EXPLOREMY LIBRARY
searchclose
shopping_cart_outlined
exit_to_app
category_outlined / Movies, TV & Music
MOJOMOJO

MOJO

December 2019

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
Read Morekeyboard_arrow_down
SPECIAL: Save 40% on your subscription!
BUY ISSUE
R70,04
SUBSCRIBE
R482,79R289,67
12 Issues

IN THIS ISSUE

access_time1 min.
this month's contributors include...

Laurie Anderson Anderson’s music, words and ideas have bewitched since 1981’s O Superman. Her moving essay on late husband Lou Reed’s lyrics – taken from I’ll Be Your Mirror (Faber) out in November – starts on p56. Songs From The Bardo, her LP with Tenzin Choegyal and Jesse Paris Smith, is out now. Ethan Russell The first band Russell photographed was Blue Cheer, but the California native was still a novice lensman when he arrived in the UK in 1968. Less than a year later, he had become court snapper to Britain’s rock aristocracy. His shots of The Rolling Stones – telling the story of their watershed Let It Bleed LP – are previewed from p44. Quinton Winter Quinton is an award-winning and New York Times best-selling illustrator. A proud MOJO contributor since 1998, he’s…

access_time6 min.
ragged glories

HE JAM GOES ON FOREVER! THIS MONTH, TO COMMEMORATE the return of Neil Young and Crazy Horse, MOJO has rounded up 15 acts still dedicated to the transformational power of electric guitars. Here are the Children Of The Horse, unfettered by a need to keep their sound neat and tidy, dedicated to the most rugged and elemental of freak-outs. “Crazy Horse are willing to jump off a cliff with Neil,” their producer and engineer John Hanlon tells MOJO in our cover story. “It’s like improvisational jazz, but it’s not jazz.” So it is with these liberated players, all of whom have been inspired by the longform explorations of Crazy Horse, and those of other untrammelled free spirits like the Grateful Dead. “[Crazy Horse] should’ve been shot at birth,” David Crosby once…

access_time5 min.
all back to my place

Stuart A. Staples VOICE OF TINDERSTICKS What music are you currently grooving to? Mac Miller’s Swimming. It’s a great piece of work, obviously tinged with sadness, but it doesn’t make it better because he died so young. The composition, the depth, the feeling – there’s a real joyousness in that creativity. I’m trying to extricate myself, but my wife likes it. What, if push comes to shove, is your all-time favourite album? Nina Simone’s Wild Is The Wind. She kept it so minimal, though she could do everything. What was the first record you ever bought? And where did you buy it? Showaddywaddy’s Under The Moon Of Love, from a shop called Simons in Gedling in Nottingham. I don’t know if I was a fan, but I was glued to Top Of The Pops and I had…

access_time7 min.
theories, rants, etc.

“THE MORE YOU THINK, THE MORE YOU stink” might not be the ideal motto for a magazine with MOJO’s aspirations to authority and wisdom. Nevertheless, the instructions of Neil Young and Crazy Horse’s old producer David Briggs have a certain raw appeal. How can a group of musicians untether themselves from expectation, and tap into the most intuitive and spontaneous forms of expression? According to what Young tells MOJO’s Tom Doyle this month, the means to that end for Crazy Horse are manifold: high altitude, no setlists, no rehearsals, a little weed. “That’s the focus, y’know,” he reveals, in a wide-ranging and entertaining new interview. Rather like Crazy Horse jams, this latest edition of MOJO contains many unexpected digressions. In the midst of our epic interviews and reviews, you’ll hear of…

access_time1 min.
mojo

Editor John Mulvey Senior Editor Danny Eccleston Art Editor Mark Wagstaff Associate Editor (Production) Geoff Brown Associate Editor (Reviews) Jenny Bulley Associate Editor (News) Ian Harrison Picture Editor Matt Turner Senior Associate Editor Andrew Male Associate Deputy Art Editor Russell Moorcroft Contributing Editors Phil Alexander, Keith Cameron, Sylvie Simmons For mojo4music.com contact Danny Eccleston Thanks for their help with this issue: Keith Cameron, Fred Dellar, Del Gentleman, Ian Whent Among this month’s contributors: Martin Aston,John Aizlewood, Mark Blake,Mike Barnes, Glyn Brown,David Buckley, Keith Cameron,Stevie Chick, Andy Cowan,Fred Dellar, Tom Doyle,David Fricke, Andy Fyfe,George Garner, Pat Gilbert,David Katz, David Hutcheon,Jim Irvin, Colin Irwin,Andrew Male, Bob Mehr,James McNair, Chris Nelson,Lucy O’Brien, Mark Paytress,Jude Rogers, Jon Savage,Victoria Segal, Michael Simmons,Sylvie Simmons, David Sheppard,Mat Snow, Ben Thompson,Kieron Tyler, Lois Wilson,Charles Waring, Stephen Worthy. Among this month’s photographers: Cover: Tom Sheehan; (inset) Getty Koury Angelo, Allen Beaulieu, Al…

access_time3 min.
kink arthur’s return

OCTOBER 1, 2019, and on a rainy night in Highgate, north London, inside the Gatehouse theatre pub, The Kinks launched the 50th anniversary edition of their oft-overlooked concept album, Arthur (Or The Decline And Fall Of The British Empire). As Ray Davies, Dave Davies and drummer Mick Avory milled around, noticeably keeping a slight distance from one another, guests were treated to ales and portions of fish and chips served in newspaper pouches. The follow-up to ’68’s The Kinks Are The Village Green Preservation Society, Arthur was originally conceived as a Granada TV play, which never materialised due to the collapse of financial backing. Instead, in October ’69, the album stood alone as Ray Davies’s most personal work up to that point, documenting the post-war working-class lives of his sister Rosie…

help