Such has been the drooling media focus on Kate Bush this week, it might be tough to imagine British music journalists listening to anything else these past few days. I'm not, in fairness, exempt from the hysteria: here's my review of the second Before The Dawn show, in case you missed it (or avoided it) yesterday.
As The Felice Brothers tour the UK and perform at End Of The Road festival this weekend, it seems a good time to battle through the Uncut archives and see how the group were doing back in August 2009 (Take 147). Marc Spitz heads out to upstate New York to see how these self-mythologising drifters created a glorious new take on roots rock from the comfort of a chicken coop. Just don’t, whatever you do, mention Bob Dylan and The Band...
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.
Kate Bush last night (August 26) made her return to stage after a 35 year absence in a show that begun as a typical concert but evolved into a theatrical spectacular. This report contains spoilers.
The three-hour show saw Bush recreate the second side of her classic 1985 album Hounds Of Love as a fully realised stage production, with theatrical sets, costumes, effects and lighting. The same treatment was then given to the second side of her 2005 album Aerial.
Tonight, August 26, Kate Bush returns to the stage for her first live shows in 35 years. To celebrate, here’s our cover story from the archives (June 2010, Take 157), in which Uncut takes a phantasmagorical trip into suburbia to learn the untold story of Kate Bush’s masterpiece, Hounds Of Love. "She ain’t daft. People shouldn’t be fooled by the mystical hippy stuff, this girl is very, very tough." Story by: Graeme Thomson__________
Some logical excitement here this week about the impending Leonard Cohen and Aphex Twin albums; in the event you've missed it these past couple of days, you can hear Cohen's superb "Almost Like The Blues" further down this blog.
A blimp decorated in the Aphex Twin logo was spotted hovering above the Oval Space in Hackney on Saturday (August 16).
The airship also featured the digits "2014". Now, in a further development, the same logo has been spotted by fans outside Radio City Hall in New York.
As The Kinks prepare to release a deluxe edition of Lola Versus Powerman And The Moneygoround Part One, packaged with soundtrack Percy, we take a trip back to Uncut’s November 2007 issue (Take 126), where Ray Davies talks Uncut through some of the best albums he’s made in his long career. “My songwriting has been my ally through life,” Davies muses, “because I ain’t got much else.” Words: Nick Hasted
This is the full text of my interview with Hurray For The Riff Raff in New Orleans, that appeared in the print edition of Uncut a couple of months ago. I've added a lot of music to listen to as you read; not just by Alynda and the Riff Raff, but by some of the other New Orleans musicians who are critical to the story.
Another issue in the bag yesterday, which'll be in UK shops on August 26, and which features, if you're in the mood for guessing games, someone who's never been on our cover before.
