Post subject: Uncut Magazine Ultimate Music Guide (special collector's issues)
Posted: Wed Nov 08, 2017 1:46 am
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24 Sep 2006
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26169
Hell yes!
We’re on sale in the UK on Thursday, but you can already order Ultimate Music Guide: Steely Dan from our online shop. Among other things, the issue works as a suitably effective memorial to Becker: an unrelentingly sharp mind, whose insights and wit electrified most every interview that he had to endure. Speaking to The Orillia Packet & Times recently, Fagen was clearly trying to memorialise his old sparring partner without indulging in the sort of mawkishness that Becker would have so gleefully ridiculed. “He was really hurting the last couple of years – especially the last year – but he soldiered on,” Fagen told the newspaper. “All he wanted to do was play; that was his life. It’s great that he could do it.”
“During the soundcheck, we used to consult on the setlist every night,” he continued. “And now, I feel really unprepared. I’m just trying to figure it out myself. I’ll ask some of the other players in the band, but he had a certain way of looking at it that I really miss.”
Becker, indeed, had a certain way of looking at the world that made the nine Steely Dan albums such complex, wise, hilarious documents. In a particularly revealing interview from 1976, the Melody Maker’s Michael Watts detected “a pervasive tone of cynicism” in the band’s work. “That’s an accusation to which we are not unfamiliar,” Becker admitted, with the requisite level of irony expected. He went on, though, to articulate an unflinching moral purpose behind Steely Dan’s apparent cruelties.
“I don’t think these are particularly cynical times,” he contended. “You just wait to see what’s coming up! I’m inclined to think that things are going to become far more pessimistic. Of course, pessimism and cynicism are not the same thing at all. Cynicism, I contend, is the wailing of someone who believes that things are, or should be, or could be, much, much better than they are… I suppose we are cynical by comparison to the people who are sincere, but musically I wouldn’t have it any other way.”
I found and quoted from Michael Watts’ wonderful piece when I was researching my Walter Becker obituary, and it’s a joy to reproduce the whole thing in this Ultimate Music Guide alongside many equally incisive and droll pieces from the archives of NME, Melody Maker and Uncut. They stretch from the early ‘70s, when Becker and Fagen were the pivot of a road-hardened quintet, to the 21st Century, and a more reflective – though scarcely less unforgiving – time of life. As usual, these classic interviews are complemented by extensive new reviews of every Steely Dan album, and every Becker and Fagen solo album; a catalogue that, in its jaded acuity and ceaseless pursuit of perfection, is the match for any band of the last 45 years.
“Donald and I have been moderately successful at reconciling our sense of alienation with the actual need for survival,” Becker told Barney Hoskyns, for Uncut, in 2003. “We spend most of the day planning our revenge without actually walking out into the middle of the traffic.”
Is there gas in the car? Yes, there’s gas in the car. Let’s go.
Post subject: Uncut Magazine Ultimate Music Guide (special collector's issues)
Posted: Sat Dec 16, 2017 3:01 pm
Joined:
24 Sep 2006
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26169
Forty years ago next month, a very weird debut single was released, against the better judgment of the record company, EMI. The executives were keen on “James And The Cold Gun” as the best way to launch their new prodigy. Kate Bush, though, had other ideas.
“I felt that to actually get your name anywhere, you’ve got to do something that is unusual,” she told Melody Maker’s Harry Doherty, “because there’s so much good music around and it’s all in a similar vein.” “Wuthering Heights”, by most measures, was not much like the other good music around in 1978. It was a world away from punk, though its antic, non-conformist spirit would gain the admiration of prime iconoclasts like John Lydon. It made sense to both prog and pop fans, but occupied a hitherto unexplored interzone somewhere between the two extremes. The effect was remarkable and, it seemed, not a little unhinged. Even in the volatile charts of the 1970s, success felt like a long shot.
And yet, of course, “Wuthering Heights” went to Number One, and Kate Bush immediately disproved those who believed that its ravishing eccentricities were the hallmarks of a one-hit wonder. Over 40 years, Bush’s music has become a cornerstone of the British canon: idiosyncratic, potent, proudly beyond fashion or expectation.
We celebrate these 40 years in a deluxe, updated version of our Ultimate Music Guide to Kate Bush, out in the UK on Thursday (but available now in our online shop). It’s the usual deal: forensic and revealing essays on every one of her albums contributed by Uncut’s finest writers, alongside a host of interviews we’ve taken from the archives of NME and Melody Maker. They show an artist who slowly gains the confidence to assert herself and – very slowly – gains the respect of the press. But also one whose idiosyncratic vision, and whose determination to bring that vision to fruition, has been there right from the start.
In the autumn of 1980, a rather excited Melody Maker journalist found himself in a Munich TV studio, watching Bush perform “Babushka” while she danced enthusiastically with a double bass. Like many male writers drawn into the presence of Bush at that time, there’s a certain vigour to his descriptions which doesn’t come across awfully well.
Nevertheless, once the show was over, the interview with Bush is fascinating. She talks about wanting to tour again, about the books and films that have influenced her, about the permeable lines between confession and fiction. “I rarely write purely personal songs from experience,” she says. “I worry about being too indulgent and giving too much away.” A little later, she is discussing the specifics of “Army Dreamers”, sung from the perspective of a mother mourning a son killed in action. “I seem to link on to mothers rather well,” she admits. “I find it fascinating about mothers, that there’s something in there, a kind of maternal passion which is there all the time, even when they’re talking about cheese sandwiches. Sometimes it can be very possessive, sometimes it’s very real.”
Even at her most elliptical, there is a clarity and consistency to Kate Bush which, looking back, seems a lot more obvious now than it might have done at the time. Latterly, for instance, the maternal fortitude implied in 1980 has become an explicit part of the most recent phase of her career, culminating in Before The Dawn – a theatrical spectacular inspired by her son Bertie McIntosh, and a showcase of his talents as a “very talented actor and beautiful singer,” as his mother wrote in her programme notes.
This, then, is the story of Kate Bush, a genius on her own remarkable trajectory. “There are always so many voices telling me what to do that you can’t listen to them,” she told another Melody Maker journalist in 1985. “All I ever do is listen to the little voices inside me. I don’t want to disappoint the little voices that have been so good to me…”
Post subject: Uncut Magazine Ultimate Music Guide (special collector's issues)
Posted: Sun Dec 17, 2017 8:56 am
Joined:
20 Sep 2006
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459
Has anyone seen the Steely Dan edition at a Barnes & Noble store yet? It's been about 5 weeks since publication in the UK. Should have arrived by now but I have not seen it at my local B&N stores.
Post subject: Uncut Magazine Ultimate Music Guide (special collector's issues)
Posted: Sun Dec 17, 2017 2:20 pm
Top of the Pops 65-68
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Sherwood Forest VA
Jim Wilkin wrote:
Has anyone seen the Steely Dan edition at a Barnes & Noble store yet? It's been about 5 weeks since publication in the UK. Should have arrived by now but I have not seen it at my local B&N stores.
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