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Iris Dement – Sing The Delta

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Bringing it all back home: Arkansas dazzler's first original music in 16 years... From her down-home, straight-outta-Appalachia Loretta Lynn voice, to the rolling piano and Carter Family lilt of her country/gospel moorings, to songs that delve deep into the tapestry of family, home, and faith, Iris DeMent is a one-woman calling card for so-called "country music" to do some serious soul-searching. Sing The Delta - just her fifth album in a 20-year career - is jaw-dropping southern gothic, music out of time, a heady return to her early-1990s prime but deeper. In fact, DeMent's voice has never sounded quite this freewheeling, this purely expressive, rising from whispers to whoops and back again, over a dozen stunning, earthy numbers. Aided by a cast of studio pros (e.g., guitarist Al Perkins and keyboardist Reese Wynans), Delta is a cagey mix of organic real-old-time country, early-'60s Nashville heartbreak-and-honky-tonk (think Ray Price's “Night Life”), a dollop of toe-tapping church music, plus a touch of blues, R&B, and Memphis soul. Yet it's DeMent's extraordinary songwriting--from celebratory to gut-wrenching, taking listeners on a kind of spiritual quest--that are front and center: From the parlor-song piano opening of "Go Ahead and Go Home" (death never sounded so joyous), to the expansive, deeply personal meditation on the South of the title cut, she cuts straight to the bone. In the heart-shattering “The Night I Learned Not To Pray,” wherein the protagonist’s baby brother falls down a flight of stairs to his death, DeMent borrows a bit of rhythmic phrasing and detailed storytelling from Bobbie Gentry's "Ode to Billie Jo," unfolding a devastating narrative with a heart-stopping twist--the questioning of religion. The sepia-toned "Before the Colors Fade," on the other hand, is all interiors, a dreamlike rumination on love and mortality, DeMent delivering the song's fragile beauty with a delicate, almost shuddering intimacy. Elsewhere, "Makin' My Way Back Home," is a pure country lament, melodically akin to Tammy Wynette's early hit "Apartment Number Nine," while the rolling, soaring swing of "There's A Whole Lotta Heaven," DeMent leaning into the humanistic lyric with relish, clinches a startling, inspirational comeback. Luke Torn

Bringing it all back home: Arkansas dazzler’s first original music in 16 years…

From her down-home, straight-outta-Appalachia Loretta Lynn voice, to the rolling piano and Carter Family lilt of her country/gospel moorings, to songs that delve deep into the tapestry of family, home, and faith, Iris DeMent is a one-woman calling card for so-called “country music” to do some serious soul-searching.

Sing The Delta – just her fifth album in a 20-year career – is jaw-dropping southern gothic, music out of time, a heady return to her early-1990s prime but deeper. In fact, DeMent’s voice has never sounded quite this freewheeling, this purely expressive, rising from whispers to whoops and back again, over a dozen stunning, earthy numbers.

Aided by a cast of studio pros (e.g., guitarist Al Perkins and keyboardist Reese Wynans), Delta is a cagey mix of organic real-old-time country, early-’60s Nashville heartbreak-and-honky-tonk (think Ray Price’s “Night Life”), a dollop of toe-tapping church music, plus a touch of blues, R&B, and Memphis soul. Yet it’s DeMent’s extraordinary songwriting–from celebratory to gut-wrenching, taking listeners on a kind of spiritual quest–that are front and center: From the parlor-song piano opening of “Go Ahead and Go Home” (death never sounded so joyous), to the expansive, deeply personal meditation on the South of the title cut, she cuts straight to the bone.

In the heart-shattering “The Night I Learned Not To Pray,” wherein the protagonist’s baby brother falls down a flight of stairs to his death, DeMent borrows a bit of rhythmic phrasing and detailed storytelling from Bobbie Gentry‘s “Ode to Billie Jo,” unfolding a devastating narrative with a heart-stopping twist–the questioning of religion. The sepia-toned “Before the Colors Fade,” on the other hand, is all interiors, a dreamlike rumination on love and mortality, DeMent delivering the song’s fragile beauty with a delicate, almost shuddering intimacy. Elsewhere, “Makin’ My Way Back Home,” is a pure country lament, melodically akin to Tammy Wynette’s early hit “Apartment Number Nine,” while the rolling, soaring swing of “There’s A Whole Lotta Heaven,” DeMent leaning into the humanistic lyric with relish, clinches a startling, inspirational comeback.

Luke Torn

Bob Dylan, Paul McCartney, AC/DC recordings added to Grammy Hall of Fame

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Recordings by Bob Dylan, Paul McCartney, Frank Sinatra, AC/DC and more are to be inducted into the Grammy Hall Of Fame, according to a report on Rolling Stone. Dylan's 1964 song "The Times They Are A-Changing", the Paul McCartney & Wings album, Band On The Run (1973), and AC/DC's 1980 album Back In Black will all join the Grammy Hall Of Fame, alongside recordings by Elton John, Little Richard and James Brown. The Recording Academy President and CEO Neil Portnow said in a statement: "Memorable for being both culturally and historically significant, we are proud to add (the 2013 inductees) to our growing catalog of outstanding recordings that have become part of our musical, social and cultural history." The 55th Annual Grammy Awards will be held on Sunday, February 10, 2013 at the Staples Center in Los Angeles. The full list of inductees is: Buck Owens, "Act Naturally" Louis Jordan And His Tympany Five, "Ain't Nobody Here But Us Chickens" Joe Falcon, "Allons À Lafayette" AC/DC, "Back In Black" Paul McCartney & Wings, Band On The Run W.H. Stepp, "Bonaparte's Retreat" Lennie Tristano Sextet, Crosscurrents Carols Gardel, "El Día Que Me Quieras" Elton John, Elton John Lester Flatt, Earl Scruggs And The Foggy Mountain Boys, "Foggy Mountain Banjo Little Richard, Here's Little Richard Ray Charles, "Hit The Road Jack" Willie Mae "Big Mama" Thornton, "Hound Dog" James Brown, "I Got You (I Feel Good)" John Coltrane And Johnny Hartman, John Coltrane And Johnny Hartman Original Broadway Cast, Lost In The Stars Charles Mingus, Mingus Ah Um Son House, "My Black Mama [Parts 1 and 2]" Francis Craig And His Orchestra, "Near You" The Drifters, "On Broadway" Billy Joel, "Piano Man" Memphis Jug Band, "Stealin' Stealin'" Richard Pryor, That Nigger's Crazy Frank Sinatra, Theme From New York, New York" Bob Dylan, "The Times They Are A-Changin'" Ernest V. "Pop" Stoneman, "The Titanic" Whitney Houston, Whitney Houston

Recordings by Bob Dylan, Paul McCartney, Frank Sinatra, AC/DC and more are to be inducted into the Grammy Hall Of Fame, according to a report on Rolling Stone.

Dylan’s 1964 song “The Times They Are A-Changing”, the Paul McCartney & Wings album, Band On The Run (1973), and AC/DC’s 1980 album Back In Black will all join the Grammy Hall Of Fame, alongside recordings by Elton John, Little Richard and James Brown.

The Recording Academy President and CEO Neil Portnow said in a statement: “Memorable for being both culturally and historically significant, we are proud to add (the 2013 inductees) to our growing catalog of outstanding recordings that have become part of our musical, social and cultural history.”

The 55th Annual Grammy Awards will be held on Sunday, February 10, 2013 at the Staples Center in Los Angeles.

The full list of inductees is:

Buck Owens, “Act Naturally”

Louis Jordan And His Tympany Five, “Ain’t Nobody Here But Us Chickens”

Joe Falcon, “Allons À Lafayette”

AC/DC, “Back In Black”

Paul McCartney & Wings, Band On The Run

W.H. Stepp, “Bonaparte’s Retreat”

Lennie Tristano Sextet, Crosscurrents

Carols Gardel, “El Día Que Me Quieras”

Elton John, Elton John

Lester Flatt, Earl Scruggs And The Foggy Mountain Boys, “Foggy Mountain Banjo

Little Richard, Here’s Little Richard

Ray Charles, “Hit The Road Jack”

Willie Mae “Big Mama” Thornton, “Hound Dog”

James Brown, “I Got You (I Feel Good)”

John Coltrane And Johnny Hartman, John Coltrane And Johnny Hartman

Original Broadway Cast, Lost In The Stars

Charles Mingus, Mingus Ah Um

Son House, “My Black Mama [Parts 1 and 2]”

Francis Craig And His Orchestra, “Near You”

The Drifters, “On Broadway”

Billy Joel, “Piano Man”

Memphis Jug Band, “Stealin’ Stealin'”

Richard Pryor, That Nigger’s Crazy

Frank Sinatra, Theme From New York, New York”

Bob Dylan, “The Times They Are A-Changin'”

Ernest V. “Pop” Stoneman, “The Titanic”

Whitney Houston, Whitney Houston

Beatles audition tape up for auction

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The Beatles' demo tape, famously rejected by Decca Records in 1962, is up for auction. The recording has never been officially released, though it is said to be of good sound quality. "It is totally unique and the sound quality is crystal clear," Ted Owen, of auctioneers the Fame Bureau tells The ...

The Beatles‘ demo tape, famously rejected by Decca Records in 1962, is up for auction.

The recording has never been officially released, though it is said to be of good sound quality. “It is totally unique and the sound quality is crystal clear,” Ted Owen, of auctioneers the Fame Bureau tells The Telegraph. “They are copying the American style, the style of artists like Buddy Holly and Chuck Berry. Those were the days of Rock and Roll and everybody who was trying to make a name for themselves were trying to replicate that style.”

The band were refused a contract by the Decca label, later home to The Rolling Stones, when executive Dick Rowe decided that guitar music was “on the way out”. He told the band they had “no future in showbusiness”. Within months, they signed to EMI and soon became the biggest band in the world.

Then-Beatles manager Brian Epstein paid for the ten-track tape to be produced and gave it to an executive associated with EMI. It was sold in 2002 to a buyer of music memorabilia for Hard Rock Cafe, who has now put the tape up for auction with a pre-sale estimate of £30,000.

Tracks on the audition tape include:

‘Money (That’s What I Want)’

‘Like Dreamers Do’

‘Take Good Care of My Baby’

‘Three Cool Cats’

‘Love of the Loved’

‘Memphis’

‘Crying Waiting Hoping’

The tape will be auctioned at the Fame Bureau in London’s Mayfair on November 27.

Director Robert Zemeckis pulls out of Yellow Submarine remake

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Robert Zemeckis has pulled out of plans to create a new version of The Beatles' Yellow Submarine saying that he does not have any interest in doing remakes at this point in his career. Zemeckis, who directed The Polar Express as well as Forrest Gump and the Back To The Future movies, was connected...

Robert Zemeckis has pulled out of plans to create a new version of The Beatles’ Yellow Submarine saying that he does not have any interest in doing remakes at this point in his career.

Zemeckis, who directed The Polar Express as well as Forrest Gump and the Back To The Future movies, was connected to the film whilst Dick Cook was chairman of Disney. However, Cook has since stepped down and Zemeckis has reevaluated his position regarding the remake.

Speaking to The Hollywood Reporter, Zemeckis said: “I’m not going to do Yellow Submarine… and I don’t want to do any remakes. You’re behind the eight ball from the get-go. And how many movies have I got left in me, really? I’m getting kind of old. So I don’t think I should take those years out of my life and do a remake.”

The potential for a remake of the 1968 animated film has been around since 2009 with Zemeckis keen to put the technology used in his films such as Beowulf to the remake with the intention being that the film would be released in time for the 2012 Olympic Games in London. However, the subsequent failure of a number of Zemeckis’ films led to plans being put on ice. It was rumoured that comedian Peter Serafinowicz had been cast to voice Paul McCartney‘s character in the movie.

Sufjan Stevens – a Christmas Q&A

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Sufjan Stevens' new Christmas compilation, Silver & Gold: Songs For Christmas, Vols. 6-10, is out now, and reviewed in the new issue of Uncut, dated January 2013. Graeme Thomson tackles the mammoth album in the reviews section of the new issue, in shops now, and also interviews Stevens about th...

Sufjan Stevens’ new Christmas compilation, Silver & Gold: Songs For Christmas, Vols. 6-10, is out now, and reviewed in the new issue of Uncut, dated January 2013.

Graeme Thomson tackles the mammoth album in the reviews section of the new issue, in shops now, and also interviews Stevens about the project – a short excerpt can be found in the issue, but below is the pair’s full conversation…

______________________________

Uncut: How do you recruit your guests for these Christmas projects?

Sufjan Stevens: Proximity, friendship, and happy accident. I’m not too fussy about talent, either. If you have a pulse and can shake a sleigh bell, I’ll recruit you. I’m an otherwise solitary musician so these Christmas sessions are a healthy break from that lonely voyage called songwriting. Also, Christmas is not cool; I suppose I enjoy imposing its kitsch on all my cool musician friends.

Do you consciously set out to write a song like “Happy Karma Christmas”, or does a seasonal song just evolve?

Usually the slogan predicates the song. Christmas is like white rice; it goes with everything. Add any word to it (Lumberjack, Infinity, Spirit Catcher) and it becomes an immediate feast, or a Dada exercise, at least. “Karma” and “Christmas” also feel like unlikely bedfellows, so it was fun to throw them together as a weapon against a past infatuation. It doesn’t always work. “Christmas Custody Battle” did not make the cut. Nor did “Christmas Boner”.

Thinking of the classics of the genre, what component parts does the perfect Christmas song have to have?

The elusive Christmas hit usually has an indelible melody, clever wordplay, and juxtaposition of conflicting consciousness: joy and heartache, or sacred and profane. Christmas is a Catch-22. We celebrate “God made man” with luxurious feasts and revelry in the dead of winter, when nature is least inviting. The best Christmas songs (even the secular ones) tap into this bi-polar emotional field. “I’ll Be Home For Christmas” looks sentimental on the surface until you get to the last line (“…if only in my dreams”) and recall the context in which it was proliferated: it was commonly sung at USO shows during World War II. It’s both a sentimental love song and a depressing military anthem.

How serious is your intent on the Christmas releases? The mix of the sacred and the playful can be heard in your other music too…

My approach is somewhat anthropological and this might explain the intention behind some of it. At its core, Christmas has a mysterious punchline: the incarnation of God as a Christ-child. This is weird. Consider the details: angel visitations, teenage pregnancy, shot-gun wedding, the massacre of the innocents, the wise men following an astrological phenomenon, gold, frankincense, and myrrh. It’s a Hollywood blockbuster. Mix all that with contemporary pop adaptations: Frosty, Rudolph, Santa, the Grinch, etc., and you have a veritable chop salad of sacrilege. Not to mention the elements of capitalism and consumerism the western world has imposed on it. We have made Christmas our bitch, for better and for worse. These EPs are desperate to find meaning in all of that, I suppose, both sacred and profane.

Will there be more Christmas Songs?

Christmas is forever!

How advanced are your plans for a follow-up to The Age Of Adz?

I’ve been so caught up in fun projects that don’t amount to the conventional album, writing ballet music, exploring that Planetarium thing with Bryce [Dessner] and Nico [Mulhy], and now another Christmas pageant. Diversifying my career since people don’t buy albums anymore.

Interview: Graeme Thomson

This month in Uncut!

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The new issue of Uncut, out today, features Bruce Springsteen, The Black Keys, Bryan Ferry and the Uncut review of 2012. Bruce Springsteen is on the cover, and inside we catch up with The Boss live in Pittsburgh and tell the story of his incredible year – including Wrecking Ball, his longest ever show and that cut-off Paul McCartney duet… The Black Keys talk us through their greatest albums, and Bryan Ferry answers your questions on everything from Roxy Music and his suits, to his love of jazz and his former paper round. The Uncut review of 2012 counts down our favourite 75 albums of the year, plus the top films, reissues and books. Elsewhere, Ty Segall is introduced as our new artist of the year, following his three amazing records from the last 12 months, the sublime yet cautionary tale of The Blue Nile is told, and Suggs’ life is told in pictures. Slade also recall the making of “Merry Xmas Everybody”, Paul Weller talks us through his favourite albums, and Nirvana, the reunited Replacements, Japandroids and Ginger Baker feature in our opening Instant Karma! section – the winner of this year's Uncut Music Award is also announced. New albums from Beck, Bryan Ferry, Bjork, The Unthanks and Graham Parker are reviewed, along with archive releases from Joni Mitchell, Blur, Gil Scott-Heron and The Damned. Jack White, The Who and Tame Impala are caught live, while DVDs from The Beach Boys and Neil Young are reviewed, alongside books on Mick Jagger, Jimi Hendrix and Columbia Records. This month’s free CD is Uncut’s Best Of 2012, and features tracks from Grizzly Bear, Dexys, Dr John, Ty Segall, Bill Fay, Allah-Las and more. The new issue of Uncut, dated January 2013, is out on Friday, November 23.

The new issue of Uncut, out today, features Bruce Springsteen, The Black Keys, Bryan Ferry and the Uncut review of 2012.

Bruce Springsteen is on the cover, and inside we catch up with The Boss live in Pittsburgh and tell the story of his incredible year – including Wrecking Ball, his longest ever show and that cut-off Paul McCartney duet…

The Black Keys talk us through their greatest albums, and Bryan Ferry answers your questions on everything from Roxy Music and his suits, to his love of jazz and his former paper round. The Uncut review of 2012 counts down our favourite 75 albums of the year, plus the top films, reissues and books.

Elsewhere, Ty Segall is introduced as our new artist of the year, following his three amazing records from the last 12 months, the sublime yet cautionary tale of The Blue Nile is told, and Suggs’ life is told in pictures.

Slade also recall the making of “Merry Xmas Everybody”, Paul Weller talks us through his favourite albums, and Nirvana, the reunited Replacements, Japandroids and Ginger Baker feature in our opening Instant Karma! section – the winner of this year’s Uncut Music Award is also announced.

New albums from Beck, Bryan Ferry, Bjork, The Unthanks and Graham Parker are reviewed, along with archive releases from Joni Mitchell, Blur, Gil Scott-Heron and The Damned.

Jack White, The Who and Tame Impala are caught live, while DVDs from The Beach Boys and Neil Young are reviewed, alongside books on Mick Jagger, Jimi Hendrix and Columbia Records.

This month’s free CD is Uncut’s Best Of 2012, and features tracks from Grizzly Bear, Dexys, Dr John, Ty Segall, Bill Fay, Allah-Las and more.

The new issue of Uncut, dated January 2013, is out on Friday, November 23.

Brian Wilson – Album By Album

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The reunited Beach Boys' new concert DVD is reviewed in the latest issue of Uncut (dated January 2013, out now) – so it seemed like a good time to revisit this fascinating piece from our October 2006 issue (Take 113). We were talking to Wilson, primarily, to discuss the 40th anniversary of Pet Sou...

The reunited Beach Boys’ new concert DVD is reviewed in the latest issue of Uncut (dated January 2013, out now) – so it seemed like a good time to revisit this fascinating piece from our October 2006 issue (Take 113). We were talking to Wilson, primarily, to discuss the 40th anniversary of Pet Sounds, reissued in deluxe format that month. But Wilson agreed to revisit five other pivotal Beach Boys albums, too. “If you’re a young guy or girl going out and buying Pet Sounds for the first time, you’re gonna be knocked out when you hear it, right?” Words: Rob Hughes

_______________________ 

Surfin’ Safari

(Capitol, 1962)

Formed in Hawthorne, California in 1961, the original Beach Boys were Mike Love, David Marks and the Wilson brothers – Dennis, Carl and songwriter Brian. Their debut was a West Coast teen-dream of sun-kissed girls, surfer boys and hot-rods, all riding the crest of an endless summer.

Wilson: “I wasn’t aware that those early songs defined California so well until much later in my career. I certainly didn’t set out to do it. I wasn’t into surfing at all. My brother Dennis gave me all the jargon I needed to write the songs. He was the surfer and I was the songwriter. Capitol encouraged me to keep on writing surf songs. I just wrote and wrote. I didn’t want to quit while we were ahead.

“[Co-writer] Gary Usher was a friend of my next-door neighbour. He came around one day telling me he knew how to write songs. So we started on ‘409’. Gary taught me how to really get into songwriting, to really involve myself in it. The feel of a song was always a big part of writing for me. It’s more important then getting things exactly right musically. ‘Lonely Sea’ [from 1963’s Surfin’ USA] was on a different tack. It was very mellow and soft. I felt like I needed to express myself more. I always wanted to produce records myself, even then. Up until 1966, we were just making car songs and surf songs. Then I wanted to try something new. I needed to create a new kind of music.”

Pet Sounds

(Capitol, 1966)

After nine albums in four years, Wilson tired of sun, sand and surf. Following on from 1965’s more complex, ambitious Today, Pet Sounds revealed Wilson as a composer/arranger/producer of extraordinary vision. The impact of Pet Sounds can never be understated. As Paul McCartney declared: “No-one is educated musically ’til they’ve heard that album.”

“Pet Sounds happened immediately after I heard Rubber Soul by The Beatles. I went away and said I’d write an album that was just as good. I was a perfectionist; it had to be right. I wanted pianos and organs and guitars to make one big new sound, like the Phil Spector sound. It wasn’t really like Phil’s stuff, but the style was similar. When I played it back for the first time, I couldn’t believe how much love we put into that album. There was a lot of love in our voices.

“I sang ‘Don’t Talk (Put your Head On My Shoulder)’ and ‘Caroline No’, which had very sweet, feminine vocals. I wanted to bring a kind of spiritual love to the world. Carl and I conducted two or three prayer sessions for people, so that when they received Pet Sounds, they’d get a blessing from The Beach Boys. ‘Let’s Go Away For Awhile’ was influenced by Burt Bacharach. The chord structure was similar. And there was a little Beethoven, too. My lyrical collaborator, Tony Asher, and I had ‘God Only Knows’ done in a half hour. All the songs came very easily for Pet Sounds. It was like I reached up into the sky and grabbed them.”

Smiley Smile

(Capitol, 1967)

Collapsing under the strain of recording his masterpiece SMiLE, a disheartened Wilson pulled the remnants together – along with other sketches – for Smiley Smile. A disappointed public largely stayed away, despite global chart-topper “Good Vibrations” and the thrilling “Heroes And Villains”.

“I wanted it to be about laughter. Where did something like ‘She’s Goin’ Bald’ come from? From my head! [laughs]. Love made me write something like that. Van Dyke Parks and I sat down and wrote ‘Heroes And Villains’, with that lovely organ sound on it. I think it took 23 takes to get it right. When I was a little boy, my mom and dad took me over to a friend’s house. And the father there played a theremin, where you put your hand over a bar. If you raised your hand a little bit, the sound would go up. So when it came to do ‘Good Vibrations’, I found a guy called Paul Tanner, who had a band theremin. You would run your fingers along a band on a little rack and the sound would go up and down. It worked so well.

“’Good Vibrations’ took six weeks to record, in five different studios. I wrote out each musician’s part on music paper then they all played it together. I found I could work out each part without it being too difficult. It did get tedious, though. The musicians understood it all more or less straight away. Hal Blaine [famed session drummer] was always right on my wavelength.”

Wild Honey

(Capitol, 1968)

With an increasingly disillusioned Wilson having given up production duties on Smiley Smile, the follow-up – again “produced by The Beach Boys” – further alienated the masses with its back-to-basics white soul. In retrospect, though, this LP marks the beginning of the wonderful second phase of the band’s career.

“It was always a challenge for me to live up to my name. It was a really big thing for me. People expected me to come up with great orchestral stuff all the time and it became a burden. I was getting tired of it. It still happens, too, but you just learn to live with it.

“So the other guys started getting more into the production side of things. Carl [Wilson] really got into that. And we decided to make a rhythm’n’blues record. We consciously made a simpler album. It was just a little R’n’B and soul. It certainly wasn’t like a regular Beach Boys record. It was good to go back to the boogie-woogie piano I’d grown up with. Dear old Dad [Murry Wilson] taught me how to play that stuff when I was young. In its way, it’s very nostalgic. And we used the theremin again for ‘Wild Honey’. Carl had fun singing on that. He was laughing and dancing around. People still think this record came about because of some wild honey I’m supposed to have kept in my kitchen, but I don’t remember that being true.”

Friends

(Capitol, 1968)

Immersed in Eastern mysticism, Friends was a record of subtle rapture and invention. With Mike Love in thrall to transcendental meditation, Wilson’s lazy days fed into “Busy Doin’ Nothin’”, while younger brother Dennis came to the fore with two originals. On the 1969 follow-up, 20/20, his “Never Learn Not To Love” was a re-jigged version of “Cease To Exist”, penned by Brian’s new pal – wild-eyed wannabe Charles Manson.

“Friends is in my top five favourite Beach Boys albums. Dennis really did his thing on that record [‘Little Bird’ and ‘Be Still’]. It really surprised me, too. He learned a lot from me about producing, and he just went on his own. And I couldn’t believe how good he sang.

“I was still really into love music at the time. I wanted happy music. ‘Busy Doin’ Nothin’’ and ‘Wake The World’ came out of that. Mike Love went to India and met a healer called Anna Lee. So [‘Anna Lee, The Healer’] came naturally. We just sat down and started writing it. We didn’t get anywhere at first, so we came back to it after a couple of weeks and it started really happenin’. I think it turned out great.

“I tried transcendental meditation for about a month, but it didn’t work for me. I couldn’t concentrate on my mantra because I had so many thoughts in my head. So I wasn’t able to do it and just stopped altogether.”

The Beach Boys Love You

(Reprise, 1977)

A solo album in all but name, …Love You was by turns inspired, throwaway, beautiful and childlike, marking Wilson’s brief re-emergence as a major force. “The Night Was So Young” ranked alongside his very best, while the absurd “Johnny Carson” tribute trilled, “He sits behind his microphone/He speaks in such a manly tone”.

“This is my favourite album we ever did. It’s funny because now people are beginning to see it as a classic. It was quite revolutionary in its use of synthesisers. It’s got so much good stuff on it – ‘Ding Dang’, ‘Let Us Go On This Way’ and ‘The Night Was So Young’. I think it’s overlooked. Everything’s going on in there.

“All the cuts are different from each other. Some are rockers, some are ballads. ‘Johnny Carson’ came about when I was sitting at my piano and someone was talking about him. I told them I was gonna write a song about him and they didn’t believe me. I had the whole thing done in 20 minutes. I worked with Roger McGuinn on ‘Ding Dang’. He wrote that line [sings], ‘I love a girl/I love her so madly’. He was so easy to work with. I’d never worked with him before, but it was really something. ‘I Wanna Pick You Up’ was a really good cut, too. And ‘Honkin’ Down The Highway’ was a kind of a C&W idea. CBS didn’t promote that album very well. They just let it go and it didn’t sell at all.”

Bjork cures vocal problems with lazers: “Surgery rocks!”

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Bjork has revealed that she has cured the vocal problems which have plagued her in recent years by undergoing surgery. The Icelandic star, who released remix album Bastards earlier this month featuring remixes from Hudson Mohawke and Death Grips, has suffered in recent years with problems affecting...

Bjork has revealed that she has cured the vocal problems which have plagued her in recent years by undergoing surgery.

The Icelandic star, who released remix album Bastards earlier this month featuring remixes from Hudson Mohawke and Death Grips, has suffered in recent years with problems affecting her vocal chords and was forced to cancel a number of live dates in Argentina, Spain, Portugal and Brazil to promote her Biophilia album earlier this year. Posting an update on her official website, Bjork explained how she came to decide to go down the medical route, and stating that the surgery has left her feeling as well as she did before she was struck down with the issue:

“Few years ago doctors found a vocal polyp on me chords. I decided to go the natural way and for 4 years did stretches and tackled it with different foods and what not. Then they discovered better technology and i got tempted into hi tech lazer stuff and i have to say, in my case anyway: surgery rocks! I stayed quiet for 3 weeks and then started singing and definitely feel like my chords are as good as pre nodule! It’s been very satisfying to sing all them clear notes again . I’m sorry I had to cancel stuff earlier in the year, didn’t want to talk about this until i knew for sure if it would work . So looking forward to singing for you in 2013 all the warmth.” Earlier this year it was revealed that Bjork has eamed up with David Attenborough to work on a new documentary which will air on Channel 4.

Attenborough and Bjork: The Nature of Music looks at the evolution of music, our relationship with music and how technology could impact this relationship in the future.

It has been made by Pulse Films – who were also behind Katy Perry: Part of Me and Blur film No Distance Left to Run. The film’s executive producer, Lucas Ochoa, has said of the documentary: “Born from Bjork’s revolutionary music project [2011’s ‘Biophilia’] we are thrilled to be able to document this incredible journey with her; she is undeniably one of the most iconic figures in popular culture and truly pushes boundaries like no other artist does.”

Bjork’s multi-media ‘Biophilia’ project will feature strongly in the film, and Attenborough will show how music exists in the natural world, using footage of the lyre bird, reed warbler and blue whales.

Bill Wyman and Mick Taylor to join The Rolling Stones at London shows

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The Rolling Stones have confirmed former members Bill Wyman and Mick Taylor will join them onstage for their forthcoming London shows. The pair will play with the band for the first time in over 20 years for the concerts at the O2 Arena on Sunday (November 25) and next Thursday (29). Original bass ...

The Rolling Stones have confirmed former members Bill Wyman and Mick Taylor will join them onstage for their forthcoming London shows.

The pair will play with the band for the first time in over 20 years for the concerts at the O2 Arena on Sunday (November 25) and next Thursday (29). Original bass player Wyman played with the Stones from 1962 until 1992 while guitarist Taylor played with the Stones from 1969 to 1974.

Both were interviewed in the recent official 50th anniversary documentary Crossfire Hurricane, in which Taylor revealed that one of the reasons he left the band had been down to his heroin addiction.

Earlier today, the band posted a video for their new single “Doom And Gloom” featuring The Girl With The Dragon Tattoo and Prometheus star Noomi Rapace. Scroll down to view the video.

Jimmy Page: “Robert Plant too busy for Led Zeppelin reunion”

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Led Zeppelin guitarist Jimmy Page has revealed that only Robert Plant was unavailable for a full-scale band reunion in 2007. Zeppelin played a one off show at London's O2 Arena 5 years ago, a show which was filmed and released on DVD this week (Nov 19). However, Page has confirmed that it was only ...

Led Zeppelin guitarist Jimmy Page has revealed that only Robert Plant was unavailable for a full-scale band reunion in 2007.

Zeppelin played a one off show at London’s O2 Arena 5 years ago, a show which was filmed and released on DVD this week (Nov 19). However, Page has confirmed that it was only frontman Plant’s schedule which stopped the band from booking further live dates and playing around the world. Speaking to Rolling Stone, Page said: “Some of us thought we would be continuing, that there were going to be more concerts in the not-too-distant-future. Because there was a lot of work being put into the show.

“He was busy. He was doing his Alison Krauss project. I wasn’t fully aware it was going to be launched at the same time. So what do you do in a situation like that? I’d been working with the other two guys for the percentage of the rehearsals at the O2. We were connecting well. The weakness was that none of us sang.”

Plant released his Raising Sand album with Alison Krauss immediately after the London live show, leaving the band to attempt recording with a number of different frontmen with a view to replacing Plant. “We didn’t do any professional recording. We just had a little digital recorder. I thought it was good. I wasn’t going to walk away from it. But the weakness came up again. It was, ‘We gotta have a singer,’ explained Page.

“It sounded premature. I could see what way it was going. Various people thought we should go on tour. I thought we needed a good, credible album, not do something that sounded like we were trying to milk The O2. We had put so much toward The O2. And the three of us were catching up with stuff. It was very good, seriously promising. But there was this other thing going on. And that’s it.”

Jimmy Page previously revealed that he is working on remastered versions of Led Zeppelin’s back catalogue, due for release in 2013. The band’s live album Celebration Day is currently behind Rihanna’s Unapologetic in the race for number one in the Official UK Album Charts this week.

Slade: “We thought ‘Merry Xmas Everybody’ was a bit namby-pamby”

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Slade reveal the story behind their huge festive hit, “Merry Xmas Everybody”, in the new issue of Uncut, out on Friday (November 23). The Wolverhampton quartet explain that at first they were dubious about even releasing the song, which eventually went on to sell over one million copies on its ...

Slade reveal the story behind their huge festive hit, “Merry Xmas Everybody”, in the new issue of Uncut, out on Friday (November 23).

The Wolverhampton quartet explain that at first they were dubious about even releasing the song, which eventually went on to sell over one million copies on its first release.

Drummer Don Powell says: “Chas [Chandler, manager] said I don’t care what you think, this is coming out this Christmas and it will be No 1. We thought it was a bit namby-pamby, we just weren’t sure at all.”

Slade also reveal how the band struggled with Powell’s memory loss during the recording, and why the song was originally called “Buy Me A Rocking Chair”…

The new issue of Uncut, dated January 2013, is out on Friday, November 23.

Lost Jimi Hendrix album will be released in 2013

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A new Jimi Hendrix album of previously unreleased material is set to be released in 2013. The LP entitled People, Hell And Angels was recorded in 1968 and 1969. The songs were meant for First Days Of The New Rising Sun, the follow up to Electric Ladyland that Hendrix was working on when he passed away. It is set for release in the US on March 5, 2013 according to Rolling Stone. A UK release date is yet to be set for the new record. Tracks on the record apparently feature Hendrix experimenting with horns, keyboards, percussion and a second guitar. Meanwhile, Hendrix's set from the 1969 Woodstock festival is set to receive a cinematic release later this month. The show will be screened on November 29 and December 4 at more than 30 cinemas across the UK, and in movie theatres globally. The gig is being released to celebrate the 70th year of Hendrix's birth and will play alongside the film Live at Woodstock, which features interviews with band members Billy Cox and Mitch Mitchell, as well as engineer Eddie Kramer and Woodstock promoter Michael Lang. Live at Woodstock is directed by Bob Smeaton, whose previous credits include the film Festival Express.

A new Jimi Hendrix album of previously unreleased material is set to be released in 2013.

The LP entitled People, Hell And Angels was recorded in 1968 and 1969. The songs were meant for First Days Of The New Rising Sun, the follow up to Electric Ladyland that Hendrix was working on when he passed away. It is set for release in the US on March 5, 2013 according to Rolling Stone. A UK release date is yet to be set for the new record.

Tracks on the record apparently feature Hendrix experimenting with horns, keyboards, percussion and a second guitar.

Meanwhile, Hendrix’s set from the 1969 Woodstock festival is set to receive a cinematic release later this month. The show will be screened on November 29 and December 4 at more than 30 cinemas across the UK, and in movie theatres globally.

The gig is being released to celebrate the 70th year of Hendrix’s birth and will play alongside the film Live at Woodstock, which features interviews with band members Billy Cox and Mitch Mitchell, as well as engineer Eddie Kramer and Woodstock promoter Michael Lang. Live at Woodstock is directed by Bob Smeaton, whose previous credits include the film Festival Express.

The 47th Uncut Playlist Of 2012

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The new issue of Uncut should be with subscribers imminently, and in UK shops on Friday. Of some interest, I suspect, will be our Top 75 new albums of 2012 rundown; feel free to talk to me here about that when you’ve had a look (or before, if you like). One of my favourite things in the issue, though, is John Lewis’ review of the new Beck release, “Song Reader” – a bunch of new songs in sheet music form. John, possessing a musical talent conspicuously missing from most of his colleagues, has posted his piano versions of the Beck songs on Youtube, and I’ve linked to one of them, the excellent “Saint Dude”, below. Also please check out the excellent new UMO track, linked below, and the radical new version of “Helpless” from Calgary. Not everything else here has gone down so well, but special mention to that long-awaited new one from Matmos. Good to have them back: the Buzzcocks cover is remarkable, for a start… Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Unknown Mortal Orchestra – II (Jagjaguwar) http://www.youtube.com/watch?v=NSNHofCE4rg 2 Caitlin Rose – The Stand-In (Names) 3 Neil Young With Crazy Horse – Psychedelic Pill (Reprise) 4 Willy Moon – Album Sampler (Island) 5 Shuggie Otis – Inspiration Information (Legacy) 6 Christopher Owens – Lysandre (Turnstile) 7 Josef K – Sorry For Laughing (LTM) 8 Marcos Valle – Marcos Valle (Light In The Attic) 9 Pere Ubu – Lady From Shanghai (Fire) 10 Matmos – The Marriage of True Minds (Thrill Jockey) 11 Neil Young With Crazy Horse – Helpless (Youtube) http://www.youtube.com/watch?v=k86rLKw74rs 12 Foals – Holy Fire (Transgressive) 13 Bee Mask – When We Were Eating Unripe Pears (Spectrum Spools) 14 Sharon Van Etten – Tramp (Demos) (Jagjaguwar) 15 John Lewis Plays Beck’s “Song Reader” – Saint Dude (Youtube) http://www.youtube.com/watch?v=TPTjo3GFcFs

The new issue of Uncut should be with subscribers imminently, and in UK shops on Friday. Of some interest, I suspect, will be our Top 75 new albums of 2012 rundown; feel free to talk to me here about that when you’ve had a look (or before, if you like).

One of my favourite things in the issue, though, is John Lewis’ review of the new Beck release, “Song Reader” – a bunch of new songs in sheet music form. John, possessing a musical talent conspicuously missing from most of his colleagues, has posted his piano versions of the Beck songs on Youtube, and I’ve linked to one of them, the excellent “Saint Dude”, below.

Also please check out the excellent new UMO track, linked below, and the radical new version of “Helpless” from Calgary. Not everything else here has gone down so well, but special mention to that long-awaited new one from Matmos. Good to have them back: the Buzzcocks cover is remarkable, for a start…

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

1 Unknown Mortal Orchestra – II (Jagjaguwar)

2 Caitlin Rose – The Stand-In (Names)

3 Neil Young With Crazy Horse – Psychedelic Pill (Reprise)

4 Willy Moon – Album Sampler (Island)

5 Shuggie Otis – Inspiration Information (Legacy)

6 Christopher Owens – Lysandre (Turnstile)

7 Josef K – Sorry For Laughing (LTM)

8 Marcos Valle – Marcos Valle (Light In The Attic)

9 Pere Ubu – Lady From Shanghai (Fire)

10 Matmos – The Marriage of True Minds (Thrill Jockey)

11 Neil Young With Crazy Horse – Helpless (Youtube)

http://www.youtube.com/watch?v=k86rLKw74rs

12 Foals – Holy Fire (Transgressive)

13 Bee Mask – When We Were Eating Unripe Pears (Spectrum Spools)

14 Sharon Van Etten – Tramp (Demos) (Jagjaguwar)

15 John Lewis Plays Beck’s “Song Reader” – Saint Dude (Youtube)

Watch new Rolling Stones video for “Doom And Gloom”

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The Rolling Stones have posted the video for their recent single "Doom And Gloom" online - scroll down to watch it. The band have teamed up with The Girl With The Dragon Tattoo and Prometheus star Noomi Rapace for the clip, which sees her writhing around topless on a bed of $100 bills and shooting ...

The Rolling Stones have posted the video for their recent single “Doom And Gloom” online – scroll down to watch it.

The band have teamed up with The Girl With The Dragon Tattoo and Prometheus star Noomi Rapace for the clip, which sees her writhing around topless on a bed of $100 bills and shooting Zombies, before her head explodes.

The video was directed by Jonas Akerlund, who previously worked on The Prodigy’s “Smack My Bitch Up” and Madonna’s “Ray Of Light” videos. It was filmed recently in Paris while the band were rehearsing for their 50th anniversary shows. The track features on the Stones’ latest greatest hits album GRRR!.

Meanwhile, the band have unveiled their first ever iPhone app. In partnership with Big Brother creators, TV producer Endemol, and live entertainment promoter Dainty Group, the app is exclusive to Apple’s iPhone, iPad and iPod Touch and features band interviews, videos and photos.

The Rolling Stones are set to play two shows at London’s O2 Arena later this month (November 25, 29). They will also perform at the Barclays Center in Brooklyn, New York on December 8 and at the Prudential Center in Newark, New Jersey on December 13 and 15.

The National record song for HBO show Boardwalk Empire – listen

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The National have recorded a song for HBO drama Boardwalk Empire. The band covered Isham Jones and The Ray Miller Orchestra’s 1924 song "I’ll See You in My Dreams" for use in episode 10 of season 3, 'A Man, A Plan', which aired in the US on November 18. The band are accompanied by Vince Giordan...

The National have recorded a song for HBO drama Boardwalk Empire.

The band covered Isham Jones and The Ray Miller Orchestra’s 1924 song “I’ll See You in My Dreams” for use in episode 10 of season 3, ‘A Man, A Plan’, which aired in the US on November 18. The band are accompanied by Vince Giordano and the Nighthawks on the track, which you can hear below by scrolling down the page.

This is not the first time The National have made music inspired by TV having recently covered a song from animated comedy Bob’s Burgers and also contributing music to the most recent season of Game Of Thrones. Boardwalk Empire stars Steve Buscemi and Kelly MacDonald and tells the story of 1920’s New York and the murky world of organised crime. The show currently airs in the UK on Sky Atlantic.

Stream the full track at Fuck Yeah! The National here.

The National return to the UK this December to headline All Tomorrow’s Parties. The three-day festival will return to its original venue, Pontins in Camber Sands, after Butlins in Minehead ended its contract with the festival. The band will host the event on December 7-9.

The line-up also includes Kronos Quartet, The Antlers, Owen Pallett, Boris, Tim Hecker, Sharon Van Etten, My Brightest Diamond, Wye Oak, Lower Dens, Megafaun, Suuns, Local Natives, Kurt Vile & The Violators, Michael Rother presents the music of Neu! & Harmonia, Deerhoof, Menomena, Nico Muhly, Stars Of The Lid, Youth Lagoon, Perfume Genius, Bear In Heaven, Richard Reed Parry (Arcade Fire), Mark Mulcahy (Miracle Legion), Kathleen Edwards, Hauschka, This Is The Kit, So Percussion and Hayden.

The Flaming Lips’ Wayne Coyne in bomb scare incident

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Flaming Lips frontman Wayne Coyne has revealed that he found himself at the centre of a bomb scare earlier this month. The singer was stopped at Will Rogers airport in Oklahoma City on November 10, after a dead grenade in his hand luggage set off alarms at a TSA checkpoint, reports TMZ. Wayne was ...

Flaming Lips frontman Wayne Coyne has revealed that he found himself at the centre of a bomb scare earlier this month.

The singer was stopped at Will Rogers airport in Oklahoma City on November 10, after a dead grenade in his hand luggage set off alarms at a TSA checkpoint, reports TMZ.

Wayne was on his way to Los Angeles to catch a preview of the new Flaming Lips musical Yoshimi Battles The Pink Robots, and told police that the grenade was given to him at a party as a joke.

Coyne was released once the TSA found that the grenade was harmless. Several flights were delayed as a result.

The singer later tweeted after the incident:

Sorry Sorry Sorry!! Everyone that was inconvenienced because of my grenade at OKC airport!!

Coyne recently revealed that their new the album was inspired by band member Steven Drozd when he was in the middle of a serious drug addiction, from which he has now recovered. Coyne added: “It was probably the worst time of his life. I knew he was really, really struggling. He was in a bad way.”

Yeah Yeah Yeahs to release new album in spring 2013

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Yeah Yeah Yeahs are set to release a new album in the spring of next year, according to reports. Speaking on Los Angeles radio station KCRW, Jason Bentley – who hosts the Morning Becomes Eclectic show – said that the band would be releasing the follow-up to 2009's It's Blitz! in the "springtime...

Yeah Yeah Yeahs are set to release a new album in the spring of next year, according to reports.

Speaking on Los Angeles radio station KCRW, Jason Bentley – who hosts the Morning Becomes Eclectic show – said that the band would be releasing the follow-up to 2009’s It’s Blitz! in the “springtime” of 2013.

Yeah Yeah Yeahs have released three albums, 2003’s Fever To Tell, 2006’s Show Your Bone and It’s Blitz!.

James Murphy, formerly of LCD Soundsystem, recently denied that he was producing the new Yeah Yeah Yeahs album. In an interview with the Huffington Post, he said: “I just did a little fun stuff. Nothing really big; I don’t have time and they don’t have time.”

He added: “I think they’re done with their record now, I was just fussing around. I didn’t make their album. They’re just friends.”

At the end of last year the band’s frontwoman Karen O revealed that she and her bandmates had started working on new music.

Speaking to The Sun, O said she had “been tinkering around on some new Yeah Yeah Yeahs music with the boys.”

The Black Keys: “Most people realised we weren’t blues copyists…”

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The Black Keys shed light on the making of their greatest albums in the new issue of Uncut, out on Friday (November 23). The duo, who are set to play two dates at London’s O2 Arena in December, explain how they moved from recording on four-track in drummer Patrick Carney’s basement for their fi...

The Black Keys shed light on the making of their greatest albums in the new issue of Uncut, out on Friday (November 23).

The duo, who are set to play two dates at London’s O2 Arena in December, explain how they moved from recording on four-track in drummer Patrick Carney’s basement for their first few albums to holing up in more luxurious studios with producer Danger Mouse on last year’s El Camino.

Referring to the band’s ethos on their debut, The Big Come Up, guitarist and singer Dan Auerbach says: “Most people realised that we weren’t copyists. We were heavily influenced by certain sounds and wore our influences on our sleeve. This wasn’t an artistic statement, this was literally who we were.”

Auerbach’s work on Dr John’s acclaimed Locked Down album, the Keys’ recording sessions at Muscle Shoals, and their stalled collaboration with Ike Turner are also touched on, along with their own albums including Brothers, Attack & Release and Thickfreakness.

The new issue of Uncut, dated January 2013, is out on Friday, November 23.

January 2013

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This is the last Uncut of 2012, rather unbelievably. It barely seems 12 months since I sat down to write the column that introduced our final issue of 2011. How much faster can time go by? Lots, probably, so it's perhaps best not to ask, even as things go by in an increasing blur, weeks acceleratin...

This is the last Uncut of 2012, rather unbelievably. It barely seems 12 months since I sat down to write the column that introduced our final issue of 2011. How much faster can time go by?

Lots, probably, so it’s perhaps best not to ask, even as things go by in an increasing blur, weeks accelerating into months and the brakes not working. Anyway, we’ve had a lot to pack into this month’s magazine, starting with the results of the 2012 Uncut Music Award. As usual, we compiled a longlist of 25 albums that we then circulated to our judges, along with the nominated albums, and asked them to individually nominate their five favourites. Back came their votes, after due consideration. I have no gift that I am aware of for clairvoyance, but even if I’d have been blessed with foresight and able to predict the future and what might take shape in it, I think I would nevertheless have been hard put to anticipate the outcome of the judges’ deliberations, their capacity to surprise one of the most exciting aspects of the Uncut Music Award, foregone conclusions being quite alien to the entire process. The winner and runners-up of this year’s UMA are announced on page 6. For their time and dedication, a big thank you from Uncut to our panel of judges, who included Phil Manzanera, Mark Cooper, Linda Thompson, Bob Harris, Nick Stewart and Tony Wadsworth.

As part of our farewell to 2011, we also present our annual review of the past 12 months, which as ever includes our Albums Of The Year – a Top 75 this year – as well as the best reissues, films, DVDs and books, as voted for by over 40 Uncut contributors. My own Top 20 albums, in case you were wondering, were: Bob Dylan’s Tempest, John Murry’s The Graceless Age, Japandroids’ Celebration Rock, Neil Young’s Psychedelic Pill, Pond’s Beard, Wives, Denim, Beachwood Sparks’ The Tarnished Gold, Jack White’s Blunderbuss, Allah-Las’ Allah-Las, Anaïs Mitchell’s Young Man In America, Alabama Shakes’ Boys And Girls, Neil Young’s Americana, Slow Down, Molasses’ Walk Into The Sea, Sharon Van Etten’s Tramp, Elephant Mica’s Louder Than Thou, Tame Impala’s Lonerism, Calexico’s Algiers, Dr John’s Locked Down, Dexys’ One Day I’m Going To Soar, Simone Felice’s Simone Felice and Dan Deacon’s America. Honourable mentions should go out, also, to albums by Springsteen, Ty Segall, Grizzly Bear, Father John Misty, Bill Fay, Chris Robinson Brotherhood, The Deep Dark Woods, Cold Specks and Mark Eitzel.

As ever, let me know at the usual address what you make of our Top 75 and what your own favourite albums of the year were. And finally, thanks to all our readers for your support and encouragement in 2012. We hope when it arrives you have a great seasonal holiday, and enjoy it and whoever you spend it with. I’d recommend not overdoing the celebrations to the point where you might need medical assistance, but coming from me that might sound a bit fucking rich, moderation not something I have perhaps regrettably been overly familiar with.

Anyway, see you on the other side. The February 2013 issue of Uncut will be on sale from January 3.

JANUARY ISSUE ON SALE FROM FRIDAY 23 NOVEMBER

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Bruce Springsteen, Black Keys, Bryan Ferry, Paul Weller, Ty Segall plus The Top 75 Albums Of The Year in the new Uncut

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The new issue of Uncut will be on sale from Friday. Subscribers, of course, those sensibly organised people who plan ahead and have their lives in probably perfect order, may already have started receiving their copies. Lucky them! We’re actually still waiting for ours, but not yet fretting that they’ve been re-routed, sent via some staging post on a distant tundra where passing yaks may end up feasting upon them, the chomp-chomp-chomp of their distracted munching the only sound in that vast space, the hairy ruminants quite indifferent, of course, to what’s actually in the issue. Which is a lot, and includes in the grand annual tradition of these things, our review of the year, a 30-page special, featuring our Top 75 Albums Of 2012, plus the best reissues and box sets, films, DVDs and books, as voted for by over 40 Uncut contributors. We also have Bruce Springsteen in the issue. He’s our Man Of The Year and Andy Gill flew out to Pittsburgh to catch up with the Wrecking Ball tour as it entered its final triumphant stretch. After a barnstorming concert at the Consol Energy Centre, Andy was left wondering: “Have I seen a better show than this? Not just this year, but ever?” It may come as no surprise to anyone who’s been keeping a close eye on such things that garage rock wunderkind, Ty Segall, serially lauded in Uncut throughout 2012, is our New Artist Of The Year. Fans of ‘fuzz-addled havoc’, rejoice! We also announce in the new issue the winner of this year’s Uncut Music Award. The 2012 long-list of nominated albums featured some heavyweight names – Springsteen, Tom Waits, Neil Young, Leonard Cohen, Paul Weller, Kate Bush and Dr John among them. The safe money, I imagine, would have been on one of these as the winner. Our judges, however, may have had other ideas… Elsewhere, we have An Audience With Bryan Ferry, The Black Keys talk us through their back catalogue in an Album By Album special, Paul Weller stars in My Life In Music, and we revisit the enigmatic world of The Blue Nile, look forward to much looming red-nosed celebration with Slade, who tell us about the making of “Merry Xmas Everybody”, and get excited about the return of The Replacements. There are reviews aplenty, too – with new albums from Beck and Bryan Ferry, Joni Mitchell’s first 10 albums repackaged, a three-CD Gil Scott-Heron compilation of his trailblazing early work, a deluxe edition of The Damned’s explosive debut album, plus The House Of Love, Aztec Camera and Sufjan Stevens. As ever, let me know what you think of the issue – and also, we’d love to hear what your own favourite albums of the year have been. Drop me a line at the usual address. Finally, the next in our Ultimate Music Guide series is on sale from November 28 and it’s dedicated to The Kinks and features new reviews of all their albums, classic interviews from the archives of NME and Melody Maker, plus a revealing new introduction by Ray Davies. Have a good week.

The new issue of Uncut will be on sale from Friday. Subscribers, of course, those sensibly organised people who plan ahead and have their lives in probably perfect order, may already have started receiving their copies. Lucky them! We’re actually still waiting for ours, but not yet fretting that they’ve been re-routed, sent via some staging post on a distant tundra where passing yaks may end up feasting upon them, the chomp-chomp-chomp of their distracted munching the only sound in that vast space, the hairy ruminants quite indifferent, of course, to what’s actually in the issue. Which is a lot, and includes in the grand annual tradition of these things, our review of the year, a 30-page special, featuring our Top 75 Albums Of 2012, plus the best reissues and box sets, films, DVDs and books, as voted for by over 40 Uncut contributors.

We also have Bruce Springsteen in the issue. He’s our Man Of The Year and Andy Gill flew out to Pittsburgh to catch up with the Wrecking Ball tour as it entered its final triumphant stretch. After a barnstorming concert at the Consol Energy Centre, Andy was left wondering: “Have I seen a better show than this? Not just this year, but ever?” It may come as no surprise to anyone who’s been keeping a close eye on such things that garage rock wunderkind, Ty Segall, serially lauded in Uncut throughout 2012, is our New Artist Of The Year. Fans of ‘fuzz-addled havoc’, rejoice! We also announce in the new issue the winner of this year’s Uncut Music Award.

The 2012 long-list of nominated albums featured some heavyweight names – Springsteen, Tom Waits, Neil Young, Leonard Cohen, Paul Weller, Kate Bush and Dr John among them. The safe money, I imagine, would have been on one of these as the winner. Our judges, however, may have had other ideas…

Elsewhere, we have An Audience With Bryan Ferry, The Black Keys talk us through their back catalogue in an Album By Album special, Paul Weller stars in My Life In Music, and we revisit the enigmatic world of The Blue Nile, look forward to much looming red-nosed celebration with Slade, who tell us about the making of “Merry Xmas Everybody”, and get excited about the return of The Replacements. There are reviews aplenty, too – with new albums from Beck and Bryan Ferry, Joni Mitchell’s first 10 albums repackaged, a three-CD Gil Scott-Heron compilation of his trailblazing early work, a deluxe edition of The Damned’s explosive debut album, plus The House Of Love, Aztec Camera and Sufjan Stevens.

As ever, let me know what you think of the issue – and also, we’d love to hear what your own favourite albums of the year have been. Drop me a line at the usual address.

Finally, the next in our Ultimate Music Guide series is on sale from November 28 and it’s dedicated to The Kinks and features new reviews of all their albums, classic interviews from the archives of NME and Melody Maker, plus a revealing new introduction by Ray Davies.

Have a good week.