Email letters@uncut.co.uk. Or tweet us at twitter.com/uncutmagazine DYLANREVISITED REVISITED
Super tribute article in the June issue to mark Dylan’s 80th. Some of the anecdotes by fellow artists and acquaintances were both revelatory and hilarious. Equally compelling was the accompanying CD with covers by some acts hitherto little known to me. I had to seek out and play the twin tribute CDs given out with Uncut’s May 2002 and June 2011 issues. It bears testament to the astonishing quantity and quality of the man’s output that the only track overlap was a version of “The Times They Are A-Changin’” by The Hollies. As someone old and fortunate enough to have followed Dylan’s career path from the outset, I think it fitting to part paraphrase Bill Shankley’s quote about his impeccable Liverpool football team of yesteryear: “There are good artists, there are great artists, and there is Dylan.” Dave Hardman, Stockport
…Take 288 is brilliant! A fabulous Ambient Americana CD and I loved the great Velvet Underground piece... I would have added “I Can’t Stand It” to the deep cuts. Not deemed good enough for the Velvet Underground album – although it’s now available on the expanded edition – it turned up on Lou Reed’s first album. It’s a much inferior version, but still a brilliant song. David Lynch, via email
STRUMMER LOVIN’
…This month’s Bob Dylan CD is the best magazine cover-mounted gift that I’ve ever received. The quality of the songs, artistry and production is fantastic. Adrian Musson, via email
MEDIAPUNCHINC/ALAMYSTOCKPHOTO
…It takes a lot to make me email you; in fact the first and only time was because you’d dared to criticise my beloved Red Hot Chili Peppers. However, the tribute to his “Royal Bobness” on the Dylan Revisited CD is just pure class. I cannot stop playing it. It’s made even better because it is started by the “man” himself. I have to say, thank you on behalf of Bob and me. David Thursfield, via email …As a massive Bob fan I was looking forward to this month’s CD, with a little trepidation. Wow, I needn’t have worried! It truly is a masterpiece, each artist has given every track their own take in a respectful, unique way. It’s mesmerising – on repeat on my player, I love it. Now where can I get hold of a copy on vinyl? Chris Davidson, via email A lot of you have asked us about a vinyl pressing for Dylan Revisited. It’s a lovely idea – but it’s out of our hands, I’m afraid. But if a vinyl pressing does ever happen, you’ll read it here first. 112 • UNCUT • JULY 2021
possible. I’ve had Cory Hanson’s Pale Horse Rider on almost constant rotation since your positive review a couple of months back and he mines that same rich seam of gorgeous melancholia and vastness. It’s all fantastic, please keep up the good work. Andrew Ure, via email
Dylan in London, April 1965
POINTSOFVU
I loved your Velvet Underground cover story [Take 288]. The first four albums are stone classics – even Doug Yule’s Squeeze has its moments – but I was sad you didn’t find space for the reunion live shows of 1993. I’ve met Cale a few times after solo gigs and you never know which John you’re going to get, personable or prickly. But who cares, you’re in the presence of John fucking Cale! Lou, on the other hand, was a sweety on the couple of occasions I managed to catch him towards the end of his life. I saw Lou perform at the Royal Festival Hall in 2012, coincidentally the opening night of the London Olympics. As the trains were running into the early hours, I was able to stay later and managed to blag my way past security to the interior car park – where Lou emerged with Laurie Anderson and Kim Cattrall to pick up their limo. He was kind enough to sign my Songs For Drella and Velvets CDs.
The second time was for the Genesis launch of the limited Transformer book. Mick Rock brought the rebel yell to that serene event, signing my copy of Transformer, “You cheeky fucker! Best, Mick Rock”. Bruce Marsh, Newbury Park
LOVING THE AMBIENT
I know I’m late to the party on this one, having been away working when Uncut Take 288 was delivered, but I wanted to add my appreciative voice to the letters already published about the Ambient Americana CD. It’s wonderful. For the longest time I have thought there was a particular feeling evoked by music that used traditional arrangements and instruments to depict the sense of wide-openness and movement that comes with travelling through a vast landscape. You rightly mentioned Ry Cooder’s Paris, Texas soundtrack in the supporting article – but touchstones for me would also have to be American Music Club’s California (particularly “Highway 5”) and Red House Painters’ stunning Songs For A Blue Guitar – check out “Song For A Blue Guitar”, on which the pedal steel reminds me of falling into a sunset, if such a thing was
Andrew Mueller in his review of Joe Strummer’s new compilation [Take 288] says there were “regrettably under-explored possibilities as a balladeer”. I know there are many definitions of ballads, but I would contend that Strummer wrote and sang many beautiful ballads – “White Man In Hammersmith Palais”, “Straight To Hell” and “This Is England” to name but three. The man was a poet and I miss him. Andrew Napier, via email
DANCIN’ WITH MRS D
Somehow, in almost 50 years of voracious and intrepid music consumption, I have managed to completely overlook the “emotional, agonising, cathartic” works of Karen Dalton. Thank you, Uncut, for changing that. Jim Wirth’s enthusiastic preview of the upcoming documentary about Dalton piqued my interest, and I’m listening to her 1971 album, In My Own Time, right now. That voice! Like stumbling across the missing link between Billie Holiday and Broken English-era Marianne Faithfull. Those performances! If you’d told me that Amy Winehouse didn’t actually die and this is the comeback album she’s been making in Nashville, I might just have believed it. My ongoing musical education continues. Thanks all for another great issue. Nick aka Mr Tea, via email
