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MOJO

MOJO August 2018

Launched in 1993, MOJO celebrates the stories of music's all-time greats. It does this through expertly written, insightful features and exclusive, in-depth interviews. MOJO also finds and recommends new music of quality and integrity, so if you want to read about the classics of now and tomorrow, it is definitely the music magazine for you. As founding editor Paul Du Noyer put it, MOJO has ""the sensibilities of a fanzine and the design values of Vogue."" It's lovingly put together every month by music fanatics with huge knowledge, who share your passion. And because they have unrivalled contacts in the music industry, they bring you the kind of access, news and expertise you won't find anywhere else.

Country:
United Kingdom
Language:
English
Publisher:
H BAUER PUBLISHING LIMITED
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12 Issues

in this issue

1 min.
this month’s contributors include

Fred Dellar MOJO’s aged scribe and crossword caliph says that his first-ever record purchase was Vera Lynn’s I Don’t Want To Set The World On Fire, in 1942. “It was a present for an aunt,” he explains apologetically, “I was really into George Formby at the time.” He feels that his boyhood ambition to become a train driver has gone sadly wrong. David Cavanagh David has rarely been described as “the possessor of post-punk’s greatest voice”, unlike the man he profiles in this month’s issue, Ian McCulloch of Echo & The Bunnymen. An early contributor to MOJO, Cavanagh returns after a 15-year gap during which he wrote books about Creation Records and John Peel. Alison Fensterstock A onetime daily newspaper music critic and reporter, and a current contributor to Rolling Stone, NPR Music and Pitchfork…

6 min.
dance the blues

IN THE SUMMER OF 1982, DAVID BOWIE WENT ON VACATION to the South Pacific. For companionship, he packed a selection of music at odds with the gleaming New Pop aesthetic of the time. Instead of next-generation synthesists and Bowie clones, he took solace in foundational R&B from the ’50s and ’60s. “I asked myself, Why have I chosen this music?” he remembered. “It was very non-uptight music and it comes from a sense of pleasure and happiness. There is enthusiasm and optimism on those recordings.” By the time Bowie entered the Power Station studios in New York a few months later, those cuts from his youth had crystallised into a rejuvenating sound and vision: one of stabbing horn charts and Little Richard pompadours; Albert King guitar licks and Louis Jordan zoot suits.…

5 min.
all back to my place

Steven Van Zandt E STREET’S ROCK’N’ROLL PONTIFF What music are you currently grooving to? A group from Philadelphia called Soraia, Kurt Baker Combo, Kris Rodgers… all great stuff. There’s an amazing amount of very good new rock’n’roll being produced, especially in view of the fact there’s no rational reason to do it. It makes you wanna support them even more. What, if push comes to shove, is your all-time favourite album? I don’t have to think about it. The Temptations’ Greatest Hits. It’s the most extraordinary combination of composition, arrangement, production and performance. You must go back to the masters. They were the best that will ever be. What was the first record you ever bought? And where did you buy it? Tears On My Pillow by Little Anthony & The Imperials, from Jack’s in Red Bank,…

7 min.
theories, rants, etc.

WHAT DO YOU DO WHEN YOU’VE REINVENTED yourself, and music, on an annual basis for the best part of a decade, only to find that everyone else is now cashing in on your synthesized innovations? For David Bowie in 1983 the solution, as ever, was to go against the grain. “So much of the music that’s being made at the moment is very earnest,” he opined to one interviewer in May that year. “It doesn’t have that quality of necessity that music used to have; it’s become style over content.” Let’s Dance might have been Bowie’s most successful album, but it remains oddly undervalued and unexplored; a work of radical fusions and reconnections to the past, where the singer’s seemingly straight new image – “executive realness,” as Nile Rodgers calls it…

3 min.
fifty years from then...

THE HOT NEWS AND BIZARRE STORIES FROM PLANET MOJO “THE RECEPTION SO FAR IS A BIGGER THING THAN I IMAGINED.”Roger McGuinn When the rumours became official, and it was clear that ex-Byrds Roger McGuinn and Chris Hillman would be performing their 1968 country rock cornerstone Sweetheart Of The Rodeo live, the sound heard globally was the collective screech of baby boomers and indie hipsters smacking their collective foreheads in joyous disbelief. “Well, my wife Camilla and I were talking about the 50th anniversary of the Sweetheart album in an airport one day,” explains McGuinn to MOJO. “How people in the media kept talking about it, putting it up there as so influential an album. And we thought, Let’s get Chris [Hillman], as he and I are the only ones on [the album]…

3 min.
the man in mac

“THE FLEETWOOD MAC THING TOOK ME BY SURPRISE.”Neil Finn “This is going to be a real challenge,” says Neil Finn. “We’ve decided Liam’s going to answer my questions, and I’m going to answer his.” It seems father and son Neil and Liam Finn – who release Lightsleeper, their debut album as a duo, in late August – have decided to screw with the journalist. But luckily the game doesn’t last long. Unlike the gestation period for Lightsleeper. “It’s been brewing for years,” says Neil, while Liam continues, “It just seemed auspicious. We were back in New Zealand preparing for our son’s birth, and Dad and I started jamming in his home studio. It was all meant to be in this strange, cyclical, generational shift.” From gentle, familial beginnings comes a gentle, familial album, with the…