THE BATTLE FOR ¥F JIMISLEGACY Arey wise Nels we Wed POGUES Ts CTA THE NIGHT INVENTED GLAM! Visconti tells all and onsoyearsof PT SS TS Pe Usa LUE NY maar Bess Pagan ae NLU TY wT eC COG | eaeeemaseneceenretr \ [aE |- ” NICK CAVE & THE BAD SEEDS PUSH THE SKY AWAY THE BRAND NEW ALBUM FROM NICK CAVE @ ‘BAD SEEDS 18.02.13 / WWW.NICKCAVDavid Bowie, Can, Michael Chapman & Thurston Moore, The BlackCrowes NTHIS MONTHS Audience With Sinéad O'Connor, she'sasked about 12 hertraumaticappearanceat theall star ash at New York's Madison An Audience Withthe Celticfirebrand ‘Square Garden, puton by Columbia Records to celebrate the 3th a ‘anniversary of Dylan's debut album forthe label. Theconcert brought together Dylanandalotofhisold cronies - Neil Young, George Harrison, EricClapton, Tom Petty ~anda ew young bloodslike Eddie Vedder, the frankly ridiculousSophie B Hawkins, and inéad,allof them performing theirown choice song from Dylan’ vast and astonishing repertoire. Tedjust made itback tomy seat fromthe bar where Fd taken refuge when John ‘Cougar’ Mellencamp had started doing somethingto“Like A Roling ‘Stone”for which he deserved aspellona chain gang when krisKristofferson Wetalktostep-ssterJanieaboutthe guitarmaestrosrecordinglogacy 22, MyMomning Jacket msinman goes lo: “Tvenever suckeddickto getahead..” 28 appeared to introduce someone whose name apparently was “synonymous Themskngof74dase"Dovm Down’ | vitnccurageandiniogrty”ThisturnedouttobeSinfed, vichwasa = J surprisetothe audience in whose opinion shewasclearlynot mic more | tana foul mouthed harridan after arecently televised verbalattackonthe Pope forwhichsheis loudly booed, almost sweptaway by awaveofanger | and deafening abuse thatieaveshe evidently shocked. Shescreechesa verse ortwoof Bob Marey’s“War"insteadofthescheduledversionof Dylan's “Believe In You" before being led away protectively by the noble | Kristofferson, wholooksin the ood to throw some serious punches. Theuntoldstory of dlassiedebut Closing Time, by Wats closestcolaborators 42 Radicalsinging postman VieGodardisback. 48) ‘She'sfollowed that night by Neil Young, who tearsthe place up with Theband ein platures | incendiary versions of "Just Like Tom Thumb’sBiues” and “All Along The | Watchtower’ butmakesnomention ofthe crowd's treatmentofSinéad, 50, ‘which have the opportunity task himabouta couple of weekslaterin London where tched upto promatehisnewalbum, Hares Moon. ratyeld, “She gota god reaction," Neilsays, by wayof surprising reply "Iwasa New York $Soopent™ reaction, OK? hesnans.agrizzedveteranoftherocknoll wars. “They were booing her butateastthey were reacting. twas tlikethey ddn’tknowshe wasthere Tsay that wasagoodreaction” Seseemee pretty distraught 61 ‘msurprisedbythat.” Including: NickCave, Johnny Marr, vealsojustheardthataftertalkingto God, oratleastsomeone who knows him, she's JimJames,EelsondEndessBoogie decide to quite music busines. “Wel,” Nellsas,andyoucan ellhe'snotimpresed a and may notevenbeatall interested, “she's gota dowhatevershethinksshe'sgotada” ere cee Woulthehavetaken that kind ofhosilitynhislegendary'srde? “Absolutely Shit ve Maken hater Cone been bone formy musi, Bob was booed forgoing electric I was booed frsinging with aVocoderand synthesise. Iwasbooed herein London. Iwasbooedin Germany, Spain, Foirport’sfirstadventuresand the guitarit’snew Electricset 56! Careechighs ofthe fabledproducer 98 France, Italy, everywhere. But theynevermademerun. Itdoesn't bother me. Ijust keep Game Of Thrones on DVD, Fight engoing."hesays, playing thecrust old geezer here the unyeldingloner hero. “She ToThe Wonder, This ls40 blewagreatchancetobeilant Sheletthe audience getthe best other. dont wantto pass uedgementon her andthe things she's sac or done. msureshehas plentyof good reasons. More power to her. You wantto protest, goahead. Bemy guest. Butther'satime ‘when it’ gonna comebackon you. Youhavetobestrong, You we Allah-Lasand The Pogues cee havetobe preparedtotake that. Sheet heather. They puter lex 7 tothetestandshejustwasntuptoit Sodon'.”hesays with ¢ ‘Woody Guthrie's unpublished novel, srim finality, “ask me to fel any sympathy forher ps Bb Keys utebiography cca 18 TODAY Thismonth'sobituariee FROM UNDER 120 £3.25 AMONTH® Yourletters,plusthe Uncut crossword 102 Jonathan Wilson & Friends, reer Ae Pr sn Be Er (Canuck songwriter RonSexsmithINSTANT KARMA! THIS MONTH’S REVELATIONS FROM THE WORLD OF UNCUT Featuring CAN | BLACK CROWES | THURSTON MOORE & MICHAEL CHAPMANDAVID BOWIE: Believe The Hype! As The Next Day dawns, acritical piece of DAVID BOWIE and TONY VISCONTI'shistory comes tolight: footage of the Atomic Sunrise Festival,1970. “The reaction wasn't welcoming,” says Visconti. Also featured: GENESIS, HAWKWIND and awater dispenser filled with amyl nitrate... trulyhigh kicked into iemarkedhis sth with the releaseof*Where Are WeNow?”,hisfist decade. What'smore his website reac, 3, The Next Day. "He's back,” sad produc conti, "Bowiehas found says thefnalesultis ec and, in keeping with them Inacuriousactofaccide hichasilve tin capeand thigh boots, appeared with hs similarly costumed band ithalte ainbowman,Gangsterman man, "Ithoughtitlooked great,"recalls Visconti aka nana thereaction ant Flactuatingastow Thecrowd, transpired, justia’ get ‘Notonly did we look “Notonly did we lookstrange, _ino:mas Also, we pnformisis ju -onform that night” nd guitarist Anthony Thepenniless oun digsina cnt theinclusionofthefirst incaration of Hawkwind, with late bassistJohn Hartson. "t arcu 2013 | uNcuT| 5wasbefore we were really big," remembers co-founder Nik ‘Turer. "We were stil building upafollowing and the Roundhouse wasoneofthose places whereall the hippies ‘went. Allofthealteratve culture wasat the festival. People \weretakingdrugsandhavinga good time twasLSD mainly, ‘though some took speed and lot of peopesmoked pot. The ‘whole atmosphere wasvery exitingand convivial” Heraldedas“A Week Of Theatre, Lights And Music the ill featured otherunderground heroes ofthe day: Quintessence, Audience, Brian Auge, Juicy Lacy, Third Ear Band, Arthur Brownanda s6:year-old Mike Ode, playing hisfirstsig with Kevin Ayers Whole World. Perhaps the biggest dra though, was Graham Bond, “Themost memorable moment \wasddutinghisset,” remembers Roundhouse elfDexter, \whoalso booked the festivals bands. “Theliving Theatre brought onstageabig American drinking dispense, with ‘ayo-gallon drum filed with amyl nitrate, Then they started Aipping spongesin and ubbingitinto peope'sfaces. Graham ‘Bond overdosed atone point andfelloffhisstool” Dextersays that omic Sunrise was largely the brainchild of Danae Brook, associate ofavant garde troupe The Living, Theatre, who wanted todo thismad weekat the Roundhouse, nthe final night, someone had spiked the drinking trough of punch with acid. bj Chale Gillet, thenlecturingat Kingsway College, roughtsome ofhisstudents ove. Theyall got spiked with thisSD, asd mostofthe bands. Alotof people had to say overnight, because there were so manyacid casualties. ike mostofthe groups, hough Genesis were booked asa favourtoa friend ofa friend. Ithought they werea bunchof shit but we needed someone to open for David Bowie ForNik Turner, Arthur Brown was highlight"Het moved ‘on from Fie’ and you could almost sayhe'dseen God. He was really wild, Heusedtoleapaboutinasttobeanditwas quite frightening, The veal felat Atomic Sunrise wasoflotsof very creative thingshappening, There was nt only acultural change, butachangein awareness.” Theremarkablefootageltsel,afull33hoursoft, wasbought by Atomic Sunrise. producer Adrian Everettin 90, aferlying ina warehouse for twodecades when filmmakers Allan King Associates went bust. By then the orignal soundtrack had Deen os, which has forced Everettto syne sound from other sources. He'sapplied fr clearance romeachoftheartists, he ‘says, andntendstouse the profits from the Roundhouse screening ofunda inaledit."Iwantitdonewellanditshould Deshown nthecinema, ideally," he offers. "i's histori film aspeoplelike Bowie and Genesis weretheundedingsatthe time. They werestil outsiders, tosay heleas.” ‘Which brings us ack Tony Visconti. His prevailing memory sof havinghisclthes stolen backstage, requiring himto travel homein histhin lypeman getup. "Thatwasa bummer" hesays, "Tm glad somany people wereinthecarfor thedriveback, because the heaterin David's Riley was broken [Bowie's 1932 Riley Gamecockracerandsubjectofo7t outtake Rupert The Riley" Ittookabout 5 minutes for the communal bodiyheat tokickin.Don'tforget, we were poorton.ttooka \wlletobuy new clothes!” ROBHUGHES ‘AtomicSunviseisscreenedat London Roundhouseon Marchin/i2 6 juNcUT | MaRcH 202 HALLELUH WAH! ssa CAN’s JAKI LIEBEZEIT and IRMIN SCHMIDT reunite in CYCLOPEAN. Oh yeah! RARECOLLABORATION between drummerJakiLiebezeit ar keyboardist Irmin Schmidt is Aboutas close toa Can eunionas you're likely togecthese days. "We worktogether occasionally” saysSchmiat, "butlakiand Tdonttalkso much, (liveinthesouthof France, Jakiisin Cologne. Theresa recommenced security distance between uusofapproximatly 1,000 kilometres” Cyclopean astyleof masonry, apparently, pronounced sigh-CLOP ian) nite the pai, butmorespeciialy «wo post-Canduosthathavebeen operating formorethanadecade:Liebezeit's partnership with oddball German tlectronica maverick Bernd Friedmann, (@kaBurntFriedman)andSchmidt's ‘union with English producerand electronics wiz Jono Pocimore (aka Kumo).Thequartetwasthe suggestion ofSchmic’s wife, Hildegard, who ‘manages Can-related events. Afertwo weeks ofintensiverecording inSchmiat'studioin Provence they've come up witha fourtracktasterEP of atmospheric instrumentals halfof them nod time signatures. “They arenot odd tousy"saysSchmidt.“Playingin5/4 07/4 Isonly odd inthe simplistic word ofpop, butitiscommon inalotof European and African folk music Jakiand Thaveused these aythms fora long ti Throughout theseelegant constructions soften ificulttowork ‘out whois creatingeach weirdand ‘wonderfulsound, Thestraybleepsand saquelches could be coming from Podmore’ Theremin, Friedman's invented instruments likes “rubber band guitar’,made bystetchinga few rubber bandsoveraciga box) or Schmid’ prepared piano buted ryselfinsdetheinstrument, picking and scraping the strings ke John Cage” But he one constantisJakiLiebereit’s ‘metronomic, tribal drum pulse “itstheone thing that salwaysCan lke," says Podmore. “Onereason aks sodistinctveisthathe plays without usinghis eet. Heneveruses pedals or bichats,justtoms, snaresand cymbal, witha largefloortom instead ofabass drum. Hesaysitgiveshimmore postural stability, morebalance, mote accuracy, sohistimingisbetter.Youcan hearhim improvising for 50,60 minutesand there areneverany dropsin tempo. Podmore, a London-based Scouser who leads the electronica outfit Metamono, is almostan honorary member ofan Hes beencollaborating with Schmidt for more than ss yeas, ismarriedtoSchmid's daughter Sandea (who runsCan's label, Spoon Records), andalsospent morethan ayearremasteringallofCan'salbums for the 2005reissuepackage Heisalso overseeing the band’s vinyl remaster, released later thisyearto coincide with the goth anniversary of Future Days, I gotto know Can'smusicback tofront.*hesays. “And Ithink bbandmembersagreethat theresa definable point from i973 Landed where theiralbumsstarttolack excitementand spark I's wierethe band getamulti track tapemachine and they stop interacting witheach other. “With Cylopean we'vegoteveryone playing together, improvsingand ‘omposingatonce. And Burntand ‘have gone through these lengthy Improvisations and edited them into shape, like Holger (Cukay| used do, Insome ways we've tried torereate theexcitementofthatearly Can stuf jountewis (yclopean's first Pisreleasedon February gon Mute‘Has anyone told you your roadie looks like Thurston Moore?’ JONDERING THEPROSPECT ofawhole week ofbeing driven around England by singer songwriter cum guitaralchemist Michael Chapmanas he wotosr together this February, Thurston Moore goes into raptures Welliste tothe oad, the wind, Ourselves, nothing,” hetells Uncut. “ove England, especially in January ~ the brutal reality of howling cold and the deicious warmithof any indoor fre andalagerspllingsensually from thelipofa pint. want this. Moore, s4,and Chapman, 72, mightoncehave seemed an odd pairing, but with Chapman ‘moving further into guitarimprovspacewith theJohn Faheyinspied The Resurrection And Revenge Of The Clayton Peacock (201!) and one: chord wonderland Pachyderm (2012, and Moore indulging islove foracoustie sounds on 011s Demolished Thoughts, their obitshavebeen ‘movingcloser together. The pair first met nearly 10 yearsago, when Chapman played with thelateackRose near Moore's home in Massachusetts "Thadacutch fis LPs but was mostinterested in havinghim signamid70s-era picture sleeve?" from Spa that Thad found ther,” remembers Moore,“ figured he'd be taken abackand impressed, withateasta‘Whoa! Where'd you gt that?” Buthe barely raised an eyebrow. MeCool Moore has since putup Chapman on is tips tothe East Coast, released .Clayon Peacock ‘on hisEestaic Peacelabel and even provided technical support as Chapman tells Uncut People would say tome: Hasanyonetoldyou your oadielooks abitlike Thurston Moore? Aye, well, thats because heis Thurston Moore” CChapmanand Moore have played ancl recorded together before, butthis willbe theifirsttou, andthe veteran guitarslingerislooking forward toanewaudience. Once charmpionedby olin Peel his fistsolo albums ~ Rainmaker (1965) and Fully Quatfied Survivor (970) - were recently recirculated tomuchacclaimby ightInThe Ati and the Yorkshireman is finding himself fGted asa lost voice. “Itmustbe theslowest breakthrough ever."he harrumphs. “Itookme ‘yoyears tobe discovered." The tourselistisa blank forthe moment, with both men planning solosets, then jointeffort."'m writing some ‘ew songs on12string for thistour~ whether they'Ibeinany ready-to-goshape!don'tknov says Moore whose debut with newand Chelsea Tight Moving sout on March 4)" sipthrough some things offmy last coupla solojonts, and ‘may improvise someacousticfelecticnolseand Improv, Idon'tknow.” “Iwill bring him upto thefarmand we will teyandworkitout from there,” Chapman adds “How did we discover ourstyles were compatible? Wenever did. Weare going tohave ‘towork that out.” WHRTHE Michael Chapman and! Thurston Moore's Acoustic Fire Music tou kicks offat the PurcellRoomsin London's Southbank Centreon Feb, andtakesin Norwich arts Centre (a), Hebden Bridge Tades (Club (3), Hut Adelphi), Preston New Continental (Manchester Band On The Wall), Bimingham Glee Club (7) ana Bristol Colston Hall) ES A founding member ofearly’80s punk funk group The Higsons (led by The Fast Show's Charlie Higson), brass player Terry Edwardshas concentrated ‘onsessionwork while playing with Butterfield, Gallon DrunkandLydia Lunch (as Big Sexy Noise). Hehas also releasedrecordswithhis ‘owngroup The Scapegoats, recorded some inspired cover versionEPs(The Jesus And Mary ‘Chain, The Fall, Miles Davisand The Cure)and 82010 slo album, Clichésinspired by the AlexChilton LP ofthe samename. "You ‘andme, Terry-we'restandingin the doorwaybetweenthemainstream andavant-garde.Andit'savery ‘good place tobe,” Julian Cope toldhimin2010.Terryieat present playinglive with The Blackheads. The tireless Edwardshasappearedon records bythe Mary Chain, Nick Cave, Julian Cope, The Creatures, Lush, PJ Harvey, RobynHitcheock, Madness, Glen Matlock, Spiritualized, Tindersticks, and countlessothers. aca 201 | UNCUT |AQUICKONE Sadnewstobegin ‘Wilke Jchneonhas beendlagnosedwith terminalpancrestic cancer Accordingto rranagerRabert Hoy. Helsingood spittslanctyet Sutferingany physielafocteand Eanexpecttoenioy tleestanother fewmonthsof reasonsblohoakh dactivty" Anew ‘CDandfarevll toureftheUK sroplined, FolklabolTopie haslustembared entheGreat8ig DigtalArchive| Project. puting gresteanchovofits ‘atalogueontine ‘4abumahaveboon relsvedsofar, iehaingworkby ‘Shiey&Doly Colina Dick Goughan Davy GioberrelAL Lloyd Moreare promizedronthy theough2ors Avaluablebit spre punk ‘rchacologyrom New Yorks SingSng labetareiaveofthe soltaryalbumbyT¥ Smithipre-adverts band Sleaze Only preseedinio7, Undleeidertly ‘gotmuchfurther thnTorqusy. AquickBoatles- reltedround up GeorgeHarisons ‘widowOlvishas relusedpermission Forastateofthe Beatistabebuit inHenley-on ‘Thane On Marcio, Sky Plyhourescroen Snodgrass hich ‘eageshowe ohn Lennonwoud ve Greteaelia) uithebondbefore “Love MeDo"lon HortplysLennon. ‘theseriptisbyDavid ‘Quatickand ‘exBooRedley| MartnCare contribatesmusic Frail; Uncus Ultimate Musi Guideonthe Besterizoutnow featuringamszng loetinteriewsfrom theNMEand Melody Mokervauts ROOK BACK IN ANGER! It’s a bear! It’s aleviathan! It’s THE BLACK CROWES, back together! CHRIS ROBINSON tells all HEN UNCUTSPOKEtothe ‘uidingspirtoftheChris Robinson Brotherhood ast year talkeventuallyand inevitably turmedto The Black Crowes."They’re importantiome, butisbest notto wake thebear whenitshibernating,” said Robinson. “Maybedownthelineitwill hhappenagain The bear itseems,isnow beginningto sti. few festival appearances in 2011 notwithstanding. theCrowes havebeen inmothballssince their 2oth-anniversary celebrations ended in 2010, batin March theyreconvencforasix week ou, beginningin Manchesterandendingin May in New Orleans. Why now? “It'sbeen overtwo yearsand there’snorealanxiety ortrepiation,”says Robinson on theline from California, "Wecan just gooutand celebrate this musi, whichis important twallofus” Having fallen apartiniillyn 2001, ‘when they reunited in 2005 The Black Crowes consciously becamea morefluid entity a freedom formemberstopursue other projects wasbuilt nto thestructre oftheband,“Tlearneda tin thatrespect from beingimmersedinthe Grateful ead 8 oncur| marci 203. family” says Robinson, “Ifyoucangetin and outofitwithouthitchingyourride to thisgreateviathan tdefnitelybrings rmorejoy.” -Evenso, Robinson concedes that by aoioeveryonein the Crowes wasstarting {ogetiorand frayed again”. Since they firstappeared with Shake Your Money Makerin1990, the group dynamic has been defined bythe fractious relationship between Chris andhisyounger brother, theband!sguitaristand co-writer, Rich. Robinson concedes that The Black Crowes willalways bea precarious perch. Rich and larelike Noel and iam. l'snotan act” Sowhileadoublelivealbum~ Wiser ForThe Time, recorded in New Yorkin aotoandavallableto downloadandon ‘vinyl is being released to coincide with thetour, there hasbeen no new material since Before The Frost..Until The Freeze Jn2009, That may ormay notchange Robinson viewsthetourasan “experiment tose how weall getalong. Richand aren'tinaplaceinourlives where we're goingiositinaroomand \wetean album's worthof songs. Wedon't ant tobiteofftoo much, Before wecan, JookatThe Black Crowes as.aband that's readytomake toseeaboutus ‘Whatever happens withthe Crowes, there wilbelotsof CRB activity inthe next 2 months. nthe tao “right now ‘workingon theirnext album, due ealyin 2014, Robinson promises something “very heady; wehavemore time to play arounel with tina production sense.” Therewillalsobea DVDand"wordon the street”—some highlyanticipated UK dates follow. Like CRB, TheBack Crowes thesedays operate somewhere above the slipstream ofthe mainstream record industry Robinson woulda’thave itany other way. “Ufwe'd watereditdown would we be ‘more popular? Who cares! Twenty-three year later, toeven beabletocometo the Ukand havepeople wanttobea partofit that's the victory.” new record, wejusthave ‘The British eg of The Black Crowes’ reuniontour begins at Manchester ‘Academy on March24,then moves onto Birmingham 02 Academy25), Glasgow 02 Academy @7)and London HMV Forum (29 830)HESPECTREOF Woody Guthrie looms ‘nescapably overanyflkleaningmusician nOlahoma, especially those om hisrural birthplace of Okemah. Which means that 24 year ‘old songwriter ohn Fullright,rafsed onan 8o-ace farmneatby isbette qualified hanmosttoassess its directimpact. “I gtthose comparisons wherever 1go,"hesaysin hisdry drawl, “and 'm not opposed toitbecause ma Woody fan. Growing up here islike living nextdoortoaneighbouryoudon'tknow anythingabout. Falbright'ssongs,asevincedon scintillating debut From The Ground Up,areinstead moreakintothose of hisheroes Townes Van Zandtand Mickey Newbury, existential “Inavery short "JOHN FULLBRIGHT ‘weather'sbrutaland there's not exactly generations ‘ofpeopleto upkeep theselitefarms. Eventually theyalljustkinda dry upand blow away withthe restoflt,Soatthispolntin mylifeit'sa privilege to stickarounda whilelongerand takea good look bereits gone” Fullbrightstated out playing county showsand fairgroundsat high school, butt wasn'tuntihe took "upaegularstin at Oklahoma City folkelub The ‘BlueDoorthathisartbegan toy Hisfrst gig there wasin April2008 "Itwassortofalightning od of songwritingin Oklahoma. Iwas terrified, siting before people who can hear every scared breath that comes outof your lungs. youdon't hhavesomethingtosaythenits very narrathvesbuitfomthebonesof tine John obvious, soithelpswhipyouinto Dies flkandcounty.Theresalso Fulbright wil Shape" Soimpressed was owner morethanahintoffellow Oklahomans |,- 3 ).cyeelvole] Gre@lobnsonthatheaskedto Jimmy Webb and Leon Russellin is clevercraftsmanshipand stylistic sweep, Webbisalready abig devotee and Austin producer GurfMorlixhas likened Fulleight' writing to “pre famousDylan beforeheleftMinnesota forNew York” From The Ground Up has now earned Fullrighta Grammy ‘nomination for Best Americana Album, while oneofitssongs, Moving’ recently wonthe prestigious ASCAP Foundation lytic Award. Ye, despite thepullofthewider ‘world, Fullxightremains very much rooted in Oklahoma oil. Thecoverof From The Ground Upshowshimonthefront porch ofthe farmhouse whereboth he and his father grew up Everysongonitwas written there."Thishouse \whereliveis pretty old and kinda falling apart." he explains."Things don‘ lastverylong outhere.The name in American ‘become Fullbrght’smanager, ‘overseeing the following year's Live At The Blue Door which setnew salesrecords at WoodyFest, the annual flkshindiginhonourof Oklahoma's most famous son, “Youdon'twritesoyoucan blend fn, youswrite because youhave somethingtosay." Fulbright reasons, “Townes Van Zandt} was theguy who really soldthat tome. Ttwaslike throwing gason aflame. He showed that youcould change peopleifyoutookthetimeto learn thecraftofsongwriting. When {patpento paper wantittlastalongtime. And fT mreallylucky t's goingtolastlonger than me.” John Fullbrights From The Ground Up released in the UK on Blue Dirt Records/Thirty Tigers on March r Where Are We Now? sornes ‘Ofcourse, the Dame'sstately and surprising returnhastobe Notin our playlist. Can The NextDaybeassatisfying? Water OnMarsonacerry Inwhich the Pilly lo-fi artisans acquaint themelveswithastudio,and emerge soundinglike the reincarnation of “Wagon’-era Dinosaur Jr Impossible Truth wenct Lambchop's guitar prodigy releases asecondzoloalbumofwidescreen psychedelic folkinstrumentals After Youvowstoaoonty The month’s second auspicious, unexpected art-rock comeback, rejected 2001disco tune, newly producedby James Murphy. ChelsesLightMoving wanioon ‘Thurston Mooreunveilshiswiry, ‘exploratory new avant punkband. Sounds ‘uite like Sonic Youth, reassuringly. Muchacho The sith album fromMatthow Houck, his most ‘expansive yet: ‘greatRolling ‘Thunder vibesand, perhaps, the potential foraBonlverlike Corollariscrassorsnes From Ukraine, the fastest piano playerinthe ‘world -« Resputinesque new pin-up boy for the postclassical scene, ‘The Hunchback EP resrosrexTunes Neat reissue of 2009 EP augmented with sixlivetracke from Atlanta 20n, The version (of "Freak Train’ featuring Bradford “Deerhunter” Coxisarit, ones rexr Forward:-thinking electronicamaven Kieran Hebden sneaks outa free albumoflat 2oth-Century tracks. Notexactly dated sounding, asyou mightimagine. Delta Swamp Rock Vol2sousazz Any excuse toplay “Freebird”, though the restof this Southernrock, country and soul compisexcellent,too. Forregula updates, checkour blogs at worm uncut.co.skandfollow @lohnRMulvey on Twttor ancit 203 | uNcuT| 9THE HEART OF ee SATURDAY NIGHT | aa Your guide to this month’s free CD Rat Winston Yellen rented johnny Cash’sold homestead outside Nashvilletowitehisband’s debut, aterrficcolletion ofkeening ‘Americana, outofBon ver territory. This burnished gemis the second track on Night Beds’ Dead Oceansalluum, Country Sleep. oe popmelody, Vocodernew-speak neToRun and techno hythmson this, Canadian calletiveheadlly mix Stony Ground asplashofSpringsteenwithGun | EpicfolkpopfromMichigan’sBen | tasterfromhisfirst albumin Veteran folkietumsgaragerocker? | Clubrageand the vigour of The Schneider, whousedtocampout | nineyear, ff The Record Even Thompsonadmitshewas | HoldSteadyontheopeningtrack | byLake Huronasaboy. Herehe surprised by how “in your face’ fromtheband'sfourthalbum, channels the melodic bounce of hesoundsonnewalbum, Electric. | Damaged Goods. Paul Simon viaacavernous Laughing Onthis clattering track, the record's production that dreams ofPhil Recorded inan Edinburgh church, core guitarbass-drumstriois Spectorand Shadow Morton Adey's brooding britoneis augmentedbyfunkyHammond | Will You Love Me leavened bythe heavenly wie of ifs, producer Buddy Milleron | Echoesof}oeSouth’s “Games, Helena MacGilponthishaunting second guitarand Siobhan Maher | PeoplePlay"andatouchoflimmy | The Promise track rom his first album since Kennedy'sbacking vocals. CIP's*ManyRiversToCross"in | Monolithic riffing, anellipeal 2006'5 All Things Real White'shushed vision ofblue-eyed | melodyandanunravelling guitar soul,whichmadethe29-year-old’s | solo, asyou'd expectfromDave Nothing Arrived but, Bigimner,ourfirst bum | Heumann'spyeh foll-rockers, Mercury Retrograde Plangentpianorolls,epicsynth | Of The Month of20n. Butthere'ssomethingdifferent | Philly fuzz-rockerMilePolize's stringsand fractured euphoria going on too, withamore previousrecordingsasPusling from theexpansive, lyrical streamlined tension othistrack | Hisswere recorded insolitude. follow-up to2010's Mercury NoOneTo Call from the band’s fifth album, Hisfirstalbum with thetwo shortised/IvorNovellowinning | Oldfashionedcountrybarsoom | Caming Out Of The Fog. musicians who accompany him ebutftomConorO'Brienandhis | swaggerand thecroon of ahonky. liveisrammed with no end of Irish cohorts tonkqueenaregivenarobust accessible tunes fullofgarage contemporaryeigeon the Junk-Drawer Sorrow ferocity, suchasth ‘opening trackof The Stand:In, Rustic banjosand plaintivetwang ngAtThe Moon thesecondalbumfromoneofthe | arejuxtaposed telingly witha ‘Now tesidentin Betln, Ryder DrightestandbestofNastwill’s | piquanttaleofsuburbanhyper _| ‘The Fool Disguised In Havdaleand hisevershifting new generation, reality ononeof thestand-out Beggar'sClothes tracks from Eternity OfDimmming, | The Dublin-born troubadour thethirdalbum (butfirsttogeta | wearshis Dylan influences releaseintheUK)fromMatthew | withpride(hiscoverof-Gates Miliaand his trot quartet Of Eden” waseven streamed on Bob'sofficial website). Thisrasping tal, from hisfirtalbum with Southern Colorado fullband, channels atterera 80 Zim with reverb heavy, Bleak, gothic beauty from the Lanois inspired prodiction ProlificJamesJackson Toth ona songthat relives the bizarretaleof thezonscross-countrycrimespree | Taking OutThe Trash byLeeGraceDoughertyandher | Nobetterway torocktoclosure two brother, which ended ina than with the raucous New York shootoutaftera1oompharchase. | quartet, descriptively named afterajohn Lee Hooker LP. The ‘way the guitars doublespeed Atomium and hit overdrive somewhere ‘TheformerKraftwerkman doesn't | around 430hasto beoneof stray far fromthe kosmische ‘our favourite moments ofthe motherlodewiththeweightless | yearsofar.Christopher Owens Pe Penis sandre “Lysandre isa composite love story as old as the hills, but this retelling is surprisingly refreshing” Observer CD of The Week Dona va eet ae ence Ce neg ee a eae Dore ent ee me eee ee aed eee eg “The man’s bid for a place in the pantheon of and fascinating greats is still on course “Beautiful. his voice sounds more Elliot Smith lke than ever” Sunday Time Culture love See ee 22 se he 2 eC ee oe BUS) bo 5 2 LSE Sse MCLE 6 eoAN AUDIENCE WITH Sinéad O'Connor The outspoken Irish singer recalls her violent exchange with Prince, oils up for John Grant and tweets Pope Benedict about her excommunication. .. THERE'S ONE thing! velearned “ overthe ast year, 'stokeep mylove lifeto myself" saysSinéad O'Connor. ‘Shes refering toasurreal series of eventsjustovera yearago, which culminated inavery publiceourtship anda marriage nLas Vegasto her fourth husband, “Istartedoff with ‘threearticles wrote fr te ish Independent about wanting tofinda boyfriend” shesays.“They were funny, butte way ‘they were reported mademe oun likea mental case.” ‘Aftera“minor breakdown’, O'Connor isbacktouring with, an “unplugged” band, She'salso given up Twiter (lawyers and rollsareall overt i’snotrock’n‘ollanymore”) staking guitarlessons ‘I wanna lay like Big Mama Thornton") and stil reading voraciously about theology. Overalonginterview she'srefreshingly unguarded andhilariously coarse:a7,000: sound, anditwas making me want tovomit.So, when Keishelped me offstage, lwastrying osuppress theurgetovomitoverhim.-abitot aheadfuck. And still remember dear old Booker - who'snowa seat fiend ~on the piano, getting ready play the Dylan song, But ryversion involved whisperingit, and the noise was too oud. So just shouted the ries to Bob Marley's “War instead. WilleNelson was waltingbackstage. He'savery funnycharacter, who'd previously trained mehow'o transport weed across county lines! He'd also asked metorecorda version ofPeter ‘Oh, that’s sweet. about the rape of small boysand “Twannabea musician.” It'sall, “I backintimeto, 12 uncut | marci 2013Lit Sha ee ASAD. wet 4, “You don’t get famous on X Factor unless youre a great cocksucker”Pecan tied ustcurious,if you'rereally "Mrs John Grant”, how comeyoubeen whoringaround ‘withall them otherslack-jawed troglodytes? John Grant all guested on obn’salbum and heaskedhow like tobe credited, and we decided on *Mrsohn Gant” Saly,Johnisgay. fhe wasn’t flap himup.vetried to {alkhim outofbeing gay, buthe's nothavingit.Johnand fare the bestoffriends, and weare the male and female equivalentofeach other, it'sthe weirdest thing. An extraordinarily talented musician andsongwrter and genuinely ke abrothertome. Andhelikestobe insulting toany man 'm whoring around with but, sadly, [have the ‘wrong equipment forJohn. mere, John, 'mallolled up and ready for you. even look ikea boy. Youtook partinthe1991 production of The Wallin Berlin. Whatwas Roger Waterslike? ‘Alex Reardon, Risca, South Wales Icannotbear Roger Waters, and Mitellyou why. Hundredsaf thousandsofpeoplespenta week's ‘wages, ifnotnearlyamonth’s for \whar’illedasaliveshow. The daybefore, they rehearsed all the lightsand theexplosionsand pyrotechnicsandall he wankdom you wouldn't needif youhad confidencein the music. They ell usthatthey'rerecordingthe soundcheck, jstso theycan practise againlate with the light. Sothenextday, I goonstageto ing = live-andthishappenedtoa 4 | vvcvt | marci2013 snumberofartists andmy micisnot ‘working. Andon comesa playback ofyesterday's recording. Sol'm forced tostandthere and mime. don't Uikelyingtoan| auienceso,assa0n asl gototistage,lsaw Rogerand chased the ccunttobeatthe shit , ‘outofhim. Hewas aquiteagile,as Tremember. What id youknow of Prince's musicbefore yourecorded “Nothing Compares U"and didyouevermeethim? ‘Simon Banwell, Berlin, Germany owed hismusic butThad absolutely noidea orexpectation that that single would besucha Dighit, nocatall Did Lever meet theappeal ofRastafarianism? ‘Dan Elis, Cambridge I mustcorret you~ i's Rasta, notRastafarianism. l'snota religion, itsanantérligious movement with no “isms”, one that Delievesinthepresenceotaliving God. 'ma itofasponge regarding religion, Isoakup theusefulbits ofeverything, butRastafarihas helped focus measahuman being andasanartstIalsolovethefact “Tell Liam and Noel I'd like them togeton with each other. Doit formammny’ssake, yer feckers!” Prince? didand, again, wedldn't likeeach other. tall. Hahalmnot going o gointoit, butwe detest teach other, even more than me and Roger Waters Itgot violent too, ‘which s why Iean'tgointot, Dbutitisavery funny story tellitwhen 'manold lady and Iritemy book. Forsomeone whohasbeenso critical ofbelief systems, whatis that they see musicasa priesthood. Therearealotofmythsabout Rastafari. Itsnot,inmyexperience, antifemale. Yes, therearesilly beliefs. Haugh atthehomophobic aspectoft. [confront Rastas when they’rebeing homophobic, but alsojustlaugh and pointouthow sillythey are. Thereareslly Delifs withinallculturesand ‘organisations butif wewereto reject something becausesome aspectsarelaughable, then ‘weld reject everything, including ‘ourselves. Pats ofmeare ridiculous, but don’t rejectmyself What wasNellee Hooperliketo work with? Yannis, Foals Forsome whieh stotaly unreasonable on ‘both our halves, wejust didnt ‘warm toeach othe. soften ard fortwovery shy peopleto bond, creatively. Hesanice guy, and felt Dad about it. Wewerea'tleftalone inthestudo,justmeand him, ‘which now realise fscrucial forany creative partnership towork. Wejustdid thatone song “Nothing Compares U"-andnever worked togetheragain. loved his stuf ith Soul Soul and Massive ttackandall that, ‘and! would have liked to hhavedonemore stuff with him inthaterritory Have youread Anthony Kiedis’ Scar Tissue, and ‘what's yourtake ons chapter on you? Brad Voegel, San Diego, California, USA’ ‘Ah, dear old Anthony from the Chill Peppers, or WalterMityasIcallhim. Heclaimstherewas someromance ‘between us. Which sabsolutely untrue. [hungout with theguy fora Few weeks. He thinks he's God'sgift towomen,andithinkhe haditin his head that fancied him, which Tuttery didnt. One day, Jake, my son, whowasthen aboutthree, was very, and Anthony gaveusalift tohospital. Which was very kindof him. Then, inside the hospital, Anthony made abitofapass at me. Tehoughtitabitinappropeate togropemegiventhat was listressed and upset about my son, and Idd lose my fucking head at him. And asforhis aims that he kissedme,itmusthave been some otherbaldbitch, ‘cosit certainly ‘wasn'tme Pd havetowash my mouthout ALOTFlaidanything like that, frfuckssakel® Sinéad releases anewsingle, th ‘And Vine” on fanuary28, 2013: she ‘also plays three London dates ~ SO ‘StLuke'son January 17, Royal Alber Hall's Elgar Room on February 5 ‘andthe Barbican Halon March27 OLE peers ireseereenteety perepereneeriet naTUT aeeamoeLen OA SEXSMITH = scene aT Qe) Fi TA BL] er ear en Painting OUT 4th FEBRUARY + CD / DL / ITUNES LIVE * FEBRUARY GLASGOW O02 ABC Pine Lee Pu RL RL ee oe kL LONDON ELECTRIC BALLROOM PLN eRe a eve) JOHN WHEELER ‘A NEW SOLO ALBUM FROM THE ALTER-EGO OF HAYSEED DIXIE'S FRONTMAN + OUT 4TH FEBRUARY UN-AMERICAN ES inte VATA Pees roy Rael Say LIVE * MARCH 7TH LONDON ROYAL ALBERT HALL a) PREG) EFC NVOIJIWY-NN 32al JIMI HENDRIX HOW |S JIMI HENDRIX STILL RELEASING NEW ALBUMS, : A2YEARS AFTER HE DIED? UNRAVELLED: THE COMPLICATED BUSINESS OF AMAESTRO'S AFTERLIFE Words: John Robinson Photo: Fred W McDarrah/Getty Images ANIEHENDRIX, WHOsafeguardsthe | madea promisetocachother.Hesaid he JimiHendrixestateastheCEOofa | would alwaystakecareofme, And sadto companycalled ExperienceHlendrix | him, ‘When! grow up, lwilltakecare of you 11Gytellsastorythatillustratesher | and thatfeltlikeacosmic promise. We've specialconnection toheramazingly talented | sacificedalotinourownlivestomakesure step-brother.Itconcernsapieceoffied heistakencareot chicken.Ononeoftheoccasionsthatshesaw | Alongwithherpartnersin Experience The Jimi Hendrix Experience play,she went | Hendrix notably longstanding Hendrix backstage to visit jim, justas theartist ‘engineer Eddie Kramer and archivistJohn cateringarrved. While Hendrixchattedto | MeDermot),thatis what, since 995, shehas Inisrecently discovered sling (he the attempted todo ~ take care, ifnotof Hendrix psyehedelicsuperstar;shethesixyearold | himself, then of Hendrix’slegacy. Experience chil) hisentourageofassociates,crewand | Hendrixhassupervisedconventionalalbum hhangers-ondescendedonthefood, leaving | reissuesoftheslender, but magnificent the guitaristempty handed, catalogue ofmusic Hendrixteleased in his “Lwatched peoplescarfdownallthis ferime. Therehave been DVDsandlive chickeninhisdressingroom,andhedidn’t | albums. Aboxset West Coast Seattle Boy) leven geta pice," remembersJanietoday.*We | aimed tooffera glimpse ofthe pre-fame arcu 2013 | uNcUT| 17.JIMI HENDRIX Hendrix, while hismany unreleased studio recordingshave been mined for eleases ike 2010'spopula Valleys O/ Neptune andthe forthcoming People, HellAnd Angels. In fairness, notallthereleases hhavebeenastackyasthe Live inOtiawa fan pack a DoxsetcontainingaT-shir, abadgesetandan Pod skin), butattimesyou have to wonder fHendrixis being accorded the singulardisespectofhavingbeen expoitednotonly in hishfetimeby his management, ‘butexploted ongafterhisdeath, byhisfamily. in fact, someone else isstil getting his piece of chicken HEJIMI HENDRIXarchive, says Janie Hendrix, is only thesize ofa studio partment, butisavery ‘well-organised space. 's.atemperature controlled vault, andi tyoufindshelves, stacked floorto 2-high cling with audioand audio-visual ‘material Preserving extanttapesand securing the recorded Hendrix studio canon isone of Experience Hendtix’s major aims. Another hasbeen tooffer tothe ‘market new releases that serveasthematicchaptersin Hendrix's musical biography, Forlivematerial wherethe Audio quality might nt supportaheadlinerelease, Experience Hendrix has created Dagger Records, which releases “official bootlegs’. Forlohn McDermott, an Experience Hendrix producerand defensive batsman forthe enterprise i'sallabout transparency, authenticity and context. “That's alwaysbeen our soal;"hesays.“Wetry tallowfans,as wearefans ‘ourselves, tohave the best understanding theycan of ‘what Jimi was doing witha particular concert or demo” ‘After some years of itgaton, Experience Hendrix (Ghen headed by Hendrix’ father, Al who died in-2002) gained the rightstothe limi Hendrix cataloguein 995, Since then they have been engaged on securing the Hendrixbrandand making Hendrly’s unreleased music arelevantforcein themsic marketplace, Inthis, they clearly feetasifthey havebeen ona mission right old wrongs, undoing musica injustices done imi'sname-mostnotablyby the producer Alan Douglas. Douglas, adivsive but unquestionably hip ‘musicbusinesslifer, produced several Hendrixalbums, ‘beginning with Crash Landing in1975,0n which he corrected playing mistakes, overdubbed and added! to therecorded music to serve the material behaved, in fact, very much srecord producersare wont todo. ‘Blues, meanviile, 1994 Douglas-produced compilation showeasing Hendrixasa blues layer, ‘became a platinumalbum. Tomend these and other wrongdoings thecompany hhasclaimedtobehaveas they imagine Jimi might: Jeaving unfinished thosetracks hat were unfinished (although Valleys OfNeptune featured songs overdubbed in 987 by Noe! Reddingand Mich MitchelD/and by presenting UR RRR ‘thingsas they were, unmolested (although they een altered artwork fora re-release of Electric Ladslandonthe grounds that Hendrixhimselt disliked the original “naked women" sleeve). Animpartal party might gently submit that [Experience Hendrix havenotin factfounda progressive way forward forthe musical estate, Dbutsubsttuted oe brand ofeditoralisingor theirown. They don't seetheiony. Janie Hendtix:"My dad wouldsay, Town this ~and tuntilsomeone else ovensit, which they never will, wlll making these decisionsaboutit eel what we do, wedofor imi'slegacy. The fans ‘wanttohearthe musicandfpeopefelacertain way, l'sbecause they have otheragendas.” ‘You workon youragenda. Experience Hendrix LLC, meanwhile willgeton with making the 18) uncur | marci 2013 curious decisions of which therehave beenafew.A Gibson-made lendrix"signature guitar waseancelled Jn2009 amid widespread iicule Hendrix rarely played Gibson; and anyway, thiswastohavebeen amodel that didn'texistin hislifetime)-Theirnew releases, sovernedby their“leave well alone" policy, mean that theyarereduced to offering deep fansalternative versions and mixes oftracksthey wil be familar with already, with nt much to entice the newcomer. Their album covers seem tohave been designed by an intern, using Adobe Acid Flashback. In2012, meanwhile the ‘company withheld permission touse Hendrix musicin a forthcoming, class Jookingbiopc,AlIsBy My Side, starring OutKast’ André 3000. Thebrandl’s behaviourseemson theone hand indecisive, and onthe other, unbelievably heavyshanded. All round, ithasled toan online pofleforthe endelx Estate that'salmost uniformly negative, ith Janie very much thetargetforthecricism, ‘Some ofthis issimply moronicand offensive ‘Some ofits bance bat faintly damning one representative Amazon review of Valleys OF Neptune eads:“onlythe very greedy would keep producing new’allbumslikethis~theseare ‘demos adja) Soistherea plan? Are Experience Hendrix's releasesactively weakening Hendrix's repttaton rather than srengtheningit? Jolin MeDermot:“Partofthe work we've tried to doisto reset the posthumouslandscape Ithinkthatfansrealisethereisadiference between something like Are You Experiencedand Fist Rays Of The New Rising Sun, where we'e(REPRISE,197) Sonically somewhere betw Ladyland’s power-psych ant politcited R'n'B made by the Band OF Gypsys,no-one was disappointed by Hendrix’ first Top 3 posthumous album. Asbefits someone who spent alotof time there, thisis studio music, driven by thriling mult:layered guitar rather than ‘especialy strong melodies. t's funky, it's trippy. and the tracks were all pretty much finished atthe time Hendrix died HIGHLIGHTS: "Freedom", “Ezy Rider (REPRISE.}971 ‘The confusing ttle did thieno Favours: it was ‘assumed tobe live recordings from the concert briefly Featuredin Hendrix’ ‘unwatchable Hawaiian motion picture folly Rainbow Bridge. tn Fact, itcontinues tomine the strong funky psych that made up The Cry Of Love, The great conservation anthem “Earth Blues” even features the Ronettes (minus Ronnie) on backing vocals. HIGHLIGHTS: "Roomful OF Mirrors" “PaliGap (REPRISE. 1972) The cupboard, fullforsolong, began looking litle bereft on this third release Includes ‘shumorausjam on“Peter Gunn’, which served as Kramer's tacit announcement to ‘management andrecord company that the barrel had now Finally been seraped clean -atleastfor the time being, The better track stillcontain some sereaming Hendrix playing HIGHLIGHTS: "Stepping Stone’; "Izabella’, 2 pairing released as asingleini970 (PoLvD0R,1974) Nota misleadingly titled collection. Eddie Kramer had tired of searching for rable Jimi Hendrix material -thie was compiled by engineer John Jansen, working preudonymously a5"Alex Trevor". Plenty of lark (there's fairly amusing studio chat), but this far froma substantial release. HIGHLIGHTS. "Drifters Escape" the Kramer stereo mix of The Stars That Play With Laughing Sen's Dice’, whichis mental, (REPRISE, 1975) The first Alan Douglas production. From “Somewhere” (which appearsinanew “authentic” versionon People, Hell And Angels) he wiped original mmusieiansineluding Stephen Stil (bass). He ‘aso wiped musieans froma ‘group called The Cherry People fromthe title track, replacing them with people who couldplayin time. Showcases Jim'ssheer heavisity and funky soul HIGHLIGHTS: "Peace In Mississippi’: "Message To Love REPRISE, 170) This selection from some of the many jams that Hendricledin 1969 and 970i lets than riveting, but bears races ofthe jazz circles Jimi wae moving in-thoughnot oF hsfabled jamwith John MeL aughlin. Miles Davis bass player Dave Holland putsin told workon Young/Hendrix’,adrivin piece on which Jims backedby keys player Larry Young, HIGHLIGHTS: "Young/Hendrix:the (REPRISE, 1975) This collection hangs together less well thanite predecessor, although the likes of “Gypsy Boy’ haveahypnotic quality similar to, ofall things, "Death OF A Disco Dancer” by The Smiths. "Machine Gun" ina studio incarnationisinteresting, butlacks the menace ofthe essential ive versions HIGHLIGHTS; “Gypsy Boy’,"Machine Gun” uncut) 19include “rabella" (which VS didnot), whose prominent, erie backing voeals mark an evolution ofthe Band OF Gypeys sound. Avery good albumindeed, HIGHLIGHTS: "Room Full Of Mirrors’; “Izabella (4c, 1995) Douglas'last Hendrix production, and avery fine one, Rather than claim tobe reconstruction of Hendri'last project, FirstRays Of The New Rising Sun this Lusesmany ofthe tracks, but frames them inanentirly different way than Hendrix suggestedhe himself might deploy them. The result? collection that satisfies the cosmic, hard-rocking and soulfulelements. You can tellhow gooditisby the fact that Janie Hendrix still entionsitdisparagingly. HIGHLIGHTS,“Room Full Of Mirror’ pee ene (SONY MUSIC, 2010) Rather misleadingly referredto.s a “missing link” Experience album when iteamecout, Valleys isn'tbed, butit's nothing ikeas coherent as that makesit sound. Some ine playing fromthe Cry saying ‘HHedidntliveto finish his, butthisisas "Angel" OfLovelineup (Billy Cox/Hendrix/Mitch _estanapproximation as wecan make: Weteelitsives Mitchel), but alternative versions of yout betterunderstandingof what Jimimayhavedone.” ‘Sunshine OF Your Love", "Fre", "Red House” and"Stone Free’, aren't HATJIMIMAY or may nothavedone, we particularly compelling wien stacked up cannotknow. What onecan say decisively, (44,1997) against the more familiar versions. however isthatthetragedyoflimiendrix’s | death in September 970 created animmediatethirst for produc, establishing precedentfor the unsatisfactory “posthumous landscape” of Hendrix releases “MeDermottspeaks of Frontanelcentrein building this landscapewas Eddie Kramer. Under what Kramertoday The first projectby the new HIGHLIGHTS, “Valleys OF Neptune” administration, to recompile the material fromthe firstthree albums muchas Voodoo Souphad done, Does, howere (SONY MUSIC, 2015) Telling that this featuresan “Experience"-eraimage (riltary jack onthe cover. I's almost asif Experience Hondl aretrying togive the Impression that these are lost Jimi Hendrix Experience recordings, rotate demos, remastered, (One forthe guitar shop people, mainlythisisa release withlots curledhait) Insists was heavy pressure from external forces("there wasmanagement, there was record company..,heand Experience drummer Mitch Mitchell set about compiling The ryOfLove,acolection of tracks Hendrix had been workingonatthe ime ofhisdeath, recorded between December 969 nd ummer:970.Twosubsequent “vault” LPsfollowed. Bythetimeofthefourth posthumousalbum, Loose Ends (974), Kramer quit the project, the quality of the material had tailed off,and thealbum wasrejected by Wamer/Reprise inthe US (though itcame outin the UX. Ikwasthen that Warner Brothers called Alan Douglas Aecord producer and friend ofMiles Davis, head been atthe centre of asocial circle thatincluded Hendrix, and ‘of soloing, bt nat many actual songs. Painstakingly restores performances, that were wipedby Alan Douglas on ‘earlier releases for being not very good, ‘Authentic’, yes-but does rather prove bis point. HIGHLIGHTS: "Mojo Man” by the Ghetto Inlate1969, hebegan toinformallyasisthim with his recording. Because Douglas had paid forthe sessions, thetapes wereinhisown ibraryat the New York Record Plant, not Hendrix’sownstrip-mined archive. “said fo Warners, send me somemoneyandT'ilinvestigate,” Douglas told me in2009. And that's wherethenew Fighters, on which JH guests. CoB stole Pa) Wea ne)ew ole Luoselc original material came from.” ‘What followed wee releases ofsome controversy Whereas wenowexpect ur archive” rock material ‘obewartsnal, Douglas wasatter making-headline releases, not Disc extras. So between 197580, he set about makingacommerciallysuccessfulstk purse from theextantrecorded sow’sear retaining J's .gultarand vocals but using 70s session musicians ‘woverdub unsatisfactory pats. Ina posthip hop ‘world it doesn’t sound oo frightening anotion, but forExperience Hendrxitisanathema,andthey define themselves by opposition tot landidn'lookat those tapesin the way we have." says ani. "“The jewels thatwere there. The ‘old administration didn't seethe value in them, and fortunately for usthey didn't, as now fansgettohear something curated tobe released. Wemakesurethe ‘musicisauthenticallycomrect. We don't bringin other atiststo over fatrackisn't upto par,insome people's eyes, Wekeepitasauthenticasitcanbe.”mand Michichel serrata aad [Aaeeyeaterterer ‘TISNO COINCIDENCE that much ofthe posthumous Hendrix workreleased (rom any source) isalittlesketchy. Although therearesnippets of unreleased studio work from the original Hendrix, Mitchell, Redding lineup ofTheJimi Hendrix Experience, the majority ofthe posthumous work comes froma period when the guitarist was inastatof flux: ith hismusi, with hisband, and hiscarer. twas, exciting, atime of musical change, Inwhichafterthe1968release of Blectric Ladyland endtixtried to broaden his ‘musical palette by using new musicians. Conversely, hisstore of songsand ide years, was, aftera hugely prolific period, considerably ‘depleted. "Wheredo you go fom there?” asks Alan Douglas. “Alltherecordscame out within 18 months. It Jefthiminakindofempty place. Hehadt startcreating something that got him offin another direction ‘Whatfollowed,to frequently mind-bendinglengths, ‘wasstud jamming Extensive woodshedding served ‘oinductmasicianslike Billy Cox.Someservedto reconnect him with old friends, ikeanotherarmy Due, Larry Lee, Much wast work upnew material, some ust for Fun. Allthe while, tape rolled, “There were 590 hoursof apes ohm when he died endrx’sclose friend Deering Howe ol me in2009, “Hewould go for oursand hoursand getstoned. They'd doone eight bar section fortwonights.” ‘Though philosophically opposedin ie, both Douglas and Kramer essentially agreethatinthelast8 months ofhislife, Hendrix was struggling fora way forward “Partofthat struggle was very necessary and worked 10 hisadvantage” says Eddie Kramer. "Asthere'sa simplicity toitandafunkiness, agritiness which was partofthatnew direction. Hendrixundoubtedly had some kind oflarger plan, evenifhe was notabletoseeitrealised completely inhis lifetime ~ many of the best 1969/1970 recordings for ‘example, were tohave comprised an album called Fist amassed over SS. ays Of The New Rising Sun. Without he {uding hand ofa producer like Chas Chandler, however, the fact remains that nothing was definitively completed, dle Kramer countersthati'seasy tobe wise after the event, butalstantalisingly suggests thatafiermuch experimentation, Hendrix might havebeenon the pointof repairing his relationship with Chandlerand moving back oa ‘more formal way of working. "Before mien 1970, hesought Chas counse,"hesays."Ithinkhe wanted tputback the od team, He'd learned from the experimentation and realised he needed Chas buthehad tocome tothat realisation himself” /OREXPERIENCE HENDRIX, the mission goeson, ‘With hereliefofaman whohas recentlyspent time restoring inadequate musiciansto mixes rom which he removed them (under imi'sdirection) ‘a yearsago, EddieKramer suggests that new releases derived from studiorecordingsareprobably nowatan end, John McDermott enthuses about theodd journeys thecompany has made osecure new Hendrix material fromunlikly sources Janie, meanwhile, seems satisfied that sheis doing things authentically. and betterthanthe“old administration”. Ironically, its probably arepresentativeof this oldadministration who best understands thata definitive, “authentic” post ‘humous discography willalwayselude imi Hendrix. ‘While we've been flattered by the museum quality resentation ofthe Beatles and Pink Floyd catalogues, thedisorder ofthe Hendrixcataloguelsafiting if sideways testament to hismercuralbriliance andthe disorder of hisafairsinlife.“There'senough Hendrix :musictolistentoalready-—allyouneed arethosefirst fouralbums,”"says Alan Douglas. “Itiswhatits. don't thinkanyone canstraightenitout. Becauseitwasall lmprovised, itwasneverinany order to begin with." People, Hell And Angelsscu'on March on Sony Muse Magc# 201 | uncut | 21.JIM JAMES Story: Sharon O°Conne Photos: JoMcCaughey ‘TSABITTERLY coldwintersdayin Louisville, ‘Kentucky, aned the un sstrugglingto shine. Whenit oes, sharp yellow light floods through the picture ‘window offim ames’ oungeroom-cum-stuo, poolingon thecenterpiece avast, 'Sosrecording consolethatonce belonged toDan Fogelberg. Overit looms eal bison head, prop froma video shoot. The space ~part gear geek’s dream, par playden ~isariotofbric bra, instruments and (mostly) vintage recoding equipment. Mobiles, softtoys, Balinese wood carvings, second-hand religious pictures, woo tapestries plantsand posters from thelocal za compete forattention withassorted guitars and preampsand open cupboard shelves heaped with effects pedals. Anold upright Steinway, a Wurlitzerand AceTone ‘and Hammond electric organs ate ranged around thekitchen ‘doorway, aselection ofhandsome ancientamgs stashed underneath them. This big busy room —inalow-slung ranch housein the Seneca Parkarea isthe centreoflimjames! ts wherethe singer songwriter, mult-instrumentalistand producer workson is deeply soulful andspacey, aci-tched ‘ountryzocksongs or Wy Morning Jacket. l'swherehe hhunkers down with other musiians (the day before Uncut ‘isis, James had finished aweek’s session with Galaxie 9008 Dean Wareham whosesoloalbum heisrecording) and ‘where he ald down hisown solo debut, Regions OfLight And Sound Of God. Buti'snotjusthishome studio, withitsdrum roominthe basement, which sthe hub ofJames' musical ‘worl. I's Lousvlle self The River ity has helped shape themanand hismusi,notonly by providingacreative stimulatingenvironmentin which My Morning Jacket and Fares’ previous band, Month OfSundays could develop, ‘butalsobecauseone ofthe venues tha serendipity turned up isdirectly responsible for MMY'sdistintve, heavily everbed sound, Only wooftheirseven studio albums havebeen recorded elsewhere, and apart froma briefspeat university inLexington, Jameshasneveroptedtoleavehishometown. Inacolumnitentastyearforalocal magazine, he saidof Louisville, “Thavealwaysfeltextremely fortunate and proud tohavebeenbor here, and cherish thatas partof my carthlyidentiy” Unusuallyaffectionat, given that mostof uscan'twaittoquitthe place we grew upinforsomewhere— anywhere ~ more exciting. "did go through thatphase, 100," ‘admits james, who'sawelcoming and good-humoured host. definitly wanted toget out when wasinhigh school was like,‘ want to gtthe ell away from hereand gomakeit somewhere but gotreally fortunate to travel allover the ‘world, and vebeen gonesuchalot that whenevereame bbacktoLoulsville,Iwasalways rally glad toseemy family ‘and my friends, nd the community heres just soamazing. feelike always live here, justbecausewanttobea part ‘fm family. havetwin sistersanda brother ane my sisters havealotofkidsnove Pus, 'vegot friends ve known since fourthgradeand we'reallstilreallycose.Ivaluethat,and it's given me something ocarrywith me stherever go.” ATRICK HALLAHAN AND Dave Givanaretwostch friends James, now34, hasknown themsincehewas nine years old anda pupilatStMartha Catholic Elementary School. Hallahan, who shares ames’ birthday, IsMM’sdrummer. Givan sa bandmate from Month Of Sundays (later, Mont De nda, formed when they ‘were theirmid-teens, and hedrumson muchof MARCH 2013 | uNcUT|23JIM JAMES james’ newsolo album, Heand Jamesalso 0-host Sir Microcosm, aweekly one-hour show ‘on localradiostation WEPK, that runs the gamit fom Hovin’ Woto Veral.yna.Itwas Givan'sparents who I first gave the teenagersaspacetomessaround in, ‘even before Month Of Sundays formed. "Iwas always lucky that Dave's parents were thereandsowilling to Jetus pactisein their garage," James admits, eeausethe parents ofother peoplein out rend ‘sroup didn’t wantus playingin their basementall night. [doa'tblame them ~ {wouldn't ether. But Dave's parents wereeally cool and justletus have therunof the place when wewereabout 3014, We ida’ thaveany money and we la'really haveany ‘other placetogo, Thats kind ofa problemin Louisville youeither rehearse in someone's house or you find some storage shed somewhere. There'snota lotof rehearsal off space, as such” Inst umentscame rom generousand families, usuallyatChristmas. "I justbeg al yearlong," laughs James. Luckily, my parents were really swet and gotmemy fstacousticgultar. My uncle bought me my frstelectric guitar which wasa Fender Squier Stratocaster copy. tHeovnsa company that makes business paperworkand solworkedforhim, payingitofE.ttwasbackin the day when printer paper was perforated andcameinalongsheet,sothadtorip the individualsheetsand tearthesidesoft They were super cheap guitars because nobodyhad any money, butIstillhavethemall andTlove them, Wedidall kinds ofcoversin those day, ‘but REM's‘Losing My Religion’ was thefist song we evr tried to play together: 2 MonthOfSundayswasbornin gay utofa mixof frustration alienation and dedication, } intoanunwelcominglocal scene. AsJames remembersit,"Weloved Métley Cri, Pantera rene studios feeling lik and Sepultura, butthosebands weren'tcoolon the Louisvillehardcore scene. Thatwasjustabout Steve Albinianalthe Chicagoscene, Sintand post-rock, Endpoint. wanted to play ourown music, wich was heavy and crazy, and we had urown paletteof ‘sounds, But people thought we wereustdorksan di notlike us. Wecreated what we called our freakscene \whichwas geatforus, butitwaskindof frustrating because nobody elsecared. We'd playashowand our friends would watchus, then they'd playand wetdbe ES ‘Watching them. Meanwhile, acros town isa sold-out hardcore show, where peoplearelosing their minds.” Davi Pao, of Louis's fted post rock progenitors Sint, so yearsolderthan James, but swimming always emember un eyPCa eR aUae sfTOM WAITS OMEWHERE IN THE TEN MILES BETWEEN Silver Lake and Burbank on the east side of Los Angeles, Tom Waits has lost his bearings. Aiming for the house of Jerry Yester, formerly of the Modern Folk Quartet and The Lovin’ Spoonful, and the man designated to produce the young singer- songwriter’s debut album, Waits has instead rolled up outside a used car dealership. |) tgotthiscall” says Vester, who doesa pretty mean Waits impression.""Well now Jerry, min frontofthisplacecalled, uh, emmesee, AutosImports.. Eventually he found hehouse, Thad my Baby Grand there, Isetupataperecorderandwe | recorded everything forthe firstalbum. = See Inthemiddle ofthe first song my wife, who ‘WestCoast singersonguiter: warm, heartfelt, vulnerable, alittle okey and sentimental attimes. And yet evenat this embryonicstage, hestillsounded utterly unique Bonnie Rait, who moved backto Ain 3973 tomake Takin’ ‘My Time with Lowell George, recalls Jackson Browne tipping he offabout the new kid on theblock. "Tom's frst albumhad just come outand there wasabuzzaround him among thoseof us hanging out inthe Troubadour," she says. ‘was scrubbing thetub, threw down, herragandcametolistentohim. Ivwasamazing.[stillhavethattape. Wssospecial.Hedidn'itinto anythingthat was goingon, hat, ‘was thegreat thing but him. He rade isownitleniche:” Iwasealy 1972, and Yester zemembersasking himself thesame ‘question people haveasked of Tom Wiaitseversince:"Whothebellishe? Youcouldn’tquitenail him down, ‘what he wasand wherehe was coming ftom. There wasabitof Kerouae, the beatnik thing, Tin Pan Alley, Lord Buckley. wasn’ tikehe satdownandsaid, Letmesee, what kind ofimagedol want" Ibwasall, Instinctive, from the inside. No-one wwasdoing whathe was doing” Forthosenow wellaecustomed {othe Waitsian world ofone-eyed dwarves three-legged tangosand ‘twisted bus, his debut album Closing Time, eleasedeatlyins973, seems almostshockingintssincere simplicity. Thereisnoclanking chain sgangrhythms, no gravel-voced, ‘bug-eyed theatres, no wise racking 1p lopsided shanties ordrunken saloon songs. Thisisascloseas Waits willevergettobeinga conventional “Inthelocal musiclans'cicleshe ‘wasalreadybecoming legendary: He \wassooriginaland unexpected, and soauthentic early on. Hewas writing such beautifullyrics and harking hacktoanerao classic, great melodies hisappreciation ofthat styleofmusic knocked usall out. ‘And then he ad the persona on op ofthat Itwasamazingtothinkhe ‘came from San Diego!” ITUATED 20 MILES south of Gertein sera seemanunlikely breeding sround fordusty mavericks, yet Waits livedin he cityanalts satelites~ National ity, Chula Vista with hismotherafterhisparent’s divorce in 960. twasherehe began hisapprentieship. Closing Time may havebeen recorded. Los Angeles, Dbutinmany respectsitsafond Dhomagetolong San Diegonights spentmakingmusiciniothewee ‘small hours. The cover photograph Aepicts Waitsstumped ata battered piano, beerand smokes closeat hand, theclocksetatouchafter 3-20amn. not only capturesthe after hhoursmelancholyofaSinatratorch song, butalsotheoriginsof Waitsas working musician. “Whenhemade hisfrstalbum, putthatphotoon the coverand calleit lasing Time, to rmethatwasa total nod to that whole scene ane howhe gainedhis chops,” sayshis friend and fellow San Diego musician Ray Biel. "When the clubs closed fr the eveningand people wwerecleaningup, getting pad, Ihedbeat the piano practising.” ‘Aged ain973, Waits had started activelyengaging with STEP RIGHT UP Who was Waits’ first manager, HERB COHEN? | WANTED A BIGbruiser, the tough guyinthe ighbourhood,” said Igotit” Ahard-nosed Waits first manager moved toCaliforniain1952, ‘graduating rom running coffee barsto promoting concerts for Pete Seeger and Odetta. By the "7oshismanagementroster Included Waits, Tim Buckley, Alice ‘Cooper, Linda Ronstadt, Lenny Bruce andFrank Zappa, with whom hheformed the Straight/Bizarre label, responsible for releasing Captain Beefheart’s Trout Mask Replica. As with Zappa, Cohen's relationship with Waits ended in litigationin the early '80s amid creative disputes and accusations of financalirregularites. Even so, ‘gerneral manager Robert Duffey ‘emphasises Cohen'simportance in Waits’ early evolution away frombis sing songwriterroots. “Herb convinced him ‘tousenatonly more ‘musicians, but props onstage,” says Duffey. “Herb was constantly talking tohimabout the visual aspect of whathe did" Herb Cohendiedin 2o10aged77.Cee al Pees Cette oe ad Tae renee) Caen = Wcrosby.’ His love of pre- ‘war American pop, evident onhis pene peoveaenty Crosby, Perry Como, Cole Porter, ee eee eee eee eal pees *,) og SF ee Pinter aye Losaelneseieny Paseo) eer trandlations of Shakespear ee eres poppin’ daddies: knockme your cena ee d Lue anes eerie ra een ay group of writers Con Creer er ee) whomapped out analternative enn ene ee nee popperedwith direct references ee ee ay ee eet eee Peres Perea ONE COa gg lace! Te Nighthawks (i042) ny) eee) Z) tae ores Pe a ees Pee ty eee ‘evoked throughout Closing Time, peer anon Ces pera eee Le ete ee at ee ee ae nee Peo ee enemas tee ey cee eer prnenrs nye eee pe ee ee ee) eos marci 2013 | UNCUT | 35,LES ery VINO MNO UN Seamer acon As =Kerouacand Felinghetti,"Weweretoo youngtobe real beatniks but we were morebeatnikthan hippy Dackin g71and'72," Cooke continues. “Itwasn'ta scene. twas pretty underground.” While workingas adoormanat the Heritage, Waitsbecameaminor celebrity forhissub-Beats shtick. “Often on slow night there would be more people ouside hanging out ‘with Tom than inside watching the acts,” says Bier “Hewas practising cymes: ‘Car goes by/Looks Ike ts feting high/Onthe ly Keepingloose.” He fused this atthe time ‘unfashlonablerevivalofthe’sos ‘counter culture withthe traditional sound ofpop standards from the ‘2osand3os. Waitshad learned to play pianoasa teenagerbutitwas thetuitionhe gotaroundthistime froma riend, Francis Thumm, ‘which “helped Tom develop this rich, chordal, early American pop styl" says Bier. "When hestarted pulling the piano chopstogethe, thaswhen youstarted tothink, “Boy. Mhelped his writing utgrowa mid es obsession with Dylanand become more directly influenced by writers and singers from very diferentradiions, among them Mose Alison, Thelanious Monk, Randy Newman, Bing Crosby, George Gershwin, rving Berlin, Frank Sinatra and Ray Charles, For Bonnie Raltt“thesoundhe ‘created in his head even back hen was ~Iwoulda’tsay anythingasdefiningasretro- but lassi: Aswellashissonguriting chops, Wats honed his siftsasaperformeratthe Heritage Hlewasa good ‘mimic-he could doa great Ray Charles anda version of ROBERT QUFFEY “Are You Lonesome Tonight?" which served asboth Evvstrbuteand parody, “Idon’tthink you would have saidhere'saguy rally going places, but you di say hhere'sa guy who s really interesting,” says len. “He kinda stood out, the seeds ofhis persona werealready there, though would develop. Hehad.agret sense ot humour and you gota sense of integrity right off the bat thathe til has.” Rat, who toured with Watsalitle late, recallsthatonstage “he wasastonishing, his rapport with theaudienceand \where he wentand his musical sophistication. There wasno-one ;ehim, Plushe was hilarious.” |ETROUBADOURON Santa nica Boulevard wasthe bhubof the burgeoning early singer songwriter scene. In sg71Waitsbegan making regular \uipstoLAby Greyhound busto play the club's Monday night open: rmiespots. Hewouldleaveat dawn, andarriveatnine or 10in the ‘morning, queue upformostof thedaytosecurea.20-minutespot thesame night, play "scared shitles,"he ater confessed -then head backhome. Onany given night the Troubadour would befilled with the industry‘leadingartists,agentsand ‘executives. Deceptively ambitious, Waits wasactively ‘chasing break, anditarsived in ne 71 in theform offer Cohen (se pane!p38}, whomanaged Zappa, Beefheart and Linda Ronstadt, Coben diein 2ovo but Isgeneral managerat the time, Robert Duffey, was ‘with him the nightthey fist laid eyesand earson ‘Waits. “He didaset that was kindof Dylanish is SE Ein HOUGHWAITShas an impressive record when -comestolitigation, he couldn't prevent his1971 demos being released as The Early Years Vol.landIlinthe 90s. The 26 tracks-solo and sparsely aecompanied.-confirm that the songs which appeared onthe first three albums wore already fully formed, while the unreleased tracks are fascinating."Had Me AGirisclearly intended to crack uplive audiences, but the sidelining oF "Blue Skies" is baffling. "Wehad somany calls from advertising agencies and Tomjustwasr'tinterestedat all” says Robert Duffey. “That was ‘one of his most brillant songs Thereisalsothe fist appearance ‘of Frank, in*Frank’s Song”, Marci 2013 | uNcUT| 37TOM WAITS ‘theonly way can describe,” says Duffey “Hedid someofhissongsand acoupleof covers. Hewasonly on forashor timeand he didn’ tsound anythinglikehe soundsnow. He was quite folky. Itwasalmost unrecognisable as Tom Waltsatthispoint.” Histendency tobemore“folky"inLA may have ‘beena pragmatic recognition thatitwouldn'thurt tobenda litlewith the prevailing winds, While Duffey acknowledges that Waits was "very good ‘very captivating” asa performer, Cohen primarily coveted himasasongwrter,signinghimtoa publishing deal wth hs Third Story company as vwellagamanagement contrat. “Itwasalways aboutthesongs with Herb, and Tomissongs were just bilan,” says Dutfey. “I waslike, Wow! ‘Where this guy come from?” Hereally was exceptional The deal gave Waitsa vital sense of validation. Backin San Diego, Bier recalls giving himaride homeone nightand Waits telling him that he“was going to throw himself into this. Hewas going to goforthe gold rng, sotospeak. Hetold ‘melaterthatifhe hadnt gotten thatcontractitwould have pputhimovertheedge. Hereally gaveitall had, he didnt Jeaveanything behind.” Fortherestof971and nto '72 Waits continued totravel DetweenSan Diego and Los Angeles, playing hoot nights at ‘the Troubadour and writing proificallyinone ofthe small roomsinCohensofie, “We had where Zappa would often berehearsing next door. Writing wasa verysolitary QTEALTESPeCt sciviytorhin. says forhim, —— Coote.Herecorea numerousdemosof his songsat “alttlestudioin Bel Air forDuffeyto shop around, Before he evermet Waits, Yestrrecalshis former Lovin’ Spoonful ‘bandmate oe Butler telling himaboutdemosof *GrapefruitMoon” and "Martha. Twenty years laterthese early sketches ‘werereleased, against Waits wishes, as The Baty Years. Backin1971no-onewas quiteso keen "A Iotofrecord companies passed on him, says Duffey. “They wouldaskme, 'Isthisreal?Imean, wnat isthis? Eventually wegotGeffenotakea chance on him David Geffen and his partner Eliot Robertshad eecently setup Asylum Records. With Jackson Browne, Judeeilland JoniMitchellon the roster, the label pededitsefonits artiste empathy, viewing Waits uniquenessasa positive point of diference rather thana negative.“ Wehad great respect for him, though could nevertinderstanda word he sala” says Ron Stone, who worked in managementat Asylum Cohen scheduled theallum sessions forthe ear summer .0f1972, hiring Vester, whombse hae managed inthe Modern Folk Quartetand usedasa producerforhisotheracts, Including Tim Buckley. twas ester who assembled the core Dandoffohn eiteron drums, ill Plummer on stand-up bass, Peter Klimeson guitar, Delbert Bennetton trumpet and Waitson piano. He planned o record duringthe night at Sunset Sound but “the only thingthey had available was soam (till 6pm. Ohshit'Thefirstcouple of days werealitle ‘grog; but we gotintoit Tom was ike, Man, thsi ke proper job! 'vegota nightof, Ian goto themovies!™ This band ofnight owls thus found themselvesworking office ours forten days while recording the quintessential Jate-nghtrecord, Opener “O55” isthe closest Closing Time sgetstoa UV ray,and even then the “sun coming wp” only Decause he's leaving his gi'splaceafteranight(o though Icouldnever understand aword. hesaid!” ROB STONE 38 | uncut | wacH 2019 Pree Rome ry Corer ard are) eres end Coreen Peers alocalbar andhave eae cna aonenend extent the coveris ee en cere rs Berner area rere oenreeres eae peer eee nny Re series arene we would ens ere a ee ear ees carson ey eee ny Pena couple of cere The whole concept eee rare remember. From thereon the mood isindigoand the action takes place firmly afterhouts:barsareemptyingor losing, streetsare filled with moons, memoriesand“alazy oldtam ‘catona midnight spree”. "MidnightLallaby"isboth typical ‘and self explanatory, Bennett's mournful trumpet pinning ‘outintothedarkness “Virginia Avenue” takes late-night prowalong Waits loping pianoline, Plummer'staut bassand Klimes searing blues licks. "Rosie" was writen, according oYester, back in San Diegoin responseto“a ‘wistful rush” Waitshad on thefollesinger Rosalie Sores. Hope That Don'tFall In Love With You" isalast orders vignette which puts the listener right next to Waitsand the ‘objectot his slight sozaled affections. oucanseethe pub, man” says ohn Seite. *Youcan see thestoolsand you ‘cansee the girl. Oh, i’ fabulous, Hewasa great songurriter, The pictures, the visuals outofhisIyrcs wee justamazing, Theheartstopping piano ballad “Martha” wasthe most Impressive example of Walts' ability to wete way beyond his, ‘years.Singingas Old Tom Frost, hebecomesan elderly man ‘wistfully calling hisloverof 40 years ago. Fulloftenderness ‘and regret, n972"Martha” thrillingly countered the prevailing trend for solipsistic self-expression. Yester talks about Waitseven then being “ageless, while Bier saysthat “healwayshad that older guy thing goingon. When Tom asin junior high heliked to walkaround withacane, and soovertohisfriends house and playall their dad'srecords [rememberplaying Clash Time to [Bruce] Utah Philipsin sg73and hesaid, Howoldisthis guy? How cane be writing songslike* Martha”? Whatan imagination!" Thefractured “Lonely” performed solo crosses over fromthe album's default setting ofmild melancholy into something ‘more profoundly painful, Evenintheearly days, says Bier, “wedida’ttakvery much about personal stuff. Hewasa ‘reat guy very funny, buttherewas.a certain reserve Aotofartists have that dual thing: they’re very private, independent types but still have theneed torelateto audiences. Hedefinitely had that.” Earlyin972 Waits had finally moved toLA, rentinga tiny apartment inSilverLake which he shared with Bobi Thomas, anldhigh-schoo friend whohad become is girlfriend. Athomehe tended toread voraciously, Otherwise hhehungoutin dinersand dive bars, hissocal ifeevalving primarily around pool, cigarettes and alcoho. "We'd gosit in thecarand drinkasix packofbeer” says Vester. “He really enjoyed that And weplayed aloof poo. There was aplaceoverin Burbank, 5ocan hourfor these great od ‘ablescovered with eigaretteburns inthis funky itlebar “Man, we loved playing pool and drinking beer. Waits’ parents were both teachersandhis background was staunchly middle-class. Theextentto which he was now consciously playingarolehe had written himself intois ‘open toalmost endless conjecture. Bonnie ait, who toured ith Wats shortly after the release of Closing Time, recalls thatafter arriving ina new town “hewouldtakeabustothe skid rowareasandsitin the lobby ofsome flophouse hotel allnight.Beforeagigand afterwards, too. Doingresearch!™ ‘Yesterisadamant that “itwasnt calculated, he just ‘wast’ thatkind of guy.Idon'think 'wemeta performer WAITS VARIATIONS The artists who have tried their hand at songs from Waits’ debut Time's mostraucousmoment living up ‘TIM BUCKLEY tohisname only towards the end (SEFRONIA,1973) Abusier,beefier reading, with Resecirlireed NANCI GRIFFITH. and Buckley s ethereal voce struggling (RUBY'STORCH, Sight tomatch Wats gravitas. “Tim ja 2000) waraWitstan’ seysRobertDuttey. MMUMMI wit’ First great “He got what Tomas” ‘orchestra ballad was handpicked by Grifith forher lush torch songs covers project, and fits thebrieftoaT. ENGLES 5. (ONTHE BORDER, A en ee Stee (TWOSUNSSPECIAL hevmeris dpe EDITION, 2009) transformative ive version from2007, full ‘of drama and sweeping electronic ‘textures, Thsis early Waitsby way of jggedanthembecomes a polished slice of commercial ountry- rock. “The Eagles made'O1'ss' really antiseptic,y’know,"he grumbledin’7. Kate Bush's Hounds Of Love. SCREAMIN’ JAY HAWKINS. ee (BLACKMUSICFOR | Ameataas WHITE PEOPLE, 1991) ‘Thebluesman breezes through a coo clicking, subdued version of ClosingTOM WAITS Seer eee) cee eres ees ees Pe eaets Idlidn't get whathe was Pres Roose eae eee eed ores Coe orc hadbeen transformed epee eran nner eee peareeeeey pC erneny eee ee Coen eee nr] eee ey ee ee ere eee Waits came offasatrue peean teres) ene pane poet ear erro epee ey peer eae] poner ee) Cee pererentow eee tee] the heavens, That evening secs ere eee eae Poe eer) Pee ae a Pees eee es Poatee ete ni ponent chow-oratthevery least, ert Caco wwhowassomuch comingfrom theinside” ForRait, | SanDiegonightson"tHope That!Don't Fallin Love With ontrived ornot,“heinhabited i Therewasneverany | You" and “Old Shoes (And Picture Postcards)”. Cooke hung fspectof Tom's personaand music that questioned.” out while some ofthe other songs were recorded. "When he “itwasreal- definitely" saysDufey.“"Tom would prefer | did’Martha’hejustsat down atthe pianoandsangthesong tostayinsomefleabaghotelthanaMarrot.Hejustfelt | inonetake, and therewasliterally ntadry eyein the ‘more comfortable. Actually, can ememberbeingreally | house. [tjust grabbed everybody." The addition ofa quite surprised whenithitme that thisisreallyhim-this anda “choir” of voice to" Martha”, and particulary Jsn'taputon thisisthereal Tom Waits, Whathewrote | overdubbed stringson the aching "Grapefruit Moon”, were about washislife” Laterinthe'7os Waitsembraced the the anly major production flourishes. ester recalls, “Isaid, kidrowlifestylealitletooconvineingly, buthewas“very | “‘Treallyhearastring quartet,andse said, “Ahhh God, together during Casing Time er. WhileSeltergot | strings, dunno, man..’ Sol said ‘Let's txytandif you don’t trong sense that he wasn’t writing these songsoffof likeitwe'lldumpit’So wediditandhelovedi. Hestarted someone lse's experiences’ headdsthar“hewasn'toutof _usingstringsalotafter that.” it He wasn'tfoggyatal, he was very creative There were moments during the sessions and soulfulatall ies: when itbecame apparent that Wats iad never playedive recorded ‘uitethe care © tha fullband beforeand had barely been sometimes seemed, Yesterrecallshim gettin inastudio, yet ewas clear about whathe “studiotis" one day during ixingat Wally ranted, Friendly and laidback, he wat Heider’sstudioin Holywood, “Sohe wentout already ntransigentabouthisar. “He forawalkon Cahuenga Boulevard and: knew exactly who and what he was an abar. Hecamebackwhiteasa sheet, hew: . shaken, andsaiTjustcameon oa} “Hehearditallinhishead, hhad encountered atranssexual or transvestite agrees Yester.“Twantastand-up Inthebar who wasreally convincing,‘ ba thought they dd they would fuckicup. He warrant.“He wentoff with the policeand went backto the liked those guys, and they it him studio to see ifanyonehad any money,” says Cooke. “They ; hy # and wantatrumpetinthere, doing great. He'dbeen up from and, uhhh, guitar. My job was Eereeed SanDiegolessthanayear and stil wasn't simply tet everyone hear what PS BASE cuieaccustomedtoalltheinsandouts ofhow was goingon,nottotell him whatto ce weird Hollywood had gotten."Oneother doorpointhim inany directo coceasion, out driving with Shep Cooks, No-one could getinhishead ~andi anestedon anoutstandingjaywalk 51 that record twas really productive, didnt, sof drove home, gotmoney from my mother, went really wel. Everyone was ntoit, really awal mtothestation and bailed Tom out ofjailabout thre and happening. There was alotofcamaraderie.” hous later He was playingatthe Troubadour that night The ist couple of days Sunset Sound were spent iter, making loshg Time“wasunalloyed pleastre, | learning thesongs. Tom would play’emdowen, weworked —_didn'twanttheLPtobeove” Theclosinginstrumental tle them out, and that “iewasprettysimple | track, featuring Tony Terranion trumpet and Arni Ei forus. allhistunes table” Thedrummerwas | onbass,wasthe last song recorded atahastly assembled soenamoured with O1"55'thatheinsistedonaddinga jon which ester regards as one ofthe most memorab harmony vocal."Icouldn'thelp myselt, hadtosingalong _ofhisentirecareer."We werein thebigroom at Western ithhim-Tjustbusted out Lfrced myselfontothatsong. | Recorders, whereSinatrarecorded, a beautiful recording Thesamewith Rosi; buthewascoolwithit. Heallowedus | space. Twotakes. Magical. twas one of hose times ina curinput. Hewasn'stonecoldagainstanything youmight studiothatwassospecial no-one wanted tleave. Weall bring up thatwas worthashit. Hewasvery good that way.” | hurgaround forafew hoursafterthedama thing W Almost everything was ecordedlive."A lotofone-take cone: ‘Le’shearitagan! That'srare. tended thealbum Stull saysShep Cooke, whocameintoreprsethosefolky | soperfecly. Thatwasthe capper, andthelast thing wedi.'AVICARIOUS THRILL NIGHTHAWK TALES Melody Maker's Steve Lake meets Waits in New York,1975 HISISANolddineronthe __“Itstartsoff asa vicarious sort T funky endof 8th Avenue, of thrill. Throughsomebody elses hungwith grease-stained —_workyougetthe feeling that you cardboard plaques that say things _coulddo somethinglikethat, but like “Hamburg french fries + then later you ind out how very coleslaw=95c",TomWaitsfeels _fficultitactuallyis todo fathome.Impossibly crumpled, something meaningful” three-sizes-too-big, dark grey We can't avoid talking about suit, collarliberallysprinkledwith Kerouac. 'minterestedin the dandruff,tornT-shirtdecorated style mainly. Before! found withaxle-grease thumbprintsand Kerouac! waskinda groping flat cap. Bloodshot eyes, hollow for somethingtohang onto, cheeks and wispy goatee. stylistically. waskinda lstir HisnewLPiscalled Nighthawks the'6os. Knowingl wanted to AtTheDiner.Togetthenecessary _dosomething creative, not ‘ightclub atmosphere, Tom knowing how or where to doit.” movedtables and chairsintohis Waits remainedimmune tothe favouritestudio,openedabar celebrated San Francisco music andinvited his friends slong. ‘explosion. "Ithoughtit was “I'vealways found t awkward ‘waste of time knew twas going toadjusttothe studio that toconsumeitself pretty rapidly. knowledge that you've gotthe Iwas moreinterestedinthe early than! samefaciitiesas any other artist beginnings ofthat sce atyourdisposal. Youcangoinand wasinits progress. didn’t goto ‘makeagreat album or youcango San Francisco untlthe whole love ‘and suckraw eggs. and lowersbitwae allover, and ‘flean'tfindamelody tohang when! did gol waslooking forthe thewords onto,ljustdon'tworry City Lights bookstore andthe aboutit Idoitanyway. without” ghostof Jack Kerouse musi. gota thing on my "Writings muchmore easy Upcomingalbumcaled’Spare _businesstodiscuss"he crooks, Parts! whichisathinglwrotebut “thantoactually get down and do thefinalanalyssit'sa solo ityourslf.Youcantalkfor days «fortis something youdoby _abouthow you write or where you yourselfandnobodycan really writeorhow youlketheroomor FARA fellanybodyelsehowtodoit.. what youwite about” {EFIRSTTOM Waits album wasreleasd by Asya (B®) areyouand whathaveyoudane with Tam Wats!” Afew I ‘onMarch2o,1973-To promote losing Tne \ ‘yeasafter losing Tine, Waits intimated that Yester had beaded onto theemmants of Kerouac’ America Ee pushed him no makingamoreconvenionalrecodthan withathree piece band, opening foreveryonefom Z he wanted the producer disagrees. "When Tom cameto ZappatoCharieRich,Withinmonths,°Martha"bad || ‘myhouse thatfirst day be had prety mach picked the been recorded by Tim Buckleyan ee material he wanted, Herecorded aloft at my house ‘ew Asyum bad called dhe age siesta }withone ortwo extras thel together perfectly forme, yearsbefoe Watsstarted makinga sigificantimpact. {Fever questioned the material Remember, he was sill Nothing realy happened unt wellater Casing Time, me F coming outfatoiky period downinSanDiego..” Hequickly turned away from those roots. On the1974 follow-up, The Hear OF Saturday Night, Waltsalready sounds looser, morejived up, retrieving rapssuchas saysDufley.“Weweresurprised. WethoughttheLPwas soingtocome outanditwasjustgoingto gocrazy but : people weren’tsureaboutit They werent even sure where ‘oputi We'd gointo record storesonthe roadand he would “Diamonds On My Windshiel”fromhis1971demosand always be inthe wrong ection, with EydieGorméand those = | emplayinganew band andanew producer, Honestiowe. kind ofpeople. That was tough, COUId GetiN | “Boneshadagreat grasp ofjazz musiiansintAand Tom Cees were similar confused, Clash Tne atracted Saas da definitely wanted to goinajazzer drcton,"says Vester, seeallygtsevewsinchtingoneinAoigsinetht | FST@AC iN | pocontmed wring wih atsasstngaranger compared Waist RandyNewmanand Loudon Wainwriet | the studio Until eaty Bos, by which ime ead become much lt whileexpressinguncertaintyabout whether this guy was . ‘more recognisably the offpisteone-man genrehe parody orforreal. Atsome pointin the 4 yearssinee, Waits ifthey remains today. side-sepped the sue by becoming, inthe words of Bonnie hey Now 63, Waltshas travelled along way from those long, Rat, “hisown entre genre’ did, they | ,tengratsendigoansheyorngman ede ‘losing Tine forms onlyasinallpartofthatlongeccenttc | WOU £UCK | ewig” narnotsofarthatyoucan't trace the road back. narrative, thoughitdoes so beautflly with disarming “Tomwas~andis~avery smart man,’ says Yestr. "Closing come eremelizamer aera eer tesa itup Tieshowedhim eco gan wise Decent iheaetiarnateoerdo oper Muweaave | ontenndtnecutdn-wshebctabuabyiacsa | _JERRY YESTER f] Coie ncaa ses coarse “7 anewp eck ro Cat on Wa 4) Cerwaontte Tonal aera ho “arcmin arabs Starr he arcH 201 | uncur| 44Po ensTY) era Pore ees : Peace digbes Hack to wark under the auspices of Collins, Uncut ‘Salutes one of Britain’s outsider geniuses: a neglected hero ofnew ‘wave, a radical crooner and, for the past 30 years, a career postman.. 1CGODARD PEERS through his hor-rimmed {lasses and reads aloud froma well thumbed ‘copy The Complete Prose Tales Of Alexandr ‘Sergeyevitch Pushkin. I'sashortstory called “Egyptian Nights" about poetin ‘tPetersburg visitedby an talian lmprovisatore,anartistable to ‘compose songs at will Whichit does Godard read? To behonest, withthe noise being made by hisband,i'shard totel. I's likea garageband jamming ‘whilea Dansetteplays“The Git" by The Velvet Underground. Meanwhile, theaudienceatThe Boston first saw Viein Edinburghin1977 atthe Playhouse. The Clash were there, The Jamandthe Buzzcocks lbway Sect. Itwasasifthey justLanded from nowhere” Godard (realname Victor Napper sone ofthe greatnearly ‘menof punk, animprovisatorewith the knackoof abandoning the zeltgelstjust before itbecomes apparent. Aswellasbeing oneofthelasting inspirations from punk's firstwave, heembracedeasyistening, fashioning himselfasa new wave Tony Bennettinthe early 980s. Hewas there during the subsequentjazzreviva.Yetby mismanagement, llfortune and design, hheconsistentiy managed tosidestep commercial success. Therecords werelost, delayed orabandoned. Theband was sacked, or Godard was. Butstil, the ArmsinNorthLondoninlate2012lookson | andtheSubwaySect _influenceofhisangulr, literary pop looms Iimpassively.Perhapssomehavecometosce | and TheSlits.Iwas17 _large,noteaston Postcard Recordsand apunkrevivalshowbyaveteranof The ‘andtheSubwaySect bana ikePrimal Sceamane!TheJesus And Clash’s White Rot tour. Certainly, thelr curicsty willbe sated by brilliant, chaotic versions ofsongsby Godard formerband, the Subway Sect~*Parallel Lines”, ‘Nobody's Scared” and-bestofall~ "Ambition", which welds existential ambivalence toa glorious driving melody. ‘Ats5, Godardis wiry and energetic {ncargo pants and untcked shirt. Tonight, hisbandis TheSexual Objects ledby Davy Henderson, ex The Fire Engines and ‘TheNectarine Nog, Henderson fist ‘encountered Godard.asa 16 year old, when hiesaw the Subway Seetatthe Edinburgh Playhouse in 97. twasamonochromaticimage of ‘otherworldliness"remembers Henderson later, "but rooted completelyin henove. Vie was ipping up bitsof paper. it remindsme of subsequently reading about Hugo Balland hisfirs Dada performancein 116. twaslike he was tearing up what hewas singing. ddn’tknow anything about the weremesmerising, Rob, the guitarist, couldn't play.the bass player eta ipierena a drum player,hmmm, debatable, butso what? liked the position the Subway Sect took.ttwas exciting and unusual From the beginning of Orange Juice, I wanted toassociate myself wth that strand of punk rock Mary Chain. documentary on Godard, Derailed Sense, isduethis yar. Accordingto EdwynColins,Godardisthefinest composerofhis generation” Irvine Wels, ‘meanwhile, describes Godardas one ofthe {reatestmusictalentswe have” Sowhat happened? “T™malwvaysoutof synch,” GGodardtlls Uncut witha wry laugh. That's ‘what! mall about Notjustin music. out ofsynch nallformsofexistence” JODARD GREW UP in Bares, in South West London, and hisealiest musical dabblingsinvolved writingiriesand Sitting them toexiting songs atthe local youth club ona Sunday night. Schoo frend Rob Symmons was learning acoustic gultar, and heand Godard used to travel uptown in searchofR'n’Bshows. “Itwashardtogetany records,” remembers Godard. “1n1975, wehad this shop, BizarreRecords, on Praed Steet. That's where we used too, togetThe 3th Floor ance 203 wNcuT] 4B,Elevators, The Velvet Underground, Weusedtosend for stuffas ell, like Television's irstsingle ‘Lite Johnny Jewel. never heard anything like that in my fe. tt was fantastic” Everything hangedwhen Godard and Symmons walked past The Marquee on February 12,1976, whenan. appearanceby the Sex Pistols degenerated intoariot. “Wearrived whenall the kerfulflewas going on and that's ‘what attracted us," says Godard. "Ithappened inthe doorway, you saw chairs being thrown, From then on, we ‘went to every Pistols gig wecould.” Inspired, Godard, Symmons, Paul Myers (bass) and Paul Packham (drums) formed theirs lineupof Subway Sect. few weeks later, they were approached by Malcolm McLaren ata Ramones/Talking Heads show atthe Roundhouse. ‘Symmonshad made a Subway Sect shirt, which caught theeye ofthe Pistols’ manager Recalls Godard, “Hesald: “Ob, you'vegota group? Yes, welied. We practised round the comer fom hisshop, sohesaid he'd come and seeus. He wasnt impressed, Wewereabysmal ‘Butwe did have thelyrcs. suppose that's what ‘made him persevere. Weweren'tsinging aboutany rubbish. He ai, 'Youmight beable to doit it depends how dedicated youre.” McLaren paid fora week's rehearsal, anda the endofit the Subway Secthad just aboutearned foursongs.Theyals found themselves added to {thebillofthenow legendary 100 Club PunkSpectal ‘on September 20, 1976,alongsidethe Pistols, The Clashand Siouxsie & The Banshees. Bassist Paul Myers remembers “how nervous we i - i For their debut, Godard ‘abandoned punk discordfora poppy, swinging production. Purists may balk, but the undemanding arrangements RES This set comes closestto ‘capturing the angular poetry of the early Sect Itaevillustratos Godard'srapidjourney from ‘existential punk="Nobody’s Scared” to Left Bank crooner, ‘on*Stop That Girl" For abroader ‘summary of Godard’ career ‘ry Twenty Odd Years (Motion, 1999) and Singles Anthology (Motion, 2005). Highlights include aspry “Split Up The Money” andaskiffly version ofthe classie"Stool Pigeon’, whichbetrayethe influence of Television, 4fy uncut mance 2013 VIC GODARD ‘expose the subtlety of the songs. were only picked upabassabouta month before. We \wentup todo our first number, and within soseconds they stopped.us. People talkabout punkbandsnotheingableto play, butthese people were musicians. [remember Steve Jonesand MickJones saying, "You're totally outoftune We didn"teven realise then that the guitarand the bass needed ‘obeintune. They cameupand tuned our guitars.” Allthe same, Clash manager Benard Rhodes offered ‘hema lot on the May 1977 White Rot tou, alongside The Clash, Buzzcocks, TheSlitsand The am. “Weonly had four songs,” admits Godard. “So Bernard sais"What youneed todobefor the tours keep doing gigs, and every time you do gigs, domoresongs. We lid three morefor thenext gig which wasan absolute disaster. From that ‘moment itwas obvious thatthe drummer [Packham] was going toleave. He wasa great bloke, but hed like being humiliated on thestage.” Packhams departure began the first of many lineup changes. He was replaced by Mark Laff, amore proficient player. “He was ightyears ahead of us,” admits Godard. "Butitddn'thelp, becausehisstyle of drumming was the ‘opposite of what beginners ned to play along to. Keith Moon washisidol. Weneeded someanelike Charlie Watts to letuslearnhow todo these songs.” ‘efore the endof the tour, Laff got better offer. “Hejoined Generation X on thelast date, in Dunstable,” saysGodard “Itwasa great ig, though. Weknew hewas leaving and we were very resentful, sowe went othe roatlies, and sad, Look, we'regonna setup thisthing ‘where Mark's drumkitexplodesandhe thinksit'sonfire? Soataparticularpointinasong they etthisdryiceoff, and hhewaslostina loud, and they started pushing himoutof the way. Webroughton Palmolive of The its from behind aacurtainandeartied on with he. Then TheSlitscame on and wedi thismad version of Sister Ray’, with TheSIis and The Prefets. The crowd weat bananas!” HEEARLY YEARS of Subway Sectareshaped, pethapsmisshaped, bythe roup'sstrained relationship with theirmanager.Godard says Subway Sectalwayshadasuspicion that Rhodes saved hisbestideasforThe Clash. But hemay also hhaveperformedaservice by ignoring someof Subway Sec’s more outlandish thoughts. There was the time they suggested replacing their grey garb ‘with Puritan costumes. “The Clash hada much betterimagethan us,” admits Godard. "We thought we weretoo drab, what could wedothat would havea bitmore ofan impact? What wecame up with was those big white siets with a point down the fon Aglorious ‘combination fringing guitars and soul choruses, with Vie addressing Post Office reform on Back In The Community” and contriving torhyme “call me daft” with , "Géricault's raft" on" Music OFA Werewolf” rousing tribute, “Johnny Thunders’ the glorious riffing of "Nulfy My Reputation (Im Gonna)’and the sprysoul-pop of "Won't Turn Back’, The highlights the title tr which marries Godard’: Underdog sneer with wiry slide guitar. Vinyl re-release coming soon on AED.Hi 4 i | Peete buckle belt, doubletsand hose and thoseshoes withabig brassbuckle on the front, anda pointy hat. Wetold Bernie aboutthisand hejust laughed.” ‘Then there was theiridea fora staticballet, where you moved o specifi positions for different parts of the song, ith awhite cross on thestage. Robs idea was that inst ofhavingacross, you'd ust glue the shoesto thestage. We actually didagigin 978, where wehadastandardlamp,a settee, anda coffee table, and people making tea withuson stage. But the audience didnt take ot All these canswere flyingacrossthe settee. haha, twasmy mum'ssetteeand standard lamp. They ended up onthe front cover of [March 1978 debut single] ‘Nobody's Scared Later that yar, when Subway Sect supported Buzzcocks ‘on anautumn tour, Rhodes did attend to the groups image: “Heboughtus these V-neckjumpers. He thought Iwas being overshadowed by our guitarist Johnny Briton. He ‘was quitea ashy individual onstage. Iwasreally reserved. So Bernie thought the group should wearred V-neck, but would weara white one, tosignify Iwas distinc. Butweset firetothem,sothey hadaburnthole here the eart was!” “Vie certainly gave the impression of beinghis own man, remembers Buzzcocks drummer ohn Maher. “You weren't going o getrock'noll moves. Hewasn'ta frontman inthe conventional sense, butthat worked in is favour. Imagewise, they werea refreshing change from te identikit ‘punkbands that cropped upfrom’77onwards.I'like thelr {mage was based onhaving noimage. NoMohicansor bin ‘bags Vic used to wear suede slip-on shoes and cardigans! ltwast’ta prformancewith us,” insists Paul Myers. “Alotofthe stuff, lke Vic having hishouse key ound his nec, he'sso forgetful that that’s what hehad todo. Vie wsed totead he lyrics off paper, which isodd becausehe hasa photographicmemory Despite the success ofthe Sect'ssecond single, November 1978'5"Ambition”, Rhodes dumped, orchose notto collec, recordings made forthe group's proposed debut album. “It ida’ treallygetscrapped,” explains Godard. "Itjust never wentontothestage where youmixit It gathered dduston theshelvesof the studio. Nobody knows ‘what happened othe tape. Itprobably got use for something ikea Dennis Bovellalbum. They did ‘hatin those days. Tape was expensive.” Instead, the debt album by VieGodard & The ‘Subway Sectartived in December, 980. What's The Mater, Boy?had been two yearsinthemaking, during which time theband themselves had been replaced by Rhodes witha soul outfitcalledthe Black Arabs — who'd played on Te Great Rock'n Roll Swindle album andarhythm section consisting of former Clash drummer Terry Chimesand his brother, ohn. Clash soundman Mickey Foote produced. “Bernard put together MTT SOUL SET" How a bootleg of a Subway err eiechicee) pope | tenes CER capere eos (eneron Se ae Rees Home and Orang ee eer es better find some kind of opposing look mene with the audience. They er eee re eater cee arora eee eee en the Posteard sound. Orange Juice ene ana and Horne repaidthe favour by rane ityis Pome ete Etna posrnues eee Cee ete) Seen ee Machine witht eee ee Eanes a croatia een Peete rete] Prien Seer pee inane eterna’ ROUGH TRADE ANBITION an: we Ce a. the musictansto record the songs that maybe he didn't thinkhad been done justice” says Godard. "Butby then, wasn't going todo the songsin thatstyle, ether. Iwas changing te songs toreflectthe fact we naw ad the Black Arabs doing harmonies, and congas, andareally good hythm section.” CGodardhated the sound ofthe record. “Ithoughtit wasdlire. | hadsolittle contol inthe actual mixing ‘and production oft. The ony timel got any control ‘was oneday they wentforlunch, and didn't. stayed inthestudio and didamix ofone ofthe songs that was exactly how {wanted tosound. thought, "That sounds fantastic? Then when they cameback fom lunch they sai, “Tha' treble, Vic. Terble: Asthe tos progressed, Godard’ tases shifted further ‘owardsjazz. The 198: single, “Stop That Git’, came from ‘material Gaara wrote forthe Black Arabsto take on ‘oursupporting Dexys Midnight Runners. Meanwhile arcu aon wncur] 45;the latest version of Subway Sect -RobMarche, Dave Collar, Chris Bostock, Sean MeLusky ~tookupa Thursday night residency at Sobo'sClub Left founded ona promise of "coo, bopandswing”. The jazzy thing developed ntoa greatscene we hada steattime,” says Godard. The lineup recorded Songs For Sale (1982) ~analbum of 940s stylejazznnumbers which featured Godardon the cover dressed ina tuxedo and ‘bowtie —before things turned sour ftera tour supporting Altered Images itwas Godard’sturnto be sacked by his ‘ownband, wo went ono form JoBoxers. “They were ambitiousand they could see that wasn't," admits Godard “And they wanted todo music that wasm’tjaz, that was ‘more punchy. Godard persevered, however In 1984, herecorded the album .R.0.U.B.LE.atthe prestigious, expensiveLondon studio, Olympic, with Working Week, Jumping Jiveand Shakatak’s backing singers. "Thatsat on theshelves, ‘unmixed forabout twoandahalf years," Godard explain. “Then Geoff Travis rang me up andsaidI want ogetthis foutnow, on Rough Trade. ostinterest after thatalbum, Decauseitwassoawful. couldn't beievehow awfulit ‘was. Theyspentalotofmoney onit, but they didn't spend anything on mixingit. Luckily, Geoff Travis, yearslater, sgaveme themastertapes nd that'show Idd In TROUBLE. Again 1998).1gotrid ofall the crap vocals anda them againatEdwyn's. Then was really happy withit-ltswhathappens~makingarealmessofthings, then yearslater puttingitright.” iE CONSTANT WRANGLING tok its tll. nthe mi "Sos, Godard tied from muse, aking on ajabasa postman, ajob hestlldoes today. "Evenat the Post Office, 'm orally outof synch. Idon'tdothejob that anyone person woulddo.{'mnotinonetown = 'mall ‘over the shop, withoutactualy knowing until the ‘morning where'm going. Thats why lloveit there it'satocaadventure.” Hisreturnto musiewas prompted by reading Chis Salewicz’s obituary for Johnny Thundersin 961. Godard ‘penned the anthemictribute“Johnny Thunders’, which ‘came ton the Rough Trade Singles lubin 1932 Iwas followed by The End Of The SureyPeople(s993),muchof ‘which was recorded, Joe Meek style, in Edwyn Collins London fla. Collins added guitar, and some ofthe debonair 46 | uncut | marci 03. cry ee ae at nates Peeeic Grace pene parit damenar Dead Peace eee reitent Senet paises peor iae Pioneer Sond eee ress or pac acomarie amare r nT rN rec ea eer een port en ere Peete oer nena eee penbarse eee pen ears ony Caen ne playfulness oflate Orange Juice, and the band includes Primal Scream keyboardistMartn Duffy, Amazulu's Claire Kenny, and Sex Pistols drummer, Paul Cook. Meanwhile, Godard'sPost Office colleague, Paul "Wi" Baker-who helped coax himoutofretirement- also played, ‘Bedroom recordings were always my favourite,” ‘confirms Godard. "I's the most enjoyable way of doing things” Collins agrees: “That was brilliant time working nthatrecord. Vie'd mein theafternoons with ots of ideas, godown tothe bookies and study therm come bbackand writ somemoresongs Godard still had ittleappetite for being ina group, but eased his wayback by playing guitarin The Long Decline alongwith Alternative TV's Mark Petry. Healso played with The Bitter Springs, who doubled asthe Subway Sect when Godard needed a band, fling in for over eight years until Godard reconstituted his own group. The Springs also recorded an EP ofsongs fom Blackpool Godar’s skiffly soundtrackto Irvine Welshsll fated 2002 musical “Vic's genius songwriter,” considers Welsh. "Rwasa privilege to work ith him, his songs wereby fa the strongest elementoftheshow.Hisstyles var from dark rocknollto pure beautiful pop. Visionaries ke Edwyn and Davy will aways want ioworkwith Vie he'svery mucha kindred spirit. Latterly, Godard has begun to curatehisbackeatalogue inanattempt salvage someof the projects that got away. (On1978Now, hereworked thesongs from the Subway Sect’s “lost first album and heiscurrently working on 1979 ‘Nowat Edw Collins’ studio, ecreatinga Northern Soul set which proved influential on Postcard [see panel, b45]-Paul Cook now acts ashisde facto musical director. Original bass player Paul Myersishack. “Itfeelsalothetter than the’ 70s,” explains Myers. “One thingis constant. had no money in the'70s, and playing with Vic now T've got no money either. The thingabout Vic he'snot pushy orambitiousforhimself.thoughtall along, mplaying witha fantastic songwriter that hasn't gottheaccolades he deserves.’ lalwaysplcture Vieasa tennis player, like John McEnroe ~he's got somany shots, hhecomes upto the netand he cant think ofthe shotto pla. He'sso talented. Maybe he's too talented “LrateVicashighly a Irate Tom Verlalne,” says Douglas Macintyreof The Sexual Objects and Creeping Bent Records, whose efforts have done much rehabilitate Godard’ reputation, “Tome Vieisthe greatest talent that ‘cameoutof the punkmovernentin terms ofhislyrics, the aesthetic, things thatareunder theradar. And guess because henevermade the rightrecord, that madeitmore elusive more mysterious.” ithasbeena ong, confusing trek, and Godard seems happy tokeepfolowinghis impulses, no matter where they takehim. Looking backon the 3 yearsof mishaps thathave kepthimin the underground, he remains sanguine. "We justwentwith whathappened,” hesayswitha wry smile, “Iget pummelled around by what the forcesclctate."® Vie Godard’ single, Caught In Midstream/You Bring Out The Demon In Me, is out nowon AED RecordsFoleasod 11/02/13 buy your cds, dvds and books from fopp bristol cotege green // cambridge sidney st// = ifthey suck we'llgive you a swap or your lolly edinburgh mse st glasgow unon st bes 7 ondon covent garden & gowerst// manchester brown t// nottingham queen stSE oo uuu ULL -CH-CHANGES BRIAN WILSON: We ookotfrcal fast on ourcareerandthatisavery sentimental picture for me tsee.Becauseit was before Thad my ight hairdo. And before Mike went bad. MIKELOVE: This isthe “Surfin’ Safari sleeve, dressedin our Pendleton shirts. We dentifed the surfers ofSouthern California hada certain dress, sowedressed that way. Surf bands ured figuratively as well as terally ltwasastateofmind, WILSON: looksensiiveand young, That's when we rally started going. Wasitstrssful tobe wrtingand recordingso much? Well, ‘was youngand adventurous and creative, solleamed very fat how toproduce records, because listened toPhil Spector's LOVE: Thecallo production and creativity wassostrong with [tsian). ide abit much think that anybody could withstand that pace, and not haveittake somesortofatal WILSON: tooka video camera toLondon,Iremembertaking picturesat Piccadilly Circus. thought itwasa very nicetown, very diferent. That wasthefirsttimeT been abroad. LOVE: This makesme thinkofmy cousin Brian and Isinging our Freshmen songs witha young lady we met over there. 'vealways loved England. spent timein Brighton, andi 396s Iboughta1a48 IMG. Talsohada Jaguar anda Rolls-Royce. Darn dandyish. WILSON: Pet Sounds. di feel like was peaking at songwriting. “Good Vibrations" was hat year. My collaborator Tony Asher and Thoth thought, God, we'e really into this Did seem ike there was no limittowhat leoulddo? Yeah, That's howitfel, backin 966 LOVE: 1 wasin India atthe Maharishi place, and Paul McCartney told ‘me, "Mike, you really oughta take more care with your album covers!" 48 oncut| marci 2013,WILSON: Before this, TheBeach Boys had told meat theend of 982 they didn’t need my services. That hurt my feelings, LOVE: Thisisafter ennis[Wilson passed awayin1983, Obviously that wasadrag, hewasmy cousin. The things, Dennis was outofcontrol with his additions. remember thinkingitwaskind ofmiraculoushelasted aslongas hed Anaccdent waiting to happen? Yeah unfortunately. ar WILSON: was cared to goon that yacht. They were saying, “Come on, Brian, youcan doit” [weighed 250. wasn't the best time ofmy life LOVE: That brings back some memories allright laughs. Bran was under the cate ofthe notorious Gene Landy. We welcomed Brian backcreatively, whenever itwas plausible BRUCE JOHNSTON: Bruce Johnston snotin that picture, thank God, because some ofthose guys discovered drugs, and that’snotmy thing. LOVE: “Kokomo” had justbecome ourfirstNox afterareallong while “Good Vibrations" was themostrecent,in'66, and then 22yearslater, justlike clockwork! \wasfaniastletoachieve thatagain. Weinvited Briantosingon “Kokomo”, but Gene Landy would havehad to hhavebeen the producer andco-writer. Terry Melcherthought heed done pretty well inthe productionarena,and ‘weld wert it with John, Philips, Landy was Intrusivein that way. aT WILSONs1 was with Dr Landy, and he suggested thatItrytomakea solo album. And thispicture Actually doesnt Took like meatal. My eyes look half shut. Doesn'tlook natural? Right. have mixed folingsaboutDr Landy. Insomewayshe was quitea lave driver. LOVE: Landy got Brian's ‘weight under contol, and more productive. There's alotofbadthingsabout Landy, butthat wasa, good thing JOHNSTON: Brian looks lke the guy who invented health, Lovely wasjusta fun thing obeon Baywatch Nights. Itwasfun lteracting with David Hasselhot WILSON: stat Carl [second ef? Carl ded three years afte tha. twas devastating tome, but! got overt JOHNSTON: Horrible pictureof Brian looks ike wemade him be init 'msmilingin the Baywatehjacket. And Cans somewhere between Roy Orbison and Johnny Cash, being a loyal, good sport LOVE: Brianhashis waysof doing things, and sodol. By agreement we came together, ut thesoth anniversary was alwaysthe term toit~ anno, meaning year” JOHNSTON: The best show ofthe our was the Royal Albert Hall. fet like othe voices weresinging, Thad no contol twas ikea miracle WILSON: wasabitnervousto bearound theguysaftersuchalong time. did'mind winen Mike went on without us, asthad my solo career. wanna ecord some ofthe songs on The Beach Boys Love You and do them onstage, n my slo carer ~ fever dosomething again ‘The Beach Boys Live In Concertsoth Anniversary Tour DVDis out now marci 203 uncur| 49CTRL bs oon ‘People liketo ~ connect with their traditions. The echoes go back and back and back... On arainy day in Southern California, the matchless RICHARD THOMPSON takes stock of five decades in Bolts om Gone y mene oven Corleone SITE AVON atc Occ ae SCOP OTRO LUCE Teel bnew Hons! eam OMR YER IUU CUNO CC Pe ear) oneens folk-funk and bittersweet home thoughts from a ee Flay ce):T am UOT ACC) Bn DBT ADEN Tmo Nee Sr 7 tinged with sadness — I can’t win, really!” “1972 Marries Linda Pettifer, Patent en a Lraeia orient rea ee ee ey Seer aeed Peer ee een ees ee pre coer oad ere) Sey teen (SE Seon Fer ee eee ene ert poe et ee Peet ea ree eer ae eee Toe en eee eer ee er ee emer acta Pere eres ee ee ee ee eee eerie ce eee ee en eee en peer eerie Pe ee ete Ree eae eee tree ee ete ee eee ev ee Sas Sree ee cr Beemer team Peete Scene eee ero eee eee a ses eta Poe eee eae eee ce ey Sees ee ee ee ee eee pei prermmistery Ce ee a ee eaten ed preeecreea eee eee er ae ee ete eT aS eae eae Pececoreraneetien a) enn Preteen ee SEED raggotinthesalad.Hissongstendtowards That'saverybluntttle. roe nonetans ere er et eet ee am eC TL Os ence res Perea ee eee ree ees prromny en ee ey ete eee een perme eral a eens SSS ee etn eae ee es er Sa eat pete eee eas Ene)bay FT z 5 2NASHVILLE SOUND ‘Why did youchooseto record with J Buddy itler? Ireallylkedthethingshetddonein hishome studio: the Solomon Burke record, the Emaylou thing, Shawn Cavin, andl seems very adaptable inrecording situations just thought!t would bea relaxed and productive environment toworkin, whichittured outtobe: werecorded very quickly, [thinkwedid thebulkof tracks infourdays, which salmostilegallyfas-This wasbasically ustmy trio: myselfand Michael SN] fp ronsonatums Taras roaniukon bas And fweneededasecond gultaronasong, Buddy wouldsitin with us. Everythingrecorded to16-rackanalogue, which sgreat Lotsof ancient microphones around the place's thetirsttimel'vedonethe fullanaloguething inawhile LECTRIC WAS RECORDEDatthe J] Whataretheprosandconsofrecordingan Nashwillehame albumyourselfandlicensingittoalabel, studio of Buddy Miller asopposedtosigningtoalabel? vedone that forthelastfouror ive records Temeans that you own the production company, and youcontroleverything:yourecord itthewayyouwantit, ougetthe artwork the way you wantit, and you offerittoalabe, Also, itrevertstoyou ‘anold-school, analogue ‘operator who demurs ‘evenat the notion ofhis home being a studio. I wouldn'tcallita studio, but there's alot ‘of nice old gearin my afterwards: fiver ten yearson, you house," says Miller's J getthewholethingback, whichis anoldhouse inNashvile, J fancastic Inthe olddays,thatdidn't, andyoucangazeoutof J happenatal the windew at the birds. Richard can name all of thesebirds,he'sabird- watcher-sohe canplay guitar solo and watch ‘bird tthe samotime. ‘The other side of the coinisthat the birds are reallyloud,andthey Soyoustilldor'townsome of your ‘ownbackcatalogue? ownnothing. Noneofit. though ther’satestcase now saying that everything should revertafter 30 ‘years though that's publishing, as Wwellasrecording rights, thatshould become your property f that succeeds "Liege & lief seemed more Renee Gey toucigns radical than egoonelaheboa® David Bowie or Led Zeppelin’ Miller played rhythm dguitaronsome tracks, butfoundita daunting prospect working with one ofhisheroes he fire time! played with Richard, looked towardshimandjust stopped, because! realised, Man, mostof ‘what wes gonna ply, Irippedoff from you! ‘Thompson'sstrength asagultarst, Miler sys ishisimagination His greatest quality isallowinghimsolfto ‘gowayoutonalimb, Maybothat’znot an aspectof his playing somuchasit’sjust Richard's character. He doesnt playit safe ‘That's what's exciting aboutit. Youwonder, ‘How'shegoingtoget ‘outof this one? Buthe Whatwas the frstsongyouever ‘wrote? And the firstsongyouwere satisfied with? Thada few misfirings before got things right. ThefitstsongsIrotethatgot recorded were on thefirst Fairportalbum, alwaysdoes.” 52 uncut | ance 201 oe and they wereallcoswrites, Tcouldn'tellyouwhichcame frstof those. But “MeetOnThe Ledge" wasonly about thefifth songlever wrote [Asasongwriter, youseem tohaveakeen earforthe darker emotionalhiues,for betrayalandresentment and melancholyand soon. ‘Whyisthat?Doesithavetodo ‘with the fact that you'relearning fromBritish traditional muse? [ehinkthat'sabsolutely factor, yes. Myfatherwasa Scotinexile andthas more Scottish than theScots, and we had shevesof Rabbie Burnsbooks, and piles of Jimmy Shand records itwasSundayafternoon teatime of the soul, thete'dbenothingelseto do ‘except your homework, and youdon't want todoyourhomework, BIB sol dpullbooksoffthe shelvesaneltead them, things ike my grandfather's bbooko Borderballads, ‘heballads o Walter Scot, the songs ofRobert Burns without thinking that this wassomething might applylaterin ie, though Isupposeitwas going insomewhere, Sowhat’sthe happiest songthat you'veever written? People ell ethateven my happiest songsare tinged withsadness,sofcan'twin, really! think ofasonglike “IWant ToSee The Bright Lights Tonight” asbeingL {ally wpbeatand up temp be, bt there's somethingat something, that doesn’t qui Having said that, “ght Lights atthemoment, which squitestrange, Doesbeingan American resident give you sreater clarity when considering things English insong? I gobacktoEnglandalot, sol gettheimmersion side ofits then gettheperspectiveside ofitwhen ‘Tmaway. thinkitsimportant,atleastoncein your tot of your environmentand gosomewhere else, andrealise that perhaps he placeyou grew up {nist quiteasimportantas you thoughtitwas. tobea writer youdo need tohavea consistent voice and mine'still very British, and never [don fel ike 'everwriteasurf song Pethaps asurfshanty? “ITWAS AN ECCENTRIC RECORD.” Richardonhisi972 solodebut, Henry TheHlumanFly ‘When you start writinga song, do youalways haveafairideahowit'sgoingtoend,ordothe characters sometimes develop alife oftheir ownandtakeitinanother direction, assome authorselaim? Yes, utwithasongitdoesn'ttakeaslongasa novel. Thecharactersarent going quiteas aror asdeep, Sometimesyou know the end ofthesong andhaveto workout the restofit you're ‘working backwards, Somesongsstartinthe middle -you: and hen havetofigure outifther'saconsequence,oraprequel. But often, youstartasong and youalmost wantit tosurprise you, totakeyousomewhere you hhaven'tbeen before. RICHARD THOMPSON InFalrport, was therea “Eureka!” moment when. ‘you realised therewassomething unique about ‘what you were doing? were self awae that we we coveringnew territory. Ithinkthat Ashley Hutchings had the original idea, that we should be doing something that wasmore true to our own ootsand ourownexperiences. And when wehad our cra dourdrummer[MartinLamble|waskilled, we realised thatthiswas: ed moment for us, Asm early'70s, Thompson recorded Henry The didn't even tell my label Human ly anattemptto | wasgoingin the studio. extondFairport'sfolk- I wentinandrecordedit, rockinnovationsintoa _andent themthe bill formofrock’nrollrooted I thought, They're ne intraditionalfolkmodes. going togo for this Punters, perhaps putoff record, sollidoitand bythecreepyfly-head —_sondthemthebilland maskthat Thompson _seeifthey notice’ Andit sportedonthosleeve, was cheapenough that falledtorespond,and _theyjust thought, ‘Oh, it's itbecame the worst Thompson expressing selling albuminthe himself, we'llcover the lentcehistory of £2,000, or whatoveritis! Warner Brothers. These were the days “Evenatthetime, when £15,000 would get youapretty good record, soa couple of grand was fairly invisible” the hell, man eccentric person, sol'll make an ‘eccentric record’ xplains Thompson. ace 2013 | uncut | 53that wehadtorebulldthe band, weshould start witha project; sothe Lege Lief allumwas our project, that this would beall traditional music. And ‘4oyearslater, Tmstill writing music that'sbased ona Brkishroot.tthetimeitseemed really radical, more radical than Davie Bowie orLed Zeppelin, teally seemed like the most revolutionary thing we could do “Andatthesametime, werealised that wasn't going tomakeus incredibly popula, orich! ‘can remember hearing“ASailor'sLife" and thinking, On, this is different, thishas something nobody elsehas done: Iwas surprised tolearnitwas afirsttake. Did you know you'd caughtlightningin abottlewhen youdidit? Yes, thenice momentin recordingis when you gointo thecontol oom toheara playbackanditsounds way Detter than you remember payingit-The playbackof thatjust sounded huge, and interesting. twas one of thefirstimes that wehad ever played with Dave ‘Swarbrick,and youcanhearheand feeling each ‘other out: wecan tellin , butwe'renotsureif i¢smajororminor, sowe'e going backwardsand forwards between them, seeing which one works, or justavoiding them completely and keepingitmodal forlong periods. t’savery fortunate piece of music ‘Wethought,Thatsit,there'sno pointin doing anothertake’ ‘Was ta wrench leaving Fairport? Iknow yousti stayed in thesamehouse with them... OnlybecauseI washomeless! Yes, itwaseally difficult g ~these were my friends. itwasaitlike being inthe army: you're thrown together for long periods oftime, you go through hell together, soyoudo develop areal camaraderie. Butld been doingitorfive years, ever since] wasatschool, and fet that had tohave more 2 space, reals todevelopasa wrterand developideas, 2 withouthavingtobeinabandcontext 54 uncur mane 2015 ANIMAL MAGIC BEAR NECESSITIES! N2005RICHARD Thompsongot to work with one of hisheroes, visionary German director Werner Herzog, ‘on Grizaly Man, the ‘acclaimed documentary ‘bout bear enthusiast Timothy Treadwell. “He's fantasti” ‘enthuses Thompson. “Iwas very excited to work with Herzog, because Im ahuge fan ‘Werner has come up with some of the great imagesin cinemahistory ‘Ande chooses music very carefully forhis films- often he might havejust one pieceinthe whole thing. Grizzly Man was an unusual piece of music becausoit was improvised, pretty much. Wewerer'tallowedto playto the picture, ‘Werner wanted each Piacetostandonitsown merits, sowe'dlookat the cus, time it then go backtothe studio and remember the emotional shape ofthe scene: You'reabitlike the British Nell Young, inthat there's anequilibrium between theacousticand electric sides of yourart,andalso between youasa songwriterandasa guitarist. Doyoueverfeel youmay beshort-changingoneside? Tdlovetoplayelecricmorelive, becauselt'sexpensive totakeabandouton therad, and can'talwaysafford ‘odoit.Toeamalivingand pay therent!haveto play solo. Which hasbeen great, and'vereally earned alotabout musicalcommunicationand cratingan atmosphere with theaudience,sol'mnot sorry that itshappened, bt!dcetainly lke toredress thebalance alitiebt.'m gonna be mostly electric next year, which isgreat You'reunusualamong English guitaristsofyour generation innotbeingrooted intheblues. What was feedinginto yourstylethat wasso different? Its probably more folky, much morebased in British tradition, and Celtic music In Celtic musie you still get bent notes, and the scales overlap with theblues scales. English, Scottish and rsh musicalluse thesame pentatonic scale that you hearin the blues, soitrelates. ‘'mprobablyjustusing more of hose od traditional British scales tobaseiton.Lalsolistentoalotof classical musicas wel, particularly 20th Century classical musi, from Raveland Debussy onwards, uptothe weird stuff sasome ofthat creeps nto theplaying. And would Iberightinthinkingthatit’snot necessarily guitarsthat haveinfluenced you? Thearpipesin there, especially Yes, absolutely Iusea lotof drones, and thatisderived from Scottish and rsh piping. And raditional idle playing too:alotof the ornaments use are traditional fiddle ornaments Ifyouwere toappearon Desert Island Discs, Timagineyourluxury item wouldbea guitar, butwhich guitar? Well ifyoute ona desertistand, perhaps you'd get oneofthose Kevlar guitars~they'etotallystablein any situation. friend ofmine took onetothe South Pole, and recorded analbumthereonit. Andina deseet isiandsituation, withallthatsaltairand damp, you'd ned something very stable {And of course, ifsomeone shoots orthrowsadagger atyou,itwould protect you. ‘That'strue. And youcoulduse tasapaddl fyou built arat. Let’stalkabouta few ofthenew songs. “Stuck OnThe “Treadmill” hasa very odd rhythm, fuid but funky. Funky, tha'the word We thinkitsanew genre, funk: folk,ormaybe olfunk. Bootsy ollinsmeetsudy Collins! f’saslightly unusual chord sequence, andits ‘oneofthose working man songs, timesarehardandi’s reflecting the unemployment situation, and even ifyou hhavea ob, how ough tisto geta decent wage outfit “Good Things Happen To Bad People” hhavespecificexamples ofthis? Ido. Butitdependlson whether you believe in karma, thatat some pointin his ifecr the afterlife you're going ‘ogetitintheneck foryourmisdeeds. Because Stalin and Hitler dida’tquiteget enough backin their lifetimes; there must bea balance somewhere, we hope! 'snotsomucha philosophical statementasa song about jealousy. Ofcourse, !myselfdonot havea Jealous bone ny body. doyouRICHARD THOMPSON beyond Michelle Obama, another level entirely, so she's sortof the inspiration forthat “Another Small Thing In Her Favour” soundslikea standardto sme...itcould beanother Dimming ofTheDay”. (Ob, that would benice. “Another Small Thing." isaleavingsong:she's leaving him andhestilllovesher andistryingto orgiveher.I'sendless Forgiveness none ide, whileon the other shesalready gone, she'sout ofthere. Tt What youthinkthenew a Tolkresurgence Peopelixethe sesso Sf nines a3 f Jake Bugg. think’ great. The moreso-called folkmusicthatcomesintothe ‘mainstream, Ithinkthe bettertis for music ingeneral. Thereshouldn'tbea disconnect between thetwo. think peoplealwayslike ‘toconnect with theirtraditions:as the world ‘becomes smaller and weseem tobe onerace of humanity, think peoplearereally going to ‘“MyEnemy"~ do you think ourenemiesdefine uusasmuchas our friends? thinkso, definitely. They ay, beware ofwho your friends re, because you willbe like them, ancto ‘akethateven further, takealookat who your enemiesare, because you'lbeunlikethem, diferetatedromthem, Thatsbasedon ny own Mot ‘want toldentfy themselves moe, They'll sy experience ca'tllyouany names, obvious Idon'tfeel like | vesitmpartottis global generation where we butthereare people whoforsomereasonjusthavet ; : talkto eachother overtheinteet,btthisishow ‘nforyou, and willexpenda lotafenery tyingto do [lever write | wearesswhere come rom, thisisourtradtonal iran son mse thisisour traditional feo: People wil aways want tobe distinct inseme way. And the’ sstye-tttctetmemmeponpeycnst | OSUITSONG. | oor enn aspireta? Perhaps a Something about singinga songthat's2000"300 years old that just getsto you. Itgetsyou inadeep Place, thas resonance. Theechoesare going back ‘and backand back. © ‘Yes. met this woman ata fundraiser and thought, my God, thiswomansterifying-she'sbeautiful, she's quite eloquent, and wally stupid. Eloquent but ignorant ound outthat she could be presidentoftheUnited surf shanty?” Statesinabout eight yeas'time: beyond Sarah Palin, Blectricisreviewedonpage77 HOWTO BUY RICHARD THOMPSON: THE SOLO YEARS POLYOOR. W985, With producerMithell Thompsonsfourth ——_Hisfinalalbumfor BEESWiNG, 2003 Probably Thompsons Thomprorslatalbum Froomasimpsticofol, outingwithFroom, _Capitolfound Desa fet ers el ate eter with Joe Boydas FissecondforCapitel notableforitsdaring Thampsonexcavating_sleeve:Thompson's fe Sweet Wariorisa Producer andhislat proved Thompson's deconstructionof the memariesof British idionyneratcversionsof_ masterclassof closely FecordedinEnglond, mostcommercially__fackrhythmseetion” —Suburbisandmining _amillenniumofhts, _abservedconfle., hotableforiteuseof successful Incudesthe “King OFBcheria" and some ofhirmostbitteryfrom"Sumerisleumen _Standoutsinclode "Guns {sexophoneand scledaprecatingtribute | “Beerwing'vapsiret _bleakmeterialincluding |ln"to"Oopeln1DidIt | AreThe Tengues'a ‘crumhorn section “DontSitOnMy Jimmy tributestoleepersof “HardOnMe" and Again’sby way ofPurcall,_terorstmatiarc® Ineludesthebittsr Shands"andi952""”—thecountercuturel “BathshebaSriles: Gilbert Sullivan, Bjorn seductionofayouthinto ‘She Twist The Vincent Black lightof freedom the BonnyandLennon. martyrdom, and “Dad's if gai Lightning’ whichhas later subsequently MeCartney.Brillanly Gonna Kill’ the tale bbecomeamuch-covered _ furishedthename of sclecticandorigina, of ahapletsGlstuckin bluegrass staple ‘Thompsons own abel thesandyhellf cag ancit 2013 | uNeut | 55TEETER ALBUM BY ALBUM Chris Thomas HERE AREMORE well-known producers than Chris Thomas, but fewcan equal his incrediblerun ofalbumssincehe began ‘workingat George Martin's AIRStudiosin thelate’6os. He's produced key albums by The Beatles, Pink Floyd, Roxy Music, the SexPistls, the Pretenders, Pete Townshend and Pulp, aswell, as Eltonohn, Procol Harum, Wingsand INXS. And,asa trained violinistand pianist, he'salso done session work for the likes of Brian Eno, Chicory Tip, Nico and George Harrison. “Thebestalbumsare ones packed with hitsingles,”hetells, us,“And my obistoturnasmany ofa bands songs into potential singles. You tighten their writing, ceate colour, work ‘onthesolos ormiddle eights. Ifsomeone’s written a Top20 song, my jobs tomakeitaTop 5song.” THE BEATLES APPLE, 1968, ‘Aged21, Thomasstarts ‘working for George Martins Associated Independent Recording (AIR) After three month ofittinginon seztions heizatkedto coverfor George Martin, ‘few weeksinto"The White Album The Beatles were abt prickly at fist, not talking to meand instead addressing the engineer, Ken Scot. But, aftera shaky stat, they started to trust me.dsatinon earh sessions for healbum and they'd been working very slowly until then ~ grinding out nesong week but we managed tobash outabout sx songs “Helter Skelter" ‘Glass Onion”, “Happiness s A Warm Gun”, “Piggies” “I Will” and"brthday” -in 12days. also played piano (on“Long Long Long”, harpsichord on “Piggies” and wrotethe sax arrangement for “Savoy “Truffle”, which took me ages. Never again! never forget playing Mellotion on “..Bungalow BIL’, ive with therestof The Beatles. Extraordinary! Inereasingly, they worked separately. As the album neared completion, I was working with George on “Savoy Truffle in ‘Number Two while Paul did “Why Don't WeDo ItIn The Road?” on his own in Number One, and John and George Martin did “Revolution 9” somewhere else. [remember George Matrison] playingme “Something”, which he'd just ‘written, telling mehewas oingtogiveitto Jackie Lomax! Isaid, you're mad, you've gotto record it got to know Paul welliater, butat the time! got on very well with John and George George gave mea lovely Gibson guitar then asked foritbackabout six yearslater, haha! 56 uncut | mancn 2013 > REPRISE,1973 “ Cale elite most of CitleFoatarhisbocking * band pls WikonFeldor from The Crusaderson omarboredeebecton, TTdjust produced abig orchestral album with Procol Harum and the Edmonton Symphony Orchestra, which was abig Top bitin ‘America. John Cale, coming from that classical background, was interested init and sought me out. John was workingin LA fasan A&Rman for Warners. Paris 1919 was ‘an unusual album foram, in that's very song-based - maybe ohn needsabit of structure! Lowell George walked out halfway through, but the musicians on thatrecord were extraordinary. There were some lovely Lttleaecidentson that LP. Theband were recording “Antarctica Starts Here” and l went totheloo, walking through the studio, and noticed John was whisperinga guide vocal for Wilton and Richie Hayward, drums) Isai, “Just keep that, itsoundls bilan!” John san astonishingly accomplished ‘musician, On theritletrack, twas my idea toputan orchestra ont, one that followed hispiano part He said, what kindof thing do you suggest? Mahler would doitthis way, \hile Wagner would do this. aha! Thelped abiton the arrangement for“TheEndless Plain Of Fortune", but John could just breeze through them himself That's where ‘musicianship helps. On reflection have kept "Macheth’ off thefinished album ~ Itdoesn’t realy fi. ROXY MUSIC Roxy originally wanted John Cale to produce their secondalbum, but Calerecommendsthey try Chris Thomas at AIRStudiost London's Oxford Circus, Roxy didnt seem likea band, ust ive very amusing dandies. Very witty. Frsttrack wedi was “Do The Strand” they eame Inatzpmand we'd finished itby midnight. Aldone virtually live, apart from Phil [Manzaneral'sguitar. The rest ofthealbum wasn't thateasy, though! “In Every Dream Home A Heartache" was weld one. Bryan dida’tlay down any vocals fortha,itwas justan instrumental. He said he wanted the end tobe “psychedelic, so we justputsome phase ont, haha. Then he comesinand sings this mad lyricabout an inflatable doll! Unbelievable! Thenextalbum, ‘Stranded, he did thatall the way through, Eightbacking tracks, just drums, bassand Bryan's keyboard at ist ~ then he'd come inand do these remarkable vocals. Onthetitletrack, remember Eno helped mesetup thisloopfor theechoes towards theend. Peopleassume that Eno would have bbeen very hands-on with production, because hhewenton tobea great producer, but he had no more say than Andy or Phil back then. Itwas very much Ferry’s show. Tobe honest, didn’ notice any tension between, Enoand Ferry tall {think that may have comemore with the subsequent tour, when Eno was gettinga lotmoreatention than Ferry.NEVER MIND THE BOLLOCKS SEX PISTOLS VIRGIN, 1977 After turning down Malcolm MeLaren'soffer to produce the New York Dolls, Thomashorrfies hismuso friends by working withthe infamous wreckersaf evilisation. Tsaw themat Islington Screen On The Green: [went with my mate Chris Spedding, theone musician who championed them then. wasn't that impressed, but when Theard the demos thought they had the potential tobe like The ‘Who, a great British rockband, one drummer, ‘onebass, one guitar, one amazing singer. The ist session, doing “Anarchy In The UX", was difficult, John had been leftoutof the oop he didn'tknowTd replaced Dave Goodman asproducer. Sohescreamed out thisterrible vocal, and [told him leouldn't understand a Word, He just snorted: “Well, you're the one with thetrackrecord, yousortitout” So, deep breath..1sald, “OK, fancy going dovn the pub?” Ha ha! Three Guinnesses later, we were backin the studio andi started to work, The guitarsare very orchestrated. After Glen [Matlock] lef, Steve Jones] would overdub the bass, playing the root noteunder the chord. So every chord wasa massive harmonic sequence at octave fitth octave, third, ith, octave, Which makesit very pure. Because ofan ear {infection when | was 4,1'm partially deatin ‘near. Sot hate stereo records with, say, guitar ‘none channeland piano onthe other.1 specialisein “mono deluxe”. So'd doubletrack the guitar, putt through an Eventide armonizer - which doubletrackst, slighty ‘outof syne, onein each channel. Wed overlay suitar like that, until itsounded massive One night we went drinking near Wessex. Studios, on Green Lanes|north London] -me, John, {engineer Bil Price and my girlfriend Mika [Katol, from the Sadistic Mika Band, John said, "The guyson that tableare going tohave us." When weleft,about 1 guys kicked usto thefloor. saw one with acurvedsword, about soinches ong, and they took turns tostab us. vest gottheshirt with acut down the back, managed to get underacarto protect myself, but Bill gotabitofakicking. John gotcut badly we ook himto hospital, and hehad an altercation wth the wardsister, haha. The police didn't want to know, neither did the pub landlord —Isuspecthe must havebeen inonit. producing Chris ‘Spedding’s1977 album Shewanted todoasolo album, and suggested she forma band and write her own songs. When she asked me todo the album, Iwas sickof recording studios, having spent year with Wings, butsaid, “OK, let's doa four-day week, startat noon, finish at eight.” And sometimes 'd haveto break while working on Pete Townshend's Empey Glass. Sowediditin short bursts over the course of ‘ight months. Itwasfrustatingfor them, but itmeant Chrissie kept comingin with afresh supply of brilliant new songs, like “Lovers Of Today helped with the middle-eighton “Kid”, playing keyboards. Lalsoremember the original demo of "Brass In Pocket” being veryslow.Ittookalotof work to get them tospeeditup. wanted kind of AlGreen swagger, with AlJackson on «drums, Someone reminded me recently that also played keyboards on that akindof Stevie Wonderstyleclavinet under the guitar. Was Chrissie attracted todestructivemien? What, you mean Sid Vicious), Nick Kent] Johnny [Thunders) jimmy [Honeyman Scott Pete Farndon... She was pretty destructive herselfin those days. Amazing when she gotpissed. She was nuts! But very good value, marci 203 | uNcur| 57TOWNSHEND ALL THE BEST COWBOYS. HAVE CHINESE EYES 1 aron.1982 ‘Thomas workedon old fiend Townshend's 1980 sale debut, Empty Glass before turning forthe follow-up. Tve known Pete since! wasa teenager. grew "upin Perivale,justdown the road from Ealing ArtCollege, where Pete studied, and saw him playin The High Numbers and TheDDetours. Pete even wrote and produced an early single formy R'n'B band, The Second Thoughts, although twas never released Heloved the Pistols, anda previously gothim involved in "Rockestra’,a trackon Wings ‘Back To The Egg. By thetime westarted Chinese Eyesin 1981, he wasreally inabad way, withall thedrugand alcohol sstes. Those sessions were very, very hhard work. Wetooka five-month breakand camebacktoitand he ‘was adifferent person. ‘The problem with that albumisthathe'd booked alot of people and wanted todoitlive.That'snot a problem ‘you're well rehearsed, but this was really quite chaotic. can understand why Petestil loves it, because songs like “Sit Skirts" are great. But Hound ttoaschizaphrenie, not sure hung tgetheras an album. Maybe that’sjust that the experience wasn’t cohesive —Pithave to goand listen tit, maybeit’s more cohesive than remember! 58) uncur | waxci 2012 “Iremember saying to Paul McCartney, ‘Come on, you're the guy who sang ‘I'm Down’, just doitlike that!” PULP DIFFERENT CLAS! ISLAND, 1995 People”, theninvited him to see them play the Thestre Royal Drury Lane inthe Christmas ofi994. {was impressed they derected alnge onstage staircase, likethe kind Shirley Bassey would use ‘on Morecambe& Wise. Jarvis made an entrance for every song on thestais!1 thought: this guy is nut. 've got to work with them! "Common People” tookabout eight daysof hhard work. Onthe lastnight, Jarvis suddenly told meitwasn'tright, he wanted tt sound like MrBlue ky", and played methe ELO track. said, “This ishalf the tempo!" Sol reversed the bass drum part, and he sald, “That'sright" Then hhedecided toputan acoustic guitaron t! We ppatitthrough the vocal mmc, with the compressor ready ours, andit worked. I's the whipthat ‘racks thetrackalong, Wemetacoupleot monthslate, and Jarvis hhad written about seven amazingsongsina 36-hourperiod, including “ISpy” and “Disco2000" Justan explosion oferetivity. And wefinished therest ofthealbum quite quickly. Tiss Hardcore was ‘more difficult -ittookabouta year. Butthetitle trackis astonishing, epicand very complicated, ‘oneof the best things Jarvis ever wrote. Jarvisisvery much the main person. He gets credited forthe words, butnever solely forthe music, Hewritesevery damn note! ") PAUL, McCARTNEY meet RUN DEVIL f RUN PARLOPHONE/EMI, 1999 Thirty yearsonfrom Abbey Road,andtwo ‘decades on rom the inal Wings album, Thomasresumeshis partnership with PaulMcCartney onthisback-to-basies Back To The Egg was hard work no LP benefits rom spending that much timeon tt Butthiswas completely diferent Paul said hhewanteditlike the old days —tuen up tothe studioatioam, bang outaload of songs, et backhome ortea. Twoorthre days, max. Ad that’s very much how twas. Way backin 1969, remember producing “Oh! Darling” on Abbey Road, and Paul saying thathis voice wasn'tup tit. Iwas saying, come on, you're the guy who sang. Tm Down", just doitlike that! And he did What loved about Run Devil Run was that he managed tosing lke that on every single track. 'venever heard him sound beter, twas great to work with Mick Green, rom johnny Kidd & The Pirates, who died notlong ater this - we did some overdubsafterwards Theone track Ispenta bitoftimeon was "No Other Baby”, saw that asa potential hit, akindofslow-burning Chrsisaakstyle ballad. But, tobe honest, producer doesn't haveaiotto oon this kind ofrecord I think Paul just wantedasoundingboard! DAVID GILMOUR ONAN ISLAND [After mixing The Dark Side Of The Moonand The Division Bel, Thomasresumeshis ong stsociation with Pink Floyd (On Dark ide, Floyd legend has tthat Iwas umpire in some huge dispute between David and Roget Waters ~ with Roger wanting itary, David wanting techoe ~butIdon’t remember thatat all. I's possible that David was more sympathetic tosome of my suggestions, likeasking them todouble up the guitaron “Money Which possibly led him toaskme to mix Lago] The Division eld andalsofinish this album, i’sawonderful record, and {loved working on it. They'd already been waiting and recording fr abouta year, quite casually, before I got involved —Ithinkit ‘was Phil Manzanera who actually got me on board, Itwas very much an acoustic record. The title track wasjust fantastic; Dut the early versions were very shor. [elt thatitwas begging fora couple of those trademark Gilmour guitar solos to giveitmore heft. took froma two-minute song toa fiveand-a-half-minute rack. David'ssolosare always worked quite intensely, tothe point that they'renot actually solos, they’ almost ike fully formed compositions, that are integrated Ino the songwriting structure - you really notice that on songs like*Take A Breath” and “Smile”.Elliott?” tir New Album «. : ” Days into Years YOULA T-E NG areas PoC eaee ey PNA ela SONIC EDITIONS aro THE |) COLLECTION completely ref Parone sos Limited edition prints, ind ST eee eM eoiics RUC Eie ttt a) order, from £4 Pac kenPsychic Il ern Gi TALK NORMAL PSYCHIC ILLS rd tte) Cee eet et) eee gent Cre cateny: Peon eed Coors Pe ad Ee ars i) ne ae a! fee IS WIDOWSPEAK BEACH FOSSILS OTe nore) e Poetry Pe ed ocd ene eed Cierny Pareto a ‘swars) corres Sees porronetot eS aS Py eee as tiny a ar & THE ZUGLY Ces eons Giri Names eee tt eee Pree eoriy ger no ceria Ee eae ed ors Curt) Pe ere ere err rs prereremontti) CO ae ae SOS Co nomi neeta tate fee ee TE Rarer ua unten echt Re1oMastorpiece 9 Essential Excellent Nery goods Good butuneven [sMediocrersPoor f ki ail WeNoWhoUR Wide Lovely Eyes Wiaters Edge Jubilee Street. Mermaids WeReal Coal Finishing Jubilee Street Higgs Boson Blues Push The Sky Awey yin NICK CAVE & THE BAD SEEDS Mure Revitalised by Grinderman, Cave and band return with an aquatic, slow-moving work of hushed beauty. By Andy Gill GINO exciiesvenpeging” | vaytnerpeth wo uiteafewballs workewise, | afaliynarow ange of somehow managing nottodropthem. Having ‘econtextualisinghisfasciations~ notably Jongagoausmentedhiseoreusinessassinger- | thevisceraltrinity oftelison, sexand violence 10 songwriterwithacredtabesidelineas author, Ftdferent media, Cae’srestessnesshasalfected hieslatelybecome athermoreinvolvedwithfiim, | hismusttooleadinghim tbifurete his miskal creatingsoundracks with tnideavours between The Bad Seeds and the more Suichas The Roadand The A Tubricious,eraicall tortured Grinderman, to James By The Coward Rob bandsheadingin quite different directions despite ‘arlousvllainesinbrutalstyleinhisscriptsforthe | sharingefectivelythe same personne, John lleot lms The Propostionand Lawless. He'snot, however, so mucha Renaissance Manas OVERTHEPASTdecadeorso, | aproteantalentatherthanfindinglimiless new Thatdisparitybecomeseven more pronounced wth Push The Sky Away, arecord marci 03 uNcur | 61New Albums U.N ‘whose thoughtfultone and drifting, becaled tmannerhave ery itleto do with ck-noll ‘and much more todo wth the sonic colouration ‘explored by Cave and Elisin thelr soundtracks, Ellis sclealy the musical driving force here, particularly now thar Mick Harvey has departed the ‘and. Hisstring and keyboard loops ang overthe songslikemist, haunting the action witha dep, contemplativemelancholy and feed fam the imperative of carrying guitars, thedrumsand percussion of Thomas Wyler and jimSclavunos Areableo explore meelntimate, subse hythms, allowing thesongstofindthelrown pulses, rather ‘han rng them to more explosive elfors ‘Theeffectistransfcmative-foral the comparativelackot overtactivity theres much greater expressivityaboutthe ongson Push TheSky > Recordedat: ‘way.even'when LaFubrique South nothingseemstobe of France happening. I'sasifthe Preducedby: Nick rewapproachwere Lau better able to revel the ‘emotional currents ‘working beneath the Songs surfaces, rather than be preoccupied ‘vith the surface activi This works wonders with Caves songs as by Hisownadmission he's rmoreofa voyeurs thananemotional fillsinthe unwritten «emotional content Jurkingbehind is observations, Thetonetssetby the ‘opening "We No Who UR" on wich simple organ, ‘ass and drum figurescreateasombre, aequlescent smoodakinto Leonard Coben's'n Your Man, with ‘etal provided by rage uteand occasional ‘understated ening noise, Caves delivery Ukewise hhassomethingofCaben's undemonstrativ, worldly sagacty, turning the ditulartreatintoa Zen acceptance ofone'sessentalnature ‘Wide Lovely Byes then heralsa sequence of songswitha watery theme, themoststrkingof ‘whichis Waters Edge” Overretes, throbbing ‘ass hintsofplanochordsandstringloopsshiftin and cut, swellingand subsiding ike waves lapping Aheshorline, as Cavesitsinhis study, observing frombis window thecourtshiptualsand youthful etotieplayofboysandgitson thebeach, “tetregs ‘wide tthe world ke bibles open’, oceasionally interrupting reverie with the repeated potent, “But yougrow od, and yougrow cold Personnel Nick Cave vocal piano, Fender Rhodes backing vocals) Wireen Eloi, vol, fits, tenor suitor synthesier, Ioops. Fender Rhodes becking veeleh Martyn Casey (bass) Thomas Wiyler rum. SmSclerunce (percussion) Conway Sovage vocals) the bed 62 uncut) anc 201 INL ELL Wes whore Martin Luther Kingwassssesinated, |aMemphis motel now transformedinto the Ci Rights Mureum,Downetars, theresthe bur on which Foca Patks cater proud Upstis there'samarkon the balcony whereDr King was standing Hisroom Irs beonleftasitwas that fatefelrmoring. wth hisbreakfasttraystilon soi IL Thissense of ante, enervated ems continues {nto Jubilee Stet aportaitofared light district from theaspec ofa punterambivalentiy aah between shameandelation atone pint-pushing imyhecofloveup Jubilee Sret” witha fenton titastropheonasxty-pound chain" yetbytheend ofthesongdeckedoutintieand ail with "afoetus ‘naleash" animage that pivotsuneasiy between parenthood and something much more queaily Aisturbing. ls theist rack o feature guar jst asimpleeycing igure, buti’s Elis wistful, ies gonoricred-ight dlstrict, mistakenly named afar oneinNiel's current hometown of Brighton itwasastroct which! wesunderthe impression poseedforared tghtatret InBrighton"heexplains, "butts actual the one that hasthe ibraryinit Shows choco ylfeisthese days! IRsounded good, though, stayed that wayin theend TU ‘Wht like about Wikipedia” seysNiek is that everyone feomtohave thesameveightinterms of calturalimportanee: im talking about that withthe taferenens to Martin Lier Kingend Hannah Montanain Higgs Boson lucy “mnct sure but doesn't Hannah Montana's website receive ‘more itsthan Martin ther King? "Gangnam Style ust wentovera billion ight?” TT wing violin tha'sthedominantelementhere parculaty during the epiphanitansformation Ssthesong reaches tscimax. Tn“ Mermalds” the youngseasdefrolckershave become mermaids, cunning themselves outon rocks vera gentelitotvibes and gular, witha keening violin phrase yearningattheedgeofthe Song. Cave is prompted tomuse upon mythand, belie ifonebelievesin Gad, hy notin mermaids ‘oo,orin7avirgins ona chain? Thenatureorbele! isthemotorbehind"We Real Coo” oo,asoveran For ick Cars everything comes viathe eyes know that for some of my muscin friends itscompletely diffrent and they tend tohearthewerldinsome ey bik Iveabayalied fseenitrealy I'swhyl Finditcficlt writing those songsthat arent ual thore songs whicharejust describing a feeling Ive neverbeon abe todothat, they justdon'tresonate withinTT ‘ominous bass thrb, piano andsad strings his ruminaionsshift from factsknowablethrough ‘heiritimary~ family tings ~ tthe untestable prognosticationsofastophysies“Sriuss8.6lght Years away, Arctrusis37/Thepastisthe pas and Usheretostay”beloreendingonanother spike of ambivalence with the observation," ikipediais heaven, when youdon’wanto remember mo more” Thereligo scientific ruminationsreach their apogeeinthe album's longest tack, Higgs Boson Blues” where overquietlystummed guitar and rolling tom-toms,cave'sfocusshiftsbetween Jocations and characters -himselfin Switzerland, Matin Luther King shotin Memphis, Miley Cyrus foainginapoolin California ashe surveys what he subsequently described tome as"great splrtua catastrophes" The witerhimselfalso appears, Martin Amis, in “Finishing bie Steet, an accountofa dreamhehad shorty after ‘writing the song in question. gain, isthe hay, tnstabienature ofbellefand information that Arivesthesong, Caves wakingantietie trigered byhisdream-timemanlagetoachild bide There'ssomething deeply stisfyingabout the ‘way thesongsfittgetherasanalbum, thet sequence strengthened both by tbehomogenous tone ofthe must, with its alr of wistfal melancholy, and by the way each song seomsto push thenext ‘ne forward, nanunlmposing but implacable ‘wavelIkesuccesion, tothe closing tie track with itssottbutstoldassertoonofself bell in the ace of uncertainty. imaynotbe themostheroiofats, Dbutsometimesendurancetsas good as gets UU New Albums TM onhisnew, watery influences, and the pleasures of recording with “no fucking scriptmeetings” ‘theme tothe new album. Yea theresa watery theme; butiskind oie, Hockout my window and oka thesea, fandalotofthose songs were writen siting thatwindowlookingout sothereSakindof ‘hemethat connects of thosesongs that has ‘odowithallitiepiceofwaterTeanseefrommy ‘window, Down the water's edge T HERE SEEMSTO bea general watery Themusichasa wave-like quality tlt, t00. Itseemstolap. dont think we wentin thereintending that Ididtusethewordaptmighthave been misunderstood, apartfromanything Butthere \wasa need tstay away fom those classic Bad Seeds ballads, todo something thatmoved more Inthat way, morelinearand atmospheric ‘There'sbeenashiftinthe BadSeedssound which presumes mainly to dowiththe ‘departure ofMlck Harvey: you've gone were intending geta friend, Gorge Vesticatoply guitar onthe album, but we started putting tf dw without everybody there, and when welistened back, twas great ‘hata. Suddenly when there was no guitar, there wasallthisbeautfulspace Everything just Grits, and thevoral can relax andfeelthespace Around Wewereableositbackand say, Dowe need percussionon this song? Dowe need ‘gular and make decisions early on ike that Alotofthe songsare very observational, ‘evenvoyeuristic~aswiththeolderman watching teenagers" achsongpushesthe Courtshipsituasin bexton, ikea wave, re ei Sater a arene 15 albums in or watt triste veyieeoalwas, h Scedstlfis voyeuristic Semediiah-cran — Whatever, we're smyranrluits framditerncperpecies, — TMOLSUPPOsed tO bukanbsersing Thats Allintecooneced. Partt ° thewholeWenofnarave thats juste way hat be making songs ina wey. tat theyre Wee because down ; : voveurisicbynaturesand Bnd wrteall hesongs interesting or rainiysoneathee together atthesametime. Bhathere was very muchan attempt to preserve that beautiful ofonesong being linked toanother one thatthe order of songs has some kindof mpartance How did you setabout makingthe album? \Wehad no plan about what thatrecord would be liken we gtin the stain, in terms othe way lnwouldbe performed, thetone ofthe songs — that was something thathad tod with ving together for three weeksin this farmhouse inthe south of France, and recording there, Wehadno Interruptions fromanybody —nofuckingscipt ‘meetings oral heotherstuff that! minvolved in. Thathadalottodowith therelaned, ut histronicfeelofthe performances. There was apoint, about five orsix daysin, after wel pretty ‘much recorded everything, wesatdoven and Iistenedto and suddentyitkind of made self ‘known tous what kind ofa recorditwas, nde ‘wereall blown away byt credible records...” Songs "Wide Lovely Water's Edge", even HiggsBoson Bucs” are about these events playing outinfrontofthevriters ees. Sothesesongsare asmuchabout writing songsas they areabout Aanythingelse. They'recertanly voyeuisticin nature, and thats ely what Taman There's learlyamassive differencebetween ‘The Bad Seeds and Grinderman, whichis, intriguing inceit's effectively thesame peopleinvolved, Novr Mick[Harvey] has gone ts pretty much the same, yeah Butone gives theotheralicenceto ‘exist onsomelevelsdo Grinderman fora hil, andyoucravetodasomethingelse, Butit'sthis fexta-curicularstffthatkeepsThe Bad Seeds alive, and thats thethingI'm mostly concerned ‘vith 1s albums or whatever and we'renot supposed tobe making interesting orcredble recordsatthispointinourcareer. Wefeelalitde ‘bi proud about that. IVTERVIEW:ANDY GILL vuncur 63New Albums JOHNNY MARRSTHE MESSENGER | JOHNNY MARR The Messenger i aenercros a ‘The solo debut by the Smiths guitar ace isa joyous return 1 Teh hi i i 1 Teg Tha to the sound ofhis greatest triumphs. By Garry Mulholland &Upsere PLACEDBANGINDemidle | evenritsaninelctal pun one 3 Loddown TINO __cttrenesengerisasongtbat | cnt: tromcogtoergosim theorgial atin 5 Theva Souinagendedaiet | sealnelpiepne Retest Yo TheCrackUp IsMarrsown, borne outbythe songs stark behind onetrackmind” Which, nothing ese, 64 | uncur| marci 208QeA Johnny Marr ‘environment shapes our you'vemade since 1987. to Doyousgree? besaidfersingingfromthe Ide. dort go out of my heartbutonthisrecord!m way tonatsound ike me ne ortwo songs Tvewantedto, but haven't tedthe tine, Vebeen nen ‘Singing from the mind. On about my mind: “Generate! Generator song anymore. The ‘wheal were times Tentinging Emotion Reply” by The American group (Modest _praiseof hyperactivity. TheorSexuaty"byBily Moat. UK group The [Word tarts Attack’ is Bragg youlear thatthe Cribs anddida movie bout pixel power and sound associated withme soundtrack Incption as well Also, the songs called Forit. ve movedbackto Manchester after many yesrs inPortlnd, Oregonand Iwanted to make srecord tht sounded ike the bande Ie inbefore The Sritha, Thisiea record! might have trode whent wes aki, ‘replaced faces an Isabout underster planning and oth thesffect that digital ‘communication shaving ‘onur=how sereens have “The Right Things Right” that Im atarget for commercialism and town forces but ke every Ser does turnuponother people'srecards. vdhears. Would youever write an autobiagraphy?| ding Twouldandwil Ivebeen sthedto do 0 many mes Theressont havent yetis, because it wouldtake mo 3 Frommakingrecords. powerful Yeyearsldworththeirealt, But dike todoitbecaute lathereaconcepthehind _eanstlsay Fuck you", Temetalotof interesting TheMestonger? and empower myself. people along the way. I's ‘Thereis.Alotef the albums about cesandbuldings_Thisalbumsounds morelke nd people and how our Overthelast decade, Marrhas,amongmany other shorter, sharper project, made his one ‘and-onlyalbum, 2009 Boomslang, with his ‘wn band The Healers, becomes fulltime ‘member ofboth Modest Mouse and The Cribs, and popped up onthe soundtrack of Christopher Nolan's neepcion. Throughout {histime Marr lived in Portland, Oregon, and itseems thatthe decison to movebackto Manchesterand the decision to finally make analbumunderhisown namearemorethan oincdence. The MessengerisMar'sattempt torelocatehisroatsinorderto express his deep dissatisaction ‘with therubbishnes of modern Iie Notasurprisinganglefora ‘The Smitha than ay music EK Home" forboth asylum seekersand exiled ‘gular icons which crosses "Rusholme uffians” withFeits"Penelope Tce” and sees Marrsalmost Loyd Cole-esque vocal ‘merge withthe sweetbockingtrillsof daughter Sonnyon thetruly lovely chorus, Somewhat anonymous verses washed away by fantastic ‘efrainsisa recuring motif throughout. rom there, "Upstarts thet rack, the definitively Smithsian "New Town Velocity” and thedysopianFranzFerdinandisms of “Word starts Attack” match “European Me ‘anddefine thebestof this persuasive, questioning record. ‘Thehighlight though, a fascinatinganomalyinlight smart lee leaning neaty-s0 > Producedby: ofMarr'sstatementthat The tock nrllertotake perhaps Johnny Mere and Messengorisanalbumthat he ‘hats more surprising and ‘amor Devise mighthavemadeifThe Smiths happily so ~isthatmuchof Recordedin:Clear _hadnever happened. "The Mart’sdebutsoloalbumsounds in Manchester, rone Crack Up"isa cracking revo like Thesmiths ‘Ofcourse, Marrcan nelthersing nor ritelyric like Morisey ‘Batmanyofthe tunes bere bear comforting familiarity, the sonic palettisresolutely rock meets Indiewith aneverpresent ‘elo and, best ofal, ‘heguitars acoustically jangle andelectecallyrageand sarin ‘away thatcanonlybedesribed astrademark Johnny Mar. The Messengers other singular qualityis ‘hatie'sanalbum hat gets better asitgoes along, almost asf Marr arranged the running frderio reveals oven creative confidence starially returning. Opener"The Right Things Right setsthe thematictone, as Mar'sstacatolyistrvestofinda path ‘through thedinofmoderncapitalism. Butie’s anunderwhelmingversesavedbyan earworm ‘horus, andthe following Want The Heartbeat” does tha angular, rbot thing thatrockersoften do when they wantto moan aboutthe dehumanksing effects of technology. “Things property get going on third track ~“Buropean Me", sor of Safe European inBerla ivan Gronow (Gacking vocal Personnel Johnny More roca guitars, keys), Doviak hey sack Mitchell deus), )yMax James (Gass), Sonny Marr "Bos pop song, where thesyaths sharecentrestagewith the sultars therhythm prowl, Andsomethingspectalemerses fom thecontast between the cetlyyouthfulcalm ofMare’s ‘roonand thesinisterfel of ‘he dark elody and fetful, 2) cutuplyricaboutmisused (orabused?) teenage models ‘Theonly thing nMar'sback catalogue that hints ata similar aesthetiishis work with MattJohnson over Teeny years ago, The Messengeriso'tan album that willblow any non-believers avy. sold fashioned, inmany ways, and tsmessage ofhumanity beingbullied by analliance corporate greed and digital distraction gently conveyedand often oblique. But, even fnone of Marr's ‘oncemsengageyou, thereisonething boveal that makes The Messenger worth ‘minutes ofanyone'stime. features the guitarist from TheSmiths playing guitar like theguitarstfromThe Smiths. And ‘hatremainsoneof the very best noises on Earth p66 ATOMS FOR PEACE p68 CAITLIN ROSE p71 JIM JAMES p73 ETHAN JOHNS. p74 EELS p76 PICTISH TRAIL, p77 RICHARD THOMPSON p78 ENDLESS BOOGIE p79 WOODEN WAND ASAP ROCKY Long.Live.ASAP Excellent frat from that 3m deal “tn boom bap mised,” Aonounces ASAP Rocky a) during his debut album rope bultbisleatalyerteronett of Eclinghimslsbor. Pobucon we thie ath searing nts ren craving way ap the minialatcet CfareantevengeingStalertcfta, foriurempaycaloiebange yal, [shPdeoesto cose wibby tay Ci-puy mony weed*edefineson Sha tetray extg bt hte provesstilinginistinesinatre ing andhettesonbote rattan Croonanda pchehified Houston drawl inadiiontothebaggadocnothie sainflove THE ASPHODELLS Ruled By Passion OIE Destroyed By Lust Se Screamadetica producer gets Risgrooveback BNO ray tesame, slays Afterthe poet The slbuminchodescoversof Don z CChistmasiul 2015's Willams and Robert EariKeen, Also due newraleaseschedule _beforathe summer's = Gurf 5 Isgathering pace. ‘MorlixFinds The Present Tense, hoist suet LPinfour years fromthe Austin producer hissithalbumproper andsometime Lucinda Willamsbacking, The Beast inles instrumental While follow Aurinite,ond TracksinMarch, Robert Plant collaborator, informed the wilrlease American Kid he frst ll breskup of ismarrage to fellow songwriter Dawn Landes. -Far fromthe grand, sweeping feelofthe songson [oto So Runs The World Away."he say,"these ew songs felelikerocksinthe shoe, harditle nuggets whatever they ‘were beitspite,remarse,orhappiness.” ‘Onamorecontonted damesticnate, Austin husband and-wife duo Kelly Wills and Bruce Robison unleash Cheater's Game | under the name 68 | UNCUT | mance 2013, Siginelslooferingsincez007'sChleren Running Trough Canbchop momber rborocredtedecinude Bonnie Secimangsnmetr tinsel star maestromnracent tines: poss ‘ruthiaNesecond dum ecordedin Nashvilewithsometime hoppers Mar NeversandScot arin lr ealetetny "Toxsnguraongurterreord Rust dons Roreanyworde noah CNET TTCEECTTTTT BLUE HAWAII iherallecto pop fromthehoment Grimesand Pty Ring Setowalliethe lovecat Raphaete TNO Scales, toniwoman otMontealindle pope Sais and Arbutus Records mndrx wan Compass canbe drawn wih tus of Art pola auger Ges, ‘uti Hawallareroreaboutatmonpere thanimpact withthe podctionceaty inflenedy Cowan tinein Gexmany studyngattveuverstyaKompatt Uyealy Une deaseogucty wit midwentes anaes audng sup tothe $atusolthcoopesonseatontipn ‘wo acompeln del btweenieand ‘chin, netencapsltsthebiterseet yea otalong dance ratonsip. BODUF SONGS Thesoundotone fmanmoaning NarSweets bot Songshas reese our Ano albums on the Kranky label ied with watery acute ak ‘mas But Sweet schangedispame oto ‘enonhisrecdlael on Bt Up On enn suichingtomsemedal Okt 2d fremedal sno pee eoct, whee dlndehended ites nowhere spss ctekectonc vile ponderos guar Shadows ely pores ke Tovar thee gs geguleabieter= ‘alaggn Ending inesthe aeich stom fundepayed melanins faut Prychodor Codie adingsme imicaceded ety tthe abu bis ‘ote woe sows CHANNEL D Musical fim director swapscameras forguitar Asthedlrectorofthe Classic Albums sees, Nickde Grunwaldhas spent yearsanalysing whatgoesinto the makingofagreatrecord.Itwouldbe too ‘machtoexpecthisown musical debutto reach such exalted levels, but just enough hasrubbed offbyosmosistomake ora ‘editable carer change. His dark baritone hasan tractive, natural storytelling ‘quality ikea Brishanswer to Mink DeVille ‘or Garland jefreysand he's absorbed afineunderstandingofthetechnicaiies ‘of composition, rom the clectro-bop of “Politico the bucolic acoustics of “Lazy Day" via the Garcia tribute ‘TheBuckee” ckDINOS: ‘CHAPMAt Luftbobler Marky grating from theelser Chapmantother Though pushing, AIO) Dinos Chapman and bisroberakearestl very che aught stonboysot Bashar eepngwilhispsiealoupt Dinos” fssgicat tay nee msi islnlteranhalunopeitakeon hat couldchahabybeemedoutser inch heprefersaclampige mor Sopp msi On heconrary what tres Jou ahow comple bis prodons ound: therearepasagesolsrty minialsmorial aces anc memento $isaryclatonin-HetasNoMetho and “Stnlaung” rank he mst shocking thingaboutLaboblers hows ite MICHAEL, CHAPMAN Pachyderm Continuing the ssonlshing Feinvention ofthe orkhiretolartit 8210, Pachydermisa continuous minutia guitar pice, asncetaonof mination on nowy npc open tuned cord ‘hapman'snstumetsounds hand ‘ody ere endeath opened mets tweaked wa diferente sucha Song past ora ering tot Se Swolsaemixoltbetacy Rob Antony Young ghourof Chapman's Hess Tecate above bt penetrating station gg ot teal ‘ements dabbing into rythm pulsation Refehingto inde 7Jearcld Efapmanso opentocontenporrysouns ——— ™ GARY CLARK JR : © Blak And Blu New blueshero Iostifes hele Gankssttsat he totaled bout ang gularsnge S110 Siiegeeratns Gary Clark emay appeartohave risen fromnovheretobecome the hottest young guitarsingerin America. But 228, tho realty Ibrather diferent. Hespente decade peying hisdues onthe fertile cub sconein Austin Texasbeforea showcase at Erc Clapton's Crossroads’ estivalin2010 earned» rojorlabel dealand celebrity stats that culminatedinimjamming withthe Stones.-Playingwiththemfaltlikewbridge intime connectingnat only the pastint the ture” he tells Uncut. "butbaektotheerigins frock all andis father, the bles "Withoutthe Stones” he continues, "H's Aca toimagine thi artform wouldhave srerbeenresiaedinsich shige oy” Hisown eclectic blues-rokfunk R&B, reason has its roota ina parentalrecord Callectionthat ranged from BB Kingto The Jackson Five, When fe Brat pckedup a ‘guitar Hendricand Stevie Ray Veughen wer particlarinfluonces."Butno-one alse can Aoitike them,he say. “Ilove totipmyhat tothoze guy, but grew upwithayntheszers andhip-hep, R&B, modern rock. Tht’ Influenced the way pay. mjut enjyingmy Fide andbeing who lam. LLOYD COLE/ HANS-JOACHIM New Albums CONCRETE KNIVES. Be Your Own King Normantovaders fuymusigue concrite Nats caren’ ane) Duck Rockreimagined ‘ytd French ndiils aya, Clacstaes ebabunbtrysan ilojncracconmand lng bathe Cenesomelagly dspense ih, Iinguageanettbe bids the {aking Whooping erway thro his medial ging mu, which nods ampireeckend highend Ton Tom Cheb tery bop Moran Cals sas much heedeaderasocalis "Greyhound Racing” ‘Sallnanana’s Wd Gonman”l"whadh ‘shoots batter dicoglop ot “Mlpape emission ng catvaltcangadand qt covive savor THE COURTEENERS Anna FP Mancindie-rockers discoverdance Aterthebombastof BIO Sean tnese Fao, The Courteeners thiralbu ‘promises oopena new chapter sonically forLiam Fay'sindie rockers. Whatthat :meansisthey've discovered dance music andintroducedahintoflectrofunktothele ‘Sound, ason the undulating "Love conta, ‘orthedanceloorthump of" Push Yoursel™ Otherthan thelimp "Money" they pul these offpetty wel -they'e certainly more ‘memorablethan bog standard guitar anthem “elcome ToThe Rave” but Fray seems happiestbeting ot strngladen earjrker Marquee", which provides the bes platform fochis voice, lyrics and self-confidence DARKSTAR News From Nowhere Ghumioewisty- srahy synthpop Danstrsasbrat S10 ‘raised enough eyebrows tosecartbe London act del wap ‘uth ee atalected North thea ot {ners etn beflly elven thee Cobar aorup Nees Mon Nowhee Recodigin cual Vn wit ld Dees proce chard Foy assed ‘nahehoew prehedleseen that rages themclosertofanesBakeand Ania (ciate yothecumblerantaly Stound Janes ateryscarledvcssen “xDaysPay Fora Days Wok ano Dor Neds Weatherman; butte buco ‘eerocantmskthe suspicion at sonehingvtalismissing MARCH 2013 | UNCUT| 69New Albums NATALY r) (er) Hen How I Knew Her ee ae ‘romUSsinger Davwnishalffindieduo TNO Penplamocse vio YouTube and MySpaceanidadiscography thatlargely consists of digital releases, Thissoloalbumis produced by Dan's Pomplamoose partner Jack Canteandis dominated by hein, ole Hallandstyle ‘whimsical vocals, backed by gorgeous arrangements from themulinstrumentalist ‘band (mandolins anjosand upright bass areall wielded ithintend, Theband patreal heftbehind Dawn's vole from the beautiful, acoustic, plaintive"Why Did You Marry” the ‘Soulful-Please Don'Scream", swinging, jay Stil ABchorer”andtnexcllont Eabotven Steve Eq DARWIN DEEZ Songs For imeginetive People Quis popster's Siprentne eet producedecond B/1 decelsassmere winningly insistent ‘earworms was*Constelltionsanal.pop confection spun by singer, songwrterand producer Darwin Deez. Ashisselfeited ‘debut showed, the North Carlinan oddball ‘was wayahead ofthe inell-pop”curvethat delivered Alt and Django Djangointhe UK. Deea’ssecondalbumupsthewonky'n witty ntewithout sacrificing heartor tunes. Pavement, Soul Coughing, Paul Simoo, Princo, The Breeders..tshardtotll where Deezscoming fom, whichismuchofhis recort'sappeal. Thesunburned and twanging“No Love” and liquefied later ‘ofAllIn The Wrist” are highlights THE DEPARTED ‘Adyentus. Stormingsecond abumtrom oyeanada's Redbithockers B10, Following last year's fetfning debt abs an tant fran qlet tare devoped intoanimmacstey othe hardnchngensenbl They eimetbe Sherfurkol he AlimanBrter andlyayadSkyyedoaresolte edge fn" Demons” Gone! ed pedir Bates et ih bows del deenthavealthebestunesbut ‘ont tht Phe Departed ave noe thanafev Organi Steve tones constant presenceberen te gular ‘onflagstons ofa enna aodSth James alltreewoningtoadelrous pon CaldardFac 70) vicut| mance 2013 DEVLIN ‘AMoving Picture ising grimelord tiers aofEaex futsieforafight Balldngonthe a Selingscessohis ane 2010 debut, the “Essex Eninen” ames Devinads orchestral Sngrondcenati melamstohie Hanegedusban tyes on histor ‘coral Halos cro alla om pain in gree Estrin Wreth at dubstep daaty Di Butwhe the Dageharmsappt sil fnbiton commendable soon ‘th prongs nse tency tiie becomes urwitingy hilarious “ny bala to ough or chara Inaiaion,EaSheransexecrabe ueton “AllAlog he Wachowe” probe srctcoververon ever recoded REVELATIONS eras ighbourly concern > White themorefamous,cosmopolt brother hasjust dropped anew Warp his younger sibling has quietly unviled new projectrootedinhis Suffll home county, ‘Since working on198's Apollo, Roger hasbeen exploring theambientfolk/ compositonalinterzone His ltestproject ‘commemorates Ted Sheldrake, aetiedfarm Isbourer andamateur songwriter who died in2012.Aone-man folktradition Sheldrake pliedhiemusicinpubs,vilage dancer and fairs." He was my neighbour” Eno ‘explains “end his outlook was that of one that ‘didnt ive nthe commercial world He had totruck withcoromercialfeshion, sol ois thoughts are on truss” \dcoexed Sheldrae into recording "The rst thing thao tellhim was thathe wasnt goingte get an electric shock.” he soys ofthe 90-year-cld'ssession."He seemed oncemed sboutthe amount of pgs and lectrity na smallroom."Tedsang his tnaterlal wile Eno addedinatruments along swithlocalcharsctere'Stompy’ Willis and Fenda tends witharecordingof Ted's solfcomporedfuneralmosic. DOMENICO Cine Privé ‘almy offering from Brazilian minstrel Tenyearsago Rls Domenteo treet G/IO tevtalsed motern 10 Sema wis experimental group caring him he Inevitable hokp wih beckadrecases ‘on David Byrne's Laka Bop. Cine Privé Stiggests e's eased his footoffthe gasas hhefocuseson sola stardom, oping ora ‘breezyindie-sambaconfecion reminiscent, atitsmostdaring, on "Sui Te" oflate"9os Stereolab Having broken new groundinthe past Lancelltt now treads more familiar {ertitory, toying withsottpsyeh and exotica (0n"0sPinguinhos" and "Receita” No surprise tall tohear Beastie Boyseoborts Money Markand Mario Caldatoaddingto ‘thepastel haze. aa MIKE DOUGHTY ASSAM The Flip ls Another Honey Novelty meets homage onirreverentindie folkcoversset oii fetyngmeatyon Ly acoustic guitar, piano andpersson omer soul ahi ironman Doughty pysshewedhonaget> tons teourtetucs ents unortodse CovereclectonThenteral angst any Newnan ochep ek Thin zay0 Stop Src, Sorel cover, shasJohn Denver “Takeo, try Ronde Others ke atcureone fsestackMightope’aredeonstucted Intech shove The ualy “ras bt Doughty aluacsam realy impishopt play onSt Down, ae Rocking The oa tom is nD, ‘ticicinayen shoving panko ROGER ENO Ted Sheldrake iteretiiate tothe tatofthe ‘tural posts oper ae elghoutaretied ENO, farm labourer, never setfoototsdeFastAnlainalloos years Tatshedate stn claret (thewiom,charcerand mitts Sut thorochbred.Enoretalned Fanoandclecnisarangements ate Eegmentedby pubamblence, Geld ‘ecrdngsandacordo, wile Sheldrake, Sneed Ata Stumpy Will Sinshisown soos basedon isi occasional ealing abet Wate Sela winestedtheold aye Glsiegrtng oman harvests raiced totwo rats Enos poignant Captresthe pain speaing romania ofaclaraghted countrymanJIM JAMES va MMJman goesit alonewith an eclectic, intricate LP. By Peter Watts yPNONIC, = PSYCHEDELIC, 5 SOULFULand ragged, My Morning Jacket areoneo the mostdistineive ‘bands tocome outot the american rock underground inthe pastdecade Much BIO Mithatisdosenso froatman im James, who as gorgeous ut flexible voice and ‘writes tunes that ver fom country tspace rock {oreggae hile etaining MMT 'sabsorbing, reverberating sonic palette. Althoughthe band aren'tthe most prodtive around 20178 (Greutal was only theirsecondalbumsince 2oos'sexcellent2 James has spent the pastfour ‘years quietly beaveringaway onhisownsalo project Theresultisalovinely recorded scrap bfsplendourand beauty that takes some ofthe ‘moreinterestingelements of MMJandruns ‘with them ina series of unexpected directions. “Iwanteditto sound lke the pastof the future James to Uncut, “Like youre inthe year 4037 and you found thisrecord, which wasimade'n, theyear3078." Itbegins telingly, witha pseudo-retrocrackle ofvinylanda surreptous, almost modes, ‘drum ol. The riliant“Stateof The Art (ELOU)"slowiybulls ftom asimpleplano- andvoice ballad intoa claustrophobic funk ‘workout reminiscentofSpiritualized or 9708 Brian Eno(Brishinfluences infiltrate Regions flight. despite MT being the most American ofbands). MA arenoed fr theirswisting layers fofsoundand there ae layers hee too, but mare ‘recse, more considered placed by analmost isiblesinglehand rather than an opaque o-leggedsound machin lot deepinside themoment. ‘As James afresh instruments with each verse, “StateOFThe At” grows ever mot ‘complex, butontop fallisames' voice. This isavwise move: hisvocals can get buried the aaelstomof Maur here they remain clean and clear, beautifully ilustrating "Know Til Now", which fusesloopsandkeyboardstoa song withacoda ike amok jazzy acetate. I's Tikea Tom Waits tune that has ben subbed and softened while remainingdeliciously ‘oddball, witha wonderful, tangible texture. Therecordhasa unified atmospher,thereslt ofJames producing the album himself, recording athomeand playingalmost ever instrument. "Know ilNow" sone offoursongsinepited bby Gods’ Man, agraphicnovelby Lynd Ward fom 529 that uses wordless wood engravings. Thebook sbothaboutloveand a Faustian pac, anditisthe former partwithwhich James Sentified when be readitin 2008, shorty after Delnjured himself falling offthestage—the oe; 10 protagonistof the book hurtshimselt falling downacliff."Dear One", with squelehing bass andBos drums, s ‘eupboriclovesongthat reflects Kentucky ‘hebook’s central afairas does Producedby ‘hetollowing"ANewLe" which imdames provides thebestshowcaseoffames’ Personnel All ‘lee, asconfidentand dramatic asa ‘young Bret Anderson ona stunning ong hatmartesa Bowie-syleballad witha Johnny Cash backbeat, Sprinkled with MM) pyrotechnics, Intricate, delicateinstrumental “Exploding” offers abridge intothesecond half ofthealbum, which begins witha twiterof birdsongand acascading cherry blossom of eyboardson the regretful religion relerencing *OfThe Mother Agaln”-Nexts "Acres, a bittersweetlament that ypiiesthe albus Q&A Jim James eee Wisse itencta ater f at cou oreo perce eee oat Tabertathwerschnceformetesprecd tgs nde pang inavumers dont rormal loin troyagrst ol ee een eae ee ae What was the influence of Lynd Ward's Gods! ‘Manon the album? Recordedat:Home, andmixedat The Fun Homein Louisvil, instrumont played bylimlames except ramsbyDave Gian andliverpiecestrings New Albums UVTUQGUCNULUTEOOEOOEUUOUUOOUOUOOGOOOOOOO OOO E00 OUEOEEAEESE OULU eOO CEUTA On OY, adventurous pit combining austere strings ith slinky beats And domineering vocals. From there ttsbackto Gods’ Manand Alls Forgiven” sinister, sonorous themefor the nove’ devi ke igure. Saturated by organ landheavy metal chords, i's thefts piece James wrote inspiredby the bookandithangs ominously inthe dead ait Pechaps mindful of oferingachirpier denouement, ‘healbum closes with the Beatles esque “God's Love To Deliver nwhich James harmoniseswith himself oversimple strumming almostaeslostinastew ofsamples, beforeending witha buzz anda hum that lingers Intheearlong aftr this strange, beautiful album has played its inal note Ibegentheslbum as ascareto God Man.|feell havenevercompromisedmy sul tothe devil sol Feelgood about that but there weresome mare literal partstothe sory injury, love blorsoming outa despairrecvery- that identified with sndhad atupersurrea déf-wuimpactonme, fat knew thebock froma former ie beck when The alary has teri tester doos that corse fromthe production process? Production and soundscape ae veryimportantto me, Geer choices ondthen deciding here things lua eaters aaa ate teen very mportentmjustasinerestedinmicing Seiki cea vie re ees seed) Playing TEEN PETER WATS marci 2013 | UNCUT | 7New Albums FOALS FUZZY LIGHTS Holy Fire Rule OF Twelfths Cambridge olicnoise JOE GIDEON & THE SHARK Freakish Stepintothebig lesguesforence ‘merchants mess wih Likeaby scents bookish alte be ourheads Second tomsbiing ‘herlonening and << Therletovelths binee pani Soreadingoutthe ‘Sbvomala usd Joeand va ceo, TNO ‘ringsted ink TAO tors opeit tat TINO tintrmer members tht tt album, Ante ote patterns eventhough, geneva bikin, exw withasecn that ‘tod Ta ferret Gwentheraystens etch preceoncat telson th promee ete ao05 sb Shum iee wih Inala Siways be pled Quiet prcslons HarumScaron Theesmtethanahint precedente feocostecksong, Is freq evepsseo hth album efickCaelnjoidcon's wow, abitofared herring, though, asasiefrom from the collective led by husbane-and ‘emspoken draw intermittently backed theequally tempestuous “Providence”, Holy ite duo Racheland Xavier Watkins, a DyhissisterViva's velvety vocals, and nis Firedoesn" quite unfulitsdevil horas ‘workthatsweetyallsthelistener with preoccupations which veer between cami “Late Night” hasa moody disco strut and Selicatefolk numbers before ambushing and grotesque. The albumbaims with bizarre “MyNumber"isas pel tats their them withsurging orchestral noise. I's {ales of snakekeepers, bogus priestsand carlest work. Bute production heffrom thiseantrast between light and shade, pecullahappeningson the Underground Floodand Alan Moulder(U2, Ninelnch softandloud, onsongssuchas"The Hour” "Thelnsignificant Bulle”, aderanged Nails) asyellas the shameless But satisfying ‘ndRestles”, that makes Rule OF Twelihs transalanticadventuresetagainst chugging amountofdslayed guitar, means thattall, speffective,evenifitflageslightl towards gular, isparticulaly effective, showing the nas serous stadium credentials theend. ‘Gideons.at thelr most wickedly inventive FLUME Flume Hybrid electronicfirst from Aussieneweomer Inao1a, thecontnual ‘mutation of electronica 6/0 HOW TO BUY. PETRA HADEN MARK KOZELEK Petra Goes Top cuts by the ex-Red House Painter To The Movies Shona Ottne Odaball singer hums eat High dassctimthemes, helicity beter thanteounds fathered pace et enorme TAO Tesnecrionie fnedominant end ‘emerged, twastheweldingof neo-house RedHouse Painters Jazzbassit Charlie aSeatenlocaee Hadenisan ecenti and estessiy lndcosmie chia contemporary hiphop eae collaborative viinistand singer, est ‘nh. Nevruneindonheblck Seu PRT po SAT ‘nom forhreneacampelare ange isSyney based producer Harley Streten, ee Thettho SellOu- This sa similar project ‘whose dreamilynstalsi,glo- eae GE which she reworks 6flm themes, Teleast Interpret eal Noland Wash Se eee Interesting wacksaresongswithyries (rom rather than, say, Cooly Gor Frank recat a eae ara Totse an Bagdad Caf), where she's ‘cea is debut brine with promis best sl cies eee Sccompanied by utara plano bute rellsedby*On Top andthe Art OTNodwe oe init hems ary oudnger {lat“Evra"- wich alesis descentit0 Moucone's Chena Povisn ee ar ing ‘cookie-cutter, female vocal-centric synth 8/0 ‘wordlessly, acappella, with amulti-tracked ouhlydappcatng Then? nuchto ‘Si lmatngartngaant The {dnirehere butFlumeneedstofixonhis RED HOUSE. ‘fects inaly comic butsoon becomes identity, Still, timeison the 21-year-old’s side. PAINTERS: “utterly mesmeric, [SHARONO'CONNELL RedHouse JouN LEWIS ETE Painters (Rollercoaster) JOHN FOXX there's complaint ED HARCOURT BEE Raras . televlathrPe ee ian thatthe recordsoutstayedther wleomest BackInto, timer ard Relrcostor thera Gad? eRe became known)isthe longest ofall, at around beamed a Sominser ButecotaneKorlkcengle eas prea tasters Kay Songs eutrabon gant sttnal ‘Counting collaborations, ree alates eases ae national treasure complatonsandinve jd while etelek was completing Ghost “Fntheman ha ine B10 ts, ences John ao BIO Foot Eaarcour Fors éthalbum SoLanciain’vcaltbero concedes wistfully cs latseleee, ‘djspinelotonica might be een or DESERTSHORE ——_iimiyiinnereny ening Tunmingoutl wayrtomalesyalivoep Drawing OF dhs Mercury nominal deren ea ag Menton sud fesh and relevan Baths Thess Fesremninedbelowtherodarsince baths partnershipwith youn price Benge has cxbovameaon ‘llntenainaenystenahe eben enor tkasehsbestmuse since te Setome turn drawing ona str our, plane dominated tory dayscfentyUlravoxanddebutalum tetbeburied| ‘bboy ond session iyi Bruise”is ema, and Bvdencelsevennere ‘Finer of Ghosts fnarflenbutetohisyoung daughter with fumfaloticrensulaythatastyes eee steals toms Gaeta TheShaye Things lights nce he FosrecntSparishgutarnfsrced records. | lklythobjctotthe confessional “The dnithowscelMattewDea'colaboraton Deserthor is HF utara Pl Carneys Pret while"Tedfarmat ny alk (enenth Your reams) andtw0 bandsthoughwithKerlekonvocsls tes Feo helights what eff Burley cotrepucerusianwihirgtamesio | clomarsumones wifelaly topsite “ala might have ben withouthe maverick Gazelle Ti. 80 histones. Time oughttobekindet. 72 uncut | marci 2013a KEATON HENSON Birthdays climedsingr fongwterads some saioms but. Taso poet TAO ravines, Dea evokes sly inersoral Cota tno nse in ast otsboneTetey tonpensteninisvoce= hoy Fegan apes cats opie themed toe pestochdng ca fopand Bandon pete shenattbe ‘veringandweeinbecome iti thu enon -oortSwin afer econ cuney Tees Ty ‘Sceanpep aa teeserensntthart ‘optics pan eae int Nrnng " THE HOLYDRUG COUPLE Noctuary Chilean du dealing n teperor poly pop Theiyronnere iteseondbandtote Smo plucked from Santiago's appar burgeoning eh ekacne Nw ot bel Sacred ons Ons wanstyurcpiscictnmsingels nly esoChunberabune Fecaryshuldbeyour nex prt Maine tbeame semana Taongutarppss evn Fers terol eared ah my dsceeblngeecsthare Mitenccegeeghen are Shen betel and red eskepneeec ‘eelatepany btm fl ever tvaseak ein yaming era Ey THE JAMES HUNTER SIX Minute By Minute mstindveyears fromVanapproved Eseextoulman Granny nominated for TIO ‘reste Coma Ta antes tanith Dapone intern GaeieRath his new aoe Lael outing Theseumletly uence fisbisrawendiusyvocaling, andthe {rasta wloredawegper i weiagothis ta toate. Fromthemicosianes Brow rooe of Chicken Sch othe ister somping"Look Ost: though othe bean tet The Monkey Rie, Hunters ellotessassmaton sures s tecyeopedi theres nhgby me Southlepraingorietons he warm sfetarcrinbsvicelnstngsueoned tunescanewiinemodonalpayostapety. ICEAGE You're Nothing secondalbumat spocalyptcpankrock itombreakout Danes, Stine debutabm new ene) Brigadebecame an underound cause ina, Copebagatsceage rina pk rocky draggin thd Ye Nahin bts oo stonmulttoksot taal gure and mara drums hate tothchaote andy coral sometines Sprang corde thertinetering ha kroner Wwhtetnicleenfemics deol thd and cals Els Bender Romenfescenstohave goin his $n acommandingpresence whether Maling ofrecer onthe Charging Hoan raking an acinlry toneontheviano-sceompanie "Moral nc. fa No World phenstal 5 Stick debut rom < Beck, EltonandGee 3 2) Lo’s formersidemen f° Californianbrothers m™ Danieland Andrew Agedrepresentthe ‘acme ofthe current trend forblending AB syaggerwithindieintrospection. Facilitated by thereracksession muso cope No Welds aneat fasion of Angelo and Thexx, although much ike thelarter's recent Coeds tsa guarded affair, drawing {om the same muted paleteofemations throughout dhesombreswingbeatof “Trust Hell Below)" Isaboutasanimated asitgetsher) Sil, Inc'stouch canbe ‘exquisite at times: songs uch as"The Place” and “Careful” arethe kindof sensual, organic, modern soul racks yourwish Princewasstllmaking JOSE JAMES No Beginning No Er Jan vocals urs eanfarer one oon tele Feed inS jcc, ZNO, José James' musicowes dsmuch RAD wie tnpyearall ‘idanekbatefan titer ata, ite wthouta coat fre ae te Sede. nts Ding coon Sieh proweanSySe Sekai kmaiepecnn, Siamese ininateeeabar toeteng an con ple innen ‘mene sts on Sere cur” ‘atwiiteeetancnge ‘ahr Testing ‘eters oman oon ‘Speech ang Jane cae ETHAN JOHNS: IENot Now, ‘Then When? Topproducertakes Laura Marling’sdare, andintroduces himselfasanartist Allthesignfirs of Ethan Johns’ productions, from Laura Marling and Ray LaMontagne toRyan Adams and Kings Of Leon, are vividly presenton hisfirstalbum: the detalled analogue sound, arrangementsin which every notecounts Andealsimeimmediacy. Emerging ful formed asa writerand singer, Johns locates hisaestheticin traditional idioms, ipping through ajohn Lee Hooker tyerave-up {Morning Blues") updating protest era Dylan Eden") anderanking out vintage raunch he*Gloria-quoting “Don't Reach ‘TooFat”) The results are so convincing, the only question swhatookhim solong? BASSEKOU KOUYATE AND. NGONIBA Jama Ko Briliantthird album fromMal’snew 9No mainman Afteryearsbacking others onisbanjo-ikeagon, Kouyate {turned bandleader on 2006 Segu Blue ~and ‘won BBC World Musi'albumof the yea award. The pulsating turbulenceothisatest ‘reflects the political urmollin which twas ‘made, justasIsiamistfundamentalists were (over runningpartsofMaliandimposinga ‘alban stylebanon music. Theresultis anugentmixof Afrcanbluesand funk, ‘Seething with angerand sadness, and with Kouyateselectied ngonicranked upto ‘themax. Taj Mahal and producerHoward Bilermanassstin fashioninga creative ‘viumph outof Malis darkest hour MARK KOZELEK Like Rat LIke) Pea Public House, MWS Melbourne SunKilMoonman's creatvepurge S10 teria Eaelekthe GVO posthumous rates ction ay be sellhawe lane ve records ath Towers hse worccaesmisiturna drip feed no arlatverarket fod nike Hsuingeartistcoerss Lie Res eats ‘esrb Brsinsand rane ars, proving Koelekcouldturhiswrytoneto any {hingand makeitoey Moreirigng is Helbare, whee echats ih the cow Sndplayewih thelonsenessthatoet Among The Lees apart Burs ienoueh Soy es artngfeellke Kozak hasbegun'o {taderartesfordiminshingretuns ‘Manca 2015| uncUT| 73New Albums EELS EWORKS/VAGRANT Eels’ 10th album lives up toits fate-tempting title. 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