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The Making Of… Blue Oyster Cult’s (Don’t Fear) The Reaper

The Columbia Albums Collection, the new 17-album boxset from Blue Öyster Cult, is reviewed in the new issue of Uncut, dated April 2013, and out now. The collection unsurprisingly includes the band’s signature hit, ‘(Don’t Fear) The Reaper’, and in this piece, originally published in Uncut’s November 2010 issue, the band discuss the writing and recording of their “trans-awesome” tune, perhaps the spookiest FM staple ever. “Nothing like The Byrds”, apparently… Words: Jaan Uhelszki

Kevin Ayers, 1944 – 2013

Kevin Ayers, one of Britain’s most gifted and idiosyncratic singer-songwriters, has died at the age of 68. Ayers was born in Kent in 1944. Though he spent his childhood in Malaysia – moving there with his mother and British district officer stepfather – he returned to London at 12, only to be told to leave the city by a magistrate five years later following a drug bust. Ayers always maintained the bust that sent him into exile (and more importantly, into Canterbury) was a set-up. Whether it was or wasn’t, it was certainly an act of fate.

“He had been very loyal to Bowie”: Morrissey on Mick Ronson

As part of our Mick Ronson feature from the issue of Uncut dated February 2013, Morrissey kindly agreed to answer our questions about working with Ronson on his 1992 album, Your Arsenal. Here, then, is the complete transcript of that interview.

The Seventh Uncut Playlist Of 2013: listen to Neil Young, Kraftwerk, Bitchin’ Bajas…

Lots going on here, not least the fact that I have to write a long review of the mostly amazing Kraftwerk show that I saw next door at the Tate Modern the other night.

Kraftwerk perform ‘Autobahn’ in full as London residency begins

Kraftwerk opened their eight-night residency at Tate Modern on Wednesday by playing in full their fourth album, Autobahn. Kraftwerk played a two-hour set that also included most of their best loved numbers. Those lucky enough to secure tickets for Kraftwerk’s first night in the London art museum’s imposing Turbine Hall were each given a cushion, a crib sheet on the band and a pair of 3D spectacles. However, virtually the whole audience stood to appreciate Kraftwerk’s impressive visuals, displayed on a massive screen behind.
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