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Deborah Harry: “Blondie were at the bottom rung of the CBGBs ladder…”

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Deborah Harry: “Blondie were at the bottom rung of the CBGBs ladder…”
Deborah Harry reveals she believes Blondie were looked down on at legendary New York punk club CBGB. Denying that her and Patti Smith disliked each other, in the new issue of Uncut the singer says: “I don’t think she’d waste her time hating me. Thing is, I always think Blondie were at the b...

Deborah Harry reveals she believes Blondie were looked down on at legendary New York punk club CBGB.

Denying that her and Patti Smith disliked each other, in the new issue of Uncut the singer says: “I don’t think she’d waste her time hating me. Thing is, I always think Blondie were at the bottom rung of the whole CBGBs ladder.

“She came at her craft from a literary, intellectual point of view, whereas I – although I have read some books, you know! – but I think I came strictly from a more underground pop-culture thing.”

The singer answers your questions in the new issue, tackling topics including Chris Stein’s occult interests, The Muppets, Robert Fripp’s guitar playing and the early hip-hop shows she used to hang out at.

Uncut’s June 2013 issue is out now.

Jeff Buckley and Jimmy Page “cried when they met”

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Jeff Buckley and Jimmy Page “cried when they met”
Jeff Buckley and Jimmy Page cried when they met each other, a close friend of the late singer-songwriter reveals in the latest issue of Uncut. Former Fishbone member Chris Dowd explains that the pair were so in awe of each other that their first meeting was unsurprisingly emotional. “Jeff told...

Jeff Buckley and Jimmy Page cried when they met each other, a close friend of the late singer-songwriter reveals in the latest issue of Uncut.

Former Fishbone member Chris Dowd explains that the pair were so in awe of each other that their first meeting was unsurprisingly emotional.

“Jeff told me they cried,” says Dowd. “They actually cried when they met each other. Jimmy heard himself in Jeff, and Jeff was meeting his idol. Jimmy Page was the godfather of Jeff’s music. A lot of people thought Tim was the influence on Jeff, but it was really Zeppelin.

“He could play all the parts on all the songs. John Paul Jones’ basslines. Page’s guitar parts. The synthesiser intro on ‘In The Light’ – he could play it on guitar and it would sound just like it. And then he would get on the fucking drums and exactly mimic John Bonham.”

To coincide with the 20th anniversary of Buckley’s first EP, “Live At Sin-é”, the story of the guitarist’s early days in New York is told by his close friends, bandmates and industry associates.

The new issue of Uncut (dated June 2013) is out on Thursday (April 25).

The National: “Trouble Will Find Me is like The Band and Air in the same room”

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The National: “Trouble Will Find Me is like The Band and Air in the same room”
The National have revealed that parts of their new album sound like “The Band and Air in the same room”. Speaking in the new issue of Uncut (out on April 25), guitarist Aaron Dessner says: “On ‘Pink Rabbits’, part of the drum track sounds like it could be Levon Helm, but we layered in e...

The National have revealed that parts of their new album sound like “The Band and Air in the same room”.

Speaking in the new issue of Uncut (out on April 25), guitarist Aaron Dessner says: “On ‘Pink Rabbits’, part of the drum track sounds like it could be Levon Helm, but we layered in electronic snares, to give it a certain austerity, like The Band and Air in the same room.

“We were trying to create an aesthetic that would sound new to us: where in the past we might have used orchestrations, strings and winds, here we were using synthetic textures and bass pedals, in order to give it a little more pop sensibility.”

The group’s frontman Matt Berninger also explains the meaning behind many of the songs on the new album, Trouble Will Find Me, joking that the record is a set of “fun songs about death”.

The new issue of Uncut (dated June 2013) is out on Thursday (April 25).

Iggy And The Stooges – Ready To Die

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Iggy And The Stooges – Ready To Die

Ig coaxes James Williamson out for a victory lap... When Iggy And The Stooges announced their arrival with Raw Power, the singer was in no mood to equivocate. Over the course of a brisk 34 minutes, Pop, the streetwalking cheetah with a heart full of napalm, considered alienation, disease, damnation, sex and death. In Iggy’s formulation, these things existed in the same emetic moment. As a statement of violent disaffection, it doesn’t get any purer, not least because Iggy’s words were illuminated by James Williamson’s thrashing guitar. Williamson was self-taught and savage, though it’s notable that he wrote on an acoustic guitar, and the metallic riffs concealed melodic subtleties. Forty years on, with the warped glam of Raw Power established as a foundation stone of punk, metal, and all their revolting tributaries, what’s left? There is the matter of personnel: Ron Asheton died in 2009, ending the revival of The Stooges (the slightly different lineup which backed Iggy on the group’s first two LPs). Iggy’s career, meanwhile, is in limbo. His solo records are barely released, but they suggest his tastes have broadened beyond nihilistic ejaculation. Williamson, returning to rock after retiring from Silicon Valley, must surely bring a different energy to the party, even if he is supported on bass by Mike Watt (ex-Minutemen, a youthful 55), and original drummer Scott Asheton. The opener, “Burn”, suggests that the vigour of Williamson’s playing hasn’t diminished. It’s a metallic rocker, with a sombre Iggy intoning about temptation and draughty windows. He may say, “I’m not on trial, Berlin-style.” He does say, “I got a lesson to learn, because there’s no God in this crowd.” The tune is fierce, but truthfully, the exact nature of Iggy’s fire isn’t clear. It’s followed by the self-explanatory “Sex And Money”, a thin tune with a sleazy sax – closer to New Values than Raw Power – and a lyric about lust which appears to contain the line “nipples come and nipples go”. Then “Job”, a brooding thrash, in which Iggy opens negotiations with the line “I’m just a guy with a rockstar attitude”, before retreating into a grumble about having a badly paid job. These reflections, though, are nothing, compared to “DD’s”, which celebrates the glories of large bosoms (“doesn’t matter if you’re real or fake”). Base desires have always been Iggy’s currency, but it’s hard to imagine his heart is in these words. You could argue they’re Grinderman-style exercises in form – emotional blurts, without the need for further edification. Iggy has made a career out of dislocation and disgust, but it’s usually expressed with more poetry than is evident on “Dirty Deal”, which rails about bad contracts and how “the system’s rigged to favour crooks”; or “Gun”, a conventional rocker expressing broad disgust with everything and everyone. The title track is a neuralgic paean to depression, with Iggy positioning himself as “a hanging judge of the world I’m in”. It’s no “Search And Destroy”, but it does contain a note of mature self-deprecation. Of course, Ready To Die was never going to match Raw Power. When you’re 65, rekindling youth’s righteous fury can sound like grouchiness or – worse – play-acting. But there are worthwhile moments, mostly when Williamson leaves space for Pop to express his vulnerability. The melancholy “Unfriendly World” has Iggy crooning over wiry guitar, and because he’s not playing his cartoonish self he wrests emotional weight from a bitter lyric hung around the line “fame and fortune make me sick, and I can’t get out”. The album closes with “Beat That Guy”, a gentler piece about familiar Iggy concerns – being alone, mostly – which sounds like The Dictators playing Sonny & Cher. Finally, there is “The Departed”, a lovely, end-of-the-party reflection with Iggy singing about nightlife being a death trip. “I can’t feel, nothing real/My lights are all burned out”, he croons over steel guitar and military drums. He sounds as if he is singing through gritted false teeth. He sounds exhausted. He sounds sincere. Alastair McKay Q+A Iggy Pop What does James Williamson add? He’s an angry and destabilising guitarist. It’s a tradition that goes back to Link Wray, and probably further. Maybe Charlie Christian. Has his guitar playing evolved over the years? He tried some evolving in the mid-’70s with Kill City and he played a very nice piece of music on my album New Values – the guitar track to “Don’t Look Down”. Then he did other things with his life. But is age necessarily an evolution? If we successfully age and then don’t die, then I’d say he’s definitely evolved, ’cos he’s still alive and he can play a guitar! How have you evolved? There’s half baritone songs on this record, and it’s a warmer register for me at this point in my life. I still like barking like a little dog sometimes. I don’t puke as much as I used to. The puking, screaming and incarceration tend to go together. Hopefully when you want a little bit of that back in your life you can do it theatrically, or carefully in a controlled setting! Based on “DD’s” – are you a breast man? Yes! But not to the exclusion of the other parts. If you haven’t got them, I’ll go to another area. We can work out something! INTERVIEW: ALASTAIR McKAY Special offer! For one week only, subscribe to Uncut from only £15.35 and save up to 50%! Don’t miss out on this great offer as it won’t be around for long. Please note, the 50% discount is available to UK Direct Debit subscribers only.

Ig coaxes James Williamson out for a victory lap…

When Iggy And The Stooges announced their arrival with Raw Power, the singer was in no mood to equivocate. Over the course of a brisk 34 minutes, Pop, the streetwalking cheetah with a heart full of napalm, considered alienation, disease, damnation, sex and death. In Iggy’s formulation, these things existed in the same emetic moment.

As a statement of violent disaffection, it doesn’t get any purer, not least because Iggy’s words were illuminated by James Williamson’s thrashing guitar. Williamson was self-taught and savage, though it’s notable that he wrote on an acoustic guitar, and the metallic riffs concealed melodic subtleties.

Forty years on, with the warped glam of Raw Power established as a foundation stone of punk, metal, and all their revolting tributaries, what’s left? There is the matter of personnel: Ron Asheton died in 2009, ending the revival of The Stooges (the slightly different lineup which backed Iggy on the group’s first two LPs). Iggy’s career, meanwhile, is in limbo. His solo records are barely released, but they suggest his tastes have broadened beyond nihilistic ejaculation. Williamson, returning to rock after retiring from Silicon Valley, must surely bring a different energy to the party, even if he is supported on bass by Mike Watt (ex-Minutemen, a youthful 55), and original drummer Scott Asheton.

The opener, “Burn”, suggests that the vigour of Williamson’s playing hasn’t diminished. It’s a metallic rocker, with a sombre Iggy intoning about temptation and draughty windows. He may say, “I’m not on trial, Berlin-style.” He does say, “I got a lesson to learn, because there’s no God in this crowd.” The tune is fierce, but truthfully, the exact nature of Iggy’s fire isn’t clear. It’s followed by the self-explanatory “Sex And Money”, a thin tune with a sleazy sax – closer to New Values than Raw Power – and a lyric about lust which appears to contain the line “nipples come and nipples go”. Then “Job”, a brooding thrash, in which Iggy opens negotiations with the line “I’m just a guy with a rockstar attitude”, before retreating into a grumble about having a badly paid job. These reflections, though, are nothing, compared to “DD’s”, which celebrates the glories of large bosoms (“doesn’t matter if you’re real or fake”).

Base desires have always been Iggy’s currency, but it’s hard to imagine his heart is in these words. You could argue they’re Grinderman-style exercises in form – emotional blurts, without the need for further edification. Iggy has made a career out of dislocation and disgust, but it’s usually expressed with more poetry than is evident on “Dirty Deal”, which rails about bad contracts and how “the system’s rigged to favour crooks”; or “Gun”, a conventional rocker expressing broad disgust with everything and everyone. The title track is a neuralgic paean to depression, with Iggy positioning himself as “a hanging judge of the world I’m in”. It’s no “Search And Destroy”, but it does contain a note of mature self-deprecation.

Of course, Ready To Die was never going to match Raw Power. When you’re 65, rekindling youth’s righteous fury can sound like grouchiness or – worse – play-acting. But there are worthwhile moments, mostly when Williamson leaves space for Pop to express his vulnerability. The melancholy “Unfriendly World” has Iggy crooning over wiry guitar, and because he’s not playing his cartoonish self he wrests emotional weight from a bitter lyric hung around the line “fame and fortune make me sick, and I can’t get out”.

The album closes with “Beat That Guy”, a gentler piece about familiar Iggy concerns – being alone, mostly – which sounds like The Dictators playing Sonny & Cher. Finally, there is “The Departed”, a lovely, end-of-the-party reflection with Iggy singing about nightlife being a death trip. “I can’t feel, nothing real/My lights are all burned out”, he croons over steel guitar and military drums.

He sounds as if he is singing through gritted false teeth. He sounds exhausted. He sounds sincere.

Alastair McKay

Q+A

Iggy Pop

What does James Williamson add?

He’s an angry and destabilising guitarist. It’s a tradition that goes back to Link Wray, and probably further. Maybe Charlie Christian.

Has his guitar playing evolved over the years?

He tried some evolving in the mid-’70s with Kill City and he played a very nice piece of music on my album New Values – the guitar track to “Don’t Look Down”. Then he did other things with his life. But is age necessarily an evolution? If we successfully age and then don’t die, then I’d say he’s definitely evolved, ’cos he’s still alive and he can play a guitar!

How have you evolved?

There’s half baritone songs on this record, and it’s a warmer register for me at this point in my life. I still like barking like a little dog sometimes. I don’t puke as much as I used to. The puking, screaming and incarceration tend to go together. Hopefully when you want a little bit of that back in your life you can do it theatrically, or carefully in a controlled setting!

Based on “DD’s” – are you a breast man?

Yes! But not to the exclusion of the other parts. If you haven’t got them, I’ll go to another area. We can work out something!

INTERVIEW: ALASTAIR McKAY

Special offer!

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George Clinton and Sly Stone collaborate on new single

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George Clinton and Sly Stone collaborate on new single
George Clinton and Sly Stone have collaborated on a new single, "The Naz". The track, which tells the story of Jesus Christ, is available as a digital download here. Credited to Funkadelic Featuring Sly Stone, "The Naz" is Stone's first material with Clinton to be officially released since Stone a...

George Clinton and Sly Stone have collaborated on a new single, “The Naz”.

The track, which tells the story of Jesus Christ, is available as a digital download here.

Credited to Funkadelic Featuring Sly Stone, “The Naz” is Stone’s first material with Clinton to be officially released since Stone appeared on Funkadelic’s 1981 album, The Electric Spanking Of War Babies.

The new single, released by digital distributor INgrooves Fontana, is the first release on Clinton’s label, The C Kunspyruhzy, and the first new Funkadelic material in 22 years.

Last year, Clinton was granted an honorary doctorate from Berklee College of Music. He recently donated the legendary P-Funk stage prop, The Mothership, to the Smithsonian National Museum of African American History & Culture. Clinton is presently working on new material with Boston duo, Soul Clap.

George Clinton and The P-Funk All Stars will play the UK in July.

Photo credit: Nitin Vadukul

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Eagles: “Our plan was to be world-famous and rich… no Christmas cards”

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Eagles: “Our plan was to be world-famous and rich… no Christmas cards”

The Eagles have revealed that their business-like plan for world domination included “no Christmas cards”. In the new issue of Uncut, out on Thursday (April 25), founding guitarist Bernie Leadon explains that the group wanted to keep their relationships simple. “When we got together we defined our business plan: we wanted to be successful, world-famous, acclaimed and rich,” says Leadon. “One of the first things Frey said was, ‘OK, let’s keep this simple. No Christmas cards.’ Did we go on holiday and call each other? No.” In the new issue, the band, JD Souther and Jackson Browne unravel the making of the group’s pivotal second album, Desperado, a “cowboy record” recorded in west London. The new issue of Uncut (dated June 2013) is out on Thursday (April 25).

The Eagles have revealed that their business-like plan for world domination included “no Christmas cards”.

In the new issue of Uncut, out on Thursday (April 25), founding guitarist Bernie Leadon explains that the group wanted to keep their relationships simple.

“When we got together we defined our business plan: we wanted to be successful, world-famous, acclaimed and rich,” says Leadon.

“One of the first things Frey said was, ‘OK, let’s keep this simple. No Christmas cards.’ Did we go on holiday and call each other? No.”

In the new issue, the band, JD Souther and Jackson Browne unravel the making of the group’s pivotal second album, Desperado, a “cowboy record” recorded in west London.

The new issue of Uncut (dated June 2013) is out on Thursday (April 25).

Bob Dylan, Wilco and My Morning Jacket for joint North American tour

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Bob Dylan, Wilco and My Morning Jacket for joint North American tour
Bob Dylan is to team up with Wilco and My Morning Jacket for a run of 26 dates in North America. The tour - which will be called the Americanarama Festival of Music - will also feature additional artists the Richard Thompson Electric Trio and Ryan Bingham at select venues. The dates begin on June ...

Bob Dylan is to team up with Wilco and My Morning Jacket for a run of 26 dates in North America.

The tour – which will be called the Americanarama Festival of Music – will also feature additional artists the Richard Thompson Electric Trio and Ryan Bingham at select venues.

The dates begin on June 26 in West Palm Beach, Florida taking in Nashville, Chicago and Denver before coming to a close in Mountain View, California on August 4.

Pre-sale tickets will be available starting Wednesday morning, April 24.

June 26, West Palm Beach, Florida – Cruzan Amphitheatre

June 27, Tampa, Florida – Live Nation Amphitheatre

June 29, Atlanta, Georgia – Aaron’s Amphitheatre at Lakewood

June 30, Nashville, Tennessee – The Lawn at Riverfront Park

July 2, Memphis, Tennessee – AutoZone Park

July 5, Noblesville, Indiana – Klipsch Music Center

July 6, Cincinnati, Ohio – Riverbend Music Center

July 7, Columbus, Ohio – Nationwide Arena

July 10, St. Paul, Minnesota – Midway Stadium

July 11, Peoria, Illinois – Chiefs Stadium

July 12, Chicago, Illinois – Toyota Park

July 14, Clarkston, Michigan – DTE Energy Music Theatre

July 15, Toronto, Ontario – Molson Canadian Amphitheatre

July 18, Darien Center, New York – Darien Lake Performing Arts Center

July 19, Bridgeport, Connecticut – The Ballpark at Harbor Yard

July 20, Mansfield, Massachusetts – Comcast Center

July 21, Saratoga Springs, New York – Saratoga Performing Arts Center

July 23, Columbia, Maryland – Merriweather Post Pavilion

July 24, Virginia Beach, Virginia – Farm Bureau Live at Virginia Beach

July 26, Hoboken, New Jersey – Pier A Park

July 27, Wantagh, New York – Nikon at Jones Beach Theater

July 28, Camden, New Jersey – SusquehannaBank Center

July 31, Denver, Colorado – Fiddler’s Green Amphitheatre

August 1, Salt Lake City, Utah – USANA Amphitheatre

August 3, Irvine, California – Verizon Wireless Amphitheatre

August 4, Mountain View, California – Shoreline Amphitheatre

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Watch Paul Weller and The Strypes Record Store Day performance

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Watch Paul Weller and The Strypes Record Store Day performance
Paul Weller teamed up with Irish newcomers The Strypes for a one-off performance at London's Rough Trade East last night (April 20th) as part of the shop's Record Store Day celebrations. Headlining the shop's day of in-store gigs, which also saw performances from the likes of Frank Turner, King Mid...

Paul Weller teamed up with Irish newcomers The Strypes for a one-off performance at London’s Rough Trade East last night (April 20th) as part of the shop’s Record Store Day celebrations.

Headlining the shop’s day of in-store gigs, which also saw performances from the likes of Frank Turner, King Midas Sound and a separate set from The Strypes themselves, Weller enlisted guitarist Josh McClorey and bass player Pete O’Hanlon as well as Miles Kane’s drummer Jay Sharrock to join him for a thirty minute set.

Entry was by wristband only and saw fans queuing from 4am this morning to gain access to the completely sold-out event.

Kicking off with The Jam staple “In The City” – which you can watch below – the band then stormed through a number of Weller’s solo cuts including Record Store Day release ‘Flame-Out!’, ‘Fast Car/ Slow Traffic’ and ‘Kling I Klang’.

Weller then introduced the other two members of The Strypes, singer Ross Farrelly and drummer Evan Welsh, joking that they were “on loan for one day only” for a rousing run through of “Woodcutters’ Son”.

The band then continued with a cover of The Beatles‘ “Slow Down”, Weller staple “From The Floorboards Up” and recent album title track “Wake Up The Nation” before exiting to huge applause and then re-entering for an impromptu encore of “Route 66” with Farrelly taking lead vocals.

The Strypes will play the Uncut stage at this year’s Great Escape festival.

Paul Weller played:

‘In The City’

Fast Car/ Slow Traffic’

‘Flame-Out!’

‘Kling I Klang’

‘Woodcutters’ Son’

‘Slow Down’

‘From The Floorboard Up’

‘Porcelain Gods’

‘Wake Up The Nation’

‘Route 66’

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“David Bowie has another album in the pipeline,” says Noel Gallagher

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“David Bowie has another album in the pipeline,” says Noel Gallagher
David Bowie has "another album in the pipeline", according to Noel Gallagher. Gallagher made the revelation during an interview with Absolute Radio for Bowie Part 3 – Let’s Dance To The Next Day (1980-2013), which was broadcast last night (April 21). He said: "According to people I've spoken t...

David Bowie has “another album in the pipeline”, according to Noel Gallagher.

Gallagher made the revelation during an interview with Absolute Radio for Bowie Part 3 – Let’s Dance To The Next Day (1980-2013), which was broadcast last night (April 21).

He said: “According to people I’ve spoken to, there’s another album in the pipeline. There was, like, 29 songs or something.”

However, Gallagher could not say when the new album would be released and admitted that it could be another 10 years before the record sees the light of day. “I don’t know what’s next for Bowie. He could disappear for another 10 years or there could be another album,” he said. “He might do the greatest tour of all time or he might never gig again. Who knows?”

Praising Bowie, he added: “I’ve got to say I was properly staggered about how good (the album) actually was. I don’t believe for a second that he’s thrown those songs together in two years. It sounds like a record that has been in the making for 10 years. And if it is, I admire him even more. I genuinely put Bowie up there with some of the greatest there has ever been, with Elvis, John Lennon…he’s in that league.”

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John Cusack to play Brian Wilson in new biopic?

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John Cusack to play Brian Wilson in new biopic?
John Cusack is set to portray The Beach Boys' Brian Wilson in a new biopic. The actor is in talks to take the lead in Love And War, playing Wilson in later life. There Will Be Blood actor Paul Dano has already signed up to portray him as a young man, according to The Wrap. The movie is being direc...

John Cusack is set to portray The Beach Boys’ Brian Wilson in a new biopic.

The actor is in talks to take the lead in Love And War, playing Wilson in later life. There Will Be Blood actor Paul Dano has already signed up to portray him as a young man, according to The Wrap.

The movie is being directed by Bill Pohlad, from a screenplay by Oscar-nominated writer Oren Moverman. An unconventional look at Wilson’s life, the script apparently “renimagines seminal moments… from his artistic genius to his profound struggles and the love that keeps him alive.”

The film has the blessing of Wilson himself. On hearing news of Dano’s casting, he told Rolling Stone: “I am thrilled that Paul Dano has signed on top play me during one of my most creative explosions and most fulfilling musical times in my career. I still can’t believe how cool it is that my life will be portrayed on the big screen… it just makes me feel so humble. I can’t wait to see it with a full tub of buttered popcorn.”

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Rare Frank Zappa TV show set for official DVD release

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Rare Frank Zappa TV show set for official DVD release
Frank Zappa's 1974 TV special, A Token Of His Extreme, is to be released officially for the first time on June 3 via Eagle Rock. The show, which was recorded on August 27, 1974 at KCET in Hollywood, featured Zappa alongside George Duke (keyboards, finger cymbals, tambourine, vocals), Napoleon Murph...

Frank Zappa‘s 1974 TV special, A Token Of His Extreme, is to be released officially for the first time on June 3 via Eagle Rock.

The show, which was recorded on August 27, 1974 at KCET in Hollywood, featured Zappa alongside George Duke (keyboards, finger cymbals, tambourine, vocals), Napoleon Murphy Brock (sax, vocals), Ruth Underwood (percussion), Tom Fowler (bass) and Chester Thompson (drums).

Speaking on the Mike Douglas Show in 1976, Zappa said, “This was put together with my own money and my own time and it’s been offered to television networks and to syndication and it has been steadfastly rejected by the American television industry. It has been shown in primetime in France and Switzerland, with marvelous results. It’s probably one of the finest pieces of video work that any human being has ever done. I did it myself. And the animation that you’re gonna see in this was done by a guy named Bruce Bickford, and I hope he is watching the show, because it’s probably the first time that a lot of people in America got a chance to see it.”

The track listing for A Token of His Extreme includes: “The Dog Breath Variations”/”Uncle Meat”, “Montana”, “Florentine Pogen”, “Stink-Foot”, “Pygmy Twylyte”, “Room Service, “Inca Roads”, “Oh No”, “Son Of Orange County”, “More Trouble Every Day”, “A Token Of My Extreme”.

The show has never been officially released on video or DVD before.

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Daft Punk officially release “Get Lucky” on iTunes

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Daft Punk officially release “Get Lucky” on iTunes

A full-length version of Daft Punk's "Get Lucky" can now be downloaded on iTunes. A one-minute-long version of the track, featuring Pharrell on vocals and Chic's Nile Rodgers on guitar, debuted on a commercial screened at last weekend's Coachella festival, and then during the latest episode of US TV show Saturday Night Live, broadcast on April 13. Since then, numerous songs have been posted purporting to be the full version of the track, taken from Daft Punk's hotly anticipated new album Random Access Memories. However, the official version of the single was finally uploaded at 00:01am this morning (April 19). Pharrell Williams recently revealed that he "met the robots at a Madonna party and they were just like, 'We're doing something'. I said, 'Whatever you guys need, I'll do it. I'll play tambourine.' It feels like the only click track they have is the human heartbeat, and that makes it really interesting because these are robots." When asked what the ideal scenario for listening to 'Random Access Memories' is, he replied: "In a car, pulled up to the beach with my girl. Just let it play. This music is beyond 3D, it's 4D. You don't need MDMA to enjoy this music." Williams is one of a number of collaborators Daft Punk have pulled in for Random Access Memories, which is released on May 20. Giorgio Moroder, Todd Edwards, Panda Bear and Chilly Gonzales are set to appear on the LP. Special offer! For one week only, subscribe to Uncut from only £15.35 and save up to 50%! Don’t miss out on this great offer as it won’t be around for long. Please note, the 50% discount is available to UK Direct Debit subscribers only.

A full-length version of Daft Punk‘s “Get Lucky” can now be downloaded on iTunes.

A one-minute-long version of the track, featuring Pharrell on vocals and Chic’s Nile Rodgers on guitar, debuted on a commercial screened at last weekend’s Coachella festival, and then during the latest episode of US TV show Saturday Night Live, broadcast on April 13.

Since then, numerous songs have been posted purporting to be the full version of the track, taken from Daft Punk’s hotly anticipated new album Random Access Memories. However, the official version of the single was finally uploaded at 00:01am this morning (April 19).

Pharrell Williams recently revealed that he “met the robots at a Madonna party and they were just like, ‘We’re doing something’. I said, ‘Whatever you guys need, I’ll do it. I’ll play tambourine.’ It feels like the only click track they have is the human heartbeat, and that makes it really interesting because these are robots.” When asked what the ideal scenario for listening to ‘Random Access Memories’ is, he replied: “In a car, pulled up to the beach with my girl. Just let it play. This music is beyond 3D, it’s 4D. You don’t need MDMA to enjoy this music.”

Williams is one of a number of collaborators Daft Punk have pulled in for Random Access Memories, which is released on May 20. Giorgio Moroder, Todd Edwards, Panda Bear and Chilly Gonzales are set to appear on the LP.

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Hear new Black Sabbath song “God Is Dead?”

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Hear new Black Sabbath song “God Is Dead?”
Black Sabbath have revealed their new single "God Is Dead?". Scroll down to hear the song now. The 8:51 minute long song is taken from Black Sabbath's much-anticipated new album 13 due for release on June 11. 13 is the first album Osbourne, Tony Iommi and Geezer Butler have recorded together sin...

Black Sabbath have revealed their new single “God Is Dead?”. Scroll down to hear the song now.

The 8:51 minute long song is taken from Black Sabbath’s much-anticipated new album 13 due for release on June 11.

13 is the first album Osbourne, Tony Iommi and Geezer Butler have recorded together since 1978’s Never Say Die!. The album will be available in a number of different formats, including the Standard CD album release, a deluxe double CD album (which includes a second disc of bonus material), 12-inch heavyweight vinyl (180g) in a gatefold sleeve plus a super-deluxe box set containing a Black Sabbath – The Reunion documentary. Three extra tracks set to appear on the deluxe edition of 13 have also just been announced. Scroll down to see the full album tracklisting now.

In advance of the new album, Black Sabbath will tour Australia, New Zealand and play a show at Ozzfest in Japan.

The full 13 tracklist is:

‘End of the Beginning’

‘God is Dead?’

‘Loner’

‘Zeitgeist’

‘Age of Reason’

‘Live Forever’

‘Damaged Soul’

‘Dear Father’

Bonus deluxe edition tracks:

‘Methademic’

‘Peace of Mind’

‘Pariah’

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The Look Of Love

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The Look Of Love

A collaboration between filmmaker Michael Winterbottom and star Steve Coogan, where a lad from the north west of England makes good in unconventional circumstances, accompanied by a bunch of like-minded, but broadly eccentric characters. This is the story of Soho porn entrepreneur Paul Raymond, but it could just as easily describe the trajectory of Tony Wilson, the subject of Winterbottom and Coogan’s first collaboration, 24 Hour Party People – or even Coogan’s own back story, which stretches back to his working class origins in Liverpool. Winterbottom’s film – originally called The King Of Soho – covers the period from the late 1940s to 1992, and broadly follows Raymond’s colourful rise from mind-reading act on Clacton pier to one of the richest men in Britain, with an estimated fortune of £650 million made from real estate and ‘adult publishing’. As per previous Winterbottom/Coogan collaborations, the vibe here is loose and episodic. The fourth wall is broken (“My name is Paul Raymond, welcome to my world of erotica,” Coogan addresses the audience at the film’s start) while Winterbottom plays around with film stock and editing techniques to move the story along. Matt Greenhalgh’s screenplay streamlines Raymond’s story – it skates over assorted lawsuits and extortion attempts – and instead draws out thematic threads from his life, in particular his relationship with women. On one hand, Raymond is a man who made a significant part of his fortune exploiting women, while on the other he adored strong, independent women. Chief among these are his first wife Jean (Anna Friel), glamour model girlfriend Fiona Richmond (Tamsin Egerton) and his free-spirited daughter Debbie (Imogen Poots). Raymond’s wider entourage include Chris Addison – sporting a curly black wig and matching beard – and James Lance as his Men Only editor and lawyer, respectively. Winterbottom brilliantly handles the pace of the gang’s shaky ascent as they attempt to “rewrite the cultural history of the nation”, building up the cocaine use, orgies and lifestyle extravagances with the same forceful persuasion Scorsese brought to GoodFellas. Soon, Raymond is living in the prestigious Arlington House block by the Ritz, in a penthouse apartment with a retractable ceiling. “Ringo helped me design it,” he says proudly, in a rare Partridge-esque moment. “I’m very good friends with The Beatles. Apart from Yoko.” But behind the unconventional, freewheeling exterior, Coogan depicts Raymond as a determined, ruthless businessman. “Normal life is for normal people,” he says at one point, but despite the great wealth he accumulates, the film’s opening and closing images – of the solitary, broken Raymond watching footage of his beloved Debbie on a videotape – ask us to consider whether it’s all worth it. Michael Bonner Special offer! For one week only, subscribe to Uncut from only £15.35 and save up to 50%! Don’t miss out on this great offer as it won’t be around for long. Please note, the 50% discount is available to UK Direct Debit subscribers only.

A collaboration between filmmaker Michael Winterbottom and star Steve Coogan, where a lad from the north west of England makes good in unconventional circumstances, accompanied by a bunch of like-minded, but broadly eccentric characters. This is the story of Soho porn entrepreneur Paul Raymond, but it could just as easily describe the trajectory of Tony Wilson, the subject of Winterbottom and Coogan’s first collaboration, 24 Hour Party People – or even Coogan’s own back story, which stretches back to his working class origins in Liverpool.

Winterbottom’s film – originally called The King Of Soho – covers the period from the late 1940s to 1992, and broadly follows Raymond’s colourful rise from mind-reading act on Clacton pier to one of the richest men in Britain, with an estimated fortune of £650 million made from real estate and ‘adult publishing’. As per previous Winterbottom/Coogan collaborations, the vibe here is loose and episodic. The fourth wall is broken (“My name is Paul Raymond, welcome to my world of erotica,” Coogan addresses the audience at the film’s start) while Winterbottom plays around with film stock and editing techniques to move the story along. Matt Greenhalgh’s screenplay streamlines Raymond’s story – it skates over assorted lawsuits and extortion attempts – and instead draws out thematic threads from his life, in particular his relationship with women.

On one hand, Raymond is a man who made a significant part of his fortune exploiting women, while on the other he adored strong, independent women. Chief among these are his first wife Jean (Anna Friel), glamour model girlfriend Fiona Richmond (Tamsin Egerton) and his free-spirited daughter Debbie (Imogen Poots). Raymond’s wider entourage include Chris Addison – sporting a curly black wig and matching beard – and James Lance as his Men Only editor and lawyer, respectively.

Winterbottom brilliantly handles the pace of the gang’s shaky ascent as they attempt to “rewrite the cultural history of the nation”, building up the cocaine use, orgies and lifestyle extravagances with the same forceful persuasion Scorsese brought to GoodFellas. Soon, Raymond is living in the prestigious Arlington House block by the Ritz, in a penthouse apartment with a retractable ceiling. “Ringo helped me design it,” he says proudly, in a rare Partridge-esque moment. “I’m very good friends with The Beatles. Apart from Yoko.” But behind the unconventional, freewheeling exterior, Coogan depicts Raymond as a determined, ruthless businessman. “Normal life is for normal people,” he says at one point, but despite the great wealth he accumulates, the film’s opening and closing images – of the solitary, broken Raymond watching footage of his beloved Debbie on a videotape – ask us to consider whether it’s all worth it.

Michael Bonner

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Storm Thorgerson dies aged 69

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Storm Thorgerson dies aged 69
Storm Thorgerson has died, aged 69. His family released a statement earlier today (April 18) saying he died peacefully earlier in the day, surrounded by family and friends. It read: "He had been ill for some time with cancer though he had made a remarkable recovery from his stroke in 2003. He is ...

Storm Thorgerson has died, aged 69.

His family released a statement earlier today (April 18) saying he died peacefully earlier in the day, surrounded by family and friends. It read:

“He had been ill for some time with cancer though he had made a remarkable recovery from his stroke in 2003. He is survived by his mother Vanji, his son Bill, his wife Barbie Antonis and her two children Adam and Georgia.”

A childhood friend of the founding members of Pink Floyd, Thorgerson designed a host of album sleeves for the band, including The Dark Side Of The Moon.

He also created artwork for albums by Led Zeppelin and Black Sabbath, and more recently Muse and Biffy Clyro.

David Gilmour said in a statement via BBC News:

“We first met in our early teens. We would gather at Sheep’s Green, a spot by the river in Cambridge and Storm would always be there holding forth, making the most noise, bursting with ideas and enthusiasm. Nothing has ever really changed.”

He added: “He has been a constant force in my life, both at work and in private, a shoulder to cry on and a great friend. I will miss him.”

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Dexys, Duke Of York’s Theatre, London, April 16, 2013

Michael Bonner
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Dexys, Duke Of York’s Theatre, London, April 16, 2013

As you come up the escalator at Leicester Square underground station, you might notice the posters lining the walls advertising Mamma Mia!, Viva Forever! and We Will Rock You. You could be forgiven for wondering what place Dexys have in the heart of West End theatreland, especially here among these big karaoke musicals. But it’s worth remembering that Kevin Rowland has always seemed to relish his band's underdog status – finding something heroic, I guess, in the ongoing struggle against more orthodox forms of music. Indeed, his first appearance on Top Of The Pops – February 7, 1980 – found Dexys Midnight Runners sharing a bill with AC/DC and Buggles, while Legs & Co danced to “The Beat Goes On” by Whispers. 33 years on, Rowland continues to remind us that he’s on the outside looking in. He and his band are here for a nine-night residency at London’s Duke of York’s theatre on St Martin's Lane, sandwiched between David Hare’s play The Judas Kiss and Peter Nichols’ Passion Play, starring Zoë Wanamaker. How on earth did they get in? Did the caretaker forget to lock the doors properly? Of course, Kevin Rowland has always been one of our most challenging and idiosyncratic musicians. Following the 27 year gap between Don’t Stand Me Down and last year’s One Day I’m Going To Soar (and 13 years since his last solo album, My Beauty), Rowland chose a predictably unconventional route back into the public consciousness. Before One Day I’m Going To Soar was released last June, Rowland and the latest incarnation of Dexys played their as yet-unreleased new album in full and in sequence. Of course, the practise of playing albums in their entirety like this is traditionally reserved for a band revisiting a classic album, not launching a new one. But such is the high-stakes drama of the Dexys narrative – and the sheer confidence in the album’s songs – that it arguably felt like there was no other logical way to do it. The programme for these run of dates at the Duke of York’s is essentially the same as last year’s shows: One Day I’m Going To Soar followed by a selection of old favourites. But this setting in the 120 year-old venue seems particularly apt for Rowland and his nine co-conspirators, who give full rein to the more theatrical aspects of a Dexys show. If One Day I’m Going To Soar was the latest chapter in Rowland’s ongoing spiritual autobiography, then these narrative-driven confessionals are splendidly – and stylishly – played out. Rowland leads the sartorial charge with, by my reckoning, three costume changes, while his accomplices opt for a kind of 1940s American casual look. The show opens with a piano motif played in darkness before a spot catches Rowland for “Now”, and the first of many, brilliantly acerbic moments of self-examination: “Oh I know that I've been crazy and that cannot be denied, but inside of me there's always been a secret urge to fly”. The story –boy meets girl, they fall in love, he can’t commit, sad face, the end – is played out in song, and also a series of dialogues between Rowland and Pete Williams, who acts as his foil in the early part of the show, and later, Madeleine Hyland, as the object of Rowland’s lustful attentions. First glimpsed reclining on a chaise lounge above the band, Hyland is a relatively conventional vocal presence compared to Rowland’s rich, swooning soul voice. In essence, she’s a pencil-sketch, a narrative device to get Rowland to the moment of realisation that he is “incape, incape, incapable of love”. All the same, Hyland and Rowland get into a terrific scrap on “I’m Always Going To Love You”, with Hyland, first wooed and now abandoned, snarling at Rowland: “Kevin, don't talk to me ... You saw me as a challenge”. Despite being absent for great chunks of the set, Williams fares well. His banter with Rowland – however well-rehearsed (and in some cases, stretching back to the early Eighties) – is loose and good humoured. Trombonist Big Jim Paterson, Rowland’s longest serving collaborator, elicits some of the biggest cheers of the night. Rowland himself is terrific. He has a Brando-esque emotional intensity, whether during the stripped down soliloquizing on “Me” or snapping into moments of sudden violence. The big songs – especially the encore – find him turning up the soul power, but I kind of prefer the softer croon he uses for the more introspective songs, in particular a show-stopping “It’s OK John Joe”. “We couldn’t leave it like that, could we?” says Pete Williams, ushering in a final act of Dexys classics, including a powerful take on “The Waltz”, a mischievous reworking of “Geno”, a jubilant “I Love You (Listen To This)” and a version of “Until I Believe In My Soul” that simply won’t stop. The finale, “This Is What She’s Like”, repurposes the show as rousing soul revue, Rowland at one point leaning over the side of a box, shouting over and over again, "This is our stuff - this, this, this is our stuff." The stuff of brilliance itself. Dexys played: Now (into) Lost (into) Me She Got A Wiggle You (into) Thinking Of You I'm Always Going To Love You Incapable Of Love Nowhere Is Home Free It's OK John Joe Free Reprise The Waltz Geno (into) Listen To This Until I Believe In my Soul/Light Turns Green I Couldn’t Help It If I Tried This Is What She's Like Photo credit: Dean Chalkley Follow me on Twitter @MichaelBonner Special offer! For one week only, subscribe to Uncut from only £15.35 and save up to 50%! Don’t miss out on this great offer as it won’t be around for long. Please note, the 50% discount is available to UK Direct Debit subscribers only.

As you come up the escalator at Leicester Square underground station, you might notice the posters lining the walls advertising Mamma Mia!, Viva Forever! and We Will Rock You. You could be forgiven for wondering what place Dexys have in the heart of West End theatreland, especially here among these big karaoke musicals.

But it’s worth remembering that Kevin Rowland has always seemed to relish his band’s underdog status – finding something heroic, I guess, in the ongoing struggle against more orthodox forms of music.

Indeed, his first appearance on Top Of The Pops – February 7, 1980 – found Dexys Midnight Runners sharing a bill with AC/DC and Buggles, while Legs & Co danced to “The Beat Goes On” by Whispers. 33 years on, Rowland continues to remind us that he’s on the outside looking in. He and his band are here for a nine-night residency at London’s Duke of York’s theatre on St Martin’s Lane, sandwiched between David Hare’s play The Judas Kiss and Peter Nichols’ Passion Play, starring Zoë Wanamaker. How on earth did they get in? Did the caretaker forget to lock the doors properly?

Of course, Kevin Rowland has always been one of our most challenging and idiosyncratic musicians. Following the 27 year gap between Don’t Stand Me Down and last year’s One Day I’m Going To Soar (and 13 years since his last solo album, My Beauty), Rowland chose a predictably unconventional route back into the public consciousness. Before One Day I’m Going To Soar was released last June, Rowland and the latest incarnation of Dexys played their as yet-unreleased new album in full and in sequence. Of course, the practise of playing albums in their entirety like this is traditionally reserved for a band revisiting a classic album, not launching a new one. But such is the high-stakes drama of the Dexys narrative – and the sheer confidence in the album’s songs – that it arguably felt like there was no other logical way to do it.

The programme for these run of dates at the Duke of York’s is essentially the same as last year’s shows: One Day I’m Going To Soar followed by a selection of old favourites. But this setting in the 120 year-old venue seems particularly apt for Rowland and his nine co-conspirators, who give full rein to the more theatrical aspects of a Dexys show. If One Day I’m Going To Soar was the latest chapter in Rowland’s ongoing spiritual autobiography, then these narrative-driven confessionals are splendidly – and stylishly – played out. Rowland leads the sartorial charge with, by my reckoning, three costume changes, while his accomplices opt for a kind of 1940s American casual look. The show opens with a piano motif played in darkness before a spot catches Rowland for “Now”, and the first of many, brilliantly acerbic moments of self-examination: “Oh I know that I’ve been crazy and that cannot be denied, but inside of me there’s always been a secret urge to fly”.

The story –boy meets girl, they fall in love, he can’t commit, sad face, the end – is played out in song, and also a series of dialogues between Rowland and Pete Williams, who acts as his foil in the early part of the show, and later, Madeleine Hyland, as the object of Rowland’s lustful attentions. First glimpsed reclining on a chaise lounge above the band, Hyland is a relatively conventional vocal presence compared to Rowland’s rich, swooning soul voice. In essence, she’s a pencil-sketch, a narrative device to get Rowland to the moment of realisation that he is “incape, incape, incapable of love”. All the same, Hyland and Rowland get into a terrific scrap on “I’m Always Going To Love You”, with Hyland, first wooed and now abandoned, snarling at Rowland: “Kevin, don’t talk to me … You saw me as a challenge”.

Despite being absent for great chunks of the set, Williams fares well. His banter with Rowland – however well-rehearsed (and in some cases, stretching back to the early Eighties) – is loose and good humoured. Trombonist Big Jim Paterson, Rowland’s longest serving collaborator, elicits some of the biggest cheers of the night. Rowland himself is terrific. He has a Brando-esque emotional intensity, whether during the stripped down soliloquizing on “Me” or snapping into moments of sudden violence. The big songs – especially the encore – find him turning up the soul power, but I kind of prefer the softer croon he uses for the more introspective songs, in particular a show-stopping “It’s OK John Joe”.

“We couldn’t leave it like that, could we?” says Pete Williams, ushering in a final act of Dexys classics, including a powerful take on “The Waltz”, a mischievous reworking of “Geno”, a jubilant “I Love You (Listen To This)” and a version of “Until I Believe In My Soul” that simply won’t stop. The finale, “This Is What She’s Like”, repurposes the show as rousing soul revue, Rowland at one point leaning over the side of a box, shouting over and over again, “This is our stuff – this, this, this is our stuff.” The stuff of brilliance itself.

Dexys played:

Now (into)

Lost (into)

Me

She Got A Wiggle

You (into)

Thinking Of You

I’m Always Going To Love You

Incapable Of Love

Nowhere Is Home

Free

It’s OK John Joe

Free Reprise

The Waltz

Geno (into)

Listen To This

Until I Believe In my Soul/Light Turns Green

I Couldn’t Help It If I Tried

This Is What She’s Like

Photo credit: Dean Chalkley

Follow me on Twitter @MichaelBonner

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The best of Record Store Day: hear Malkmus, Ty Segall, Golden Gunn, Moon Duo, Dan Deacon and more

John Mulvey
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The best of Record Store Day: hear Malkmus, Ty Segall, Golden Gunn, Moon Duo, Dan Deacon and more

It’s Record Store Day on Saturday; a kind of weird, but necessary I guess, annual event that’s become a critical point in release schedules. I’ve been going through the lists of releases at recordstoreday.com and thought it might be worth picking out a few things that are worth looking out for. Increasingly, a fair amount of the day’s business is built on canny catalogue management aimed at collectors (especially vinyl fetishists), and there are a bunch of things here that fall roughly into that sector: At The Drive-In - Relationship of Command (Twenty-First Chapter) 12" LP; 4000 copies. Orange Juice – You Can't Hide Your Love Forever/Rip It Up/Texas Fever/ The Orange Juice (Domino) 12" LP; 750 copies each of the first two, 400 each of the second two. R.E.M. - Live In Greensboro EP (Rhino) CD; 5000 copies. This one’s a five-song teaser of the 21-song live set from ’89 that comes as an extra disc with May’s “Green” reissue. Specifically: “So. Central Rain (I’m Sorry)”/“Feeling Gravitys Pull”/“Strange”/“King of Birds”/“I Remember California”. Bob Dylan – Wigwam/Thirsty Boots (Columbia) 7" single; 9500 copies Unreleased demos from the forthcoming “Bootleg Series Vol. 10”, but I imagine you probably knew that. Husker Du – Statues/Amusement (Numero Group) 7" single; 2700 copies. The first Husker Du single from 1980, from before they’d hit the gas and evolved on from these post-punk moves. Couple of contemporaneous demos here, too, and a promise of more archive raids to come. Charlie Poole with the Highlanders - Complete Paramount and Brunswick Recordings (Tompkins Square) 12" LP; 1500 copies. Various Artists - Imaginational Vol. 6: Origins of American Primitive Guitar (Tompkins Square) 12" LP; 1500 copies. Two excellent sets from Tompkins Square. Poole and the Highlanders are a good-time string band recorded in 1929 (The extended soap opera of “A Trip To New York” is well worth a listen), while “Inspirational Anthems 6” is a superb new addition to TS’ flagship series that, this time, collects John Fahey and the Takoma School’s antecedents rather than their followers. Sylvester Weaver, Sam McGee and more recorded between 1923 and 1930. In an increasingly common RSD practice, these two will have wider and more orthodox releases at the end of the month. There’s a reissue of The Grateful Dead - Rare Cuts & Oddities 1966 comp (Rhino) CD; 5500 copies, but Dead fans might also be advised to look out for this one, from Casal, keeping himself busy while the Black Crowes tour puts CRB on hiatus… Neal Casal - Mountains Of The Moon (The Royal Potato Family) 7" single; 500 copies Ty Segall’s year off continues to be amusingly productive, and after the Fuzz activity there’s now a follow-up to his bracing T.Rex covers set from a couple of years back… Ty Segall - Ty Rex 2 (Goner) 7" single; 1500 copies. The flipside features "Cat Black (Wizard Hat)". Some other stuff: Thurston Moore & Loren Connors - The Only Way To Go (Northern Spy) 12"; 2000 copies. Moon Duo - Circles Remixed (Sacred Bones Records) 12" LP; 1100 copies. Dan Deacon Konono Ripoff No 1 (Domino) 7" single; 250 copies. Then of course there’s this Steve Gunn/Hiss Golden Messenger album that I’ve been going on about a lot for the past month or two…. Golden Gunn - Golden Gunn (Three Lobed) 12" LP; 870 copies. And this which, going by the clip below, is going to be a whole lot better than one might’ve expected… Stephen Malkmus and Friends - Can's Ege Bamyasi (Domino/Matador) 12" LP; 1200 copies. http://www.youtube.com/watch?v=Loju93Ep57c Oh, and I’ve just been told there’s an EP of Oh Sees stuff from the “Floating Coffin” sessions called “Moon Sick”. Knock yourselves out, anyway… Follow me on Twitter: www.twitter.com/JohnRMulvey

It’s Record Store Day on Saturday; a kind of weird, but necessary I guess, annual event that’s become a critical point in release schedules. I’ve been going through the lists of releases at recordstoreday.com and thought it might be worth picking out a few things that are worth looking out for.

Increasingly, a fair amount of the day’s business is built on canny catalogue management aimed at collectors (especially vinyl fetishists), and there are a bunch of things here that fall roughly into that sector:

At The Drive-In – Relationship of Command (Twenty-First Chapter) 12″ LP; 4000 copies.

Orange Juice – You Can’t Hide Your Love Forever/Rip It Up/Texas Fever/ The Orange Juice (Domino) 12″ LP; 750 copies each of the first two, 400 each of the second two.

R.E.M. – Live In Greensboro EP (Rhino) CD; 5000 copies.

This one’s a five-song teaser of the 21-song live set from ’89 that comes as an extra disc with May’s “Green” reissue. Specifically: “So. Central Rain (I’m Sorry)”/“Feeling Gravitys Pull”/“Strange”/“King of Birds”/“I Remember California”.

Bob Dylan – Wigwam/Thirsty Boots (Columbia) 7″ single; 9500 copies

Unreleased demos from the forthcoming “Bootleg Series Vol. 10”, but I imagine you probably knew that.

Husker Du – Statues/Amusement (Numero Group) 7″ single; 2700 copies.

The first Husker Du single from 1980, from before they’d hit the gas and evolved on from these post-punk moves. Couple of contemporaneous demos here, too, and a promise of more archive raids to come.

Charlie Poole with the Highlanders – Complete Paramount and Brunswick Recordings (Tompkins Square) 12″ LP; 1500 copies.

Various Artists – Imaginational Vol. 6: Origins of American Primitive

Guitar (Tompkins Square) 12″ LP; 1500 copies.

Two excellent sets from Tompkins Square. Poole and the Highlanders are a good-time string band recorded in 1929 (The extended soap opera of “A Trip To New York” is well worth a listen), while “Inspirational Anthems 6” is a superb new addition to TS’ flagship series that, this time, collects John Fahey and the Takoma School’s antecedents rather than their followers. Sylvester Weaver, Sam McGee and more recorded between 1923 and 1930. In an increasingly common RSD practice, these two will have wider and more orthodox releases at the end of the month.

There’s a reissue of The Grateful Dead – Rare Cuts & Oddities 1966 comp (Rhino) CD; 5500 copies, but Dead fans might also be advised to look out for this one, from Casal, keeping himself busy while the Black Crowes tour puts CRB on hiatus…

Neal Casal – Mountains Of The Moon (The Royal Potato Family) 7″ single; 500 copies

Ty Segall’s year off continues to be amusingly productive, and after the Fuzz activity there’s now a follow-up to his bracing T.Rex covers set from a couple of years back…

Ty Segall – Ty Rex 2 (Goner) 7″ single; 1500 copies.

The flipside features “Cat Black (Wizard Hat)”.

Some other stuff:

Thurston Moore & Loren Connors – The Only Way To Go (Northern Spy) 12″; 2000 copies.

Moon Duo – Circles Remixed (Sacred Bones Records) 12″ LP; 1100 copies.

Dan Deacon Konono Ripoff No 1 (Domino) 7″ single; 250 copies.

Then of course there’s this Steve Gunn/Hiss Golden Messenger album that I’ve been going on about a lot for the past month or two….

Golden Gunn – Golden Gunn (Three Lobed) 12″ LP; 870 copies.

And this which, going by the clip below, is going to be a whole lot better than one might’ve expected…

Stephen Malkmus and Friends – Can’s Ege Bamyasi (Domino/Matador) 12″ LP; 1200 copies.

Oh, and I’ve just been told there’s an EP of Oh Sees stuff from the “Floating Coffin” sessions called “Moon Sick”.

Knock yourselves out, anyway…

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

Coens’ Dylan-inspired folk pic Inside Llewyn Davis set for Cannes Film Festival

Michael Bonner
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Coens’ Dylan-inspired folk pic Inside Llewyn Davis set for Cannes Film Festival

Just a quick blog today, as I really just wanted to flag up the line-up for this year's Cannes Film Festival, which got announced this morning. As I suspected, the Coens new film, Inside Llewyn Davis, set in Greenwich Village during the early 1960s, is one of the films vying for the top honour, the Palme d'Or, at this year's festival. The film will compete alongside Alexander Payne’s road-trip pic Nebraska, Nicolas Winding Refn’s revenge thriller Only God Forgives, Steven Soderbergh's Liberace biopic Behind The Candelabra and Roman Polanski's adaptation of the play Venus In Fur. There's also new films from Sofia Coppola, Claire Denis, Takashi Miike, François Ozon and Stephen Frears. This year's big Hollywood movie is Baz Luhrmann's adaptation of The Great Gatsby, which opens the festival on May 15. Quite apt, I guess, as Scott Fitzgerald wrote part of Gatsby in Valescure, Saint-Raphaël, further along the road on the Côte d'Azur. Anyway, here's the full-line up of what's what. At some point, I'll get round to blogging about the trailer for Sofia Coppola's The Bling Ring, which went live yesterday. 2013 CANNES FILM FESTIVAL LINEUP OPENER “The Great Gatsby” (Baz Luhrmann) COMPETITION “Behind the Candelabra” (Steven Soderbergh) “Borgman” (Alex van Warmerdam) “The Great Beauty” (Paolo Sorrentino) “Grisgris” (Mahamet Saleh-Haroun) “Heli” (Amat Escalante) “The Immigrant” (James Gray) “Inside Llewyn Davis” (Joel and Ethan Coen) “Jeune et jolie” (Francois Ozon) “Jimmy P.” (Arnaud Desplechin) “La Vie d’Adele” (Abdellatif Kechiche) “Like Father Like Son” (Hirokazu Kore-eda) “Michael Kohlhaas” (Arnaud Despallieres) “Nebraska” (Alexander Payne) “Only God Forgives” (Nicolas Winding Refn) “The Past” (Asghar Farhadi) “Straw Shield” (Takashi Miike) “Tian zhu ding” (Jia Zhangke) “Un chateau en Italie” (Valeria Bruni Tedeschi) “Venus in Fur” (Roman Polanski) OUT OF COMPETITION “All Is Lost” (J.C. Chandor) “Blood Ties” (Guillaume Canet) UN CERTAIN REGARD OPENER: “The Bling Ring” (Sofia Coppola) “Anonymous” (Mohammad Rasoulof) “The Bastards” (Claire Denis) “Bends” (Flora Lau) “Death March” (Adolfo Alix Jr.) “Fruitvale” (Ryan Coogler) “Grand Central” (Rebecca Zlotowski) “La Jaula de Oro” (Diego Quemada-Diez) “L’image manquante” (Rithy Panh) “L’inconnu du lac” (Alain Guiraudie) “Miele” (Valeria Golino) “Norte, hangganan ng kasaysayan” (Lav Diaz) “Omar” (Hany Abu-Assad) “Sarah prefere la course” (Chloe Robichaud) MIDNIGHT SCREENINGS “Blind Detective” (Johnnie To) “Monsoon Shootout” (Amit Kumar) SPECIAL SCREENINGS “Bombay Talkies” (Anurag Kashyap, Dibakar Banerjee, Zoya Akhtar, Karan Johar) “Max Rose” (Daniel Noah) “Muhammad Ali’s Greatest Fight” (Stephen Frears) “Otdat konci” (Taisia Igumentseva) “Stop the Pounding Heart” (Roberto Minervini) “Week End of a Champion” (Roman Polanski) CLOSER “Zulu” (Jerome Salle) Follow me on Twitter @MichaelBonner Special offer! For one week only, subscribe to Uncut from only £15.35 and save up to 50%! Don’t miss out on this great offer as it won’t be around for long. Please note, the 50% discount is available to UK Direct Debit subscribers only.

Just a quick blog today, as I really just wanted to flag up the line-up for this year’s Cannes Film Festival, which got announced this morning.

As I suspected, the Coens new film, Inside Llewyn Davis, set in Greenwich Village during the early 1960s, is one of the films vying for the top honour, the Palme d’Or, at this year’s festival.

The film will compete alongside Alexander Payne’s road-trip pic Nebraska, Nicolas Winding Refn’s revenge thriller Only God Forgives, Steven Soderbergh’s Liberace biopic Behind The Candelabra and Roman Polanski’s adaptation of the play Venus In Fur. There’s also new films from Sofia Coppola, Claire Denis, Takashi Miike, François Ozon and Stephen Frears. This year’s big Hollywood movie is Baz Luhrmann’s adaptation of The Great Gatsby, which opens the festival on May 15. Quite apt, I guess, as Scott Fitzgerald wrote part of Gatsby in Valescure, Saint-Raphaël, further along the road on the Côte d’Azur.

Anyway, here’s the full-line up of what’s what. At some point, I’ll get round to blogging about the trailer for Sofia Coppola’s The Bling Ring, which went live yesterday.

2013 CANNES FILM FESTIVAL LINEUP

OPENER

“The Great Gatsby” (Baz Luhrmann)

COMPETITION

“Behind the Candelabra” (Steven Soderbergh)

“Borgman” (Alex van Warmerdam)

“The Great Beauty” (Paolo Sorrentino)

“Grisgris” (Mahamet Saleh-Haroun)

“Heli” (Amat Escalante)

“The Immigrant” (James Gray)

“Inside Llewyn Davis” (Joel and Ethan Coen)

“Jeune et jolie” (Francois Ozon)

“Jimmy P.” (Arnaud Desplechin)

“La Vie d’Adele” (Abdellatif Kechiche)

“Like Father Like Son” (Hirokazu Kore-eda)

“Michael Kohlhaas” (Arnaud Despallieres)

“Nebraska” (Alexander Payne)

“Only God Forgives” (Nicolas Winding Refn)

“The Past” (Asghar Farhadi)

“Straw Shield” (Takashi Miike)

“Tian zhu ding” (Jia Zhangke)

“Un chateau en Italie” (Valeria Bruni Tedeschi)

“Venus in Fur” (Roman Polanski)

OUT OF COMPETITION

“All Is Lost” (J.C. Chandor)

“Blood Ties” (Guillaume Canet)

UN CERTAIN REGARD

OPENER: “The Bling Ring” (Sofia Coppola)

“Anonymous” (Mohammad Rasoulof)

“The Bastards” (Claire Denis)

“Bends” (Flora Lau)

“Death March” (Adolfo Alix Jr.)

“Fruitvale” (Ryan Coogler)

“Grand Central” (Rebecca Zlotowski)

“La Jaula de Oro” (Diego Quemada-Diez)

“L’image manquante” (Rithy Panh)

“L’inconnu du lac” (Alain Guiraudie)

“Miele” (Valeria Golino)

“Norte, hangganan ng kasaysayan” (Lav Diaz)

“Omar” (Hany Abu-Assad)

“Sarah prefere la course” (Chloe Robichaud)

MIDNIGHT SCREENINGS

“Blind Detective” (Johnnie To)

“Monsoon Shootout” (Amit Kumar)

SPECIAL SCREENINGS

“Bombay Talkies” (Anurag Kashyap, Dibakar Banerjee, Zoya Akhtar, Karan Johar)

“Max Rose” (Daniel Noah)

“Muhammad Ali’s Greatest Fight” (Stephen Frears)

“Otdat konci” (Taisia Igumentseva)

“Stop the Pounding Heart” (Roberto Minervini)

“Week End of a Champion” (Roman Polanski)

CLOSER

“Zulu” (Jerome Salle)

Follow me on Twitter @MichaelBonner

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Black Sabbath add extra date to UK tour

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Black Sabbath add extra date to UK tour
Black Sabbath have added an extra date to their UK tour. The Midlands band, who are due to tour in December in promotion of their new album 13 will now perform a second date at Birmingham's NIA on December 22. A gig on December 20 was previously announced and has already sold out. 13, which will ...

Black Sabbath have added an extra date to their UK tour.

The Midlands band, who are due to tour in December in promotion of their new album 13 will now perform a second date at Birmingham’s NIA on December 22. A gig on December 20 was previously announced and has already sold out.

13, which will be released on June 10, is the first album Ozzy Osbourne, Tony Iommi and Geezer Butler have recorded together since 1978’s Never Say Die!.

Black Sabbath will now play:

London O2 Arena (December 10)

Belfast Odyssey Arena (12)

Sheffield Arena (14)

Glasgow Hydro (16)

Manchester Arena (18)

Birmingham LG Arena (20/22)

Meanwhile, Ozzy Osbourne recently revealed that he had relapsed and begun drinking and taking drugs again for the past 18 months. The singer apologised to his fans and stated that he was now sober again.

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Crazy Horse guitarist Frank ‘Poncho’ Sampedro: “My gut tells me this is the last tour”

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Crazy Horse guitarist Frank ‘Poncho’ Sampedro: “My gut tells me this is the last tour”

Crazy Horse guitarist Frank "Poncho" Sampedro has revealed that he thinks the current Neil Young & Crazy Horse tour could be their last. In an extensive interview on Rolling Stone, Poncho explained "I just think once it stops it's going to be kind of hard to get it rolling again. My gut tells me this is really the last tour. I hate saying their ages, but I'm 64 and I'm the baby of the band. I love playing and we're playing as good as we ever did, but at any time something could go down with any one of us." Neil Young & Crazy Horse begin the European leg of their current world tour in Berlin on June 2. Their run of UK dates starts on June 10. Speaking of the physical impact of the current tour, Poncho said, "It takes a lot of energy to play that much. It just seems at some point something is going to break. I already had an operation on my thumb. Neil's wrist bugs him, and he has to tape it when he plays. You can't fool time. You can't count on this happening again in five years." In related news, Graham Nash yesterday confirmed that Crosby, Stills, Nash & Young will release their long-awaited live 1974 album in August. Neil Young & Crazy Horse play: Newcastle Metro Radio Arena (June 10) Birmingham LG Arena (11) Glasgow SECC (13) London O2 Arena (17) Liverpool Echo Arena (August 18) London O2 Arena (19) Special offer! For one week only, subscribe to Uncut from only £15.35 and save up to 50%! Don’t miss out on this great offer as it won’t be around for long. Please note, the 50% discount is available to UK Direct Debit subscribers only.

Crazy Horse guitarist Frank “Poncho” Sampedro has revealed that he thinks the current Neil Young & Crazy Horse tour could be their last.

In an extensive interview on Rolling Stone, Poncho explained “I just think once it stops it’s going to be kind of hard to get it rolling again. My gut tells me this is really the last tour. I hate saying their ages, but I’m 64 and I’m the baby of the band. I love playing and we’re playing as good as we ever did, but at any time something could go down with any one of us.”

Neil Young & Crazy Horse begin the European leg of their current world tour in Berlin on June 2. Their run of UK dates starts on June 10.

Speaking of the physical impact of the current tour, Poncho said, “It takes a lot of energy to play that much. It just seems at some point something is going to break. I already had an operation on my thumb. Neil’s wrist bugs him, and he has to tape it when he plays. You can’t fool time. You can’t count on this happening again in five years.”

In related news, Graham Nash yesterday confirmed that Crosby, Stills, Nash & Young will release their long-awaited live 1974 album in August.

Neil Young & Crazy Horse play:

Newcastle Metro Radio Arena (June 10)

Birmingham LG Arena (11)

Glasgow SECC (13)

London O2 Arena (17)

Liverpool Echo Arena (August 18)

London O2 Arena (19)

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For one week only, subscribe to Uncut from only £15.35 and save up to 50%! Don’t miss out on this great offer as it won’t be around for long. Please note, the 50% discount is available to UK Direct Debit subscribers only.

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