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Rare LPs and memorabilia from John Peel’s private collection will be auctioned off next month

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A series of records owned by legendary DJ John Peel will be sold at an auction in London next month. ORDER NOW: Queen is on the cover of the latest issue of Uncut Before his death in 2004, Peel amassed a weighty collection spanning over 26,000 LPs, 40,000 seven-inch singles and countless C...

A series of records owned by legendary DJ John Peel will be sold at an auction in London next month.

Before his death in 2004, Peel amassed a weighty collection spanning over 26,000 LPs, 40,000 seven-inch singles and countless CDs. A selection of those, as well as various items of memorabilia, will be auctioned off at Bonhams’ Knightsbridge location on Tuesday June 14. It takes place a week before the 50th anniversary of Glastonbury, which has long honoured Peel with a stage named in his honour.

According to a press release, the records on offer were “carefully selected by the family, whist retaining the integrity of the John Peel Record Collection”.

Key pieces in the lot include an annotated mono pressing of John Lennon and Yoko Ono’s Two Virgins LP (which holds an estimated value of £15,000-20,000), a promotional album signed by The Rolling Stones (£6,000-8,000), a copy of the rare Marc Bolan album Hard On Love (£5,000-6,000) and a copy of Queen II that comes with a letter hand-written to Peel by Freddie Mercury (£1,000-1,500).

In the way of merchandise, Peel’s estate are offering up a handful of his ultra-rare posters – including one for Joy Division’s Unknown Pleasures valued at £3,000-4,000) – a five-page letter from David Bowie that features a series of original sketches (worth £3,000-4,000), and his ‘93 NME Award for Godlike Genius (£800-1,200).

In a statement shared with the announcement of the sale, the Ravenscroft family commented: “By virtue of the role he played in it, John/Dad was in a position to have access to many of the most celebrated people and events in the history of popular music. This is reflected in a wealth of souvenirs he collected throughout his life.

“He had not only a voracious appetite for vinyl, but a keen sense of what memorabilia, ephemera and correspondence might find an interested audience in decades to come (though it could be argued that this was achieved by a strategy of keeping almost everything that crossed his path).

“In going through the accumulation of 40 years of pop music moments, we decided that some of the most interesting items might find a home, with fans of his programme or of the artists whose music he played. Bonhams have assisted us to carefully select what is being offered for sale, and we hope these items find the attention and appreciation that we’re sure John/Dad would feel they warranted.

“We had no desire to split up his beloved record collection but have included in the sale a selection of particularly rare or unique records that do not take away from the integrity of his archive.”

Katherine Schofield – the director of Bonhams’ Popular Culture department – added that Peel “had an incredible impact on the new music landscape”, and declared that “without his passionate advocacy of emerging talent, generations of music lovers may never have heard the sounds of The Fall, The Undertones, The Sex Pistols, and countless others”.

She continued: “This collection, offered directly by the family, comprises some of Peel’s most collectible and rare records, spanning decades in music – many of which are accompanied by letters from the artists or their management. A number of the test-pressings in this collection were the source of the first airplay for landmark songs.”

In 2012, Peel’s record collection was made into an interactive online museum. It came part of The Space, an experimental service organised and funded by the Arts Council and the BBC.

In 2020, nearly 1,000 classic sets performed for the John Peel Sessions series – aired on BBC Radio 1 across his 37-year tenure at the station – were catalogued and made available online. Throughout the years, Peel had overseen more that 4,000 live sessions by over 2,000 artists.

The last hurrah of The Clash: “Combat Rock gets stronger as time goes on”

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For The Clash, the question in 1982 was: where next? 1980’s Sandinista! had covered a lot of ground across its six sprawling sides. Now, as sessions for The Clash’s fifth studio album moved from London to New York’s Electric Lady studio in November 1981, their recently reappointed manager Bern...

For The Clash, the question in 1982 was: where next? 1980’s Sandinista! had covered a lot of ground across its six sprawling sides. Now, as sessions for The Clash’s fifth studio album moved from London to New York’s Electric Lady studio in November 1981, their recently reappointed manager Bernie Rhodes anticipated a return to straight-ahead rock’n’roll. He couldn’t have been more wrong. Covering dub, funk and hip-hop, and with guest spots from Allen Ginsberg and NY graffiti artist Futura 2000, Combat Rock was almost as diverse as its predecessor. “The city found its way into the music,” says singer Ellen Foley, who was also Jones’ partner at the time. Mixed by Glyn Johns back in the UK, singles “Rock The Casbah” and “Should I Stay Or Should I Go” were punched up for maximum chart impact.

Nevertheless, Combat Rock arrived in shops on May 14, 1982 to a mixed reception. “In England people were like, ‘Oh fuck, The Clash have sold out’ – which was ridiculous,” says filmmaker Don Letts. “In America, they were going from strength to strength.” Yet despite the album’s ambitious mix of styles, all was not well within the band. “They were falling apart,” admits Letts. “Musical differences were happening. As demonstrated by Mick Jones’ original Combat Rock mix [Rat Patrol From Fort Bragg]. I’ve still got the C90. It was more dance-orientated.” Topper Headon had been sacked just days before the album was released, owing to his escalating heroin habit, replaced on the band’s upcoming tour by original drummer Terry Chimes. “Topper was the fucking rock,” says Letts. “Once Topper was gone, there was no proper foundation.”

As the title suggests, conflict was rife – and not just within the band. Combat Rock was released during the Falklands War. This gave many of Strummer’s songs an additional urgency. “They feel like you’re a war correspondent on the front line – or postcards from the edge,” says The Pop Group’s Mark Stewart.

“Rock The Casbah” reached No 8 in America, as the band embarked on a stadium tour supporting The Who. “Paul Simonon said to me right at the beginning, ‘If I ever get any money, Mark, I want a waterproof telly that I can watch in the bath,’” says Stewart. “When Combat Rock broke through, I hoped Paul got that telly.”

Such celebrations were short-lived. By 1983, Mick Jones had been sacked; the original Clash were no more. But even today, Combat Rock sounds bullish and brilliant. “They’d flown off into orbit, gone through their prog phase with Sandinista!,” says Stewart. “Then they landed here. Knowing them, and what they were trying to do, this is the classic Clash album.”

“Forty years later,” adds Sex Pistol Paul Cook, “I think Combat Rock gets stronger as time goes on.”

The Who return to Cincinnati for the first time since 1979 tragedy: “There are no words”

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The Who's North American tour has taken them to Cincinnati, Ohio, for their first performance in the city for nearly 45 years. ORDER NOW: Queen is on the cover of the latest issue of Uncut READ MORE: Pete Townshend’s Top 10 deep cuts from The Who Sell Out box The midwest US city was th...

The Who’s North American tour has taken them to Cincinnati, Ohio, for their first performance in the city for nearly 45 years.

The midwest US city was the centre of an infamous tragedy during the band’s tour in December of 1979. A crowd crush that occurred while fans were entering the Riverfront Coliseum left 11 dead and dozens more injured. A documentary on the tragedy, The Night That Changed Rock, aired in 2019 and featured interviews with frontman Roger Daltrey and guitarist Pete Townshend.

After a failed attempt to return in 2020, The Who performed at Cincinnati’s TQL Stadium over the weekend (May 15). The band waived their fee for the performance, donating all ticket proceeds to local charities. The families of nine of the 11 victims were also in attendance, as they were given VIP front row tickets to the show.

“I’ve been trying to think of what to say, what would be cool to say, [and] what would be uncool to say,” said Townshend to the audience. “Really, there are no words that we can say that can mean (as much as) the fact that you guys have come out tonight and supported this event. Thank you so much.”

Watch fan-shot footage from the performance below:

The Cincinnati Enquirer reports that the band paid direct tribute to the victims of the 1979 tragedy during their performance of “Love, Reign O’er Me”. Black-and-white photos of the 11 victims were projected onto the screen, with the full list of names presented following the performance.

A video message from Pearl Jam frontman Eddie Vedder was also shared prior to the first encore of the evening. Vedder, who is currently also on tour in North America, told the Cincinnati audience that he was “hoping to be” at the show but was unable to attend. “We’re all thinking about you,” he said to the audience. “It’s a great thing remembering those young people, who will never be forgotten.”

Vedder went on to mention that both Daltrey and Townshend had been there for him following Pearl Jam’s own tragedy, when nine people were killed during a stampede at the Roskilde Festival in 2000 while the band was performing.

For the final song of the evening, “Baba O’Riley“, the band were joined on-stage by students from Finneytown High School, a nearby school in Cincinnati. Three of the victims of the 1979 tragedy went to Finneytown High, and the school established its P.E.M. Memorial Scholarship Fund in the wake of it.

“You never get over it, but you gotta live,” Daltrey said as the band took its final bows of the evening.

The Who will wrap the current leg of the tour next week at Madison Square Garden in New York City.

Sun Ra House listed as historic Philadelphia landmark

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Sun Ra House, the Philadelphia building that has been home to the late Sun Ra’s evolving Arkestra collective since the 1960s, has been listed as a historic Philadelphia landmark. ORDER NOW: Queen is on the cover of the latest issue of Uncut READ MORE: Sun Ra – Lanquidity (Definitive Ed...

Sun Ra House, the Philadelphia building that has been home to the late Sun Ra’s evolving Arkestra collective since the 1960s, has been listed as a historic Philadelphia landmark.

Recognised by the Philadelphia Register of Historic Places, the building at 5626 Morton Street – also known as the Arkestral Institute of Sun Ra – still houses a number of Arkestra members, including current bandleader Marshall Allen.

Allen, who first moved into the Sun Ra House in 1968 and took over the legendary jazz collective following Sun Ra’s death in 1993, revealed last year in an interview with Music Mxdwn that the building had partially collapsed.

“Water had dripped on [the floor], and probably termites had eaten the sub-basement,” Allen stated. “One day it just – schlkup – fell in.”

On Friday (May 13), the Philadelphia Historical Commission unanimously voted to grant protected status for the building, a representative for the register told Pitchfork.

Moving forward, the Historical Commission will overlook any adjustments to the building and make sure they meet historic preservation standards, as well as advising on its restoration and maintenance.

Sun Ra
Sun Ra Arkestr’s Marshall Allen. Image: Raymond Boyd / Getty Images

The designation came about with help from the Robert Bielecki Foundation, a philanthropist organisation that provides grants, awards and donations to emerging, under-recognised artists, musicians, writers and organisations.

You can check out the Historical Commission’s proposal for the nomination.

The home of Dr. John E. Fryer, psychologist and gay activist, was also recently listed on the Philadelphia Register of Historic Places.

Best known for a pivotal speech against psychiatry’s classification of homosexuality as a mental disorder in 1972, he delivered this speech in disguise at a convention for the American Psychiatric Association (APA).

The Sun Ra discography is one of the largest discographies in music history, spanning over 100 full-length albums.

Sun Ra Arkestra’s last release was 2020’s Swirling – its first album in decades – which was nominated for Best Large Jazz Ensemble Album award at the 2022 Grammys.

Uncut – July 2022

HAVE A COPY SENT STRAIGHT TO YOUR HOME Queen, The Clash, King Crimson, Joan Shelley, Nancy Sinatra, The Delines, Billy Childish, Norman Whitfield, Yo La Tengo and Dennis Bovell all feature in the new Uncut, dated July 2022 and in UK shops from May 19 or available to buy online now. This issue c...

HAVE A COPY SENT STRAIGHT TO YOUR HOME

Queen, The Clash, King Crimson, Joan Shelley, Nancy Sinatra, The Delines, Billy Childish, Norman WhitfieldYo La Tengo and Dennis Bovell all feature in the new Uncut, dated July 2022 and in UK shops from May 19 or available to buy online now. This issue comes with an exclusive free CD, comprising the best tracks of the month.

QUEEN: Welcome to Uncut’s deep dive into Queen’s 30 greatest songs – from glam smashes to arena-sized anthems, deep cuts and more. Brian May, Roger Taylor and Adam Lambert share with John Lewis tales behind the band’s thrilling body of work and celebrate the many career highs of their inimitable frontman Freddie Mercury. Stand by for cameos from Groucho Marx, an Alfa Romeo and rock’s only known bicycle-bell solo, learn the secrets of “the Deaky box” and discover how The Who and Aretha Franklin proved to be unlikely influences on the band’s sound…

OUR FREE CD! KILLER CUTS: 15 of the best new tracks this month, including songs by Chris Forsyth, Faye Webster, Ty Segall, David Michael Moore and more.

This issue of Uncut is available to buy by clicking here – with FREE delivery to the UK and reduced delivery charges for the rest of the world.

Inside the issue, you’ll find:

THE CLASH: For The Clash, the making of Combat Rock was a time of chaos and internal conflict. Yet 40 years on, its infectious mix of dub, funk, punk and hip-hop remains as glorious as ever. Here, collaborators, eyewitnesses, fans and contemporaries – including Jim Jarmusch, Don Letts, Julien Temple, Glen Matlock, Paul Cook and Mark Stewart – celebrate the last hurrah of Strummer, Jones, Simonon and Headon. “Knowing them, and what they were trying to do,” we learn, “this is the classic Clash album.”

KING CRIMSON: An excellent new documentary, made to mark the 50th anniversary of King Crimson, may in fact commemorate the band’s “completion”. Uncut talks to Robert Fripp, King Crimson frontman Jakko Jakszyk and filmmaker Toby Amies to uncover a tale of bereavement, self-censorship and the importance of “getting out of the way of the music”. “It’s not 12-bar blues,” learns John Robinson.

THE DELINES: The Delines’ atmospheric blend of country soul balladry and hard-luck tales has reached stunning new heights with their latest album, The Sea Drift. Willy Vlautin and Amy Boone help Laura Barton join the dots between Richmond Fontaine, “low-level coke dealers” and “Rainy Night In Georgia”. Their secret? “We’re eavesdropping into people’s lives for moments at a time.”

BILLY CHILDISH: Over the last 40 years, the freewheelin’ Billy Childish has produced a gargantuan body of work encompassing bracing R&B, blues-infused punk, raucous rockabilly, art, poetry and beyond. Currently, he is bringing his rough and rowdy ways to the Bob Dylan songbook. But how does the Bard of Hibbing fare against Chatham’s very own Renaissance man? ““Knockin’ On Heaven’s Door” is about the shortest song Dylan has ever done,” he tells Peter Watts. “So I wrote another 12 verses…”

NANCY SINATRA: Much more than “Frank’s daughter who sang “Boots…””, the ’60s icon talks Nancy & Lee, Kill Bill, Elvis, Sonic Youth and flooring her Ford Thunderbird.

YO LA TENGO: The making of “Sugarcube”.

DENNIS BOVELL: Album by album with the reggae guitarist.

JOAN SHELLEY: New parenthood and a songwriting circle helps increasingly ‘swell’-assisted songs attain captivating new heights.

CLICK TO GET THE NEW UNCUT DELIVERED TO YOUR DOOR

In our expansive reviews section, we take a look at new records from Wilco, The Smile, Steve Earle & The Dukes, Current ’93 and more, and archival releases from Al Stewart, Frank Sinatra, Barbara Keith, and others. We catch Nick Mason and Ride live; among the films, DVDs and TV programmes reviewed are Vortex, Everything Everywhere All At Once, Men, The Innocents and Benediction; while in books there’s Rory Sullivan-Burke and Bob Stanley.

Our front section, meanwhile, features Mavis Staples & Levon Helm, John Prine, Sounds Of The New World on vinyl, the Bickershaw Festival and Steve Reich, while, at the end of the magazine, Laura Veirs shares her life in music.

You can pick up a copy of Uncut in the usual places, where open. But otherwise, readers all over the world can order a copy from here.

CLICK TO GET THE NEW UNCUT DELIVERED TO YOUR DOOR

Iggy Pop pays tribute to guitarist and David Bowie collaborator Ricky Gardiner

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Iggy Pop has led the tributes to the guitarist Ricky Gardiner, who has died at the age of 73. The Scottish musician's death was confirmed May 15 by Tony Visconti, who told his Facebook followers that he was informed of Gardiner's passing by his wife Virginia. "Another guitar genius and persona...

Iggy Pop has led the tributes to the guitarist Ricky Gardiner, who has died at the age of 73.

The Scottish musician’s death was confirmed May 15 by Tony Visconti, who told his Facebook followers that he was informed of Gardiner’s passing by his wife Virginia.

“Another guitar genius and personal friend passed into the next world last night,” Visconti wrote. “Ricky Gardiner, who joined David Bowie for the albums Low and Iggy Pop’s The Idiot, ended a long battle with Parkinson’s. His multi-talented wife Virginia sent me an email this morning.”

Another guitar genius and personal friend passed into the next world last night. Ricky Gardiner, who joined David Bowie…

Posted by Tony Visconti on Sunday, May 15, 2022

Gardiner, who also formed the progressive rock band Beggars Opera in 1969, played guitar on Bowie’s 1977 album Low, which was co-produced by Visconti.

Gardiner first met Iggy while recording Low at the Château d’Hérouville in France, and subsequently became a member of his live band.

The guitarist later worked on Iggy’s Lust For Life album in 1977, co-writing “The Passenger”, “Success” and “Neighbourhood Threat” and playing lead guitar on such tracks as “Lust For Life”.

Iggy paid tribute to Gardiner in a message that was shared on Twitter this morning (May 16). “Dearest Ricky, lovely, lovely man, shirtless in your coveralls, nicest guy who ever played guitar,” he wrote.

“Thanks for the memories and the songs, rest eternal in peace.”

In addition to his work with Bowie and Iggy, Gardiner worked as a solo artist and released such records as The Flood (1985), Precious Life (1987) and 2015’s Songs For The Electric.

In 1995 Gardiner fell ill and developed electromagnetic hypersensitivity, which restricted the amount of time he could spend with computer devices while recording music.

Jarvis Cocker is on a quest to find woman who inspired Pulp’s “Common People”

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Jarvis Cocker says it's still a "mystery" who he wrote Pulp hit "Common People" about, but is determined to find out. ORDER NOW: Miles Davis is on the cover of the latest issue of Uncut READ MORE: The Making Of… Pulp’s "Common People" In the iconic 1995 song's opening lines, Cocker s...

Jarvis Cocker says it’s still a “mystery” who he wrote Pulp hit “Common People” about, but is determined to find out.

In the iconic 1995 song’s opening lines, Cocker sings of a woman who “came from Greece [and] had a thirst for knowledge,” studying sculpture at London’s St. Martin’s College.

Speaking on BBC Radio 4’s This Cultural Life (via The Mirror), Cocker addressed claims that the inspiration was Danae Stratou, a Greek woman who attended St Martin’s at the same time as Jarvis, but confirmed that “it wasn’t her because she had blonde hair and the girl had dark hair.”

Of the origin of the song, Cocker said: “We went to the pub and she just came out with that she wanted to live in Hackney with common people.

“In 2011 we played at St Martin’s and someone showed me a picture on their phone and said, ‘Is that the girl you wrote the song about?’ I went, ‘Yeah, I think it is’” he remembered.

“Unfortunately, I didn’t ask them for the picture and I can’t remember who showed it to me so it’s still a mystery.”

Back in 2015, Deborah Bone, the inspiration behind Pulp‘s 1995 hit “Disco 2000”, died at the age of 51. The mental health worker had been battling multiple myeloma – a type of bone marrow cancer.

Born in Sheffield, Bone and Cocker were close growing up and their friendship inspired the band’s famous track, which begins with the lyric: “Well we were born within an hour of each other. Our mothers said we could be sister and brother. Your name was Deborah. Deborah. It never suited ya.”

Bone moved to Letchworth at aged 10 and went on to become a nurse, later setting up the Step2 health service for the Hertfordshire Community NHS Trust in Stevenage. She won various awards for her work in mental health and, just hours after her death, it was announced that she was to receive an MBE in recognition of her services to children and young people as part of the 2015 New Year’s Honours List.

Later this year, Cocker will release new memoir Good Pop, Bad Pop. Set to arrive on May 26 through Vintage Publishing, Cocker describes the book as an “inventory”. It’s centred around the former Pulp frontman coming across “a jumble of objects that catalogue his story” while clearing out his loft, with the various ephemera used as a jumping off point to reflect on Cocker’s life and career. Pre-orders are available here.

His band JARV IS… recently composed the score for new BBC comedy drama This Is Going To Hurt and the full soundtrack was shared back in March.

Check out the full catalogue for Thom Yorke and Stanley Donwood’s Test Specimens art exhibition

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Thom Yorke and Stanley Donwood's upcoming art exhibition Test Specimens is now being previewed online - you can check out the full catalogue of drawings below. ORDER NOW: Miles Davis is on the cover of the latest issue of Uncut READ MORE: Radiohead – Kid A Mnesia review Test Specimens,...

Thom Yorke and Stanley Donwood’s upcoming art exhibition Test Specimens is now being previewed online – you can check out the full catalogue of drawings below.

Test Specimens, an exhibition of 60 drawings by the Radiohead frontman and Donwood (who has created the cover art for all of Radiohead’s albums since The Bends in 1995), will go on display at 8 Duke Street in London from May 25-29.

The artwork was all created by Yorke and Donwood between 1999 and 2001 when the pair were working on art for Radiohead’s albums Kid A (2000) and Amnesiac (2001).

Test Specimens offers an extraordinary, intimate glimpse into the minds of these creative geniuses at a pivotal moment in British cultural history,” curator Siobhan Andrews Kapoor said in a statement. “For us the viewers, it’s a privilege to be let behind the scenes and explore this fantastical world for ourselves.”

Donwood confirmed earlier May 16 that the full catalogue for Test Specimens is now available to view online, which you can see here.

A limited number of timed entry tickets for Test Specimens are available to book here.

Tin Man Art, who are presenting the exhibition, said in a statement last month: “We’re opening the pages of Thom and Stanley’s sketchbooks to the public for the first time, following the frenzy of interest over the exhibition of works associated with Kid A and Amnesiac at Christie’s during Frieze week last year.

“These pieces were made at a time of war and political upheaval, strangely enough mirrored by today’s tinderbox climate, making the timing particularly poignant. The message holds true: humanity can be chaotic and cruel, but art, collaboration and invention can shine a light in any darkness.”

Arooj Aftab: “If you’re an artist with an ego, you’re not a good artist”

We get a brief glance of Arooj Aftab’s home base – a light-filled room in a shared brownstone in Brooklyn’s Bed-Stuy, borrowed double bass propped against the wall – before she politely asks to switch the camera off. It’s still early, and the singer is feeling a little worse for wear follo...

We get a brief glance of Arooj Aftab’s home base – a light-filled room in a shared brownstone in Brooklyn’s Bed-Stuy, borrowed double bass propped against the wall – before she politely asks to switch the camera off. It’s still early, and the singer is feeling a little worse for wear following a heavy session at a local bar the previous evening. “It was a really warm day after five months of winter,” she pleads. “So we just lost our minds and went out and drank so much gin for absolutely no reason.”

As it turns out, this is not an uncommon occurrence for Aftab. “I’m the biggest hedonist,” she admits. “I love being social, I love talking to people, I love just being out and about. I’m inspired by the sheer energy of people saying crazy shit to each other. I think that solitude, for some people, helps them clear their mind and do incredible things. But for me, I prefer being in the middle of a big moving organism. Being in the centre of many energies is inspiring to me.”

This confession may come as a surprise to those who have recently found solace in Aftab’s fantastic 2021 album, Vulture Prince. A stunning and largely beatless affair that masterfully blends Sufi devotional music with smoky jazz and blues, ambient soundscapes and Buckley-esque acoustic flourishes, it transmits a sense of deep spiritual yearning and rarified, otherworldly calm. Reviews praised the album in awed, quasi-religious terms: it was “mesmerising”, “mystical”, “rhapsodic”. Suffice to say it is pretty much the exact opposite of the music you might expect to hear bubbling up from the hectic streets of Bed-Stuy, scene of Do The Right Thing and Biggie Smalls’ rap battles, a place where Aftab admits it’s tricky to record at home because of the constant blare of “airplanes and sirens and kids playing in the street”. Still, she wouldn’t have it any other way.

“I think calm doesn’t meet calm very well,” she says, considering the apparent disparity between her “reckless and rowdy” lifestyle and the serenity of her music. “And also I think it’s about not feeling that self-important about your work, like, ‘this is sacred music’. While my music pretends to be minimal, it’s not repetitive structures – it has a lot of dynamic energy. And that definitely can’t happen if I’m just hanging out by myself, you know?”

This Much I Know To Be True

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Andrew Dominik’s second documentary about Nick Cave begins with a feint worthy of This Is Spinal Tap. “I’ve retrained as a ceramicist,” Cave tells the camera, deadpan, “because it’s no longer viable to be a musician.” And it’s true. Inspired by his collection of Staffordshire pottery...

Andrew Dominik’s second documentary about Nick Cave begins with a feint worthy of This Is Spinal Tap. “I’ve retrained as a ceramicist,” Cave tells the camera, deadpan, “because it’s no longer viable to be a musician.” And it’s true. Inspired by his collection of Staffordshire pottery, Cave has diversified into trinkets. Not just any trinkets. After a flawed attempt to cast a mantelpiece ornament of a saint boiling in oil, Cave has moved on to a series of 18 figurines telling the story of the Devil. Here is the (unglazed) Devil as a baby.

Here he is “growing up and doing bold, dangerous things”. Does the camera linger when we get to the Devil killing his first child? It does, then it’s on to the Devil becoming separated from the world through his transgressions, then his remorse, and on – spoiler alert – to the Devil bleeding to death in a lake of blood with white swans, “goat-like things” and women holding torches.

The ceramic devilry in this Repair Shop-style interlude reflects the influence of Covid restrictions on Cave’s touring activity. This Much I Know To Be True is a continuation of Cave/Dominik’s 2016 documentary One More Time With Feeling, a haunting film that allowed Cave to address the tragic death of his son Arthur, and showed how he channelled despair into creativity. The intimacy between director and musician remains intact. The core of this film is the creative journey from Ghosteen (grief turned into myth) and Carnage (lockdown isolation, creative communion between Cave and the musically dominant Warren Ellis). Ellis talks of reaching a “meditative state” that “clicks into something transcendent” as he experiments with fractured sounds. Cave puts his more traditional songs aside to respond to Ellis’ wild energy. The musical sequences are impeccably rendered.

Cinematographer Robbie Ryan (who also filmed Cave’s solo lockdown event, Idiot Prayer) has a circular track surrounding the musicians, and after the enforced isolation of Idiot Prayer there is a communal feel to the performances with Cave and Ellis, plus an expanding group of players and singers, reaching an intensity that summons peephole glimpses of religiosity. Marianne Faithfull makes a suitably domineering cameo, removing her oxygen supply to read May Sarton’s Prayer Before Work, an intervention that serves to highlight the way in which Cave’s vocal style has become almost spoken word, fluctuating between sermon and stream-of-consciousness.

Cave is entirely in control throughout, of course, but he uses an interview sequence in the back of a taxi to suggest – or possibly confess – that his life now has “a real sense of meaning” that is not dependent on his work. “I’m much happier than I used to be,” he says, sounding freshly amazed.

Kevin Morby – This Is A Photograph

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What is Americana, exactly? Since its birth in the margins of Nashville, and in off-lying corners of the American South and Midwest, it’s become a vast, amorphous catch-all for American music that is vaguely rootsy, twangy and aware of tradition, but that does not purport to be country or blues. T...

What is Americana, exactly? Since its birth in the margins of Nashville, and in off-lying corners of the American South and Midwest, it’s become a vast, amorphous catch-all for American music that is vaguely rootsy, twangy and aware of tradition, but that does not purport to be country or blues. Today, in America at least, it’s swelled beyond a discernible sound or identity, making way for legions of imitators in brimmed hats and put-on Southern accents – working-class cosplay in search of a record deal on Music Row.

There is plenty of great music being crafted under its banner, to be sure, but its sprawling and watered-down status also begs for a reappraisal. Kevin Morby seems acutely aware of this as he edges steadily toward a new sound of tradition. With his latest, This Is A Photograph, he interrogates the people and places that comprise the Middle American region celebrated by Americana while also opening the door for a more nuanced, creative and inclusive future for the genre. He ditches its tropes for an aesthetic that combines the tortured soul of Memphis and the vastness of the Great Plains, tracing an arc from Americana’s mix of blues, rock and country, and the people of colour who pioneered those sounds.

It comes on the heels of a winding journey. Born in Texas and raised in Kansas, throughout his 34 years Morby has trodden a familiar path for those born outside of America’s cultural capitals. After high school, he moved to Brooklyn to see if it matched the movies, becoming a modern garage-rock hipster and friend to everyone cool. Then, to LA, where his sound became earthier, more bohemian and twangy, an indie-rock guy through the haze of Bakersfield and Laurel Canyon. And finally, the prodigal son returned home, to Kansas, where he embraced the coveted and precarious position of a Voice of Middle America, energised by his environs while subverting the outside forces that aim to box him in.

As with many former journeymen, Morby’s at his best when he mines from his own province. And with This Is A Photograph, he offers the wisest and most assured rendering of the Middle American vision he’s been honing of late, one where Dylan-esque anti-singing narrates impassioned, earnest and earthen tales of family, place, love and heroes, and a crack band shakes the rafters. It is a more dynamic and liberated Singing Saw, and a more expansive Sundowner. If Morby’s whole thing was ever perplexing, this is the album that will close the deal, that will erase any shred of doubt. It also hints at a new life for Americana, a rebirth shedding its costumes and prejudice, a welcome revisionist stance on who broadcasts the legacy of working people in marginalised corners, and what that sounds and looks like.

The eponymous lead single acts as a highly personal, soul-shaking warm-up to the LP’s impressionistic third track, “A Random Act Of Kindness”, one of Morby’s finest recorded performances whose lyrical repetition and emotional crescendo recalls Gertrude Stein’s proposition that things are what they are until they very much aren’t. “Lift me up, by my hand/Lift me up, if you can/Lift me up, be my friend/Through a random act of kindness/One that’s done in blindness”, he pleads ahead of blooming strings, an appeal to personal and communal consciousness.

Rising Nashville luminary Erin Rae’s singing opens “Bittersweet, TN”, a misty rumination steered by banjo and bittersweet nostalgia, a welcome union of voices. “A Coat Of Butterflies” finds Morby’s narrator back in the Volunteer State, this time in Memphis, pondering the greatness of Jeff Buckley and the passing of youth. His voice here is rhythmic and exacting, shimmying towards a rap atop backing vocals by students of the Stax Music Academy, while Makaya McCraven’s silken drumming and glimmering shards of harp and saxophone round out the soulful mood.

Album closer “Goodbye To Good Times” finds the frontman back in his childhood home in Kansas, navigating its modest halls and outsized memories, and singing of his family’s cultural heroes as well as America’s – Tina Turner, Diane Lane, Otis Redding and Mickey Mantle. “Sometimes the good die young, and sometimes they survive”, he sings, proffering a merciful sense of resolve for cycles of fame, tragedy and legacy, closing on an image that is not a photograph, but a living document of life and art.

The Americans – Stand True

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The Americans’ profile is still pretty low-key, but the band comes with high-end endorsements. Greil Marcus was swept up by 2017 debut I’ll Be Yours and was left hankering for more. T Bone Burnett and Jack White commandeered them for The American Epic Sessions, with Burnett singing their virtues...

The Americans’ profile is still pretty low-key, but the band comes with high-end endorsements. Greil Marcus was swept up by 2017 debut I’ll Be Yours and was left hankering for more. T Bone Burnett and Jack White commandeered them for The American Epic Sessions, with Burnett singing their virtues as “genius 21st-century musicians that are reinventing American heritage music for this century. And it sounds even better this century.”

Belated second album Stand True reveals the West Coast threesome of Patrick Ferris (vocals/guitar), Jake Faulkner (bass) and Zac Sokolow (guitar) to be keenly attuned to the kind of roots-up music that built America. You can hear the heartland bleat of Springsteen or Bob Seger in their raw grooves, along with the rugged Southern churn of Jason Isbell or Drive-By Truckers. There’s plenty of soul here too, with Ferris clearly in thrall to ’70s Van Morrison on songs like “The Day I Let You Down” and “What I Would Do”, the latter flavoured with a distinct twist of Memphis. His quivering voice is particularly striking on the title track, a paean to commitment and staying power, often in the face of overwhelming odds, that sets up the lyrical theme of the album.

It’s the kind of impassioned stuff that demands a big canvas, the band reaching for the epic on the blustery “Give Way”, the brutish, scorned “Romeo” and “Sore Bones”, the heaviest thing on here. On “The Day I Let You Down”, Ferris sounds desolate – “If there’s penance to be paid/That’s just what I’ll do/I’ll get down on bended knee” – before being hauled up into a great surging chorus. A folkish acoustic guitar picks out the silken rhythm of “Guest Of Honour”, another song of loss that weighs heavy on his jilted heart. “I feel like nothing that you loved,” he pines, “And everything you touched”. As emotional drama, it sounds wholly persuasive. Much like Stand True itself, in fact.

Kikagaku Moyo – Kumoyo Island

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Kikagaku Moyo seemed like a band going places. After initially struggling to make headway in their native country – despite tapping into a noble lineage of Japanese longhairs stretching back through Acid Mothers Temple to Happy End and Flower Travellin’ Band, Kikagaku bandleader Go Kurosawa comp...

Kikagaku Moyo seemed like a band going places. After initially struggling to make headway in their native country – despite tapping into a noble lineage of Japanese longhairs stretching back through Acid Mothers Temple to Happy End and Flower Travellin’ Band, Kikagaku bandleader Go Kurosawa complained to MonsterChildren.com that “most people [in Japan] don’t like this kind of thing, they like following the rules” – they’d been steadily building a worldwide following since relocating to Amsterdam in 2017. They toured with Wooden Shjips and hooked up with Ryley Walker at Le Guess Who? for a heady live improv set, released on his Husky Pants label as Deep Fried Grandeur; and last year they reached their biggest audience to date with a well-received set on the main stage at End Of The Road.

But now it’s all over. A brief statement on their website confirms that Kumoyo Island will be their final album and Kikagaku Moyo will “go on an indefinite hiatus” after their 2022 world tour, having “truly achieved our core mission as a band”. Exactly what that mission was and how Kumoyo Island might be seen to have achieved it is not immediately clear. In death as in life, Kikagaku Moyo remain a tantalising enigma.

Kumoyo Island is not a grandiose swansong, bankrupting the band with a surfeit of orchestral indulgence; nor does it sound like a record made by musicians pulling in different directions, desperate to get away and do their own thing. There’s certainly an abundance of good ideas – often several within the course of one song, with hooks emerging from the fog before dissolving as quickly as they came – but the band seem to work through them in perfect harmony, on the way to even greater things. Psychedelic rock is, famously, all about the journey not the destination (man) but the lack of finality or certainty here is curious.

The PR spiel for the album gamely proffers a kind of ‘back to our roots’ narrative, but that too begins to crumble under scrutiny. As a result of the Netherlands’ strict lockdown rules, Kikagaku Moyo did indeed find themselves recording back in Tokyo, in the same studio where they made their first albums. But apart from the min’yo melody of the opening track “Monaka” – the name of a wafer-based snack and a Dragon Ball character – there isn’t too much else rooting the album in Japan.

Psychedelia is very much a global language and Kikagaku Moyo are of the generation where a whole world of musical adventure has always been available at the click of a mouse. Kumoyo Island contains strong ripples of Tropicália, dub, raga rock, new age, English folk, Anatolian psych and every shade of krautrock (there’s a reason why the band named their label Guruguru Brain). You can also hear the influence of hip-hop on the way they make use of percussion loops and breakbeats to drive the music forward or allow a kind of trance state to kick in. Led by Ryu Kurosawa’s stirring sitar riff, “Dancing Blue” is a terrific wedding stomp that gives Altin Gün a run for their money; it’s immediately followed by the gently clattering groove and reverbed fanfares of “Effe”, suggesting a kind of Balearic Can.

It might sound like they’re singing in Japanese, but most songs are actually in their made-up “Kika language” with syllables chosen not for their meaning but for their sonic effect. The two exceptions are a gorgeous cover of Erasmo Carlos’s “Meu Mar” and the wistful prog epic “Yayoi, Iyayoi”, whose lyrics were assembled, cut-up style, from various old poetry and nature books in order to avoid putting across anything too concrete. You’re left to conclude that ambiguity itself is the goal, the band swirling everything together until it starts to give off unexpected resonances. Final track “Maison Silk Road” is a beautiful ambient question mark, fragments of piano and untethered Göttsching-esque guitar floating off into the ether.

It’s too easy, these days, to situate yourself squarely in a pre-existing tradition and by slavishly following its rules attempt to claim a bogus authenticity. Kikagaku Moyo are having none of that – not least because doing what you want, and grabbing a little bit of everything like famished pilgrims at a hotel buffet, is much more fun. Having just made their best album, it’s a shame that their journey ends here, although you suspect that they’ll return in new permutations before too long. For now though, you have to say: mission accomplished.

The Rolling Stones announce 1963-1966 singles box set

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The Rolling Stones have announced the upcoming release of a box set featuring all their single releases from 1963-1966. ORDER NOW: Miles Davis is on the cover of the latest issue of Uncut READ MORE: Kurt Vile, Cat Power and more dig deep into the genius of The Rolling Stones’ Exile On Mai...

The Rolling Stones have announced the upcoming release of a box set featuring all their single releases from 1963-1966.

ABKCO Records will release The Rolling Stones Singles 1963-1966 on June 10 in celebration of the group’s 60th anniversary this year. You can pre-order the collection here.

The limited-edition set includes reproductions of the first 18 7” vinyl singles and extended play records, which were originally released by Decca and London Records. The tracks have all been remastered by 12-time Grammy Award-winning engineer Bob Ludwig.

The set will also come with a 32-page book with extensive liner notes by Stones expert Nigel Williamson, as well as rare photos and ephemera plus a set of five photo cards and a poster, all housed in a hard-shell box.

A companion second vinyl box set in the series, The Rolling Stones Singles 1966-1971, will be released next year.

You can see the collection here:

Rolling Stones
Rolling Stones new single collection. Image: Press

The Rolling Stones recently shared two previously unheard live recordings. The tracks, “Tumbling Dice” and “Hot Stuff”, were recorded in March 1977 during the Stones’ secret concerts at the 300-capacity Toronto club El Mocambo.

The two songs are set to feature on the upcoming Live At The El Mocambo album, which is being released in full for the first time on May 13.

That album will be available on double CD, 4xLP Black Vinyl, 4xLP Neon Vinyl and digitally. It features the Stones’ full set from the March 5 show, plus three bonus tracks from the March 4 gig, newly mixed by Bob Clearmountain. You can pre-order Live At The El Mocambo here.

Meanwhile, the 60th anniversary of The Rolling Stones is set to be celebrated with a special BBC docuseries and a radio programme featuring exclusive interviews with the band members.

The four-part series My Life As A Rolling Stone will air on on BBC Two and iPlayer this summer, with each one-hour episode dedicated to the legendary rock band’s four members: Mick Jagger, Keith Richards, Ronnie Wood and the late Charlie Watts.

New interviews with the musicians (except for the late Watts, who died last year) and unseen footage will form “intimate portraits” in which they’ll reflect on their busy careers. For the Watts-focused episode, his story will be told via archive interviews and tributes from his fellow bandmates and musical peers.

The Rolling Stones’ manager Joyce Smyth said in a statement: “We are thrilled to celebrate 60 years of The Rolling Stones with these four films which give fans around the world a new and fascinating look at the band.”

Grandaddy’s Jason Lytle creates original music for new podcast series Beast Master

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Grandaddy’s Jason Lytle has created an album-length musical score for a new non-fiction podcast. The Californian musician and producer has soundtracked the eight-part series Beast Master, in which British writer Jamie Fullerton investigates Sam Mazzola, known as ‘Ohio’s bear king’. Fuller...

Grandaddy’s Jason Lytle has created an album-length musical score for a new non-fiction podcast.

The Californian musician and producer has soundtracked the eight-part series Beast Master, in which British writer Jamie Fullerton investigates Sam Mazzola, known as ‘Ohio’s bear king’. Fullerton himself wrestled one of Mazzola’s bears, Caesar, in 2006.

Lytle’s contributions, which are only available to hear on the podcast, touch on darker textures and moods than some of his work with Grandaddy.

“Jamie did a really great job giving me detailed visuals on almost all of the scenes,” Lytle tells Uncut. “At times it almost became too much and often very uncomfortable for me. I mean, it’s a pretty twisted and unbelievable epic of a tale, and there were a lot of strange details.

“A common situation that began to occur was me defaulting into my sonic comfort zone, which is often lush and pleasant with maybe some clever elements, and Jamie would just continue asking for ‘darker, more sinister, more twisted’. To be honest, it started to do a number on my head… I would come out the other end a little messed up.”

“Jason’s music has been a huge part of my life since I became obsessed with Grandaddy around the year 2000,” says Fullerton. “When I began getting Beast Master together, with no network deal and my life savings ploughed into rural Ohio motel fees, I drove around the state daydreaming about what it might sound like if Jason made music for it. To be able to make that daydream a reality has been pretty special.

“In places in the Beast Master soundtrack, Grandaddy fans will recognise the warm piano tones Jason is known for. But he had to make the music using a darker sonic palate than he’s used to, for this truly dark story. I reckon the Beast Master soundtrack proves that Jason is a more intriguing and deeply talented songwriter than even his seminal work with Grandaddy has shown.”

You can hear Beast Master from today (May 12), exclusively on Audible.

Kurt Vile, Cat Power and more dig deep into the genius of The Rolling Stones’ Exile On Main St: “It has got everything”

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“Exile On Main St stands apart from other Stones albums, even other Stones albums from that period,” says The War On Drugs’ Adam Granduciel. “It’s not just that it’s a double album. It’s not just the circumstances in which it was recorded. There’s something about it – a vibe, a fee...

Exile On Main St stands apart from other Stones albums, even other Stones albums from that period,” says The War On Drugs’ Adam Granduciel. “It’s not just that it’s a double album. It’s not just the circumstances in which it was recorded. There’s something about it – a vibe, a feeling. It has such a sound. The horns, the R&B, the blues. I listen to Exile all the time and still get blown away by it.”

Released 50 years ago in May, Exile On Main St (working title: Tropical Disease) brought into focus the Stones’ gifts for music, myth-making and self-publicity in one fairly explosive package. On the run from the taxman, in April 1971 the Stones decamped to Villa Nellcôte – Keith Richards rented waterfront residence at Villefranche-sur-Mer on the Côte D’Azur – where, as a beautiful entourage socialised upstairs, the band alchemised their masterpiece in the mansion’s spacious basement.

“You can dive into the mythology of Exile, look at photos and imagine what it might have been like to have been there for a weekend,” says Kurt Vile. “What the days would have been like, and the nights, down in that murky basement, making music, hanging out with Gram Parsons. It’s pretty amazing.”

While the sessions at Nellcôte provided Exile with its source material and muggy atmosphere, the album was the result of several years’ worth of work, beginning at Olympic Studios in London during June 1969 and finishing with the overdubbing-and-mixing sessions at Sunset Sound, Los Angeles, in March 1972. Despite the dark mythology of their problematic tax situation, the nocturnal lifestyles, break-ins and drug busts at Nellcôte, Exile proved to be a testament to the band’s iron will. “It was about proving that it doesn’t matter what you throw at The Rolling Stones, we can come up with the goods,” Richards later told Uncut.

Exile is like a punk rock record,” says Royal Trux’s Jennifer Herrema. “It was a one-take situation for most all of the songs. I think that was important. Nothing had to be perfect – even though Exile is perfect! – and then they took it from France to LA to make it sparkle. The album artwork by Robert Frank features photos from his book The Americans… it all sums up ‘exile’ for the Stones. Like, where do we belong? Nowhere, but everywhere.”

The 3rd Uncut New Music Playlist of 2022

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"As I get a l'il older," considers Kendrick Lamar at the start of his astonishing new single "The Heart Part 5", "I realise life is perspective..." So whatever your perspective, we reckon you'll find plenty to enjoy in the playlist below, not least some tidy new gear from lifelong Uncut faves Dri...

“As I get a l’il older,” considers Kendrick Lamar at the start of his astonishing new single “The Heart Part 5”, “I realise life is perspective…”

So whatever your perspective, we reckon you’ll find plenty to enjoy in the playlist below, not least some tidy new gear from lifelong Uncut faves Drive By-Truckers and Wilco, the compelling returns of Julia Jacklin, Nina Nastasia and Aoife Nessa Frances, and some welcome Latin American sunshine from Daniel Villarreal and Sessa. Don’t delay, dig in today…

DRIVE-BY TRUCKERS
“Every Single Storied Flameout”
(ATO)

JULIA JACKLIN
“Lydia Wears A Cross”
(Transgressive)

WILCO
“Tired Of Taking It Out On You”
(dBpm)

KENDRICK LAMAR
“The Heart Part 5”
(Top Dawg / Aftermath)

ANGEL OLSEN
“Big Time”
(Jagjaguwar)

VIEUX FARKA TOURÉ
“Flany Konare”
(World Circuit)

CASS McCOMBS
“Belong To Heaven”
(Anti-)

DANIEL VILLARREAL
“Patria”
(International Anthem)

GWENNO
“Tresor”
(Heavenly)

SESSA
“Gostar do Mundo”
(Mexican Summer)

SHABAKA
“Black Meditation”
(Impulse!)

DANGER MOUSE & BLACK THOUGHT
“No Gold Teeth”
(UMG)

AOIFE NESSA FRANCES
“Emptiness Follows”
(Partisan)

NINA NASTASIA
“This Is Love”
(Temporary Residence)

BDRMM
“Three”
(Sonic Cathedral)

THE UTOPIA STRONG
“Castalia”
(Rocket Recordings)

ANDREW TUTTLE
“Correlation”
(Basin Rock)

Bob Dylan unveils seven-tonne Rail Car sculpture in France

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Bob Dylan has unveiled his biggest artwork to date, in the form of a "monumental" sculpture of a railway freight carriage. Constructed from seven tonnes of wrought iron, Rail Car has been installed on actual train tracks as part of the 'art and architecture' trail at Château La Coste vineyard in...

Bob Dylan has unveiled his biggest artwork to date, in the form of a “monumental” sculpture of a railway freight carriage.

Constructed from seven tonnes of wrought iron, Rail Car has been installed on actual train tracks as part of the ‘art and architecture’ trail at Château La Coste vineyard in south-west France.

Credit: CLEMENT MAHOUDEAU/AFP via Getty Images

The unveiling of Rail Car coincides with an exhibition featuring 24 of Dylan’s paintings, entitled Drawn Blank In Provence, running until 15 August in Château La Coste’s art gallery. The unseen canvases are based on drawings Dylan originally made on tours of Europe and America between 1989 and 1991.

Dylan’s previous sculptures include a set of enormous iron gates for a casino in Maryland.

Bob Dylan’s Rough And Rowdy Ways World Wide Tour picks up again in Spokane, Washington on May 28 – see all the tourdates here. He will also publish a collection of 60 essays, The Philosophy of Modern Song, via Simon & Schuster in November.

Pink Floyd reportedly in talks to sell back catalogue for hundreds of millions

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Pink Floyd look to be the latest musicians in talks to sell their back catalogue for millions. ORDER NOW: Miles Davis is on the cover of the latest issue of Uncut READ MORE: Introducing our latest online exclusive: The Ultimate Companion to Pink Floyd Live According to Bloomberg, the ba...

Pink Floyd look to be the latest musicians in talks to sell their back catalogue for millions.

According to Bloomberg, the band have reportedly begun talks with several potential buyers for the rights to the entirety of their back catalogue this week. If successful, the bid could be worth hundreds of millions, according to reports.

As noted in Bloomberg, “representatives for the band have reached out to potential buyers” according to sources “familiar with the matter”. The report added that “the process began in the last few days, and it’s too early to know what the outcome will be, [the sources] said.”

Pink Floyd
Pink Floyd at their reunion 2005. Image: Getty Images

The likes of Neil Diamond, Sting, Bob Dylan, ZZ Top, Tina Turner, Stevie Nicks and more have all sold their back catalogues recently.

Many artists – including Neil Young, Blondie, Shakira and Fleetwood Mac’s Lindsey Buckingham and Christine McVie – have all sold the rights to their catalogues via the Hipgnosis Song Fund. The company’s CEO Merck Mercuriadis explained his criteria for buying up catalogues last year.

“For me, the criteria is not just predictable and reliable income, but it’s cultural importance as well,” he said. “Everything that I buy is proven, it’s successful, but it’s also culturally important.

“So when you look at Eurythmics’ ‘Sweet Dreams (Are Made Of This)’, Mark Ronson’s records including ‘Uptown Funk’, Lady Gaga, Lindsey Buckingham and Fleetwood Mac, Steve Winwood, Nile Rodgers and Chic with Bernard Edwards, these are all culturally important artists who made big records that the whole world can sing, but are really important to people as well.”

Asked in an interview with the BBC if she was also planning to do the same, Dolly Parton recently said she would consider selling her back catalogue too.

“I would not be above doing that. All I would do then is to take that money and do whatever for my family or other businesses,” she said.

“Then I would start a whole new publishing company, start over in a few years, sell that too if I wanted to. Never say never, as they say.”

Listen to Wilco’s bittersweet new song, “Tired Of Taking It Out On You”

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Wilco have shared a new song - listen to "Tired Of Taking It Out On You" below. ORDER NOW: Miles Davis is on the cover of the latest issue of Uncut READ MORE: Wilco – Album By Album It's taken from the band's upcoming new double-disc album, Cruel Country, which is released next month. ...

Wilco have shared a new song – listen to “Tired Of Taking It Out On You” below.

It’s taken from the band’s upcoming new double-disc album, Cruel Country, which is released next month.

The band’s 12th studio album is set to arrive on May 27 via dBpm Records. This is the same weekend as their Solid Sound Festival in North Adams, MA, where the band will perform the new record for the first time.

Speaking about the latest single release, Jeff Tweedy said: “I’ve realised over the years that a lot of the songs I’ve written have worked as reminders to myself to pay attention to various things.

“Sometimes I think I’ve figured out how the world works in some small way, and I worry I’ll forget it if I don’t sing it back to myself occasionally. This song, I believe, is going to come in handy for just that purpose. I’m a person who needs to stay alert to how I’m treating others when I’m not feeling my best.

“And now that I mention it, when I look around, it seems like a lot of us have been taking things out on each other when we would be better served striving for understanding and empathy. I’m just trying to be honest with myself, and I guess I’m hoping if this song can help me focus on that, maybe someone else could find it useful in the same way.”

Listen to the new song here:

Comprising of 21 tracks total, Cruel Country was created with all six members together in The Loft in Chicago for the first time since the 2011’s The Whole Love, and it’s made up of almost entirely live takes.

“It’s a style of recording that forces a band to surrender control and learn to trust each other, along with each others’ imperfections, musical and otherwise,” Tweedy said of the new album. “But when it’s working the way it’s supposed to, it feels like gathering around some wild collective instrument, one that requires six sets of hands to play.”

As for themes on the new album, Tweedy explained that there’s a loose conceptual narrative on the history of the United States.

“It isn’t always direct and easy to spot, but there are flashes of clarity,” Tweedy said. “It’s all mixed up and mixed in, the way my personal feelings about America are often woven with all of our deep collective myths. Simply put, people come and problems emerge. Worlds collide. It’s beautiful. And cruel.”

He continued: “The specifics of an American identity begin to blur for me as the record moves toward the light and opens itself up to more cosmic solutions—coping with fear, without belonging to any nation or group other than humanity itself.”

Due out May 27, you can pre-order Cruel Country here.

Meanwhile, Wilco are set to perform at Black Deer Festival in the UK this summer.

The band will headline the Saturday line-up of the Kent event on June 18. Other headliners across the weekend include James and Van Morrison.