(IN THE RED)

60. THE LIMIÑANAS

Crystal Anis

(HOZAC)

59. FATHER JOHN MISTY

Fear Fun

(BELLA UNION)

58. DONALD FAGEN

Sunken Condos

(REPRISE)

57. DAVID BYRNE & ST VINCENT

Love This Giant

(4AD)

56. POND

Beard, Wives, Denim

(MODULAR)

55. THE 2 BEARS

Be Strong

(SOUTHERN FRIED)

54. YETI LANE

The Echo Show

(SONIC CATHEDRAL)

53. PiL

This Is PiL

(PiL OFFICIAL)

52. CATE LE BON

Cyrk

(TURNSTILE)

51. LANA DEL REY

Born To Die

(POLYDOR)

50. LAETITIA SADIER

Silencio

(DRAG CITY)

49. DAMON ALBARN

Dr Dee

(PARLOPHONE)

48. HOWLIN RAIN

The Russian Wilds

(AGITATED)

47. ANAIS MITCHELL

Young Man In America

(WILDERLAND)

46. CAT POWER

Sun

(MATADOR)

45. JAPANDROIDS

Celebration Rock

(POLYVINYL)

44. SUN ARAW & M GEDDES GENGRAS MEET CONGOS

Icon Give Thank

(RVNG INTL)

43. NEIL YOUNG & CRAZY HORSE

Americana

(REPRISE)

42. DIRTY PROJECTORS

Swing Lo Magellan

(DOMINO)

41. FLYING LOTUS

Until The Quiet Comes

(WARP)

40. FIRST AID KIT

The Lion’s Roar

(WICHITA)

39. DIRTY THREE

Toward The Low Sun

(BELLA UNION)

38. LIGHTSHIPS

Electric Cables

(GEOGRAPHIC)

37. PATTERSON HOOD

Heat Lightning Rumbles In The Distance

(PLAY IT AGAIN SAM)

36. SUN KIL MOON

Among The Leaves

(CALDO VERDE)

35. SIX ORGANS OF ADMITTANCE

Ascent

(DRAG CITY)

34. BOBBY WOMACK

The Bravest Man In The Universe

(XL)

33. MICACHU & THE SHAPES

Never

(ROUGH TRADE)

32. RICHARD HAWLEY

Standing At The Sky’s Edge

(MUTE)

31. HOT CHIP

In Our Heads

(DOMINO)

30. RY COODER

Election Special

(NONESUCH)

29. THE CHRIS ROBINSON BROTHERHOOD

Big Moon Ritual

(SILVER ARROW)

28. PAUL WELLER

Sonik Kicks

(ISLAND)

27. ALABAMA SHAKES

Boys & Girls

(ROUGH TRADE)

26. GRAHAM COXON

A+E

(PARLOPHONE)

25. PATTI SMITH

Banga

(COLUMBIA)

24. ALLAH-LAS

Allah-Las

(INNOVATIVE LEISURE)

23. JULIA HOLTER

Ekstasis

(RVNG INTL)

22. MARK LANEGAN BAND

Blues Funeral

(4AD)

21. THE BEACHWOOD SPARKS

The Tarnished Gold

(SUB POP)

20. THE XX

Coexist

(XL)

19. NENEH CHERRY AND THE THING

The Cherry Thing

(SMALLTOWN SUPERSOUND)

18. SHARON VAN ETTEN

Tramp

(JAGJAGUWAR)

17. GRIMES

Visions

(4AD)

16. THE TY SEGALL BAND

Slaughterhouse

(IN THE RED)

15. FIELD MUSIC

Plumb

(MEMPHIS INDUSTRIES)

14. PAUL BUCHANAN

Mid Air

(NEWSROOM)

13. DEXYS

One Day I’m Going to Soar

(BMG RIGHTS MANAGEMENT)

12. GO-KART MOZART

On The Hot Dog Streets

(WEST MIDLANDS)

11. TAME IMPALA

Lonerism

(MODULAR)

10. BRUCE SPRINGSTEEN

Wrecking Ball

(COLUMBIA)

9. NEIL YOUNG WITH CRAZY HORSE

Psychedelic Pill

(REPRISE)

8. GRIZZLY BEAR

Shields

(WARP)

7. TY SEGALL & WHITE FENCE

Hair

(DRAG CITY)

6. BILL FAY

Life Is People

(DEAD OCEANS)

5. FRANK OCEAN

Channel Orange

(ISLAND DEF JAM)

4. DR JOHN

Locked Down

(NONESUCH)

3. JACK WHITE

Blunderbuss

(THIRD MAN/XL)

2. BOB DYLAN

Tempest

(COLUMBIA)

1. LEONARD COHEN

Old Ideas

(COLUMBIA)

Jack White makes cameo appearance on ‘Portlandia’ – watch

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Jack White makes cameo appearance on ‘Portlandia’ – watch
Jack White has become the latest musician to make a guest cameo in US TV series Portlandia, the sitcom lampooning life in the alternative Oregon city. The former White Stripes and Raconeteurs frontman turned up in the special winter episode of the cult sitcom as himself. He appears in a dreamlike s...

Jack White has become the latest musician to make a guest cameo in US TV series Portlandia, the sitcom lampooning life in the alternative Oregon city.

The former White Stripes and Raconeteurs frontman turned up in the special winter episode of the cult sitcom as himself. He appears in a dreamlike sequence to Fred Armisen’s character, who has filled his Portland home with expensive vintage music recording equipment in the hope that a talented musician would record with him. Jack White does not speak in the scene but nods towards a second character to alert him he has shown up at the house.

White is the latest star to cameo in Portlandia, with Johnny Marr, Joanna Newsom, Robin Pecknold, James Mercer, Eddie Vedder, Zac Pennington, Rebecca Cole and Annie Clark all having appeared across the show’s two seasons.

Meanwhile, it was recently confirmed that Jack White has dropped out of scoring new Johnny Depp film The Lone Ranger and will be replaced by Hans Zimmer as White had to pull out due to a scheduling conflict. A statement, released by Disney, read: “Oscar winner Hans Zimmer, the musical mastermind behind Disney’s and Jerry Bruckheimer Films’ ,Pirates of the Caribbean, has signed on to compose the score for The Lone Ranger. Jack White, who had originally been contemplated to score and has contributed several pieces of music to the production, was logistically unavailable due to scheduling conflicts that arose when the film’s release moved to July of 2013.”

Scroll down to see Jack White appear in Portlandia.

Grizzly Bear post Christmas message to fans – watch

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Grizzly Bear post Christmas message to fans – watch
Grizzly Bear have posted a tongue-in-cheek Christmas video for fans – watch it by scrolling down. The clip operates as an advert-cum-incredibly low bugdget music video, featuring a range of stock images including prawn rings, tacos, tomatoes, wine glasses, card-playing dogs and more set to smoot...

Grizzly Bear have posted a tongue-in-cheek Christmas video for fans – watch it by scrolling down.

The clip operates as an advert-cum-incredibly low bugdget music video, featuring a range of stock images including prawn rings, tacos, tomatoes, wine glasses, card-playing dogs and more set to smooth jazz versions of album tracks arranged for solo piano, sax and operatic voice.

It begins with the written message: “This holiday season, give the gift the whole family will enjoy – ‘SHIELDS’. the band’s third album, Shields was released on released on Warp Recordings on September 17, 2012 in the UK and September 18 in the US.

Grizzly Bear’s Chris Taylor recently revealed he is writing a cookbook which he promises will be ‘seasonally relevant’ and inspired by his love of throwing dinner parties for friends – presumably with a round of applause between each course.

Meanwhile, Grizzly Bear recently raised the ire of British fans when they criticised the audience at their gig at The Sage, Gateshead. Taking to his personal Twitter to air his grievances, lead singer Ed Droste said: “FYI: we like it when people cheer between songs, during songs, yell shit, whatever. Please don’t be overly attentive for us. Thnx”.

A tweet from the band’s account then asked: “Why does our fan-base skew so much older in Europe than the US? So random. Good 10-15 year age difference”.

Sufjan Stevens – Silver And Gold: Songs For Christmas Vols. 6 – 10

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Sufjan Stevens – Silver And Gold: Songs For Christmas Vols. 6 – 10

A provocative musical advent calendar... Like the indie equivalent of the Queen’s Speech, beamed in from Brooklyn rather than Buck House, Sufjan Stevens’ seasonal message-in-music has become something of an institution. Silver And Gold is a companion to his 2006 Yuletide box-set Songs For Christmas Vols. 1-5, and collates the five Christmas EPs Stevens released annually between December 2006 and December 2010. In total there are 58 songs, ample indication that this project is much more than an extended joke. Stevens is a Christian who believes “we’ve made Christmas our bitch”, and this music, though frequently playful and dusted in silliness, ultimately has a serious, sincere purpose in attempting to divine meaning from the blizzard of confusing and contradictory signifiers – religion, consumerism, pop culture, family, magic, tawdry reality – which make it such a disorientating time of year. The intent is mirrored in the scope of the material, which encompasses secular 20th-century standards, ancient seasonal hymns, classical pieces and bespoke originals. Featured composers include John Dowland, Robert Burns, Janáček, Jerry Hermann, Joy Division, Bach and Sammy Cahn; collaborators include members of The National and Arcade Fire. There’s some latitude in the song selections – I’m not sure how Prince’s “Alphabet St” qualifies, but I’m glad it does – and times when Stevens’ seems to bend the concept towards a more general purpose. “Behold! The Birth Of Man, The Face Of Glory” and “Even The Earth Will Perish And The Universe Give Way” are not only archetypal Stevens song titles, but either could hold their own on Seven Swans or Illinois. As he ping-pongs between childlike wonder, solemn contemplation, comedy, devotion, pastiche, mysticism and plain nonsense we gain insights into both Stevens’ core creative concerns and his artistic evolution over the past few years. The earliest EP, “Gloria”, is the most folky and straightforwardly beautiful, featuring a handful of terrific collaborations with Aaron and Bryce Dessner from The National. The lilting “Carol Of St Benjamin The Bearded One” rather movingly recalls “the way he brushed his beard against the cedar tree”, while anyone who has ever wondered what constitutes a “Lumberjack Christmas” will find their answer. The second EP, “I Am Santa’s Helper”, deliberately goes to extremes, alternating between sacred classical works (including a glorious reading of 17th century German hymn “Ah Holy Jesus”) and increasingly skittish, deconstructed versions of the classics of the genre. Fancy hearing “Jingle Bells” restyled as a Pixies demo with a kids chorus? Or “We Wish You A Merry Christmas” featuring a drunken oompah band apparently playing underwater? Or “Hark The Herald Angels Sing” set to a backing track which appears to involve “Heroin” and “Baba O’Riley” colliding in the snow? Look no further. The later EPs, meanwhile, point towards the more experimental machine music of Stevens’ last album proper, 2010’s The Age Of Adz: “Good King Wenceslas” and “Do You Hear What I Hear?” celebrate Christmas Kanye style, all blippy electronics, crunched beats and vocoder-treated vocals. Woven amongst all this is a generous number of Stevens’ originals, not always notable but lovingly rendered. “Ding-A-Ring-A-Ling-A-Ring” (“Baby Jesus is a king-a-ling-a-ling-a-ling”) is a brilliantly sloppy T. Rex pastiche and the squelchy synth motif in “Angels We Have Heard On High” jauntily doffs its Santa hat to Macca’s “Wonderful Christmastime”, but there is poignancy, too, in “Christmas In The Room” – “it’s just the two of us this year” – and the bleached bad vibes of “Happy Karma Christmas”. The entire affair concludes, epically, with “Christmas Unicorn”, a kind of cosmic manifesto disguised as a children’s song which incorporates “Love Will Tear Us Apart” into its climax. Well, why not. Something for every conceivable Christmas, in other words, but even ignoring the tinsel trim Silver And Gold is another persuasive testament to Stevens’ multi-faceted talents. Inspired, frustrating, wayward, indulgent, funny, heartfelt and eclectic, taken in one sitting it’s far too much, like gorging on the most excessive turkey dinner with all the trimmings. In smaller doses, however, it’s more like a musical advent calendar, almost every song offering a fresh and sometimes provocative window on a well-worn theme. Graeme Thomson

A provocative musical advent calendar…

Like the indie equivalent of the Queen’s Speech, beamed in from Brooklyn rather than Buck House, Sufjan Stevens’ seasonal message-in-music has become something of an institution. Silver And Gold is a companion to his 2006 Yuletide box-set Songs For Christmas Vols. 1-5, and collates the five Christmas EPs Stevens released annually between December 2006 and December 2010.

In total there are 58 songs, ample indication that this project is much more than an extended joke. Stevens is a Christian who believes “we’ve made Christmas our bitch”, and this music, though frequently playful and dusted in silliness, ultimately has a serious, sincere purpose in attempting to divine meaning from the blizzard of confusing and contradictory signifiers – religion, consumerism, pop culture, family, magic, tawdry reality – which make it such a disorientating time of year.

The intent is mirrored in the scope of the material, which encompasses secular 20th-century standards, ancient seasonal hymns, classical pieces and bespoke originals. Featured composers include John Dowland, Robert Burns, Janáček, Jerry Hermann, Joy Division, Bach and Sammy Cahn; collaborators include members of The National and Arcade Fire. There’s some latitude in the song selections – I’m not sure how Prince’s “Alphabet St” qualifies, but I’m glad it does – and times when Stevens’ seems to bend the concept towards a more general purpose. “Behold! The Birth Of Man, The Face Of Glory” and “Even The Earth Will Perish And The Universe Give Way” are not only archetypal Stevens song titles, but either could hold their own on Seven Swans or Illinois.

As he ping-pongs between childlike wonder, solemn contemplation, comedy, devotion, pastiche, mysticism and plain nonsense we gain insights into both Stevens’ core creative concerns and his artistic evolution over the past few years. The earliest EP, “Gloria”, is the most folky and straightforwardly beautiful, featuring a handful of terrific collaborations with Aaron and Bryce Dessner from The National. The lilting “Carol Of St Benjamin The Bearded One” rather movingly recalls “the way he brushed his beard against the cedar tree”, while anyone who has ever wondered what constitutes a “Lumberjack Christmas” will find their answer.

The second EP, “I Am Santa’s Helper”, deliberately goes to extremes, alternating between sacred classical works (including a glorious reading of 17th century German hymn “Ah Holy Jesus”) and increasingly skittish, deconstructed versions of the classics of the genre. Fancy hearing “Jingle Bells” restyled as a Pixies demo with a kids chorus? Or “We Wish You A Merry Christmas” featuring a drunken oompah band apparently playing underwater? Or “Hark The Herald Angels Sing” set to a backing track which appears to involve “Heroin” and “Baba O’Riley” colliding in the snow? Look no further. The later EPs, meanwhile, point towards the more experimental machine music of Stevens’ last album proper, 2010’s The Age Of Adz: “Good King Wenceslas” and “Do You Hear What I Hear?” celebrate Christmas Kanye style, all blippy electronics, crunched beats and vocoder-treated vocals.

Woven amongst all this is a generous number of Stevens’ originals, not always notable but lovingly rendered. “Ding-A-Ring-A-Ling-A-Ring” (“Baby Jesus is a king-a-ling-a-ling-a-ling”) is a brilliantly sloppy T. Rex pastiche and the squelchy synth motif in “Angels We Have Heard On High” jauntily doffs its Santa hat to Macca’s “Wonderful Christmastime”, but there is poignancy, too, in “Christmas In The Room” – “it’s just the two of us this year” – and the bleached bad vibes of “Happy Karma Christmas”. The entire affair concludes, epically, with “Christmas Unicorn”, a kind of cosmic manifesto disguised as a children’s song which incorporates “Love Will Tear Us Apart” into its climax. Well, why not.

Something for every conceivable Christmas, in other words, but even ignoring the tinsel trim Silver And Gold is another persuasive testament to Stevens’ multi-faceted talents. Inspired, frustrating, wayward, indulgent, funny, heartfelt and eclectic, taken in one sitting it’s far too much, like gorging on the most excessive turkey dinner with all the trimmings. In smaller doses, however, it’s more like a musical advent calendar, almost every song offering a fresh and sometimes provocative window on a well-worn theme.

Graeme Thomson

A Little Bit Of Bruce For Christmas

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A Little Bit Of Bruce For Christmas

Here we are at the end of another year, finishing off our first issue of 2013 and looking forward to the Christmas break, which starts for us on Friday. We’re off then until January 2, when we will no doubt return refreshed to face the New Year. This is therefore the last newsletter for a couple of weeks, so I’ll take the opportunity now to thank you for all your support and enthusiasm over the last 12 months, which has been much appreciated by everyone at Uncut. We hope all our readers enjoy their own Christmas holidays and wish you all the best for the coming year. I also rather hope you are a bit further advanced with your Christmas shopping than me. I’m afraid as far as I’m concerned it’s going to be the usual last minute rush, a frantic couple of days of panic-buying, which will probably leave me so stressed I’ll spend the rest of the holiday in a white-lipped stupor, wishing as ever that I’d been a bit more organised and planned things better. If by any chance you are looking for a couple of last-minute gifts, you might want to check out a couple of new books that have recently come my way. Peter Ames Carlin’s Bruce, an impressive biography of Bruce Springsteen and the first in 25 years written with Springsteen’s cooperation. According to Carlin, he was already at work on his book when Springsteen’s manager, Jon Landau, called him, asked how things were going and offering any assistance Carlin might need. Springsteen then made himself available for interview, talked freely about just about everything, told Carlin he was free to write whatever he liked and made sure he had access to anyone he wanted to speak to from the E Street Band or his past, including his family, former band members and various old girlfriends, who weren’t always flattering about the Bruce they had known, to the extent they all knew they would never be as important to him as his music. It’s not clear why Springsteen afforded Carlin such hospitality, when two other recent biographies– Marc Dolan’s Bruce Springsteen And The Promise Of Rock’N’Roll and Clinton Heylin’s E Street Shuffle: The Glory days Of Bruce Springsteen And The E Street Band – had to be written from, as it were, a distance, with no direct input at all from Springsteen. Carlin has made the most of his opportunity. Even at its most gushing, the book is a recommended read. Talking of Bruce, by the way, did you see his turn with the Stones at their show last Saturday at the Prudential Centre in New Jersey, when he joined them for a rowdy version of “Tumbling Dice”? When Springsteen was making his name many years ago on the Jersey Shore scene, he may dreamed of one day sharing a stage with his musical heroes, among them, you’d have to presume, the Stones. And here he finally was, looking thrilled to the point of combustion. He looked like he couldn’t quite believe where he was and who he was playing with, but utterly thrilled to be there, as if all his dreams had come true at once, beaming like someone who’s just been given the keys to the kingdom. If his smile had got any bigger, it would have needed its own road crew. Also recommended is Stone Free, the third volume of Andrew Loog Oldham’s on-going memoirs, which is packed with amazing anecdotes and also a brilliant and illuminating meditation on the music business, especially as it took shape in the 60s that were Oldham’s heyday, and its legendary hustlers – including Allen Klein, Phil Spector, Albert Grossman, Don Arden and Malcolm McLaren. There’s also an astonishing chapter on a character, less well-known, named Adrian Miller, manager of a band called The Babys. On the strength of the only four good songs they ever wrote, they started a frenzied bidding war from labels who in several instances had never even heard the band play but felt compelled nevertheless to offer them millions. And of course there’s a final Christmas present option that you might want to think about, which is a subscription to Uncut. You can find full details of our current subscription offer on www.uncut.co.uk. Meanwhile, have a great holiday and see you on the other side. Bruce Springsteen and Keith Richards pic: Kevin Mazur/WireImage

Here we are at the end of another year, finishing off our first issue of 2013 and looking forward to the Christmas break, which starts for us on Friday. We’re off then until January 2, when we will no doubt return refreshed to face the New Year. This is therefore the last newsletter for a couple of weeks, so I’ll take the opportunity now to thank you for all your support and enthusiasm over the last 12 months, which has been much appreciated by everyone at Uncut. We hope all our readers enjoy their own Christmas holidays and wish you all the best for the coming year.

I also rather hope you are a bit further advanced with your Christmas shopping than me. I’m afraid as far as I’m concerned it’s going to be the usual last minute rush, a frantic couple of days of panic-buying, which will probably leave me so stressed I’ll spend the rest of the holiday in a white-lipped stupor, wishing as ever that I’d been a bit more organised and planned things better.

If by any chance you are looking for a couple of last-minute gifts, you might want to check out a couple of new books that have recently come my way. Peter Ames Carlin’s Bruce, an impressive biography of Bruce Springsteen and the first in 25 years written with Springsteen’s cooperation. According to Carlin, he was already at work on his book when Springsteen’s manager, Jon Landau, called him, asked how things were going and offering any assistance Carlin might need.

Springsteen then made himself available for interview, talked freely about just about everything, told Carlin he was free to write whatever he liked and made sure he had access to anyone he wanted to speak to from the E Street Band or his past, including his family, former band members and various old girlfriends, who weren’t always flattering about the Bruce they had known, to the extent they all knew they would never be as important to him as his music.

It’s not clear why Springsteen afforded Carlin such hospitality, when two other recent biographies– Marc Dolan’s Bruce Springsteen And The Promise Of Rock’N’Roll and Clinton Heylin’s E Street Shuffle: The Glory days Of Bruce Springsteen And The E Street Band – had to be written from, as it were, a distance, with no direct input at all from Springsteen. Carlin has made the most of his opportunity. Even at its most gushing, the book is a recommended read.

Talking of Bruce, by the way, did you see his turn with the Stones at their show last Saturday at the Prudential Centre in New Jersey, when he joined them for a rowdy version of “Tumbling Dice”? When Springsteen was making his name many years ago on the Jersey Shore scene, he may dreamed of one day sharing a stage with his musical heroes, among them, you’d have to presume, the Stones. And here he finally was, looking thrilled to the point of combustion. He looked like he couldn’t quite believe where he was and who he was playing with, but utterly thrilled to be there, as if all his dreams had come true at once, beaming like someone who’s just been given the keys to the kingdom. If his smile had got any bigger, it would have needed its own road crew.

Also recommended is Stone Free, the third volume of Andrew Loog Oldham’s on-going memoirs, which is packed with amazing anecdotes and also a brilliant and illuminating meditation on the music business, especially as it took shape in the 60s that were Oldham’s heyday, and its legendary hustlers – including Allen Klein, Phil Spector, Albert Grossman, Don Arden and Malcolm McLaren. There’s also an astonishing chapter on a character, less well-known, named Adrian Miller, manager of a band called The Babys. On the strength of the only four good songs they ever wrote, they started a frenzied bidding war from labels who in several instances had never even heard the band play but felt compelled nevertheless to offer them millions.

And of course there’s a final Christmas present option that you might want to think about, which is a subscription to Uncut. You can find full details of our current subscription offer on www.uncut.co.uk.

Meanwhile, have a great holiday and see you on the other side.

Bruce Springsteen and Keith Richards pic: Kevin Mazur/WireImage

Watch Bob Mould and Dave Grohl perform Hüsker Dü’s “Ice Cold Ice”

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Watch Bob Mould and Dave Grohl perform Hüsker Dü’s “Ice Cold Ice”
Bob Mould has revealed a clip of his band performing live with Dave Grohl as he seeks funds to launch a new career spanning documentary. Mould revealed the clip, which you can see at the bottom of the page, during an AmA (ask me anything) on Reddit. The performance is lifted from the frontman's new...

Bob Mould has revealed a clip of his band performing live with Dave Grohl as he seeks funds to launch a new career spanning documentary.

Mould revealed the clip, which you can see at the bottom of the page, during an AmA (ask me anything) on Reddit. The performance is lifted from the frontman’s new film See a Little Light: A Celebration Of The Music And Legacy Of Bob Mould which is currently seeking funds on Kickstarter. The film focuses on the November 2011 all-star concert hosted by Mould in Los Angeles at the Walt Disney Concert Hall. Ryan Adams, Spoon’s Britt Daniel, The Hold Steady’s Craig Finn, and No Age were amongst the musicians who paid tribute to Mould at the concert.

Talking about Dave Grohl on Reddit, Mould said the pair would work together, “As soon as he stops hanging around with that McCartney guy.” Adding: “I keep telling him Sir Paul is nothing but trouble! Seriously, any time Dave wants to make more music, I am in. He’s super busy with the Sound City movie, which I can’t wait to see.”

Dave Grohl is no stranger to films either and is currently promoting his Sound City documentary. A studio recording of ‘Cut Me Some Slack’, the song he recorded with Sir Paul McCartney and the remaining members of Nirvana for the film, was put online yesterday (Dec 17).

Bob Mould currently has £52,000 of the £58,000 he needs through Kickstarter to get his film released.

Scroll down to see the clip of Bob Mould and Dave Grohl perform Husker Du’s “Ice Cold Ice” together.

Patti Smith planning sequel to Just Kids book

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Patti Smith planning sequel to Just Kids book
Patti Smith has suggested she will release a new book next year, a sequel to her 2010 release Just Kids. Smith's first book focused on her relationship with Robert Mapplethorpe but claims that her second will be more "music based" and will include stories about her marriage to MC5 guitarist Fred Sm...

Patti Smith has suggested she will release a new book next year, a sequel to her 2010 release Just Kids.

Smith’s first book focused on her relationship with Robert Mapplethorpe but claims that her second will be more “music based” and will include stories about her marriage to MC5 guitarist Fred Smith. Speaking to Billboard about the book, which currently has no release date, Smith said: “I don’t have a big rock ‘n’ roll lifestyle, a sex, drugs and rock ‘n’ roll story to tell. I think I have maybe a better story. Through rock ‘n’ roll I traveled the world, worked with my late brother and, best of all, that’s how I met Fred. It changed my life in many unexpected ways, so I have my story to tell.”

There are also plans for Smith to release “I Ain’t Got Nobody”, the song she wrote for the season finale of Boardwalk Empire this year, in 2013.

“I’ve met Steve Buscemi, and Michael Pitt as well, who’s now departed. So I said I would do it, and I just sang it. I listened to the original versions and tried to integrate some knowledge of that period, when they didn’t sing so emotionally, but also put my own spin on it. I didn’t know where or when they would use it; it was really nice that they put it in a good spot,” says Smith.

Earlier this year Patti smith revealed she is adapting Just Kids into a film and that she would like Twilight actors Robert Pattinson and Kristen Stewart to take the lead roles.

The Gaslight Anthem reveal Pearl Jam inspiration on next record

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The Gaslight Anthem reveal Pearl Jam inspiration on next record
The Gaslight Anthem frontman Brian Fallon claims that Pearl Jam have inspired his band's plans for their next album. The New Jersey four-piece, who only recently released their fourth album Handwritten, already have ideas for their fifth LP according to frontman Brian Fallon. He told Rolling Stone:...

The Gaslight Anthem frontman Brian Fallon claims that Pearl Jam have inspired his band’s plans for their next album.

The New Jersey four-piece, who only recently released their fourth album Handwritten, already have ideas for their fifth LP according to frontman Brian Fallon. He told Rolling Stone: “I want to do the No Code record [Pearl Jam’s fourth album], that one. They did these three rock records, and [then] they all of a sudden went left turn. And everybody went, ‘What the hell?’ Then later, five years, they went, ‘This is amazing.'”

He added: “We’re searching for something new to do with songwriting, rather than just piecing together verses and choruses in more of a traditional sense. We’re looking for some other thing – not some other genre, but something else. And it might not be the favourite of everyone, but [it] might be the ‘weird’ album coming up. I’m pretty sure it is.”

The band recently paid tribute to their homestate of New Jersey in the video for their track “National Anthem“. The video – which you can watch below – shows images of the devastation which befell the East Coast of the United States, including New York, because of Hurricane Sandy.

Meanwhile, the band will play a UK tour in March 2013. They will play nine dates on the stretch kicking off on March 21 at the O2 Academy, Bristol, before heading up to Leeds, Glasgow and Manchester and finishing up at London’s Troxy.

The Gaslight Anthem will play:

O2 Academy Bristol (March 21)

O2 Academy Bristol (22)

O2 Academy Leeds (23)

O2 Academy Glasgow (24)

O2 Academy Glasgow (25)

Manchester, Academy (27, 28)

London, Troxy (29, 30)

Gil Scott-Heron – The Revolution Begins: The Flying Dutchman Masters

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Gil Scott-Heron – The Revolution Begins: The Flying Dutchman Masters

The two sides of Scott-Heron - his early work collected in all its trailblazing glory... When Gil Scott-Heron walked into a small New York studio in Summer 1970, he was an author, not a performer. The gangly 21-year-old had already published a novel and a book of poetry, and had to be persuaded to record a spoken-word album by his new record label Bob Thiele, the man who had overseen the making of Gil’s favourite record, A Love Supreme by John Coltrane. But, as he looked at the few people perched on folding chairs, invited into the studio to make the recording feel live, the prodigy launched into a poem that would change his life. The poem took the form of a list of things that Heron hated; banal icons of white culture and loathed political figures that dominated American television in the 1970’s. By the time Heron had finished reciting “The Revolution Will Not Be Televised”, he had unwittingly changed his life. He would no longer be seen as a writer, but a singer, voice of musical black radicalism, doomed junkie… and the man who invented rap. This three-disc reissue of everything Heron and his pianist partner Brian Jackson recorded on Thiele’s Flying Dutchman label would probably not exist if Heron hadn’t bid farewell to that world in May 2011. But for listeners who only know Heron through his final 2010 album I’m New Here, The Revolution Begins… will be a revelation. Not just because it features some great music and poetry, much of which still sounds acutely relevant. But because the man who slowly killed himself with drugs, spent two lengthy periods in prison, and never quite came to terms with his chaotic childhood, prodigious intellect and hatred of white power, is as present and defined and agonized here, in his early twenties, as he is on I’m New Here. Listen to “The Vulture”, or “Who’ll Pay Reparations On My Soul?”, or “Home Is Where The Hatred Is” and you can only come to the chilling conclusion that Gil Scott-Heron knew exactly where he was headed. Ace’s Dean Rudland has applied some neat ingenuity to the box set’s running order. Heron’s Flying Dutchman catalogue comprised three albums: the largely spoken-word debut Small Talk At 125th And Lenox, featuring Last Poets-influenced percussion backing; the full band debut Pieces Of A Man, a key text in the development of jazz-funk featuring Jackson’s subtle keyboards, the familiar, funked-up version of “The Revolution…”, and an extraordinary pick-up band including drummer Bernard ‘Pretty’ Purdie, bassist Ron Carter and flautist Hubert Laws; and the less admired Free Will, which featured one vinyl side of “Pieces…”-style song and one of “Small Talk…”-style poetry. Rudland resists the temptation to just run the albums together, and instead puts the songs onto disc one and the stark beat poetry on disc two. This works perfectly because the moods of Heron’s two early styles are so diametrically opposed. While disc one’s flute and keyboard-led smugglings of modal jazz motifs into pop and soul melodies are Sunday morning mellow, Heron’s radical politics and bracing anger are left undiluted on disc two, which, as it travels from the persuasive satire of “The Revolution…” and “Whitey On The Moon” to the disturbing misogyny and homophobia of “Enough”, “Wiggy” and “The Subject Was Faggots”, forms the core of Heron’s life, work and internalised rage. Like many black radicals of the era, the young Heron was no liberal, and the chasm between his more and less enlightened selves suggests a fractured psyche that proved difficult to live with. Disc three is given up to an ‘alternate’ version of the Free Will album comprised of outtakes, including a radically different, more chaotic version of the title track, while the big attraction for Heron completists is “Artificialness”, a failed but interesting attempt to satirise Vietnam by way of domestic violence recorded with Purdie’s band Pretty Purdie And The Playboys. But while disc one contains a handful of conscious jazz-funk anthems that formed a ready template for acid jazz and its right-on offshoots, its disc two that pins you to your seat with its savage wit and occasionally brutal nastiness. Gil Scott-Heron was always withering about rap when asked if he had, indeed, invented it. But the linguistic mastery, rhythmic reportage and liberal-baiting fury of his early slam poems remain guilty as charged. Just another cross the man had to bear. Garry Mulholland Q&A BRIAN JACKSON Do you still listen to the early records you and Gil made on Flying Dutchman? I do. I feel those records are some of our best work, if not our best performances. We were finding ourselves. Do you recall your first encounter with Gil? Sure! It was at Lincoln University, Pennsylvania in 1969. We ran into each other by accident through a mutual friend, Victor Brown. Victor was performing in a talent show and Gil sang the song that he had written for Victor – it was called “Where Can A Man Find Peace?” – and that pretty much did it for me. His lyrics were unbelievable. We heard what each other were doing and knew we’d be more effective together. Was Lincoln a hotbed of radicalism? Ha! No. I think that’s what fuelled us. The apathy and lack of consciousness we encountered there galvanized us. Did you feel, at the time, that music could effect political change? I was just naïve enough to think that it actually could. But we weren’t interested in inciting people to riot. Some of that early material may sound incendiary, but compared to what people were actually experiencing and feeling inside, it wasn’t. Were you still in touch with Gil when he died? Yes, though not as much as I would have liked to have been. To be honest, I was not shocked. What shocked me more was that he was able to live for so long under the condition he was in. I said goodbye to him long before he actually left the Earth. In some ways I was relieved for him. He was in a lot of pain. Are you still playing? I’ve just done a show at the London Jazz Festival as part of Jazz Funk Legends, a band I’ve put together with Lonnie Liston Smith and Mark Adams, who was Roy Ayers’ music director for many years. We’ll be coming back to Europe next Spring. INTERVIEW: GARRY MULHOLLAND Pic credit © Chuck Stewart

The two sides of Scott-Heron – his early work collected in all its trailblazing glory…

When Gil Scott-Heron walked into a small New York studio in Summer 1970, he was an author, not a performer. The gangly 21-year-old had already published a novel and a book of poetry, and had to be persuaded to record a spoken-word album by his new record label Bob Thiele, the man who had overseen the making of Gil’s favourite record, A Love Supreme by John Coltrane. But, as he looked at the few people perched on folding chairs, invited into the studio to make the recording feel live, the prodigy launched into a poem that would change his life. The poem took the form of a list of things that Heron hated; banal icons of white culture and loathed political figures that dominated American television in the 1970’s.

By the time Heron had finished reciting “The Revolution Will Not Be Televised”, he had unwittingly changed his life. He would no longer be seen as a writer, but a singer, voice of musical black radicalism, doomed junkie… and the man who invented rap. This three-disc reissue of everything Heron and his pianist partner Brian Jackson recorded on Thiele’s Flying Dutchman label would probably not exist if Heron hadn’t bid farewell to that world in May 2011. But for listeners who only know Heron through his final 2010 album I’m New Here, The Revolution Begins… will be a revelation. Not just because it features some great music and poetry, much of which still sounds acutely relevant. But because the man who slowly killed himself with drugs, spent two lengthy periods in prison, and never quite came to terms with his chaotic childhood, prodigious intellect and hatred of white power, is as present and defined and agonized here, in his early twenties, as he is on I’m New Here. Listen to “The Vulture”, or “Who’ll Pay Reparations On My Soul?”, or “Home Is Where The Hatred Is” and you can only come to the chilling conclusion that Gil Scott-Heron knew exactly where he was headed.

Ace’s Dean Rudland has applied some neat ingenuity to the box set’s running order. Heron’s Flying Dutchman catalogue comprised three albums: the largely spoken-word debut Small Talk At 125th And Lenox, featuring Last Poets-influenced percussion backing; the full band debut Pieces Of A Man, a key text in the development of jazz-funk featuring Jackson’s subtle keyboards, the familiar, funked-up version of “The Revolution…”, and an extraordinary pick-up band including drummer Bernard ‘Pretty’ Purdie, bassist Ron Carter and flautist Hubert Laws; and the less admired Free Will, which featured one vinyl side of “Pieces…”-style song and one of “Small Talk…”-style poetry. Rudland resists the temptation to just run the albums together, and instead puts the songs onto disc one and the stark beat poetry on disc two.

This works perfectly because the moods of Heron’s two early styles are so diametrically opposed. While disc one’s flute and keyboard-led smugglings of modal jazz motifs into pop and soul melodies are Sunday morning mellow, Heron’s radical politics and bracing anger are left undiluted on disc two, which, as it travels from the persuasive satire of “The Revolution…” and “Whitey On The Moon” to the disturbing misogyny and homophobia of “Enough”, “Wiggy” and “The Subject Was Faggots”, forms the core of Heron’s life, work and internalised rage. Like many black radicals of the era, the young Heron was no liberal, and the chasm between his more and less enlightened selves suggests a fractured psyche that proved difficult to live with.

Disc three is given up to an ‘alternate’ version of the Free Will album comprised of outtakes, including a radically different, more chaotic version of the title track, while the big attraction for Heron completists is “Artificialness”, a failed but interesting attempt to satirise Vietnam by way of domestic violence recorded with Purdie’s band Pretty Purdie And The Playboys. But while disc one contains a handful of conscious jazz-funk anthems that formed a ready template for acid jazz and its right-on offshoots, its disc two that pins you to your seat with its savage wit and occasionally brutal nastiness.

Gil Scott-Heron was always withering about rap when asked if he had, indeed, invented it. But the linguistic mastery, rhythmic reportage and liberal-baiting fury of his early slam poems remain guilty as charged. Just another cross the man had to bear.

Garry Mulholland

Q&A

BRIAN JACKSON

Do you still listen to the early records you and Gil made on Flying Dutchman?

I do. I feel those records are some of our best work, if not our best performances. We were finding ourselves.

Do you recall your first encounter with Gil?

Sure! It was at Lincoln University, Pennsylvania in 1969. We ran into each other by accident through a mutual friend, Victor Brown. Victor was performing in a talent show and Gil sang the song that he had written for Victor – it was called “Where Can A Man Find Peace?” – and that pretty much did it for me. His lyrics were unbelievable. We heard what each other were doing and knew we’d be more effective together. Was Lincoln a hotbed of radicalism? Ha! No. I think that’s what fuelled us. The apathy and lack of consciousness we encountered there galvanized us.

Did you feel, at the time, that music could effect political change?

I was just naïve enough to think that it actually could. But we weren’t interested in inciting people to riot. Some of that early material may sound incendiary, but compared to what people were actually experiencing and feeling inside, it wasn’t.

Were you still in touch with Gil when he died?

Yes, though not as much as I would have liked to have been. To be honest, I was not shocked. What shocked me more was that he was able to live for so long under the condition he was in. I said goodbye to him long before he actually left the Earth. In some ways I was relieved for him. He was in a lot of pain.

Are you still playing?

I’ve just done a show at the London Jazz Festival as part of Jazz Funk Legends, a band I’ve put together with Lonnie Liston Smith and Mark Adams, who was Roy Ayers’ music director for many years. We’ll be coming back to Europe next Spring.

INTERVIEW: GARRY MULHOLLAND

Pic credit © Chuck Stewart

The Flaming Lips preview ‘Freak Night’ concert film – watch

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The Flaming Lips preview ‘Freak Night’ concert film – watch
The Flaming Lips have put a preview of their upcoming concert film online – you can watch it at the bottom of this page. The film, titled Freak Night, chronicles the legendary psychedelic band's free concert in Oklahoma City on October 26, and is reportedly available via the band's website next w...

The Flaming Lips have put a preview of their upcoming concert film online – you can watch it at the bottom of this page.

The film, titled Freak Night, chronicles the legendary psychedelic band’s free concert in Oklahoma City on October 26, and is reportedly available via the band’s website next week. No release date has been officially announced.

Tweeting stills from the concert movie, frontman Wayne Coyne wrote: “Freaky shit from Freak Night!!!Comes out next week motherfuckers!! Halloween for Christmas!!”

The preview clip shows the band introducing themselves at the beginning of their free concert, which was held in the Oklahoma City Zoo Amphitheatre, and Wayne Coyne venturing into the crowd in his trademark hamster ball.

Last month, Wayne Coyne found himself at the centre of a bomb scare. The singer was stopped at Will Rogers airport in Oklahoma City on November 10, after a dead grenade in his hand luggage set off alarms at a TSA checkpoint.

Wayne was on his way to Los Angeles to catch a preview of the new Flaming Lips musical Yoshimi Battles The Pink Robots, and told police that the grenade was given to him at a party as a joke. Coyne was released once the TSA found that the grenade was harmless. Several flights were delayed as a result.

Coyne recently revealed that their new the album was inspired by band member Steven Drozd when he was in the middle of a serious drug addiction, from which he has now recovered. Coyne added: “It was probably the worst time of his life. I knew he was really, really struggling. He was in a bad way.”

Paul McCartney teams up with Nirvana members again for ‘Saturday Night Live’

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Paul McCartney teams up with Nirvana members again for ‘Saturday Night Live’
Paul McCartney teamed up again with surviving Nirvana members Dave Grohl and Krist Novoselic on Saturday Night Live last weekend [December 16]. The singer had previously performed with the grunge icons at the 12-12-12: Concert For Sandy Relief earlier this week to play their collaboration "Cut Me S...

Paul McCartney teamed up again with surviving Nirvana members Dave Grohl and Krist Novoselic on Saturday Night Live last weekend [December 16].

The singer had previously performed with the grunge icons at the 12-12-12: Concert For Sandy Relief earlier this week to play their collaboration “Cut Me Some Slack”, which will feature on the soundtrack to Grohl’s forthcoming documentary Sound City.

The trio were joined by guitarist Pat Smear to play the track again on the US TV show, while McCartney also teamed up with Eagles guitarist Joe Walsh for a rendition of “My Valentine”.

The full details of the Sound City soundtrack were revealed earlier this week. Titled Sound City – Real To Reel, it will also feature collaborations between Grohl and Stevie Nicks of Fleetwood Mac – on “You Can’t Fix This” – and between Grohl, Queens Of The Stone Age frontman Joshua Homme and Nine Inch Nails man Trent Reznor, who team up on a song called “Mantra”.

The soundtrack also features appearances from Peter Hayes and Robert Levon Been of Black Rebel Motorcycle Club, Taylor Hawkins of Foo Fighters and Queens Of The Stone Age associate Alain Johannes.

The film marks Grohl’s directorial debut and tells the story of the legendary California recording studio where classics such as Fleetwood Mac’s Rumours and Nirvana’s Nevermind were recorded. It will be shown at the US film festival which runs from January 17-27, 2013.

The Sound City – Real To Reel tracklisting is:

Dave Grohl, Peter Hayes, and Robert Levon Been – ‘Heaven and All’

Brad Wilk, Chris Goss, Dave Grohl, and Tim Commerford – ‘Time Slowing Down’

Dave Grohl, Rami Jaffee, Stevie Nicks, and Taylor Hawkins – ‘You Can’t Fix This’

Dave Grohl, Nate Mendel, Pat Smear, Rick Springfield, and Taylor Hawkins – ‘The Man That Never Was’

Alain Johannes, Dave Grohl, Lee Ving, Pat Smear, and Taylor Hawkins – ‘Your Wife Is Calling’

Corey Taylor, Dave Grohl, Rick Nielsen, and Scott Reeder – ‘From Can to Can’t’

Alain Johannes, Chris Goss, Dave Grohl, and Joshua Homme – ‘Centipede’

Alain Johannes, Dave Grohl, and Joshua Homme: “A Trick With No Sleeve’

Paul McCartney, Dave Grohl, Krist Novoselic, and Pat Smear – ‘Cut Me Some Slack”

Dave Grohl, Jessy Greene, Jim Keltner, and Rami Jaffee – ‘Once Upon a Time… The End’

Dave Grohl, Joshua Homme, and Trent Reznor – ‘Mantra’

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