Innehållsförteckning för April 2024 från UNCUT

HI Lulu. How are you doing today? I’m good. So what are we talking about this time? You know me, I could talk forever! How about we start with current plans? I’m putting out a book that’s going to be, how can I say it, different. The same goes for my Champagne For Lulu tour in April. You’ll have never seen or heard me like this before. I don’t want to say too much because I want everything to be a surprise. The tour coincides with the 60th anniversary of “Shout”. You recorded the song after seeing Alex Harvey, right? It was totally inspired by him. I’d never heard The Isley Brothers’ version before I saw Alex sing it in a dingy little club in Glasgow. I was only 13…

“THERE are a great many interesting things about Arthur, one of which is that he was rediscovered through his music being made available for the first time, in many cases. So he was similarly simultaneously discovered and rediscovered. There’s very little biographical information in terms of him speaking about himself to the press. Consequently, there’s an element that Arthur can be whoever you want him to be, enhanced by the fact that he was adept at so many different forms of music. “He was a complicated person, of the type who have different versions of themselves. He practised Buddhism, but he was also wildly ambitious. He made avant-garde music, but he also made very warm and accessible music that he hoped would be commercial. I found that going through his…

Many of the titles have a connection to nature… At the end of the ’60s, I came back to Cali. I needed more space and so I moved to Big Sur. I was able to practice my spiritual life and to heal from the New York wars. That was really good for me, and I learned to love the ecstatic. I learned through meditation, fasting, swimming and hiking in the mountains. I’m getting deep in the earth and also reaching for the stars. Can you tell us about some of the references to jazz legends? “Monk’s Dance” is about Thelonious Monk, whom I love. I was invited to play with him but it was through a manager when I first got to New York and I didn’t understand intermediaries. That…

Chelsea Girl VERVE, 1967 The full impact of The Marble Index is only fully appreciated via a comparison with its predecessor, in which producer Tom Wilson and arranger Larry Fallon attempted to folkify Nico on songs given to her by Jackson Browne and Bob Dylan. She escaped only in the feedback squalls of “It Was A Pleasure Then”, a raga-rock collaboration with Lou Reed and John Cale. 7/10 Drama Of Exile AURA, 1981 Created in unhappy circumstances, produced in a Watford studio by the Corsican bassist Philippe Quilichini, this was recorded twice, following a dispute over the ownership of the original master tapes. From the second set of sessions came “Saeta”, Nico’s loveliest song, a hypnotic guitar-driven meditation with a rarity in her oeuvre: a set of interesting chord changes.…

Your father was the greatest kora player of his generation and you inherited his mantle. How much did you learn from him? The music has a history and a legend and a geography. I first picked up the kora when I was about five. It was handed down father to son and from father to son and that’s how I became the 71st generation of kora players in my family. Growing up I listened to my father’s tapes and recordings of my grandfather. But I also listened to western music and from that combination of influences, I taught myself to play. What makes the music of the kora as heard on this album so unique? The kora has three possibilities: you can play the bassline, you can play the melody,…

HOURS WERE THE BIRDS SELF-RELEASED, 2014 Accompanying herself on acoustic guitar on her first singer-songwriter album, Lenker presents a set of 10 modest, charming songs that show a young artist with a keen ear for melody and poetic lyrical sensibilities. 7/10 ABYSSKISS SADDLE CREEK, 2018 Abysskiss is occasionally more downcast than its predecessor, with crunches of electric guitar that bring out more ragged emotional edges. Big Thief recorded opener “Terminal Paradise” for 2019’s U.F.O.F. 8/10 SONGS; INSTRUMENTALS 4AD, 2020 Lenker developed these songs out of her pandemic-scrapped plans for a Big Thief tour, working with Weinrobe to lay down these 11 stripped-down numbers at a remote studio in Massachusetts. She recorded two long, largely improvised pieces on the companion volume, instrumentals. Tune in there for light and loose guitar tumbles,…

SHABAKA AND THE ANCESTORS WE ARE SENT HERE BY HISTORY IMPULSE!, 2020 On Hutchings’ second album with his South African ensemble, the fiery rhetoric mingled with a sense of personal reflection, particularly on the closing “Teach Me How To Be Vulnerable”. 8/10 SHABAKA AFRIKAN CULTURE IMPULSE!, 2022 A low-key solo debut, this 28-minute EP tentatively explored some of the woodwind textures and meditative zones Hutchings would revisit with more confidence on Perceive Its Beauty…. 6/10 KOFI FLEXXX FLOWERS IN THE DARK NATIVE REBEL, 2023 Hutchings operated more like a hip-hop producer on this intense collage of ritualistic percussion, hypnotic flute motifs, burnt-out electronics and raps from the likes of Elucid and Billy Woods. 8/10…

OUT of all the classic funk and soul 45s to come out of New Orleans in the 1960s, none sound like Betty Harris’s “There’s A Break In The Road”. From the opening bars, horns audibly hiss and distort, the guitar is wreathed in feedback and instruments leak all over each other. But at the back of the track, the rhythm section reaches exceptional levels of funkiness while over the top comes Harris’s powerful voice, close to breaking point. She sounds angry and resilient, desperate and defiant as she rails against the no-good man who left her. Betty Harris has had enough – and perhaps fittingly this would be her final single. It was released in 1969; in 1970 Harris, tired of the lack of success and money, quit music to…

SONOS MOVE 2 £449/go.stuff.tv/Move2 THE ‘2’ means our favourite speaker is now even better. Sonos has upgraded the Move in the areas that matter most – sound quality and battery life, the latter having more than doubled. Our only criticisms are about the high price and the weight, which is an inevitable trade-off for the muscular sound. Line-in is also a little bit of a faff with the extra adapter… but if you’re in the market for this excellent box, you’re probably beyond cables. 10/10 SONOS ERA 100 £249/go.stuff.tv/Era100 Improved in every way over the already brilliant Sonos One – not least with the crucial addition of Bluetooth support – the Era 100 matches its key rivals for sound quality. If you’ve got an existing Sonos system, it’s the obvious…

“Starship” (KICK OUT THE JAMS, 1969) A sonic revolution, this heavy proto-space-rock tune is inspired by MC5 favourite Sun Ra. It’s a showcase for Kramer’s improvisational skills, stretching the notes into chaotic shapes to match Rob Tyner’s incendiary delivery. “Looking At You” (BACK IN THE USA, 1970) A deceptively catchy song that contains what is probably Kramer’s best solo. The guitar work on display is downright enigmatic, emblematic of his ability to synthesise melodies, noise and speed into a dazzling array of sound. “Miss X” (HIGH TIME, 1971) A Kramer original, it’s the subdued yet vampy piano he plays here which gives this song its verve, gesturing at an expansive future for the band that unfortunately was not meant to be. “Incident On Stock Island” (THE HARD STUFF, 1995) Likely…

Take it easy! Out now is the Deluxe Edition of our Ultimate Music Guide to the Eagles, featuring classic interviews, every album in depth – and a deep dive into the Long Goodbye tour, which hits the UK again soon. “We’re not done yet,” says Timothy B Schmit… In our Archive Collection, we present the Ultimate Genre Guide: Singer-Songwriter, featuring classic interviews from the likes of Leonard Cohen, Carole King, Judee Sill and Tim Buckley. Plus the last thoughts of David Crosby, and the full lowdown on the triumphant return of Joni Mitchell. You can find both mags in shops now or at our online store: shop.kelsey.co.uk/uncut… Elvis Costello’s long-gestating musical A Face In The Crowd – based on the Budd Schulberg story that was turned into a 1957 film…

“The visceral presence of the bass is something you get lost in” AS Jah Wobble writes in the newly updated version of his uproarious autobiography, Dark Luminosity, there was a time when he never saw much of Mondays: “If I started a bender on a Friday night then that would probably be that, and I would be out of commission for a few days.” The young Wobble, enfant terrible of London’s post-punk scene, might be surprised to learn that he now spends his Mondays at Wimbledon Library, hosting free jam sessions for local people who might otherwise struggle with loneliness. Sometimes Wobble is persuaded to join in, although he still draws the line at trad jazz or blues. His own tastes remain heavy and adventurous, an itch scratched by guesting…

JESSIE MAE HEMPHILL She-Wolf HIGH WATER, 1980 Granddaughter of Sid Hemphill, Jessie Mae was well placed to bring hill country blues to a wider audience – she has family history, a remarkable voice and her guitar playing takes no prisoners. On She-Wolf, everything’s streamlined, full of spirit; it’s rich, gruff stuff, informed by the vicissitudes of life. 9/10 RL BURNSIDE Mississippi Hill Country Blues SWINGMASTER, 1986 While there are many great Burnside albums, Mississippi Hill Country Blues might be the best for its steely focus – the songs are knockouts, and by paring everything back to acoustic guitar, you can hear the power of his elemental playing, glimpsed through the gourd-like, hypnotic buzzing of open strings. 9/10 JUNIOR KIMBROUGH Meet Me In The City FAT POSSUM, 1999 A staggering collection…

After Flock, this is a much looser, dreamier set of songs. Yes, Flock was deliberately pop – I was listening to Hall & Oates and Hot Chocolate and literally replicating guitar and synth sounds and going down that vibe. I wanted to rebel against that and do something simpler and organic. How did John Parish get involved? We’ve been in touch over the years, and I rang him up to ask his advice on good studios in Bristol. He recommended a few, and then I just said, “Obviously, I’d love to work with you, John.” We recorded in March last year and it was the first time I’d recorded in one studio with a tight timeframe – usually we record in dribs and drabs in a studio round the corner…

Did this feel like a difficult third album all over again? Is it the third album or is it the seventh? It feels like a bit of both. It echoes things about Carnival Of Light in that it took a lot longer than the first two. We changed producers, but it wasn’t so much a wish to change things, it was things outside of our control. We brought in Richie Kennedy to help with engineering and he slowly became the driving force of the record. He went through a year’s worth of demos and found tracks we’d forgotten about. He could hear it all afresh. I thought the closing track, “Yesterday…”, was going to be a big rocker. And he said, no I think it’s a ballad. It should be…

Why did yMusic make such a profound impression? BRUCE HORNSBY: In my dotage I’m more and more interested in trying to make a sound I haven’t heard before, combinations and mashups of instruments, textures and styles. I felt their music was unique, original, coming from the classical world but also informed by indie pop in a beautiful way. I felt a simpático right away and decided to explore the possibilities. How did the writing process work? ROB MOOSE: Knowing what we did about Bruce, we thought he was the perfect person to at least hear what we were up to. I think our expectations were that some things would work, others would draw a blank, and many pieces would be greatly edited, or might be muted after sparking some sort…

ANDWELLA To Dream NUMERO GROUP 8/10 Three-album box of neglected turn-of-the-’70s psychedelia Initially formed in Belfast as Cream-style power trio The Method, Andwellas Dream came into being after singer-songwriter Dave Lewis shifted operations to London. 1969 debut Love And Poetry is a technicolour showcase for his mystical visions of home, driven by cantering acid-rock, Floyd-ish fancy and ringing folk, lifted by woodwind and bells. Following a name change to Andwella and the addition of pianist/organist Dave McDougall, 1970’s World’s End is altogether more soulful. The band peak on the stoned funk of “Hold On To Your Mind” (later a bastion of NYC’s loft scene) and “Shadow Of The Night”, which pre-echoes Traffic’s “The Low Spark Of High Heeled Boys”. And while 1971’s reflective People’s People never quite hits the mark,…

ROBBIE BASHO VISIONS OF THE COUNTRY WINDHAM HILL RECORDS, 1978 “This is a magic record that I’ve had so many great memories to. It’s like a portal. I think it’s absolutely beautiful. From start to finish, like a masterpiece. Robbie Basho’s guitar playing, the soaring qualities of his singing – there’s nothing quite like it. It puts me somewhere that I really like.” TUCKER ZIMMERMAN SQUARE DANCE MUSIKISTE, 1980 “I discovered Robbie Basho and Tucker Zimmerman at the same time. He used to live in the States, but he’s lived in Belgium since he was in his twenties. He’s in his eighties now. His wordplay, his playfulness – he’s just so smart and witty. It’s psychedelic and nonsensical in all the right ways, but it has beautiful form. His internal…

‘‘THERE was a certain lifestyle that I’d become accustomed to,” Jim says, remembering his first financially awkward months after The Jesus And Mary Chain split in 1998. “I didn’t know whether I was going to have enough money just to exist. So I took in lodgers…” Reid’s spell as a post-punk Rigsby was predictably chaotic. “As it turns out, I didn’t need to do it, but I did it anyway, and it was just my mates. The problem was that they were my drug buddies, so my house became drug central for a while. My dealer would stop by and stay for a week. You’d even get fed up with the fucking dealer – ‘Get out, now!’ It was incredibly unhealthy, but there was a feeling of, ‘Well OK, the…

THE biggest name on Perceive Its Beauty…’s impressive cast list is erstwhile OutKast rapper André 3000, whose own flute epiphany has remarkable parallels with Hutchings’. The common denominator is Carlos Niño, who plugged them both into his network of LA instrument makers and plays a key role on both their new albums. So it came to pass that Hutchings invited André to The Church Studios in London’s Crouch End to play on the tune that would become “I’ll Do Whatever You Want”, alongside Dave Okumu and bassist Tom Herbert. “I get a text from Shabs and he’s like, ‘Do you want to come and record with André 3000?’” recalls Okumu. “Of course I do! I’m a huge André fan. I didn’t really have an expectation of what it would be…

OUR MOTHER THE MOUNTAIN POPPY, 1969 Cut in LA with Cowboy Jack Clement producing and a top studio band, including James Burton on lead guitar and dobro, Charlie McCoy on harmonica and Don Randi on keyboards, Townes’ second album has a cinematic undertow. The arrangements soften the bleakness of the storytelling, Townes’ voice is pure and clear. Includes the tender “Tecumseh Valley” and the tormented “Kathleen”. The title track is a folky hallucination.. 8/10 TOWNES VAN ZANDT POPPY, 1969 The mood of Townes’ third album is set by the weary melancholy of the opening “For The Sake of The Song”, which has Leonard Cohen-like reserves of ennui. Townes revisits “Waitin’ Around To Die” from his debut. It remains one of his great songs, best viewed on the film Heartworn Highways,…

BRIAN WILSON: As far back as I can remember, there’s been music in my life. All three brothers would sleep in the same room, and we used to harmonise in bed. We used to sing “Ivory Tower” written by Jack Fulton and Lois Steele, that was our special one. We developed a little blend, which aided us when we started to get into The Beach Boys stuff … When I taught my brothers harmony parts, Carl got it right away and he got it beautifully. He was our main man for vocals. Dennis took longer. I had to be patient with him. MIKE LOVE: Our surfing songs did great. “Surfing USA” was number one in New York and LA. But the flip side was the car songs. “Shut Down”, “409”…

LIGHTING technician Rachel Axton has worked with plenty of big acts – in the last year alone she’s toured with Nick Cave, 50 Cent and Maroon 5. But her most specialist gig is with Nick Mason’s Saucerful Of Secrets, where one of her jobs is to create the spectacular liquid light shows that are projected behind the band. “I’m not aware of any other lighting technicians who do this nowadays,” she says. “But it really suits the music and adds to the vibe.” The basics are the same as might have been used at the UFO club in 1967. “It’s about mixing different coloured oil and water-based inks on a clear surface and projecting those images around the stage. Oil and water don’t mix, of course, so when you use…

DRIVE-AWAY DOLLS Directed by Ethan Coen Starring Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein Opens March 15 Cert 15 8/10 MONSTER Directed by Hirokazu Kore-eda Starring Sakura Ando, Eita Nagayama, Soya Kurokawa Opens March 8 Cert 12A 8/10 THE DELINQUENTS Directed by Rodrigo Moreno Starring Daniel Elías, Esteban Bigliardi, Margarita Molfino Opens March 22 Cert 12A 8/10 DISCO BOY Directed by Giacomo Abbruzzese Starring Franz Rogowski, Morr Ndiaye, Laetitia Ky Opens March 29 Cert To be confirmed 7/10 IO CAPITANO Directed by Matteo Garrone Starring Seydou Sarr, Moustapha Fall, Issaka Sawadogo Opens April 5 Cert 12A 8/10…

ORDER TODAY! MARCH 2024 COVER STORY Talking Heads INSIDE Kim Gordon • The Waterboys • John Fahey • Phosphorescent • Mud FEBRUARY 2024 COVER STORY Neil Young INSIDE Shane MacGowan • The La’s • Hurray For The Riff Raff • Martin Carthy JANUARY 2024 COVER STORY Keith Richards at 80 INSIDE 2024 preview • The Doors • Kurt Vile • The Birthday Party • Pentangle REVIEW OF THE YEAR 2023 COVER STORY Bob Dylan INSIDE The Beatles • Paul Simon Ray Davies • Shirley Collins • PJ Harvey DECEMBER 2023 COVER STORY Sly Stone INSIDE CSNY • Rolling Stones • Nirvana Jason Isbell • Talking Heads • Lankum NOVEMBER 2023 COVER STORY The Who INSIDE Robbie Robertson • Wilco • Teenage Fanclub • Kristin Hersh • Devo OCTOBER 2023 COVER…

BUDDY HOLLY & THE CRICKETS The “Chirping” Crickets BRUNSWICK, 1957 Originally it was Buddy Holly. That’s why I do this, because I thought, ‘Ah, if I can learn three chords, I can do what he does.’ When you think of jazz, every note was a chord, and this guy suddenly said, ‘We don’t need so many chords!’ He only lived as a successful musician for a year-and-a-half or two, but what he left behind was amazing. Here’s a guy that would have gone on ’til he was 90 years old, and so that was inspiring to me. I learnt a few more chords after, but I still write most of my songs in three chords, because Buddy Holly made me feel good. JOHNNY CASH “Ring Of Fire” COLUMBIA, 1963 My…

On motivation “We had an incredible commitment to what we were trying to accomplish. There was an unspoken agreement among people of my generation that the direction that the grownups were taking the world was a disaster in the making. We wanted to subvert that and get us on an eco-friendly, humanist track rather than the capitalist, profit-at-any-cost direction that the world seemed to be going in.” On the international underground “What we were going through in Detroit were some of the same things that my friends in London were going through, or students in Paris or Mexico City. I felt very plugged into them. The underground newspapers were the internet of the day. It’s how we found out what was going on in other cities, neighbourhoods, people just like…

ON a Thursday night in February at the famous 40 Watt Club in Athens, Georgia, REM fans got to witness the closest thing we may ever see to a full-band reunion. As actor Michael Shannon and guitarist Jason Narducy brought their touring celebration of 1984’s Murmur to REM’s hometown, members of the original band began joining the the fray, until Bill Berry, Peter Buck, Mike Mills and Michael Stipe were sharing a stage for the first time in 17 years. “Bill asked us if he could play piano on ‘Perfect Circle’, which he does on the record,” says Narducy. “And when I saw ‘Pretty Persuasion’ coming up on the setlist, I asked our stage manager to see if he could find Mike Mills and invite him up, since that song…

BETH GIBBONS “Floating On A Moment” DOMINO “It’s not that I don’t want to return…” Stunning solo comeback from the South-West’s most reluctant torch singer. JESSICA PRATT Here In The Pitch CITY SLANG A warm bossa nova breeze wafts through Pratt’s elegantly cobwebbed ’60s soundworld, though a sense of hazy melancholia remains. SIX ORGANS OF ADMITTANCE Time Is Glass DRAG CITY Unbound by hexadic systems and sci-fi narratives, Ben Chasny delivers some of his finest and most intimate songwriting to date, enhanced by typically brain-bending fretwork. CASSIE KINOSHI’S SEED Gratitude INTERNATIONAL ANTHEM New UK jazz luminary gracefully augments her Seed Ensemble with members of the London Contemporary Orchestra and turntablist NikNak. BEINGS There Is A Garden NO QUARTER Avant-ers assemble! Steve Gunn, Jim White and Shahzad Ismaily weave a dreamy…

THE BLACK CROWES Happiness Bastards SILVER ARROW 8/10 A sharp comeback from the Southern rock legends The Black Crowes have been through a lot in their 30-year career: they achieved overnight success with their first album, topped that with their second, then spent decades trying to find a way forward. Happiness Bastards, their first album of originals in 15 years, surveys the carnage and shakes off the dust, as Chris and Rich Robinson get back to something like basics. They have a blast finding new ways to marry Stonesy swagger with crunchy riffs and psychedelic lyrics, with some handclaps and gospel choirs sticking out like peacock feathers in their crushed-velvet top hat. A surprisingly lively and assured comeback. STEPHEN DEUSNER BLACK KEYS Ohio Players NONESUCH 8/10 Getting high with a…

DISCOVERED and mentored by the late Guy Clark, Texan singer-songwriter Noel McKay is still something of a well-kept secret around Nashville, having co-written with the likes of David Olney, Becky Warren, Shawn Camp and Clark himself. Fourth solo effort You Only Live Always, featuring local players The Galician Cowboys, plus guests Kelly Willis and Jim Lauderdale, lands in early May. McKay’s eloquent portraits of life in flux – largely driven by fiddle, strings and pedal steel – deal with “the infinite nature of the cosmos and the indestructible nature of matter itself”. Also due that week is For The Life Of Me (SOUNDLY MUSIC), the latest from multi-instrumentalist Will Kimbrough, whose many credits include a 20-year stretch as Jimmy Buffett’s trusted collaborator. Heading up a three-piece band, the folk-country stalwart offers…

AS Friday-evening rush hour honks to life in Manhattan, Adrianne Lenker is recounting some of her other favourite sounds. A going-away party buzzes in the record-label office downstairs, but it’s inaudible as the singer-songwriter mimics aqueous drips and trickles. A flowing river is more like a “big whisper”. She relishes a strong wind cutting through a wide swathe of trees, and when she drives, she often just likes listening to the sound of the car on the road. She has a special fondness for the quiet scrape of a handheld pencil sharpener. “I associate sounds with things that make me feel good in general, like a sharp pencil,” she says. These tones are just as musical to Lenker’s ears as anything she could pluck from a guitar or a piano.…

“OUR problem has always been we’re waiting for everybody else to catch up,” says A Certain Ratio’s drummer Donald Johnson. “The minute one of us is not here any more, that’s when someone will go, ‘Wow, have you seen this body of work?’ They’ll all start talking about it with reverence. I stand by everything we’ve ever done and we’re still pushing the envelope.” ACR may not have tasted mainstream success over their decades-long career, but their influence is undeniable, infiltrating the sound of everyone from Talking Heads and The Red Hot Chili Peppers to The Stone Roses and LCD Soundsystem. Formed in Manchester in 1978, ACR’s anything-goes approach incorporated elements of hard funk, disco, percussive jazz and electronica. Tony Wilson, their Factory label boss, declared them “the new Sex…

“‘TOWNES’ Blues’ is a true story,” says Timmins. “Townes was a big craps player, you know, dice. We did a lot of craps playing in the back lounge of the bus. Money was exchanged very fast. Craps is like that. You’re up a hundred dollars, and you’re down a hundred dollars within five minutes. We did this one drive from Boulder, Colorado, to Houston on the bus – a 24 hour drive – and played craps the whole time. Townes is very familiar with that area because he lived in Colorado for a long time and was born in Texas. There’s a route that you can go through the Raton Pass, which cuts six hours off that journey. We had this bus driver who was an intimidating guy; a racist…

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BY some reckonings, possibly including those of Drums & Demons author Joel Selvin, Jim Gordon was rock’s greatest drummer. A list of the songs on which he played could function without complaint as a playlist on oldies radio. Aside from the obviously huge titles, such as “Good Vibrations”, “I Got You Babe”, “River Deep, Mountain High” and a jukebox of Glen Campbell hits, there are early recordings by Neil Young and Tom Waits, The Monkees and The Byrds. During the Pet Sounds sessions, Brian Wilson and Gordon cut up four orange juice bottles and employed them as percussion instruments. All of that is before you get round to mentioning “Layla” by Derek And The Dominos, on which he shared the writing credit with Eric Clapton (while also denying any recognition…

HOW TO ENTER The letters in the shaded squares form an anagram of a song by Pink Floyd. When you’ve worked out what it is, email your answer to: competitions@uncut.co.uk. The first correct entry picked at random will win a prize. Closing date: Thursday, March 28, 2024. This competition is only open to European residents. CLUES ACROSS 1 So far down there’s nothing left to come from Elton John (3-3-3-4) 10 Wah won’t reform for new album by Brittany Howard (4-3) 11 Escape from songs by Chvrches and Georgie Fame (3-4) 12 “I am the ______”, identity crisis for The Beatles in “I Am The Walrus” (6) 13 “You had me several years ago when I was still quite _____”, from Carly Simon’s “You’re So Vain” (5) 15+32A+36A John Lennon album…