I'd like to read this. Problem for me with magazines is I only read them once, & I can't justify the high price of news stand mags under those circumstances. When I moved I threw away a ton of magazines & gave away hundreds of books.

Damn.

I always get disappointed when it's an artist I don't like.

She's just not my thing musically.

Does save me money though and lets me catch up on the issues I still have to read.

I need THIS.

Next up, a re-do of Macca:

This will add nothing to the last issue.

Has anyone seen this Joni issue at their local B&N? It's been just about 5 weeks since it appeared in the UK.

Still haven't seen it. Some Ebay seller was offering them for about $10, plus $2 or $3 shipping, so I ordered it that way. Should arrive soon.

I'd like to read that. Hard to justify $10+ for something I'd only read once.

To answer my own question: my local B&N had this issue today. It was not in my local store late last week.

Exactly how many times would you need to read it?

Once. $10+ is too much for a single read (i.e. too much for any magazine).

Up next, one I will enjoy...



In the late summer of 1972, the Melody Maker’s Richard Williams took a revelatory trip around the record shops and studios of Kingston in the company of Chris Blackwell, from Island Records. Blackwell’s ambition was to find the rawest “real reggae” and expose the rest of the world to its potency, and the project involved visits to Joe Higgs, a Toots & The Maytals session, and the studio owned by a gun-toting figure known as Harry J. There, the pair found a popular local group little-known outside the island.

The group were called The Wailers, absorbed in the recording of “Slave Driver” for the album that would become Catch A Fire. Williams was impressed, and described the frontman Bob Marley as “the Jamaican genius”, as “a virtuoso, on a par with the very finest soul singers… If he could do nothing else he’d still become a singer of world stature.” Catch A Fire, he speculated, “ought to awaken everyone to the power of this island’s music.”

When Williams’ article first appeared in the Melody Maker, six months ahead of the album’s release, one imagines it was greeted by no little scepticism. What looked like hyperbole, however, was soon revealed to be uncanny prescience. Acclaim for Catch A Fire was soon followed by a string of righteous albums, epochal gigs, and even hit singles, which could encompass not only Marley’s uncompromising faith and politics, but also his universalist touch. Here was a rebel whose anthems transcended their cause; a fierce musical puritan whose songwriting genius brought him success far beyond the world of reggae. Not so much the first “third world superstar”, as he was frequently anointed, but a superstar for the ages, in any context.

High time, then, that we dedicated an edition of our Ultimate Music Guide to Bob Marley and his mighty accomplices; it’s on sale in the UK this Thursday (July 13), but you should be able to order a copy from our online store (along with all our other Ultimate Music Guides).

The Uncut team have provided in-depth reviews of every one of Marley’s albums, creating an invaluable path through one of popular music’s most fiendish discographies. Alongside them, you’ll find vivid Marley interviews that we’ve uncovered in the NME and Melody Maker vaults: Richard Williams’ trailblazing first piece; gripping reportage from Kingston compounds, London exile and American tours; revealing insights into this most charismatic of musicians.

A legend, rooted in reality: here’s the definitive guide to understanding Bob Marley. “Must run home like mind,” he tells the Maker’s Ray Coleman in 1976. “Keep open.”


Read more at http://www.uncut.co.uk/blog/introducing ... ZXvv0Jx.99

This will add nothing new to the previous issue (it was a very good one though), but it's "remastered" somehow...



It is worth remembering that for some eyewitnesses during 1977, punk wasn’t all it was cracked up to be. Take, for instance, Reg Cliff, who went to see two of the scene’s prime movers in concert – and came away bitterly disappointed. “Last night I went to see the Sex Pistols and Clash (formerly 101’ers) for the first time,” he wrote to NME. “I was very, very disappointed. Both bands were crap and it’s enough to turn you on to Demis Roussos.”

It’s a shame Reg didn’t enjoy the show – The Clash, it transpired, were “a cacophonous barrage of noise” – but perhaps if he’s reading this blog then he might be encouraged to pick up a copy of our latest deluxe edition and experience a change of heart. Yes, we are proud to unveil a deluxe edition of the Uncut Ultimate Music Guide to The Clash, which goes on sale in the UK this Thursday (August 10) – when it also goes on sale in our online store.

1977 was, of course, a pivotal year for The Clash – they released their debut album in April and toured extensively becoming punk’s inspirational standard-bearers in the process. So it seems particularly apt that we celebrate the 40th anniversary of this landmark year in the band’s life with this deluxe guide to all things Clash. It includes a selection of articles originally published in the NME, Melody Maker and Uncut, and with extensive new reviews of every album, we trace the highs, lows and neglected margins of the band’s career and their solo endeavours. An all-star jury – headed by Mick Jones and Paul Simonon – vote on their best Clash tracks ever, and we trace the band’s pre-history back to the pub rock scene and Joe Strummer’s early band, the 101’ers.

By curious coincidence, during 1976 – as The Clash took shape – on the other side of the Atlantic, Neil Young was hard at work on Hitchhiker, an album that he quietly shelved and has remained in his vaults ever since. Until now, that is! Young is finally releasing Hitchhiker in September, and if a post on a new website last week is to be believed, his is also finally raising the curtains on the next volume of his exhaustive Archives project. It seems a timely opportunity, then, to remind you that the current issue of Uncut goes deep into the story behind Hitchhiker, along with Young’s other legendary lost albums.


Read more at http://www.uncut.co.uk/blog/introducing ... iIdUW5m.99

I despise these "remastered" money-grabs. I'm glad they do have the warning on the cover because I'd be likely to buy them all again.

I especially dislike when they do it with issues where nothing new has happened since.

At least with U2 and Springsteen many years and albums had passed.

They do the new style with the harder-bound magazine which is nice, but I'm not paying $17 again for the same content.

I also figure it's just a way of repressing these and getting them back in print.

June 1981, and Prince is introduced to the British music press for the first time. A “subdued, low-key character”, he tells the NME’s Chris Salewicz about how his management and record company thought he’d lost his mind when he played them Dirty Mind for the first time. “Once I told them that this was the way it was,” he says with a quiet intransigence that will soon become legendary, “then they rtyknew they had no choice. They’d have to try it, because they weren’t going to get another record out of me otherwise.”

In the same Manhattan hotel room, the Melody Maker’s Steve Sutherland hears a similar story. But then, as Prince is regretfully discussing how “my attitude’s so sexual that it overshadows anything else”, the fledgling artist suddenly changes tack. “I’m gonna stop this soon,” he announces to Sutherland. “I don’t expect to make many more records, for the simple reason that I wanna see my life change. I wanna be there when it changes. I don’t wanna just be doing what’s expected of me. I just wanna live…until it’s time to die…”

Over the next 35 years, through a sequence of roughly 36 more albums, Prince rarely did what was expected of him. It was an aesthetic strategy that would often infuriate his record label, but one that would prove irresistible to millions. For all his quixotic whims, Prince knew best.

In the latest edition of Uncut’s Ultimate Music Guides (on sale in the UK this Thursday, though you can order Prince: The Ultimate Music Guide from our online shop now), we examine in depth every one of those Prince albums: not just the garlanded run of ‘80s classics, but the fraught ‘90s missals of The Artist Formerly Known As Prince, and the strange, often-neglected labyrinth that constitutes his 21st century catalogue. Along the way, we uncover hidden masterpieces and look at the most familiar songs in a new light. We hear of concerts that left critics weeping with joy. And we dig deep into the archives to find more revelatory interviews with this most complex and enigmatic of latterday superstars.

It is 1995 and, somewhere deep in the bowels of the old Wembley Stadium, the NME’s Andy Richardson is audacious enough to ask of Prince a question that may well have occurred to even his most faithful fans. “Does it worry you,” Richardson enquires, “that people think you’re mad?”

Prince, to his credit, finds the whole idea hilarious. “No,” he laughs, crumpling into the sofa in a heap. “I don’t care. If people think I’m insane, fine. I want people to think I’m insane. But I’m in control.”

The Ultimate Music Guide: Prince tells the complete story of how that monomaniacal desire for control resulted in one of the wildest and richest music legacies in history. Take us with U!

Oh yeah!

If mags weren't so expensive I'd be in.

This is a no-brainer for me. As soon as I see it on the shelves, it'll be coming home.

But this is what I find amusing about the description above (and I know IP is quoting it, not saying it himself)...



Roughly? That seems like a pretty precise number to me.

It has been interesting skimming through the History Of Rock magazines and seeing how artists like Prince and Kiss were perceived in the UK early in their careers. It's easy to forget that information wasn't always as easily accessible as it is today.

Nothing could possibly be added to this edition, so it's just back in circulation with a new cover.

It was a great issue though.

We need a Tom Petty issue.