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HAT was it like being Bernie Taupin, the self deprecating half of the Elton John songwriting partnership? Eventful, apparently. “At one time or another,” Taupin writes in , “I’d sat up until dawn watching old movies with Boz Scaggs, thrown out Chevy Chase for playing my piano and being a total dick, and watched Timothy Leary spend the best part of the evening talking to my jukebox. On one occasion, the wonderful English actor John Hurt stood on my coffee table reciting the gravedigger scene from using a

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There’s a lot about Big Wave that suggests the album was written during an unhappy period of your life. Is that reading too much into the songs? Not at all. When I started writing these songs, I wanted to dive into a shadow growing inside me. I felt
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HERE’S Irmin Schmidt, explaining the mercurial brilliance of Can in full flight. “Even if we improvised onstage, we always went in the same direction,” he tells us on page 19. “In a way that it became a music that was not just bullshit. It was not so
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PARLOPHONE/WARNER MUSIC 9/10 Remaster with rarities for downtempo landmark At a time when a lot of electronica seemed to be proudly displaying its determination to stare into the emotional and aesthetic abyss, the debut album from this Versailles pai

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