Tony Allen’s final studio album There Is No End will be released by Decca France on April 30 – a year to the day after his passing.
It features rappers such as Danny Brown, Jeremiah Jae and Sampa The Great laying down their rhymes over beats recorded by Allen before he died. “Tony’s idea was to give rappers the space to breathe and freely create,” says producer Vincent Taeger. “He wanted really not to just do Afrobeat, but rather something new and open, with very different sounds for the drums for each song and feels and tempos that were really grounded to the core in hip-hop.”
The one song on the album that was recorded live with all the main instruments playing together was the single “Cosmosis”, featuring Damon Albarn, Skepta and novelist Ben Okri. Listen below:
Ben Okri wrote the lyrics “in a way as a tribute to Tony because it was written to ask, ‘How do you absorb a cosmos or integrate a cosmos, enrich a world, infiltrate in the highest possible way and change the mentalverse, the spiritverse – it’s by cosmosis.’
“This man could have lived another 150 years and kept creating new worlds,” continues Okri. “He had become the master shaman of his art. He knew himself and his mind. He wanted the album to be open to the energies of a new generation… but like a great mathematician or scientist who found a code of for a new world, with just a few beats, he created this extraordinary canvas.”
Paul McCartney has announced the release of McCartney III Imagined, featuring the likes of Beck, Josh Homme, Damon Albarn, St Vincent, Massive Attack, Phoebe Bridgers, Khruangbin and Radiohead’s Ed O’Brien covering or reworking songs from last year’s McCartney III.
Watch a video for Dominic Fike’s version of “The Kiss Of Venus” below:
Peruse the full tracklisting and artwork for McCartney III Imagined below:
1. Find My Way (feat. Beck)
2. The Kiss of Venus (Dominic Fike)
3. Pretty Boys (feat. Khruangbin)
4. Women And Wives (St. Vincent Remix)
5. Deep Down (Blood Orange Remix)
6. Seize The Day (feat. Phoebe Bridgers)
7. Slidin’ (EOB Remix)
8. Long Tailed Winter Bird (Damon Albarn Remix)
9. Lavatory Lil (Josh Homme)
10. When Winter Comes (Anderson .Paak Remix)
11. Deep Deep Feeling (3D RDN Remix)
12. Long Tailed Winter Bird (Idris Elba Remix)*
* Physical release exclusive track
McCartney III Imagined is released digitally on April 16 via Capitol Records, with physical versions to follow in the summer. Pre-order here.
Famous outdoor London venue the Crystal Palace Bowl is to be reactivated this summer with a series of 12 concerts in August.
The first headliners for South Facing Festival include Supergrass, Max Richter, The Streets, Dizzee Rascal & The Outlook Orchestra and English National Opera (performing Tosca), with more to be announced soon. The festival will also include a series of free midweek events for the whole community.
Over the years, Crystal Palace Bowl has hosted memorable outdoor shows by the likes of Bob Marley, Pink Floyd, Rod Stewart, The Cure, Pixies, Ian Dury and Curtis Mayfield. However, the oxidised steel structure overlooking a lake in Crystal Palace park had lain dormant for most of this century before being revived by a crowdfunding campaign.
See the full dates for the first wave of South Facing Festival shows below and sign up to the ticket presale here. Early bird tickets start at £35 plus booking fee.
SATURDAY 14 AUGUST
Dizzee Rascal & The Outlook Orchestra
FRIDAY 20 AUGUST
Supergrass
SATURDAY 21 AUGUST
The Streets
SATURDAY 28 AUGUST
Max Richter
FRIDAY 27 & SUNDAY 29 AUGUST
English National Opera (performing Tosca)
Pink Floyd’s headline set from 1990’s Silver Clef Award Winners charity concert at Knebworth will be released as an album by Warner Music on April 30.
The show was previously released on 2019’s Later Years box set, but is now available as a standalone album on double vinyl, CD and digital platforms for the first time, entitled Live At Knebworth 1990.
The Knebworth concert, which was broadcast globally on MTV at the time, found Pink Floyd topping an all-star bill that included Paul McCartney, Dire Straits, Genesis, Phil Collins, Mark Knopfler, Robert Plant (with Jimmy Page), Cliff Richard, Eric Clapton and Tears For Fears.
“There is something special about Knebworth,” says Nick Mason. “We all still have fond memories of playing there in the ’70s, and this show was no different. As a North London boy this was almost a home game, but with the added delight of being the re-assembly of the band after a fairly mega tour that had lasted for well over a year. It was also an opportunity to get the wonderful Candy Dulfer to play – I had been a fan of hers for quite a while, and it was just a shame we didn’t have an opportunity to utilise her for more. We also had our dear friend Michael Kamen guesting. Michael had contributed so much to PF over the previous ten years, it’s great to have something of his playing on the recording.”
David Gilmour and Andy Jackson have remixed the audio for all seven tracks performed on the day, and the album features new artwork shot by Floyd collaborator Aubrey ‘Po’ Powell of Hipgnosis and designed by Peter Curzon of Storm Studios.
Check out the artwork and LP tracklisting below, and pre-order here.
Disc 1 Side A
1 Shine On You Crazy Diamond, Parts 1-5
2 The Great Gig In The Sky Disc 1 Side B
1 Wish You Were Here
2 Sorrow
Disc 2 Side C
1 Money Disc 2 Side D
1 Comfortably Numb
2 Run Like Hell
Courtney Barnett has launched an extensive online archive, featuring previously unreleased video and audio of numerous live performances.
The archive documents every show she’s ever played, going all the way back to an open mic night at The Lark Distillery in Hobart in 2007. Many of the gig listings are accompanied by posters, photos or free-to-view video footage. Browse the archive here.
It also includes the premiere of Barnett’s only full-band show of 2020, an Australian bushfire fundraiser at Melbourne’s Corner Hotel. Watch that below:
Israel Nash’s Uncut-approved new album Topaz is due out this Friday (March 12) on Loose.
Watch a video for the track “Southern Coasts” below:
Nash describes “Southern Coasts” as both “driving and lazy, like the waves that keep coming but also urge us to relax.” Along with the rest of Topaz, it was recorded in the Quonset hut studio he built about 600 feet from his house in the Texas Hill Country. “It’s allowed me to capture sounds and ideas, to really get stuff out of my head and into the world so quickly,” he says.
Bobby Gillespie has announced that his memoir Tenement Kid will be published by White Rabbit on October 28.
Structured in four parts, the books focuses on Gillespie’s early years growing up in Glasgow, forming Primal Scream and joining The Jesus And Mary Chain. It concludes with the release of the epochal Screamadelica and its subsequent tour.
“The publisher Lee Brackstone has been hassling me for years to write a book,” says Gillespie. “I always rebuffed him with some excuse or the other. At the beginning of 2020 I wanted to challenge myself creatively and do something I had never done before. I didn’t want to write another rock record, I’d done plenty of those, so I decided to write a memoir of my early life and worked on it all through the summer, Autumn and Winter of 2020 and here it is. It is titled Tenement Kid as I spent the first ten years of my life living in one. I am very proud of it. I hope you enjoy reading it as much as I did writing it.”
Tenement Kid will be published by in hardback, ebook, White Rabbit Collector’s Edition and audio.
Shortly before I am introduced to Mark E Smith in early 1998, his press officer tells me that whatever I might have heard lately, The Fall is still in robust professional condition. He does this by clapping me round the shoulder and saying, in an approximation of Smith’s north Manchester accent, words which have endured longer than anyone might ever have expected. Musicians come and go, Smith has recently told his PR, but “if it’s me and your granny on bongos, then it’s a Fall gig.”
It’s hung around, this line – speaking perhaps to the affection Fall fans have for the idea of Smith as a person of singular will, and his comic disdain for the other musicians in The Fall. There was also something about it which suggested he was indestructible, that whatever happened, he would always be around: a new Fall LP in the works, a new set of lyrics to revel in, and new cultural irritations to be despatched in a free-roaming pub interview.
All of which made Mark’s death in January 2018 particularly sad; the passing too soon of an utterly original talent, whose music – surprising, dense, literate, tuneful, impenetrable, funny – was so much a direct result of this personality and charisma. Mark and the music press were a gift to each other, and in this latest Ultimate Music Guide, alongside deep new appreciations of The Fall’s records, you’ll find a selection of some of his best interviews.
As time went on, he remained on his guard in these, wary that his witheringly unique take on the world could turn him into a known quantity. “Don’t think you’re talking to Paul Weller or somebody,” he said to me at one point when we first met. He also made a couple of remarks about what I looked like and what I was wearing, which at the time possibly obscured for me the point he was trying to make.
Namely that he was always one step ahead; eager to deflect from himself, and too smart to be imprisoned by his public image. For all his forthright opinion, Mark kept the important part of himself to himself. When we met again years later, I wondered, given his interest in prose writing, if there would ever be a Mark E Smith memoir. He was dismissive of the idea. “They’ll never get a true book out of me,” he said, proudly.
That enigmatic fog feels key to what Smith and The Fall did. His best work didn’t deal in fantasies, but processed the world to leave it with the magic of an espionage story – codes and aliases, locked doors, missing pieces. Everyone has their own Fall. And as someone told me when I was preparing this magazine, there’s always the fear that someone knows more about it than you.
This latest Ultimate Music Guide is an effort to make sense of, and revel in The Fall’s extraordinary world. Fall scholarship extends to vast online libraries of footnotes, talk and conjecture, which proliferates like tangential thoughts within MES’s brain. Though he himself was apparently no fan of the speculations of, as he put it, “old Fall fellas”.
Uncut met MES for the last time in autumn 2017, but if he was embattled (ex-wife Brix was playing with ex-Fall members), he remained inspired by his earliest influences: the Vorticists, original thinking, noise.
“In their own heads,” Mark told Uncut’s Tom Pinnock about Fall members past, “Mark’s just the drunken singer who didn’t know what he was doing. They seriously believe it!”
We only have this excerpt. But hopefully, this magazine will help you piece together what really went on there.
It’s in shops from Thursday (March 11) or you can buy a copy online by clicking here – with free P&P for the UK.
Check the record! Presenting the Ultimate Music Guide to the visionary genius of The Fall. Every album reviewed! Guest appearances rated! Featuring encounters with hip priest Mark E Smith! The complete guide to the wonderful and frightening world of Britain’s most original band.
While bandleader Jason Pierce is in retrospective mode, we’ve managed to collar him to answer your questions for Uncut’s next Audience With feature.
Over the course of 35 years in music, Pierce’s unyielding psychedelic vision has provided us with numerous moments of spiritual and emotional enlightenment, first with the perfect prescriptions of Spacemen 3, then with the celestial majesty of Spiritualized, not to mention various solo excursions into free jazz and soundtracks. He’s walked with Jesus, he’s floated in space and he’s survived an actual near-death experience as documented on 2008’s Songs In A&E… but as 2018’s mighty And Nothing Hurt proved, he’s still here, making soul-stirring, transformative music – a perfect miracle.
So what do you want to ask the dedicated musical cosmonaut otherwise known as J Spaceman? Send your questions to audiencewith@www.uncut.co.uk by Monday (March 15), and Jason will answer the best ones in a future issue of Uncut.
Tom Petty’s Finding Wildflowers (Alternate Versions) will get a standalone release from Warner Records on April 16.
The tracks were previously released on the Super Deluxe 9-LP version of 2020’s Wildflowers & All The Rest – read Uncut’s review of that here – but will now be available on limited-edition gold vinyl, CD and on all digital streaming platforms for the first time. A black vinyl release will follow on May 7.
Hear “You Saw Me Comin’ (Alternate Version)” below and pre-order the album here.
Hiss Golden Messenger will release new album Quietly Blowing It via Merge Records on June 25.
Watch a video for the track “If It Comes In The Morning” below:
“‘If It Comes In The Morning’ was a song that was written in the spring and early summer of 2020,” says Hiss Golden Messenger’s MC Taylor. “The country was on fire, and I kept thinking to myself, ‘What comes next?’ Initially, I didn’t know how much hope to include in the song — I wasn’t feeling particularly hopeful myself in that moment — but I felt that it was important to remember that whatever happened, most of us were going to be fortunate enough to be given another day in which to enact what I feel are the most important and fundamental parts of being alive: joy, love, peace, the willingness to keep moving forward whether the cards fall in our favor or not. And in remembering, at least, that these feelings exist, I suppose it became a song of hope.
“The Staple Singers and Curtis Mayfield were very good at writing these kinds of songs, and I suppose I was looking to their music as inspiration for ‘If It Comes In The Morning.’ When I got stumped on a verse, I called my friend Anaïs Mitchell, and she got me straightened out. I’m very thankful for her help.”
Quietly Blowing It also features Griffin and Taylor Goldsmith of Dawes, Zach Williams of The Lone Bellow, Nashville guitar great Buddy Miller and Josh Kaufman of Bonny Light Horseman.
You can pre-order Quietly Blowing Ithere on CD, LP and metallic blue Peak Vinyl (which also includes an exclusive Hiss Golden Messenger newsprint poster).
Of all the strange blooms to flourish in the wake of the Sex Pistols’ first tour across the infernal English summer of 1976, the boldest and brightest was Poly Styrene. A mixed-race child of a sad-eyed Somali stowaway dad and fierce white south London mum, she walked into their gig on Hastings Pier (supporting Welsh metallers Budgie) on her 19th birthday as Marianne Joan Elliott-Said and skipped out a transformed woman.
“The world is still playing catch-up with Poly,” says Pauline Black towards the end of this artful, lyrical, moving film. And after a journey taking us from a coalfire flat in Brixton to the squalor of the Roxy, from the hipster cellar of CBGBs to 80,000 at the Rock Against Racism festival in Victoria Park, from a dayglo UFO in the sky above Doncaster to a psychiatric ward in the Maudsley Hospital and from George Harrison’s Krishna temple near Watford to the banks of the Yamuna river in India, you can’t help but agree. While so much punk has now been comfortably recuperated into the cosy, mad parade of English heritage, Poly Styrene still feels like a character from a stranger, more unsettling future.
The film was crowdfunded by Poly’s daughter Celeste Bell, and she pieces together the story with a complex, compelling mix of pride, regret and curiosity. By the time she was born her mum had already been sectioned and misdiagnosed with schizophrenia (later reassessed as acute bipolar disorder) and she grew up shuttling between relatives and the Krishna temple, before finally crawling out of a bedroom window one afternoon to go and live with her nan. The film begins with Poly laughing at the idea of being “a good mum” – “How banal!” But it’s clear that the pride with which Celeste now tells the story is born out of years of neglect and trauma.
It’s an exemplary production in so many ways: Poly’s diaries and archive interviews are brought to vivid life in readings by Ruth Negga, who captures the mischief and dismay of a young woman finding all her best dreams and worst nightmares coming true at once. The supporting cast is terrific. It’s a story astutely told largely by women, and in particular women of colour: specifically Pauline Black of the Selecter, Rhoda Dakar of The Bodysnatchers and Neneh Cherry, who credits Poly’s clarion caterwaul as her inspiration to sing herself.
They’re present purely as voices – unusually for a music doc, this isn’t a series of talking heads but a richly visual experience, drawing on a wealth of stunning archive footage of Poly and the band (including a teenage beanpole Thurston Moore, moshing in the front row at CBGBs).
But Bell and co-director Paul Sng lyrically weave a variety of sources. While Poly recalls the inspiration for writing “Oh Bondage Up Yours!” there’s a breathtaking montage, dissolving from suffragette newsreels to Bowie, slomo in scarlet leather, to footage of African chain gangs, to a Hollywood biblical epic, Moses leading the Israelites through the desert.
There are some gaps in the story: Poly’s pre-punk reggae singles are glossed over and Falcon Stuart, who became her lover and manager while she was 17 and he was twice her age, remains a shadowy figure. But the best compliment you can pay this film is that it’s as compelling, mysterious, moving and inspiring as Poly’s own pop art. As a briefly glimpsed found flyer with an imperious portrait says: “In a world of Kardsashians, be Poly Styrene”.
Cometh the hour, cometh the man – and if there’s anyone who knows a thing or two about carnage it’s Nick Cave. Some of this he’s historically created himself. Some has been cruelly thrust upon him. But whatever the situation, this is someone who doesn’t shy away from what’s happening; who plays the cards as they fall. Now, locked down like the rest of us (maybe not quite like the rest of us – he makes a couple of mentions of a balcony where he vaults into the imagination and back while reading and notating Flannery O’Connor), he presents something like his own lockdown album.
As anyone who has seen his quote-unquote livestream from Alexandra Palace will tell you, however, there are ways of maintaining normality in lockdown (running, working, “booking a slot”) and then there’s Nick Cave’s way of doing them: interior monologue, swoosh of mane, lingering shot of journal containing “the work”. So it is, in a way, here.
Undoubtedly there are a set of circumstances where this might simply have been Cave and Ellis in some version of a garage, banging out a record. There are hints of it on the great “Old Time”, which finds the duo as the doctoral thesis version of Alan Vega and Martin Rev, on a Lynchian road trip, complete with dive-bombing synths and things with horns in the bushes. In his Red Hand Files, Cave has mentioned his disappointment at the postponement of touring plans and how he misses the “recklessness” of The Bad Seeds, and here “Albuquerque” wistfully evokes stasis, while “Carnage” itself suggests if we’re going anywhere anytime soon, it will be a journey in our imagination.
In the meantime, Cave and Ellis employ their own recklessness. The album appears as if it is going to begin in a familiar ballad mode before the mix sucks the piano and violin down into the depths of some sophisticated techno club. Opener “Hand Of God” becomes an extraordinary Bond theme of the mind. It’s Grinderman does Portishead, and Cave is swimming in the deepest part of creativity’s river, at the mercy of its current: “Let the river cast its spell on me…” As the chorus builds to include more voices, it’s tempting to think that this might be some kind of video-conferenced contrivance, families and neighbours lending their voices to a lo-fi project.
As ever, though, there’s slightly more going on behind the scenes. This might not be a Bad Seeds album (although drummer Thomas Wydler is on there), but nor is it one of Cave and Ellis’s minimal excursions into the film soundtrack wilderness. Recorded between late November 2020 and January 2021, there’s a proper team on board here. The two highly accomplished multi-instrumentalists themselves, of course. Then there’s a five-piece choir and a string section.
The world provides the rest. Compared with the highly structured Ghosteen (a double album meditation on grief and spirituality, complete with intermission), Carnage is a more concise though no less ordered record. Much as the Bad Seeds’ songs now push into oceanic drift, Cave’s narratives move between worlds fictional and not, the horrific and the consoling. In “White Elephant” he references the Black Lives Matter protests, specifically the Bristol ones, and builds a cumulative image of a boiling world hatred, a suspicious and violent conservatism: “I’ll shoot you in the fucking face/If you think of coming around here”. It’s a piece so toxic that at the end it needs its own hymn of hope to try to heal it in the last few minutes. You’ll find this somewhere between Primal Scream’s “Movin’ On Up” and “All You Need Is Love”, beaming a positive message to the world.
In the beautifully arranged “Lavender Fields”, meanwhile, Cave ponders his own blessed, lavender-tinged place in the creative world (sidebar: some believe Christ to have been anointed with lavender oil), where he now finds himself travelling a “singular road” and doing so “appallingly alone”. Once he was “running with my friends/All of them busy with their pens”. Now (is he perhaps thinking of his ’80s contemporaries Mark E Smith and Shane MacGowan?) he finds himself in a field of one – as others have fallen away, or behind, while he continues the journey. At the end of the song, the “hymn” lyrics are repurposed in a calming Spiritualized-like coda. “Shattered Ground” is terrifying: imagining the singer literally in pieces, atomised at the end of a relationship, while “Balcony Man” finds the singer flirting with sanity but ultimately consoled by the beauty of the morning and the world.
If nothing else, there is a particular type of business that has thrived in these times – pivoting to online, “making lemonade” from the vile ingredients the world has lately been served. Nick Cave is far too human and empathetic a musician to respond by using them as a pretext for a change of gear into pure experimentation. Instead, he has met them honourably with a great record on its own terms: recognisably himself, aspiring to rise above, much like the rest of us, doing the best he can.
Ryley Walker’s new album Course In Fable is coming out on April 2 on his own Husky Pants label. Insider tip: it’s a good ‘un.
Hear the latest song to be taken from it, “Axis Bent”, below:
Course In Fable was produced by John McEntire and the musicians include Bill MacKay (guitars), Ryan Jewell (drums) and Andrew Scott Young (bass). Check out the tracklisting below and pre-order the album here.
1. Striking Down Your Big Premiere
2. Rang Dizzy
3. A Lenticular Slap
4. Axis Bent
5. Clad With Bunk
6. Pond Scum Ocean
7. Shiva With Dustpan
The current issue of Uncut – in shops now and available to buy online by clicking here – features a candid interview with Green Gartside of Scritti Politti as he reflects on the full Scritti saga, from anarchist squats to Top Of The Pops and creative prevarications, via Derrida, breakdowns and Miles Davis. In this extract, as Gartside gears up to tour the band’s brilliant and confounding album Cupid & Psyche 85 for the very first time, he looks back at its recording…
Working with David Gamson and Fred Maher, how did Cupid & Psyche 85 take shape?
David and I did a bit of work in London, and he said, “We need more time – why don’t you come to New York?” He lived with his parents, and was still attending Sarah Lawrence [Arts] College, so I stayed with him and his parents while we did some demos to take to Warner Brothers and Virgin. We got the money to make the album and got Arif Mardin involved, who in turn found all the incredible musicians. It became a New York based thing, but not exclusively. We’d come back to London to do some recording. Fred Maher was an old friend of David’s. What the three of us shared was a great love for things like Henry Cow and Robert Wyatt. They were knowledgeable about the British underground, and musically sophisticated. Fred’s dad was a writer about jazz. David’s father was an assistant to Leonard Bernstein. They were incredibly savvy. Their other great passion was pure pop music and burgeoning hip-hop and R&B. We were completely on the same page in terms of influences and enthusiasms.
You were working with Arif Mardin and A-list session players like Steve Ferrone. Did you feel in control of those sessions?
The inadequacies that had caused me to come unstuck on a few occasions were pretty heightened. Half of it was a kind of exquisite agony; the rest of it was an unbelievable thrill. Having not long come out of making scratchy guitar noises at the Electric Ballroom, to be in Atlantic Studios or the Power Station with musicians of that calibre was deeply unsettling. Arif was very good at helping me through that, but it took its toll. The nightlife in New York at the time was amazing. I could afford to live fairly comfortably, to put it mildly, in Manhattan, so there was a lot to enjoy. It was ridiculously profligate business.
Songs like “The Word Girl” and “Wood Beez” consciously deconstruct the vocabulary of pop. How successfully did those messages cut through?
Nowadays you can go on university courses to study critical theory and pop music, but there wasn’t a lot of that back then. I felt with Cupid & Psyche 85 there was a lot of talk about these ideas that did reach certain people and resulted in some interesting thinking. Not infrequently still, a junior professor will send me a book about some aspect of philosophy or culture and say how important whatever I’d done had been to them. I never did blend the right degree of inanity with the correctly sized dollop of critical thinking. Lyrically, I never did achieve that. It was beyond my skills at the time. But I tried.
How do you feel about revisiting the album later this year?
The band are really excited and I think it’s going to be a blast. We’re making plans already – we’ll do some preliminary rehearsals in June, they’re booked in. There’s pain in listening to all the records from the past, but I’ve discovered that in playing them there’s only pleasure. I feel much better disposed towards it. I’d have thought at one point those songs would have been too difficult to play live – it remains to be seen whether that’s the case!
Yoko Ono Lennon and Capitol/UMe will celebrate the 50th anniversary of John Lennon/Plastic Ono Band with a massive reissue project, released on April 16.
An eight-disc super deluxe box set includes 159 tracks — 87 of which have never been released — spread across six CDs and two Blu-ray discs, consisting of unreleased demos, rehearsals, outtakes, jams and studio conversations as well as a 132 page book, poster and postcards. Other configurations include a 1CD, an expanded 2CD or 2LP version and digital formats.
Here’s the tracklistings for the various configurations.
SUPER DELUXE EDITION DELUXE 2 BLU-RAY TRACK LISTING
THE ULTIMATE MIXES
Mother
Hold On
I Found Out
Working Class Hero
Isolation
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
Give Peace A Chance
Cold Turkey
Instant Karma! (We All Shine On)
THE ULTIMATE MIXES/THE OUT-TAKES
Mother/Take 61
Hold On/Take 2
I Found Out/Take 1
Working Class Hero/Take 1
Isolation/Take 23
Remember/Rehearsal 1
Love/Take 6
Well Well Well/Take 2
Look At Me/Take 2
God/Take 27
My Mummy’s Dead/Take 2
Give Peace A Chance/Take 2
Cold Turkey/Take 1
Instant Karma! (We All Shine On)/Take 5
THE ELEMENTS MIXES
Mother
Hold On
I Found Out
Working Class Hero
Isolation
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
Give Peace A Chance
Cold Turkey
Instant Karma! (We All Shine On)
THE DEMOS
Mother (Home Demo)
Hold On (Studio Demo)
I Found Out (Home Demo)
Working Class Hero (Studio Demo)
Isolation (Studio Demo)
Remember (Studio Demo)
Love (Home Demo)
Well Well Well (Home Demo)
Look At Me (Home Demo)
God (Home Demo)
My Mummy’s Dead (Home Demo)
Give Peace A Chance (Home Demo)*
Cold Turkey (Home Demo)*
Instant Karma! (Studio Demo)*
THE RAW STUDIO MIXES
Mother/Take 64
Hold On/Take 32
I Found Out/Take 3 Extended
Working Class Hero/Take 9
Isolation/Take 29
Remember/Take 13
Love/Take 37
Well Well Well/Take 4 Extended
Look At Me/Take 9
God/Take 42
My Mummy’s Dead/Take 1
Give Peace A Chance/Take 4 Extended
Cold Turkey/Take 2
Instant Karma! (We All Shine On)/Take 10
THE RAW STUDIO MIXES/THE OUT-TAKES
Mother/Take 91
Hold On/Take 18*
I Found Out/Take 7
Working Class Hero/Take 10*
Isolation/Take 1*
Remember/Take 1*
Love/Take 9*
Well Well Well/Take 5*
Look At Me/Take 3*
God/Take 1
My Mummy’s Dead/Take 2*
Give Peace A Chance/Take 4*
Cold Turkey/Take 2*
Instant Karma! (We All Shine On)/Take 5*
THE EVOLUTION DOCUMENTARY
Mother
Hold On
I Found Out
Working Class Hero
Isolation
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
Give Peace A Chance*
Cold Turkey*
Instant Karma (We All Shine On)*
THE JAMS/LIVE AND IMPROVISED
Johnny B. Goode
Ain’t That A Shame
Hold On (1)
Hold On (2)
Glad All Over
Be Faithful To Me
Send Me Some Lovin’
Get Back
Lost John (1)
Goodnight Irene
You’ll Never Walk Alone (Parody)
I Don’t Want To Be To be A Soldier Mama I Don’t Wanna Die (1)
It’ll Be Me
Honey Don’t
Elvis Parody (Don’t Be Cruel/Hound Dog/When I’m Over You)
Matchbox
I’ve Got A Feeling
Mystery Train
You’re So Square
I Don’t Want To Be A Soldier Mama I Don’t Wanna Die (2)
Lost John (2)
Don’t Worry Kyoko (Mummy’s Only Looking For A Hand In The Snow)
YOKO ONO/PLASTIC ONO BAND – THE LIVE SESSIONS
Why*
Why Not*
Greenfield Morning I Pushed An Empty Carriage All Over The City*
Touch Me*
Paper Shoes*
Life*
Omae No Okaa Wa*
I Lost Myself Somewhere In The Sky*
Remember Love*
Don’t Worry Kyoko*
Who Has Seen The Wind*
*BLU-RAY DISCS ONLY
DELUXE 6CD TRACK LISTING CD1: THE ULTIMATE MIXES
Mother
Hold On
I Found Out
Working Class Hero
Isolation
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
Give Peace A Chance
Cold Turkey
Instant Karma! (We All Shine On)
CD2: THE ULTIMATE MIXES/THE OUT-TAKES
Mother/Take 61
Hold On/Take 2
I Found Out/Take 1
Working Class Hero/Take 1
Isolation/Take 23
Remember/Rehearsal 1
Love/Take 6
Well Well Well/Take 2
Look At Me/Take 2
God/Take 27
My Mummy’s Dead/Take 2
Give Peace A Chance/Take 2
Cold Turkey/Take 1
Instant Karma! (We All Shine On)/Take 5
CD3: THE ELEMENTS MIXES
Mother
Hold On
I Found Out
Working Class Hero
Isolation
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
Give Peace A Chance
Cold Turkey
Instant Karma! (We All Shine On)
CD4: THE RAW STUDIO MIXES
Mother/Take 64
Hold On/Take 32
I Found Out/Take 3 Extended
Working Class Hero/Take 9
Isolation/Take 29
Remember/Take 13
Love/Take 37
Well Well Well/Take 4 Extended
Look At Me/Take 9
God/Take 42
My Mummy’s Dead/Take 1
Give Peace A Chance/Take 4 Extended
Cold Turkey/Take 2
Instant Karma! (We All Shine On)/Take 10
Mother/Take 91
I Found Out/Take 7
God/Take 1
CD5: THE EVOLUTION DOCUMENTARY
Mother
Hold On
I Found Out
Working Class Hero
Isolation
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
CD6: THE JAMS & THE DEMOS
Johnny B. Goode (Jam)
Ain’t That A Shame (Jam)
Hold On (1) (Jam)
Hold On (2) (Jam)
Glad All Over (Jam)
Be Faithful To Me (Jam)
Send Me Some Lovin’ (Jam)
Get Back (Jam)
Lost John (1) (Jam)
Goodnight Irene (Jam)
You’ll Never Walk Alone (Parody) (Jam)
I Don’t Want To A Soldier Mama I Don’t Wanna Die (1) (Jam)
It’ll Be Me (Jam)
Honey Don’t (Jam)
Elvis Parody (Don’t Be Cruel/Hound Dog/When I’m Over You) (Jam)
Matchbox (Jam)
I’ve Got A Feeling (Jam)
Mystery Train (Jam)
You’re So Square (Jam)
I Don’t Want To Be A Soldier Mama I Don’t Wanna Die (2) (Jam)
Lost John (2) (Jam)
Don’t Worry Kyoko (Mummy’s Only Looking For A Hand In The Snow) (Jam)
Mother (Home Demo)
Hold On (Studio Demo)
I Found Out (Home Demo)
Working Class Hero (Studio Demo)
Isolation (Studio Demo)
Remember (Studio Demo)
Love (Home Demo)
Well Well Well (Home Demo)
Look At Me (Home Demo)
God (Home Demo)
My Mummy’s Dead (Home Demo)
2 x LP SIDE A: THE ULTIMATE MIXES
Mother
Hold On
I Found Out
Working Class Hero
Isolation
SIDE B: THE ULTIMATE MIXES
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
SIDE C: THE ULTIMATE MIXES/OUT-TAKES
Mother/Take 61
Hold On/Take 2
I Found Out/Take 1
Working Class Hero/Take 1
Isolation/Take 23
SIDE D: THE ULTIMATE MIXES/OUT-TAKES
Remember/Rehearsal 1
Love/Take 8
Well Well Well/Take 2
Look At Me/Take 2
God/Take 27
My Mummy’s Dead/Take 2
2 CD CD1
THE ULTIMATE MIXES/ALBUM + SINGLES
Mother
Hold On
I Found Out
Working Class Hero
Isolation
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
Give Peace A Chance
Cold Turkey
Instant Karma! (We All Shine On)
CD2
THE ULTIMATE MIXES/OUT-TAKES/ALBUM + SINGLES
Mother/Take 61
Hold On/Take 2
I Found Out/Take 1
Working Class Hero/Take 1
Isolation/Take 23
Remember/Rehearsal 1
Love/Take 8
Well Well Well/Take 2
Look At Me/Take 2
God/Take 27
My Mummy’s Dead/Take 2
Give Peace A Chance/Take 2
Cold Turkey Take 1
Instant Karma! (We All Shine On)/Take 1
1CD THE ULTIMATE MIXES/ALBUM + SINGLES
Mother
Hold On
I Found Out
Working Class Hero
Isolation
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead
Give Peace A Chance
Cold Turkey
Instant Karma! (We All Shine On)
Brigid Mae Power has released a new video for “Head Above The Water“.
The clip is a collaboration between Brigid and Jonny Sanders (Prehuman) and has been released to tie in with the new rescheduled tour in November.
The track is taken from Power’s most recent studio album, also called Head Above The Water, which was one of Uncut’s albums of the year for 2020.
Brigid Mae Power’s rescheduled dates are:
November 23: The Lexington, London, UK
November 24: The Rose Hill, Brighton, UK
November 26: The Glad Café, Glasgow, UK
November 27: St. Michael’s, Manchester, UK
Sun Ra’s classic 1978 album Lanquidity – one of his funkiest and most accessible sets – is to be reissued by Strut as a 4xLP box on May 28.
It features the widely distributed version of the album – remastered and cut at 45 rpm over two LPs – alongside an alternative mix of the album by producer Bob Blank, originally released in limited quantities for a 1978 Sun Ra Arkestra gig at Georgia Tech.
Hear the alternate mix of “Twin Stars Of Thence” below:
The package includes unseen photos and extensive sleeve notes by Bob Blank, Michael Ray and Danny Ray Thompson of Sun Ra Arkestra and Tom Buchler of Philly Jazz. Pre-order here.
Jamaican singer, songwriter and percussionist Bunny Wailer, founder member of Bob Marley’s group The Wailers, has died aged 73. He had been in and out of hospital in Kingston since suffering a second stroke in July 2020.
Born Neville O’Riley Livingston, he formed The Wailing Wailers in 1963 with Bob Marley and Peter Tosh. He took lead vocals on “Pass It On” and “Hallelujah Time” from The Wailers’ 1973 album Burnin’, but left the band later that year after objecting to a tour of America.
Starting with influential 1976 solo debut Blackheart Man, Bunny Wailer went on to record around 30 albums in a roots reggae style, mostly for his own label Solomonic.
Jamaican prime minister Andrew Holness called Bunny’s death “a great loss for Jamaica and for reggae”.
“Oh man, god bless Bunny Wailer,” wrote Flea of Red Hot Chili Peppers. “What a true rocker and noble man.”
(1/5) My deep condolences to the family, friends and fans of legendary Reggae artiste, Neville Livingston, also known as Bunny Wailer, JahB. pic.twitter.com/gPiMZOPEt0
