One bright Sunday morning, MC Taylor is driving through his patch of North Carolina, past New Hope Creek and the Eno River, over the Chatham County Line and the James Taylor Bridge in Chapel Hill, near the Haw River and the valley that he has meditated upon in song these past few years. Through apparently endless forests, Taylor's destination is Saralyn, a kind of hippy settlement just outside of Pittsboro.
There is a song on "Aerial", Kate Bush's eighth and possibly best album, called "Bertie". "Here comes the sunshine," it begins, "Here comes that son of mine/Here comes the everything/Here's a song and a song for him." Nine years later, here, perhaps is a show for him: an unexpected comeback; a ravishing absurdity; a launchpad for his theatrical aspirations. Our pleasure may, to some degree, be collateral.
When Mick Jagger recently appeared in a promotion sketch, dryly describing these Monty Python reunion shows as "a bunch of wrinkly old men trying to relive their youth", it demonstrated that the Pythons still have the rock star heft of their ‘70s pomp.
The Heartbreakers’ Benmont Tench is about to release a solo album, You Should Be So Lucky, produced by the legendary Glyn Johns. In this star-studded archive piece from Uncut’s December 2011 issue (Take 175), Johns takes us through producing and engineering The Beatles, the Stones, The Who, Bob Dylan, Led Zeppelin and more – not a bad CV, you could say… Interview: Graeme Thomson
Bill Callahan plays London’s Royal Festival Hall tonight (February 7), in support of his Dream River album (and its recent dub remix, Have Fun With God) – so it seems a good time to skip back to our 197th issue, in which Uncut spends an intimate evening at Callahan’s house in Austin, unpicking the mysteries of the Artist Formerly Known As Smog... “I left clues?” Words: Jaan Uhelszki________________
