Steady As She Goes

Glancing up from a Dickensian pile of work so tall and precarious it's threatening at any moment to topple down to the ground like one of those over-sized pub Jenga games that used to be all the rage, I note with a moderate degree of interest that my Uncut review of the new(ish) Hold Steady album, Heaven is Whenever, is now online. That is all.

Thorny Questions

"Tracey Thorn’s new solo album, Love And Its Opposite, is a quietly extraordinary record, eschewing the fireworks of grand passion to explore the niggles and neuroses bubbling below the surface of many long-term relationships." I talk to Thorn about her ace new album here.

I also recently caught up with Sandi Thom, who’s gone from much-maligned internet ‘sensation’ to gnarled Blues warbler. Odd. More here.

There’s some wonderful YouTube footage of Kris Kristofferson receiving a gong at the 1970 Country Music Association awards. He lopes on stage with his hair covering his shoulders and his trousers hanging from his hips, scratching his head and grinning at an audience of bow-ties and comb-overs who gasp and giggle at this upstart hippie freak. He’s monosyllabic, but the message to the Nashville establishment is clear: welcome to the future. We’re going to start doing things a little differently around here.

On today of all days, it feels comforting to be in the company of an old leftie firebrand. I talk to Kris Kristofferson for the Guardian here.

Simon Says, Hold Tight

A couple of pieces appearing in the Herald this week. One an interview with Craig Finn of the mighty Hold Steady, who have got themselves back on course with Heaven Is Whenever; and another with Harper Simon, son of Paul, who has made one of the year-to-date’s most elegant and engaging albums.

Coco, Without Pops

You can’t fault her dedication. A couple of years ago Sumner, who performs as I Blame Coco, posted a song on YouTube called "My Name Is A Stain", in which she sang: ‘Forget my dad, you need to hear my band!’ It now embarrasses her slightly – “I don’t regret it because it records a moment of time, I just don’t listen to it” – but she stands by the message.

I speak to Sting jr. here

Bush, Baby

My new book, Under The Ivy: The Life & Music of Kate Bush, is published next week by Omnibus Press. I will still be updating this site with news of other work (such as today’s Duke Special piece) but I’d imagine that most of the action in the immediate future will be taking place over at my new blogsite for Under The Ivy, which can be found here. As well as posting the odd extract there, I’ll be adding reviews, news, extra info etc. as and when appropriate. I hope to see some of you over there.

A long, adapted extract from the book forms the cover story in this month’s Uncut, concerning the circumstances surrounding the making of Bush’s 1985 classic album, Hounds of Love. In that issue I also review the new Hold Steady album and a few other bits and bobs, and there's a great interview with Merle Haggard by Andrew Mueller. Go find.

Sir Duke

Witty, eclectic and often dazzling, The Stage, A Book And The Silver Screen acts as an elegant rebuttal to anyone who would argue that the trend for consuming music in bite-sized chunks has dulled the ambition of songwriters. One album, The Silent World of Hector Mann, takes its cue from Paul Auster’s 2002 novel A Book of Illusions; the other features songs Wilson wrote for a new stage adaptation of Bertolt Brecht’s Mother Courage and Her Children, while the EP features the first ever recording of five songs written in 1950 by Kurt Weill for an abandoned musical version of Huckleberry Finn.

I venture inside the dazzling mind of Duke Special