Innholdsfortegnelse for September 2022 i UNCUT

“I KNOW it’s virtual,” Paul McCartney told the 100,000-strong crowd gathered in front of Glastonbury’s Pyramid Stage, “but there I am singing with John again. We’re back together.” Peter Jackson had isolated Lennon’s vocal on “I’ve Got A Feeling” from the 1969 Apple rooftop concert, and here was McCartney duetting with him live. A Beatles reunion in all but body, it was the last of several unforgettable surprises in a set which many have called the festival’s greatest ever. McCartney arrived at Glastonbury fresh from a warm-up show at the 800-capacity Cheese & Grain in nearby Frome the night before (June 24). “It was mind-blowing, undoubtedly the best live experience I’ve had in my life,” says local musician Sam Lakeman. “We were standing in the queue next to Olivia Rodrigo,…

“I think we synced in a really special way”PETE KEMBER “WE’RE the generation that was born analogue and died digital,” says Sonic Boom, over Zoom. “The way things have changed through that time with technology, it’s been the Wild West.” At 57, Pete Kember is at least enjoying the ride. As a member of Spacemen 3 and as a committed solo voyager, he’s spent the last 40 years exploring the outer reaches of space-rock by any means necessary. Now, with his pal Noah Lennox – aka Panda Bear of Animal Collective – he’s hit on a winning formula that involves spinning some of rock’n’roll’s earliest hits into syrupy, psychedelic pop. For Reset, the pair’s first joint album, Kember created a series of loops drawn from the opening bars of golden…

“I’VE got this shop I run in Omaha with my drummer and friend Mychal Marasco,” says Simon Joyner. “I’ve always kept music part-time because I don’t think it’s healthy or artistically fruitful to do it for a living. The best way for me to continue writing is to spend most of my time living the same kind of life that the people I want to write about are living. I’ve watched artists living this sort of niche existence and after a while they lose the ability to write about people in the same way. They start writing songs about being on the road. Another day, another dollar, another green room.” As you might expect of a record shop owner, Joyner offered an informed playlist for collaborators on Songs From A…

Old-Time Folks DON GIOVANNI 8/10 LIKE so many artists from the Deep South, Lee Bains is conflicted about his upbringing to the point of obsession. Albums like Deconstructed and Youth Detention have been filled with songs that explore his roots and the complex socio-political legacy of the South, usually set to an energetic musical accompaniment that owes more to The Clash than Skynyrd. Old-Time Folks sees Bains – once of the Dexateens – on familiar lyrical territory, but musically he has tried to slow down a little, introducing elements of folk and country with the assistance of Drive-By Truckers producer Dave Barbe. Bains is a fascinating character, straddling the polarised worlds of red and blue America. His evocative poems about Southern food have featured in The New Yorker, and he…

In 2005 Luke Schneider caught a mind-blowing show by veteran pedal steel player Susan Alcorn at an art gallery in Nashville. “Her performance,” he recalls, “was a revelation. I realised that this instrument could be used to make its own statement, outside of any genre, with an infinite palette of unheard sounds and tones.” Nearly 20 years on, Schneider has become one of the most celebrated pedal steel players in Nashville. When Tompkins Square Records asked him to curate an instalment of its Imaginational Anthem series, he knew he had to get Alcorn involved, among others. “I wanted artists who identified as dedicated pedal steel guitarists, who colour outside the lines – way outside – of traditional genre boundaries.” Subtitled ‘Universal Chrome’, the collection includes exclusive tracks by BJ Cole,…

“I’ve been down, but not like this before/Can’t be’round this kind of show no more” Waiting For Columbus (Super Deluxe Edition) RHINO REISSUE OF THE MONTH 9/10 ASK anyone who was a fan of Little Feat during their initial run – a decade-long stretch from 1969 to ’79 where vocalist and guitarist Lowell George, and keyboard player Bill Payne, steered a leaky ship through toil and trouble – and they’ll tell you Little Feat’s music truly came alive onstage. Much like peers the Grateful Dead, the Feat needed the unpredictable conduction of energy between band and audience, plus the heat-of-the-moment, now-or-never fury of live performance, to take flight. It’s no surprise, then, that Waiting For Columbus is one of Little Feat’s most enduring albums, often included in lists of the…

Am I Groovin’ You: The Pye Anthology CHERRY RED 7/10 ONE of the earliest, most noteworthy chart battles in the UK was fought between Bayswater-based The Foundations and their north London contemporaries The Equals, with both bands striving to be the first mixed-ethnicity outfit to make it to N0 1. The former’s debut release, “Baby, Now That I’ve Found You”, triumphed when it reached the top spot in November 1967, eight months before their rivals’ “Baby, Come Back” followed suit. The victors had been honing their craft in clubs and dancehalls for two years as The Ramongs and The Ramong Sound. A change of name brought success, but the template remained the same: upbeat soul with singalong, pop-minded aspirations, yet infused with the edgier, grittier elements of Booker T &…

From There/To Here: UK/US Recordings (1974–1982) CHERRY RED 8/10 SPEAKING in the mid-1970s, singer-songwriter Bridget St John was aware that her personal musical golden age was over. “It’s not enough to make nice records any more,” she told the Liquorice fanzine. “You’ve got to have a whole campaign behind you.” A slightly untogether free spirit, St John struggled to adapt to a more bread-headed world, with this 3CD boxset, stacked with unheard recordings, capturing the Nico-voiced bohemian’s curious and woolly attempts to stay artistically upright in a time when being a John Peel show regular was no longer quite enough. The poster girl of Peel’s Dandelion record label, the Surrey-born doctor’s daughter carved out a niche on the teacher-training-college-gig circuit at the turn of the 1970s with a run of…

Unravelled: 1981-2002 MERGE 8/10 TALL Dwarfs emerged among a handful of standout ’80s punk-adjacent acts from New Zealand, burbling up in the wake of iconic label Flying Nun’s founding; and they tread a familiar path – locally beloved, but otherwise more obscure, an intriguing and essential layer in the country’s cultural underground. They were born out of cult band Toy Love, who were at one point so popular they made the hop to Sydney, on the promise of a springboard to London, but were swiftly met and then rejected by head-scratching pub-rock punters who didn’t get it. Crestfallen, Dwarfs co-founders Chris Knox and Alec Bathgate retreated home to Dunedin, bought a four-track and began experimenting, determined to never again fall prey to the music industry’s trappings, which Knox called, “totally…

CROSS the fields around King’s Lynn, the wheat grows high and green, and the houses thin out and out until they become little more than occasional farms and small parishes, quiet beneath the Norfolk sky. For more than 30 years, Cosey Fanni Tutti and her partner, Chris Carter, have lived out here, in a village where few are interested in the comings and goings of two avant-garde musicians. This midweek morning, Tutti sits at her kitchen table, dark-ringed eyes beneath a heavy, dark fringe. The scene is a strange combination of domesticity and defiance: the fitted kitchen, the well-kept garden; behind her on the counter, a row of plastic cereal containers. But next door lies the couple’s home studio, a framed fan-painting of the cover of Throbbing Gristle’s 20 Jazz…

LOVE’S reputation rests on their dazzling third album, 1967’s Forever Changes. But the journey there involved several di? erent stops. Not least among these is “She Comes In Colors” – a jazzier, flute-and harpsichord-peppered Arthur Lee composition from 1966’s Da Capo. The Los Angeles band’s second album – named a. er a musical term meaning “back to the beginning” – took a pivotal step on the odyssey from their eponymous debut’s garage rock towards an ornate, psychedelic form of rock’n’roll. “The first album was more minimalist, with everything recorded live,” recalls guitarist Johnny Echols, sipping ginger beer on a tour bus in Leeds, shortly before performing the hallowed catalogue with The Love Band. “But Da Capo was a more grown-up album. We wanted to push the envelope. I’m very proud…

YANKEE Hotel Foxtrot wasn’t the only album Jeff Tweedy and Glenn Kotche worked on in 2000. As well as taping an album with Jim O’Rourke as Loose Fur (released in 2003), they recorded Tweedy’s first album under his own name, the soundtrack to Ethan Hawke’s film Chelsea Walls. On its reissue this year, Tweedy called it “pivotal for me – there was a burst of creativity that continues to this day.” It removed, he says, “the last remaining guardrails” from his music’s potential. “Is it undervalued?” Tweedy wonders to Uncut. “I don’t see it as being valued at all! It’s a weird curiosity. My instrumentals on it are from the period of meeting Glenn and figuring out how to play in a more improvisational way. And it’s still in the…

BST Hyde Park, London, June 25 HYDE Park in midsummer. For The Rolling Stones, this is a ritual place of celebration and commemoration. Here in 1969, Mick read Shelley and released several thousand white butterflies in memory of Brian Jones; tonight, as the Stones mark the 60th anniversary of their first show at the Marquee, they also pay tribute to Charlie Watts. Instead of the poetry and the lepidoptera, Charlie gets a more modern send-off the video montage. It’s a bit like those ‘best bits’ clips when a contestant exits a reality TV show. Understandably, it raises one of the biggest cheers of the night. As it transpires, the spirits of Brian and Charlie are very much in evidence here. After arriving on stage with a rousing “Street Fighting Man”,…

KATE Bush’s drummer Stuart Elliott has never watched Stranger Things, so it came as a complete surprise when he checked his phone one morning in June to be told that “Running Up That Hill”, a song they’d recorded decades previously, was top of the charts. “I still can’t quite get my head around it,” says Elliott, who also played on Bush’s previous No 1, “Wuthering Heights”. “It’s about time that the USA especially finally get to hear the genius of our Kate. I mean, crumbs, to be No 1 in the whole world is just incredible.” Bush seems as excited as anybody by the clamour. “I’m overwhelmed by the scale of affection and support the song is receiving,” she wrote on her official website as “Running Up That Hill” began…

“I JUST love wildness,” explains Andy Ellison, whose new autobiography Stunt Rocker documents a life of cheery rock’n’roll mayhem in the bands John’s Children (with a young Marc Bolan), Jet and Radio Stars. The book is a stream of ripping yarns and eyebrow-rocketing anecdotes. In the ’60s and ’70s, there seems to be some sort of incident almost every day, including banned singles, smashed vans and riots at gigs. Meanwhile, Ellison’s dangerous stage antics mean the now 77-year-old rocker reckons he’s broken most parts of his body – including his back – and happily admits, “I can’t believe I’m still alive.” The North Finchley son of a Spitfire pilot, Ellison first walked on the wild side at school. His parents packed him off to what was supposedly a farming boarding…

Take It Like A Man ATO 8/10 TO really know somebody is to know all the little ways to hurt them. It’s fitting, then, that the most devastating moments on Take It Like A Man are rarely the most dramatic. “You can say it’s all my fault, we just couldn’t get along”, she sings on the quietly dignified “Fault Lines”. “Just so you know, I’ll say ‘I don’t know’/But no-one’s gonna be asking me”. Like a lot of people – like a lot of wives and mothers – Shires experienced something of a compression of identity during the pandemic, locked down at home near Nashville with her husband, the musician Jason Isbell, and their daughter. A touring musician since joining the Texas Playboys on fiddle at the age of 15,…

Sons Of THRILL JOCKEY 8/10 SAM PREKOP and John McEntire have worked in harmony for close to 30 years. As the singer-guitarist and drummer in The Sea And Cake – alongside bassist Archer Prewitt – the pair have amassed a body of work that takes a good few hours to sift through on Spotify, though such is the breezy, effortless nature of the material, you’d be hard pushed to remember which songs stand out. For fans, this familiarity has long been part of the Chicago band’s appeal: across 11 albums since their debut in 1994, The Sea And Cake’s innocuous post-rock – at times jazzy, sometimes overtly pop, always elegantly turned out – has been a reliable, comforting presence; a stable reminder that no matter how terrible things are in the…

All Of Us Flames BELLA UNION 8/10 PLENTY of artists openly protest against their categorisation along genre lines, while many more just quietly resent it, but across five albums since 2012, Ezra Furman has unabashedly channelled the rock’n’roll classicism of Reed, Dylan, Young and (especially) Springsteen, while repurposing its power to a unique end. In the run-up to 2013’s breakthrough, the hectic Day Of The Dog, Furman, who came out as a trans woman last year, declared her ambition was to be like Elvis, Buddy Holly or Patti Smith, and though solo identity as a group leader was on her mind there, not glory, with the blazing All Of Us Flames she’s stepping into the spotlight. It follows 2019’s Twelve Nudes and the previous year’s Transangelic Exodus and though it…

Earl’s Closet: The Lost Archives Of Earl McGrath, 1970-1980 LIGHT IN THE ATTIC 9/10 EARL McGRATH sounds like a character from a Paul Thomas Anderson film. A socialite and bon vivant, he was born into poverty in Wisconsin before leaving a troubled home at 14 to join the merchant navy. Having broadened his geographical horizons, he started on his cultural ones, meeting WH Auden, Henry Miller and Leonard Bernstein before organising a music festival in Italy in 1959 featuring Cecil Taylor and Jack Kerouac. While there, he met and married an Italian countess, moving effortlessly into high society. An art collector and cultural dabbler, he worked in Hollywood – he bought pot from Harrison Ford and claimed to have conceived Midnight Cowboy, The Monkees and Saturday Night Live – before…

“MAYBE it’s a representation of how I feel as a musician now with some eyes on me, my own eyes and others. Constantly looking at myself, my face, my soul, can get super freaky, but it’s also fascinating in its own right and informs the music in conscious and subconscious ways. It could also be a visual of how outside myself I feel a lot of the time. Quite a few of the songs hint at that. I thought as you get older the gap closes, but it feels like it’s getting wider for me. But it could also be that I had a looming deadline and this was the first idea I came up with! We’ll never know.”…

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Brixton Academy, London, June 29 THE week before these shows, some mildly embarrassing footage had done the rounds showing LCD Soundsystem playing for a crowd of half-interested tech bros at some kind of NFT convention. They’re not the first band ever to take a corporate gig, but it did raise suspicions that – without a new album on the horizon – their long residencies in New York and now London were just a means of milking the cash cow. Well, cynics be damned. The love in this venue is palpable long before the band even take the stage, and LCD pay it back in spades with a performance that’s the very opposite of phoning it in. The eight-strong band are situated on platforms around the stage, each picked out by…

WE OWN THIS CITY(HBO) 6/10 BLACK BIRD(APPLE TV +) 10/10 Show or tell? US crime-drama series take different approaches. By John Robinson WHO now would be brave enough to make a cop show? The moral ambiguity that fed into a series like HBO’s much-loved The Wire (2002–2008) now feels faintly irresponsible in the world post-George Floyd. Twenty years after the series aired, the idea of being “good police” (a quality in a Wire character that could eclipse any other personal shortcoming) now seems an almost comically outmoded idea. No-one’s laughing in We Own This City. Following tours of duty in tip-of-spear Iraq (Generation Kill), New Orleans (Treme), New Jersey local government (Show Me A Hero) and New York porn (The Deuce), this is Simon’s return to the streets of Baltimore.…

JULEE CRUISE Ethereal singer (1956-2022) COMPOSER Angelo Badalamenti faced a dilemma while creating the score for David Lynch’s Blue Velvet in 1986. Unable to secure the rights to This Mortal Coil’s cover of “Song To The Siren”, he and Lynch opted to write something similarly atmospheric instead. Enter singer Julee Cruise, whose otherworldly tones and phrasing were a perfect fit for the brooding textures of “Mysteries Of Love”. It was emblematic of Cruise’s subsequent career, beginning with 1989 debut Floating Into The Night, written for her by Lynch and Badalamenti. “I must have taken it from listening to what my mom and dad loved: low, low, bluesy-type music,” Cruise told the LA Times in 2017, referring to her signature sound. “But I sing like a classical French horn player.” An…

Heartmind ANTI? “Mr Musk was in a bad way/Stewing in his bullion like a phony chef” ALBUM OF THE MONTH 9/10 THE ancient provocateur Diogenes – a kind of Grecian hybrid of Slavoj Žižek and Steve Bray – is one of Cass McCombs’s recent obsessions. Born two and a half millennia ago, Diogenes demonstrated his radical philosophy by living on the streets of Athens, sleeping in a ceramic wine vessel and o€ ending the public with various stunts, all in the service of sticking it to the corrupt ruling class of the time. McCombs’ fascination is understandable, for Diogenes could easily have stepped from his catalogue; say, from one of the Californian’s many songs celebrating outsiders, the damaged and addicted, “the poor and screwed”, as he put it on 2013’s…

Cheat Codes BMG 8/10 THERE have been times when it feels like everywhere you look, you see the hand of Danger Mouse. Over the last decade or so of work, the New Yorkborn producer Brian Burton has accrued a list of credits that read like a who’s who of modern music. Adele, Gorillaz, U2, Beck, The Black Keys, Norah Jones – and that’s before you get to his artistic collaborations, with Cee-Lo Green in Gnarls Barkley, The Shins’ James Mercer in Broken Bells, and Karen O for 2019’s Lux Prima. As impressive a CV as this is, it’s sometimes given the impression that Burton has been keen to leave his past behind him. He began his career as a hip-hop producer, recording the seminal 2003 LP Ghetto Pop Life with…

“It was just a huge stab into the dark of trying something new and different,” says Bret McKenzie of his ‘serious’ debut solo album. Of course, the Wellington-based singer-songwriter was an old hand at writing the kind of sparkling tunes that fill Songs Without Jokes, having spent years making music in Flight Of The Conchords and crafting funny songs for films and TV shows. “But then at night, I’d write these songs that weren’t those songs. I was like, ‘What can I do with these ones?’” Despite the title, there’s no lack of humour in the record. Nevertheless, he found it “liberating” to write songs that didn’t need to serve a specific character or comedic conceit yet are rich with his usual wit. The encouragement to record them came from…

What can you tell me about the times leading up to the shows documented on Waiting For Columbus? How was Little Feat going at the time? There was a lot of turmoil going on before the decision to do any shows. That was one of the things that Lowell, or maybe Warner Bros… it’s a little vague as to who suggested doing these live shows to help us out. Things were a little rocky for the band, you know. But when it came down to putting the shows together, we all solidified as a team and said, it sounds like a good idea. Let’s head off to Manchester, do a few shows without the horns, bring in the horns towards the end of that, in London, and then do the…

Words & Music, May 1965 LIGHT IN THE ATTIC 8/10 IN 1965, Lewis Reed was a half-formed thing. In fluctuating quantities he was a street poet, a reporter, a Greenwich Village folkie, a comedian, a pop hack. He had his own ideas, some of them borrowed, a few of them blue. He was an experiment. He wasn’t yet an original. Run the tape backwards – to 1963/4, say – and it’s evident that Reed’s metamorphosis was speeding up. Back then, when two years in pop history was an age, the Dylanisms came loaded with harmonica and deference to the workmanlike chug of the blues. Peer back further, into the mists of Reed’s teenage imagination, and you’ll hear the innocent joy of doo-wop, but also a pre-echo of The Velvet Underground’s…

EVERY Thursday night, in a brightly lit suburban strip mall above a dental surgery, Julia Jacklin searched for new horizons. She’d already tried tap-dancing and screenwriting classes in her adopted city of Melbourne; now she was enrolled on an acting course. “It was hilariously bad,” she laughs, “just excruciating. It was this very bizarre group of people shoved together in this small room for three hours each week. I was going through a bit of a crisis during the pandemic. I guess, like a lot of musicians, I was trying to extend my artistic repertoire.” In part, Jacklin’s new pursuits were an attempt to decompress after the pressures of making and touring her second album, 2019’s Crushing. A powerful, wry examination of relationships and sexual dynamics, delivered via the Australian’s…

IGGY Stardust is alive and well and teetering up the steps of St George’s Hall in Liverpool. The old starman looks pretty good for 50: whip-thin in scarlet leather and platforms, crimson cockscomb proudly erect, the 1973 forehead flash the only odd anachronism. We follow him up the steps and into the madly ornate, neo-Grecian hall. Naturally, he has timed his entrance to perfection. The mirrorballs are twinkling, the crowd is expectant, and up in the loft the organist is playing Mick Ronson’s magnificent orchestral coda to “Life On Mars”. But something’s awry. At the bar, there are three or four other Ziggys, patiently queuing for plastic beakers of Heineken. Around the hall, a rum selection of Thin (and not-so-thin) White Dukes. There are a couple of Major Toms, in…

MAKING the soundtrack to Delia Derbyshire: The Myths And The Legendary Tapes was not simply a case of repurposing material from the Radiophonic Workshop pioneer’s archive. In commissioning Tutti, the film’s director, Caroline Catz, was aiming for something more ambitious. “I was interested in that line of influence, the effect that one creative life has on another,” she says. “I wanted to have Cosey weave her own sound story throughout it; I wanted there to be this space in the film, reaching across eras, using different techniques, two musicians communicating together.” This made sense to Tutti: “I didn’t want to use [Derbyshire’s] audio files as I know she was so precious about them. So I was working on experimenting in different ways to get things that sounded like Delia. It…

WHEN Chris Stein moved out of Manhattan around 20 years ago, he took several boxes of Blondie ephemera with him and stored them in his garage. These included a backstage mirror from Hammersmith Odeon that was hauled back to America like Viking plunder, as well as approximately 100 water-damaged reels of unreleased music, acetates, vinyl and home-recorded cassettes. Some came from the very start of the band’s career in 1974, when Stein and Debbie Harry lived together in a succession of crummy New York apartments. Others were experimental remixes, created in 1982 as the band fell apart. In between were the origins of most of Blondie’s biggest hits. Did Harry have any idea of what her bandmate was sitting on? “I know he is a very good collector and he…

WILCO’S sole UK stop on their summer European tour is at the Black Deer Festival, a celebration of Americana held in the Marquess of Abergavenny’s estate on the Kent/Sussex border. Surrounded by the Sussex Weald’s thick woodland, it’s a sedate English scene far from the wind-blown Midwest landscapes Wilco conjure on their new double album, Cruel Country. It already sounds like one of their finest records, looking back to the glistening, redemptive acoustic beauty of 2007’s Sky Blue Sky, and further still to Uncle Tupelo. But 2022 also finds Wilco reckoning with their storied past more directly, with the upcoming 20th-anniversary reissue of Yankee Hotel Foxtrot. With its troubled genesis, an eerie post-9/11 resonance, experimental production and tender songs, the album has always been a Wilco landmark. This new monolithic…

“CHERYL Pawelski knows more about those tracks than any of us,” Jeff Tweedy tells Uncut of Wilco’s archivist and reissue producer. A 30-year veteran of the reissue game, Pawelski found sifting through Yankee Hotel Foxtrot ’s tapes to be her biggest challenge to date. “I put the record’s development into stages,” she says, “beginning with the early renditions. Some songs disappear after that point – they never got back to ‘Love Will (Let You Down)’. After that, there’s a lot happening: we’ve lost our first drummer! This record was created in its most realised form in the mixing stage with Jim O’Rourke, but just before the finished record, they were deconstructing and reconstructing songs. Some were more developed in the earlier stages…” The Yankee sessions started in mid-1999 and took two…

HIT THE ROAD This is a brilliantly distinctive debut by Panah Panahi – the son of veteran director Jafar Panahi, who over the last decade has been finding inventive new ways to overcome the restrictions placed on him by the Iranian government. While his father made films while under house arrest (This Is Not A Film) or in the confines of a cab (Tehran Taxi), Panah has responded to the theme of enclosure by making a film about escape. Hit The Road is about a family headed to the Iran-Turkey border, where the oldest son (Amin Simiar) hopes to leave his country. He’s joined by his mother (Pantea Panahiha), cantankerous father (Hassan Madjooni) who’s stuck in the back seat with his leg in plaster, and his restless kid brother (Rayan…

Email letters@uncut.co.uk. Or tweet us at twitter.com/uncutmagazine PRECIOUS STONES Thanks for the piece on Exile On Main St in your June issue. Of all the things I cherish turning 50 this year – the original Godfather, the late, lamented Roe v Wade, my ex’s husband – I have to put The Rolling Stones’ strangely cinematic gumbo masterpiece at the top of the list. No other British Invasion band ever managed such an authentic, soulful excavation of its American roots, and I doubt even today the remaining members know quite how they managed to pull it off, straddling time zones, addiction, the authorities and all sorts of idiosyncratic Stones madness. And of all the tributes I enjoyed that of Marshall Chess the most, having heard him speak at Chuck Berry’s memorial…