Indholdsfortegnelse for July 2025 i UNCUT

“I’m not sure Kraftwerk really appreciated ‘Planet Rock’. But they got paid” IT’S the morning after his 70th birthday party, but the instantly recognisable Arthur Baker is looking surprisingly chipper on a video-call from Miami. “I’m not hungover, but I’m almost hungover,” he admits. “A little beer, a little wine, so it was OK. We took over a friend’s Chinese restaurant that just opened five minutes from the house. So it was no raving, really. I think the raving will happen in May, when I’m doing all these book parties. I think that could be a little more raucous.” The book he’s referring to is his entertaining new memoir, Looking For The Perfect Beat – the writing of which has inspired him to trawl his own archives for unreleased gems.…

Separations FIRE, 1992 “I was 17 when I heard the countdown start”, sang Jarvis on “Countdown” (recorded in 1990), finally getting his ambitions on track after a decade of dogged obscurity, and preparing for the liftoff towards sex, celebrity and, eventually, some 40 years later, the real challenges of adulthood.  7/10 His ’N’ Hers ISLAND, 1994 The title track of Pulp’s breakthrough album was only appended belatedly, appearing on the 2006 reissue. It found Jarvis providing a definitive list of things that frightened him about domesticity, including Belgian chocolates, pot pourri, 26” TV screens, endowment plans and “evenings in the Brincliffe Oaks searching for a conversation”. 8/10 We Love Life ISLAND, 2001 “I used to hate the sun because it shone on everything I’d done”, Jarvis sang on “Sunrise”, an…

ELLEN ARKBRO Nightclouds BLANK FORMS/LA BECQUE 9/10 Improvisations for organ, dense and headspinning Ellen Arkbro’s minimalist compositions can feel unyielding at first, but they open to reveal rare beauty. On Nightclouds, a selection of improvisations, the energy is more immediate, but the emotional contours are similar. There’s a brash lushness to her playing that vivifies the tougher conceptual components of Arkbro’s music, best exemplified on the slowly oscillating, shape-shifting hum of the closing “Morningclouds”. There’s also a simultaneously released collaboration with Hanne Lippard and Hampus Lindwall, How Do I Know If My Cat Likes Me?, that’s both playful and rigorous, Lippard’s coolly detached voice perfectly satirising what they call “corporatised minimalism”. JON DALE TIM BARNES Noumena/Lost Words QUAKEBASKET/DRAG CITY 8/10, 8/10 Excellent, free-wheeling experiments, hard to classify On these two,…

Then Came You WARNER BROS, 1975 Named after the irresistible Thom Bell-produced hit on which she shared the billing with the (Detroit) Spinners, the album otherwise consists of songs written and supervised by great New York producer Jerry Ragovoy, including a broodingly intense version of his classic “I Can’t Wait Until I See My Baby’s Face”. 8/10 Track Of The Cat WARNER BROS, 1975 Thom Bell, who may have been Bacharach’s greatest disciple, gets Dionne to himself for a whole album, recorded at Sigma Sound with Philadelphia’s finest musicians. It’s a selection of perfectly tailored songs and finely crafted arrangements, from the catchy “Once You Hit The Road” to the ambitious title track. 9/10 Heartbreaker ARISTA, 1982 An unexpected collaboration with The Bee Gees provided Dionne with a hit single…

RICHARD ASHCROFT Alone With Everybody (reissue, 2000) UMC/PROPER 7/10 Straight repackaging of solo debut and its two follow-ups Ashcroft’s first post-Verve release doesn’t stray too far from what went before; perhaps unsurprisingly, considering singles “A Song For The Lovers” and “C’mon People” were both previously in contention for Urban Hymns. There’s more of a mellow troubadour on display here, though, with several cuts presented as unashamed valentines to the singer’s wife. The ballads in particular accentuate the oaky maturity of his voice, with “You On My Mind In My Sleep” a dead ringer for Neil Diamond, and “On A Beach” a swirling, seductive masterclass in existential country dreampop. Even when he embarks on more up-tempo voyages, as on the psych blues “Crazy World”, there’s a sense of disciplined grandeur. Tentative…

IN the next issue we’ll be taking a magnifying glass to new records by Wet Leg, Cory Hanson, Mark Stewart, Brent Cobb, Ryan Davis & The Roadhouse Band, US Girls, Gina Birch, Luke Haines & Peter Buck and many more. In the vibrant world of reissues and archival releases, meanwhile, there’ll be Bruce Springsteen, Nick Drake, The Residents, Steve Harley & Cockney Rebel and the 30th-anniversary reissue of Stars Of The Lid’s debut Music For Nitrous Oxide, among others. EMAIL TOM.PINNOCK@KELSEY.CO.UK…

IN 2019, Natalie Bergman and her brother Elliot were in New York preparing to play Radio City Music Hall with their indie-rock band, Wild Belle. Minutes before soundcheck, they got a call from a coroner in San Francisco. Their father Jud and stepmother Mary had been in a taxi that was struck head on by a drunk driver speeding down the wrong side of a highway. The couple were killed on impact. Bergman, who had already lost her birth mother when she was still a teenager, felt herself buckle with the shock. The grief was so overwhelming she feared it might destroy her. “I remember my heart physically hurt for five months,” she says softly. “I thought I had breast cancer. I was like: ‘Something is wrong. What the fuck…

NEW York in the early 2000s was rediscovering its musical pizzazz. Over in Williamsburg, a scene had developed around hipster cratediggers and musical magpies, who went on to form era-defining bands including TV On The Radio, The Rapture and LCD Soundsystem. On the fringes of this activity, meanwhile, were the Dap-Kings, a group of musicians wedded to the classic soul and funk of James Brown, The Impressions and Aretha Franklin, fronted by powerhouse vocalist Sharon Jones – when she wasn’t working as a corrections officer at Rikers Island prison. After leaving Willamsburg, the band built a new studio in Bushwick as a home for their own record label, Daptone. “The music wasn’t punk, but the ethos was always totally punk rock,” says bandleader and bassist Gabe Roth, aka Bosco Mann,…

FRIPP & ENO EVENING STAR ISLAND, 1975 A more hushed follow-up to the previous year’s (No Pussyfooting), the pair’s second collaboration found Eno once again processing the guitarist’s Frippertronics and dusting them with synth and keys. Side Two, one long piece titled “An Index Of Metals”, is a doomy, crawling drone, and quite transportative. 9/10 BRIAN ENO, DANIEL LANOIS & ROGER ENO APOLLO: ATMOSPHERES & SOUNDTRACKS EG, 1983 Ostensibly sound-tracking For All Mankind, a documentary utilising lunar and space footage from the Apollo missions, this collaborative record finds Eno at his most captivating. While there are lonely, bleak moments – the opening “Under Stars”, especially – most of these tracks are blissfully beautiful, with “An Ending (Ascent)” perhaps Eno’s most popular track. 10/10 BRIAN ENO ANOTHER DAY ON EARTH HANNIBAL,…

EL VY RETURN TO THE MOON 4AD, 2015 Berninger met Brent Knopf of Menomena and Ramona Falls on tour, and the pair exchanged lyrics and musical sketches for years before finally forming EL VY and recording their debut in late 2014. The record provided a more colourful and exuberant context for Berninger’s work. 8/10 THE NATIONAL SLEEP WELL BEAST 4AD, 2017 Having previously worked on the EL VY record, engineer Sean O’Brien would record Berninger’s vocals for The National’s seventh album. Something of a messy electronic reinvention for the band, Sleep Well Beast was rapturously received and won them a Grammy for Best Alternative Music Album. 9/10 MATT BERNINGER SERPENTINE PRISON BOOK/CONCORD, 2020 Berninger’s debut solo effort started out as a plan to make a covers album in the style…

DRAKE’S Chelsea friend Julian Lloyd photographed him twice while he was working on the songs that comprised Five Leaves Left. The first time, Nick drove them to Wales in January 1968. “There were great ruts in the snow,” says Lloyd. “Nick put his foot down and got on with it.” Conversation on the long road trip, often about music, reflected his character. “Nick was a delicate man. I don’t mean frail – he would have his thoughts, and there would have been a finesse and principle and intelligence reflected in the way he spoke.” Lloyd photographed Drake again in July the same year. “Nick, even in his very quiet way, would let on he was recording. We didn’t then know its extent or importance. I was just starting to take…

“TIME HAS TOLD ME” (1ST SOUND TECHNIQUES, MARCH 1968) Drake’s second ever studio recording fully unpacks the rich voice, complex guitar progressions and mysterious lyrics that will forever characterise him. “STRANGE FACE” (ROUGH MIX WITH GUIDE VOCAL, SEPTEMBER 11, 1968) A studio experiment whose overdubs build into an artificial-sounding, proto-motorik groove, with Drake’s voice and guitar unperturbed at its heart. INSTRUMENTAL (CAMBRIDGE, LENT TERM 1968) Only 1:40 long, this unknown guitar fragment taped in Robert Kirby’s room sounds packed with possibilities, forsehadowing Bryter Layter’s penchant for instrumentals. “MICKEY’S TUNE” (CAMBRIDGE, LENT TERM 1968) The set’s new Drake song, supposedly named after his friend Micky Astor, is breezy and bossa nova-like. “When I played it at an event last year,” says Drake biographer Richard Morton Jack, “it hadn’t been heard publicly…

IN The Last Great Dream, the fourth instalment of his survey of post-war counterculture, Grateful Dead publicist Dennis McNally has arrived at an important junction. Yes, there are field trips to Greenwich Village and Swinging London, but the map is folded most heavily around the corner of Haight and Ashbury streets in San Francisco where, for a fabled moment, the wearing of daisies in one’s (uncut) hair felt like a significant act. The freaks of Haight-Ashbury, McNally writes, “stood by a series of values” at the core of which was the “freedom to question the shadow side of American culture”. How long ago it seems, how idealistic. What happened? Well, spoiler alert: McNally’s postscript suggests that hippie values found permanent expression in the market for organic food, natural fibres, aromatherapy,…

DAVID THOMAS Pere Ubu behemoth (1953–2025) DAVID Thomas believed that rock music should be smart. “I was going to create a band that Herman Melville or William Faulkner or Raymond Chandler would’ve wanted to be in,” he explained on his website, referring to the formation of Pere Ubu in 1975. “It was going to take years and years, but that was my plan.” Pulling from a variety of sources – late-’60s rock, musique concrète, symbolist art, experimental sound – Pere Ubu’s music managed to be both abstract and intensely visceral, driven by a confrontational frontman whose piercing voice often pitched into a howl. Refusing to acknowledge any kind of affinity with punk, Thomas instead called it “avant-garage”. “It appealed to us because it didn’t mean anything, but it addressed what…

BRENDA WOOTTON AND RICHARD GENDALL Children Singing SENTINEL, 1976 Brenda Wootton is a folk singer from Cornwall, but her voice didn’t really fit in with the folk scene in England at all. This album is a compilation of songs that Richard Gendall wrote in the Cornish language, about Cornwall, and they got these two schools in Penzance to sing them. I grew up in Cardiff and I spoke Cornish because my dad’s a Cornish poet. So I would listen to this record and think there were a lot of other children that spoke Cornish, which wasn’t the case at all! It’s a gorgeous record and there’s a purity to what it expresses, because it’s about folk in the community, rather than being a troubadour. YOUNG MARBLE GIANTS Colossal Youth ROUGH…

‘‘ABOUT 18 years ago, I was trying to go to the catacombs on a day off in Paris, and the line was three hours long. So the un-humble beginnings [of this performance] was like, ‘How do we cut this line?’ Perhaps the greatest gift of playing in a band is that it gives us access to such incredible locations. There’s no end to the juicy stories about the catacombs. There’s been talk of secret meetings and late-night raves, but we’re the first people to legally play there. “The catacombs is the star of the show, so all the decisions we made were about respecting the space. You can’t plug anything in – we had an electric piano that was hooked up to a car battery. The floors were wet in…

Waiting for the mag? It’s not early, it’s not late: it’s the 148-page deluxe, updated Ultimate Music Guide to Lou Reed, celebrating 60 years of Lou’s epochal collaboration with John Cale. Contains classic, hair-raising interviews and in-depth writing on every album, plus an eyewitness account of Lou’s fight with David Bowie. In shops now or available directly from us at shop.kelsey.co.uk/uncut… Also out now from the same places is The 200 Greatest Heavy Rock Albums… Ranked! It’s a riff-tastic, dragont-rousered beast of insightful reviewing, heavy features from the Uncut rock archive, and occasional woodblock… And… our latest archival issue, History Of Rock: 1968. Pete Townshend writes home to readers from the hijinks of a USA Who tour. Plus: The Beatles, Cream, John Peel and… George Best! Ace Records celebrates its…

SALLY ANNE MORGAN Second Circle The Horizon THRILL JOCKEY Old-time fiddle with newschool attitude from the sometime Black Twig Picker. A verdant patchwork of loops and drones evoking an endless Appalachian spring. WET LEG Moisturizer DOMINO Difficult second album? Not likely. Moisturizer thrums with wit and hooks as Rhian Teasdale and Hester Chambers confidently refine their brand of fierce, skew-whiff and smart indie-rock. RYAN DAVIS & THE ROADHOUSE BAND New Threats From The Soul TOUGH LOVE Picking up where Purple Mountains left off, Davis deals in wordy, scrawny country-rock, artfully loaded with pathos: “Jesus Christ is trying out some new material on you and me tonight”. LIGHT-SPACE MODULATOR The Rising Wave AD93 Gnod vocalist Marlene Ribeiro teams up with avantdub beatmaker Shackleton for a vivid tropical pop voyage that becomes more…

ORCHESTRE RAIL-BAND DE BAMAKO Orchestre Rail-Band De Bamako BÄRENREITER-MUSICAPHON, 1970 Though the Super Rail Band (to use the name’s more popular short form) was still quite young in years, the level of musicianship was already formidable when they cut this inaugural recording, which demonstrates the increasingly electrified (and electrifying) direction of Malian music. 8/10 LES AMBASSADEURS DU MOTEL DE BAMAKO Vol 1 SONAFRIC, 1977 After jumping ship to the Super Rail Band’s chief rivals, singer Salif Keita helped them become one of Bamako’s most versatile acts, with a repertoire that even included Russian and Chinese songs. The players’ dexterity is matched by their songs’ elegance throughout this document of their mid-’70s peak. 9/10 SUPER BITON DE SÉGOU Afro Jazz Du Mali ÉDITIONS BOLIBANA, 1986 Formed in the mid-’60s in the south-central…

BOB WEIR ACE WARNER BROS, 1972 A Dead album in all but name, adding to the band’s recent roots explorations in footloose style. “Playing In The Band”, first heard on ’71’s live Grateful Dead, became a centrepiece of Dead setlists, where most of this work seamlessly migrated. 7/10 KINGFISH KINGFISH ROUND, 1976 Weir joined this breezy Bay Area band in 1974–76, sharing vocals with New Riders Of The Purple Sage’s Dave Torbert. “Lazy Lightnin’” and “Supplication” became a Dead medley, while Weir relishes country gunfight yarn “Big Iron”. 7/10 BOB WEIR HEAVEN HELP THE FOOL ARISTA, 1978 A detour into slick, disco-era AOR with crack LA sessioneers, creamy female harmonies and Terrapin Station’s commercial producer Keith Olsen. “I got what I wanted,” Weir said, contrasting this polished regime with the…

PEGGY Seeger made her first record back in 1954. Now, a mere 71 years later, she’s releasing her farewell album, Teleology. “If you go through all of the formats I recorded on, it started with a 16-inch aluminium disc when I was about seven years old,” she marvels. “But then I knew ‘Barbara Allen’ all the way through when I was three years old…” Throughout the decades, Seeger has remained a beacon of purity in the world of traditional music. Although she’s occasionally recorded with a band and written her own songs, much of her work – made solo, with late husband Ewan MacColl or on occasion the whole Seeger family – has been in service of the folk songs of the working class. “In folk music, the music sells…

CARIN BESSER A former New Yorker fiction editor, Berninger’s wife frequently works alongside him to write lyrics for The National and other projects, including 2021’s Cyrano soundtrack. PHOEBE BRIDGERS Bridgers duetted with Berninger on a cover of Simon & Garfunkel’s “7 O’Clock News”/“Silent Night” and their own composition “Walking On A String”, and contributed vocals to The National’s Laugh Track. She has previously spoken of Berninger’s influence and guidance as a lyricist. RONBOY Julia Laws joined Berninger’s live band following the release of Serpentine Prison and played on Get Sunk. Berninger has long been a champion of Laws’ solo project, Ronboy and the pair duetted on a cover of Tom Petty’s “Only A Broken Heart”.…

What has your training been like? It’s been bloody hard. The last few years I’ve been working on 22-inch bass drums and what we’ve been rehearsing on for the last five weeks, three or four times a week, is working on 24-inch bass drums to 26-inch bass drums to see how that might feel. We spent a week on 26s and my back was fucking killing me. Maybe in the day. When I was 25 years old I used to push 26s, or when I was 30 or 40 years old. But I’m going to be 77 and I can’t push 26s. I did a jam yesterday trying to do nonstop playing for 40 minutes – I did that with a lead guitar player from another band. I was playing with…

Moth Club, London, April 29 THE brutal self-deprecation begins even before Mark Eitzel takes the stage. Pinned to the door of the venue is a running order that bills tonight’s main attraction as the “Eitzel Ordeal”. Luckily, the majority of the audience seem to know exactly what they’re letting themselves in for, namely the compelling spectacle of some of the most devastatingly beautiful songs of the last 40 years being undermined in real time by the man who wrote them. Possibly inspired by performing in front of the Moth Club’s famous glitter curtain, Eitzel is in full cabaret mode tonight, doubling as both crooner and comedian, punctuating songs with cutting one-liners, off-colour anecdotes and even the occasional impression (of a wheedling JD Vance). He regularly stops songs halfway through to…

BALLERINA RELEASED JUNE 6 Ana de Armas stars alongside Keanu Reeves as a vengeful ballerina turned assassin in this barmy extension of the John Wickiverse. BARRON’S COVE RELEASED JUNE 6 Garrett Hedlund plays a grieving father with a history of violence who kidnaps the child responsible for his son’s death, in this grim thriller from director Evan Ari Kelman. DANGEROUS ANIMALS RELEASED JUNE 6 Hassie Harrison, Jai Courtney and Josh Heuston star in this survival thriller from The Devil’s Candy director Sean Byrne. FALLING INTO PLACE RELEASED JUNE 6 Aylin Tezel writes, directs and stars in a romantic drama about a couple who meet on the Isle of Skye and instantly develop a mysterious connection. JANE AUSTEN WRECKED MY LIFE RELEASED JUNE 13 Director Laura Piani delivers a Francophone take…

BOWERS & WILKINS ZEPPELIN PRO EDITION £699 / go.stuff.tv/ZeppelinPro YOU can’t mistake a Zeppelin for anything else. The elliptical silhouette is perched atop a sturdy metal pedestal stand, with the front face wrapped in acoustic fabric. The rear remains plastic, but it’s the kind that does a convincing impression of metal. It’s what’s inside the Pro Edition that separates it from the regular Zeppelin. It’s packing the same titanium-dome tweeters as the 600 Series loudspeakers, while the mid-range drivers also have improved cone damping and a smoother crossover with the woofer. Hi-fi jargon aside, that should mean it sounds better. You don’t get a remote control, so you’ll need to download B&W’s companion app. This is how you get the speaker connected to your Wi-Fi network, roll it into a…

1 ALAN SPARHAWK Not Broken We open with a mighty cut from Sparhawk’s second post-Low album, With Trampled By Turtles. Stately, poised and still earthy, it can’t help but recall his beloved former band, especially when his and Mimi Parker’s daughter Hollis chimes in on vocals. Sparhawk discusses the record on page 25. 2 BC CAMPLIGHT Where You Taking My Baby? Brian Christinzio is going from strength to strength, and his seventh album A Sober Conversation is his deepest and most captivating yet. It’s all about contrasts: here, over a peppy slice of infectious power-pop, the Manchester-based American sings of confronting his abuser. Christinzio speaks on page 26. 3 MATT BERNINGER Bonnet Of Pins Get Sunk is the second solo album from The National’s Berninger, and it finds him in typically…

Tubular Bells VIRGIN, 1973 The inescapable curtain-raiser that became a cultural landmark, referenced in numerous books, films and even Only Fools And Horses. An inspirational touchstone for future generations of musicians (Thom Yorke declared himself a fan early on), and proof positive that there was a sizeable, lucrative market for instrumental minimalism. 9/10 Crises VIRGIN, 1983 Side One’s 20-minute prog carnival title track is possibly too busy for its own good, but Side Two is something of a departure. Five melodically geared “pop” songs with guest vocalists, each around the three-minute mark, including folky hit single “Moonlight Shadow” and the synth-friendly “In High Places”, later sampled by Kanye West. 7/10 The Millennium Bell WARNERS, 1999 The B-word rears its head again, on a finde-siècle concept album trawl through history. Stopping-off…

MELANIE Lullabies From Heaven: Melanie’s Children’s Album CLEOPATRA 8/10 Woodstock legend’s charming collection MELANIE Safka, who recorded as Melanie, is one of the few artists to have completed a Grand Slam of erade-fining festivals: Woodst0ck in 1969, the Isle Of Wight in 1970 and the second Glastonbury Fayre in 1971. She also had three singles in the Billboard chart at the same time, the first artist to pull off that trick. Melanie died in 2024, having always wanted to record an album of children’s songs; this has now been compiled, with her family’s support, by Cleopatra Records from a variety of sources. There’s a rich tradition of children’s albums by serious singers, particularly in the folk genre. Woody Guthrie and Lead Belly are just two of the artists who recorded…

VARIOUS ARTISTS All The Young Droids: Junkshop Synth Pop 1978 – 1985 NIGHT SCHOOL 8/10 These electronic baubles from the archive are definitely the droids you are looking for THE post-punk era, when newly affordable electronic instruments and DIY recording methods fuelled a paradigm shift in embryonic machine-pop, has long been canonised as a golden age for futuristic music. But All The Young Droids seeks to excavate a less celebrated lost era, where unsung bedsit chancers, low-budget new-wavers, Casiotone Kraftwerk clones and sub-Human Leaguers dabbled in this new analogue sound laboratory, often creating charmingly kitsch oddities and accidental arty-party bangers. After all, as the album’s press notes remind us, electro-pop was still widely dismissed as an uncool novelty fad in the late 1970s, and synthesisers routinely derided by serious rock…

WILD BELLE – “KEEP YOU” (2012) Shot in Kingston, Jamaica, Bergman stars as a woman wronged by her cheating partner, who is played by a diminutive child (the “little man” of the lyrics). NATALIE BERGMAN – “KEEP THOSE TEARDROPS FROM FALLING” (2021) Retro-tastic music video paying loving homage to Joe Cocker’s 1969 performance of “Feelin’ Alright” on The Ed Sullivan Show. ROAD HOUSE (2024) In Doug Liman’s punch-’em-up remake, Bergman cameos as the barroom singer covering Helene Smith’s “You Got To Be A Man” and The Slickers’ classic “Johnny Too Bad”. NATALIE BERGMAN – “GUNSLINGER” (2025) Bergman learns to linedance with the help of a slow-burning groove and Chicago punk rocker Ian Svenonius.…

THE Dead’s interest in sound and vision began in the Dayglo-painted redwoods around Ken Kesey’s home in La Honda, California, where huge speakers were placed to blast Bob Dylan and Roland Kirk into the night. The Pranksters’ bus Furthur carried internal and external speakers and mics when Weir hitched a ride on it. Jerry Garcia was an early recruit to Kesey’s cause, with pre-Dead band The Warlocks playing Kesey’s 1965 San Francisco Acid Tests, backed with looped tapes and liquid light shows. Some California hippies later migrated to Silicon Valley, part of a post-’60s transformation that also encompassed the sci-fi cinema tech of George Lucas’s Industrial Light & Magic. Weir, meanwhile, pushed livestreaming even before Dead & Company first rolled into the Sphere with their ILM-designed, immersive show. If Vegas…

“WE never intended to make a number of records, we were just experimenting. But very quickly we realised we’d made 30 pieces. Now it’s closer to 100. There was a whole array that were more conventional songs, of which ‘Suddenly’ is an example – that was one of the first things we made. But then there were really weird, noisy, industrial, dark, atmospheric pieces and everything in between. “Brian was like, ‘This is so great, we should put it out.’ Luminal became the home for the first collection of songs. But there was this landscape piece called ‘Big Empty Country’ that originally was eight minutes long. We’d both been listening to it separately, pretty much on the same day while going for a walk, him around here, and me in…

ON a good California morning, Matt Berninger used to get up early, drink some tea and smoke some weed. After a little while, he would tell his wife, Carin, that he was heading into his office in Manhattan. Then he would get on his bicycle and ride the hour or so from his home in Venice to the small South Bay community of Manhattan Beach. At the far end of the beach is a surf food stand that Berninger regards as his favourite restaurant on Earth, and there he would order a Shrimp Boat — fried shrimp and French fries with a side of cocktail and tartar sauce. “I would go so often that my nickname was Shrimp Boat,” the singer says. “Then I’d walk down to Manhattan Beach pier,…

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