Indice dei contenuti per December 2023 in MOJO

A LIT TLE GROGGY FROM MOJO’S 30TH birthday celebrations last month, it’s sobering to be reminded of what longevity can really mean. The Rolling Stones have now existed for over twice as long as MOJO, and while other artists of their vintage have grappled with the ageing process for a good couple of decades, Messrs Jagger, Richards and Wood mostly remain imper vious to such trifling distractions as mortality. “It’s a weird feeling to be an elder statesman,” Keith Richards tells us, though most of us would’ve called him as much since about 1989. Mick Jagger, meanwhile, confesses to a few “slightly tongue-in-cheek references to ageing” on Hackney Diamonds, the twenty-fourth Rolling Stones album and the pretext for this month’s extensive chat with the core three, their pugnacious new dr…

MEAT PUPPETS’ riot of noise, psychedelia, classic rock and country was always going to rile the purists of 1980s hardcore punk. “When we first heard the term ‘hardcore’, we thought it referred to Neil Young – the real shit as opposed to Black Oak Arkansas,” laughs drummer Derrick Bostrom. “But it meant that skinhead shit. And we were longhairs wearing overalls and smoking grass.” This misfit status would leave them drenched in spit when touring with Black Flag, but albums like II and Up On The Sun remain high-water moments of ’80s underground rock. Meanwhile, their noised-up, cosmic roots music so seduced Kurt Cobain that he invited singer/guitarist Curt Kirkwood and twin brother/bassist Cris to perform three Meat Puppets songs for Nir vana’s MTV Unplugged performance in 1993. They formed…

AS BAS JAN do their best Joy Division poses in the Enfield, north London branch of Pets At Home for the absurd low-rent video for At The Counter, singer Serafina Steer hits a defiant little epiphany: “I was afraid and then I knew,” she sings. “I’ve got nothing to prove, I’ve got nothing to lose.” Crushed but defiant, the scratchy London foursome’s third album, Back To The Swamp, takes Bas Jan’s Rough Trade ’79 sound into darker territory, Faith-era Cure greys muting some of the Tom Tom Club brights of 2018’s Yes I Jan and 2022’s Baby U Know. Steer’s songs of road signs, burned witches and unexpected financial stability have a slightly giddy Scritti Politti quality – sparkling but unstable, forever in danger of arguing themselves out of existence…

A NEW BOOK, BOB DYLAN: MIXING UP THE MEDICINE, LIFTS THE LID ON THE ARTIST’S LABYRINTHINE TULSA ARCHIVE. RARE PICS AND EXOTIC ARTEFACTS ARE REVEALED – PROMPTS FOR EXCITABLE COMMENTARY FROM GREIL MARCUS, MICHAEL ONDAATJE, LEE RANALDO AND MORE. OVER THE NEXT EIGHT PAGES, MOJO ENJOYS AN EXCLUSIVE PREVIEW OF ITS TREASURES. ODDS AND ENDS? AND THEN SOME! TIME PASSES SLOWLY Outtake from New Morning photo session, 1970. Len Siegler’s double exposure captures Dylan in a reflective mood. Mixing Up The Medicine also includes a letter to Dylan from Archibald MacLeish, whose play was to include songs Dylan ended up using on New Morning. “Those songs of yours have been haunting me,” writes MacLeish. FOREVER YOUNG Fifth Grade class portrait, Dylan seated right. Mixing Up The Medicine also features shots…

Lol Tolhurst x Budgie x Jacknife Lee ★★★★ Los Angeles PLAY IT AGAIN SAM. CD/DL/LP A LOT OF DEEP dark water has passed under the gothic bridge since Budgie and Lol Tolhurst first met, the drummers initially bonding when the original three-piece Cure opened for Siouxsie And The Banshees in 1979. It’s taken four decades for circumstances to allow a creative union, however, the pair finally joining hands with Irish producer Jacknife Lee to push the hell-in-a-handcart rhythms of Los Angeles out from the city’s murky concrete spillways and into the half-light. Originally conceived as an instr umental album – Tolhurst and Budgie on synths and drums, Lee in charge of guitars and attendant distortions – Los Angeles became a grander collaborative project when Tolhurst contacted LCD Soundsystem’s James…

Thandi Ntuli With Carlos Niño ★★★★ Rainbow Revisited INTERNATIONAL ANTHEM. CD/DL/LP THE CONCEPT of post-apartheid South Africa as a ‘rainbow nation’ is hard to reconcile with the reality. Thirty years since Archbishop Desmond Tutu coined the term, crime is abundant and racial disparities are still rife, with millions of South Africans still lacking access to food, clean water, proper healthcare or adequate housing. Johannesburg-based pianist Thandi Ntuli expressed her discontent with Rainbow (Skit) on 2019’s second album Exiled, an all-too-brief explosion of chants, organ and piano that chimed with the LP’s themes of identity and womanhood. It became the starting point for improvisational sessions with Carlos Niño, California’s go-to doyen of New Age spirituality and cosmic jazz. Of the many versions of Rainbow they attempted, the take that makes…

In Utero GEFFEN/UME. CD/DL/LP Five-disc 30th anniversary release with two unreleased live shows. THE STUDIO recordings of this complex, brutal classic have already been reissued – the outtakes including I Hate Myself And I Want To Die, originally scheduled for inclusion before All Apologies. This iteration omits the demos from the 20th anniversar y release and adds four further CDs of two live shows, played close to each other: the Great Western Forum in Inglewood, Los Angeles, December 30, 1993 and the Seattle Centre Arena on January 8, 1994. The Los Angeles show is quite astonishing: the cumulative impact of 17 songs, taken pretty much equally from Nevermind and In Utero – including Smells Like Teen Spirit – reminds you how many great songs Nir vana had. The second show has…

Billy Bragg ★★★★ The Roaring Forty COOKING VINYL. CD/DL/LP BORN JUST months apart and releasing their debut albums within weeks 40 years ago, is Billy Bragg the anti-Madonna? Yet her brother-in-law Joe Henr y has worked with both. Nor is that all. Both are driven, working-class musicians with Marmite visions of wider empowerment. Both broke through only after years of hustle honed their entrepreneurial nous. And both have sustained careers of interest and variety despite creaky singing voices. Being no Maria Callas mattered not to post-punks as long as you could sell your song, usually either sarcastically (Rotten onwards) or sincerely (school of Strummer). Bragg is a Str ummerista, authentically himself though with considerable presentational wit and ingenuity. That authenticity was at first demonstrated in pub-standard voice, busker guitar…

A.C. Marias One Of Our Girls (Has Gone Missing) MUTE, 1989 IN 1975, at Watford College of Art & Design in Hertfordshire, 18-year-old foundation course student Angela Conway attended a lecture given by guest speaker Brian Eno, former Roxy Music synth sage turned self-generated alt-pop star and imminent godfather of ambient music. “The part I took on board most,” she now recalls, “was Eno saying, ‘I’m not a musician. And you don’t need to be a musician to make music, to make sound.’” Armed with this reassurance, and finding herself amongst a group of friends that included fellow student Colin Newman and the college’s audiovisual aids technician Bruce Gilbert – soon to become the respective singer and guitarist of punk outliers Wire – Conway embarked on a path that would…

Stop Making Sense ★★★★★ Dir: Jonathan Demme A24. C WHEN BASSIST Tina Weymouth initially heard David Byrne’s plans for the Talking Heads live shows around their fifth album, Speaking In Tongues, she wasn’t happy. That the singer would come on-stage alone, gradually joined by the extended band (among them P-Funk keyboardist Bernie Worrell and guitarist Alex Weir), unnerved her; she worried it was an attempt to rewrite history by portraying Byrne as originator, waking the others to dance to his tune. He has since said that wasn’t the concept – that the set instead traced the development of a repressed man liberated by music, community and joy. Yet watching this 4K ultra-high-definition version of director Jonathan Demme’s 1984 concert film – so close and vivid it might well be a…

HELLO EARLY 1970 I’d done an audition [with his group Reverend B] for London Records in New York. We didn’t get signed. It was around the corner from Museum [AKA the Project Of Living Artists on Broadway], where I’d played one gig with Reverend B. It was kind of winter out, so I thought, Maybe I’ll see if anybody’s at the Museum. Usually those kind of buildings close and you can’t get in, but I tried and sure enough, the elevator went up and I could hear random feedback noises growing more and more strong. It was a loft space, about 1,000 square feet, with freshly painted white walls and shiny wood floors. I walked in and I saw someone stooped over with a 2-track recorder, trying to make it…

ROBERT JOHNSON WAS ONLY 31 YEARS DEAD WHEN The Rolling Stones covered his Love In Vain on Let It Bleed in 1969, but already his music felt as if it were being broadcast from a very different, very ancient world. “The old, weird America,” the author Greil Marcus called it, one documented in detail on Harry Smith’s truly arcane Anthology Of American Folk Music. There’s always a danger of othering these country blues, these honest expressions of grief and lust and other appetites; to patronise Johnson and his contemporaries as somehow supernatural forces rather than musicians trying to make a living in arduous and racially prejudiced times. Many of the 15 tracks we’ve brought together for this month’s MOJO CD, Love In Vain, are nearly a century old now and,…

PETER GABRIEL is used to rejection. In fact, he welcomes it. “Sometimes failure is a better teacher than success,” he tells MOJO, talking from a New York hotel suite the day after performing at the KeyBank Center in Buffalo. Besides touring the US, the solo artist, soundtrack composer, human rights activist and ex-Genesis frontman is poised to release i/o, his first set of new material in more than two decades. The album has been trailered by several singles accompanied by images from contemporar y artists, including Anthony Micallef and Henr y Hudson. “But not ever yone I wanted to work with wanted to work with me,” Gabriel admits. “Sometimes you have to take the road that requires fear and courage. Going out into the art world, I was facing rejection.…

Of course, I had What’s Going On by Marvin Gaye [Tamla, 1971]. All the musicians would ask each other, “Have you heard the Bible today?” That’s what we called it. As a British man, I didn’t know how to take some of the lyrics. Then in America I realised the way things actually were for the black community, particularly when we played in the South. I was shocked by that. Then, around 1978, I was living on Irving Street off Leicester Square. I was in the middle of everything, man! I was going through the records in the W.G. Stores [historic west London record vendor] and I came across this live LP by Donny Hathaway, who I loved. So I bought it, and when I listened, he’s doing What’s Going…

ALLISON RUSSELL is a talker. Ask her a question and for the next 10 minutes you’ll get an alternative history lesson that might take in the true origins of country music, Martin Luther King, the wild fallacy of American ‘gun control’, or making the correct sandwich choice. And it’s all fascinating. Russell, whose recently released second solo album The Returner redraws Americana’s boundaries, is a trailblazer, fearlessly confronting any obstacle life puts in her way. There have been more than a few. Not only does she face the usual pitfalls for women in the music industry, she’s a woman of colour in a predominantly white music sector, identifies as queer and is married to the father of her nine-year-old daughter. She’s even a peacenik Canadian immigrant living in Nashville, or…

OLYMPIC SOUND STUDIOS, BARNES, LONDON. June 1968. The slow, roving camera of Anthony B Richmond pans past a series of orange, mustard and ochre room-dividers, gradually picking out the individual members of The Rolling Stones as they lay down a broken, elemental, organ-heavy demo of Sympathy For The Devil. Richmond is filming the group for the French New Wave director Jean-Luc Godard, who is in London making the film One Plus One, a damaged mix of in-thestudio incantation, formal improvisation and rudimentar y agitprop; rock’n’roll repurposed as a bewildering May ’68 call to arms. Flash for ward 55 years and Thurston Moore – gangly, 65-year-old former vocalist and guitarist with noise-rock innovators, improvisors and revolutionaries Sonic Youth – is giving MOJO a guided tour of said studios, currently operating as…

WHENBOB DYLAN LEFT MINNEAPOLIS IN THE late fall of 1960, seeking New York City as if he didn’t exactly know where it was, he landed in Madison, Wisconsin, in the bohemian milieu around the university. He has spoken often over the years of a kind of secret society of folk music people: if you knew where to go, who to call, where to wait, within hours you could find yourself within the confines of what he called “like-minded people”, sharing songs, sharing food, sharing tiny apartments, even if you slept on the floor – there wasn’t room for a couch. For Madison, Dylan had a number for Ron Radosh. Born in New York, he was from a Communist Party background; Pete Seeger was his guitar teacher. Now he was a…

IN JULY 2022, MICK JAGGER CO-STARRED IN MY LIFE AS A ROLLING STONE, a four-part TV documentary that focused on each of The Rolling Stones in turn. Filmed in time to capture a typically self-effacing inter view with Charlie Watts, but debuting nearly a year after his death in August 2021, it became a de facto memorial for the departed dr ummer. As the curtain rose on Episode 1, the Stones singer announced that he hoped it would explode some of the more tedious myths about the group. A signal for the doc to retread ever y cliché around their music and their history, ticking all the boxes marked ‘dark’, ‘dangerous’, ‘sexy’, ‘the anti-Beatles’, ‘rock’n’roll incarnate’ et cetera. Reminded of this in September 2023, Jagger groans and rolls his eyes…

Robert Finley ★★★★★ Black Bayou EASY EYE SOUND. CD/DL/LP GET HIP to this kindly tip: if you ever plan to motor east on the I-20 from Shreveport, Louisiana, bypass Dubberly, Arcadia and Grambling – awarm welcome awaits you in Monroe. According to the US Fish & Wildlife Ser vice, the town’s Black Bayou showcases “the stereotypical Louisiana of swamps and bald cypress… [sheltering] a variety of species and providing a variety of recreational opportunities”, including fishing and canoeing. Among those species are alligators and crocodiles. Choose your pastime wisely, however, because, as Robert Finley acknowledges: “A lotta kids got ate that way.” With that one macabre morsel, almost casually tossed away on the closing track Alligator Bait, the veteran bluesman embarks on a slow cruise through a landscape populated by Flanner…

Mike Reed ★★★★ The Separatist Party WE JAZZ/ASTRAL SPIRITS. CD/DL/LP Chicago drummer/composer tackles isolation alongside Marvin Tate, Ben LaMar Gay and Bitchin Bajas. The first in an ambitious three-album cycle, The Separatist Party finds Mike Reed in his compositional element, having spent much of his career paying homage to Chicago’s rich jazz heritage on his own distinct terms. A veteran of AACM and the Artifacts collective, Reed’s barrier-free approach is matched by his sextet. Ex-poetry slam champion Marvin Tate is in powerful effect throughout, whether declaring “Your soul is a moshpit” over the opener’s contrasting bass lines and tapping pulses, or intersecting Cooper Crain’s taut guitar figure on One Of Us, as street poetry meets free bop surges. Engaging and invested, A Low Frequency Nightmare and a cover of…

All That Is East Is West Of Me Now ANTI-. CD/DL/LP Fifth – and best – solo album from Frames frontman. CROWD-TESTED over many nights playing in a Dublin backroom bar for sometimes indifferent audiences who barely recognised him, Glen Hansard took his time whittling and shaping this first solo album in four years. Although only nine tracks, it’s a sprawling affair revisiting just about ever y road he’s previously travelled, but somehow tying them all together for the first time. There’s the cranked urgency of six-and-a-half minute Down On Our Knees, the most ‘rock’ thing Hansard’s recorded, the Leonard Cohenesque contemplation of Sure As The Rain, swelling piano ballad Ghost and the super positivity of There’s No Mountain’s lyrics: “There ain’t no mountain you can’t move or you can’t…

Margo Price Strays II As a songwriter, Margo Price isn’t one for hiding much, least of all that Strays II was mostly written during the same six-day psychedelic trip that birthed her acclaimed Strays album. Strays II is a further nine songs, posted online in batches of three before making up the second disc for the forthcoming reissue of Strays as a double album. The title track digs into the origins of Price’s relationship with her co-writer husband Jeremy Ivey, Heartbreakers guitarist Mike Campbell pops up on Malibu, Black Wolf Blues is an exquisite ballad, and Burn Whatever’s Left (possibly) a love song to resetting your ego through psilocybin. The most staggering takeaway from Strays II is that if Price had released it first, it would still have received the…

J.J. Cale ★★★★ Tulsa Sound UMR. DL/LP WE ROUTINELY praise artists for their ambition and diversity, for their inexhaustible questing spirits, but sometimes it just pays to stay in your lane. “My records all sound the same,” J.J. Cale is quoted as saying in the sleevenotes to this materially hefty, musically featherlight box set of his first eight albums. “I could probably hire God to produce it and it would still sound like my records.” A singer, songwriter and guitarist for whom Mike Love’s “Don’t fuck with the formula” could’ve been an unusually positive credo, Cale’s music has lost none of its languid charm in the 52 years since his debut album, Naturally, was released. Tulsa Sound catalogues an idiosyncratic but streamlined hybrid of American roots musics; the most…

WHERE TO START?! So vast and unwieldy is Adrian Sherwood’s back catalogue of productions and remixes, spanning 40-plus years, that any attempt to distil it down for the purposes of this month’s How To Buy can only scratch the surface of such an extensive, innovative body of work. With the uncompromisingly independent On-U Sound label he started in 1981, aged 23, Sherwood has explored the outer reaches of dub, reggae and beyond with an array of talent including such On-U stalwarts as Lee ‘Scratch’ Perry, Bim Sherman, Prince Far I, Mark Stewart, Tackhead, African Head Charge, Creation Rebel, Dub Syndicate and New Age Steppers (featuring The Slits’ Ari Up). This inter-racial family of singers and players has always operated within its own universe – most often with a healthy disregard…

HE’S PREVIOUSLY recorded albums of the songs of Goffin and King, and his late friend and Monkees bandmate Mike Nesmith. Now Micky Dolenz turns his attention, and wondrously un-aged vocal chords, to R.E.M., with a new EP which includes his versions of Shiny Happy People, Radio Free Europe, Man On The Moon and Leaving New York. “It was a friend of ours [Monkees archive keeper], Gary Strobl, who originally suggested doing Shiny Happy People to me years ago,” says Dolenz down the line from his Hollywood home. “And I remember hearing that R.E.M. were big fans of The Monkees. In fact, there’s a clip on YouTube of them playing Stepping Stone when they were kids. Then Peter Buck played guitar on our Christmas Party album a few years ago… it…

1 SLEATER-KINNEY HELL Going deeper into greater pain, S-K return with a song that shares the heat of their early records. Ferocious, intelligent, and foregrounding Corin Tucker’s elemental howl. Find it: YouTube 2 BOB DYLAN & THE HEARTBREAKERS POSITIVELY 4TH STREET In which Dylan – on electric guitar! – and auspicious band (MVP: Benmont Tench) relocate that thin, wild mercury sound at Farm Aid. Find it: YouTube 3 DERECHO RHYTHM SECTION IMPOSSIBLE DAY In the wake of Mimi Parker’s passing, Alan Sparhawk’s funky new project with family and friends is music as communal consolation – and, here, like Low playing reggae. Find it: Bandcamp 4 UNDERWORLD DENVER LUNA Rave Enya, anyone? Underworld do away with banging techno rhythms and electronics, and instead build an enormous, swirling orchestra of voices…

Graham Parker And The Rumour ★★★★ Howlin’ Wind (Vertigo, 1976) Rootsy pub rock had deft musicians but few strong songwriters: enter Graham Parker, devout Stones, Van and Dylan disciple with his own beady edge, a proto-Costello romantic beneath the street-rat belligerence. Swinging, singalong and convivial, White Honey and Silly Thing anticipate Dexys Midnight Runners in this filler-free debut. Graham Parker And The Rumour ★★★★★ Squeezing Out Sparks (Vertigo, 1979) After three excellent studio albums in two years, a brief breather restocked the songbook with his best yet, life experience fuelling bold artistic ambition. Veteran producer Jack Nitzsche fired up everyone for classic results both polished and punchy, the heart-stopping highlight being the abortion monologue You Can’t Be Too Strong. Graham Parker ★★★★ Songs Of No Consequence (Bloodshot, 2005) His thirties…

King Gizzard & The Lizard Wizard ★★★ The Silver Cord KGLW. CD/DL/LP JUST AS MANY 10-year-olds enjoy the addictive taxonomy of Pokémon cards, so too one can get lost in the Gizzverse, an ever-expanding galaxy of genres and moods spread across a dauntingly prolific discography. Discursive with lyrics too, King Gizzard & The Lizard Wizard have written about environmental apocalypse, the Christchurch Mosque shootings, and Han-Tyumi, a human-envying cyborg of their own creation. Loveable wildcards, they’ve tapped psych, Krautrock, microtonal Anatolian music, rap, electronica and more with nary a thought for fan confusion or over-saturation. Indeed, 2017 alone brought five new LPs. One imagines job satisfaction chez Gizzard is high, then, each subsequent album an unfolding adventure made by tight-knit pals seeking fresh thrills. In a world thusgoverned, June…

Arnold Dreyblatt & The Orchestra Of Excited Strings ★★★★ Resolve DRAG CITY. DL/LP Double bass bangers from an unsung hero of minimalism. The Orchestra Of Excited Strings would be a pretty handy way of describing any number of rock bands these past few decades – Sonic Youth spring to mind, for a start. Arnold Dreyblatt was around the New York downtown scene in the 1980s, too, and you can hear definite similarities between his thrumming, clanging approach to minimalism and the incantatory noise grids of Sonic Youth, Glenn Branca and many more. But while most of those artists foreground electric guitars, Dreyblatt drives his music with a double bass that’s been strung with piano wire, for a crisp, super-dry sound, complemented here by a new Berlin iteration of the…

Joni Mitchell ★★★★ Archives – Volume 3: The Asylum Years (1972-1975) RHINO. CD/DL/LP ON AUGUST 26, 1973, Joni Mitchell dropped by S.I.R., a rehearsal facility in Los Angeles, where her friend and fellow Canadian Neil Young was recording his legendar y Irish wake, Tonight’s The Night. Taking a break from that racket, Young and the Santa Monica Flyers backed Mitchell on one of her new songs, Raised On Robbery, a frisky boogie about love and larceny. She was “like a kid in a candy store,” Nils Lofgren, one of the Flyers, told MOJO in 2021 of that jubilantly unruly take, first issued in Young’s Archives II and now the sole previously issued track in Mitchell’s latest box of rarities. “She kept saying, ‘I’ve never played electric guitar with a…

Substance 1987 WARNERS. CD/DL/LP Greatest hits (again), now with 1987 live rendition and bonus mixes. ORIGINALLY PUT together by Factor y’s Tony Wilson alongside a similarly titled Joy Division compilation so he could listen to his label’s proudest recorded achievements on CD in his car, Substance 1987 endures as one of the ’80s’ finest singles comps. The two-disc assembly of 12-inch A-sides and choice B-sides is here augmented with a further disc of vintage remixes, including the original Temptation and Confusion (which were recut for the 1987 package), plus three Shep Pettibone overhauls (including a majestic 10:44 dub of True Faith) – all are on previous compilations. The fresh component here is CD4’s complete on-stage run-through of Substance 1987’s big-hitter disc, captured the month after release in San Bernardino, California. After…

George Harrison: The Reluctant Beatle ★★★ Philip Norman SIMON & SCHUSTER. £25 NOW 80, Philip Norman has been writing about The Beatles for nigh on six decades. Famously the author of bestselling 1981 band bio, Shout!: The Beatles In Their Generation (which was so pro-John and anti-Paul that Macca labelled it “Shite!”), he has since delivered weighty individual life stories of Lennon and McCartney, and now, turns to Harrison. Sometimes, it’s hard to fathom exactly why he keeps returning to the subject, since he seems deeply ambivalent about the Fabs. Much like the recanting in his McCartney book, here he’s forced to messily reverse out of the culde-sac that was his nasty 2001 Sunday Times Harrison obituary, in which he painted the second Beatle to die as “a serial philanderer”…

“DON’T TRY to describe the ocean if you’ve never seen it,” Jimmy Buffett sang in the chorus of Mañana, a love song for the tropics, loneliness and honesty. “Don’t ever forget that you just may wind up being wrong.” Buffett, of course, had seen the ocean, and he got it right. Over exactly half a century, Buffett turned an aquatic ambit of pirates and pretty people, escape artists and adult adolescents, myths and mixed drinks into a homemade empire of wistful songs with underrated charms, perennial tours for endless escapism, and merchandising wings full of cheeseburgers in paradise. Buffett died at 76 at the start of an extended American holiday weekend that marks summer’s last hurrah. It was as if the pied piper of trop-rock and beach ballads had booked…

FOR CLOSE TO four decades, Westone Audio has been at the forefront of in-ear audio innovation, creating custom stage monitors which have been used by Rush, Def Leppard and many more. Their MACH series of in-ear monitors is technologically one of the most advanced on the market, with every aspect designed for both superior comfort and sound onand off-stage. With a large and powerful low, the MACH 20 features a proprietary dual-driver system, with one drive handling the bass and the other handling the mids and treble – ideal for playing live and listening for pleasure alike. A pair are worth £400, and we have some to give away. Get in the game by completing the crossword, sending a scan of it to mojo@bauermedia.co.uk, making sure to type CROSSWORD 361…