Subscribe
Home Blog Page 546

Hear new David Bowie album The Next Day in full

Uncut
-
0
Hear new David Bowie album The Next Day in full
David Bowie is streaming his new album The Next Day in full. Bowie's hugely anticipated new LP is his first new material in a decade and features the track "Where Are We Now" and "The Stars (Are Out Tonight)" – which was released last week. The single "Where Are We Now" will see a special vinyl ...

David Bowie is streaming his new album The Next Day in full.

Bowie’s hugely anticipated new LP is his first new material in a decade and features the track “Where Are We Now” and “The Stars (Are Out Tonight)” – which was released last week. The single “Where Are We Now” will see a special vinyl 7″ single release for Record Store Day on April 20.

In this month’s Uncut, on sale now, you can not only read the definitive review of the brand new album, as well as interviews with the key musicians involved in the making of The Next Day.

The Next Day is streaming at iTunes.com/davidbowie, and will be available until the album’s release on March 11.

Click here to listen to it.

The full tracklisting for The Next Day is:

‘The Next Day’

‘Dirty Boys’

‘The Stars (Are Out Tonight)’

‘Love Is Lost’

‘Where Are We Now?’

‘Valentine’s Day’

‘If You Can See Me’

‘I’d Rather Be High’

‘Boss Of Me’

‘Dancing Out In Space’

‘How Does The Grass Grow’

‘(You Will) Set The World On Fire’

‘You Feel So Lonely You Could Die’

‘Heat’

Deluxe Version bonus tracks

‘So She’

‘I’ll Take You There’

‘Plan’

Stoker

Uncut
-
0
Stoker

Hollywood has never quite known what to do with Park Chan-wook. On the face of it, a director of extremely violent genre films like Sympathy For Mr Vengeance and Oldboy, dig a little deeper however and Park’s output isn’t that easy to qualify. His films are violent, yes, and often in the most grisly sense possible, but they are also astonishing to watch – beautifully styled and composed – and undercut with a rich sense of the absurd. Recent attempts to remake 2003’s Oldboy, arguably his most famous film, have seen off a couple of directors (including Steven Spielberg) and leading men from Christian Bale to Will Smith. Spike Lee’s version, starring Josh Brolin, is due later this year. In the meantime, Stoker is the Korean filmmaker’s English language debut. Although the grisly violence of Park’s earlier films is dialled down – though fans of “the hammer scene” in Oldboy will enjoy some business here involving a pencil – a general sense of high camp prevails. When India’s father Richard dies in a car accident, she is surprised when Charlie, an uncle she never knew existed, turns up for the funeral. “This is Richard’s brother,” India is told. “He’s come back.” From where – and why – are the film’s great mysteries, playfully teased out by Park and the film’s screenwriter – Prison Break actor Wentworth Miller. The vibe here is a ripe mix of Gothic fairytale, Almodovar camp and Hitchcock melodrama. Many familiar genre tropes are in evidence – there’s a sprawling house, a mysterious nanny and a distant mother, all filtered through India’s personal and sexual awakening. Matthew Goode’s Charlie is a handsome, charming presence – but he’s impossible to read. He smiles easily, but he has dark, shark-like eyes that give nothing away. And what exactly does he want with his dead brother’s belt? As Evelyn, Nicole Kidman revisits the role of Grace from The Others – another neurotic mother rattling round a rambling old house. Mia Wasikowska, meanwhile, leads the film as India – her dark hair and pale skin bringing to mind one of those creepy ghost girls you get skulking round basements in Japanese horror films. The play between the three leads is terrific – a bit bonkers, quite creepy, often over-the-top. Brilliantly, this is the only house still standing where the freezer sits in the furthest corner of an extremely badly lit basement. Michael Bonner

Hollywood has never quite known what to do with Park Chan-wook. On the face of it, a director of extremely violent genre films like Sympathy For Mr Vengeance and Oldboy, dig a little deeper however and Park’s output isn’t that easy to qualify. His films are violent, yes, and often in the most grisly sense possible, but they are also astonishing to watch – beautifully styled and composed – and undercut with a rich sense of the absurd. Recent attempts to remake 2003’s Oldboy, arguably his most famous film, have seen off a couple of directors (including Steven Spielberg) and leading men from Christian Bale to Will Smith. Spike Lee’s version, starring Josh Brolin, is due later this year.

In the meantime, Stoker is the Korean filmmaker’s English language debut. Although the grisly violence of Park’s earlier films is dialled down – though fans of “the hammer scene” in Oldboy will enjoy some business here involving a pencil – a general sense of high camp prevails. When India’s father Richard dies in a car accident, she is surprised when Charlie, an uncle she never knew existed, turns up for the funeral. “This is Richard’s brother,” India is told. “He’s come back.” From where – and why – are the film’s great mysteries, playfully teased out by Park and the film’s screenwriter – Prison Break actor Wentworth Miller.

The vibe here is a ripe mix of Gothic fairytale, Almodovar camp and Hitchcock melodrama. Many familiar genre tropes are in evidence – there’s a sprawling house, a mysterious nanny and a distant mother, all filtered through India’s personal and sexual awakening. Matthew Goode’s Charlie is a handsome, charming presence – but he’s impossible to read. He smiles easily, but he has dark, shark-like eyes that give nothing away. And what exactly does he want with his dead brother’s belt? As Evelyn, Nicole Kidman revisits the role of Grace from The Others – another neurotic mother rattling round a rambling old house. Mia Wasikowska, meanwhile, leads the film as India – her dark hair and pale skin bringing to mind one of those creepy ghost girls you get skulking round basements in Japanese horror films. The play between the three leads is terrific – a bit bonkers, quite creepy, often over-the-top. Brilliantly, this is the only house still standing where the freezer sits in the furthest corner of an extremely badly lit basement.

Michael Bonner

Watch Atoms For Peace video for “Ingenue”

Uncut
-
0
Watch Atoms For Peace video for “Ingenue”

Thom Yorke's side-project Atoms For Peace have released a new music video for their song, ‘Ingenue.’ The video was directed by film maker Garth Jennings and choreographed by Wayne McGregor – both of whom worked with Yorke previously. In it, Yorke dances onstage with contemporary dancer Fukiko Takase. Atoms for Peace released their debut album, Amok, on Monday. You can read the Uncut review here. The band are scheduled to play two sold out March shows, but will appear in three European festivals over the summer. March 8, Berlin – Berghain March 14 New York – Le Poission Rouge July 12, Trencin Slovakia – Pohoda Festival July 13, Novi Sad, Serbia – Exit Festival July 21, Ferropolis Germany –Melt Festival http://www.youtube.com/watch?v=DpVfF4U75B8

Thom Yorke’s side-project Atoms For Peace have released a new music video for their song, ‘Ingenue.’

The video was directed by film maker Garth Jennings and choreographed by Wayne McGregor – both of whom worked with Yorke previously. In it, Yorke dances onstage with contemporary dancer Fukiko Takase.

Atoms for Peace released their debut album, Amok, on Monday. You can read the Uncut review here.

The band are scheduled to play two sold out March shows, but will appear in three European festivals over the summer.

March 8, Berlin – Berghain

March 14 New York – Le Poission Rouge

July 12, Trencin Slovakia – Pohoda Festival

July 13, Novi Sad, Serbia – Exit Festival

July 21, Ferropolis Germany –Melt Festival

Bob Dylan confirms Record Store Day release

Uncut
-
0
Bob Dylan confirms Record Store Day release
Bob Dylan has confirmed he will release a 7" single for Record Store Day 2013. Last week, we reported rumours that Dylan was planning to release two tracks - "Wigwam" and "Thirsty Boots" - from the spring 1970 sessions for the Self Portrait album. Dylan's record label, Columbia Records, have now c...

Bob Dylan has confirmed he will release a 7″ single for Record Store Day 2013.

Last week, we reported rumours that Dylan was planning to release two tracks – “Wigwam” and “Thirsty Boots” – from the spring 1970 sessions for the Self Portrait album.

Dylan’s record label, Columbia Records, have now confirmed the rumours are true, and the 7″ single will be on sale in selected independent record shops for Record Store Day on April 20.

In a post on Dylan’s website confirming the single release, Columbia also revealed that the tracks are taken from the next instalment of Dylan’s ongoing Bootleg Series – Volume 10.

Yesterday, Bob Dylan announced a string of April 2013 shows in America. You can find the tour dates here.

Bob Dylan announces spring American tour dates

Uncut
-
0
Bob Dylan announces spring American tour dates
Bob Dylan has confirmed American tour dates for April. This latest batch of dates will begin on Friday, April 5 at Alumni Arena in Buffalo, NY. Support will come from Dawes, whose new album, Stories Don't End, is released on April 9. Dylan's record label, Columbia, has also confirmed that they wil...

Bob Dylan has confirmed American tour dates for April.

This latest batch of dates will begin on Friday, April 5 at Alumni Arena in Buffalo, NY. Support will come from Dawes, whose new album, Stories Don’t End, is released on April 9.

Dylan’s record label, Columbia, has also confirmed that they will release a 7″ single on April 20 for Record Store Day: “Wigwam”, backed with “Thirsty Boots”.

Bob Dylan Spring 2013 Tour Dates

April 5 – Buffalo, N.Y. – SUNY Buffalo Alumni Arena

April 6 – Amherst, Mass.- Mullins Center

April 8 – Kingston, R.I. – Ryan Center

April 9 – Lowell, Mass. – Tsongas Center At UMass Lowell

April 10 – Lewiston, Maine – Androscoggin Bank Colisee

April 12 – Newark, Del. – Bob Carpenter Center

April 13 – California, Pa. – California University

April 14 – Ithaca, N.Y. – Barton Hall

April 16 – Richmond, Va. – Landmark Theater

April 18 – Bethlehem, Pa. – Stabler Arena

April 19 – Akron, Ohio – E.J. Thomas Hall

April 20 – Kalamazoo, Mich. – Wings Stadium

April 21 – Bowling Green, Ohio – Bowling Green State University

Tom Petty And The Heartbreakers announce American tour dates

Uncut
-
0
Tom Petty And The Heartbreakers announce American tour dates
Tom Petty And The Heartbreakers have announced American tour dates for the summer. The band will play the full spectrum of venues, from festivals as large as Bonaroo to intimate theaters in New York and Los Angeles. More than half of the tour will be split between those two cities, with five nights...

Tom Petty And The Heartbreakers have announced American tour dates for the summer.

The band will play the full spectrum of venues, from festivals as large as Bonaroo to intimate theaters in New York and Los Angeles. More than half of the tour will be split between those two cities, with five nights at New York’s Beacon Theatre and six in LA’s Fonda Theater.

Besides Bonaroo, Petty will play three other festivals: The Hangout Music Festival in Gulf Shores, Alabama, Firefly in Dover, Delaware, and Summerfest in Milwaukee.

The tour will constitute a brief vacation from the studio, as Tom Petty and The Heartbreakers are recording an as yet untitled album to be released in 2014.

Tom Petty And The Heartbreakers will play:

May 16, Evansville, IN – Ford Center

May 17-19, Gulf Shores, AL – Hangout Music Festival

May 20, New York, NY – Beacon Theatre

May 21, New York, NY – Beacon Theatre

May 23, New York, NY – Beacon Theatre

May 25, New York, NY – Beacon Theatre

May 26, New York, NY – Beacon Theatre

June 3, Los Angeles, CA – Fonda Theater

June 4, Los Angeles, CA – Fonda Theater

June 6, Los Angeles, CA – Fonda Theater

June 8, Los Angeles, CA – Fonda Theater

June 9, Los Angeles, CA – Fonda Theater

June 11, Los Angeles, CA – Fonda Theater

June 15, Noblesville, IN – Klipsch Music Center

June 13-16, Manchester, TN – Bonaroo

June 18, London, ONT – Budweiser Gardens

June 20, Pittsburgh, PA – Consol Energy Center

June 21-23 Dover, DE – Firefly Music Festival

June 23, Saratoga Springs, NY – Saratoga Performing Arts Center

June 28, Milwaukee, WI – Summerfest (Marcus Amphitheater)

June 29, Minneapolis, MN – Target Center

Jonathan Richman and Aerosmith in battle over state song

Uncut
-
0
Jonathan Richman and Aerosmith in battle over state song

A campaign to make the Jonathan Richman and The Modern Lovers classic “Roadrunner” the official state rock song of Massachusetts has hit a snag: Aerosmith. The bill to recognize “Roadrunner”, introduced to the state legislature by Dorchester Representative Marty Walsh earlier this month, now faces competition from a competing bill to give the state rock song honors to Aerosmith’s “Dream On”. Duxbury Democrat Representative Josh Cutler and Marshfield Democrat Rep. James Cantwell introduced the “Dream On” legislation on Monday. “With all due respect, Aerosmith is the best-selling American rock band of all time. No band is more closely associated with Massachusetts,” Rep. Cantwell told the State House News Service. In the same article Cutler argued that “Dream On” was the better candidate because it’s a “classic ballad that's all about holding on to your dreams and seizing opportunity.” The counter-legislation flies directly in the face of a grassroots effort in Richman’s corner. The “Roadrunner” movement was spearheaded by Joyce Linehan, a former Sub Pop A&R rep and current resident of Dorchester who presented Walsh with a petition to enshrine the song. Linehan told The Boston Globe first got the idea from a 2007 article in The Guardian where a writer visited all of the places mentioned in “Roadrunner.” A road song devoted to the Massachusetts highway, Richman would vary the lyrics to include a bevy of local land marks. See a video of a performance of the song below. She was further pushed into action when a new Boston radio station offered a public vote for which Massachusetts-based song would be the first they would play. “Roadrunner” placed second to the Mighty Mighty Bosstones’ “I Want My City Back.” Linehan is hardly alone in liking the song. Over the years, “Roadrunner” has been covered by bands ranging from the Sex Pistols to Yo La Tengo. “I just remember what an anthem it was,” Buffalo Tom’s Bill Janovitz told the Globe. “It’s absolute poetry and cuts right into the essence of what makes suburban Massachusetts so interesting.” http://www.youtube.com/watch?v=yPCHU-cBWwk Pic credit: Ollie Millington/Redferns

A campaign to make the Jonathan Richman and The Modern Lovers classic “Roadrunner” the official state rock song of Massachusetts has hit a snag: Aerosmith.

The bill to recognize “Roadrunner”, introduced to the state legislature by Dorchester Representative Marty Walsh earlier this month, now faces competition from a competing bill to give the state rock song honors to Aerosmith’s “Dream On”.

Duxbury Democrat Representative Josh Cutler and Marshfield Democrat Rep. James Cantwell introduced the “Dream On” legislation on Monday.

“With all due respect, Aerosmith is the best-selling American rock band of all time. No band is more closely associated with Massachusetts,” Rep. Cantwell told the State House News Service.

In the same article Cutler argued that “Dream On” was the better candidate because it’s a “classic ballad that’s all about holding on to your dreams and seizing opportunity.”

The counter-legislation flies directly in the face of a grassroots effort in Richman’s corner. The “Roadrunner” movement was spearheaded by Joyce Linehan, a former Sub Pop A&R rep and current resident of Dorchester who presented Walsh with a petition to enshrine the song.

Linehan told The Boston Globe first got the idea from a 2007 article in The Guardian where a writer visited all of the places mentioned in “Roadrunner.” A road song devoted to the Massachusetts highway, Richman would vary the lyrics to include a bevy of local land marks. See a video of a performance of the song below.

She was further pushed into action when a new Boston radio station offered a public vote for which Massachusetts-based song would be the first they would play. “Roadrunner” placed second to the Mighty Mighty Bosstones’ “I Want My City Back.”

Linehan is hardly alone in liking the song. Over the years, “Roadrunner” has been covered by bands ranging from the Sex Pistols to Yo La Tengo.

“I just remember what an anthem it was,” Buffalo Tom’s Bill Janovitz told the Globe. “It’s absolute poetry and cuts right into the essence of what makes suburban Massachusetts so interesting.”

Pic credit: Ollie Millington/Redferns

This month in Uncut!

Uncut
-
0
This month in Uncut!

The new issue of Uncut, out today (February 28), features David Bowie, Stephen Stills, Kraftwerk and Wilko Johnson. David Bowie is on the cover, and inside is a 10-page special on The Next Day, featuring the definitive review, the inside story from Bowie’s collaborators, including Gail Ann Dorsey and Earl Slick, and the secret history of his last ten years. Stephen Stills looks back over his musical career, recalling his work with Neil Young, David Crosby and Graham Nash, while Kraftwerk’s London Tate Modern retrospective is reviewed and Wilko Johnson talks to Uncut editor Allan Jones about Dr Feelgood, cancer and his farewell shows. Van Dyke Parks answers your questions about Smile, pocket squares and why he turned down an offer to join The Byrds; Edwyn Collins talks us through the landmark albums of his career; and the full story of Afrobeat pioneer Fela Kuti’s revolutionary life is told. Uncut also visits Phosphorescent in New York, The Yardbirds take us through their life in photographs, and we pay tribute to late Troggs frontman Reg Presley. Low, John Grant, Suede, My Bloody Valentine, Emmylou Harris and Billy Bragg all feature in our expansive 39-page reviews section, while the issue’s free CD, titled The New Music, contains tracks from Jim James, Phosphorescent, Low, Edwyn Collins and Christopher Owens. The new issue of Uncut (dated April 2013) is out today.

The new issue of Uncut, out today (February 28), features David Bowie, Stephen Stills, Kraftwerk and Wilko Johnson.

David Bowie is on the cover, and inside is a 10-page special on The Next Day, featuring the definitive review, the inside story from Bowie’s collaborators, including Gail Ann Dorsey and Earl Slick, and the secret history of his last ten years.

Stephen Stills looks back over his musical career, recalling his work with Neil Young, David Crosby and Graham Nash, while Kraftwerk’s London Tate Modern retrospective is reviewed and Wilko Johnson talks to Uncut editor Allan Jones about Dr Feelgood, cancer and his farewell shows.

Van Dyke Parks answers your questions about Smile, pocket squares and why he turned down an offer to join The Byrds; Edwyn Collins talks us through the landmark albums of his career; and the full story of Afrobeat pioneer Fela Kuti’s revolutionary life is told.

Uncut also visits Phosphorescent in New York, The Yardbirds take us through their life in photographs, and we pay tribute to late Troggs frontman Reg Presley.

Low, John Grant, Suede, My Bloody Valentine, Emmylou Harris and Billy Bragg all feature in our expansive 39-page reviews section, while the issue’s free CD, titled The New Music, contains tracks from Jim James, Phosphorescent, Low, Edwyn Collins and Christopher Owens.

The new issue of Uncut (dated April 2013) is out today.

Johnny Marr – The Messenger

Uncut
-
0
Johnny Marr – The Messenger

The solo debut by The Smiths guitar ace is a joyous return to the sound of his greatest triumphs... Placed bang in the middle of The Messenger is a song that explains a great deal about Johnny Marr. “Generate! Generate!” is, in its author’s own words, “a song in praise of hyperactivity”. The hyperactivity in question is Marr’s own, borne out by the song’s stark contrast between a chanting, marching, almost laddish verse and a dreamy Smithsian chorus. It even risks an intellectual pun: “Cogito ergo dumb”, from cogito ergo sum, the original Latin version of philosopher Rene Descartes’ “I think, therefore I am.” Marr paints himself as a man oscillating wildly between thought and action: “Sensations jacked my thinking… I can’t get behind a one-track mind”. Which, if nothing else, explains Marr’s restlessly eclectic, permanently transient CV. Over the last decade, Marr has, among many other shorter, sharper projects, made his one-and-only album, 2003’s Boomslang, with his own band The Healers, become a full-time member of both Modest Mouse and The Cribs, and popped up on the soundtrack of Christopher Nolan’s Inception. Throughout this time Marr lived in Portland, Oregon, and it seems that the decision to move back to Manchester and the decision to finally make an album under his own name are more than coincidence. The Messenger is Marr’s attempt to relocate his roots in order to express his deep dissatisfaction with the rubbishness of modern life. Not a surprising angle for a smart, left-leaning nearly-50 rock ‘n’ roller to take perhaps. What is more surprising – and happily so – is that much of Marr’s debut solo album sounds like The Smiths. Of course, Marr can neither sing nor write lyrics like Morrissey. But many of the tunes here bear a comforting familiarity, the sonic palette is resolutely rock-meets-indie with an ever-present melodic lilt, and, best of all, the guitars acoustically jangle and electrically rage and soar in a way that can only be described as trademark Johnny Marr. The Messenger’s other singular quality is that its an album that gets better as it goes along, almost as if Marr arranged the running order to reveal his own creative confidence gradually returning. Opener “The Right Things Right” sets the thematic tone, as Marr’s staccato lyric strives to find a path through the din of modern capitalism. But its an underwhelming verse saved by an earworm chorus, and the following “I Want The Heartbeat” does that angular, robotic thing that rockers often do when they want to moan about the dehumanizing effects of technology. Things properly gets going on third track “European Me”, a sort of “Safe European Home” for both asylum seekers and exiled guitar icons which crosses “Rusholme Ruffians” with Felt’s “Penelope Tree”, and sees Marr’s almost Lloyd Cole-esque vocal merge with the sweet backing trills of daughter Sonny on the truly lovely chorus. Somewhat anonymous verses washed away by fantastic refrains is a recurring motif throughout. From there, “Upstarts”, the title track, the definitively Smithsian “New Town Velocity” and the dystopian Franz Ferdinandisms of “Word Starts Attack” match “European Me” and define the best of this persuasive, questioning record. The highlight, though, is a fascinating anomaly in light of Marr’s statement that The Messenger is an album he might have made if The Smiths had never happened. “The Crack Up” is a cracking retro-‘80s pop song, where the synths share centre-stage with the guitars, the rhythm prowls, and something special emerges from the contrast between the eerily youthful calm of Marr’s croon and the sinister feel of the dark melody and fretful, cut-up lyric about misused (or abused?) teenage models. The only thing in Marr’s back catalogue that hints at a similar aesthetic is his work with Matt Johnson over twenty years ago. The Messenger isn’t an album that will blow any non-believers away. It is old-fashioned, in many ways, and its message of humanity being bullied by an alliance of corporate greed and digital distraction is gently conveyed and often oblique. But, even if none of Marr’s concerns engage you, there is one thing above all that makes The Messenger worth 45 minutes of anyone’s time. It features the guitarist from The Smiths playing guitar like the guitarist from The Smiths. And that remains one of the very best noises on Earth. Garry Mulholland

The solo debut by The Smiths guitar ace is a joyous return to the sound of his greatest triumphs…

Placed bang in the middle of The Messenger is a song that explains a great deal about Johnny Marr. “Generate! Generate!” is, in its author’s own words, “a song in praise of hyperactivity”. The hyperactivity in question is Marr’s own, borne out by the song’s stark contrast between a chanting, marching, almost laddish verse and a dreamy Smithsian chorus. It even risks an intellectual pun: “Cogito ergo dumb”, from cogito ergo sum, the original Latin version of philosopher Rene Descartes’ “I think, therefore I am.” Marr paints himself as a man oscillating wildly between thought and action: “Sensations jacked my thinking… I can’t get behind a one-track mind”. Which, if nothing else, explains Marr’s restlessly eclectic, permanently transient CV.

Over the last decade, Marr has, among many other shorter, sharper projects, made his one-and-only album, 2003’s Boomslang, with his own band The Healers, become a full-time member of both Modest Mouse and The Cribs, and popped up on the soundtrack of Christopher Nolan’s Inception. Throughout this time Marr lived in Portland, Oregon, and it seems that the decision to move back to Manchester and the decision to finally make an album under his own name are more than coincidence. The Messenger is Marr’s attempt to relocate his roots in order to express his deep dissatisfaction with the rubbishness of modern life. Not a surprising angle for a smart, left-leaning nearly-50 rock ‘n’ roller to take perhaps. What is more surprising – and happily so – is that much of Marr’s debut solo album sounds like The Smiths.

Of course, Marr can neither sing nor write lyrics like Morrissey. But many of the tunes here bear a comforting familiarity, the sonic palette is resolutely rock-meets-indie with an ever-present melodic lilt, and, best of all, the guitars acoustically jangle and electrically rage and soar in a way that can only be described as trademark Johnny Marr.

The Messenger’s other singular quality is that its an album that gets better as it goes along, almost as if Marr arranged the running order to reveal his own creative confidence gradually returning. Opener “The Right Things Right” sets the thematic tone, as Marr’s staccato lyric strives to find a path through the din of modern capitalism. But its an underwhelming verse saved by an earworm chorus, and the following “I Want The Heartbeat” does that angular, robotic thing that rockers often do when they want to moan about the dehumanizing effects of technology.

Things properly gets going on third track “European Me”, a sort of “Safe European Home” for both asylum seekers and exiled guitar icons which crosses “Rusholme Ruffians” with Felt’s “Penelope Tree”, and sees Marr’s almost Lloyd Cole-esque vocal merge with the sweet backing trills of daughter Sonny on the truly lovely chorus. Somewhat anonymous verses washed away by fantastic refrains is a recurring motif throughout.

From there, “Upstarts”, the title track, the definitively Smithsian “New Town Velocity” and the dystopian Franz Ferdinandisms of “Word Starts Attack” match “European Me” and define the best of this persuasive, questioning record. The highlight, though, is a fascinating anomaly in light of Marr’s statement that The Messenger is an album he might have made if The Smiths had never happened. “The Crack Up” is a cracking retro-‘80s pop song, where the synths share centre-stage with the guitars, the rhythm prowls, and something special emerges from the contrast between the eerily youthful calm of Marr’s croon and the sinister feel of the dark melody and fretful, cut-up lyric about misused (or abused?) teenage models. The only thing in Marr’s back catalogue that hints at a similar aesthetic is his work with Matt Johnson over twenty years ago.

The Messenger isn’t an album that will blow any non-believers away. It is old-fashioned, in many ways, and its message of humanity being bullied by an alliance of corporate greed and digital distraction is gently conveyed and often oblique. But, even if none of Marr’s concerns engage you, there is one thing above all that makes The Messenger worth 45 minutes of anyone’s time. It features the guitarist from The Smiths playing guitar like the guitarist from The Smiths. And that remains one of the very best noises on Earth.

Garry Mulholland

Brian Wilson, Jeff Beck to host Rock ‘N’ Roll Fantasy Camp

Uncut
-
0
Brian Wilson, Jeff Beck to host Rock ‘N’ Roll Fantasy Camp
The Beach Boys' Brian Wilson and Jeff Beck are to host a Rock 'N' Roll Fantasy Camp in Las Vegas. The 'camp' takes place from April 18-21 at the MGM Grand Hotel & Casino, where attendees will learn songwriting tips from the legendary Beach Boys singer and guitar lessons from Jeff Beck. In addi...

The Beach Boys’ Brian Wilson and Jeff Beck are to host a Rock ‘N’ Roll Fantasy Camp in Las Vegas.

The ‘camp’ takes place from April 18-21 at the MGM Grand Hotel & Casino, where attendees will learn songwriting tips from the legendary Beach Boys singer and guitar lessons from Jeff Beck.

In addition to practicing and recording music with the two legends, the ‘campers’ will also get the chance to perform at MGM Grand’s Rouge Lounge at the end of the four-day session. There will also be an attendees-only gig by Brian Wilson.

However, those wishing to attend will need to fork out for the pleasure as the cheapest package is $2,500. If money is no object, however, the complete package costs a staggering $6,499.

Rock ‘N’ Roll Fantasy Camp also announced a further two weekenders in spring. Sammy Hagar and Steve Vai host a session from March 5-9, while Def Leppard lead a fantasy camp from April 4-7. For more information and package details, go to the Rock ‘N’ Roll Fantasy Camp website.

Meanwhile, when asked recently about the possibility of a Beach Boys reunion – following last year’s 50th anniversary tour dates and the release of a brand new album ‘That’s Why God Made The Radio’ – Wilson said: “No, I don’t think so. Doubt it.”

The Temptations Richard Street dies aged 70

Uncut
-
0
The Temptations Richard Street dies aged 70
The Temptations Richard Street has died aged 70. Street, who was a member of the Motown group for 25 years after joining the band in the early 1970's as Paul Williams' replacement, passed away early yesterday morning (February 27) in Las Vegas of a pulmonary embolism. Before joining the The Tempta...

The Temptations Richard Street has died aged 70.

Street, who was a member of the Motown group for 25 years after joining the band in the early 1970’s as Paul Williams’ replacement, passed away early yesterday morning (February 27) in Las Vegas of a pulmonary embolism.

Before joining the The Temptations, Street worked various jobs at Motown record, working in the label’s quality control department, recording with his group The Monitors and filling in for an unwell Paul Williams.USA Today, Street had been ill during the past year and was close to completing an autobiography about his life and his music career. He is survived by his wife Cynthia Street, along with their two sons and two daughters.

Street’s death follows that of former bandmate Damon Harris, who died aged 62 last week (February 18). Harris, who joined the legendary soul group around the same time as Street, died at the Joseph Richey Hospice after finally losing his 14-year battle with prostate cancer.

Former Allman Brothers guitarist Dan Toler dies aged 65

Uncut
-
0
Former Allman Brothers guitarist Dan Toler dies aged 65
Dan Toler, former guitarist for the Allman Brothers, has died at 65 in his hometown of Sarasota, Florida, reports Ticket Sarasota. Toler [second right in the photograph] got his start playing with Dickey Betts & Great Southern, first on their 1977 self-titled debut and then Atlanta’s Burning ...

Dan Toler, former guitarist for the Allman Brothers, has died at 65 in his hometown of Sarasota, Florida, reports Ticket Sarasota.

Toler [second right in the photograph] got his start playing with Dickey Betts & Great Southern, first on their 1977 self-titled debut and then Atlanta’s Burning Down the following year. He joined the Allman Brothers Band for their 1979 reunion album Enlightened Rogues, also playing on Reach For The Sky and Brothers Of The Road, before leaving in 1982. He later played with the Gregg Allman Band, with whom he recorded the albums I’m No Angel and Before Bullets Fly.

Toler joined both the Allman Brothers Band and the Gregg Allman Band with his brother David, a drummer. The two performed as The Toler Brothers throughout the 1990s. David Toler passed away in 2011 from complications related to a liver transplant.

Amyotrophic Lateral Sclerosis (ALS) is a neurological disease that rose to prominence after taking the life of its first famous victim, baseball player Lou Gehrig. It is the same disease that has confined Stephen Hawking to a wheelchair. Toler had recently struggled with the effects of ALS – reportedly unable to speak or play guitar for months.

After Toler announced his illness, thousands of people attended a benefit concert to help pay his medical expenses. Among the musicians who performed were Bonnie Bramlett and current Allman Brothers Band guitarist/singer Warren Haynes.

“To see how Danny walked tall through that disease and play guitar so beautifully with his blue eyes burning that night,” she told the Ticket.“What a hero.”

“With deep sadness, the Allman Brothers Band marks the passing of guitarist ‘Dangerous’ Dan Toler, following a valiant battle with ALS disease,” the Allman Brothers Band wrote on its Facebook site yesterday. “He was a very talented guitarist with a gregarious personality. He will be missed by all that knew him. Rest peacefully brother Dan. The Allman Brothers Band.”

Stephen Stills: “Neil Young and I are both kinda dorky…”

Uncut
-
0
Stephen Stills: “Neil Young and I are both kinda dorky…”
Stephen Stills looks back over his musical career, recalling his work with Neil Young, David Crosby and Graham Nash, among others, in the new issue of Uncut, out tomorrow (February 28). He discusses his friendship with Jimi Hendrix, hanging out with Peter Sellers and Ringo Starr and plucking up t...

Stephen Stills looks back over his musical career, recalling his work with Neil Young, David Crosby and Graham Nash, among others, in the new issue of Uncut, out tomorrow (February 28).

He discusses his friendship with Jimi Hendrix, hanging out with Peter Sellers and Ringo Starr and plucking up the courage to sing in front of Joni Mitchell.

Stills also recalls hooking up with Neil Young in Los Angeles to form Buffalo Springfield.

“I see the Ontario licence plate. Wait, that’s a hearse from Ontario. I know who that is.

“I said, ‘I was looking all over for you’. He said, ‘This is how dorky we were. We went to 77 Sunset Strip [TV show].’ That was part of the attraction. We’re both kinda dorky.”

The new issue of Uncut is out on Thursday, February 28.

Picture: Eleanor Stills

Blur announce more world tour dates

Uncut
-
0
Blur announce more world tour dates
Blur have announced a string of dates in the USA, Mexico, Hong Kong and Taiwan. The band have confirmed that they will be playing Coachella festival in California on April 12 and 19. They will also play Mexico's Vive Latino Festival on March 16, followed by Hong Kong's Asia World Arena on May 6 an...

Blur have announced a string of dates in the USA, Mexico, Hong Kong and Taiwan.

The band have confirmed that they will be playing Coachella festival in California on April 12 and 19. They will also play Mexico’s Vive Latino Festival on March 16, followed by Hong Kong’s Asia World Arena on May 6 and the New Taipei County Stadium on May 9.

Blur, who reformed last year for a string of intimate UK live dates culminating in a massive show in Hyde Park to celebrate the closing of the London 2012 Olympic Games, have recently announced a number of European tour dates. They will play Hungary’s Sziget festival in August, as well as Primavera in Spain and Rock Werchter in Belgium.

It is not yet clear whether the band will be playing any more new material for future live dates. Blur penned two new tracks – ‘Under The Westway’ and ‘The Puritan’ – for the Hyde Park shows, and the band have hinted that more could follow, with producer William Orbit telling NME earlier this year that the band had been in the studio working on new material with him. However, guitarist Graham Coxon recently stated that there will not be another Blur album in the near future.

Watch previously unseen Manic Street Preachers footage

Uncut
-
0
Watch previously unseen Manic Street Preachers footage

Rare live footage of the Manic Street Preachers performing a gig in Aldershot in 1991 has emerged online. The 13-minute clip shows the band playing both "Faceless Sense Of Void" and "Repeat" with bandmate Richey Edwards. A caption written under the video by club organiser Jo Bartlett, who booked the band for the gig and uploaded the video, says: "This film has been in an attic for twenty years and has only just been unearthed. You can't hear James Dean Bradfield's vocals at the start as Ben (the camera man) is standing to the side of the stage. However this is where Richey is playing and so it makes it all the more wonderful." At one point a fight breaks out in the crowd, which the band attempt to calm before carrying on with their performance. The gig was recorded on February 16 1991 as the band toured to promote "Motown Junk" and is the only recorded footage of The Buzz Club. Earlier this month The Manics hinted that they will return to playing live shows soon despite promising to take two years off in December 2011. The band announced that they would not be performing live for a couple of years after headlining London's O2 Arena. However, a post on Twitter stated: "Desperate to do a show in the UK again - feels like an eternity since the amazing 02 gig. Might have to break our two-year curfew by a few months." A new Manic Street Preachers album is due to be released before the end of 2013. http://www.youtube.com/watch?v=JnBWZXciNV0

Rare live footage of the Manic Street Preachers performing a gig in Aldershot in 1991 has emerged online.

The 13-minute clip shows the band playing both “Faceless Sense Of Void” and “Repeat” with bandmate Richey Edwards. A caption written under the video by club organiser Jo Bartlett, who booked the band for the gig and uploaded the video, says: “This film has been in an attic for twenty years and has only just been unearthed. You can’t hear James Dean Bradfield’s vocals at the start as Ben (the camera man) is standing to the side of the stage. However this is where Richey is playing and so it makes it all the more wonderful.”

At one point a fight breaks out in the crowd, which the band attempt to calm before carrying on with their performance. The gig was recorded on February 16 1991 as the band toured to promote “Motown Junk” and is the only recorded footage of The Buzz Club.

Earlier this month The Manics hinted that they will return to playing live shows soon despite promising to take two years off in December 2011. The band announced that they would not be performing live for a couple of years after headlining London’s O2 Arena. However, a post on Twitter stated: “Desperate to do a show in the UK again – feels like an eternity since the amazing 02 gig. Might have to break our two-year curfew by a few months.”

A new Manic Street Preachers album is due to be released before the end of 2013.

David Byrne and St Vincent announce trio of UK shows

Uncut
-
0
David Byrne and St Vincent announce trio of UK shows
David Byrne and St Vincent have announced a trio of headline UK shows, set to take place in August. The pair will play London's Roundhouse on August 27, Birmingham Symphony Hall on August 28 and Glasgow Royal Concert Hall on August 29. The shows will take place as part of a wider European tour. Da...

David Byrne and St Vincent have announced a trio of headline UK shows, set to take place in August.

The pair will play London’s Roundhouse on August 27, Birmingham Symphony Hall on August 28 and Glasgow Royal Concert Hall on August 29.

The shows will take place as part of a wider European tour. David Byrne and St Vincent will also join Sigur Ros and Belle And Sebastian in headlining this summer’s End Of The Road festival following their stand-alone shows.

David Byrne and St Vincent released their acclaimed debut collaborative album, Love This Giant, last year.

Also playing End Of The Road in Larmer Tree Gardens, north Dorset over the weekend of August 30 – September 1 are Frightened Rabbit, Jens Lekman, Merchandise, Caitlin Rose, Savages, Palma Violets, Daughter and Damien Jurado.

For more information, visit: Endoftheroadfestival.com

David Byrne and St Vincent will play:

London Roundhouse (August 27)

Birmingham Symphony Hall (28)

Glasgow Royal Concert Hall (29)

The Ninth Uncut Playlist Of 2013

John Mulvey
-
0
The Ninth Uncut Playlist Of 2013

Swiftly this week, as I have a heap of proofs to read for the next Uncut Ultimate Music Guide (the subject this time is The Smiths and Morrissey, hence the appearance of “Hatful Of Hollow” below). Quick plug, too, for the new issue of Uncut which arrives in UK shops tomorrow, I think. Obviously I am paid to say this, but in another week of general Bowie mania, I do genuinely believe that David Cavanagh’s 4,000-word essay on “The Next Day” is the definitive piece thus far on that album. Plenty of other stuff in there too, of course: I can particularly recommend Jaan Uhelszki’s rich and surprising chat with Stephen Stills, and Neil Spencer’s piece on Fela Kuti. My contribution is a belated 1,000 words on Kraftwerk. Playlist, anyhow. The Steve Gunn album is superb. Art at the top of the page comes from Lawrence English’s deep drone new one. MBV are back thanks to the arrival of THE ACTUAL CD. Still good. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 My Bloody Valentine – m b v (www.mybloodyvalentine.org) 2 Chuck Johnson – Crows In The Basilica (Three Lobed Recording) 3 Bonnie ‘Prince’ Billy & Trembling Bells – Bonnie Bells Of Oxford (www.tremblingbells.com) 4 The Memory Band – On The Chalk (Our Navigation Of The Line Of The Downs) (Static Caravan) 5 Disappears – Kone (Self-released) 6 Steve Gunn – Time Off (Paradise Of Bachelors) 7 Eric Clapton – Old Sock (Bush Branch) 8 Primal Scream – 2013 (First International) 9 Kit Grill – Expressions (Primary Colours) 10 Golden Gunn - Golden Gunn (Three Lobed Recordings) 11 Kurt Vile – Wakin’ On A Pretty Daze (Matador) 12 Bitchin’ Bajas – Krausened (Permanent) 13 Bruno Heinen Sextet – Tierkreis (Babel) 14 Iggy & The Stooges – Ready To Die (Fat Possum) 15 Colleen – The Weighing Of The Heart (Second Language) 16 Yeah Yeah Yeahs – Sacrilege (Polydor) 17 The Smiths – Hatful Of Hollow (Rough Trade) 18 Library Of Sands – Side To Side (Wild Sages) 19 Alastair Galbraith – Cry (MIE Music) 20 Matthew E White – Big Inner (Domino) 21 Lawrence English – Lonely Womens Club (Important) 22 Nick Cave & The Bad Seeds – Push The Sky Away (Bad Seed Ltd) 23 Natural Snow Buildings/Isengrind/Twinsistermoon – The Snowbringer Cult (Ba Da Bing)

Swiftly this week, as I have a heap of proofs to read for the next Uncut Ultimate Music Guide (the subject this time is The Smiths and Morrissey, hence the appearance of “Hatful Of Hollow” below).

Quick plug, too, for the new issue of Uncut which arrives in UK shops tomorrow, I think. Obviously I am paid to say this, but in another week of general Bowie mania, I do genuinely believe that David Cavanagh’s 4,000-word essay on “The Next Day” is the definitive piece thus far on that album. Plenty of other stuff in there too, of course: I can particularly recommend Jaan Uhelszki’s rich and surprising chat with Stephen Stills, and Neil Spencer’s piece on Fela Kuti. My contribution is a belated 1,000 words on Kraftwerk.

Playlist, anyhow. The Steve Gunn album is superb. Art at the top of the page comes from Lawrence English’s deep drone new one. MBV are back thanks to the arrival of THE ACTUAL CD. Still good.

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

1 My Bloody Valentine – m b v (www.mybloodyvalentine.org)

2 Chuck Johnson – Crows In The Basilica (Three Lobed Recording)

3 Bonnie ‘Prince’ Billy & Trembling Bells – Bonnie Bells Of Oxford (www.tremblingbells.com)

4 The Memory Band – On The Chalk (Our Navigation Of The Line Of The Downs) (Static Caravan)

5 Disappears – Kone (Self-released)

6 Steve Gunn – Time Off (Paradise Of Bachelors)

7 Eric Clapton – Old Sock (Bush Branch)

8 Primal Scream – 2013 (First International)

9 Kit Grill – Expressions (Primary Colours)

10 Golden Gunn – Golden Gunn (Three Lobed Recordings)

11 Kurt Vile – Wakin’ On A Pretty Daze (Matador)

12 Bitchin’ Bajas – Krausened (Permanent)

13 Bruno Heinen Sextet – Tierkreis (Babel)

14 Iggy & The Stooges – Ready To Die (Fat Possum)

15 Colleen – The Weighing Of The Heart (Second Language)

16 Yeah Yeah Yeahs – Sacrilege (Polydor)

17 The Smiths – Hatful Of Hollow (Rough Trade)

18 Library Of Sands – Side To Side (Wild Sages)

19 Alastair Galbraith – Cry (MIE Music)

20 Matthew E White – Big Inner (Domino)

21 Lawrence English – Lonely Womens Club (Important)

22 Nick Cave & The Bad Seeds – Push The Sky Away (Bad Seed Ltd)

23 Natural Snow Buildings/Isengrind/Twinsistermoon – The Snowbringer Cult (Ba Da Bing)

April 2013

Ipclee
-
0
April 2013
When towards the end of 1974, The Troggs announce their latest comeback single will be a cover of The Beach Boys' "Good Vibrations", it's an occasion for much mocking laughter in the offices of what used to be Melody Maker. Dapper assistant editor Michael Watts, who fancies himself as a bit of a wa...

When towards the end of 1974, The Troggs announce their latest comeback single will be a cover of The Beach Boys’ “Good Vibrations”, it’s an occasion for much mocking laughter in the offices of what used to be Melody Maker.

Dapper assistant editor Michael Watts, who fancies himself as a bit of a wag, wonders to no-one’s great amusement if they should have renamed it “Good Vibrators”, such is the band’s reputation for a certain sauciness. I’m reminded of this because of the sad recent news of the death of their lead singer, Reg Presley.

The Troggs then as now are most famous, of course, for their almost cartoonishly lubricious 1966 version of “Wild Thing”, which if nothing else certainly put the ocarina on the musical map. When Hendrix subsequently revisits the song, he turns it into something orgiastic. By contrast, The Troggs’ take on it was somehow sniggering, a quick cloakroom wank rather than the ecstatic fuck of Jimi”s iteration. They go on to have a succession of similarly suggestive hits, but are never taken especially seriously. They are often regarded in fact as a bit of a joke. This is in part explained by them coming from Andover and not making much of an attempt to disguise their broad West Country accents, which in the opinion of sophisticated toffs like the aforementioned Watts makes them sound like ill-educated yokels. I wonder, however, when I meet Reg, just as “Good Vibrations” is released, how much it perhaps suits Presley to play up to the part of the vaguely gormless bumpkin.

Whatever, he turns out to be very funny. He”s come up to London it turns outon one of those new-fangled high-speed trains, an experience that”s left him somewhat breathless. “My word, those things don’t ‘arf go fast,” he says, in wonderment, as if previous journeys to the capital have been made by horse-drawn coach, highwaymen a potential menace, and stop-overs at inns along the way where Reg, like some bucolic country squire in an episode of Poldark, would have enjoyed a flagon or two of local mead, followed by venison pie, a brace of grouse and the amorous attentions of a bawdy serving wench. “We didn’t try to immertate in any way whatso’er the original,” Reg says of The Troggs’ re-working of “Good Vibrations”. “We wanted to make it diff’rent, loik, which were difficult with a number loik that. It’s very thought out, as it were. It took three months to record, y’know.” What, your version? “Oooo-er, no! Not ours! The original,” Reg wheezes, like an asthmatic having a turn. “We knocked ours off after an afternoon in the pub.”

The Troggs’ last big hit had been “Love Is All Around” in 1967. They could badly do with another one now. “I wrote quite a few hits,” Presley says. “So we’ve always had a bit of money coming in (his royalties will go through the roof when Wet Wet Wet’s 1994 cover of “Love Is All Around” spends 15 weeks at No 1). But the money’s starting to dwindle now and I’d love to have some to invest in the stage act.”

What would he spend it on? “Lights,” he says, making it sound as if until now The Troggs had appeared only on stages illuminated by large candles and a couple of bicycle lamps. “I think they’d definitely be a help,” he goes on, looking forward no doubt to a future in which perhaps for the first time the band will be able to see each other onstage. “People expect a bit of a show when you’ve had a few hits, even if they can’t remember what they were until you play them and even then you can see “arf the crowd thought some other bugger did them.”

Get Uncut on your iPad, laptop or home computer

David Bowie’s The Next Day – The ultimate review and 10-page special in the new Uncut

Uncut
-
0
David Bowie’s The Next Day – The ultimate review and 10-page special in the new Uncut

David Bowie’s return to active service with The Next Day has been described as the greatest comeback ever and I’m sure every Bowie fan is hoping this will in fact be the truth of the matter when they finally get to hear the album, which is released on March 11, still a tantalising couple of weeks away at the time of writing. Will it in the final reckoning stand up to former Bowie glories and seriously compare with the many brilliant records in his career that have preceded it, a triumphant resurrection? It has a lot to live up to, that’s for sure. But does it deliver everything the Bowie fan, starved of new music from him for the best part of a decade, will want from it? The answer according to David Cavanagh who writes about it in the new Uncut is a resounding yes. In an epic, definitive review of The Next Day in the issue of Uncut that goes on sale this Thursday (February 28) David (Cavanagh, not Bowie) describes an album that sounds as thrilling and provocative as anything Bowie has previously produced. What he has to say about it is a must-read for the Bowie fanatic who wants to know everything about it, their anticipation by now whittled to a fine point of excitement as the year’s most significant release date looms. In our 10-page special on the album, we also talk to Bowie’s key collaborators on the project, including guitarists Gerry Leonard and Earl Slick, drummers Sterling Campbell and Zachary Alford, bassist Gail Ann Dorsey, producer Tony Visconti and Tony Ousler, who directed the video for “Where Are We Now?”, revisit a decade of sometimes underestimated Bowie music and discover that over the last 10 years Bowie has not been as inactive as you might have thought. The imminent appearance of The Last Day and the understandable fuss surrounding it threatens of course to overshadow everything else in the coming weeks, but there’s plenty elsewhere in the new Uncut to command the attention, not least a great interview with Stephen Stills by Jaan Uhelszki, who visited him at home in Los Angeles, a box-set of his momentous career being readied for release as they spoke. Stills has long had a reputation for being cranky and difficult and his on-and-off stage sparring with ‘soul brother’ Neil Young down the years has entered musical legend. The Stills who emerges from Jaan’s interview, however, is keen to set the record straight about this and many other things people assume about him. Who would have thought he could be such a charmer? Elsewhere, we have a vivid appreciation by Neil Spencer of the life and music of Fela Kuti, Afrobeat pioneer, freedom fighter, political prisoner and in the words of one of his former managers ‘a tornado of a man’. Also in the new issue, there’s an interview I did in New York recently with Matthew Houck of Phosphorescent, ahead of his own terrific new album, Muchacho, and sadly what will likely be the last interview with Wilko Johnson. The former Dr Feelgood guitarist as you’ve probably heard was diagnosed with terminal pancreatic cancer towards the end of 2012 and given less than a year to live. I went down to Westcliff, just outside Southend, to spend an afternoon with him, during which time he looked back on the group’s fantastic heyday and less happily the bitter falling out with vocalist Lee Brilleaux that led to Wilko walking out on the Feelgoods while they were still celebrating the sweeping success of their Stupidity album, which briefly made them the biggest band in the UK. Paul Weller, meanwhile, adds a personal tribute to Wilko and how he and the Feelgoods were an inspiration for punk. Also in the issue, we have an Audience With Van Dyke Parks, Edwyn Collins talks us through his back-catalogue highlights, The House Of Love recall the making of “Christine” and Keith Altham, the former NME writer and PR for The Rolling Stones and The Who, bids sad farewell to his friend, Reg Presley of The Troggs. As ever, our review section is full to bursting. There are new albums from Low, My Bloody Valentine, Suede, Emmylou Harris and Rodney Crowell, John Grant, Thurston Moore’s Chelsea Light Moving, the reformed Crime & The City Solution and Billy Bragg, box-sets devoted to Duane Allman, Blue Oyster Cult and The Graham Bond Organisation and in concert we review Kraftwerk, Nick Cave and John Murry. The new issue just to remind you is on sale from Thursday, February 28. Have a great week.

David Bowie’s return to active service with The Next Day has been described as the greatest comeback ever and I’m sure every Bowie fan is hoping this will in fact be the truth of the matter when they finally get to hear the album, which is released on March 11, still a tantalising couple of weeks away at the time of writing.

Will it in the final reckoning stand up to former Bowie glories and seriously compare with the many brilliant records in his career that have preceded it, a triumphant resurrection? It has a lot to live up to, that’s for sure. But does it deliver everything the Bowie fan, starved of new music from him for the best part of a decade, will want from it?

The answer according to David Cavanagh who writes about it in the new Uncut is a resounding yes. In an epic, definitive review of The Next Day in the issue of Uncut that goes on sale this Thursday (February 28) David (Cavanagh, not Bowie) describes an album that sounds as thrilling and provocative as anything Bowie has previously produced. What he has to say about it is a must-read for the Bowie fanatic who wants to know everything about it, their anticipation by now whittled to a fine point of excitement as the year’s most significant release date looms.

In our 10-page special on the album, we also talk to Bowie’s key collaborators on the project, including guitarists Gerry Leonard and Earl Slick, drummers Sterling Campbell and Zachary Alford, bassist Gail Ann Dorsey, producer Tony Visconti and Tony Ousler, who directed the video for “Where Are We Now?”, revisit a decade of sometimes underestimated Bowie music and discover that over the last 10 years Bowie has not been as inactive as you might have thought.

The imminent appearance of The Last Day and the understandable fuss surrounding it threatens of course to overshadow everything else in the coming weeks, but there’s plenty elsewhere in the new Uncut to command the attention, not least a great interview with Stephen Stills by Jaan Uhelszki, who visited him at home in Los Angeles, a box-set of his momentous career being readied for release as they spoke. Stills has long had a reputation for being cranky and difficult and his on-and-off stage sparring with ‘soul brother’ Neil Young down the years has entered musical legend. The Stills who emerges from Jaan’s interview, however, is keen to set the record straight about this and many other things people assume about him. Who would have thought he could be such a charmer?

Elsewhere, we have a vivid appreciation by Neil Spencer of the life and music of Fela Kuti, Afrobeat pioneer, freedom fighter, political prisoner and in the words of one of his former managers ‘a tornado of a man’. Also in the new issue, there’s an interview I did in New York recently with Matthew Houck of Phosphorescent, ahead of his own terrific new album, Muchacho, and sadly what will likely be the last interview with Wilko Johnson.

The former Dr Feelgood guitarist as you’ve probably heard was diagnosed with terminal pancreatic cancer towards the end of 2012 and given less than a year to live. I went down to Westcliff, just outside Southend, to spend an afternoon with him, during which time he looked back on the group’s fantastic heyday and less happily the bitter falling out with vocalist Lee Brilleaux that led to Wilko walking out on the Feelgoods while they were still celebrating the sweeping success of their Stupidity album, which briefly made them the biggest band in the UK. Paul Weller, meanwhile, adds a personal tribute to Wilko and how he and the Feelgoods were an inspiration for punk.

Also in the issue, we have an Audience With Van Dyke Parks, Edwyn Collins talks us through his back-catalogue highlights, The House Of Love recall the making of “Christine” and Keith Altham, the former NME writer and PR for The Rolling Stones and The Who, bids sad farewell to his friend, Reg Presley of The Troggs.

As ever, our review section is full to bursting. There are new albums from Low, My Bloody Valentine, Suede, Emmylou Harris and Rodney Crowell, John Grant, Thurston Moore’s Chelsea Light Moving, the reformed Crime & The City Solution and Billy Bragg, box-sets devoted to Duane Allman, Blue Oyster Cult and The Graham Bond Organisation and in concert we review Kraftwerk, Nick Cave and John Murry.

The new issue just to remind you is on sale from Thursday, February 28.

Have a great week.

David Bowie on The Next Day: “It was originally going to be about prostitutes at the Vatican!”

Uncut
-
0
David Bowie on The Next Day: “It was originally going to be about prostitutes at the Vatican!”
David Bowie’s closest collaborators have shed light on the creation of The Next Day in our cover feature on his album in the new Uncut. Members of Bowie’s band, including Earl Slick, Gail Ann Dorsey, Sterling Campbell, Zachary Alford and Gerry Leonard, reveal how the record was made in the is...

David Bowie’s closest collaborators have shed light on the creation of The Next Day in our cover feature on his album in the new Uncut.

Members of Bowie’s band, including Earl Slick, Gail Ann Dorsey, Sterling Campbell, Zachary Alford and Gerry Leonard, reveal how the record was made in the issue, out on Thursday (February 28).

“On one song I changed the beat and David said, ‘I like that!’ and went in a new direction. He said, ‘I’m going to change the lyrics. It was originally going to be about prostitutes at the Vatican!’” explains drummer Zachary Alford.

As well as the in-depth 10-page review, we look at what Bowie’s been up to over the last ten years – a lot, surprisingly – and take another look at his late-period albums, including Heathen, Outside and The Buddha Of Suburbia.

The new issue of Uncut is out on Thursday, February 28.

Picture: Jimmy King

1...545546547...1,269Page 546 of 1,269

SHOP UNCUT