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The 17th Uncut Playlist Of 2012

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One of a bunch of interesting Record Store Day exclusives just turned up for this week’s playlist; a lovely EP from Bonnie ‘Prince’ Billy that involves Jonathan Wilson in some capacity, and features covers of Leon Russell and Merle Haggard. A friend just emailed to say it had made him rethink his long-held antipathy towards Will Oldham, and wondered what he should play next. I sent him a long list of recommendations, and found myself inevitably turning to my favourite Oldham record, as you’ll see below. If you fancy helping him out, leave your suggestions in the Facebook comments box. As luck would have it, anyway, an unusually revealing interview with Will Oldham is one of the highlights of a very packed new issue of Uncut, out today or thereabouts in the UK. Dexys are on the cover, and it also features Paul McCartney, Tom Petty, John Lydon, Bob Seger, Peter Hook, Bruce Springsteen, Pulp, Kevin Shields, a great piece on “Nuggets”, Sharon Van Etten, Afghan Whigs, Beachwood Sparks and something by me on Damon Albarn’s “Dr Dee”. Let me know how it all reads, if you have a chance. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Ty Segall & White Fence – Hair (Drag City) 2 Birds Of Maya – Ready To Howl (Richie/Testoster Tunes) 3 Arnaldo Antunes/Edgard Scandurra/Toumani Diabaté – A Curva Da Cintura (Mais Um Discos) 4 Neil Young & Crazy Horse – Americana (Reprise) 5 Pat Murano & Tom Carter – Natch 4 (http://natchmusic.tumblr.com/) 6 Ty Segall Band – Slaughterhouse (In The Red) 7 The Silver Jews – Early Times 1990-91 (Drag City) 8 The Chris Robinson Brotherhood – Big Moon Ritual (Silver Arrow) 9 C Joynes – Congo (Bo'Weavil) 10 Andre Williams & The Sadies – Night And Day (Yep Roc) 11 Hot Chip – In Our Heads (Domino) 12 Bobby Womack – The Bravest Man In The Universe (XL) 13 Spacin’ – Deep Thuds (Testoster Tunes/Richie) 14 Can – The Lost Tapes (Mute) 15 Animal Collective – Transverse Temporal Gyrus (Domino) 16 Flaming Lips - The Flaming Lips & Heady Fwends (Warner Bros) 17 Hans-Joachim Roedelius – Wie Das Wispern Des Windes (Bureau B) 18 Bonnie Prince Billy – Hummingbird EP (Spiritual Pajamas) 19 Palace – West Palm Beach/Gulf Shores (Drag City) 20 Alabama Shakes – Boys & Girls (Rough Trade)

One of a bunch of interesting Record Store Day exclusives just turned up for this week’s playlist; a lovely EP from Bonnie ‘Prince’ Billy that involves Jonathan Wilson in some capacity, and features covers of Leon Russell and Merle Haggard.

A friend just emailed to say it had made him rethink his long-held antipathy towards Will Oldham, and wondered what he should play next. I sent him a long list of recommendations, and found myself inevitably turning to my favourite Oldham record, as you’ll see below. If you fancy helping him out, leave your suggestions in the Facebook comments box.

As luck would have it, anyway, an unusually revealing interview with Will Oldham is one of the highlights of a very packed new issue of Uncut, out today or thereabouts in the UK. Dexys are on the cover, and it also features Paul McCartney, Tom Petty, John Lydon, Bob Seger, Peter Hook, Bruce Springsteen, Pulp, Kevin Shields, a great piece on “Nuggets”, Sharon Van Etten, Afghan Whigs, Beachwood Sparks and something by me on Damon Albarn’s “Dr Dee”. Let me know how it all reads, if you have a chance.

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

1 Ty Segall & White Fence – Hair (Drag City)

2 Birds Of Maya – Ready To Howl (Richie/Testoster Tunes)

3 Arnaldo Antunes/Edgard Scandurra/Toumani Diabaté – A Curva Da Cintura (Mais Um Discos)

4 Neil Young & Crazy Horse – Americana (Reprise)

5 Pat Murano & Tom Carter – Natch 4 (http://natchmusic.tumblr.com/)

6 Ty Segall Band – Slaughterhouse (In The Red)

7 The Silver Jews – Early Times 1990-91 (Drag City)

8 The Chris Robinson Brotherhood – Big Moon Ritual (Silver Arrow)

9 C Joynes – Congo (Bo’Weavil)

10 Andre Williams & The Sadies – Night And Day (Yep Roc)

11 Hot Chip – In Our Heads (Domino)

12 Bobby Womack – The Bravest Man In The Universe (XL)

13 Spacin’ – Deep Thuds (Testoster Tunes/Richie)

14 Can – The Lost Tapes (Mute)

15 Animal Collective – Transverse Temporal Gyrus (Domino)

16 Flaming Lips – The Flaming Lips & Heady Fwends (Warner Bros)

17 Hans-Joachim Roedelius – Wie Das Wispern Des Windes (Bureau B)

18 Bonnie Prince Billy – Hummingbird EP (Spiritual Pajamas)

19 Palace – West Palm Beach/Gulf Shores (Drag City)

20 Alabama Shakes – Boys & Girls (Rough Trade)

Damon Albarn: “Blur and Gorillaz aren’t finished”

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Damon Albarn has denied that he is finished with both Blur and Gorillaz. The singer was recently quoted as saying that it is "unlikely" that there will be any more new material from Gorillaz and that Blur's Hyde Park gig on August 7 might be the band's final show. However, speaking to the Metro, A...

Damon Albarn has denied that he is finished with both Blur and Gorillaz.

The singer was recently quoted as saying that it is “unlikely” that there will be any more new material from Gorillaz and that Blur’s Hyde Park gig on August 7 might be the band’s final show.

However, speaking to the Metro, Albarn denied this and said that he and his bandmates had not discussed “the beginning or the end” of Blur.

Asked if Hyde Park would be Blur’s last show, Albarn said: “No. That comes from an article which was an interesting take on a very long conversation. I don’t know how we’ll feel when we play Hyde Park. Some days I feel one way and other days I feel the other. If you don’t see something as a career but as an important part of your life, you don’t know how you’re going to feel about it. We want to put on a great performance but nothing’s been said between us about the beginning or the end.”

Then asked if Gorillaz was finished as a project, Albarn also denied this, adding that when he and partner Jamie Hewlett reconciled after their recent fallout, they’d make another album.

He said of this: “When Jamie Hewlett and I have worked out our differences, I’m sure we’ll make another record. We’ve been through too much together for it to be that big of a mountain to climb. We’ve just fallen out like mates do sometimes. I’m not the only person to fall out with mates and then make up again – everyone does it.”

Albarn also said he was really looking forward to the band’s show at Hyde Park. He added: “Very much so. I love playing with Blur – it’s one of the best feelings I’ve ever had. At the same time, though, I don’t want to cock it all up by staying around too long and making a fool of myself. At 44, there’s a little trepidation about jumping around on stage but I love it.”

Blur are also embarking on a comprehensive reissue campaign this summer. All seven of the band’s studio albums will be re-released on July 30 in expanded Special Edition formats, each featuring a bonus disc of previously unreleased material, booklets, and more.

Ray Davies and The Waterboys for new festival

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Ray Davies, The Waterboys, Nick Lowe and Seasick Steve have been confirmed to play the new Westport Festival of Music and Performing Arts in County Mayo, Ireland. Running on Saturday, June 23 and Sunday June 24, the festival line-up also includes Lloyd Cole, Marc Almond and Hothouse Flowers. More ...

Ray Davies, The Waterboys, Nick Lowe and Seasick Steve have been confirmed to play the new Westport Festival of Music and Performing Arts in County Mayo, Ireland.

Running on Saturday, June 23 and Sunday June 24, the festival line-up also includes Lloyd Cole, Marc Almond and Hothouse Flowers.

More information about the Westport festival can be found at westportfestival.com.

Davies will also join Bob Dylan, Patti Smith and Suede at this year’s Hop Farm festival, which takes place in Paddock Wood in Kent from June 29 – July 1.

For more information visit www.hopfarmfestival.com. More acts will be confirmed in the coming weeks.

Beach Boys unveil clip of new single ‘That’s Why God Made the Radio’ – video

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The Beach Boys have unveiled a clip of "That's Why God Made the Radio", the first single from their new album, which is due in June. The band are soon to embark on a world tour to celebrate their 50th anniversary this summer with founding members Brian Wilson, Mike Love and Al Jardine all involved....

The Beach Boys have unveiled a clip of “That’s Why God Made the Radio”, the first single from their new album, which is due in June.

The band are soon to embark on a world tour to celebrate their 50th anniversary this summer with founding members Brian Wilson, Mike Love and Al Jardine all involved. Yesterday, Brian Johnston announced that the band would also release an album to coincide with the tour on June 5.

“It’s a sentimental thing for me,” says Brian Wilson in the clip which you can watch below. “We’ve been together 50 years – that’s a long time.” Mike Love adds: “Conceptually, the album is not going to be anything outlandish or silly, like ‘Smiley Smile’. It will be like the Beach Boys circa ’65. I’m trying to write lyrics that fit the music without making it sound like you’re writing from a hospice.”

Jack White to write sountrack for new Johnny Depp film

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Jack White will write, produce and perform the soundtrack to the new adaptation of The Lone Ranger, the film's producer has said. The project will be White's first film soundtrack, following the release of his solo album Blunderbluss on Monday. "Jack's an amazing songwriter with a unique style," p...

Jack White will write, produce and perform the soundtrack to the new adaptation of The Lone Ranger, the film’s producer has said.

The project will be White’s first film soundtrack, following the release of his solo album Blunderbluss on Monday.

“Jack’s an amazing songwriter with a unique style,” producer Jerry Bruckheimer told Variety. “We’re all very excited to have him on board.”

Starring Johnny Depp and Armie Hammer, The Lone Ranger tells the story of a masked crime-fighter (played by Hammer) and his sidekick Tonto (played by Depp). It is based on the popular television series from the 1950s.

Johnny Depp is said to be “thrilled” that White will write the soundtrack.

The former White Stripes frontman had a small role in the 2003 film Cold Mountain, penning several songs for the soundtrack and singing traditional American folk songs such as “Wayfaring Stranger”. He also co-wrote and performed the song ‘Another Way to Die’ with Alicia Keys for the James Bond film Quantum Of Solace.

Jack White played his first solo UK show this week [April 23].

White is set to return in June for more UK gigs, including a set at Radio 1’s Hackney Weekend event in London on June 23.

Tom Petty: ‘I’m a ridiculous control freak’

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Tom Petty reveals a darker side to himself in the new issue of Uncut, out on Thursday, April 26. The singer-songwriter, who has been backed by the Heartbreakers for decades, looks back over his career in this all-new interview, and even compares himself to KFC’s Colonel Sanders. “I admit it. I’m a ridiculous control freak,” he reveals. “The hardest thing to control is myself, and I’m working on that.” Petty, who plays London’s Royal Albert Hall on June 18 and 20, and the Isle Of Wight Festival on June 22, also explains why he usually gets his own way in the Heartbreakers. “If we’re KFC, I’m the Colonel on the bucket. This whole thing has my name on it, and ultimately I’m responsible.” Read the full interview in the new issue of Uncut, which hits shops on Thursday, April 26.

Tom Petty reveals a darker side to himself in the new issue of Uncut, out on Thursday, April 26.

The singer-songwriter, who has been backed by the Heartbreakers for decades, looks back over his career in this all-new interview, and even compares himself to KFC’s Colonel Sanders.

“I admit it. I’m a ridiculous control freak,” he reveals. “The hardest thing to control is myself, and I’m working on that.”

Petty, who plays London’s Royal Albert Hall on June 18 and 20, and the Isle Of Wight Festival on June 22, also explains why he usually gets his own way in the Heartbreakers.

“If we’re KFC, I’m the Colonel on the bucket. This whole thing has my name on it, and ultimately I’m responsible.”

Read the full interview in the new issue of Uncut, which hits shops on Thursday, April 26.

“Very unwell” Sinead O’Connor cancels all touring plans for 2012

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Sinead O'Connor has cancelled all her planned tour dates for the remainder of 2012 after revealing that she is "very unwell". O'Connor, who suffers from bipolar disorder, posted a message via fan website Sinead-Oconnor.com which said that she had suffered a "very serious breakdown" between December...

Sinead O’Connor has cancelled all her planned tour dates for the remainder of 2012 after revealing that she is “very unwell”.

O’Connor, who suffers from bipolar disorder, posted a message via fan website Sinead-Oconnor.com which said that she had suffered a “very serious breakdown” between December 2011 and March of this year and would not be touring for the rest of 2012.

She also said she was advised by her doctors not to tour in support of her new album How About I Be Me (And You Be You)?, but went ahead anyway, a decision she now regrets.

She wrote: “With enormous regret I must announce that I have to cancel all touring for the year as am very unwell due to bipolar disorder. As you all know I had a very serious breakdown between December and March and I had been advised by my doctor not to go on tour but didn’t want to ‘fail’ or let anyone down as the tour was already booked to coincide with album release.”

She continued: “So very stupidly I ignored his advice to my great detriment, attempting to be stronger than I actually am. I apologise sincerely for any difficulties this may cause. While touring will be cancelled I do hope and plan to appear at the Curtis Mayfield tribute in The Lincoln Centre in July.”

O’Connor has endured a difficult year, admitting in January that she took an overdose days before issuing her cry for help on Twitter.

‘How About I Be Me (And You Be You)?’ was released in February and is the ninth studio album of O’Connor’s career.

New Order, Primal Scream, Spiritualized to play Festival Number 6

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New Order, Primal Scream and Spiritualized are all confirmed to play a new festival named Festival Number 6 in September. The event will take place in the town of Portmeirion in North West Wales from September 14 – 16. It takes its name from the 1960s TV series The Prisoner, which was filmed in t...

New Order, Primal Scream and Spiritualized are all confirmed to play a new festival named Festival Number 6 in September.

The event will take place in the town of Portmeirion in North West Wales from September 14 – 16. It takes its name from the 1960s TV series The Prisoner, which was filmed in the town from 1967 – 1968.

Festival Number 6 is a newly launched event and is being put on by the promoters of Beach Break Live, Snowbombing and Lounge On The Farm festival.

As well as performances from Primal Scream, New Order and Spiritualized, the event also promises to offer punters arts installations and “surreal street theatre”. For more information about the event, visit Festivalnumber6.com.

Beach Boys to release “brand new” album in June

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The Beach Boys are set to release an album comprising all-new material in June, according to band member Bruce Johnston. The band are reuniting for an extensive world tour to celebrate their 50th anniversary this summer, with founding members Brian Wilson, Mike Love and Al Jardine all involved. No...

The Beach Boys are set to release an album comprising all-new material in June, according to band member Bruce Johnston.

The band are reuniting for an extensive world tour to celebrate their 50th anniversary this summer, with founding members Brian Wilson, Mike Love and Al Jardine all involved.

Now speaking to Billboard.com, Johnson has said the band are planning to release a new album to coincide with the jaunt on June 5, with Wilson contributing a large portion of the material. The album’s first single is set to be “That’s Why God Made The Radio“.

Johnson commented: “It’s all brand new,” before adding: “There’s a lot of what you’d hope to hear from Brian [Wilson] on there. It’s not a quilt or a pot luck dinner, it’s not like, ‘OK, everybody show up with your songs.’ It’s not one of those kind of albums.”

He added: “There’s a lot of Brian in there, and Mike [Love]. It’s just nice to know there is a Mike Love and a Brian Wilson still around to write together.”

Johnston, who first joined the Beach Boys in 1965, said he has a new song in contention for inclusion on the album, ‘She Believes In Love’, which dates back to the 1980s. “I took it from a recording we made of it in ’85 and just stripped it down and softened it up and finally got it right. I have no idea if it’s going in or not. The label picks the songs, not me,” he commented.

Johnson added that the band’s reunion tour will be a one-off, rather than a permanent arrangement. The jaunt kicks off in Arizona in July before taking in dates across Europe and finishing up in Japan.

Dexys, Paul McCartney, Tom Petty, John Lydon, Neil Young in new Uncut

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The new Uncut is on sale from Thursday, and we’re blushingly pleased with it. Dexys are on the cover, and we have an exclusive interview with Kevin Rowland in advance of their keenly-awaited comeback album, the astonishing One Day I’m Going To Soar. I know a lot of people who still had hair when Dexys released their last album, so it’s been a while – a quite unbelievable 27 years, in fact. This is a long time to keep your fans waiting for a new record, unless you’re dead or Sting, who can take as long as he likes to put out another record and in a perfect world actually won’t release anything new in my lifetime or yours. Anyway, in a brilliant interview with Stephen Trousse, Kevin looks back with what you can only describe as candid honesty at a career correctly described “as one of the most strange and gripping as any in British rock history, involving addiction, theft, international No 1s and penury” and also, let’s not forget, includes some of the greatest music of the last 30-odd years. Admittedly, there’s not that much of it – Searching For The Young Soul Rebels, Too-Rye-Ay and Don’t Stand Me Down by Dexys Midnight Runners, Kevin’s two solo albums, The Wanderer and My Beauty, and now the glorious One Day I’m Going To Soar – but nigh on every minute of it is something as a fan you will have cherished. There’s also a preview in the new issue of Neil Young’s Americana, a new album on which in the company of a reunited Crazy Horse, he attacks the Great American Folk Songbook with typically grizzled gusto with rampaging versions of campfire favourites of yore like “My Darling Clementine”, “Tom Dula”, “Jesus’ Chariot (She’ll Be Coming Round The Mountain)” and “Oh, Susannah” (which took me back to The Byrds’ version on Turn! Turn! Turn!). Elsewhere, we are at home in Malibu with Tom Petty, Paul McCartney recalls the trauma of recording of Ram in the grim aftermath of The Beatles’ messy break-up and the legal strife that duly followed, Lenny Kaye looks back at Nuggets, his legendary compilation of 60s’ garage rock and John Lydon is at hand to deliver some typically rasping opinions on this and also that. Also appearing in the issue are Bonnie ‘Prince’ Billy, Nick Cave, Bob Seger, Peter Hook, Greg Dulli, Sharon Van Etten and The Adverts, while a packed reviews section includes the definitive word on new albums by Damon Albarn, PiL, Father John Misty, Richard Hawley, Paul Buchanan, Beach House. Our recently-introduced Archive section, meanwhile, features reissues from My Bloody Valentine, The Small Faces, Billy Bragg & Wilco and a 4CD box set dedicated to the great Vanguard label. For this month’s free CD, I’ve put together Americana 2012, which pulls together 15 brilliant new tracks of Cosmic American Music, and includes tracks from new albums by Dr John, Beachwood Sparks, Father John Misty, Spain, Deer Tick, Hans Chew and new favourites The Deep Dark Woods and Sons Of Bill. Anyway, have a good week, enjoy the issue when you get it and let me know if you have a moment what you think of it. You can reach me at the usual address: allan_jones@ipcmedia.com. Allan

The new Uncut is on sale from Thursday, and we’re blushingly pleased with it. Dexys are on the cover, and we have an exclusive interview with Kevin Rowland in advance of their keenly-awaited comeback album, the astonishing One Day I’m Going To Soar.

I know a lot of people who still had hair when Dexys released their last album, so it’s been a while – a quite unbelievable 27 years, in fact. This is a long time to keep your fans waiting for a new record, unless you’re dead or Sting, who can take as long as he likes to put out another record and in a perfect world actually won’t release anything new in my lifetime or yours.

Anyway, in a brilliant interview with Stephen Trousse, Kevin looks back with what you can only describe as candid honesty at a career correctly described “as one of the most strange and gripping as any in British rock history, involving addiction, theft, international No 1s and penury” and also, let’s not forget, includes some of the greatest music of the last 30-odd years.

Admittedly, there’s not that much of it – Searching For The Young Soul Rebels, Too-Rye-Ay and Don’t Stand Me Down by Dexys Midnight Runners, Kevin’s two solo albums, The Wanderer and My Beauty, and now the glorious One Day I’m Going To Soar – but nigh on every minute of it is something as a fan you will have cherished.

There’s also a preview in the new issue of Neil Young’s Americana, a new album on which in the company of a reunited Crazy Horse, he attacks the Great American Folk Songbook with typically grizzled gusto with rampaging versions of campfire favourites of yore like “My Darling Clementine”, “Tom Dula”, “Jesus’ Chariot (She’ll Be Coming Round The Mountain)” and “Oh, Susannah” (which took me back to The Byrds’ version on Turn! Turn! Turn!).

Elsewhere, we are at home in Malibu with Tom Petty, Paul McCartney recalls the trauma of recording of Ram in the grim aftermath of The Beatles’ messy break-up and the legal strife that duly followed, Lenny Kaye looks back at Nuggets, his legendary compilation of 60s’ garage rock and John Lydon is at hand to deliver some typically rasping opinions on this and also that.

Also appearing in the issue are Bonnie ‘Prince’ Billy, Nick Cave, Bob Seger, Peter Hook, Greg Dulli, Sharon Van Etten and The Adverts, while a packed reviews section includes the definitive word on new albums by Damon Albarn, PiL, Father John Misty, Richard Hawley, Paul Buchanan, Beach House. Our recently-introduced Archive section, meanwhile, features reissues from My Bloody Valentine, The Small Faces, Billy Bragg & Wilco and a 4CD box set dedicated to the great Vanguard label.

For this month’s free CD, I’ve put together Americana 2012, which pulls together 15 brilliant new tracks of Cosmic American Music, and includes tracks from new albums by Dr John, Beachwood Sparks, Father John Misty, Spain, Deer Tick, Hans Chew and new favourites The Deep Dark Woods and Sons Of Bill.

Anyway, have a good week, enjoy the issue when you get it and let me know if you have a moment what you think of it. You can reach me at the usual address: allan_jones@ipcmedia.com.

Allan

Dave Alvin & The Guilty Ones, London Jazz Café, April 20, 2012

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When he first toured the UK with The Blasters, in 1981 or thereabouts, Dave Alvin was a swaggering young yahoo in rockabilly duds with a 50s quiff, attitude to spare and the unblemished good looks of someone still fairly new to what the rest of his life would become, the bulk of it since spent mostly on the road, playing whatever bar, club, juke joint, tavern, theatre, festival, hootenanny or hoe-down that would have him. He certainly has the appearance nearly 30 years after The Blasters last played the UK of someone who’s done his share of hard travelling. Last Friday at a rare London show at Camden’s Jazz Café he looked beneath his Stetson not unlike the weather-beaten Robert Duvall of Open Range, a veteran saddle-tramp, leathery and laconic, more than a bit like the music he played, which was roughly the equivalent of the kind of roadhouse blues that occupies so much of Dylan’s set lists these days. He’s just going on when I get there, playing a ghostly version of the traditional “Blackjack David”, title track also of his outstanding 1998 album, and listening to it’s like watching something from the early days of photography slowly developing, already sepia-tinged and reminiscent therefore of faraway times and the people who lived in them, now gone. This is apt, because there are ghosts aplenty haunting a lot of the songs Alvin plays tonight. Part of his current mission, it sometimes seems, is to honour through his music the memories of the people who helped shape it. These include close friends and former band members, like Amy Farris, formerly the fantastic fiddle player in Dave’s band The Guilty Women, who died in 2009, and Chris Gaffney, a longstanding member of Alvin’s previous touring band, The Guilty Men, who died a year earlier. Farris is recalled in the achingly beautiful cantina requiem, “Black Rose Of Texas”, whose last verse tonight consists of not much more than Alvin’s hushed voice, a few guitar notes and a host of memories, the song somehow suspended in these last minutes, before the band reintroduce themselves for an elegant coda. Gaffney, meanwhile, is celebrated on the blistering Bo Diddley blues of “Run Conejo Run”, a highlight also of Alvin’s most recent album, last year’s terrific Eleven Eleven. Elsewhere the spectre of the dying Hank Williams is called up on the old Blasters’ number, “Long White Cadillac”, while Big Joe Turner, an early idol, is affectionately recalled on “Boss Of The Blues” and “Johnny Ace Is Dead”, another song from Eleven Eleven, brilliantly tells the story of the cocky young R&B singer who shot himself in the head during an ill-advised game of Russian Roulette, backstage at Houston’s Civic Auditorium in 1954. The pounding “Ashgrove”, meanwhile, is a valedictory requiem for a whole host of legendary bluesmen who played the LA ballroom of that name, and is ablaze with incendiary guitar. The long gone Blasters are themselves brought briefly back to life on a roaring “Marie Marie”, and the extended jam at the end of “Fourth Of July”, when Alvin leads his hot little band into an instrumental version of “So Long Baby, Goodbye”, for almost as long as they lasted a blazing climax to Blasters’ shows, Alvin here taking the solos that used to be played back then by the late great New Orleans sax player Lee Allen. At a stroke, as they say, he brings back more memories than a room this size can hold, of nights, more than you can count, that you thought would never end when the music, every time, was this good always. Set List Blackjack David Harlan County Line Boss Of the Blues The Black Rose Of Texas Long White Cadillac Abilene King Of California Run Conejo Run Ashgrove Dry River Marie Marie Johnny Ace Is Dead Fourth Of July Dave Alvin pic: Marilyn Kingwill

When he first toured the UK with The Blasters, in 1981 or thereabouts, Dave Alvin was a swaggering young yahoo in rockabilly duds with a 50s quiff, attitude to spare and the unblemished good looks of someone still fairly new to what the rest of his life would become, the bulk of it since spent mostly on the road, playing whatever bar, club, juke joint, tavern, theatre, festival, hootenanny or hoe-down that would have him.

He certainly has the appearance nearly 30 years after The Blasters last played the UK of someone who’s done his share of hard travelling. Last Friday at a rare London show at Camden’s Jazz Café he looked beneath his Stetson not unlike the weather-beaten Robert Duvall of Open Range, a veteran saddle-tramp, leathery and laconic, more than a bit like the music he played, which was roughly the equivalent of the kind of roadhouse blues that occupies so much of Dylan’s set lists these days.

He’s just going on when I get there, playing a ghostly version of the traditional “Blackjack David”, title track also of his outstanding 1998 album, and listening to it’s like watching something from the early days of photography slowly developing, already sepia-tinged and reminiscent therefore of faraway times and the people who lived in them, now gone.

This is apt, because there are ghosts aplenty haunting a lot of the songs Alvin plays tonight. Part of his current mission, it sometimes seems, is to honour through his music the memories of the people who helped shape it. These include close friends and former band members, like Amy Farris, formerly the fantastic fiddle player in Dave’s band The Guilty Women, who died in 2009, and Chris Gaffney, a longstanding member of Alvin’s previous touring band, The Guilty Men, who died a year earlier.

Farris is recalled in the achingly beautiful cantina requiem, “Black Rose Of Texas”, whose last verse tonight consists of not much more than Alvin’s hushed voice, a few guitar notes and a host of memories, the song somehow suspended in these last minutes, before the band reintroduce themselves for an elegant coda. Gaffney, meanwhile, is celebrated on the blistering Bo Diddley blues of “Run Conejo Run”, a highlight also of Alvin’s most recent album, last year’s terrific Eleven Eleven.

Elsewhere the spectre of the dying Hank Williams is called up on the old Blasters’ number, “Long White Cadillac”, while Big Joe Turner, an early idol, is affectionately recalled on “Boss Of The Blues” and “Johnny Ace Is Dead”, another song from Eleven Eleven, brilliantly tells the story of the cocky young R&B singer who shot himself in the head during an ill-advised game of Russian Roulette, backstage at Houston’s Civic Auditorium in 1954.

The pounding “Ashgrove”, meanwhile, is a valedictory requiem for a whole host of legendary bluesmen who played the LA ballroom of that name, and is ablaze with incendiary guitar. The long gone Blasters are themselves brought briefly back to life on a roaring “Marie Marie”, and the extended jam at the end of “Fourth Of July”, when Alvin leads his hot little band into an instrumental version of “So Long Baby, Goodbye”, for almost as long as they lasted a blazing climax to Blasters’ shows, Alvin here taking the solos that used to be played back then by the late great New Orleans sax player Lee Allen.

At a stroke, as they say, he brings back more memories than a room this size can hold, of nights, more than you can count, that you thought would never end when the music, every time, was this good always.

Set List

Blackjack David

Harlan County Line

Boss Of the Blues

The Black Rose Of Texas

Long White Cadillac

Abilene

King Of California

Run Conejo Run

Ashgrove

Dry River

Marie Marie

Johnny Ace Is Dead

Fourth Of July

Dave Alvin pic: Marilyn Kingwill

Jack White live: Kentish Town Forum, London, April 23, 2012

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How to tell whether Jack White has brought his male or his female band along to a show? As the suited roadcrew prepare the stage at the Forum, one suspects the answer might be in the drumkit, sheathed until the very last moment; something about the positioning of Daru Jones’ bass drum, perhaps? When the sheet comes off, at 9.45, the kit is configured more or less normally – though sat at stage front, to one side, in the kind of space once occupied by Meg White. This is where Carla Azar will ply her trade, at one end of a stage-wide curve of female musicians who are required to do tonight’s shift as White’s backing band. White might stalk over to her kit from time to time and eyeball her in the way he used to approach his sister, but from the moment Azar starts playing “Dead Leaves And The Dirty Ground”, her style is radically different – more intricate, perhaps inevitably – than her predecessor. “Dead Leaves And The Dirty Ground” is a good test case for the new, expanded White vision: can his old White Stripes songs withstand being worked over by a big band, with fiddle, pedal steel and cascading keyboards to the fore? The answer, reassuringly, is yes. The accumulated gravity doesn’t make this and “Seven Nation Army” (now with bassline played on an actual bass) sound any less like Led Zeppelin. But it does illustrate how robust and flexible White’s songs are. Liberated from the minimalist novelty of The White Stripes, their power is undimmed; their odd, quivering potential to excite remains just as strong. Some, you could argue, even come out stronger: “Hotel Yorba”, flourishing as a full hoedown; a grandly hysterical “I’m Slowly Turning Into You”, with White’s vocals dissolving in every line into those of Ruby Amanfu; “My Doorbell”, with Brooke Waggoner taking the piano line and White fleshing out the original wonky strut of the song with his guitar. Only “We Are Going To Be Friends” comes out worse, to these ears. Early on in the life of these new bands, White is evidently fascinated by the rich possibilities of how his songs can be filled out. Sometimes, as with “Friends”, a little more space would be a useful weapon, a respite from the ominous drone of the violin and steel which packs every available space in nearly all of these songs. Of the new material, “Hypocritical Kiss” and “Weep Themselves To Sleep” remain outstanding, allowing Waggoner to come to the fore with her dramatic piano lines, and pushing the fiddle of Lilie May Rische a little more into the background (Rische, incidentally, emerges as White’s main foil as the evening progresses, stepping into his floor space for some slightly awkward face-offs). “Weep Themselves To Sleep” features, too, a small and wonderfully splenetic guitar solo from the unusually restrained White. If there’s a main criticism of the show, in fact, it may be that White doesn’t let rip often enough, as if the experiment of working through these songs with a full band is rather inhibiting his explosive guitar playing. Besides “Weep…”, a glimpse of his power can be found in the sliding, geometrical frenzy of “Freedom At 21”. But it’s not until “Ball And Biscuit”, closing the main set, that he unleashes the sort of astonishing, wild extemporisations that made his name. Tonight, perhaps, is a showpiece of his other talents: his arranging skills, brilliant knack for a gimmick; his general charisma and, above all, his terrific songwriting. It’s telling that two of the best songs are taken from one of his least well-received albums, the Raconteurs’ “Consolers Of The Lonely”. “Top Yourself” and, especially, the Dylanish parable “Carolina Drama” aren’t just great songs, they’re the old songs that are least altered from their original incarnations. If the sparky piano pop of “Blunderbuss” has affinities with “Get Behind Me Satan”, its ornate bombast has its most obvious roots in that curious, underrated second Raconteurs album. Let me know what you thought if you were at the show, anyhow – and, come to that, what you think of “Blunderbuss” now it’s finally been released. I’m also very keen to hear your reports of the male band, if you’ve caught White with them. A reminder, too, that my interview with Jack White is in the issue of Uncut on sale for the next couple of days. And here are some links to other things I’ve written about him in the past: A piece about “Blunderbuss” The White Stripes, “Under Great White Northern Lights” The White Stripes, Hyde Park, July 2007 The Raconteurs, Hammersmith Apollo, May 2008 The White Stripes, “Icky Thump” The Raconteurs, “Consolers Of The Lonely” SETLIST 1. 'Dead Leaves And The Dirty Ground' 2. 'Freedom At 21' 3. ‘Missing Pieces’ 4. 'Love Interruption' 5. 'Top Yourself' 6. 'Hotel Yorba' 7. 'Hypocritical Kiss' 8. 'Weep Themselves To Sleep' 9. 'I'm Slowly Turning Into You' 10. 'Two Against One' 11. 'We're Going To Be Friends' 12. 'On And On And On' 13. 'Blue Blood Blues' 14. 'Ball And Biscuit' # 15. ‘Sixteen Saltines’ 16. 'Take Me With You When You Go' 17. 'My Doorbell' 18. 'Carolina Drama' 19. 'Seven Nation Army' 20. 'Goodnight, Irene' Follow me on Twitter: www.twitter.com/JohnRMulvey

How to tell whether Jack White has brought his male or his female band along to a show? As the suited roadcrew prepare the stage at the Forum, one suspects the answer might be in the drumkit, sheathed until the very last moment; something about the positioning of Daru Jones’ bass drum, perhaps?

When the sheet comes off, at 9.45, the kit is configured more or less normally – though sat at stage front, to one side, in the kind of space once occupied by Meg White. This is where Carla Azar will ply her trade, at one end of a stage-wide curve of female musicians who are required to do tonight’s shift as White’s backing band. White might stalk over to her kit from time to time and eyeball her in the way he used to approach his sister, but from the moment Azar starts playing “Dead Leaves And The Dirty Ground”, her style is radically different – more intricate, perhaps inevitably – than her predecessor.

“Dead Leaves And The Dirty Ground” is a good test case for the new, expanded White vision: can his old White Stripes songs withstand being worked over by a big band, with fiddle, pedal steel and cascading keyboards to the fore? The answer, reassuringly, is yes. The accumulated gravity doesn’t make this and “Seven Nation Army” (now with bassline played on an actual bass) sound any less like Led Zeppelin. But it does illustrate how robust and flexible White’s songs are. Liberated from the minimalist novelty of The White Stripes, their power is undimmed; their odd, quivering potential to excite remains just as strong.

Some, you could argue, even come out stronger: “Hotel Yorba”, flourishing as a full hoedown; a grandly hysterical “I’m Slowly Turning Into You”, with White’s vocals dissolving in every line into those of Ruby Amanfu; “My Doorbell”, with Brooke Waggoner taking the piano line and White fleshing out the original wonky strut of the song with his guitar. Only “We Are Going To Be Friends” comes out worse, to these ears. Early on in the life of these new bands, White is evidently fascinated by the rich possibilities of how his songs can be filled out. Sometimes, as with “Friends”, a little more space would be a useful weapon, a respite from the ominous drone of the violin and steel which packs every available space in nearly all of these songs.

Of the new material, “Hypocritical Kiss” and “Weep Themselves To Sleep” remain outstanding, allowing Waggoner to come to the fore with her dramatic piano lines, and pushing the fiddle of Lilie May Rische a little more into the background (Rische, incidentally, emerges as White’s main foil as the evening progresses, stepping into his floor space for some slightly awkward face-offs). “Weep Themselves To Sleep” features, too, a small and wonderfully splenetic guitar solo from the unusually restrained White.

If there’s a main criticism of the show, in fact, it may be that White doesn’t let rip often enough, as if the experiment of working through these songs with a full band is rather inhibiting his explosive guitar playing. Besides “Weep…”, a glimpse of his power can be found in the sliding, geometrical frenzy of “Freedom At 21”. But it’s not until “Ball And Biscuit”, closing the main set, that he unleashes the sort of astonishing, wild extemporisations that made his name.

Tonight, perhaps, is a showpiece of his other talents: his arranging skills, brilliant knack for a gimmick; his general charisma and, above all, his terrific songwriting. It’s telling that two of the best songs are taken from one of his least well-received albums, the Raconteurs’ “Consolers Of The Lonely”. “Top Yourself” and, especially, the Dylanish parable “Carolina Drama” aren’t just great songs, they’re the old songs that are least altered from their original incarnations. If the sparky piano pop of “Blunderbuss” has affinities with “Get Behind Me Satan”, its ornate bombast has its most obvious roots in that curious, underrated second Raconteurs album.

Let me know what you thought if you were at the show, anyhow – and, come to that, what you think of “Blunderbuss” now it’s finally been released. I’m also very keen to hear your reports of the male band, if you’ve caught White with them.

A reminder, too, that my interview with Jack White is in the issue of Uncut on sale for the next couple of days. And here are some links to other things I’ve written about him in the past:

A piece about “Blunderbuss”

The White Stripes, “Under Great White Northern Lights”

The White Stripes, Hyde Park, July 2007

The Raconteurs, Hammersmith Apollo, May 2008

The White Stripes, “Icky Thump”

The Raconteurs, “Consolers Of The Lonely”

SETLIST

1. ‘Dead Leaves And The Dirty Ground’

2. ‘Freedom At 21’

3. ‘Missing Pieces’

4. ‘Love Interruption’

5. ‘Top Yourself’

6. ‘Hotel Yorba’

7. ‘Hypocritical Kiss’

8. ‘Weep Themselves To Sleep’

9. ‘I’m Slowly Turning Into You’

10. ‘Two Against One’

11. ‘We’re Going To Be Friends’

12. ‘On And On And On’

13. ‘Blue Blood Blues’

14. ‘Ball And Biscuit’

#

15. ‘Sixteen Saltines’

16. ‘Take Me With You When You Go’

17. ‘My Doorbell’

18. ‘Carolina Drama’

19. ‘Seven Nation Army’

20. ‘Goodnight, Irene’

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

June 2012

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Excuse me for looking perhaps a little startled, but I've just been told in the slightly murmuring voice of someone similarly shocked by the turn of events that on May 1, just after this issue goes on sale, it will be 15 years since we put out the first Uncut. I'd suggest a drink if we had the time...

Excuse me for looking perhaps a little startled, but I’ve just been told in the slightly murmuring voice of someone similarly shocked by the turn of events that on May 1, just after this issue goes on sale, it will be 15 years since we put out the first Uncut.

I’d suggest a drink if we had the time, which we don’t at the moment, deadlines snapping at our heels like angry dogs and all that and still quite a bit to do as I write before the final pages are finished and dispatched to the printer. We’ve had one or two unscheduled dramas that have made the last few days a little lively, but there’s been nothing truly comparable to the flat-out sense of breathless mayhem that attended the 1997 launch of Uncut, that galloping rush to meet a looming on sale date that with every passing day grew ominously closer, like some malignant asteroid heading our way.

We had been given the green light to go ahead with Uncut on the singular and somewhat sobering condition that we get that first issue out in a little over six weeks, our confident bravado that this would be easily accomplished quickly giving way to nervous apprehension. I mean, at the time there was no staff to speak of, just me and our original art editor. Since we didn’t actually have an office for the first week, either, it was probably just as well we hadn’t yet hired anyone to work with us as there would have been nowhere to put them – no desks, no chairs, no computers, nothing.

When we eventually moved into the empty space that would be our home for the next few years, there were a few more of us, a fax machine no-one could successfully figure out how to work, the random pressing of buttons producing from the thing only a tragic wheeze or two that made it sound like it was expiring in quiet anguish, a bit like those of us who were by now feeling more than a bit ragged as a succession of very long days now included regular night shifts, no-one getting out of what passed for the Uncut office until what are commonly known as the wee small hours, a hollow-eyed time.

We made our deadlines, of course, with no staff fatalities, and on the designated date nervously revealed ourselves to the world. Looking back at it now, the issue no doubt shows signs of its hasty assembly, but what for the foreseeable future Uncut would be is already there, with an editorial lineup that mixed features on Elvis Costello, Taxi Driver, Bob Dylan, Sam Peckinpah, The Who, Clint Eastwood, Counting Crows and Quentin Tarantino.

If you’ve been with Uncut from the start, or somewhere near it, thanks for sticking with us and I hope you enjoy the new issue and everything in it – the Dexys interview, by the way, is a cracker.

Enjoy the issue and any thoughts you have on it, let me know, as ever, at: allan_jones@ipcmedia.com

Get Uncut on your iPad, laptop or home computer

Paul McCartney: ‘I was getting ready to lose the plot’

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Paul McCartney has revealed the turmoil behind the making of his second solo album Ram, in an all-new interview in the latest Uncut, out on Thursday, April 26. The record, credited to Paul and Linda McCartney and originally released in 1971, was written and recorded at a time when the bassist was...

Paul McCartney has revealed the turmoil behind the making of his second solo album Ram, in an all-new interview in the latest Uncut, out on Thursday, April 26.

The record, credited to Paul and Linda McCartney and originally released in 1971, was written and recorded at a time when the bassist was locked in a lawsuit with the other Beatles and being hounded by the press.

In the all-new interview, McCartney explained that his marriage and his farm on the remote Kintyre peninsula in Scotland kept him sane, saying: “Linda encouraged me not to get too down… I was getting ready to lose the plot.

“I think we’d both had enough of cities. It was a big relief to escape.”

Ram, reissued on May 21, was recorded just before McCartney filed a lawsuit against the other Beatles to dissolve their partnership.

In the new issue of Uncut, the legend explains the background to the court action, and also clarifies the extent of the jibes aimed at John Lennon in songs like “Too Many People”.

The new issue of Uncut, dated June 2012, is in shops from Thursday, April 26.

Picture: © Paul McCartney. Photographer: Linda McCartney.

Jack White brings ‘Blunderbuss’ to London for first solo UK show

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Jack White played his first solo UK show last night [April 23], headlining the HMV Forum the day his debut solo album Blunderbuss'was released. The former White Stripes man was watched by stars including The Mighty Boosh duo Noel Fielding and Julian Barratt, plus Alabama Shakes, who are set to supp...

Jack White played his first solo UK show last night [April 23], headlining the HMV Forum the day his debut solo album Blunderbuss’was released.

The former White Stripes man was watched by stars including The Mighty Boosh duo Noel Fielding and Julian Barratt, plus Alabama Shakes, who are set to support him on his May UK tour dates, and BBC Radio One’s Fearne Cotton.

Blunderbuss hit the shelves yesterday and the set was heavy with songs from the record. However, he and his all-female backing band also found space for The White Stripes “My Doorbell”, “Hotel Yorba”, “We’re Going To Be Friends” and “Seven Nation Army”.

Tracks by his other bands The Raconteurs and The Dead Weather also got a look in, with “Top Yourself” and “Carolina Drama” by the former and “Blue Blood Blues” and “I Cut Like A Buffalo” by the latter making the setlist. He also played “Two Against One”, from his Rome collaboration album with Danger Mouse and Daniel Luppi, plus folk standard “Goodnight, Irene” to close the show.

White is set to return in June for more UK gigs, including a set at Radio 1’s Hackney Weekend event in London on June 23.

Jack White played:

‘Dead Leaves And The Dirty Ground’

‘Freedom At 21’

‘First song on album’

‘Love Interruption’

‘Top Yourself’

‘Hotel Yorba’

‘Hypocritical Kiss’

‘Weep Themselves To Sleep’

‘I’m Slowly Turning Into You’

‘Two Against One’

‘We’re Going To Be Friends’

‘On And On And On’

‘I Cut Like A Buffalo’

‘Blue Blood Blues’

‘Ball And Biscuit’

‘Take Me With You When You Go’

‘My Doorbell’

‘Carolina Drama’

‘Seven Nation Army’

‘Goodnight, Irene’

Cat Power announces release of new album, Sun

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Cat Power is set to release her ninth album, Sun, this autumn. The LP will follow the singer songwriter's 2008 covers album Jukebox and 2006's The Greatest and will be out in the UK on September 10. Over Christmas last year Cat Power posted the video for her single "King Rides By" featuring a cam...

Cat Power is set to release her ninth album, Sun, this autumn.

The LP will follow the singer songwriter’s 2008 covers album Jukebox and 2006’s The Greatest and will be out in the UK on September 10.

Over Christmas last year Cat Power posted the video for her single “King Rides By” featuring a cameo from boxer Manny Pacquiao online. The track was available as a download from the singer’s official website, with its proceeds going towards the charities the Festival Of Children Foundation and The Al Forney Centre.

In December 2011, the singer also took to her Twitter page Twitter.com/catpower to confirm that she had nearly finished work on the new album.

Previously, Cat Power had stated her intention to play every instrument on the record. “There’s an inspiration in being furious that you want to achieve your goals. I think I was inspired by being disappointed in myself that I’d just been holding the microphone and I was disappointed in myself that I hadn’t been playing an instrument,” she explained.

“I think I wanted to prove to myself that I could try to create a relationship with it [playing an instrument] again and feel like I felt close to it. It’s definitely there and it’s a need [for me to play], but it hasn’t been around.”

The Flying Burrito Brothers’ Chris Ethridge dies

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Chris Ethridge, bass player with The Flying Burrito Brothers, has died at the age of 65, from complications from pancreatic cancer according to the Los Angeles Times. Ethridge also played with the Willie Nelson Family Band, and it was Nelson who confirmed news of his bandmate's death, via Twitter, ...

Chris Ethridge, bass player with The Flying Burrito Brothers, has died at the age of 65, from complications from pancreatic cancer according to the Los Angeles Times.

Ethridge also played with the Willie Nelson Family Band, and it was Nelson who confirmed news of his bandmate’s death, via Twitter, writing:

WN&F are sad to hear of the passing of Family member & friend Chris Ethridge he was a talented musician & we were honored to call him Family

Last week, musician Booker T Jones wrote on Twitter: “Just talked to Chris Ethridge, (Burritos, Willie Nelson), hospitalized in Meridian, MS – send love and hope – doctors say he will pass soon.”

Ethridge co-wrote a number of songs with fellow Flying Brother Brothers member Gram Parsons, who died in 1973, including Parson’s solo track, ‘She’. Both were also members of the International Submarine Band. The Flying Burrito Brothers released their debut album, The Gilded Palace of Sin, in 1969.

In the late 1970s, Ethridge became a well respected session player in the country rock world, working with the likes of Linda Ronstadt, Jackson Browne, Ry Cooder and Leon Russell.

Ex-Byrd and Burrito Brother Chris Hillman said in a statement to the LA Times: “Here’s what people don’t know or don’t remember. Three of Gram’s greatest songs were co-written by Chris: those would be ‘Hot Burrito #1,’ ‘Hot Burrito #2’ and ‘She.’ And I’ve always said: Gram Parsons’ greatest recorded vocals were those two [‘Hot Burrito’] songs. Maybe it’s my opinion, but I was there and I know I never heard him sing better than he did on those two songs. He just nailed ‘em.”

T. Rex – Electric Warrior Deluxe Edition

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Glamiversary! Bolan's seminal rocker remastered with B-sides, demos and outtakes... Electric Warrior – released in September 1971 – is the fundament of glam rock. Falling between T.Rex and The Slider, and released in September 1971, its achievement is remarkable given that it came almost a full year before the release of Roxy Music and The Rise And Fall Of Ziggy Stardust…. T.Rex at this moment still offered the rarefied version of what the next wave (Mud, Sweet, Glitter, Slade) would soon convert into hod-carriers’ high camp – rock ’n’ roll for rouged roofers. The secret lay in the time-travelling eclecticism of all three; Bolan had been laundered through the washing machine of successive 60s subcultures, from Mod to psychedelic folk, but already in Tyrannosaurus Rex the nostalgic troubadour impulse had been lavishly embellished with orientalist, rococo degree of pantomime that bordered on kitsch – onyx statuettes glimpsed through aspidistra leaves. Bolan’s very public friendship with John Peel ensured plenty of radio exposure in the previous years, but he began to cut the DJ dead around now, jumping from the sinking Perfumed Garden/Middle Earth ship and restyling himself as a galactic rock star retooled for the 1970s. Even the ambience of Tony Visconti’s production is very different from the Joe Boyd/John Wood-style sound of folk-rock: Bill Legend’s drums swathed in a claustrophobic flutter-echo; Mickey Finn’s stipplings of congas and bongos; supermarket string arrangements; thong-tight humbucker fuzz from Bolan’s guitars; and his breathy vocal close up to the mic and shorn of its woolliest Tyrannosaurus Rex tics. No longer the clatter of a band in a room, the soundworld of Electric Warrior is an artificial acoustic palace of mirrors, curling smoke and follow-spots. “Mambo Sun” is an irresistibly seductive entry point: a sultry love-torpedo that knows what it wants and knows how to get it. Up next is “Cosmic Dancer” – a tune I can’t hear without recalling choreographer Michael Clark’s brilliant solo interpretation in the early 90s – whose luscious strings afford a taste of suave romanticism with none of Bolan’s former scene-scoffery. That cynicism rears its head on “Rip Off”, though you have to listen past some of Bolan’s absurdest couplets to date (“The President’s weird/He’s got a burgundy beard”? “Mountains of the moon/Remind me of my spoon”?). Bolan’s oral obsession – first noted on “Juniper Suction”, a tribute to girlfriend June Child’s skills as a fellatrix – resurfaces on “Jeepster” in slightly unsettling fashion: “Girl I’m just a vampire for your love… and I’m gonna suck ya!” Then of course, there’s “Get It On (Bang A Gong)” (the title was originally the other way round, until US jazz rockers Chase beat them to the punch with a different “Get It On” – thousands of sleeves needed to be overprinted). A brilliant pop single by any measure, fizzing with Spangles hysteria, you can hear the erotic sugar rush raging on Bolan’s pent-up count-in. EXTRAS: This edition includes the more sedate hit “Hot Love”, plus B sides “There Was A Time/Raw Ramp”, and “King Of The Mountain Cometh” and “Woodland Rock”, a smooth fusion of Chuck Berry and backwards-guitar psych. The bonus audio disc is a real treat, containing unheard alternative versions and startlingly intimate home demos recorded by a lone Bolan. The ten track DVD included with the Super Deluxe Edition displays a band growing up scarily fast over a two year period. On Top Of The Pops in March 1971 T.Rex still presented as a duo – Bolan and bassist Steve Currie – with Finn on drums apologetically buried in the gyrating crowd. A full year before Ziggy’s appearance, Bolan looks every inch the glam prince, resplendent in silver pyjamas. By Christmas – now with the full Electric Warrior line-up, augmented by Elton John on piano – he’s sporting glitter blobs on his cheeks, pink loon pants and a Flying V. With its frugging dollybirds, coruscating reflective surfaces and inventive camerawork, it’s an absolute classic TOTP clip that screams ‘rock star’ from every angle. Official promos for “Get It On” and “Jeepster”, by contrast, are daringly minimal and starkly lit, filmed handheld against a black backdrop. Six months later, in footage from the Empire Pool Wembley (unused scraps from the Born To Boogie movie), he’s noticeably aged and filled out, a reminder that this heyday for T.Rex would be fleeting. Electric Warrior captures the group at a time when there was still a trace of innocent pleasure left, and this remastered edition does it full justice. Rob Young Q&A TONY VISCONTI How much planning went into the album? There were no plans in those days! Electric Warrior was born amidst the chaos of a disastrous US tour. Marc’s management booked a little tour and at the same time I was back in New York on holiday. Whilst we were there I phoned [label boss] David Platz and was told that “Hot Love” was No 1 and they badly needed an album. We booked a little studio and did three tracks in New York: “Jeepster”, “Monolith” and “Girl”. By the time we left the US we had six songs recorded, then we came back to London and finished it. Were you aware you were creating something special? At times in the studio Marc and I wereabsolutely high on music. We were suddenly so clear about how to make a great record. I’ve had that since but that was the first time I’d experienced it. It was oozing from us. Is still sounds incredibly fresh... Most glam rock is sugary sweet and now sounds dated, but we were right at the beginning of that period. What happened immediately afterwards was glam rock, but we were simply making an organic rock’n’roll album with classic sounds. Everyone from Bono to Slash tells me that record was a major influence. INTERVIEW: GRAEME THOMSON

Glamiversary! Bolan’s seminal rocker remastered with B-sides, demos and outtakes…

Electric Warrior – released in September 1971 – is the fundament of glam rock. Falling between T.Rex and The Slider, and released in September 1971, its achievement is remarkable given that it came almost a full year before the release of Roxy Music and The Rise And Fall Of Ziggy Stardust…. T.Rex at this moment still offered the rarefied version of what the next wave (Mud, Sweet, Glitter, Slade) would soon convert into hod-carriers’ high camp – rock ’n’ roll for rouged roofers. The secret lay in the time-travelling eclecticism of all three; Bolan had been laundered through the washing machine of successive 60s subcultures, from Mod to psychedelic folk, but already in Tyrannosaurus Rex the nostalgic troubadour impulse had been lavishly embellished with orientalist, rococo degree of pantomime that bordered on kitsch – onyx statuettes glimpsed through aspidistra leaves.

Bolan’s very public friendship with John Peel ensured plenty of radio exposure in the previous years, but he began to cut the DJ dead around now, jumping from the sinking Perfumed Garden/Middle Earth ship and restyling himself as a galactic rock star retooled for the 1970s. Even the ambience of Tony Visconti’s production is very different from the Joe Boyd/John Wood-style sound of folk-rock: Bill Legend’s drums swathed in a claustrophobic flutter-echo; Mickey Finn’s stipplings of congas and bongos; supermarket string arrangements; thong-tight humbucker fuzz from Bolan’s guitars; and his breathy vocal close up to the mic and shorn of its woolliest Tyrannosaurus Rex tics. No longer the clatter of a band in a room, the soundworld of Electric Warrior is an artificial acoustic palace of mirrors, curling smoke and follow-spots.

“Mambo Sun” is an irresistibly seductive entry point: a sultry love-torpedo that knows what it wants and knows how to get it. Up next is “Cosmic Dancer” – a tune I can’t hear without recalling choreographer Michael Clark’s brilliant solo interpretation in the early 90s – whose luscious strings afford a taste of suave romanticism with none of Bolan’s former scene-scoffery. That cynicism rears its head on “Rip Off”, though you have to listen past some of Bolan’s absurdest couplets to date (“The President’s weird/He’s got a burgundy beard”? “Mountains of the moon/Remind me of my spoon”?).

Bolan’s oral obsession – first noted on “Juniper Suction”, a tribute to girlfriend June Child’s skills as a fellatrix – resurfaces on “Jeepster” in slightly unsettling fashion: “Girl I’m just a vampire for your love… and I’m gonna suck ya!” Then of course, there’s “Get It On (Bang A Gong)” (the title was originally the other way round, until US jazz rockers Chase beat them to the punch with a different “Get It On” – thousands of sleeves needed to be overprinted). A brilliant pop single by any measure, fizzing with Spangles hysteria, you can hear the erotic sugar rush raging on Bolan’s pent-up count-in.

EXTRAS: This edition includes the more sedate hit “Hot Love”, plus B sides “There Was A Time/Raw Ramp”, and “King Of The Mountain Cometh” and “Woodland Rock”, a smooth fusion of Chuck Berry and backwards-guitar psych. The bonus audio disc is a real treat, containing unheard alternative versions and startlingly intimate home demos recorded by a lone Bolan.

The ten track DVD included with the Super Deluxe Edition displays a band growing up scarily fast over a two year period. On Top Of The Pops in March 1971 T.Rex still presented as a duo – Bolan and bassist Steve Currie – with Finn on drums apologetically buried in the gyrating crowd. A full year before Ziggy’s appearance, Bolan looks every inch the glam prince, resplendent in silver pyjamas. By Christmas – now with the full Electric Warrior line-up, augmented by Elton John on piano – he’s sporting glitter blobs on his cheeks, pink loon pants and a Flying V. With its frugging dollybirds, coruscating reflective surfaces and inventive camerawork, it’s an absolute classic TOTP clip that screams ‘rock star’ from every angle. Official promos for “Get It On” and “Jeepster”, by contrast, are daringly minimal and starkly lit, filmed handheld against a black backdrop. Six months later, in footage from the Empire Pool Wembley (unused scraps from the Born To Boogie movie), he’s noticeably aged and filled out, a reminder that this heyday for T.Rex would be fleeting. Electric Warrior captures the group at a time when there was still a trace of innocent pleasure left, and this remastered edition does it full justice.

Rob Young

Q&A

TONY VISCONTI

How much planning went into the album?

There were no plans in those days! Electric Warrior was born amidst the chaos of a disastrous US tour. Marc’s management booked a little tour and at the same time I was back in New York on holiday. Whilst we were there I phoned [label boss] David Platz and was told that “Hot Love” was No 1 and they badly needed an album. We booked a little studio and did three tracks in New York: “Jeepster”, “Monolith” and “Girl”. By the time we left the US we had six songs recorded, then we came back to London and finished it.

Were you aware you were creating something special?

At times in the studio Marc and I wereabsolutely high on music. We were suddenly so clear about how to make a great record. I’ve had that since but that was the first time I’d experienced it. It was oozing from us.

Is still sounds incredibly fresh…

Most glam rock is sugary sweet and now sounds dated, but we were right at the beginning of that period. What happened immediately afterwards was glam rock, but we were simply making an organic rock’n’roll album with classic sounds. Everyone from Bono to Slash tells me that record was a major influence.

INTERVIEW: GRAEME THOMSON

Bob Dylan pays tribute to Levon Helm

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Bob Dylan has paid tribute to Levon Helm, the former drummer with The Band, who passed away on Thursday April 19, aged 71. Dylan collaborated with The Band over the course of their career, first on Dylan's 1965 American tour. They worked together on the 1967 sessions that were eventually released a...

Bob Dylan has paid tribute to Levon Helm, the former drummer with The Band, who passed away on Thursday April 19, aged 71.

Dylan collaborated with The Band over the course of their career, first on Dylan’s 1965 American tour. They worked together on the 1967 sessions that were eventually released as The Basement Tapes, and also a joint 1974 tour.

Writing on bobdylan.com, Dylan said:

“He was my bosom buddy friend to the end, one of the last true great spirits of my or any other generation.

This is just so sad to talk about.

I still can remember the first day I met him and the last day I saw him. We go back pretty far and had been through some trials together. I’m going to miss him, as I’m sure a whole lot of others will too.”

Meanwhile, Martin Scorsese, who filmed The Band’s final live performance in 1976 at San Francisco’s Winterland, issued this statement:

“The late Jim Carroll once said that Levon Helm was the only drummer who could make you cry, and he was absolutely right. Levon’s touch was so delicate, so deft, that he gave you more than just a beat — he gave the music a pulse. And his high, ringing voice was just as soulful. His bandmate Robbie Robertson wrote “The Night They Drove Old Dixie Down” for Levon to sing, and I’ll never forget how moving it was to watch him sing it during their final performance at Winterland, which is one of the high points of the movie we made from that show, The Last Waltz. Levon was a gentleman, a consummate artist (and, I might add, a wonderful actor — his performance as Loretta Lynn’s father in Coal Miner’s Daughter is rich, understated and very moving), and he loved music as deeply and truly as anyone I’ve ever met. I consider myself fortunate to have worked with Levon, and I am one among many, many people who will miss him.”

Spiritualized announce UK tour

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Spiritualized have announced a six-date UK tour for November. The band - whose new album, Sweet Heart Sweet Light, entered the UK Album Charts yesterday at No 11 - will play the following dates: Thu 1 November Gateshead, The Sage Gateshead Fri 2 November Cambridge, The Jun...

Spiritualized have announced a six-date UK tour for November.

The band – whose new album, Sweet Heart Sweet Light, entered the UK Album Charts yesterday at No 11 – will play the following dates:

Thu 1 November Gateshead, The Sage Gateshead

Fri 2 November Cambridge, The Junction

Sat 3 November Leeds, Metropolitan University

Sun 4 November Coventry, Warwick Arts Centre

Mon 5 November London, Roundhouse

Tue 6 November Brighton, Corn Exchange

Tickets go on sale at 9am on Wednesday, April 25.