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Led Zeppelin to reissue first three albums with unreleased material

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Led Zeppelin are to kick off a major chronological reissue programme of their entire catalogue on June 2, 2014 with deluxe editions of Led Zeppelin, Led Zeppelin II, and Led Zeppelin III. Each album has been remastered by Jimmy Page and will feature a second disc of companion audio comprised entire...

Led Zeppelin are to kick off a major chronological reissue programme of their entire catalogue on June 2, 2014 with deluxe editions of Led Zeppelin, Led Zeppelin II, and Led Zeppelin III.

Each album has been remastered by Jimmy Page and will feature a second disc of companion audio comprised entirely of unreleased music related to that album.

“The material on the companion discs presents a portal to the time of the recording of Led Zeppelin,” says Page. “It is a selection of work in progress with rough mixes, backing tracks, alternate versions, and new material recorded at the time”

Led Zeppelin, Led Zeppelin II, and Led Zeppelin III will each be available June 3 from Atlantic/Swan Song in the following formats:

Single CD – Remastered album packaged in a gatefold card wallet.

Deluxe Edition (2CD) – Remastered album, plus a second disc of unreleased companion audio.

Single LP – Remastered album on 180-gram vinyl, packaged in a sleeve that replicates the LP’s first pressing in exacting detail. (For example, III will feature the original wheel and die cut holes.)

Deluxe Edition Vinyl – Remastered album and unreleased companion audio on 180-gram vinyl.

Digital Download – Remastered album and companion audio will both be available.

Super Deluxe Boxed Set – This collection includes:

o Remastered album on CD in vinyl replica sleeve.

o Companion audio on CD in card wallet.

o Remastered album on 180-gram vinyl in a sleeve replicating first pressing.

o Companion audio on 180-gram vinyl.

o High-def audio download card of all content at 96kHz/24 bit. (Live tracks are 48kHz/24 bit).

o Hard bound, 70+ page book filled with rare and previously unseen photos and memorabilia.

o High quality print of the original album cover, the first 30,000 of which will be individually numbered.

o Led Zeppelin will also include a replica of the band’s original Atlantic press kit.

The tracklisting for the reissues is:

Led Zeppelin

1. “Good Times Bad Times”

2. “Babe I’m Gonna Leave You”

3. “You Shook Me”

4. “Dazed And Confused”

5. “Your Time Is Gonna Come”

6. “Black Mountain Side”

7. “Communication Breakdown”

8. “I Can’t Quit You Baby”

9. “How Many More Times”

Companion Audio Disc

Live At The Olympia – Paris, France, October 10, 1969

1. “Good Times Bad Times/Communication Breakdown”

2. “I Can’t Quit You Baby”

3. “Heartbreaker”

4. “Dazed And Confused”

5. “White Summer/Black Mountain Side”

6. “You Shook Me”

7. “Moby Dick”

8. “How Many More Times”

Led Zeppelin II

1. “Whole Lotta Love”

2. “What Is And What Should Never Be”

3. “The Lemon Song”

4. “Thank You”

5. “Heartbreaker”

6. “Living Loving Maid (She’s Just A Woman)”

7. “Ramble On”

8. “Moby Dick”

Companion Audio Disc

1. “Whole Lotta Love”

2. “What Is And What Should Never Be”

3. “Thank You”

4. “Heartbreaker”

5. “Living Loving Maid (She’s Just A Woman)”

6. “Ramble On”

7. “Moby Dick”

8. “La La”

9. “Bring It On Home”

Led Zeppelin III

1. “Immigrant Song”

2. “Friends”

3. “Celebration Day”

4. “Since I’ve Been Loving You”

5. “Out On The Tiles”

6. “Gallows Pole”

7. “Tangerine”

8. “That’s The Way”

9. “Bron-Y-Aur Stomp”

10. “Hats Off To (Roy) Harper”

Companion Audio Disc

1. “The Immigrant Song”

2. “Friends”

3. “Celebration Day”

4. “Since I’ve Been Loving You”

5. “Bathroom Sound”

6. “Gallows Pole”

7. “That’s The Way”

8. “Jennings Farm Blues”

9. “Keys To The Highway/Trouble In Mind”

Johnny Marr breaks hand; future shows “up in the air”

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Johnny Marr has said that his future live shows are in jeopardy after he broke his band earlier this month. The guitarist and singer fell while he was out running in London last week, and now has his hand in plaster (see picture above). In a statement, Marr said: "I was running pretty fast and j...

Johnny Marr has said that his future live shows are in jeopardy after he broke his band earlier this month.

The guitarist and singer fell while he was out running in London last week, and now has his hand in plaster (see picture above).

In a statement, Marr said: “I was running pretty fast and just went straight over. I banged my shoulder and then realised my hand was in a bad way. Obviously we’re hoping there’s no long term damage.”

Marr, who is currently touring his 2013 debut solo album The Messenger, said he is still hoping to play his planned future live shows, but these all depend on how well his hand heals.

He stated: “The plan is to do the Leeds Brudenell shows on March 24 and 25 and then the dates I have in South America as long as I can play the guitar when the plaster comes off. Usually that would be after six weeks but I’m hoping it will be OK, it’s a bit up in the air at this point. I may have to start drinking heavily.”

Johnny Marr recently told NME that he will release a new solo album this September. “I’ve got a new record coming out in the end of September, the follow-up to last year’s,” he said. “I wanted to do the second one really quick. For me, it was just about being on tour and wanting to capture the spirit of the band and the audience before it wears off. I’d been touring for 11 months so I wanted to keep that same energy. I didn’t want to overthink it.”

Watch the video for unreleased Johnny Cash song, “She Used To Love Me A Lot”

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The video for a previously unreleased Johnny Cash track "She Used To Love Me A Lot" has been released – watch it below. John Hillcoat, the man behind films including The Proposition, The Road, and Lawless, directed the video in homage to the late singer. "She Used To Love Me A Lot" features on the album Out Among the Stars, a collection of 13 lost Johnny Cash recordings from the early 80s, which will be released on March 31. The tracks, which were recorded between 1981 and 1984, include duets with wife June Carter Cash and Waylon Jennings. The tapes were discovered by archivists at Legacy records and the country legend's son, John Carter Cash. The video was filmed over the course of a month across the US. Speaking about the track, John Hillcoat revealed: "The lyrics seemed to speak to America as it is now, to the nation that loved him and to the great divide he fought so hard against. This divide has only grown exponentially since he died, so we wanted to show America under this stark light and as a homage to the very reason Cash always wore black: to the shameful increase of the disenfranchised and outsiders. "At the same time, we wanted to reference the great man's own struggle and journey from the love of his life to the burnt out ruins of his infamous lake house home, personal photographs, the cave where he tried to take his life but then turned it all around, the place he last recorded in and his last photo before his passing." You can read all about Johnny Cash's lost decade in the current issue of Uncut. http://www.youtube.com/watch?v=rwRScXqKoXY ) Photo credit: Norman Seeff

The video for a previously unreleased Johnny Cash track “She Used To Love Me A Lot” has been released – watch it below.

John Hillcoat, the man behind films including The Proposition, The Road, and Lawless, directed the video in homage to the late singer.

She Used To Love Me A Lot” features on the album Out Among the Stars, a collection of 13 lost Johnny Cash recordings from the early 80s, which will be released on March 31. The tracks, which were recorded between 1981 and 1984, include duets with wife June Carter Cash and Waylon Jennings. The tapes were discovered by archivists at Legacy records and the country legend’s son, John Carter Cash.

The video was filmed over the course of a month across the US. Speaking about the track, John Hillcoat revealed: “The lyrics seemed to speak to America as it is now, to the nation that loved him and to the great divide he fought so hard against. This divide has only grown exponentially since he died, so we wanted to show America under this stark light and as a homage to the very reason Cash always wore black: to the shameful increase of the disenfranchised and outsiders.

“At the same time, we wanted to reference the great man’s own struggle and journey from the love of his life to the burnt out ruins of his infamous lake house home, personal photographs, the cave where he tried to take his life but then turned it all around, the place he last recorded in and his last photo before his passing.”

You can read all about Johnny Cash’s lost decade in the current issue of Uncut.

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Photo credit: Norman Seeff

Jack White to appear on two tracks on Neil Young’s new album

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Neil Young has confirmed that Jack White will appear on his new album. The album, titled A Letter Home, was recorded at White's Third Man studios in Nashville and will be released "very soon", most likely this Spring, Young told Billboard. Young confirmed that he covers songs from his favourite ...

Neil Young has confirmed that Jack White will appear on his new album.

The album, titled A Letter Home, was recorded at White’s Third Man studios in Nashville and will be released “very soon”, most likely this Spring, Young told Billboard.

Young confirmed that he covers songs from his favourite writers on the album, and that White will feature on two of the tracks. “It’s not ready for prime time yet,” he said. “It’s not really a release yet, but it’s a very unique record. It’s like a time capsule. It doesn’t sound like anything you’ve heard that was made recently. And some great songs, some beautiful music.”

He added: “They’re songs that I love, songs that changed my life, songs that made it so that I understood what someone else was saying to me, songs by greater writers.”

Young previously recorded a version of Bert Jansch’s “Needle Of Death” for Record Store Day 2013 in White’s 1947 Voice-o-Graph booth.

Earlier this week, Neil Young gave a keynote speech at SXSW festival in Austin, Texas, during which he launched his high quality digital music service and portable music player Pono.

The Rolling Stones announce European festival dates

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The Rolling Stones have confirmed they will be playing European tour dates this summer. Last week, Uncut reported that the band were planning a run of European dates. Now, the band have announced they will play the Pinkpop Festival on Holland on Saturday 7 June and the TW Classic Festival in Belgi...

The Rolling Stones have confirmed they will be playing European tour dates this summer.

Last week, Uncut reported that the band were planning a run of European dates.

Now, the band have announced they will play the Pinkpop Festival on Holland on Saturday 7 June and the TW Classic Festival in Belgium on Saturday 28 June as part of their 14 On Fire tour.

The Rolling Stones will be playing more major shows in Europe in May and June, and these will be announced over the next two weeks.

Mick Jagger commented: “I love festivals in the summertime and can’t wait for the tour to get to Europe.”

Keith Richards added: “Let’s keep this show on the road …the band are in top form so I’m really looking forward to getting back to Europe.”

The Tenth Uncut Playlist Of 2014

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I’ve alluded a few times in recent weeks to the excellence of the forthcoming “Spiderland” boxset, and especially to the Lance Bangs documentary, “Breadcrumb Trail”, which it contains. “Breadcrumb Trail” tells the odd, low-key, long-obfuscated tale of Slint, revealing much without entirely dismantling the band’s mystique, and focusing on the band’s drummer Britt Walford. Walford, it transpires, was the band’s key creative force and fount of perversity – there are vague discourses on “anal breathing” tapes and a cataclysmic stretch of house-sitting for Steve Albini, among other deviations, often elucidated by Walford’s amazingly staunch parents. What has happened to Walford in the 20-odd years since Slint disbanded, though, remains tantalisingly oblique. There was a stint in The Breeders (pseudonyms included “Mike Hunt”), and intermittent Slint reunions. http://www.youtube.com/watch?v=LVdU_bLD2-M ) Bafflingly, his own new music seemed to dry up: there is talk in “Breadcrumb Trail” about a bakery job making “erotic cakes”. That’s changed this month with the arrival of “This World”, the first album by a band called Watter that features Zak Riles from Grails, Tyler Trotter and, on drums, the enigmatic Walford (Two more Louisville players, Rachel Grimes from Rachel’s and Todd Cook from The For Carnation, figure, too). First thing you might notice from the “Rustic Fog” track below is that Walford’s dealing in uncharacteristically conventional time signatures. The whole album, in fact, has a sort of solidity and grandeur that’s quite different in mood to Slint, even if it deals to some degree in a sound that we’ve been calling post-rock for the past two decades. If anything, though, Watter remind me of a step onwards and backwards from latterday Earth, towards the sort of blasted desert soundtracks of the Savage Republic/Scenic continuum that eventually fed into Godspeed You Black Emperor (mixed with a little Kosmische synth atmospherics, too). Worth a listen, anyhow – as is plenty more here. Maybe try Dylan Shearer, who’s backed by bits of Comets On Fire and Thee Oh Sees, but spends most of his debut album fastidiously recreating the sound of early Robert Wyatt solo albums? Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Terry Riley – A Rainbow In Curved Air (CBS) 2 Watter – This World (Temporary Residence) 3 Grace Jones – Nightclubbing: Deluxe Edition (Island) 4 Fennesz – Bécs (Editions Mego) 5 Sam Doores + Riley Downing & The Tumbleweeds - Holy Cross Blues (Coin) 6 Kenny Graham – The Small World Of Sammy Lee (Trunk) 7 Dylan Shearer – Meadow Mines (Fort Polio) (Castleface/Empty Cellar) 8 Archie Bronson Outfit – Wild Crush (Domino) 9 Lee Bains III & The Glory Fires - Dereconstructed (Sub Pop) http://www.youtube.com/watch?v=YucWOXSCa4U ) 10 Terry Bickers & Pete Fij – Broken Heart Surgery (?) 11 Toumani Diabaté & Sidiki Diabaté - Toumani & Sidiki (World Circuit) http://www.youtube.com/watch?v=oCEeaERMfNo 12 Jack Ruby – Hit And Run (Saint Cecilia Knows) 13 Woo – When The Past Arrives (Drag City) 14 The Grateful Dead – One From The Vault (Light In The Attic) 15 Super Furry Animals – Dark Days/Light Years (Rough Trade) 16 Hiss Golden Messenger - March 2, 2014, Mercury Lounge, New York (NYC Taper)

I’ve alluded a few times in recent weeks to the excellence of the forthcoming “Spiderland” boxset, and especially to the Lance Bangs documentary, “Breadcrumb Trail”, which it contains. “Breadcrumb Trail” tells the odd, low-key, long-obfuscated tale of Slint, revealing much without entirely dismantling the band’s mystique, and focusing on the band’s drummer Britt Walford.

Walford, it transpires, was the band’s key creative force and fount of perversity – there are vague discourses on “anal breathing” tapes and a cataclysmic stretch of house-sitting for Steve Albini, among other deviations, often elucidated by Walford’s amazingly staunch parents. What has happened to Walford in the 20-odd years since Slint disbanded, though, remains tantalisingly oblique. There was a stint in The Breeders (pseudonyms included “Mike Hunt”), and intermittent Slint reunions.

)

Bafflingly, his own new music seemed to dry up: there is talk in “Breadcrumb Trail” about a bakery job making “erotic cakes”. That’s changed this month with the arrival of “This World”, the first album by a band called Watter that features Zak Riles from Grails, Tyler Trotter and, on drums, the enigmatic Walford (Two more Louisville players, Rachel Grimes from Rachel’s and Todd Cook from The For Carnation, figure, too).

First thing you might notice from the “Rustic Fog” track below is that Walford’s dealing in uncharacteristically conventional time signatures. The whole album, in fact, has a sort of solidity and grandeur that’s quite different in mood to Slint, even if it deals to some degree in a sound that we’ve been calling post-rock for the past two decades. If anything, though, Watter remind me of a step onwards and backwards from latterday Earth, towards the sort of blasted desert soundtracks of the Savage Republic/Scenic continuum that eventually fed into Godspeed You Black Emperor (mixed with a little Kosmische synth atmospherics, too).

Worth a listen, anyhow – as is plenty more here. Maybe try Dylan Shearer, who’s backed by bits of Comets On Fire and Thee Oh Sees, but spends most of his debut album fastidiously recreating the sound of early Robert Wyatt solo albums?

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

1 Terry Riley – A Rainbow In Curved Air (CBS)

2 Watter – This World (Temporary Residence)

3 Grace Jones – Nightclubbing: Deluxe Edition (Island)

4 Fennesz – Bécs (Editions Mego)

5 Sam Doores + Riley Downing & The Tumbleweeds – Holy Cross Blues (Coin)

6 Kenny Graham – The Small World Of Sammy Lee (Trunk)

7 Dylan Shearer – Meadow Mines (Fort Polio) (Castleface/Empty Cellar)

8 Archie Bronson Outfit – Wild Crush (Domino)

9 Lee Bains III & The Glory Fires – Dereconstructed (Sub Pop)

)

10 Terry Bickers & Pete Fij – Broken Heart Surgery (?)

11 Toumani Diabaté & Sidiki Diabaté – Toumani & Sidiki (World Circuit)

12 Jack Ruby – Hit And Run (Saint Cecilia Knows)

13 Woo – When The Past Arrives (Drag City)

14 The Grateful Dead – One From The Vault (Light In The Attic)

15 Super Furry Animals – Dark Days/Light Years (Rough Trade)

16 Hiss Golden Messenger – March 2, 2014, Mercury Lounge, New York (NYC Taper)

Ronnie Lane’s Slim Chance – Ooh La La: An Island Harvest

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Double-disc retrospective from the king of rustic rock... When Ronnie Lane left The Faces in 1973 he had grown tired of the rock lifestyle and of being around “the names that, when dropped, attract a crowd,” as he put it so beautifully on “Little Piece Of Nothing”. Even the name he gave his hastily assembled new band was a sly – and, as it transpired, accurate – comment on their commercial potential. Still only 27 but already deep in the transition from ace face to gypsy king, Lane sealed the deal by settling into Fishpool farm, up in the Shropshire hills near the Welsh border. From his new base, surrounded by animals and rolling countryside, he set about fashioning a rustic-rock idyll in which the music he made reflected the landscape and his new way of life. “Country Boy”, one of 37 album tracks, singles, outtakes, alternate versions and live cuts compiled for this two-disc retrospective, is almost a manifesto, Lane finding “silver in the stars and gold in the morning sun”. Elsewhere there are songs about blacksmiths, poachers, Indian summers and harvest time. To bring nature’s bounty to life, the shifting groups of musicians he assembled hit upon a fertile blend of rock and roll, country, folk, music hall, roadhouse blues, hot jazz, Cajun and early American roots music. Covers here include “Buddy, Can You Spare A Dime?”, Fats Domino’s “Blue Monday” and the Isaac Family’s bluegrass gospel obscurity “Bottle Of Brandy”. But as well as honouring a past that stretched back much further than “Heartbreak Hotel” or the first Beatles LP, this music contains pre-echoes of future records by Paul Weller, The Waterboys, Nick Lowe, Van Morrisson and countless others. The disarmingly beautiful instrumental “Harvest Home” would sound completely at ease on any recent release by contemporary folk trio Lau. These tracks hum to the sound of accordions, fiddles, mandolins, saloon bar piano, acoustic guitars, squawking geese and chirruping birds, but as fiddler Charlie Hart points out, “it’s not all polite.” You can well imagine The Faces tearing through “Steppin’ and Reelin’”; “One For The Road” is a rowdy closing time sing-song and “Ain’t No Lady” indulges Lane’s bawdy side, while the raw “Back Street Boy” is rude Southern funk with a Romany heart. Whether stately or rambunctious, Slim Chance made good time music with bags of soul. Imagine Chas & Dave meeting Meher Baba. The darkly beautiful “Burnin’ Summer” may have a powerful seam of pastoral spirituality running through it, but Lane still prefaces an unbridled first tilt at Chuck Berry’s “You Never Can Tell” with the elbows-out cockney joshing of the young Steptoe. Emerging from the shadow of Rod Stewart, his characterful voice blossomed, settling into a hybrid of Dylan’s clean Nashville Skyline-era croon and George Harrison’s ragged soulfulness. As wonderful as much of this richly diverse music is, Ooh La La: An Island Harvest is not an entirely satisfactory overview of Lane’s first few post-Faces years. As the title implies, it focuses on his two Island albums, Ronnie Lane’s Slim Chance (1974) and One For The Road (1976). The complete omission of tracks from the first Slim Chance album Anymore For Anymore, released in 1974 on GM Records and therefore presumably sidelined for contractual reasons, is regrettable, ensuring meagre pickings from the band’s first act. All that’s on offer is a (beautiful) alternate version of “The Poacher”, as well as live renditions of debut single “How Come” and Anymore For Anymore’s “Tell Everyone”, the latter pair part of an eight-song BBC In Concert set from April 1974, when Slim Chance, in its initial incarnation, featured Scottish folk duo Gallagher & Lyle. The live tracks also provide a connective thread back to Lane’s work with The Faces, with outings for “Last Orders”, “Debris”, “Flags And Banners” and “Ooh La La”. The latter song crops up again in a previously unreleased version which brings a vibrant Dixieland verve to one of Lane’s greatest compositions, though admittedly at the expense of some of the original’s poignancy. Wonderful songs all, of course, but their presence, alongside the jumbled chronology and omissions elsewhere, lend a slightly incoherent, rag-bag feel to an otherwise very welcome salute to an undervalued songbook. A decent crop, but not quite the full golden harvest. Graeme Thomson Q&A SLIM CHANCE’S CHARLIE HART What are your memories of life at Fishpool? It’s the most fabulous, out-of-the-way part of the world. We’d stay up all night, watch the light coming up in the valley, then I’d go out and sow barley with Ronnie and we’d come home and record “Harvest Home”. The music is really rooted to the place, the lifestyle, the characters. It was idyllic. When he moved back to London in the early 80s he’d say to me, ‘God, that was a magical time.’ The blend of music is remarkable. He was bringing in music hall, Cajun, early jazz, Leadbelly, East End songs, and somehow it all came together in unified form. He has been influential. In the mid-70s rock and roll was getting over-ripe, and in a way Ronnie was reacting against that in a similar way to punk. Ronnie did not like pretence, that’s for sure. Did he talk much about The Faces? He wanted to start afresh, but he’d talk about it. He liked Mac, who remained a very good pal, and there was a bit of ranting about Rod Stewart! He didn’t let go of everything. He wanted to retain the entertainment factor of The Faces, he wanted to look good on stage, and he was still up for rocking out. Was he deliberately turning away from the mainstream? He had done it all, so in a certain sense he was content to do whatever he wanted artistically. But he was also trying to broaden rock and roll, and to do that you have to remain reasonably commercial. We did OK, but we weren’t successful enough to keep the band together. That was a source of deep regret to him. He was trying to do two things and couldn’t quite manage it. INTERVIEW: GRAEME THOMSON

Double-disc retrospective from the king of rustic rock…

When Ronnie Lane left The Faces in 1973 he had grown tired of the rock lifestyle and of being around “the names that, when dropped, attract a crowd,” as he put it so beautifully on “Little Piece Of Nothing”. Even the name he gave his hastily assembled new band was a sly – and, as it transpired, accurate – comment on their commercial potential.

Still only 27 but already deep in the transition from ace face to gypsy king, Lane sealed the deal by settling into Fishpool farm, up in the Shropshire hills near the Welsh border. From his new base, surrounded by animals and rolling countryside, he set about fashioning a rustic-rock idyll in which the music he made reflected the landscape and his new way of life. “Country Boy”, one of 37 album tracks, singles, outtakes, alternate versions and live cuts compiled for this two-disc retrospective, is almost a manifesto, Lane finding “silver in the stars and gold in the morning sun”. Elsewhere there are songs about blacksmiths, poachers, Indian summers and harvest time.

To bring nature’s bounty to life, the shifting groups of musicians he assembled hit upon a fertile blend of rock and roll, country, folk, music hall, roadhouse blues, hot jazz, Cajun and early American roots music. Covers here include “Buddy, Can You Spare A Dime?”, Fats Domino’s “Blue Monday” and the Isaac Family’s bluegrass gospel obscurity “Bottle Of Brandy”. But as well as honouring a past that stretched back much further than “Heartbreak Hotel” or the first Beatles LP, this music contains pre-echoes of future records by Paul Weller, The Waterboys, Nick Lowe, Van Morrisson and countless others. The disarmingly beautiful instrumental “Harvest Home” would sound completely at ease on any recent release by contemporary folk trio Lau.

These tracks hum to the sound of accordions, fiddles, mandolins, saloon bar piano, acoustic guitars, squawking geese and chirruping birds, but as fiddler Charlie Hart points out, “it’s not all polite.” You can well imagine The Faces tearing through “Steppin’ and Reelin’”; “One For The Road” is a rowdy closing time sing-song and “Ain’t No Lady” indulges Lane’s bawdy side, while the raw “Back Street Boy” is rude Southern funk with a Romany heart.

Whether stately or rambunctious, Slim Chance made good time music with bags of soul. Imagine Chas & Dave meeting Meher Baba. The darkly beautiful “Burnin’ Summer” may have a powerful seam of pastoral spirituality running through it, but Lane still prefaces an unbridled first tilt at Chuck Berry’s “You Never Can Tell” with the elbows-out cockney joshing of the young Steptoe. Emerging from the shadow of Rod Stewart, his characterful voice blossomed, settling into a hybrid of Dylan’s clean Nashville Skyline-era croon and George Harrison’s ragged soulfulness.

As wonderful as much of this richly diverse music is, Ooh La La: An Island Harvest is not an entirely satisfactory overview of Lane’s first few post-Faces years. As the title implies, it focuses on his two Island albums, Ronnie Lane’s Slim Chance (1974) and One For The Road (1976). The complete omission of tracks from the first Slim Chance album Anymore For Anymore, released in 1974 on GM Records and therefore presumably sidelined for contractual reasons, is regrettable, ensuring meagre pickings from the band’s first act. All that’s on offer is a (beautiful) alternate version of “The Poacher”, as well as live renditions of debut single “How Come” and Anymore For Anymore’s “Tell Everyone”, the latter pair part of an eight-song BBC In Concert set from April 1974, when Slim Chance, in its initial incarnation, featured Scottish folk duo Gallagher & Lyle.

The live tracks also provide a connective thread back to Lane’s work with The Faces, with outings for “Last Orders”, “Debris”, “Flags And Banners” and “Ooh La La”. The latter song crops up again in a previously unreleased version which brings a vibrant Dixieland verve to one of Lane’s greatest compositions, though admittedly at the expense of some of the original’s poignancy.

Wonderful songs all, of course, but their presence, alongside the jumbled chronology and omissions elsewhere, lend a slightly incoherent, rag-bag feel to an otherwise very welcome salute to an undervalued songbook. A decent crop, but not quite the full golden harvest.

Graeme Thomson

Q&A

SLIM CHANCE’S CHARLIE HART

What are your memories of life at Fishpool?

It’s the most fabulous, out-of-the-way part of the world. We’d stay up all night, watch the light coming up in the valley, then I’d go out and sow barley with Ronnie and we’d come home and record “Harvest Home”. The music is really rooted to the place, the lifestyle, the characters. It was idyllic. When he moved back to London in the early 80s he’d say to me, ‘God, that was a magical time.’

The blend of music is remarkable.

He was bringing in music hall, Cajun, early jazz, Leadbelly, East End songs, and somehow it all came together in unified form. He has been influential. In the mid-70s rock and roll was getting over-ripe, and in a way Ronnie was reacting against that in a similar way to punk. Ronnie did not like pretence, that’s for sure.

Did he talk much about The Faces?

He wanted to start afresh, but he’d talk about it. He liked Mac, who remained a very good pal, and there was a bit of ranting about Rod Stewart! He didn’t let go of everything. He wanted to retain the entertainment factor of The Faces, he wanted to look good on stage, and he was still up for rocking out.

Was he deliberately turning away from the mainstream?

He had done it all, so in a certain sense he was content to do whatever he wanted artistically. But he was also trying to broaden rock and roll, and to do that you have to remain reasonably commercial. We did OK, but we weren’t successful enough to keep the band together. That was a source of deep regret to him. He was trying to do two things and couldn’t quite manage it.

INTERVIEW: GRAEME THOMSON

Keith Richards to release children’s book in September

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Keith Richards will release a children's with his daughter, Theodora, later this year. The guitarist will release Gus & Me: The Story of My Granddad and My First Guitar on September 9 after signing a deal with Little, Brown Books for Young Readers. Richards' artist daughter Theordora has illus...

Keith Richards will release a children’s with his daughter, Theodora, later this year.

The guitarist will release Gus & Me: The Story of My Granddad and My First Guitar on September 9 after signing a deal with Little, Brown Books for Young Readers. Richards’ artist daughter Theordora has illustrated the picture book, which was co-written with Barnaby Harris and Bill Shapiro.

Gus & Me: The Story of My Granddad and My First Guitar is inspired by Richards’ grandfather, Theodore Augustus Dupree (known as Gus), who was in a jazz big band and provided inspiration for Theodora Richards’ name. Richards first wrote about his grandfather in his best-selling autobiography Life.

Speaking about the book, Richards’ said in a statement: “The bond, the special bond, between kids and grandparents is unique and should be treasured. This is a story of one of those magical moments. May I be as great a grandfather as Gus was to me.”

Richards became grandfather to a baby boy after his daughter Angela Richards gave birth to Otto Reed earlier this year (February 6).

Neil Young recruits Bruce Springsteen, David Crosby, Jack White to help him launch Pono

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Neil Young launched his high quality digital Pono music player and service yesterday (March 11) at SXSW in Austin, Texas, saying of the player "once you hear this, you can't go back." Young spoke at the Austin Convention Centre and announced his plans for Pono, which yesterday also launched its Kic...

Neil Young launched his high quality digital Pono music player and service yesterday (March 11) at SXSW in Austin, Texas, saying of the player “once you hear this, you can’t go back.”

Young spoke at the Austin Convention Centre and announced his plans for Pono, which yesterday also launched its Kickstarter campaign. At the end of the event, Young revealed that the campaign had already raised over half its target funds of $800,000 in just four hours, “which is pretty cool” he commented. He also explained that ‘Pono’ is the Hawaiian word for ‘righteousness’.

Pono will consist of a digital music service (PonoMusic) and 128GB portable device (PonoPlayer) capable of storing 1-2,000 high resolution songs. The PonoPlayer is described in a press release as a “purpose-built, portable, high-resolution digital-music player designed and engineered in a “no-compromise” fashion to allow consumers to experience studio master-quality digital music at the highest audio fidelity possible, bringing the true emotion and detail of the music, the way the artist recorded it, to life.”

Speaking without notes and pacing back and forth on the large stage, Young explained his reasons for launching Pono, which has been two and half years in the making, and he also explained that he had support from all the major record labels, commenting: “They’re all with us, all the record companies”.

Criticising the rise of MP3 quality sound and explaining that was the reason behind making his own player, Young said: “I’m a fan of listening loud – I love to listen loud… I like to take whatever it is to the limit.” He stated that this was not possible with MP3 and said the music industry also began to slump after its introduction. “Everything started to die – it was because of the MP3 and the cheapening of the quality to where it was practically unrecognisable,” he commented, lamenting albums which were perceived to have been made with ‘filler’ tracks. “The album had no value – only the individual tracks had value,” he stated.

He added: “As a guy who’d been making records for many years at that point, I was pissed off – I love every note, on every song, on every record…. They weren’t just filler.” He then said that the sound of MP3 was ‘shit’: “We were selling shit, but people were still buying it because they like music [but] they were buying Xeroxes of the Mona Lisa.”

Young went on to explain that music adapted to the constraints of MP3. “Instead of being soulful – which it still is – music adapted, it became beat heavy, it became smart, it became tricky. But for me, it was like ‘woah, I don’t want to do that!’… I started thinking it might be a good idea to do something about it”.

He then showed a short film, which saw a host of music world stars commenting on Pono, after listening to the player, including Bruce Springsteen, Tom Petty, Patti Smith, Mumford and Sons, Dave Grohl, Elvis Costello, Mike D of the Beastie Boys and Jack White. Click above to watch the video. “This gives it to you as good as you can get it,” says Tom Petty, whilst Springsteen comments that it has “a closeness and intimacy that digital recordings can lose very quickly.” Elton John says: “I haven’t heard a sound like that since vinyl”.

“Pono plays back whatever the artist decided to do,” added Young. “My body is getting washed, I’m getting hit with something great. It’s not ice cubes, it’s water – I’m listening. I’m feeling.” Pono’s CEO John Hamm also spoke during the session and talked about the triangular shape of the Pono device. “The electronics that fit inside wouldn’t fit in a flat package,” he explained. “It’s a small piece of audio gear, not a mobile device.”

Waging Heavy Peace, released in 2012, Young explained how Pono will help to “save the sound of music”. Young claims in the book that he had emailed Steve Jobs about Pono before his death: “I have consistently reached out to try to assist Apple with true audio quality, and I have even shared my high-resolution masters with them,” he wrote, before stating that his service will “force iTunes to be better and to improve quality at a faster pace”.

Introducing… Oasis: the Ultimate Music Guide

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“There wasn’t a lot of pre-production for What’s The Story. . .If we were at home, the postman would drop off an envelope and in it would be a cassette saying ‘Noel demos’. You’d get a phone call: ‘There’s the next album. Learn it. See you in a week.’ That’s the way Noel worked. Everyone would figure out the chords – there was no point asking him, he didn’t know the name of the fucking things. ‘It’s one of them where your finger’s up there. . .’” This is Paul ‘Bonehead’ Arthurs, looking back at the somewhat haphazard way one of the biggest-selling UK albums of all time came together in his introduction to the latest instalment in our series of Ultimate Music Guides, this one dedicated to Oasis, who in their illustrious pomp swept all before them before the always-simmering tensions between permanently squabbling siblings Noel and Liam Gallagher, for many years an entertaining if occasionally wearying distraction, came to a brutal climax in August 2009 at the Rock et Seine festival in Paris. A backstage argument between the two ended with Noel walking out on the band that for just over a decade has held such omnipotent sway over British rock. Two hours later, he released a statement announcing “with some sadness and great relief. . . .I quit Oasis tonight”. Noel went off and formed The High Flying Birds. Liam and what was left of the final Oasis line-up became Beady Eye, with a promise from Liam that they would be “bigger than Oasis”, which is not something they have yet become, despite Liam’s initial post-split bravado. Anyway, 20 years on from the release of Definitely, Maybe, our Ultimate Music Guide, as ever, brings together a collection of predictably colourful and eventful interviews from the archives of Melody Maker, NME and Uncut , a fantastic trawl that’s supplemented by new, in-depth reviews of every Oasis album and the albums that have followed by High Flying Birds and Beady Eye, plus a full Oasis singles discography, including rarities and most valuable collectables. Oasis: the Ultimate Music Guide is on sale from Thursday, March 13 and will also available to order online at www.uncut.co.uk/store or download digitally at www.uncut.co.uk/digital-edition. To get you in the mood here’s a clip of Oasis making their TV debut on The Word from 1994. Have a good week. http://www.youtube.com/watch?v=a_lzy_kMF1c

“There wasn’t a lot of pre-production for What’s The Story. . .If we were at home, the postman would drop off an envelope and in it would be a cassette saying ‘Noel demos’. You’d get a phone call: ‘There’s the next album. Learn it. See you in a week.’ That’s the way Noel worked. Everyone would figure out the chords – there was no point asking him, he didn’t know the name of the fucking things. ‘It’s one of them where your finger’s up there. . .’”

This is Paul ‘Bonehead’ Arthurs, looking back at the somewhat haphazard way one of the biggest-selling UK albums of all time came together in his introduction to the latest instalment in our series of Ultimate Music Guides, this one dedicated to Oasis, who in their illustrious pomp swept all before them before the always-simmering tensions between permanently squabbling siblings Noel and Liam Gallagher, for many years an entertaining if occasionally wearying distraction, came to a brutal climax in August 2009 at the Rock et Seine festival in Paris.

A backstage argument between the two ended with Noel walking out on the band that for just over a decade has held such omnipotent sway over British rock. Two hours later, he released a statement announcing “with some sadness and great relief. . . .I quit Oasis tonight”. Noel went off and formed The High Flying Birds. Liam and what was left of the final Oasis line-up became Beady Eye, with a promise from Liam that they would be “bigger than Oasis”, which is not something they have yet become, despite Liam’s initial post-split bravado.

Anyway, 20 years on from the release of Definitely, Maybe, our Ultimate Music Guide, as ever, brings together a collection of predictably colourful and eventful interviews from the archives of Melody Maker, NME and Uncut , a fantastic trawl that’s supplemented by new, in-depth reviews of every Oasis album and the albums that have followed by High Flying Birds and Beady Eye, plus a full Oasis singles discography, including rarities and most valuable collectables.

Oasis: the Ultimate Music Guide is on sale from Thursday, March 13 and will also available to order online at www.uncut.co.uk/store or download digitally at www.uncut.co.uk/digital-edition.

To get you in the mood here’s a clip of Oasis making their TV debut on The Word from 1994.

Have a good week.

U2 deny pushing next album back to 2015

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A spokesperson for U2 has denied that the band have pushed back the release date of their 13th studio album to 2015. Investigations by Billboard last week suggested that the band had pushed the album back to next year. It reported that the band had booked further studio time with producers Paul Epworth and Ryan Tedder, who would join the project's main producer Danger Mouse. It also suggested that U2 had cancelled a tour due to take place in summer 2014. Speaking to The Guardian, a spokesperson for the band flatly the claims, saying: "U2's album is planned for this year (2014), is still on track and touring plans haven’t been confirmed yet." Following recent appearances at the Golden Globes and the release of new tracks "Ordinary Love" and "Invisible", which was downloaded for free three million times, speculation had mounted that the band were gearing up to release their next album this year. Following Billboard's investigation last week, an Interscope representative said the album cannot be considered delayed as a release date was never announced.

A spokesperson for U2 has denied that the band have pushed back the release date of their 13th studio album to 2015.

Investigations by Billboard last week suggested that the band had pushed the album back to next year. It reported that the band had booked further studio time with producers Paul Epworth and Ryan Tedder, who would join the project’s main producer Danger Mouse. It also suggested that U2 had cancelled a tour due to take place in summer 2014.

Speaking to The Guardian, a spokesperson for the band flatly the claims, saying: “U2’s album is planned for this year (2014), is still on track and touring plans haven’t been confirmed yet.”

Following recent appearances at the Golden Globes and the release of new tracks “Ordinary Love” and “Invisible”, which was downloaded for free three million times, speculation had mounted that the band were gearing up to release their next album this year. Following Billboard’s investigation last week, an Interscope representative said the album cannot be considered delayed as a release date was never announced.

The Stooges recording new album without Iggy Pop

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The Stooges are recording an album of material without Iggy Pop. The line-up of James Williamson, Mike Watt, Steve Mackay and Toby Dammit are working on an album, Re-Licked, with a series of guest vocalists including Mark Lanegan and Jello Biafra. Re-Licked consists of previously unreleased songs ...

The Stooges are recording an album of material without Iggy Pop.

The line-up of James Williamson, Mike Watt, Steve Mackay and Toby Dammit are working on an album, Re-Licked, with a series of guest vocalists including Mark Lanegan and Jello Biafra.

Re-Licked consists of previously unreleased songs written around the time of the Iggy And The Stooges’ 1973 album Raw Power. Pop announced last September that he wouldn’t be working with The Stooges in 2014, but Williamson told Rolling Stone: “Iggy gave me his blessing and wished me success with the album. But it’s a hard pill to swallow when someone is doing all your songs with your band and you’re not on it.”

Pop said in a statement: “I don’t have a problem with anything. This statement about ‘hard pill’ sounds kind of passive aggressive to me…T hese guys are my friends and we’ve all worked together many years. They’re working musicians and they need to play.” Pop’s spokesman additionally claimed the singer wasn’t given the chance to appear on Re-Licked and only learned of the album in December 2013 when a record label rejected the chance to release it.

Since reforming in 2003, the band have released two albums: The Weirdness in 2007 and Ready To Die in 2013.

Neil Young confirms more solo shows

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Neil Young has confirmed a pair of solo shows. Young, who is due to play four solo shows in Los Angeles, has now announced two shows in Dallas, Texas at the Morton H. Meyerson Symphony Center on April 17 and 18. Tickets for the two-night run will go on sale March 14 and are available here. Meanwh...

Neil Young has confirmed a pair of solo shows.

Young, who is due to play four solo shows in Los Angeles, has now announced two shows in Dallas, Texas at the Morton H. Meyerson Symphony Center on April 17 and 18.

Tickets for the two-night run will go on sale March 14 and are available here.

Meanwhile, to enter our competition to win a pair of tickets to see Neil Young & Crazy Horse at London’s Hyde Park, click here.

Roddy Frame announces details of new album Seven Dials + previews track

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Roddy Frame has announced details of new album, Seven Dials. Seven Dials will be released on AED on Monday May 5h 2014. It's Frame's first since Western Skies in 2006, was recorded at West Heath Studios in London and co-produced with Seb Lewsley. The track listing for Seven Dials is as follows: ...

Roddy Frame has announced details of new album, Seven Dials.

Seven Dials will be released on AED on Monday May 5h 2014.

It’s Frame’s first since Western Skies in 2006, was recorded at West Heath Studios in London and co-produced with Seb Lewsley.

The track listing for Seven Dials is as follows:

White Pony

Postcard

Into The Sun

Rear View Mirror

In Orbit

Forty Days Of Rain

English Garden

On The Waves

The Other Side

From A Train

Meanwhile, Frame is previewing “Forty Days Of Rain“, which you can hear below.

Benmont Tench – You Should Be So Lucky

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The Heartbreakers keys man debuts - with a little help from his friends... As a member of Tom Petty And The Heartbreakers and a busy A-list session player, Benmont Tench is a master of the art of getting the job done without drawing undue attention to himself. This quintessential sideman is also an eminent presence in the LA musical community, egolessly blending in with his fellow players, who revere the 60-year-old veteran for being both a musicians’ musician and a disarmingly laidback dude. Long one of producer Rick Rubin’s guns for hire, he always shows up when a friend like Ryan Adams or Ringo Starr calls. Both are on Tench’s first solo album, part of a veritable supersession that also includes locally bred guitarist Blake Mills, expat drummer Jeremy Stacey, bassist Don Was, multi-instrumentalist Ethan Johns, singer/guitarists Gillian Welch and David Rawlings and Petty himself. Ethan’s dad, legendary producer Glyn Johns, first broached the subject of Tench making a solo album 20 years ago, and took his chair behind the console when Benmont finally decided to go for it. Computers were absent from the control room. With its organic arrangements, live-off-the-floor performances and painterly detail, You Should Be So Lucky is very much an old-school Glyn Johns production, cut in the same room and featuring several of the same players who appeared on Adams’ similarly timeless 2012 LP Ashes & Fire. There’s nothing flashy about this record; it’s totally in character for the resolutely understated Tench. It opens subtly with the melancholy ballad “Today I Took Your Picture Down”, which recalls Warren Zevon at his most stoic. “On this track you can hear the players really listening”, Tench notes in his track-by-track breakdown, but he could just as accurately be referring to the album as a whole, which is about simpatico players locking in with the material and each other. Tench sings his lyrics much as he plays, with restraint, feel and unforced emotion, not letting himself get in the way of the song yet still fully inhabiting its nuances. The title of “Veronica Said” signals Tench’s debt to Lou Reed (another singer who made the most of a limited voice). The sublime “Why Don’t You Quit Leaving Me Alone” (recorded by Rosanne Cash for 1987’s King’s Record Shop) wouldn’t be out of place out of place on a Randy Newman album; the tender love song “Hannah” inspires Tench’s most heartfelt vocal, its melody pushing his voice to the top of his narrow range, with poignant results; and “Blonde Girl, Blue Dress” knowingly captures the emotional state of the other guy, the one who doesn’t get the girl – presumably a common occurrence with sidekicks and sidemen alike. Bob Dylan, who’s done more with less than any singer, is Tench’s primary touchstone, and he honours the bard on the album’s two non-originals, a luminous take on Dylan’s rendition of the folk standard “Corrina, Corrina” and a rollicking barrelhouse cover of Tempest’s “Duquesne Whistle”. You can also pick up his influence in the torrid title track, which comes across with the hellbent ferocity of Highway 61 Revisited, as Tench unleashes his inner Al Kooper and Adams, playing rhythm guitar as if his life depended on it, practically tears the strings off his acoustic. “Ecor Rouge”, one of two instrumentals, is a watercolour landscape, while the other, “Wobbles”, swings New Orleans style, propelled by the dual drumming of Stacey and Ethan Johns. As different as they are, both capture lightning in a bottle, and hearing them, it’s easy to see why Was, after playing on the record, was inspired to release it on the iconic label Blue Note, which he now heads. Much like the classic Blue Note albums of the last century, You Should Be So Lucky is tailor-made for connoisseurs of musicianship at its headiest and most tasteful – the kind of record you’re proud to own, matching the pride of all those who participated in its creation. Bud Scoppa Q&A You’re known around LA for your willingness to play with anybody. I hope I use a little bit of taste when I go out [laughs]. “He’s no pushover, but he can be had.” But the Heartbreakers have a lot of downtime, and I love to play. If you play with other people, you’re gonna learn something. You blend everybody’s dialects and you find a common language. This record strikes me as an extension of that impulse. Everybody on this record is a good friend of mine. I’ve played with these folks in my house; we cook some food and talk, break out some instruments and play. So making the record felt like my house. That’s exactly what I wanted and what Glyn wanted. Hell, we just wanted to have some fun and do something good. But if I hadn’t been surrounded by friends, it would’ve been too intimidating and overwhelming. You made the record in 10 days, soup to nuts. That’s impressive. That’s the amount of time that we could have all of the musicians, Glyn and Sunset Sound. But I like limitations. Limitations make you work in a different way, and you get a different result. INTERVIEW: BUD SCOPPA

The Heartbreakers keys man debuts – with a little help from his friends…

As a member of Tom Petty And The Heartbreakers and a busy A-list session player, Benmont Tench is a master of the art of getting the job done without drawing undue attention to himself. This quintessential sideman is also an eminent presence in the LA musical community, egolessly blending in with his fellow players, who revere the 60-year-old veteran for being both a musicians’ musician and a disarmingly laidback dude.

Long one of producer Rick Rubin’s guns for hire, he always shows up when a friend like Ryan Adams or Ringo Starr calls. Both are on Tench’s first solo album, part of a veritable supersession that also includes locally bred guitarist Blake Mills, expat drummer Jeremy Stacey, bassist Don Was, multi-instrumentalist Ethan Johns, singer/guitarists Gillian Welch and David Rawlings and Petty himself. Ethan’s dad, legendary producer Glyn Johns, first broached the subject of Tench making a solo album 20 years ago, and took his chair behind the console when Benmont finally decided to go for it.

Computers were absent from the control room. With its organic arrangements, live-off-the-floor performances and painterly detail, You Should Be So Lucky is very much an old-school Glyn Johns production, cut in the same room and featuring several of the same players who appeared on Adams’ similarly timeless 2012 LP Ashes & Fire. There’s nothing flashy about this record; it’s totally in character for the resolutely understated Tench. It opens subtly with the melancholy ballad “Today I Took Your Picture Down”, which recalls Warren Zevon at his most stoic. “On this track you can hear the players really listening”, Tench notes in his track-by-track breakdown, but he could just as accurately be referring to the album as a whole, which is about simpatico players locking in with the material and each other.

Tench sings his lyrics much as he plays, with restraint, feel and unforced emotion, not letting himself get in the way of the song yet still fully inhabiting its nuances. The title of “Veronica Said” signals Tench’s debt to Lou Reed (another singer who made the most of a limited voice). The sublime “Why Don’t You Quit Leaving Me Alone” (recorded by Rosanne Cash for 1987’s King’s Record Shop) wouldn’t be out of place out of place on a Randy Newman album; the tender love song “Hannah” inspires Tench’s most heartfelt vocal, its melody pushing his voice to the top of his narrow range, with poignant results; and “Blonde Girl, Blue Dress” knowingly captures the emotional state of the other guy, the one who doesn’t get the girl – presumably a common occurrence with sidekicks and sidemen alike.

Bob Dylan, who’s done more with less than any singer, is Tench’s primary touchstone, and he honours the bard on the album’s two non-originals, a luminous take on Dylan’s rendition of the folk standard “Corrina, Corrina” and a rollicking barrelhouse cover of Tempest’s “Duquesne Whistle”. You can also pick up his influence in the torrid title track, which comes across with the hellbent ferocity of Highway 61 Revisited, as Tench unleashes his inner Al Kooper and Adams, playing rhythm guitar as if his life depended on it, practically tears the strings off his acoustic.

“Ecor Rouge”, one of two instrumentals, is a watercolour landscape, while the other, “Wobbles”, swings New Orleans style, propelled by the dual drumming of Stacey and Ethan Johns. As different as they are, both capture lightning in a bottle, and hearing them, it’s easy to see why Was, after playing on the record, was inspired to release it on the iconic label Blue Note, which he now heads. Much like the classic Blue Note albums of the last century, You Should Be So Lucky is tailor-made for connoisseurs of musicianship at its headiest and most tasteful – the kind of record you’re proud to own, matching the pride of all those who participated in its creation.

Bud Scoppa

Q&A

You’re known around LA for your willingness to play with anybody.

I hope I use a little bit of taste when I go out [laughs]. “He’s no pushover, but he can be had.” But the Heartbreakers have a lot of downtime, and I love to play. If you play with other people, you’re gonna learn something. You blend everybody’s dialects and you find a common language.

This record strikes me as an extension of that impulse.

Everybody on this record is a good friend of mine. I’ve played with these folks in my house; we cook some food and talk, break out some instruments and play. So making the record felt like my house. That’s exactly what I wanted and what Glyn wanted. Hell, we just wanted to have some fun and do something good. But if I hadn’t been surrounded by friends, it would’ve been too intimidating and overwhelming.

You made the record in 10 days, soup to nuts. That’s impressive.

That’s the amount of time that we could have all of the musicians, Glyn and Sunset Sound. But I like limitations. Limitations make you work in a different way, and you get a different result.

INTERVIEW: BUD SCOPPA

Neil Young to sell PonoPlayer music device through Kickstarter

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Neil Young will debut his new digital audio format Pono at South By Southwest tomorrow [March 11]. Details of the service have now appeared online. A number of news sources - including The Guardian - report that Young will launch a Kickstarter crowdfunding campaign for his new PonoPlayer device on ...

Neil Young will debut his new digital audio format Pono at South By Southwest tomorrow [March 11]. Details of the service have now appeared online.

A number of news sources – including The Guardian – report that Young will launch a Kickstarter crowdfunding campaign for his new PonoPlayer device on 15 March, with early buyers getting a discount on its planned $399 price.

The device will be supported by an online music downloads store called PonoMusic, which will sell files at a higher resolution than rivals like Apple’s iTunes.

Here’s the Pono press release in full:

March 10, 2014 – (Burbank, CA.) – PonoMusic is a revolutionary movement conceived and founded by Neil Young. Our mission is to bring the highest-quality digital music to discerning, passionate consumers, who wish to experience music the way the artists intended, with the emotion, detail, and power intact. “It’s about the music, real music. We want to move digital music into the 21st century and PonoMusic does that. We couldn’t be more excited about bringing PonoMusic to the market,” said Neil Young, founder and chairman of PonoMusic.

PonoMusic encompasses both an online music store (PonoMusic.com) and a playback device (The PonoPlayer). The PonoPlayer is a digital-music experience unlike any other, offering the finest quality, highest-resolution digital music from both major labels and prominent independent labels, curated and archived for discriminating PonoMusic customers. The Pono desktop media management application allows customers to download, manage and sync their music to their PonoPlayer and other high- resolution digital music devices.

“Our goal was to offer the highest quality digital music available from all the major labels with the world’s greatest sounding, user-friendly portable music player. We’ve achieved our goal and we are excited to launch our Kickstarter campaign next week to invite music lovers everywhere to join the PonoMusic community and reserve a PonoPlayer for their own enjoyment,” said John Hamm, CEO of PonoMusic.

The PonoPlayer is a purpose-built, portable, high-resolution digital-music player designed and engineered in a “no-compromise” fashion to allow consumers to experience studio master-quality digital music at the highest audio fidelity possible, bringing the true emotion and detail of the music, the way the artist recorded it, to life. It also features a convenient, easy-to-use LCD touch screen interface that is totally intuitive. The audio technology in the PonoPlayer was developed in conjunction with the engineering team at Ayre, in Boulder Colorado, a leader in world class audio technology.

PonoMusic and Ayre have collaborated their ideas to achieve their goal — to make the power and majesty of music available to everybody. “We are absolutely thrilled to be a part of this project. We will always be grateful to Neil Young for changing the landscape of recorded music,” said Charlie Hansen, CEO of Ayre Acoustics.

The PonoPlayer has 128GB of memory and can store 1000 to 2000 high-resolution digital-music albums. Memory cards can be used to store and play different playlists and additional collections of music. The PonoPlayer will be sold at PonoMusic.com for $399 MSRP and is available for pre-order at a discount on Kickstarter.com as of March 15th. PonoMusic recommended earbud and headphone products will also be available for purchase on PonoMusic.com.

David Bowie announces Record Store Day releases

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David Bowie will release two limited edition picture discs on Record Store Day next month. The annual celebration of music shops will take place on April 19 and Bowie has outlined plans to release a 7" picture disc of "Rock 'n' Roll Suicide" in the UK, while North American fans will be able to purc...

David Bowie will release two limited edition picture discs on Record Store Day next month.

The annual celebration of music shops will take place on April 19 and Bowie has outlined plans to release a 7″ picture disc of “Rock ‘n’ Roll Suicide” in the UK, while North American fans will be able to purchase the single “1984” on 7″ picture disc.

First released as a single in 1974, “Rock ‘n’ Roll Suicide” celebrates its 40th anniversary in 2014 with the new release set to come backed with “Farewell Speech” recorded at the final Ziggy Stardust concert at the Hammersmith Odeon in July 1973.

The track listing for “Rock ‘n’ Roll Suicide” 40th Anniversary 7″ Picture Disc is:

A-Side “Rock ‘n’ Roll Suicide”

AA-Side “Rock ‘n’ Roll Suicide inc Farewell Speech” (Live Ziggy Stardust The Motion Picture version)

Catalogue No DBROCK40

The track listing for “1984” 40th Anniversary 7″ Picture Disc is:

A-Side “1984”

AA-Side “1984 (Live On The Dick Cavett Show)”

Catalogue No DB401984

These are the latest in the run of Bowie’s 40th anniversary 7″ picture discs, following on from “Starman”, “John I’m Only Dancing”, “The Jean Genie”, “Drive In Saturday”, “Live On Mars”, “Sorrow” and “Rebel Rebel”.

Meanwhile, in this month’s issue of Uncut we celebrate the 40th anniversary of David Bowie’s album Diamond Dogs. You can find details about it here.

Watch trailer for HBO’s Bruce Springsteen documentary

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The first trailer for HBO's forthcoming Bruce Springsteen documentary has been revealed. Scroll down to watch it. Titled High Hopes, the film follows Springsteen as he works on his latest album of the same name. High Hopes, the album, was released in January 2014 and the trailer shows Springsteen and the E Street Band as they recruit Rage Against The Machine guitarist Tom Morello and begin work on the record. Speaking about his songwriting process in the preview clip, Springsteen says: "I find I'm trying to resolve something internally. That's really the thrust. It's where all the fuel for what you're going to do is." High Hopes will air on HBO on April 4. http://www.youtube.com/watch?v=4UDzIfrmK98

The first trailer for HBO’s forthcoming Bruce Springsteen documentary has been revealed. Scroll down to watch it.

Titled High Hopes, the film follows Springsteen as he works on his latest album of the same name. High Hopes, the album, was released in January 2014 and the trailer shows Springsteen and the E Street Band as they recruit Rage Against The Machine guitarist Tom Morello and begin work on the record.

Speaking about his songwriting process in the preview clip, Springsteen says: “I find I’m trying to resolve something internally. That’s really the thrust. It’s where all the fuel for what you’re going to do is.”

High Hopes will air on HBO on April 4.

Morrissey announces title and release date for new studio album

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Morrissey has announced details of his new studio album. A post on the quasi-official fansite, True To You, reveals the album will be called World Peace Is None of Your Business. The post continues by saying that a release date has been provisionally set for late June/early July worldwide by Harve...

Morrissey has announced details of his new studio album.

A post on the quasi-official fansite, True To You, reveals the album will be called World Peace Is None of Your Business.

The post continues by saying that a release date has been provisionally set for late June/early July worldwide by Harvest Records thru Capitol. Morrissey is said to be “beyond ecstatic” with the album, all 12 tracks of which were produced by Joe Chiccarelli in France.

At the end of last year, Morrissey’s guitarist Jesse Tobias here told Uncut that the singer had two albums worth of songs ready to record.

Morrissey’s last studio album was Years Of Refusal in 2009.

Win tickets to see Neil Young & Crazy Horse at Hyde Park

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Neil Young And Crazy Horse will headline this year's Barclaycard Presents British Summer Time event at London's Hyde Park on Saturday July 12. They'll be joined by special guests The National, Phosphorescent, Caitlin Rose and Ethan Johns. We're delighted to be able to offer a pair of tickets to th...

Neil Young And Crazy Horse will headline this year’s Barclaycard Presents British Summer Time event at London’s Hyde Park on Saturday July 12.

They’ll be joined by special guests The National, Phosphorescent, Caitlin Rose and Ethan Johns.

We’re delighted to be able to offer a pair of tickets to the event.

To enter, just tell us:

Which long out-of-print live Neil Young album is due to be reissued on Record Store Day this year?

Send your entries to uncutcomp@ipcmedia.com. Please include your full name, address and a daytime phone number. The competition closes at noon GMT on Friday, March 14, 2014. The editor’s decision is final.

Neil Young: The Ultimate Music Guide is available to buy online here.

A digital edition is also available to download on digital newsstands including Apple, Zinio and Google Play. To download your copy, click here and select the appropriate newsstand.

Other instalments in The Ultimate Music Guide series are also available online at www.uncut.co.uk/store.

For more information about Barclaycard Presents British Summer Time click here.