Just picked it up during their double discount weekend.

I can't imagine there's anything new in it other than a little mention of the Buckingham/McVie album.

Let us know if it's any different in content.

I will admit, the "remastered" versions do look and feel much nicer, but I only buy them if I missed them first time around or if new albums have come out since.

It is a testament to how popular an uncompromising artist can become that Nick Cave and the Bad Seeds find themselves in the satisfying position of being able sell out the O2 Arena and reach the highest echelons of the album charts while also inspiring a unique kind of across-the-board devotion. Their headline performance over the weekend at All Points East once again underscored the satisfying manner in which Cave and his cohorts conduct their business: dark Americana, good suits, interesting hair.

It’s particularly timely, then, that Cave’s remarkable career is the subject of our latest deluxe and expanded Ultimate Music Guide. It goes on sale Thursday – and you can buy copies here from our online store.

To find out what’s what, here’s John Robinson, Editor of the Ultimate Music Guides, to tell you all about it.

Follow me on Twitter @MichaelBonner

“Nick is always looking for a new way in…”

If you didn’t manage to join Nick Cave on stage at his All Points East show the other day, you can still do so in spirit with the latest edition of the Ultimate Music Guide.

This issue is a deluxe, remastered edition of our in-depth look at the work of Nick Cave. Fully updated since our original edition in 2013, this 148 page special features outrageous archive interviews alongside in-depth reviews of every Cave work: the albums, the books and the films.

Get Uncut delivered direct to your door – find out how by clicking here!

This luxurious publication is now updated to include the past five years of activity by this compelling artist. UNCUT Editor Michael Bonner provides an extensive review of Cave’s most recent album Skeleton Tree, and updates a review of Cave’s already extensive filmography.

A few years ago, Nick introduced the mag (“A whole magazine about me? How exciting…”) with some thoughts on legwarmers, British journalists, and The Fall. He also had an amusing take on his own reputation. “I baulk when I hear I’m writing about lowlife people and Bayou priests…”

Now, we can also present an exclusive afterword from Cave’s chief musical foil, Warren Ellis. Warren sheds light on the band’s reconnection with an audience and process of writing Skeleton Tree, recorded in the aftermath of the tragic death of Cave’s son Arthur. “Nick had a plan to go into the studio,” Warren explains. “He wanted to honour that…”

This presents the complete Cave story so far: from the Boys Next Door through the Birthday Party and the Bad Seeds, 2018.

And what’s next?

“Hopefully,” says Warren, “we’ll keep moving forward.”


Read more at http://www.uncut.co.uk/blog/introducing ... cV1eXyq.99

Picked up the Sabbath issue yesterday-very nice, although I wish they didn't; cram all the Ozzy solo stuff into a few pages and gave Ozzy his own magazine.

Also, the Yes issue was mostly good but was filled with mistakes that are inexcusable and only nerds like us would know...but nerds like us ARE the audience, so I was dismayed at times!

Skimmed a bit of the Sabbath mag. Boy, did they miss the boat on the critic's take on Born Again.

Hey John, there are some photo's from the Cruise to the Edge in the latest Prog issue. I think I see you in one of photos.

The second Volume was found at my B&N. Having the first volume I strongly recommend this series. Top notch for sure. Probably the best yet in all the David Bowie mags.


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Up next:



50 years ago, The Band released their debut album, Music From Big Pink. To celebrate this momentous anniversary, we’re delighted to unveil our latest Ultimate Music Guide – dedicated to the The Band and their storied some-time collaborator, Bob Dylan. As John Robinson, our one-shots editor, says, “From the speedy and controversial thrills of their 1966 UK tour to the tranquil idylls of Woodstock, into the 1970s and beyond, this is the definitive story of one of music’s greatest partnerships.”

The issue – on sale from Thursday, though you can pre-order it here – is full of classic archive interviews from the Melody Maker and NME as well as brand new reviews of The Band’s catalogue and the collaborative albums recorded with Dylan. It begins with Allan Jones on Dylan’s Bootleg Series Volume 4 – the Royal Albert Hall concert of “Judas!” fame – and includes splendid reviews from Stephen Troussé on Music From Big Pink, Jon Dale on The Basement Tapes and plenty more.

Critically, this special issue also includes an all-new introduction from Robbie Robertson. “I really enjoy the fact that whatever we did together – the guys and myself – has this lasting quality to it,” he says. “So many younger artists comment on how much The Band has meant to them, and how it inspired them. That’s good medicine, knowing that the music lives on.”


Read more at https://www.uncut.co.uk/blog/introducin ... FLMPtGL.99

I'm a bit confused as to why this would not be The Band and Robbie Robertson solo ( as well as Levon Helm).

My guess is they felt the need to add Dylan's name on there for sales purposes, and I'm sure they will have interviews with he/they and extensive reviews of their albums together, but c'mon, there's a helluva lot more to The Band than that!

I sincerely hope and assume that this has reviews of all The Band and Robertson and Helm albums, but it's a bit unclear.

I don't do magazines anymore, but I would almost want to read this one. I probably did read all the interviews back when they were first published.

I have this, brought back many great memories! Worth the expenditure.

Got an email from Barnes & Noble that all magazines are 25% off today only.

Thanks Jay, stopped there and picked up enough material to hold me for quite awhile.

Glad you were able to take advantage, Rick!

Thanks to you Jay, I sometimes do not check E-Mail on W/E's like this one. This one would have got past me.

A few months ago, John Lydon recalled in Uncut the early days of Public Image Ltd – a band he described as “too far forward, too far out there” and yet who have, miraculously, endured for 40 years now. You can read more about Lydon alongside The Clash, Wire, the Slits and more – as well as their American counterparts like Ramones, Patti Smith and Television – in our latest Ultimate Genre Guide. This one, as you can probably tell, is devoted to punk in its many splendid forms.

The special edition goes on sale this Thursday – but you can buy a copy from our online store by clicking here. Before I hand you over to John Robinson, who edited it, just a gentle reminder that the current issue of Uncut is on sale now – stars Rod Stewart, Pixies, the Byrds, Jess Williamson, Sly Stone and much more – and you can even have it delivered for free direct to your front door.

Anyway, here’s John to tell you more about our Punk UGG.

“People think NME was all leather jackets, punks and drugs,” Danny Baker wrote on Twitter recently. To prove how this wasn’t completely the case, he then posted a picture of the NME office from 1979: of writers Lynn Hannah, Monty Smith and Phil McNeill, a trio very much more about glasses, sensible hair and open-necked shirts.

Punk gave us many odd juxtapositions and contradictions – it introduced situationism as a pop culture topic, while also advancing the idea of spitting at a performer of music – but among the most satisfying is the meeting of punk and journalist. There are some great meetings in the archive pieces included here. The young Tony Parsons brims over with the possibility of The Clash, an interview released in part as the flip of the “Capital Radio” EP, free to NME-reading punks minded to send in a coupon. Parsons is an avatar for the times, behind them and the Buzzcocks; bitterly disappointed by Blondie’s perceived selling out.

Then there’s Phil McNeill. A bit older. Possibly a bit more sceptical. Here you’ll find him holding his own with the moodier elements of Wire, and attempting to reconcile the many simultaneous directions of the Slits. More particularly you’ll find him getting stuck in with the Sex Pistols in Amsterdam. Undaunted by his surroundings, he braces the co-operative elements of the band (Matlock; Cook), tries gamely to interview Rotten (who declines) and faces down a front-foot Steve Jones.

“They’ve been good to us lately,” Paul Cook interjects on behalf of NME.

“We’ve been good to you all along,” McNeill retorts.

It’s the kind of robust engagement with the subject that you’ll find in the new writing throughout this magazine, too. Whether your vision of punk is the punk of ideas and empowerment, of resourceful initiative-taking and musical freedom of expression, then you will read about it here in reviews of work by Patti Smith, Television, the Slits and Buzzcocks. If yours is a punk of outrage and bold statement of intention then thoughtful pieces on the Clash, the Sex Pistols, and The Saints – the early-adopting Australian punk band – will reveal some new insights.

There’s a review of 40 quintessentially punk singles, a map of world punk, and a list of non-musical punk artefacts. There’s a piece on the collectables and also the legacy.

There’s plenty to get stuck into. In fact, as the T-shirt had it, you’re going to wake up one morning, and know which side of the bed you’ve been sleeping on.

A few years ago, standing in the grounds of Ludlow castle, Robert Plant recalled the very first time he left the UK. This was September 1968, when Plant was a mere 20 years old. The reason, of course, was Led Zeppelin’s first concert tour (though for contractual reasons they were billed as the Yardbirds). “I’d only travelled on this group of islands until then,” he told me. “We flew to Denmark. John Bonham and I had never seen so much cutlery in our lives as on that aeroplane. We couldn’t get enough of it into our bags to steal it to take home…”

Led Zeppelin’s remarkable journey from the Gladsaxe Teen Club to the stage of the O2 Arena and beyond is celebrated in the latest handsome special edition from the Uncut family: a deluxe and updated version of the Led Zeppelin Ultimate Music Guide. This volume goes on sale from Thursday, but you can buy copies now from our online store by clicking here. Here’s our one-shots editor John Robinson to tell you all about it.

Whether you catch up with him via his interviews, his occasional appearances in tabloid newspapers or listening to his most recent work – his scrupulous remasters of the Led Zeppelin catalogue – a thing you will know about Jimmy Page is that he always has a plan. “He’s always doing something,” his former neighbour, the late Michael Winner tells an Uncut reporter in feature you can find inside this volume. “It’s a 30th anniversary… We’re making a video… Re-doing the film…”

In summer 2018, we are entering another phase of the guitarist’s grand, but meticulous design. 2018 marks the 50th anniversary of the first gigs by the band that became Led Zeppelin, and to celebrate the fact, September sees the release of a remastered edition of the band’s soundtrack/live album The Song Remains The Same. There’s a book coming. Knowing what we know about this musician, though, it seems unlikely that these releases alone will mark the end of Zeppelin’s golden anniversary story. As they always have around this group, rumours are circulating.

As you will discover in this deluxe and revised edition of the Ultimate Music Guide to the band, such attention to detail has been Page’s mode since the beginning of his career. Here he is, London’s only session man to have a public profile, behind the scenes but not, declining a spot in the Yardbirds, recommending a substitute, then joining the band later when the time is right. Here he is again, biding his time, scouting for a band, paying for the recording sessions, trying the music out abroad. Above all, retaining control of the material.

This level of control now seems key to the success of the Zeppelin enterprise. As the remasters of the studio albums, with their discs of “companion audio” have shown us, this was not a band to run wildly from the first lightning strike of a song. As producer, Page instead calmly fine-tuned, his meticulous vision dedicated to maximizing the spontaneity and energy of a composition’s first hit.

Live, however, all bets were off. Whereas the records were all about focus, the band’s shows were all about grandeur and energy, getting longer and longer as they attempted to express all they wanted to say: rock ‘n’ roll covers, blues, violin bow invocations, even – the apparently very popular – drum solos. In 1972, on their summer US tour [from which the How The West Was Won album was later drawn] they returned home to express their joy at how well it had all gone. “Something has really clicked,” Robert Plant enthused. “The scenes have possibly amazed you,” added John Paul Jones.

True enough, reporters from NME and Melody Maker were impressed. The band were allegedly guarded around the press, but you’ll find little evidence of that in the eye-opening archive pieces you’ll find collected here. In one part of the magazine, Uncut’s writers survey the arc of Zeppelin’s recording career arc, from their early primal swing, to the modal drama of their imperial period and their unexpected early descent. Elsewhere, classic interviews and reportage pieces testify to many of the amazing experiences Jones speaks of.

When the band reconvened in 2007 for a one-off show, it seemed as if such scenes were again still completely possible. Perhaps something similarly incredible may yet happen again. But if there is a plan it’s one that, for now, Jimmy Page is keeping very much to himself.


Read more at https://www.uncut.co.uk/blog/introducin ... y2GXbqy.99

Picked up The Band/Bob Dylan issue last week.

Oddly there was also a B&N Exclusive Edition, which from all I could tell was the same exact thing, but with a different cover.

I opted for the regular one.

I'm also baffled at another Zeppelin edition, as they did a Deluxe in 2015 and reviewed all the remasters.

There's simply nothing else to add, although they will give a few sentences to Plant's last album.

Another of the acts I was hoping for (and whom I just saw live again the other night), Deep Purple are the next issue and it includes Rainbow (one of my very favorite bands and Whitesnake, though both deserve their own issue, but I shall not quibble).




As Deep Purple geared up for their Long Goodbye Tour in early 2017, Ian Paice had a few thoughts on the band’s long and storied history. “The records will remain, or they won’t,” he told Uncut. “But it’s about how you affect people around you. The people we’ve inspired to pick up a guitar, get a drum kit or a microphone. That’s the best legacy.” Meanwhile, his bandmate Ian Gillan had this to say about the bands most enduring qualities: “The primary driving force of it all was the sheer abandoned joy of making music together. And that has stayed with us.”

As you might have gathered by now, Deep Purple are the subject of our latest Ultimate Music Guide – a celebration of 50 years in rock, no less, with new writing on each of their albums and a series of classic archive features, many unseen since original publication. There are digressions into Rainbow, an invaluable miscellany and… the Deep Purple family Venn diagram!

The issue goes on sale Thursday, September 13 – and you can order a copy now from our online store.

And here’s an excerpt from Ian Paice’s exclusive introduction to our Guide to further whet your appetites…

“Nobody expected Deep Purple to be here fifty years on, still having fun doing something that people want to see and listen to. That’s an amazing thing. I don’t think any one of us gave the anniversary a conscious thought. It’s been there so long – it’s what you are and what you do.

image: https://static.apester.com/js/assets/loader_100x100.gif


“The moments of inception have been the fondest memories. Once I’d got the job in ’68, that was amazing, balanced by the feeling of absolute desolation when the band destroyed itself. Any band that’s been around for any duration has had a rocky road. You’re asking four or five totally different characters to deal with each other in a very high-pressure situation, over a long period of time. Like a marriage, it doesn’t always run smooth. When you’re going around the world, you’re all you’ve got. The fact that you are under this compressed social circle means that occasionally it does get volatile.”


Read more at https://www.uncut.co.uk/blog/introducin ... S6h8Scr.99

Think I'm the only one buying these at this point, but I saw the Zep issue and it was exactly the same aside from a couple of very minor things, so I saved my money.

Hope the Deep Purple is out soon here and I am still reading The Band/Bob Dylan issue.

I also bought the Punk issue and it's really, really good with sections dedicated to different artists.

Here's what's next in the genre issues...



In the current issue of Uncut, Sam Moore – one half of the Stax R&B duo Sam & Dave – reflects on the qualities he most admired in his lifelong friend, Aretha Franklin. “Part of what made her great,” he tells Stephen Deusner, “was the struggle, the hurt, the pain she endured. She took it all up on the stage with her. Some of us in the industry, we would turn to drugs or alcohol or maybe even suicide, but she took it all up on stage and became greater than the greats.”

Stephen’s piece wraps together her life as a singer, activist and icon – it’s a fitting tribute, I humbly hope, for a remarkable artist. For further reading, please allow me to steer you towards the latest title in the Uncut family: the Ultimate Genre Guide to Soul, on sale from Friday but you can buy a copy form our online store here. And here’s John Robinson, our one-shots editor, to tell you more about it…


My copy of Aretha Franklin’s Lady Soul, (like, I expect, a lot of records from the era of classic soul), isn’t in the best of shape. On the surface it presents a solid face to the public, but if you peer closer the façade cracks a little. If you were looking to complete a collection with a museum-quality artefact, this definitely wouldn’t be the place to start.

As with my Hot Buttered Soul, What’s Going On or, in particular Otis Blue (don’t ask), it’s a record which saw its share active service even before it arrived in the after-market with me. That surely tells you a story about something much more than collecting records. Rather it’s about something that reaches deeper, into how this magnificent music was enjoyed then, and continues to be cherished now. The records hold truths which survive, intact in all the essential ways, down the decades.

With the recent passing of Aretha Franklin, it’s this enduring quality that’s been very much on our minds, and which we celebrate with this latest Ultimate Genre Guide. Like Aretha, Isaac Hayes, Marvin Gaye, Otis Redding, Nina Simone and Dusty Springfield are all sadly no longer with us, but their work is celebrated here, and continues to demand repeated listening.

Aretha herself, as interviewed in the archival feature you’ll find inside, wasn’t the kind of person to theorize about her art but she felt that her music on some level derived from the bitterness of her experience. “I’ve been hurt bad,” she confesses.

It was an “authentic” line which critics at the time pursued rather doggedly. On the back of Lady Soul, Rolling Stone’s Jon Landau’s sleevenote pursues the album’s spontaneity, electrifying performance and dynamic arrangement through the country and urban blues, perhaps in the hope of tracing the source of her genius.

While writers in this magazine have an ear and an eye for quality, for arrangement and performance, for great music, they are not about imprisoning the music in notions of authenticity. In the new pieces here, you’ll find writers elucidating how a feature of soul music is its resistance to definition. That might mean Nina Simone’s interpolation of classical music and jazz into her composition. Equally it could mean Stevie Wonder’s embrace of technology.

In a more anecdotal sense, it has also come to mean Marvin Gaye’s troubled relationship with his record company (and with his ex-wife; and with himself). Berry Gordy’s practice of introducing some of the “production line” ethos of Detroit into the music he wrote, produced or released through his Motown label birthed classic music, but for Gaye the institution became restricting to his vision, his battle for creative control just one of many such stories behind the music here.

By the time Paolo Hewitt met Gaye for Melody Maker in 1981 – a piece you can read inside – the arguments between artist and label have become so baroque in their complexity that Gaye is on the point of disowning his own work.

Happily, our own relationship with this music isn’t quite so complex and freighted with problems. Historic, but timeless, it reaches out to us now, just as powerfully as it ever did.


Read more at https://www.uncut.co.uk/uncut-editors-d ... 0mlpVH0.99

I follow these threads enthusiastically, Pete, and have a stack of them a foot high thanks in large part to this thread.

Me, too!