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Introducing the Deluxe Ultimate Music Guide to Roxy Music

John Robinson
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Introducing the Deluxe Ultimate Music Guide to Roxy Music

BUY THE ROXY MUSIC DELUXE ULTIMATE MUSIC GUIDE HERE 50 years of Roxy Music! As important a landmark as that is, and as much as we’ve wanted to honour it in this latest deluxe Ultimate Music Guide, it’s one that Bryan Ferry – the arch-conceptualist, chief composer and lead vocalist of Rox...

BUY THE ROXY MUSIC DELUXE ULTIMATE MUSIC GUIDE HERE

50 years of Roxy Music!

As important a landmark as that is, and as much as we’ve wanted to honour it in this latest deluxe Ultimate Music Guide, it’s one that Bryan Ferry – the arch-conceptualist, chief composer and lead vocalist of Roxy Music – is ultimately pretty modest about.

“We felt that 50 years was worth celebrating,” he tells us in the course of an exclusive new Roxy Music interview. The band spoke to us from the United States where they’re on an arena tour which arrives in the UK this week. “Seeing us together on stage is something our fans have wanted for a long time…”

Looking back over the band’s amazing career, it’s no wonder why that might be. For the BBC’s Valerie Singleton in 1979, they were the group who “brought stylishly-dressed men and scantily-clad ladies back into fashion”. Which was definitely one part of it. If you wanted to go a bit further, you could say that with Roxy, Bryan Ferry devised a project in which he would not only be writer and director of a widescreen production, he would also be its surprisingly self-effacing matinee idol, too.

Fronting the hugely successful “glam” incarnation of the band, Ferry approached making music as dizzying montage, in which relatable tales of love and dancing were transformed into the argot of some unimaginably chic demi-monde.

It was witty, sexy (at times controversially so), and it brought eyeshadow and challenging avant-garde music into the mainstream. You thought David Bowie did that? As Bryan Ferry was at pains to point out, Bowie was very good, but Roxy were using viola and synthesizer. Bowie, meanwhile, still used guitars.

Nor was this vision diminished on the other side of Roxy’s three-year hiatus. When the band peaked again, with Avalon, it was with a chilly Arthurian fantasia imagined from business class. Even while he braced vituperation from those who didn’t get it, Ferry retained composure as he has since, going on to make more utterly unpredictable music.

In this 148-page deluxe edition, you’ll find in-depth reviews of all the music made by the band (and solo work by its members), and also the pick of classic interviews from the archives of NME, Melody Maker and Uncut. Eno solo? The greatest Roxy singles? They’re in there too…

“We’ve got a lot of confidence in what we’re doing,” he told Richard Williams when his band had only a demo tape to their name in 1971, “and we’re determined to make it in as civilised a way as possible.

“We’re not interested in scuffling,” he continued. “If someone will invest some time and money in us, we’ll be very good indeed.”

You’ve got to love a happy ending. Enjoy the magazine.

Buy a copy of the magazine here. Missed one in the series? Bundles are available at the same location…

Roxy Music – Deluxe Ultimate Music Guide

Uncut
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Roxy Music – Deluxe Ultimate Music Guide

As the band reform for a 50th-anniversary celebration, the deluxe – well, what else? – Ultimate Music Guide to Roxy Music. The full story, from “inspired amateurism” to smooth sophistication – and the occasional stylish reformation. Also, an exclusive new interview with the band on the ro...

As the band reform for a 50th-anniversary celebration, the deluxe – well, what else? – Ultimate Music Guide to Roxy Music. The full story, from “inspired amateurism” to smooth sophistication – and the occasional stylish reformation. Also, an exclusive new interview with the band on the road and Bryan Ferry’s own guide to their classic studio albums. “Well I’m here looking through an old picture frame / Just waiting for the perfect view…”

Buy a copy of the magazine here. Missed one in the series? Bundles are available at the same location…

Herbie Hancock: “I like to be ahead of the curve, I’m trying to make a curve!”

Graeme Thomson
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Herbie Hancock: “I like to be ahead of the curve, I’m trying to make a curve!”

In a rare audience with the rockit man, HERBIE HANCOCK tells Graeme Thomson about his remarkable career, alongside giants including Miles Davis and Joni Mitchell, and as a formidable solo artist in his own right, in the latest issue of Uncut magazine – in UK shops from Thursday, Sept 15 and avai...

In a rare audience with the rockit man, HERBIE HANCOCK tells Graeme Thomson about his remarkable career, alongside giants including Miles Davis and Joni Mitchell, and as a formidable solo artist in his own right, in the latest issue of Uncut magazine – in UK shops from Thursday, Sept 15 and available to buy from our online store. But what keeps this tireless innovator going into his ninth decade? “I like to be ahead of the curve,” he says. “I’m trying to make a curve!”

Herbie Hancock is staring intently at the plug socket on the wall. “Ever since I was a kid, I would look at something like this and I would start playing with it because I wanted to know what it did,” he says. “Then I’d start thinking, ‘I wonder what would happen if I put this with that? Would that work? Of course, I’d get electrocuted…” He laughs. “It’s because I’m curious. That’s part of my basic nature. I’ve been so ever since I can remember.”

Which is as useful an explanation as any for Hancock’s mercurial musical career. Today, the legendary pianist is in a hotel room in Edinburgh. Not long arrived on a flight from Denmark, he has a much-needed rest day before performing again with his superlative three-piece band at the city’s prestigious International Festival the following night. Looking many years younger than his allotted 82, Hancock is a courtly presence: alert, quick to laugh and happy to roam across one of the most storied and eclectic careers in music, which has taken him from bebop and blues to Afrofuturism, funk, fusion, electronic experimentation, ambient, pop and hip-hop.

Chicago born, classically trained, Hancock was discovered in 1960, aged 20, by trumpeter Donald Byrd. He made his recording debut for Blue Note at 22 with Takin’ Off!, a hard bop gem which opened with “Watermelon Man”, the first of many standards Hancock has composed. He became a member of Miles Davis’ legendary Second Great Quintet the following year and between 1963 and 1971 played on a series of Davis’ groundbreaking records, from Seven Steps to Heaven to On The Corner. During the same period, he continued to record pioneering albums for Blue Note, among them Empyrean Isles, Maiden Voyage and Speak Like A Child.

In the early ’70s, having left Miles’ band, Hancock became fascinated by electronic music. The adventurous, avant-garde Afrocentrism of his Mwandishi sextet led to the more directly funky approach of his Headhunters band. Their 1973 debut, Head Hunters, heavily influenced by Sly Stone and James Brown, became a commercial crossover hit and remains a pinnacle of jazz-funk fusion. Several more vital records in a similar style followed. His current live show draws heavily from this period, but Hancock has never been content to rest on old glories. “I do play some of my old songs, but they have evolved,” he says. “I don’t like to keep playing the same thing year after year.” He became a pop star in the ’80s with his funk-rap crossover “Rockit” and remains a tireless innovator into his ninth decade.

His next album, the first since The Imagine Project in 2010, is slated to feature guests such as Kamasi Washington, Snoop Dogg and Robert Glasper. He assures Uncut that the record is taking shape, albeit slowly. You get the sense that Hancock’s curious nature can be both a blessing and a curse. “I’m still working on my knowledge about newer technologies for music,” he says. “I watch a lot of YouTube videos. The music scene is constantly evolving and changing and new things are coming up, and I like to be ahead of the curve. Not that I’m trying to copy a curve,” he says, his hand slicing through the air. “I’m trying to make a curve!”

PICK UP THE NEW ISSUE OF UNCUT TO READ THE FULL STORY

Low cancel all 2022 tour dates as Mimi Parker continues cancer treatment

Ali Shutler
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Low cancel all 2022 tour dates as Mimi Parker continues cancer treatment

Low have cancelled the remainder of their 2022 tour dates as the band’s Mimi Parker continues treatment for ovarian cancer. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut READ MORE: An audience with Low: “When things are right at the edge of breaking apart, it can be...

Low have cancelled the remainder of their 2022 tour dates as the band’s Mimi Parker continues treatment for ovarian cancer.

Parker, who formed the band with her husband Alan Sparhawk in 1993, was diagnosed with ovarian cancer in late 2020. She first spoke about her health condition during an appearance on the SHEROES Radio podcast this January.

In August, the band cancelled a string of shows due to “recent developments and changes” in Parker’s treatment. “Our hope is that she will respond to new treatments and be able to play the shows we have scheduled for the fall,” Low said at the time but last week, confirmed that all their 2022 tour dates would now be cancelled.

“We were hoping she would be healthy enough to do the UK/Europe tour we had planned for November, but it is clear that we should stay home and continue with treatment and care as she is still struggling with ovarian cancer,” the band’s Alan Sparhawk wrote.

He continued: “There have been difficult days but your love has sustained us and will continue to lift us through this time. Our hearts go out immediately to others in similar situations but who don’t have as many people sending such love and healing wishes. Find someone who is alone who needs a chat and give them your time and love. With tears, we say thank you and hope to see you soon.”

 

Low released their 13th studio album, Hey What last September. The band have a North American headline tour scheduled for March 2023.

Jeff Bridges and Helen Mirren will lend their voices to Bob Dylan’s new audiobook

Emma Wilkes
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Jeff Bridges and Helen Mirren will lend their voices to Bob Dylan’s new audiobook

Jeff Bridges and Helen Mirren have been listed as just two of the names who will be reading chapters on the audiobook edition of Bob Dylan's forthcoming essay collection. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut READ MORE: A look back at Bob Dylan’s landmark debu...

Jeff Bridges and Helen Mirren have been listed as just two of the names who will be reading chapters on the audiobook edition of Bob Dylan’s forthcoming essay collection.

The book, The Philosophy of Modern Song, contains over 60 essays written by Dylan about songs by artists such as Stephen Foster, Elvis Costello, Hank Williams and Nina Simone. It is set for release on November 1.

Sissy Spacek, Oscar Isaac and Steve Buscemi will also be reading essays written by Dylan. The full list of guests was published by Variety, alongside which essays they will each lend their voice to.

Dylan himself will also be reading parts of the audiobook, but he will not be taking on any full chapters. Instead, he will read short introductions or interstitial pieces that appear between the essays, which the book’s publisher Simon and Schuster described as “a series of dream-like riffs that, taken together, resemble an epic poem and add to the work’s transcendence.”

The Philosophy of the Modern Song has been over a decade in the making, with Dylan first commencing work on it back in 2010. It is his second book, following his 2004 memoir Chronicles Volume One.

“The publication of Bob Dylan’s kaleidoscopically brilliant work will be an international celebration of songs by one of the greatest artists of our time,” said Jonathan Karp, president and CEO of Simon & Schuster, upon the book’s initial announcement back in March.

“The Philosophy of Modern Song could only have been written by Bob Dylan. His voice is unique, and his work conveys his deep appreciation and understanding of songs, the people who bring those songs to life, and what songs mean to all of us.”

Dylan’s most recent album, Rough and Rowdy Ways, was released in 2020.

The icon will also be returning to the UK this month for a run of UK tour dates.

The Who surprise fans with rare song during Long Island gig

Elizabeth Aubrey
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The Who surprise fans with rare song during Long Island gig

The Who have surprised fans in Long Island with a song that's only been played a handful of times by the band in the last 40 years. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut During the gig, which took place on October 7, Roger Daltrey and co played "Young Man's Blues"...

The Who have surprised fans in Long Island with a song that’s only been played a handful of times by the band in the last 40 years.

During the gig, which took place on October 7, Roger Daltrey and co played “Young Man’s Blues” as an extra encore.

The band haven’t played the song since a one-off in 2014, and it’s only been played six times in the last 40 years of the band’s touring history (via Rolling Stone).

The song, which was written by jazz pianist Mose Allison in 1957, added a R&B version of the song into their live set in 1964. It later appeared on the band’s Live At Leeds.
Check out footage of the moment here:

Earlier this year, The Who‘s North American tour took them to Cincinnati, Ohio for their first performance in the city for nearly 45 years after an infamous tragedy.

The midwest US city was the centre of a tragedy during the band’s tour in December of 1979. A crowd crush that occurred while fans were entering the Riverfront Coliseum left 11 dead and dozens more injured.

A documentary on the tragedy The Night That Changed Rock aired in 2019 and featured interviews with Daltrey and Townshend.

The band waived their fee for the performance, donating all ticket proceeds to local charities. The families of nine of the 11 victims were also in attendance, as they were given VIP front row tickets to the show.

Over the summer, it was revealed that Roger Daltrey had two generations of Townshends in his solo band for his rescheduled UK tour dates.

The Who frontman booked both Simon Townshend, the brother of The Who guitarist/singer Pete Townshend, and Simon’s son, Ben, to support him on his tour.

Guitarist and singer Simon has played shows with The Who in the past, while Ben has played on several of Simon’s records as well as albums by The Cornerstones.

Daltrey embarked on a 12-date UK tour where he played The Who classics and solo songs. He also hosted some fan Q&As.

Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 9: Berlin, Night 3

Michael Bonner
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Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 9: Berlin, Night 3

Bob Dylan's Rough And Rowdy Ways Tour continues to make its way through Europe. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut Last night [October 7], Dylan and his band performed the third of three shows at Berlin's Verti Music Hall, Germany. Previously, the tour has ...

Bob Dylan‘s Rough And Rowdy Ways Tour continues to make its way through Europe.

Last night [October 7], Dylan and his band performed the third of three shows at Berlin’s Verti Music Hall, Germany.

Previously, the tour has stopped at:

Oslo Spektrum, Norway on September 25

Avicii Arena, Stockholm, Sweden on September 27

Scandinavium, Gothenburg, Sweden on September 29

Royal Arena, Copenhagen, Denmark on September 30

Flens-Arena, Flensburg, Germany on October 2

GETEC Arena, Magdeburg, Germany on October 3

Verti Music Hall, Berlin, Germany on October 5

Verti Music Hall, Berlin, Germany on October 6

According to Boblinks, the setlist for Dylan and his band in Berlin was:

Watching The River Flow (Bob on piano)
Most Likely You Go Your Way (and I’ll Go Mine) (Bob on piano)
I Contain Multitudes (Bob on piano)
False Prophet (Bob on piano)
When I Paint My Masterpiece (Bob on piano with full backing band)
Black Rider (Bob on piano)
My Own Version of You (Bob on piano)
I’ll Be Your Baby Tonight (Bob on piano)
Crossing The Rubicon (Bob on piano)
To Be Alone With You (Bob on piano)
Key West (Philosopher Pirate) (Bob on piano)
Gotta Serve Somebody (Bob on piano)
I’ve Made Up My Mind To Give Myself To You (Bob on piano)
That Old Black Magic (Bob on piano)
Mother of Muses (Bob on piano)
Goodbye Jimmy Reed (Bob on piano)
Band introductions (Bob on piano)
Every Grain of Sand (Bob on piano)

According to depp99, a poster on Expecting Rain, “Had the feeling that Bob and the band were 100% feeling it tonight, though there was more interaction with the audience yesterday. My favorite performance from Berlin #3 was ‘Crossing The Rubicon’. Spectacular performance. Bob was totally on point. Loved his diction. Also love the snarling bass Tony plays during the song. But actually the whole show was on a very high level.
“No ‘Thank you, art lovers’ comment tonight, but that hilarious ‘We just had to do that one. It was a request!’ after ‘That Old Black Magic’. Unlike the last two shows, Bob also made some comments during the band introductions. I didn’t understand all of it, but Donnie Herron was introduced as playing both the steel guitar and the violin – ‘Two very similar instruments!’. Bob also mentioned Wilson Pickett and his song ‘In The Midnight Hour’ during Doug Lancio’s introduction. Does anyone know what that was about? I don’t think there were special comments for Tony and Charley.”

Said Clothes Line Sage, ‘I Contain Multitudes’ is not one of my favourites from RARW, but tonight’s performance really resonated with me and I was surprised to find myself getting a little bit teary-eyed during it. My Own Version of You, I’ve Made Up My Mind, Mother of Muses, and Every Grain of Sand were all stellar tonight. Maybe it was me, but there seemed to be quite a wistful tone to Bob’s delivery at times, particularly on lines like ‘how much longer can it last, how long can this go on?’ and ‘A lot of people gone – a lot of people goooone – people I knew’.”

Dylan’s next show is on Sunday, October 9 at the Yayla Arena, Krefeld, Germany. He reaches the UK on October 19, for a 12-date tour that includes four nights at the London Palladium. This will be Bob’s first UK tour for five years.

Buzzcocks – Sonics In The Soul

Dave Simpson
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Buzzcocks – Sonics In The Soul

Can there really be a Buzzcocks without Pete Shelley? The singer-songwriter, who died in 2018, fronted the band for 41 years, writing or co-writing hundreds of songs including such copper-bottomed classics as “What Do I Get?” and “Ever Fallen In Love (With Someone You Shouldn’tve)”. His de...

Can there really be a Buzzcocks without Pete Shelley? The singer-songwriter, who died in 2018, fronted the band for 41 years, writing or co-writing hundreds of songs including such copper-bottomed classics as “What Do I Get?” and “Ever Fallen In Love (With Someone You Shouldn’tve)”. His death leaves a massive hole. And yet, lest we forget, Shelley himself stepped into a similar space when original singer Howard Devoto left in 1977, leaving the lead guitarist to transition to singer-guitarist, main songwriter and frontman.

The rest is history, and while the lineup has survived numerous changes to the rhythm section over the years, guitarist (originally bassist) and vocalist Steve Diggle – who now steps up to solely front the band – has hardly been a slouch. Along with numerous co-writes with Shelley, he wrote and sang the likes of the hurtling “Harmony In My Head”, “Autonomy” and “Love Is Lies”, the acoustic ballad that threw such an effective, bittersweet curveball into the middle of 1978’s Love Bites. Having now been a Buzzcock for longer than anyone including Shelley and having taken on more vocal and songwriting duties as the years progressed, Diggle has earned his late colleague’s blessing to take over the ship.

Now 67, the Mancunian instinctively understands what Buzzcocks are about. Recorded during the pandemic, their first album since 2014’s underwhelming The Way is packed with trademark hurtling guitar runs, piercing lead guitar lines and machine gun drum rolls, and most songs reliably clock in at under three minutes. What’s missing, of course, is Shelley’s unique vocal – fey, arch, wry, knowing, romantic, wounded and, let’s be honest, irreplaceable. Diggle’s is a more straightforward rasp, gutsy and slightly nasal, suited to “Harmony In My Head” but not, say, “You Say You Don’t Love Me”. Still, here he’s written songs which sit comfortably within his range, and if there are moments when you find yourself wistfully imagining Shelley singing them, that’s testament to their quality. But equally, writing on his own in lockdown, Diggle has brought an unexpectedly emotional, often beautifully elegiac quality that makes Sonics In The Soul relevant and relatable.

These 11 songs capture a man at a time in his life struggling to make sense of a rapidly changing, sometimes frightening new world. The opening title track – a “What Do I Get?”-style zinger – initially appears to be a celebration of delirium, but is actually an admission of bewilderment: “All my dreams have hit the ground, with my senses out of control”. Another cracker, “Manchester Rain”, was inspired when Diggle met a young, hopeful band in a Mancunian doorway, and flashed back to his young self, with everything ahead of him. The lovely lead guitar line has a hint of 1978’s sublime “ESP”, but the guitarist has surely earned the right to recycle himself by now.

“You Changed Everything Now” is a classic Buzzcocks anthem about how people change or become estranged: “The world is looking out of place and the signs are written on your face and it’s me you want to replace”. With a bridge to die for, it’s a heartbreakingly glorious tune that could have slotted into the hallowed Singles Going Steady. Sonics In The Soul doesn’t always hit such heights, but there’s much to recommend. “Bad Dreams” is a jagged, “Nothing Left”-style anthem about recovery. “Nothingless World” has shades of the early Jam and IRS-era REM. “Just Gotta Let it Go”, a three-minute blast about frustration, could be Buzzcocks circa 1977, but “Everything Is Wrong” is another mellifluous gem, with contemporary themes of post-truth and fake news.

Lockdowns have audibly influenced the rather rudimentary “Don’t Mess With My Brain” and, more successfully, the effects-laden “Experimental Farm”, but the album increasingly gives way to philosophical and dystopian moods. There’s a hint of Joy Division darkness to “Can You Hear Tomorrow”, lyrically a sort of “Won’t Get Fooled Again” sigh at current politics (“Old centre parting, coming away at the seams”). Orwellian references abound in the deceptively cheerily chugging “Venus Eyes”, as Diggle searches for hope in the current “thought control reality”. Sonics In The Soul doesn’t always hit the spot and it’s a shame there’s no room for last year’s heartfelt tribute “Hope Heaven Loves You” (on the Senses Out Of Control EP). But there’s easily enough here to steer the trusty old craft into new, uncharted waters, just as Shelley wanted.

The Cure – Wish (Reissue, 1992)

Piers Martin
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The Cure – Wish (Reissue, 1992)

The trouble with a masterpiece like Disintegration is that at some point you have to follow it up. Released on Robert Smith’s 33rd birthday – April 21, 1992 – Wish turned out to be the perfect mix of light and shade. Any gloomier and The Cure would have been accused of milking the misery when ...

The trouble with a masterpiece like Disintegration is that at some point you have to follow it up. Released on Robert Smith’s 33rd birthday – April 21, 1992 – Wish turned out to be the perfect mix of light and shade. Any gloomier and The Cure would have been accused of milking the misery when there wasn’t much around – Disintegration had been wildly successful, establishing them as a stadium act around the world, despite Smith’s best intentions – and they’d already let their hair down with 1990’s irreverent (and prescient) remix collection Mixed Up. Indeed, it was while recording Mixed Up’s lead single “Never Enough”, slathered in Porl Thompson’s guitar, that Smith remembered how much fun playing together as a band could be, especially now Lol Tolhurst was out of the picture.

In this blithe spirit, and armed with 18 months’ worth of ideas, the band headed to studios in Cornwall and the Cotswolds where they demoed around 40 songs, before settling in at Richard Branson’s Manor Studio in Oxfordshire in September 1991 to record the material that would make up Wish and its excellent B-sides. Smith had intended to make two albums, a poppier one called Higher and a slower, atmospheric and purely instrumental one titled Music For Dreams. At the Manor, this coalesced into the dozen tracks that form Wish, an album that stylistically nods more to Kiss Me Kiss Me Kiss Me than  Disintegration in its diversity, yet perhaps inevitably lacks the exotic allure or sense of danger of the 1987 LP.

By 1992 The Cure had become part of the establishment, to Smith’s horror and amusement, winning Brits in ’91 for best British group and best video, and Wish was received accordingly, reaching No1 in the UK and 2 in the US to become their bestselling album. To make matters worse, the giddy rush of “Friday I’m In Love” became a colossal hit just as their biggest world tour began – but when the Wish campaign ended, things were never really the same again for The Cure. The momentum slowed, perhaps they’d peaked, and Smith, while not running out of ideas, struggled to connect on 1996’s Wild Mood Swings while Britpop ran riot.

Wish, their ninth album, is generally regarded as the final instalment of their imperial phase, an untouchable run that starts with 1980’s Seventeen Seconds and sees Smith reinventing The Cure in wonderful ways with each new release as their fanbase swells. What makes this 30th-anniversary edition so interesting is that it includes 24 unreleased demos, all instrumentals – as well as the four mixed songs previously released on Lost Wishes, a rare, fans-only 1993 cassette – which give some idea of the direction the band could have taken at the time, or finished off for a follow-up in ’93 or ’94, had the cards been stacked differently. Significantly, these are, we assume, the last recordings from that golden ’80s era by the classic Cure lineup of Smith, Thompson, bassist Simon Gallup, drummer Boris Williams and keyboardist Perry Bamonte, and even though these are demos, it’s still a thrill to hear them playing these songs together.

Referring to this reissue earlier in the year, Smith mentioned the number of Gallup demos which remained instrumentals “purely because I couldn’t think of any words for them. That’s really sad, as some of them were really great.” Given the prominence of Gallup’s bass, it seems the sugary swirl of “Now Is The Time” and “Miss Van Gogh” are his, while “Abetabw”, a kind of The Top-style mystic groove, is crying out for Smith’s howl. “Frogfish” is goofy, throwaway funk with sax and synth-flute, “Heart Attack” could be another “Never Enough”, invigorated by Thompson’s playing. The three “T” tracks – “T6”, “T7”, “T8” – hint at a more succinct version of Wish studded with Smith’s signature spiralling power-pop.

On the other hand, three songs from Lost Wishes – “Uyea Sound”, “Cloudberry” and “Off To Sleep…” – lean towards Disintegration’s enveloping sound palette in their meandering melancholy and sense of blissful yearning, while the fourth from that tape, “The Three Sisters”, barrels down “Fascination Street”, all white-knuckle guitars and prowling bass. Again, you wish Smith had found time to write words for them. There are also early versions of “Halo”, “A Foolish Arrangement”, “Scared As You” and “The Big Hand”, songs used as B-sides which could easily hold their own on Wish; has there been a better B-sides band than The Cure?

At some point, midway through the third disc, you hit the padding: the “Partscheckruf Mix” of “From The Edge Of The Deep Green Sea” doesn’t shed much new light on the Wish centrepiece, and an instrumental called “A Wendy Band” is a ponderous affair. Cure fans will already own the various mixes of “High”, “Open”, “A Letter To Elise” and “Friday I’m In Love”, but these are sympathetic versions and chime with Smith’s fascination at the time with the remix as a form of art. A visceral, nine-minute grind through “End”, live from Paris in 1992, closes proceedings and reminds you that when they go back to basics, there’s still nothing that sounds quite like The Cure.

Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 8: Berlin, Night 2

Michael Bonner
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Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 8: Berlin, Night 2

Bob Dylan's Rough And Rowdy Ways Tour continues to make its way through Europe. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut Last night [October 5], Dylan and his band performed the second of three shows at Berlin's Verti Music Hall, Germany. Previously, the tour has ...

Bob Dylan‘s Rough And Rowdy Ways Tour continues to make its way through Europe.

Last night [October 5], Dylan and his band performed the second of three shows at Berlin’s Verti Music Hall, Germany.

Previously, the tour has stopped at:

Oslo Spektrum, Norway on September 25

Avicii Arena, Stockholm, Sweden on September 27

Scandinavium, Gothenburg, Sweden on September 29

Royal Arena, Copenhagen, Denmark on September 30

Flens-Arena, Flensburg, Germany on October 2

GETEC Arena, Magdeburg, Germany on October 3

Verti Music Hall, Berlin, Germany on October 5

According to Boblinks, the setlist for Dylan and his band in Berlin was:

Watching The River Flow (Bob on piano)
Most Likely You Go Your Way (and I’ll Go Mine) (Bob on piano)
I Contain Multitudes (Bob on piano)
False Prophet (Bob on piano)
When I Paint My Masterpiece (Bob on piano with full backing band)
Black Rider (Bob on piano)
My Own Version of You (Bob on piano)
I’ll Be Your Baby Tonight (Bob on piano)
Crossing The Rubicon (Bob on piano)
To Be Alone With You (Bob on piano)
Key West (Philosopher Pirate) (Bob on piano)
Gotta Serve Somebody (Bob on piano)
I’ve Made Up My Mind To Give Myself To You (Bob on piano)
That Old Black Magic (Bob on piano)
Mother of Muses (Bob on piano)
Goodbye Jimmy Reed (Bob on piano)
Band introductions (Bob on piano)
Every Grain of Sand (Bob on piano and harp)

According to depp99, a poster on Expecting Rain, “Incident during Black Rider. Bob stopped the song during the first line. ‘If you take photos, we ain’t gonna sing.’ Started and stopped song again. ‘OK, let’s wait a while… Come on, throw that guy out!’ Funny thing is the show got even better from then on.”

“Did anyone actually see a guy filming the show?” asked Sandy. “I don’t think that even the band (at least some of them) knew who Bob was referring to. When he stopped singing the second time, he looked at a guy in the upper level who seemed to be holding only opera glasses.”

Added SaveTheBob, “I didn’t see anyone filming…i also looked at the security, but nothing happened and nobody was forced to exit. Tonight Bob was really on fire…so better than yesterday, I’m glad to see him in such a great shape. Key West was incredible, My Own Version perfect without problems like yesterday and also Black Magic he did a marvellous and powerful final. The harmonica was lovely and the piano great for all the night. It seems to me like a jazz session, with Bob make many changes and improvisation and The Band did their best to follow him.”

Dylan’s next show is on Friday, October 7 for the final show at Berlin’s Verti Music Hall. He reaches the UK on October 19, for a 12-date tour that includes four nights at the London Palladium. This will be Bob’s first UK tour for five years.

Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 7: Berlin, Night 1

Michael Bonner
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Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 7: Berlin, Night 1

Bob Dylan's Rough And Rowdy Ways Tour continues to make its way through Europe. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut Last night [October 5], Dylan and his band performed the first of three shows at Berlin's Verti Music Hall, Germany. Previously, the tour has s...

Bob Dylan‘s Rough And Rowdy Ways Tour continues to make its way through Europe.

Last night [October 5], Dylan and his band performed the first of three shows at Berlin’s Verti Music Hall, Germany.

Previously, the tour has stopped at:

Oslo Spektrum, Norway on September 25

Avicii Arena, Stockholm, Sweden on September 27

Scandinavium, Gothenburg, Sweden on September 29

Royal Arena, Copenhagen, Denmark on September 30

Flens-Arena, Flensburg, Germany on October 2

GETEC Arena, Magdeburg, Germany on October 3

According to Boblinks, the setlist for Dylan and his band in Berlin was:

Watching The River Flow (Bob on piano)
Most Likely You Go Your Way (and I’ll Go Mine) (Bob on piano)
I Contain Multitudes (Bob on piano)
False Prophet (Bob on piano)
When I Paint My Masterpiece (Bob on piano with full backing band)
Black Rider (Bob on piano)
My Own Version of You (Bob on piano)
I’ll Be Your Baby Tonight (Bob on piano)
Crossing The Rubicon (Bob on piano)
To Be Alone With You (Bob on piano)
Key West (Philosopher Pirate) (Bob on piano)
Gotta Serve Somebody (Bob on piano)
I’ve Made Up My Mind To Give Myself To You (Bob on piano)
That Old Black Magic (Bob on piano)
Mother of Muses (Bob on piano)
Goodbye Jimmy Reed (Bob on piano)
Band introductions (Bob on piano)
Every Grain of Sand (Bob on piano)

According to Tambach, a poster on Expecting Rain, it was a “Phantastic show. Highlight for me today black rider and Jimmy Reed. Every grain of sand w/o harp tonight. Long intense piano instead.”

Meanwhile, another poster, depp99, commented, “WIPMM [When I Paint My Masterpiece] started with a long instrumental, during which only Bob’s hair could be seen. When he started singing we finally saw Bob’s face for the first time that night. No harp during EGOS [Every Grain of Sand]! Highlights for me were ‘My Own Version Of You’ (although Bob f***ed up the lyrics in the end and a faint ‘F….’ could be heard) and ‘Key West’. I’m thrilled for the next two!”

Dylan’s next show is on Thursday, October 6 for the second of three dates at Berlin’s Verti Music Hall. He reaches the UK on October 19, for a 12-date tour that includes four nights at the London Palladium. This will be Bob’s first UK tour for five years.

The 7th Uncut New Music Playlist Of 2022

Sam Richards
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The 7th Uncut New Music Playlist Of 2022

So much great new music to share with you here, we'll dispense with the bluster and the hyperbole. Suffice to say that a new song from LCD Soundsystem – their first in five years – is an event in itself. But this week has also delivered one-off singles by HC McEntire and The Delines, plus appeti...

So much great new music to share with you here, we’ll dispense with the bluster and the hyperbole. Suffice to say that a new song from LCD Soundsystem – their first in five years – is an event in itself. But this week has also delivered one-off singles by HC McEntire and The Delines, plus appetite-whetters for forthcoming albums by Weyes Blood, Arctic Monkeys, The Murder Capital, Caitlin Rose, King Gizzard and Duke Garwood.

On top of that, there are live performances of rare or unreleased songs by Nick Cave and David Crosby… and Jim Jarmusch remixing Patti Smith! Away you go…

LCD SOUNDSYSTEM
“New Body Rhumba”
(Columbia/DFA)

THE MURDER CAPITAL
“A Thousand Lives”
(Human Season)

HC McENTIRE
“Soft Crook”
(Merge)

ARCTIC MONKEYS
“Body Paint”
(Domino)

WEYES BLOOD
“It’s Not Just Me, It’s Everybody”
(Sub Pop)

NICK CAVE & WARREN ELLIS
“Earthlings”
(Cave Things)

DUKE GARWOOD
“Heavy Motor”
(God Unknown)

HEATHER TROST
“Blue Fish”
(Ba Da Bing)

THE DELINES
“The Golden State”
(Decor Records)


COURTNEY MARIE ANDREWS
“Thinkin’ On You”
(Fat Possum)

DAVID CROSBY & THE LIGHTHOUSE BAND
“1974 (Live at the Capitol Theatre)”
(BMG)

CAITLIN ROSE
“Nobody’s Sweetheart”
(Names)

THE WELCOME WAGON
“Isaiah, California”
(Asthmatic Kitty)

SHABASON & KRGOVICH
“In The Middle Of The Day”
(Idée Fixe)

VILLAGE OF THE SUN
“Tigris”
(Gearbox)


MATTERS UNKNOWN
“Other Side ft. Olivia Bhattarchajee”
(New Soil)

NYX NÓTT
“Thriller”
(Melodic)

GOAT
“Do The Dance”
(Rocket Recordings)

KING GIZZARD & THE LIZARD WIZARD
“Iron Lung”
(KGLW)

ADRIAN QUESADA
“Noble Metals”
(ATO)

CRAVEN FAULTS
“Ravelands Brow (Live Works)”
(Leaf)

SOUNDWALK COLLECTIVE WITH PATTI SMITH
“Eternity (Jim Jarmusch Rework)”
(Bella Union)

Aoife Nessa Frances: “There was this crazy excitement – we all felt it”

Stephen Troussé
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Aoife Nessa Frances: “There was this crazy excitement – we all felt it”

Depressed and anxious following the release of her remarkable debut album Land Of No Junction in 2020, Dubliner Aoife Nessa Frances headed west to spend lockdown with her father and sisters in County Clare. Reinvigorated by the experience, she’s returned with a dark, dreamy and defiant second albu...

Depressed and anxious following the release of her remarkable debut album Land Of No Junction in 2020, Dubliner Aoife Nessa Frances headed west to spend lockdown with her father and sisters in County Clare. Reinvigorated by the experience, she’s returned with a dark, dreamy and defiant second album, Protector. “Music is magic,” she tells Stephen Troussé as she leads Uncut through the landscape the record grew out of…in the latest issue of Uncut magazine – in UK shops from Thursday, Sept 15 and available to buy from our online store.

The writer and cartographer Tim Robinson described the Burren, the ancient, karst moonscape of northwest County Clare, as one of the Earth’s great wonders: “One hundred and fifty square miles of paradoxes… [an] austere beauty, the result of millennia of abuse”.

He was thinking of elemental abuse – centuries of acid rain, carving deep grykes in the glacial limestone pavement. He took a dim view of more recent, human actions, describing the quarries carved across his beloved Connemara as “festering sores”.

What would he have made of the eerie Clare edgelands, where we picnic one glorious July afternoon with the singer, songwriter and surrealist Aoife Nessa Frances? Aoife’s led us here, to one of the places where she found peace, was able to recalibrate and refocus, during the long lockdown of 2020. She knows the paths and steps surely over electric fences, through dense thickets, past the pack of proudly feral, hugely horned goats that roam the rocks.

We stumble along behind, emerge into a clearing and suddenly encounter our destination: a 200-foot deep abandoned quarry, gouged out of the limestone in a sublime and possibly illegal act of ecological vandalism. Pooled at the bottom, water of unfathomable, brilliant blue.

The owners are long gone and the quiet, forsaken landscape is strewn with fallen pylons that once carried power lines. A red fox darts through the long grass. A hawk glides by lazily, coasting on a thermal.

On a deceptively warm afternoon, as we chat, munch Hula Hoops and get slowly sunburnt, the quarry below us could be some isolated Cairngorms gorge or an occult earthwork. It feels like a picture postcard distillation of that beloved lockdown meme: nature is healing.

Aoife is quick to affirm that Protector is very much not a “pastoral nature record”. “Location and setting are important to the record,” she explains. “But there’s a tension there – between the busy-ness of Dublin and the peace of Clare, but also between wanting to float away and wanting to assert yourself. That tension is crucial to the record.”

But if you were to look for an objective correlative, a living, vivid embodiment of the uncanny depths, wild airs and healing drift of Protector, Aoife’s defiant second album, you could do worse than starting with the strange, unnatural beauty of this quarry.

For more than 200 years, artists have headed to the west of Ireland in search of poetry, folklore and magic. Aoife came here almost by accident.

PICK UP THE NEW ISSUE OF UNCUT TO READ THE FULL STORY

Loretta Lynn dies aged 90

Michael Bonner
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Loretta Lynn dies aged 90

Loretta Lynn has died aged 90. ORDER NOW: Björk is on the cover of the latest issue of Uncut The news has been confirmed by her family. https://twitter.com/LorettaLynn/status/1577312734529601536 Born Loretta Webb in a one-room log cabin in Butcher Hollow, Kentucky in 1932, Lynn was t...

Loretta Lynn has died aged 90.

The news has been confirmed by her family.

Born Loretta Webb in a one-room log cabin in Butcher Hollow, Kentucky in 1932, Lynn was the second of eight children of a coal miner – a source of inspiration for her autobiographical 1970 song, “Coal Miner’s Daughter“.

In 1960, she released her debut single, “I’m A Honky Tonk Girl“. After moving to Nashville, she released “Success” in 1962, which became a major country hit. She had her first No 1 with “Don’t Come Home a Drinkin’ (With Lovin’ on Your Mind)” in 1966.

While many of her songs drew on hardship and heartache, 1966’s “Dear Sam” was inspired by the women left at home during the Vietnam War, while 1975’s “The Pill” addressed birth control.

Lynn recorded 60 studio albums in all, winning three of her 18 Grammy nominations.

As well as solo releases, she partnered with Conway Twitty, for 10 duet albums, as well as Dolly Parton and Tammy Wynette for the 1993 album Honky Tonk Angels.

In 2004, Jack White produced her album, Van Lear Rose. Her most recent album was 2018’s Wouldn’t It Be Great.

Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 6: Magdeburg

Michael Bonner
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Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 6: Magdeburg

Bob Dylan's Rough And Rowdy Ways Tour continues to make its way through Europe. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut Last night [October 3], Dylan and his band performed at the 7,000 capacity GETEC Arena, Magdeburg, Germany. Previously, the tour has stopped at...

Bob Dylan‘s Rough And Rowdy Ways Tour continues to make its way through Europe.

Last night [October 3], Dylan and his band performed at the 7,000 capacity GETEC Arena, Magdeburg, Germany.

Previously, the tour has stopped at:

Oslo Spektrum, Norway on September 25

Avicii Arena, Stockholm on September 27

Scandinavium, Gothenburg on September 29

Royal Arena, Copenhagen on September 30

Flens-Arena, Flensburg on October 2

According to Boblinks, the setlist for Dylan and his band in Magdeburg was:

Watching The River Flow (Bob on piano)
Most Likely You Go Your Way (and I’ll Go Mine) (Bob on piano)
I Contain Multitudes (Bob on piano)
False Prophet (Bob on piano)
When I Paint My Masterpiece (Bob on piano with full backing band)
Black Rider (Bob on piano)
My Own Version of You (Bob on piano)
I’ll Be Your Baby Tonight (Bob on piano)
Crossing The Rubicon (Bob on piano)
To Be Alone With You (Bob on piano)
Key West (Philosopher Pirate) (Bob on piano)
Gotta Serve Somebody (Bob on piano)
I’ve Made Up My Mind To Give Myself To You (Bob on piano)
That Old Black Magic (Bob on piano)
Mother of Muses (Bob on piano)
Goodbye Jimmy Reed (Bob on piano)
Band introductions (Bob on piano)
Every Grain of Sand (Bob on harp and piano)

“Very different from yesterday,” saids poster Hawkmoon on Expecting Rain, “especially regarding voice, piano and also arrangements. An interesting vocal delivery of Masterpiece singing before the line (!) with great effect and a nice and long harp solo finishing Every Grain Of Sand”.

Dylan’s next show is on Wednesday, October 5 for the first of three dates at Berlin’s Verti Music Hall. He reaches the UK on October 19, for a 12-date tour that includes four nights at the London Palladium. This will be Bob’s first UK tour for five years.

Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 5: Flensburg

Michael Bonner
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Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 5: Flensburg

Bob Dylan's Rough And Rowdy Ways Tour continues to make its way through Europe. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut Last night [October 2], Dylan and his band performed at the Flens-Arena, Flensburg, Germany. Previously, the tour has stopped at: Oslo Spekt...

Bob Dylan‘s Rough And Rowdy Ways Tour continues to make its way through Europe.

Last night [October 2], Dylan and his band performed at the Flens-Arena, Flensburg, Germany.

Previously, the tour has stopped at:

Oslo Spektrum, Norway on September 25

Avicii Arena, Stockholm on September 27

Scandinavium, Gothenburg on September 29

Royal Arena, Copenhagen on September 30

According to Boblinks, the setlist for Dylan and his band in Flensburg was:

Watching The River Flow (Bob on piano)
Most Likely You Go Your Way (and I’ll Go Mine) (Bob on piano)
I Contain Multitudes (Bob on piano)
False Prophet (Bob on piano)
When I Paint My Masterpiece (Bob on piano with full backing band)
Black Rider (Bob on piano)
My Own Version of You (Bob on piano)
I’ll Be Your Baby Tonight (Bob on piano)
Crossing The Rubicon (Bob on piano)
To Be Alone With You (Bob on piano)
Key West (Philosopher Pirate) (Bob on piano)
Gotta Serve Somebody (Bob on piano)
I’ve Made Up My Mind To Give Myself To You (Bob on piano)
That Old Black Magic (Bob on piano)
Mother of Muses (Bob on piano)
Goodbye Jimmy Reed (Bob on piano)
Band introductions (Bob on piano)
Every Grain Of Sand (Bob on harp and piano)

Various posters on Expecting Rain described the show as “mindblowing awesome. So many magic moments” (Hawkmoon) with “Bob in strong voice” (Tambach).

Dylan’s next show is on Monday, October 3 at the GETEC Arena, Magdeburg, Germany. He reaches the UK on October 19, for a 12-date tour that includes four nights at the London Palladium. This will be Bob’s first UK tour for five years.

An audience with Cat Power: “I don’t know if Bob would be thrilled”

Sam Richards
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An audience with Cat Power: “I don’t know if Bob would be thrilled”

The inimitable Chan Marshall on turning 50, dogs versus cats, the “atrocity” of modern-day America and an encounter with “God Dylan”. Read all about it in the latest issue of Uncut magazine – in UK shops from Thursday, Sept 15 and available to buy from our online store. “It’s such ...

The inimitable Chan Marshall on turning 50, dogs versus cats, the “atrocity” of modern-day America and an encounter with “God Dylan”. Read all about it in the latest issue of Uncut magazine – in UK shops from Thursday, Sept 15 and available to buy from our online store.

“It’s such a crazy time,” says Chan Marshall. The way she talks – constantly undercutting herself and punctuating her musings with jokes and apologies and silly accents – it’s hard to immediately tell if she’s talking about her own life or the world in general. Quite possibly both. “It’s always a crazy time,” she continues. “Time keeps comin’. And the American country is upside down, inside out. Things are a mess. Things are an atrocity. So I don’t know what to do. And neither do you!”

This, in a roundabout way, is Marshall’s justification for her latest wheeze: recreating one of Bob Dylan’s famous 1966 shows from his controversial “Judas” tour at the Royal Albert Hall in November. “If this is the first and last time I’m ever going to play there,” she reasons, “might as well make it a humdinger!”

Marshall is currently “decompressing” between two legs of her world tour at a friend’s house in upstate New York. At various points, our interview is interrupted by a meadowlark, a giant spider, a sudden windstorm, a miniature golden retriever called Tino, and filmmaker Jem Cohen dropping by for a chat. Marshall is also prone to fly off on a tangent before apologising profusely: “Are you mad at me?” In general though, she is happy with her current lot.

“My track record for enjoying what I do hasn’t always been very good,” she concedes. “Sometimes I feel like I’m hanging on by the skin of my teeth. But it’s been a really good run, and I haven’t had a really good run in a really long time. A lot of people don’t recognise that they’re an artist ’til it’s too late. So I’m very thankful for that opportunity to thrive and keep going, you know?”

What made you want to recreate an entire Bob Dylan show, and what do his songs mean to you?

– Mathias Kleiven, Oslo

What does God Dylan mean to me? Period. Dot, dot, dot. Nervous laugh… God Dylan means something to anybody who loves him, right? Anybody who loves what he’s done knows what it means to them. I don’t know how to put that in words.

PICK UP THE NEW ISSUE OF UNCUT TO READ THE FULL STORY

Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 4: Copenhagen

Michael Bonner
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Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 4: Copenhagen

Bob Dylan's Rough And Rowdy Ways Tour continues to make its way through Europe. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut Last night [September 30], Dylan and his band performed at Copenhagen's 16,000-capacity Royal Arena. Previously, the tour has stopped at: Os...

Bob Dylan‘s Rough And Rowdy Ways Tour continues to make its way through Europe.

Last night [September 30], Dylan and his band performed at Copenhagen’s 16,000-capacity Royal Arena.

Previously, the tour has stopped at:

Oslo Spektrum, Norway on September 25

Avicii Arena, Stockholm on September 27

Scandinavium, Gothenburg on September 29

According to Boblinks, the setlist for Dylan and his band in Copenhagen was:

Watching The River Flow (Bob on piano)
Most Likely You Go Your Way (and I’ll Go Mine) (Bob on piano)
I Contain Multitudes (Bob on piano)
False Prophet (Bob on piano)
When I Paint My Masterpiece (Bob on piano with full backing band)
Black Rider (Bob on piano)
My Own Version of You (Bob on piano)
I’ll Be Your Baby Tonight (Bob on piano)
Crossing The Rubicon (Bob on piano)
To Be Alone With You (Bob on piano)
Key West (Philosopher Pirate) (Bob on piano)
Gotta Serve Somebody (Bob on piano)
I’ve Made Up My Mind To Give Myself To You (Bob on piano)
That Old Black Magic (Bob on piano)
Mother of Muses (Bob on piano)
Goodbye Jimmy Reed (Bob on piano)
— Band introductions (Bob on piano)
Every Grain of Sand (Bob on harp and piano)

After opening the tour in Oslo with a stripped-back version of “When I Paint My Masterpiece“, Dylan has since reverted to the full full-band version. However, posters on Expecting Rain have noted a new arrangement for “False Prophet“, which Dylan introduced in Sweden. According to poster nanook82 on Expecting Rain, this new version is “kind of slower, but without losing intensity. Really brought the lyrics to the forefront and allowed for more interesting phrasing.”

nanook82 also attending the Copenhagen show, where some drama unfolded during the show. “Someone in the audience fell ill and was carried off on a stretcher during I’ve Made Up My Mind, hope they’re ok! Bob must have noticed since it all happened right in front of him – somehow it seemed to push his singing to new levels on that song.”

Dylan’s next show is on Sunday, October 2 in Flensburg, Germany. He reaches the UK on October 19, for a 12-date tour that includes four nights at the London Palladium. This will be Bob’s first UK tour for five years.

Neil Young and Crazy Horse share “Love Earth” from their new album, World Record

Michael Bonner
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Neil Young and Crazy Horse share “Love Earth” from their new album, World Record

Neil Young and Crazy Horse have announced a new album, World Record. ORDER NOW: Björk is on the cover of the latest issue of Uncut The 10-song album will be released on November 18, and was produced by Rick Rubin at his Shangri-La studios in Malibu. Young previously used the same studio to...

Neil Young and Crazy Horse have announced a new album, World Record.

The 10-song album will be released on November 18, and was produced by Rick Rubin at his Shangri-La studios in Malibu. Young previously used the same studio to record his 2016 album, Peace Trail.

You can hear the first track from the album, “Love Earth”, below:

The sleeve for World Record features a photograph of Young’s father, Scott.

You can pre-order the album by clicking here. It’s available on standard black vinyl and clear vinyl – a first for Young. The album will be pressed as a three-sided double vintl with an etching on side four. It’s also available on CD and cassette as well as digitally.

This is the third album with the current Crazy Horse line-up, after Colorado and Barn. “Real magic lasts and we think we have it,” says Young.

The tracklisting for World Record is:

Love Earth
Overhead
I Walk With You (earth ringtone)
This Old Planet (changing days)
The World (is in trouble now)
Break The Chain
The Long Day Before
Walkin’ On The Road (to the future)
The Wonder Won’t Wait
Chevrolet
This Old Planet reprise

Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 3: Gothenburg

Michael Bonner
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Bob Dylan’s Rough And Rowdy Ways Tour continues! Show 3: Gothenburg

Bob Dylan's Rough And Rowdy Ways Tour continues to make its way through Europe. ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut Following on from the tour debut at Norway's Oslo Spektrum on September 25, and Stockholm's Avicii Arena on September 27, Dylan and his band playe...

Bob Dylan‘s Rough And Rowdy Ways Tour continues to make its way through Europe.

Following on from the tour debut at Norway’s Oslo Spektrum on September 25, and Stockholm’s Avicii Arena on September 27, Dylan and his band played the Scandinavium in Gothenburg, Sweden last night [September 29].

According to Boblinks, Dylan and his band played:

Watching The River Flow (Bob on piano)
Most Likely You Go Your Way (and I’ll Go Mine) (Bob on piano)
I Contain Multitudes (Bob on piano)
False Prophet (Bob on piano)
When I Paint My Masterpiece (Bob on piano with full backing band)
Black Rider (Bob on piano)
My Own Version of You (Bob on piano)
I’ll Be Your Baby Tonight (Bob on piano)
Crossing The Rubicon (Bob on piano)
To Be Alone With You (Bob on piano)
Key West (Philosopher Pirate) (Bob on piano)
Gotta Serve Somebody (Bob on piano)
I’ve Made Up My Mind To Give Myself To You (Bob on piano)
That Old Black Magic (Bob on piano)
Mother of Muses (Bob on piano)
Goodbye Jimmy Reed (Bob on piano)
Band introductions (Bob on piano)
Every Grain of Sand (Bob on harp and piano)

As with the Stockholm show, they played the full band arrangement on “When I Paint My Masterpiece”.

Dylan’s next show is on Friday, September 30 in Copenhagen, Denmark. He reaches the UK on October 19, for a 12-date tour that includes four nights at the London Palladium. This will be Bob’s first UK tour for five years.

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