Brighton Mod Weekender – Lee Miller

The Jive Five sang about “Main Street” where the In crowd stand beneath the neon lights, listening to the beats from the sidewalk cafés. Well, that sums up the sights and sounds of the corner of North Street and Gardner Street. With smartly dressed Mods from all over the globe, peacocking, checking out the next face walking toward the crowd, greeting friends and preparing for the Mod Weekender ahead!

This year’s New Untouchables events were, again, held at The Komedia. Doors now opening in the Studio Bar at 10pm, with happy hour bar prices, until the main event at 11pm. The bar filled quickly with faces from all over the globe! The DJ soon had the dance-floor moving, playing a mix of 6T’s Mod sounds from Ray Charles, B.B. King, Stevie Wonder & Jimmy Smith and many more.

The clock struck eleven and the main doors opened.. Behind the decks, the R&B assassin Sir Bill Kealy opened the weekend with Arthur Alexander’s – Black Night. Bill is a fantastic DJ who’s selections draws you deeper into the Blues then he rips your heart in two, with some dirty R&B grooves. (Copyright: AI – York). With Bill filling the dance-floor, deck duties were passed to Rob Bailey, who kept the floor grooving, with a great cross-section of sounds. After refreshment, a few hello’s and a long overdue pint with Kris Van Beethoven from Belgium. Next up to add to Friday nights shoe leather wear-down session was myself, bringing an across the board selection of 6T’s Soul, R&B with a bit of Motown thrown in for good measure. Glasgow’s King of Mod Cool, Paul Molloy took the torch and raised the game. Playing a great selection of dancers, with a great mix of Beat, Garage and some classic Mod sounds. 3am came around all too quickly, so off to bed to recharge and Sarah to soak those too hot to trot feet.

Saturday morning and the sun was shining, and so was the chrome. The Brighton air filled with the smell of two-stroke and the ting ting sound of scooter exhausts. The New Untouchables afternoon event was being held at The Volks on Madera Drive where they had also made arrangements for the parking to be suspended so the squadrons of scooters could be parked and displayed. Inside the venue, there were a plethora of stalls offering quality vintage clothing, rare vinyl and tailoring services. The soundtrack to the afternoon was being supplied by DJ’s Wolfgang from Weisbaden, Germany, Julian Rochfort from Frome, Paul from Reigate, Jon Clay from London and Rob Powner, the face behind the club, Wang Dang Doodle, who set my goosebumps off with Earl Connely’s – This Girl !!

The Baron, introduced the afternoons live music, which was delivered by London’s – The Baron Four, the UK’s finest quartet of classically influenced Garage-Punk maestros. Who took us on a journey through their latest album ” Silvaticus” and other great tracks, keeping the appreciative crowd entertained. My favourite being their take on Bo Diddley’s – I Can Tell with Kevin Smith wailing on that harp, what a musician! The second live act was – Men of North Country (MONC) – hailing from Tel Aviv! What a sound, their version of the 60’s Soul Monster – I’m Comin Home In The Mornin’ was absolutely outstanding. The rest of afternoon was spent playing catch up with various friends from around the globe who I see more than the blue mooners. The standard of sussed dress was impeccable, and great to see the New Breed showing some, how it should be really done!

The evening started with that view again, smart dressed Modernists gathered on, that, corner. Again, the NUT’s evening event started in the Studio Bar at ten. When I arrived about 21:45 there was already a queue forming.

Starting the evening’s soundtrack off with Wes Montgomery & Jack Mc Duffs – I’m Gonna Move To The Outskirts Of Town, with other tracks from Joe Thomas, Jimmy McGriff & Chuck Higgins. Just as the dancers were finding their groove, it was decided that the main room would open at 10:30 as the queue was outgrowing the room capacity. So, record boxes in hand a quick rush down the stairs and let the main event begin, Buddy Guy, John Lee Hooker, B.B. King & Ray Agee coming to the party. Again, Paul Molloy took to the decks, keeping the dance-floor, handclappin’ & footstompin’ to the sounds of original 45’s including, The Game – Gonna Get Me Someone. Tonight, Glynn Preece & Sean Chapman, hosts of “Out Of Time” joined the DJ’s over both floors. Glynn followed Paul in the main room, with some great R&B from Tiny Topsy, Sam & Dave’s great dancer – You Ain’t No Big Thing, Baby, ending his set with Chuck Miller’s – Look Out Mountain – with a great crowd showing their appreciation. Mr Bailey turned up the heat with tracks including The Rebel Rousers – As I Look, The High Numbers – I’m The Face, Johnny Watson – Say, I Love You and Gale Garnett’s version of You’ve Been Talkin’ ‘Bout Me Baby. The R&B assassin then made his mark on this event, giving the dance floor Danny Owens – You’re A Little Too Late, King Karl – Everybody’s Feelin’ Good amongst others. But the highlight for me was seeing Yasu from Japan in the “zone” dancing to The Drivers – Mr Astronaut. The dance-floor was a sea of dancing Mods, with handclapping and whistles appreciating every track played. Now as the song goes, “we came out here to party” – as the first bars of Booker T’s – Green Onions rang out a cheer went up from the crowd as the dance-floor filled, and there it stayed, to classics including, the In Crowd, Cool Jerk and many more great MOD dancers. Meanwhile, in the Studio Bar, Sean & Glynn with guests were showing all how-to party – Out Of Time style… Paul, Rob & Sean kept the sounds flowing in the main-room and the floor moving right up until 5am, with the crowd asking for more…

A bit of a slower start on the Sunday, but a Full English soon put that right. Again, the sun shone and at The Volks, the dealers looked like they were doing a roaring trade, with many more scooters adorning the roadside, with many day-trippers, attending for the impressive ride out, and scooter competition.

More faces from all over the globe were in attendance, chatting, drinking, looking sharp & listening to the music being played by the afternoons guest DJ’s. Suit Yourself Modernist Culture hosted this afternoons selection of DJ’s, Ian Hurford from Basingstoke, Ian “Detroit Executive” Jackson from London, Alan form Brighton and Vinny from The Prince Regents.

Gary Milan and Doug Sturrock joined out host Rob for the in enviable task of judging the scooter competition which lined both sides of the seafront. The standard was truly incredible and it took well over an hour for the final results to come through. The trophies were presented in front of the slush puppy with Brighton Pier as the backdrop for photos, congratulations to:

Best Lambretta – Lee Maxey – TV175 series 2
Best Vespa – Paul Digby – GS160 mk 2
Best Mod – John Gibson – TV175 series 2

After the presentation, it’s time for the eagerly anticipated ride-out across the East Sussex cliffs. The sight, smell and noise of hundreds of scooters is truly incredible and sight to behold. The ride-out was one of the most enjoyable yet from all accounts with a short refuel at Smugglers rest before the return trip back to the Volks. Some riders went onto Beachy Head but were diverted with reports of a mysterious gas cloud, we are happy to say the cloud was not 2 stroke and nobody was seriously injured. Many thanks to judges and all those who helped with marshalling the ride-out, a superb job folks.

The final evening’s event kicked off at 10pm at the Komedia, with Mary Boogaloo joining us in the Studio bar with Brighton Got Soul in the main room, with Ady Croasdale, Chris Dale, Sean Chapman & Colin Baldock.

Mary treated us all to a fantastic Jazz set including Wes Montgomery’s – Swivel Hips. Alan from Suits Yourself treated us to some superb 60’s Soul including Kell Osbourne’s – Quicksand. Bill had the room blocking to some of the best Rhythm & Blues 45’s, including Arthur Griswold – Pretty Mama Blues. Paul played a mixture of Mod dancers finishing with Death In Vegas With Paul Weller – So You Say You Lost Your Baby. Mary & Rob kept everybody dancing, then I was back on for the last 30mins which also involved a bit of double decking with Bill, before closing the night off with Ray Charles’ – The Train.. The crowd then moved downstairs until sun up..

Another fantastic New Untouchables weekender, with the events full of Smart, Sussed Mods from all over the globe. Thanks to the NU team and the fantastic staff at the Komedia and Volks who look after us all weekend.

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See you next year… LEE MILLER

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Lee Miller

I've called myself a Mod since around 1980. I first discovered the scene through 2-Tone & The Jam et al. Throughout my 35 years, I have been on a musical journey through the world of "Mod Music" - discovering something new at every RPM. Started attending Mod Clubs & Rallies in 1985, and have never looked back. DJ spots at local events escalated to London and beyond. As well as guest slots, being part of the NUT's DJ team and residencies at The Mousetrap (20 years) I’ve been involved with the hosting of events - From, The Maidstone Brandy & Blues Club, The Sidewinder & Gettin' To The Point (Leeds) and The Dreamsville Mod Weekender (Lowestoft), to name just a few!

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September 19, 2017 By : Category : Articles Events Front Page Reviews UK Tags:, ,
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Record Review – Rob Bailey – Sept 2017


Record Review – Rob Bailey – Sept 2017



Four-piece Hammond driven Garage-Punk band from Middlesbrough team up with Medway’s finest Graham Day, at Ranscombe Studios on the banks of the Medway for a hard-hitting EP. Four strong originals with ‘5th Time Around’ being my personal favorite. Available on CD and Vinyl with more to come from King Mojo.



Another fine release from Spoke Records. The Gene Pitney ‘She’s A Heartbreaker’ era track is a great slab of Blue-Eyed Soul restored and remastered from a battered Emi-Disc acetate. The highlight however is a superb version of Lionel Bart’s ‘Reviewing the Situation’ from the musical ‘Oliver’. This is every bit as good as the better-known Sandie Shaw version. It was due for release on Strike or subsidiary GO in 1967 originally before they went bust, only to find its way on the ‘Dream Babes’ CD in 2003. Now finally available on 45 grab one quick folks.


Brand new album on Heavy Soul records features Mark McGounden of MAKIN’ TIME and UPPER FIFTH and Paul Hooper-Keeley of the THREADS together with the multi-talented Tony Barbados banging the drums and Niall Keohane on bass. There is no re-working or covers here, just fourteen strong MODern soulful tracks.



A masterpiece beautifully packaged from one of our favourite 21st century bands also available on a limited red vinyl edition. Ten strong originals from a band that are growing in confidence with every gig and release. This album will no doubt become as revered as some of those sixties classic in years to come. Grab your copy now before they sell out and start going for silly money like some of the early singles from the link below.



The first album by this Pisa Soul-Jazz collective is limited to just 300 copies. These five faces clearly have a love for the Vespa as well as great music. Three covers from Brian Auger, William Bell and Eddie Harris shows you the bag this band are in. Three is the reoccurring theme here with guest vocalists Irene Mori, Sara Piaggesi and Marina Mulopulos. More to come from the PSC.



An English singer living in Paris who possesses a wide and powerful voice in a Northern and Deep Soul style. Her debut album ‘Rebecca Dry Sings Soul’ was a hit. And her second ‘Bring Back Soul’ with the ‘Radek Azul Band’ again is another triumph from the excellent Q-Sounds stable. Do yourself a favor and purchase a copy of this album from the link below.



The Men have had some favorable reviews on NUTSMAG from Graham in the past. ‘Sunburst’ is a change of musical direction partly down to a change of drummers and the recording process with a more organic approach. Band members played new musical instruments and adopted a more soulful approach, reminiscent of late era Beatles in some places. This album gives The Men another dimension to their energetic live shows.



Having followed the band from the very early days and done countless gigs with them it’s always a joy to hear the new material which always takes a fresh approach. ‘Death Express’ is a sonic album of clever Psychedelic Garage Rock riffs from singer, songwriter and demon guitarist Barrie Cadogan. It’s amazing what sounds this trio can produce with Virgil’s tight break beat drumming and Lewis Soulful bass lines. The result a double album with twenty tracks, go grab a copy of this future classic before it’s too late.

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I run The New Untouchables organization and events like the Brighton Mod Weekender, Le Beat Bespoké Festival (and compilation series of the same name) and I co-organize Euro Ye Ye with the Trouble & Tea crew. I have run many clubs over the last 20 years in London, where I live and current nights include Timebox, Zoo Zoo, Crossfire, 100 Club and Mousetrap allnighter which has just celebrated its 20th anniversary in 2011. I have been lucky to DJ all over the globe including Japan, Canada, USA and Europe and met some great people on my journey. I run RnB Records to offset my vinyl addiction: for rare vintage vinyl.

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September 7, 2017 By : Category : Bands Front Page General Music Reviews Tags:, , , , , , , , , , , ,
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Euro Yeye 2017 Review

Now in its 23rd year, Euro Yeye 2017 proved once again why it’s at the top of the tree for 60s/Mod events in Europe.

To earn the attendance of so many regulars and newcomers, some of whom weren’t even born when the first weekender was held, is something really special. This was my second time in Gijon, having first visited in 2015, and my first time being invited to DJ by Felix and Rob and I couldn’t wait to return for the all-nighters, the amazing music, the friendly people and the Asturian cuisine.

First of day events was in El Bello Verano, seaside bar with DJs and one of the exhibits of the weekend, by Catalan artist David Cobo.
There was also a film festival organized that started on Monday with a really good response. 8 films, one (or two) each day. Thursday was the day to introduce it to YeYe fans coming from all over, with Merli Marlowe and Felix talking about the films, all of them very rare, all of them 60’s and all of them related to humor, this was the link. Also time for introducing Joaquin Viña’s Pop Art amazing exhibit and “las maravillosas aventuras of Mr Soul” graphic novel by Andreu Conill.

First band of the weekend was California act, The Allah-Las performing in the traditional Plaza Mayor outdoor concert. Their sun-drenched psychedelic mid-tempo sounds were the perfect start to events in the early evening heat, and they thrilled their attending fans and new converts alike.

Things, for me, got off to a shaky start, I lost my luggage en route from Scotland, and managed to badly injure my ankle as soon as I arrived at Acapulco, but I wasn’t going to let these setbacks ruin the weekend! Thursday’s all-nighter got off to a flying start (the legendary Sala Acapulco Gin & Tonics helping me with anesthetic), with the mix of black and white sounds from the DJs including Rob and I from the UK and Juanito Volumen from the Spanish Inquisition team as well as a fantastic show from Spanish band Melange. Both styles of music R&B/soul and garage/psych in one room really pulls everyone together and in the hands of the skillful DJs the crossovers were seamless and kept the dancefloor going until the early hours of the morning.

Friday daytime saw a few sore heads, but a beautiful sunny day to get out and explore Gijon, enjoy the beach, as well as all-day mod sounds at El Patio de la Favorita with Kitty B Shake and Jokin Misterklin on the decks, as well as the first of two mass scooter runs around the city. Right before all this Jim McCarthy was interviewed thru skype to present his last 2 graphic novels: “Living for Kicks” and “The Life and Death of Keith Moon”. The club “Toma3” was packed… and there was also a show cooking experience with French food.
For the lucky few, a couple  more hours sleep and then onto the 2nd Allnighter, again the stellar DJ line-up and two of the most exciting bands on the circuit as well, in the shape of Les Darlings from France and homegrown Spanish psych favourites Fogbound setting things up for another night of fantastic music and gathering of friends old and new. Les Darlings delivered infectious beat and rhythm sounds with loads of style, while Fogbound’s have gone from strength to strength with their sweeping psychedelic/prog/popsike sound, that went down a storm.

For the lucky few, a couple  more hours sleep and then onto the 2nd Allnighter, again the stellar DJ line-up and two of the most exciting bands on the circuit as well, in the shape of Les Darlings from France and homegrown Spanish psych favourites Fogbound setting things up for another night of fantastic music and gathering of friends old and new. Les Darlings delivered infectious beat and rhythm sounds with loads of style, while Fogbound’s have gone from strength to strength with their sweeping psychedelic/prog/popsike sound, that went down a real storm.

There was no let up the next day with plenty of people braving the hangovers and the overcast weather to head to the 7 hour pool party at Camping Deva… record and clothes stalls, food, drinks, scooters and a packed line-up of DJs playing the best of 60s sounds across the genres. The Scootercruzada had their trophies given there as well, furthest traveller being a young fellow from Germany (2000+ kms. on his Lambretta to the event). There was also a bunch of British mod scooterists + the usual Spanish and local crowd enjoying the roads and the party.
A final push for the 3rd all-nighter, and this was going to be something special with the eagerly awaited annual Mr & Mrs Yeye contest saw Gerry German from Switzerland and Marian Choya Martin crowned this year’s winners. Live performances from Las Munjitas Del Fuzz from the Vatican with their primitive fuzzed up garage sounds and crazy live show and the eagerly awaited show from Spain’s Tito Ramirez.

The debut Tito Ramirez single ‘Lonely Man’ became an instant classic at R&B/mod nights around Europe and the live performance shows he has so much more to come, the band were bursting with infectious energy and had the whole room in the palm of their hands with their own signature take on classic r&b and popcorn sounds, delivered with loads of character, swagger, and humor.

After Tito the DJ team of Miguel, Imanol, Luis, Felix, Juanito, Rob and I took the night through to dawn with a wholesome mix of 60s styles, blending old favorites with sure to be future classics and, most importantly, keeping the dancers grooving and spinning till the sun came up.

Sunday – out o the official program – was the time for the “necropoli yeyé” a party for all the “leftovers-yeyes” from everywhere that had the strongest dancing in the old town club “TNT” up to 7am!

It was an absolute pleasure to be invited to play as part of the DJ team, and to be welcomed by the locals and friends from across Europe to this very special event in the mod calendar. As I said even injuries and lost suitcases couldn’t hold me back. Here’s to next year  (2 to 5 august!)

Take a look at the images from EURO YEYE 2017 here  
- Arriba, abajo, al centro y adentro, Salud! Craig Reece

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Felix EuroYeYe

Organizador de weekends mods y 60's como el Euroyeyé y el Beat Goes On. In Gijon, Spain.

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September 19, 2017 By : Category : Bands DJs Europe Front Page Music Reviews Scene Tags:, ,
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Jazz for Modernists 13 – Kenny Dorham: 6 of the Best

Jazz for Modernists 13 – Kenny Dorham: 6 of the Best

Texas-born trumpeter, composer and singer McKinley ‘Kenny’ Dorham (1924-1972) played an important role in the development of modern jazz trumpet. Recording as early as 1945 with Mercer Ellington and Frank Humphries, he appeared on some early bebop big-band sessions led by Dizzy Gillespie and sustained a career as leader and side player throughout the 1953-1965 period of hard bop. After work with Fats Navarro, Lionel Hampton, James Moody, Charlie Parker, Milt Jackson and Thelonious Monk, his first full date as the leader came in October 1953 and was released for Debut as The Kenny Dorham Quintet (vols. 1 & 2). The following year he was a founding member of (at the time) Horace Silver and the Jazz Messengers, a combo soon to be led by fellow co-founder and drummer Art Blakey. Dorham’s own Jazz Prophets followed in 1956, a line-up of which featuring pianist Bobby Timmons recorded his second album for Blue Note, ’Round About Midnight at the Café Bohemia (1957).

Dorham has constantly been regarded as a ‘players’ player’ or ‘underrated’, perhaps due to his never being consistently associated with one major label for any great length of time. Although commercial success eluded him, the pantheon of great names of distinct styles that either played for him or invited him to key sessions is a testament to his qualities of consistency and adaptability. Returning to Blue Note in 1961, he struck up something of a partnership with tenor great Joe Henderson, appearing on three of his Blue Note LPs: Page One (1963), Our Thing (1963) and In ‘N Out (1964). Henderson appeared in turn on Dorham’s Blue Note dates Una Mas (1963) and Trompeta Toccata (1964), while both horn men featured brilliantly on Chicago pianist Andrew Hill’s masterpiece Point of Departure (1964).

From 1965 until his premature death in 1972, Dorham recorded only sporadically, though he did still feature on some excellent LPs including the 1967 debut by pianist and fellow Texan Cedar Walton. Overall, his legacy is a very positive one, often hailed for the quality of original compositions such as ‘Blue Bossa’ (recorded by Joe Henderson), the modal ‘Sunset’ from Whistle Stop (1961) and the twice-recorded ‘Una Mas’. In terms of style, Dorham has been praised in The Penguin Guide to Jazz for his ‘elusive brilliance’ and described as ‘fluid, punchy and lyrical’. Of his Blue Note sides, only ‘Mamacita’ (see no. 5) was issued as a 45 single, though a few EPS on other labels were distributed globally. DJs looking for tracks for the dancefloor or the ‘lounge’ party soundtrack might need to rely on albums. In truth, Dorham was never really an out and out soul-jazz player, though the list below does it’s best to appeal to mods who like to ‘step out’ as well as sit back with a cool beer and watch the network DVD box set of Public Eye.

1. ‘Afrodisia’ (1955) – From Afro-Cuban 10″ Vinyl, Blue Note BLP 5065 & LP, BLP 1535 (1957)

Dorham’s first two lead sessions for Blue Note in January and March 1955 were with expanded versions of the first Messengers line-up featuring Horace Silver on piano, Art Blakey on drums and Hank Mobley on tenor sax. From the second session came ‘Afrodisia’, an infectious piece of Latin hard bop with Carlos ‘Patato’ Valdes on congas and Cecil Payne on baritone sax.

2. ‘Lotus Blossom’ (1959) – From Quiet Kenny LP New Jazz NJLP 8225

What Billboard (Feb 22, 1960) called ‘the relaxed, warm sounds’ of Dorham’s late ’59 Quiet Kenny LP for Prestige’s New Jazz offshoot owed more than a little to the modal sounds of Miles Davis’ recently released Kind of Blue and the directions in which John Coltrane was taking the hard bop template. Bassist Paul Chambers had appeared on Davis’ seminal album, while pianist Tommy Flanagan and drummer Arnette Cobb in the same year played on Coltrane’s Giant Steps, the first clear exemplum of the iconic saxophonist’s ‘sheets of sound’ experiments. Dorham’s quartet for this date was thus the cutting edge of post-bop improvisation. The modal feel is evident on the exotically-titled ‘Lotus Blossom’, which leads off an outstanding set of laid-back modern jazz.

3. ‘Buffalo’ (1961) – From Whistle Stop LP Blue Note BST 84063

Whistle Stop, the third of Dorham’s five dates as leader for Blue Note, is required listening for connoisseurs of the particular period of hard bop (c.1959-1963) that followed Miles’ and Coltrane’s modal experiments and preceded the r & b-driven, finger-snapping funk of Lee Morgan’s The Sidewinder. Perhaps the most interesting track from a historical point of view is the bluesy and Indian-inspired ‘Buffalo’, a swinging example of what Ira Gitler’s original sleeve notes describe as ‘southwestern funk as opposed to the usual southern funk we hear’. Mistakenly attributed to Horace Silver, a short version of this tune cropped up on the debut release in early 1963 of visionary acoustic guitarist Davy Graham (The Guitar Player). Taken up by John Renbourn, the tune for guitar was an early blueprint for the fusions of jazz and folk that would lead to the formation of Pentangle in 1967.

4. ‘Sao Paulo’ (1964 – recorded 1963) – From Una Mas Blue Note BLP 4127

Enter Joe Henderson (and Herbie Hancock, Tony Williams and Butch Warren). Recorded in April 1963, Una Mas (Spanish for ‘One more (time)’) is a record inspired by the Brazilian bossa nova sounds so popular in the United States in 1962. The title track, here extended to over 15 minutes, had appeared a year earlier as ‘US’ on the live Inta Somethin LP for Pacific Jazz. Infectious though this is, it’s the shorter ‘Sau Paulo’, described by Dorham in the sleeve notes as ‘half bossa feeling and the other half is something else’, which best epitomises the ‘light and shade’ feel of Blue Note’s 1960s Latin-tinged modal blues.

5. ‘Mamacita’ (1965 – recorded 1964) 45 (parts 1 & 2): – Blue Note 1922; 33 – From Trompeta Toccata Blue Note LP BST 84181

This catchy Joe Henderson tune kicks off side two of Dorham’s last date as leader (Henderson would record a slightly faster version on his 1967 set The Kicker). The last of the five Henderson-Dorham Blue Notes to be recorded (in September 1964), Trompeta Toccata reunites Dorham with Tommy Flanagan and also features legendary drummer Albert Heath and the great Richard Davis on bass. Mid-sixties jazz modernists are urged to acquire this album also for its urgent Afro-Latin title track (with outstanding Henderson solo) and the nocturnal swing of the excellent ‘Night Watch’.

6. ‘Turquoise Twice’ (1967) – From Cedar Walton: Cedar! LP (Prestige PR7519)

Dallas-born pianist and composer Cedar Walton had made his recording debut in 1958 on Dorham’s Riverside LP This is the Moment! After a stint with Art Farmer and Benny Golson’s Jazztet, he was part of Art Blakey’s most interesting Messenger’s line-up from 1961 to 1964, playing alongside Wayne Shorter and Freddie Hubbard and contributing bona fide classics such as ‘Ugetsu’ and ‘Mosaic’ to the repertoire. By the mid-sixties Dalton was appearing on numerous Prestige sessions; his first for the label as the leader featured Kenny Dorham, who, though fading from the scene, delivered a searing solo on the majestically lyrical modal blues ‘Turquoise Twice’. Dorham continued to record sporadically (dates with Barry, Harris, Clifford Jordan, Toshiko Akiyoshi and Cecil Payne) until his premature death from kidney disease in 1972. His legacy is a fine one.


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James Thomas

James Thomas was born in Bristol just the wrong side of 1970 (1971). His first encounters with the 1960s were his two-year-old elder brother’s reminiscences of the Moon Landing (since deleted by the BBC) and an afternoon in 1975 listening to the Beatles with his parents. He remembers 2-Tone and the ’79 revival, but was the one in his primary school still wearing flares until he persuaded his mum to buy him a black Harrington jacket (a stylish-enough copy by Burtons) and asked a hair stylist to make him ‘look like Suggs’. In the 1980s he became obsessed with almost every aspect of the 1960s, whether it were Star Trek, the length of George Harrison’s hair in March 1965 or the first colour TV broadcast of a cricket match (he thinks it was 1968). After being side-tracked by progressive rock (an ongoing guilty pleasure), James came to his senses in 1986 on seeing footage of Booker T and the MGs and Otis Redding on a programme celebrating the 60th anniversary of television. A flirtation with ‘indie pop’ (in the bowl-cut and anorak days) led to too much introspection, but also a new interest in the psychedelic sounds of the 1960s that seemed to go hand in glove with a liking for The Pastels and The Razorcuts. A summery afternoon in the jazz tent at Bristol’s annual (and long gone) Ashton Court Festival in 1989 opened his mind to the sounds of Lee Morgan, Horace Silver, Art Blakey and most forms of modern jazz. In 1990, James attended his first proper 60s club night, the revered Kaleidoscope Pop! in Leeds. On his return from the North in 1992, he developed a new commitment to Mod culture. He recalls early Untouchables Brighton New Year rallies and in 1994 moved to London. A real education for him (in so many ways...) was a period in Barcelona (1997-2002) where he helped out with the Magic in the Air club for a year or two and where his IQ was permanently reduced by a record dealer who made him clean vinyl for four weeks in a windowless room. After a decade or so in the West Country, he is now living again in London, where he plans to write about jazz, meet like-minded people and study the history of the cravat.

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September 7, 2017 By : Category : Articles Bands Front Page ModJazz Music Picks Reviews Tags:, , , ,
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“Digging deep into the Rubble – Volume 1”

“Digging deep into the Rubble – Volume 1”

It’s fair to say that compilation albums have been many a vinyl addicts’ first introduction to all sorts of great music over the years. “Tighten up”, “Nuggets”, “Tamla Motown – 20 Mod classics”, “Mods mayday ‘79”, “A splash of colour” are amongst many LP’s that have introduced people to sounds they might not have heard before, setting them off on a long journey of musical discovery. Fans of UK beat and psychedelia have been particularly well served in this respect. Firstly with some great releases on See For Miles, Charly and the under-the-counter “Chocolate soup for diabetics” series, but mainly from the legendary series of “Rubble” albums compiled by Phil Smee of Bam Caruso records. There were twenty made in all, all filled with beat obscurities and popsike classics. These albums in turn part-helped make the original 45’s the maniacally sought after records they are today. In an occasional series we’re going to have a look into each one, and pick some highlights that are contained within those grooves.

The first volume in the series was released in 1984, entitled “The psychedelic snarl” (KIRI 024). Cherry picking great and obscure 45’s from the Philips and Fontana labels, it featured a suitably trippy front cover and an 8-page booklet giving some background on these previously unknown groups and artists. Side one starts off with legendary ‘freakbeat’ masters The Wimple Winch. Evolving from Liverpool R’n’B group Just Four Men, they released three 45’s in their lifetime. The third and most out-there was “Rumble on Mersey Square south” (TF 781) which opens side two. However, hidden on a handful of the B-sides was the wonderful “Atmospheres”, though the label doesn’t show this! It’s almost impossible to find one, especially in mint condition, but expect to pay over £500 for one. Straight onto track two, we find The Mirror “Faster than light” (BF 1666). Tucked away on a 1968 B side, it’s a phased pop-sike pounder. Track 3 brings us to one of the rarest and most valuable UK singles ever, “Woman of distinction” (BF 1588) by legendary session musician Caleb Quaye. Released in 1967 and only selling a handful of copies, this psychedelic masterpiece commands obscene amounts of money, a copy selling for £2,350 in June 2017. Martin Cure & The Peeps “It’s all over now” takes up track 4, next up is The Living Daylights 100mph psych B-side “Always with him” (BF 1613) and The Misunderstood’s 1969 slow groover “Never had a girl like you before” (TF 1041) is sixth. Track seven is made by a band responsible for three of the top UK rarities of the decade…

The Open Mind. As well as a much sought after ’66 slice of mod greatness as The Drag Set (“Day and night”), they also released a £1000+ album and a two sided proto-heavy metal 45 in 1969,“Magic Potion / Cast a spell” (BF 1805) which can also sell for up to £1000! After the madness of “Cast a spell”, it’s left for Billy J Kramer’s old band The Dakotas to end side one with “The spider and the fly” (BF1645). Featuring some incendiary guitar work from Mick Green, one of these can set you back over £100!


Side two opens with the aforementioned Wimple Winch’s “Rumble on Mersey Square South” (more of them later!), followed by fellow stars of side one The Open Mind with “Magic Potion”. The Living Daylights “Lets live for today” (BF 1561) is up next. Originally recorded in Italian by The Rokes, it was eventually a massive US hit for The Grass Roots in 1967, but the great UK version here was produced by the aforementioned Caleb Quaye! Track four brings us three minutes of total pop-art mayhem from Birmingham group The Craig. The follow up to the dance-floor friendly “Ready, steady let’s go”, “I must be mad” has to be one of the most demented singles ever made, and arguably the best example of a genre now termed ‘Freakbeat’. With an almost as good B side in “Suspense”, the single was released in June 1966 (TF 715) and sold in pitiful amounts, hence it’s £400+ status in mint condition today. Beat boom stalwarts Unit 4 plus 2’s last UK 45 “I will” (TF 990) is up next. On the flip side of “3:30”, the song is a great commercial slab of late 60’s pop, but the public didn’t agree as it didn’t trouble the charts back in 1969.

The Grey were responsible for one solitary 45, but what a classic! On the B side of “Elephant rider” (TF 944) which in itself was good, late sixties pop, “Grey” is a total head-pounder and the song can barely be contained in those grooves. Whether it would have been an A side hit is anybody’s guess (probably not!) but it sure left us with a classic and very valuable £300+ single. After that racket, you’d think the mood would mellow a little, but no, it’s our old favourites The Wimple Winch back again with aggressive pill popping masterpiece “Save my soul” (TF 718). Released the same month as “I must be mad” in June 1966, this was one of many totally legendary releases that just sank without a trace at the time. A surefire way to fill any mod / 60’s dance-floor nowadays, a mint original would easily fetch £400+ on the collectors market. After all that excitement it’s left for The Mindbenders to finish the album off in fine style with the cracking B side from 1966, “The morning after” (TF 780). Not too hard find, it’s a great mod mover with some brilliant guitar work and harmonies too.

Well, “The psychedelic snarl” was the perfect way to start the series, but we’ve got many more nuggets to dig out of the rubble soon!

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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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September 7, 2017 By : Category : Articles Bands Front Page Music Reviews 0 Comment

NUTsCast – Sessions – part 16 (episode 25)


Join the Baron for the latest NUTSCAST of  Summer 2017

Be sure to tune in to the latest Nutscast Sessions for a full preview of Euro YeYe and the Brighton August Bank Holiday events as we say a fond farewell to the Baron, Graham Lentz as he hosts his last show; with tracks by Gemma & The Travellers, Stone Foundation, Men Of North Country and DJ selections from our guests at Brighton.


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Graham Lentz

AKA ‘The Baron’ - Like many of his generation, The Jam started Graham's love affair with all things mod back in 1977. He is the author of 'The Influential Factor - A History Of Mod' which was originally published in 2002. An extract from the book was re-printed in Paolo Hewitt's 'The Sharper Word - revised edition' in 2011. Being a self-confessed 'broad-church' mod, Graham's interests range from Modern Jazz to today's up-coming new bands and everything in between. Although he has a passion for mod history, he also has a passion for the new. Whether it's music, clubs, media of every kind, clothing, scooters or art and photography, Graham supports, promotes and encourages as much as he can, because that's how we keep going. 'Give it a chance' is his motto. If it's not for you, that's cool, at least you tried it.

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July 3, 2017 By : Category : Bands Front Page Music Picks Reviews Tags:, , , , , ,
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Reviews June 2017 – Part 1

The Baron Four

‘Silvaticus’ – LP

Formed 2012, it’s been a couple of years since Baron Four’s last outing, but this has been well-worth waiting for. They have always set out to capture the exciting sound of classic Beat and Rhythm & Blues, and this is another quality example, and in my opinion, their best work so far. ‘It’s Alright’, ‘Don’t Need You Anymore’ and ‘Certain Type Of Girl’ evokes the spirit of the Pretty Things, Kinks and Yardbirds. 2014s ‘Out Of The Wild Come The Baron Four’ is their only album to date, but this EP is a welcome addition to the fine collection of singles before and since that LP. If you are going to the Brighton August Bank Holiday Weekender, you can catch the Baron Four live at Volks Tavern on the Saturday afternoon with Men Of North Country.

BJ’s New Breed

‘How Come’ b/w ‘I’ll Never Come Back Again’ – Single

BJ’s New Breed rose from the ashes of Vienna’s Jaybirds and The Attention a few years back and return with this classy 45 of Beat-inspired garage. ‘How Come’ is a mid-paced Beat ballad, while ‘I’ll Never Come Back Again’ sees the BJ’s back on familiar territory, with this rockin’ fuzz belter. Definitely, one to look out for on Time For Action Records.

Dukes Of Hamburg

‘Germany’s Newest Hitmakers’ – LP

Surely there are few finer exponents of Beat/R&B in Germany than the Dukes Of Hamburg and they have been ever present on the scene not just in Europe, but in America for a long time. Formed and led by the irrepressible Thilo Pieper, The Dukes give us a rockin’ great set of R&B belters with this album including tracks originally by the likes of Larry Williams, Big Joe Turner, Chuck Berry, Cab Calloway and Herman’s Hermits (yes you did read that correctly !) Their version of ‘I’m Henry The VIII’ is far more enjoyable than the original, just for the sheer fun of it. What I really like about The Dukes is the way they appear not to take themselves too seriously, but really know how to get the best out of any song they tackle.
Great fun and a great album.

The Haggis Horns

‘Take It Back feat Doc Brown’ b/w ‘Take It Back instrumental’ – Single

The Haggis Horns have been around in the UK funk and soul scene for over ten years and 2015s album ‘What Comes To Mind’ was a highlight of that year. This Leeds-based combo has cut another slice of top-drawer funky soul with this single. The A side features rapper Doc Brown (which may not be to everyone’s taste here at Nutsmag), but make no mistake, the instrumental flip side more than holds its own as a stand-alone track. Rumour has it a new album is on the way, so soul and funk fans, keep your ears open for that one while enjoying this single.

Shindig Magazine

Issue 68

After the scare last year when the future of Shindig looked in doubt (through no fault of Mr. Mills or Mr. Morton) thankfully the best music magazine by a country mile is still going strong and what a treat this edition is; especially for mods. Apart from all the usual features like the extensive reviews, news and interviews with up-coming bands (Shindig are more clued up than most on that score), this edition features the last ever interview with Steve Marriott, a cracking interview with Steve Ellis and a major interview with Paul Weller.
And it is the Weller feature that is proof that Shindig really has moved to the top of the league. Let’s face it; Mr. W is not one to suffer fools or journalists gladly, so when he does give an interview, you know he has checked out exactly who he is dealing with and it is clear from this piece that he was very comfortable in the company of Jon Mills and Paul Osbourne.
In these days where the last surviving music paper is so far up its self it is an irrelevance, the magazine for vinyl junkies has lost its way and the only ‘general’ music mag seems content to wallow in the dull corporate-mire of the music biz, be thankful that Shindig is a reminder that quality, innovation and editorial independence is still alive and kicking.

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Graham Lentz

AKA ‘The Baron’ - Like many of his generation, The Jam started Graham's love affair with all things mod back in 1977. He is the author of 'The Influential Factor - A History Of Mod' which was originally published in 2002. An extract from the book was re-printed in Paolo Hewitt's 'The Sharper Word - revised edition' in 2011. Being a self-confessed 'broad-church' mod, Graham's interests range from Modern Jazz to today's up-coming new bands and everything in between. Although he has a passion for mod history, he also has a passion for the new. Whether it's music, clubs, media of every kind, clothing, scooters or art and photography, Graham supports, promotes and encourages as much as he can, because that's how we keep going. 'Give it a chance' is his motto. If it's not for you, that's cool, at least you tried it.

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July 3, 2017 By : Category : Bands Front Page Music Reviews Tags:, , , , , ,
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Reviews June 2017 – Part 2

The Riots

‘Now Or Never’ b/w It’s My Life’ – Single

If ever there was a band that should have been huge, it is The Riots. This single was a follow-up to 2013’s ‘Time For Truth’ debut album which had massive appeal and support from the mod-rock fraternity in the UK. An ill-fated UK tour was arranged, but due to bad planning by the promoter and the British authorities refusing a visa to lead singer and guitarist Sasha Bolotov, the tour went ahead with the other bands while the two other members of The Riots sat out the entire time in a hostel in London with no money and help. Although they toured the rest of Europe successfully, it was the UK market that they really needed and that put a strain on the band who have been inactive for a while now, but there is always hope they will be back. This single shows just what a powerhouse band they were and that they could match contemporaries like The Spitfires, The Orders or The Costellos. A classy piece of powerpop/mod-rock from Moscow’s finest. Скоро вернусь мои друзья (Come back soon Riots)

Samuel S Parkes

‘Lock and Key’ b/w ‘Let Me Go’ – Single

This Leeds-based outfit really have gone from strength to strength over the last few years working with the likes of Martha Reeves and the Vandellas and Dennis Greaves. They class their music as ‘new northern’ which is a good way to describe it. ‘Let Me Go’ is a Hammond-driven belter of Northern-influenced dance music, while ‘Lock and Key’ is a delightful soul ballad. Samuel S Parkes is another one of those bands that is destined for even greater things in future and if you haven’t seen them live, you should. Apart from the music, watching backing vocalist and percussionist Rachel Mary Shaw go through her routine is enough to make you feel tired!

Sidewalk Society

‘Strange Roads (the songs of Rolled Gold by The Action)’  – LP

Regular readers of Nutsmag Reviews may well be familiar with Sidewalk Society; the trio from Long Beach, California who have a great love of British music of the 60s. This new album on Fruits De Mer Records is their interpretation of the legendary demos recorded by The Action between ’67 and ‘68 that stayed buried until the early 90s when they were released under the title ‘Rolled Gold’. Losing George Martin as their producer became the catalyst for the breakup of The Action which meant the demos remained just that; demos. So Sidewalk Society decided to interpret these songs in a very considerate, passionate and respectful manner. There is no point trying to make comparisons here, so I’m not going to. Dan Lawrence, Dan West and Jerry Buszek are very talented musicians who have used the base material to explore all possibilities without diluting the class of the songs. Sidewalk Society does have their own ‘sound’, so this is no attempt at being copyists. The arrangements are superb, the production is top drawer and in short, they have made an excellent album.


‘Get Away’ b/w ‘Law and Order’ & ‘Fingers Raised’ – Single

This is the debut single by Isle Of Wight-based four-piece, Weeks. Featuring Liam Hodge (formerly of The Jam DRC), Marc Maitland, Nigel Lynk and Sid Ryan. All three tracks are very definitely in the punk/powerpop/mod-rock style; fast-paced, power chords and angry vocals, but there is something a little different that makes these tracks not quite as predictable as you might assume. Granted, some bands can sound a bit ‘samey’ in this genre, but maybe it’s the fact that all four band members supply vocals or it’s the structure of the tunes or it may be they don’t sound like a rehash of mod ’79. Whatever it is, Weeks have come up with a very impressive debut and they are so new, they haven’t yet organised any social media links, so you will have to go via the splendid Time For Action Records to get a taste or buy a copy.

The Franklys

‘Are You Listening’ – LP

And so, after five years and over 250 reviews for Nutsmag, this album is my final contribution and it almost seems appropriate that it should be The Franklys debut LP. It was April of 2013 that I first reviewed the debut EP from this band. I heard great potential in what they were doing and through these pages, the Nutscast Sessions podcast and at Blues Kitchen for Nutsmag Review Night, I have tried to champion The Franklys because I thought they could ‘make it’. And here they are with a collection of ten songs, some are familiar to die-hard fans (Puppet, Bad News, Weasel for example) and some that are new numbers. Lead track ‘Castaway’ is the very definition of who and what The Franklys are about; brilliant, in-yer-face, all-girl rock and this is a fine a debut album as you could ask for. They are a complete unit with Jennifer Ahlkvist’s attacking vocals, Fanny Broberg’s lead guitar, Zoe Biggs’ solid, dependable bass, all held together by new drummer Lexi Clark. I am extremely proud of  The Franklys because they are proof that Nutsmag really is at the grassroots of music and is not afraid to recognise great new talent and back it with reviews, interviews and gigs. We listened when no one else did, now four years later, mainstreamers like NME and Louder Than War are taking them seriously. Next stop for The Franklys has to be Glastonbury surely?

So thank you all for reading the reviews over the years. I hope you have enjoyed them and they have led you to discover a band that you have become a fan of because they need you as much as you need them. And I just want to thank Rob Bailey and Barry & Denise Pease for all their help.

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Graham Lentz

AKA ‘The Baron’ - Like many of his generation, The Jam started Graham's love affair with all things mod back in 1977. He is the author of 'The Influential Factor - A History Of Mod' which was originally published in 2002. An extract from the book was re-printed in Paolo Hewitt's 'The Sharper Word - revised edition' in 2011. Being a self-confessed 'broad-church' mod, Graham's interests range from Modern Jazz to today's up-coming new bands and everything in between. Although he has a passion for mod history, he also has a passion for the new. Whether it's music, clubs, media of every kind, clothing, scooters or art and photography, Graham supports, promotes and encourages as much as he can, because that's how we keep going. 'Give it a chance' is his motto. If it's not for you, that's cool, at least you tried it.

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July 3, 2017 By : Category : Bands Front Page Music Reviews Tags:, , , , , ,
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UK Tamla Motown singles Part 3

This entry is part 6 of 6 in the series Collectors Corner 2

“I’ll be doggone! – UK Tamla Motown singles Pt.3: TMG500 Series”


At the end of the second part of our trawl through the near-perfect run of soul classics released in the UK from the USA stable of record labels (Tamla, Motown, Gordy and Soul), boss Berry Gordy had just put pen to paper for EMI in Britain to follow Decca’s lead (with Atlantic the previous year) and launch Tamla Motown as a stand alone label to release the labels hits pouring out of the USA in the UK. With much fanfare, and with a corresponding (and very poorly attended at times) package tour featuring The Supremes, Martha & The Vandellas, Stevie Wonder, Miracles and the Earl Van Dyke six, March 1965 saw the first six records pressed and released to a British public becoming more and more interested in the soul sounds pouring out of the other side of the Atlantic. TMG 501 was the first release, with its iconic black and silver label, large 45 rpm on the right-hand side, and clad in a beautiful orange / white company sleeve. Things couldn’t have got off to a better start as The Supremes “Stop! in the name of love” hurtled up the charts to number 7, followed swiftly by Martha & The Vandellas “Nowhere to run” which reached #26 at the same time. Thus started a near perfect run of singles, commonly known as the TMG 500 series, which have been avidly collected by record hoarders ever since.

The Supremes quickly established themselves as the labels biggest hitmakers, frequently hitting the top ten throughout the decade, including 500 series favorites “You can’t hurry love” and “You keep me hanging on”. They were soon followed by The Four Tops who hit the charts with “I can’t help myself”, “It’s the same old song” and in 1966, having the first bonafide Tamla Motown UK number one with “Reach out I’ll be there”. Other artists began to have minor hits too, The Miracles “Going to a go-go”, Stevie Wonder’s thumping “Uptight (everything’s alright)”, Marvin Gaye’s “Little darling” and The Temptations “Beauty is only skin deep” all reaching the charts. The same artists also gave us some very sought after rarities too, as they all had flop releases at the same time. The Supremes “Love is like an itching in my heart”, Four Tops “Ask the lonely”, Marvin’s “I’ll be doggone” and The Temptations “Get ready” always fetch good money with collectors, even though they do turn up for sale quite often.

After a great start, the label had more hit & miss luck releasing singles, with 1965 seeing quite a few record releases selling almost nothing then later becoming sought after “lost” classics on the northern soul scene. Early release must haves include Kim Weston’s “I’m still loving you” (TMG511), Brenda Holloway “When I’m gone” (TMG510), Shorty Long’s “Out to get you” (TMG512), The Hit Pack “Never say no to your baby” (TMG514), Choker Campbell “Mickey’s monkey” (TMG517) and The (Detroit) Spinners “Sweet thing” (TMG514). Most of these early singles hit £100+ when they come up for sale, which isn’t very often! The rest of 1965 saw a flurry of good selling releases from label favorites, with The Contours and The Marvelettes also getting in on the action. Four very poor selling releases stand out amongst this run of classics, none of which are easy to find. Billy Eckstine “Had you been around” (TMG533), Dorsey Burnette “Jimmy Brown” (TMG534), The Lewis Sisters “You need me” (TMG536) and Tony Martin “The bigger your heart is” (TMG537) are all sought after, mainly due to rarity as they aren’t amongst the best of the labels’ releases!

As 1966 came around the label continually released great records with varying degrees of success. Joining the artists mentioned above saw releases by Kim Weston, Shorty Long, Gladys Knight & The Pips and, with one of Motown’s greatest ever songs in “This old heart of mine”, The Isley Brothers. Some notable, and scarce releases this year included Kim Weston’s Northern favourite “Helpless” (TMG554), The Contours “Just a little misunderstanding” (TMG564), The Elgins “Heaven must have sent you” (TMG583) and Gladys Knight & The Pips masterpiece “Just walk in my shoes” (TMG576). Hardly a duff release was pressed at all up to TMG599 in March 1967, such was the stellar amount of talent pouring out of Detroit at the time. This is partly why this period of Motown releases is so sought after. Although collecting “the hits” can be done quite cheaply and easily as the label sold tonnes of 45’s in the mid to late 60’s in Britain, completing the set does require quite a fat wallet! Black label stock copies are generally a lot cheaper (though not always easier to find) than the very sought after iconic Red A label demo discs which were pressed in very small numbers and are much cherished by UK soul release connoisseurs. The main exception to this rule is the Spinners “Sweet thing” which is near impossible to find as a stock copy. Monetary value aside, a complete collection is a sight (and sound) to behold, and once complete you’ll be in possession of one of the best ever set of musical releases ever. Happy Motown hunting!

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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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July 3, 2017 By : Category : Articles Club Soul Front Page Music Picks Reviews UK USA Tags:, , , ,
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The Kinks on Pye: Part 2 – “I’m not like everybody else”

This entry is part 1 of 1 in the series Collectors Corner 5

During our last article, we concentrated on The Kinks hit-packed period when they never seemed to be off the charts. As psychedelia took hold of 1967 and strangled most British bands in beads and flowers, The Kinks took off in a different direction and released some wonderfully wistful and melancholic masterpieces. These songs seemed to hark back to a more innocent time which probably only existed through rose-tinted (psychedelic) spectacles anyway. Ray proceeded to write a series of genius 45’s, and more importantly, albums which unbelievably sold less and less with each release. 1968 started well for the boys with the budget LP release “Sunny afternoon” hitting the top ten during the important Christmas market and selling very well indeed. So when Pye released the first new material of the year in April 1968, the lovely and restrained stand-alone 45 “Wonderboy” would have been assumed to sail into the top ten, but it unbelievably stalled at a lowly number 36 in the charts. This began a run of wonderful, yet underappreciated single releases which were low sellers, hence the rarity of some of them today.

Two months later in June ’68, one of Ray’s most loved compositions, “Day’s” was released and fared much better, just stalling outside the top ten at number 12. Though all the bands singles contain nuggets hidden away on their B-sides, this one had one of the bands hardest rockers on the flip, “She’s got everything”. Originally recorded and shelved two years earlier, it could have been a big hit in 1968 as The Stones, Beatles and Move all had massive rock’n’roll influenced hit singles. Luckily it wasn’t forgotten and still fills mod dancefloors to this day as soon as it starts up. Into 1969, the thumping “Plastic man” was released and again reached no higher than number 31, a flop by the band’s lofty standards. It seemed the better Ray’s songwriting became, the fewer people bought the bands records. “Drivin'” was released in August 1969 and became the first 45 to miss the hit parade since “You still want me” in early 1964. Even worse was the total no-show of “Shangri-la” in September which sold incredibly poorly and is one of the hardest of UK Kinks singles to find. In December, the upbeat album track “Victoria” at least managed to hit the low 30’s in the chart but it took a tale of a Soho nightclub meeting with a transsexual to have the band visiting Top of the Pops again. “Lola” was soon flying up the charts and hit the number two slot in August, kept off the top by Elvis. Shortly after “Apeman”, backed with the wonderful “Rats” on the flip, became the group’s last UK top ten hit when it reached number five in the summer. “Days”, “Lola” and “Apeman” apart, these 45’s are now quite hard to find, especially in top condition and prices have risen in the last few years. Expect to pay between £10-20 for the low sellers and up to £30 “Shangri-la”. All were pressed up as yellow demo copies, these are also really sought after and can reach £100+ at auction. A quick shout must go out to Dave Davies at this point. In between 1967 and 1968, he released four cracking solo 45’s and a super rare EP, “Dave Davies Hits”, which is a £200+ artifact nowadays. All four singles (Death of a clown, Suzannah’s still alive, Lincoln County and Hold my hand) are worth seeking out, the last one, in particular, is hard to find and is coveted for it’s fantastic psychedelic B side “Creeping Jean”.

The decline of fortunes in the singles chart was mirrored with the blue label Pye album releases, none of which charted at all. The 1968 release “The Kinks are the village green preservation society” needs no introduction to Kinks aficionado’s, it’s simply one the all-time album masterpieces. Originally envisaged as a twelve track album, a handful of white label promos were pressed up before the track listing was changed to the fifteen track album we all love today. It’s impossible to put a price on the promo copies, but even the released album reaches £200+ in top condition as it sold in small amounts. This album, and it’s follow-up were both released in mono and stereo, the former the harder to locate and more valuable to collectors. They were both encased in very flimsy laminated gatefold sleeves which are invariably damaged and worn, make sure you look after any mint copies out there! “Arthur (or the decline and fall of the British empire)” was released the following year in 1969, and although similarly full of stellar Ray Davies songwriting, this one sold in small amounts too. Hence it has a £100+ price tag nowadays with the “Queen Victoria” insert still there (it’s invariably missing!). 1970’s “Lola vs Powerman and the money-go-round” was the first to be a stereo only release and sold more than the previous two, mainly due to the massive hit singles released at the same time. For a band to release so many groundbreaking and classic songs on Pye, it’s a shame that their parting shot was a soundtrack to
the 1971 Hywel Bennett film “Percy”, a comedy about a man who has a penis transplant. The album still sells for a good price, mainly due to its creators, and Pye also released four tracks from the album as a “maxi-single” with a picture sleeve at the same time. The band signed a contract with RCA in 1971, becoming the “Muswell hillbillies” of that decade who would, at last, have massive success in the USA. But it’s that catalogue on the iconic pink and blue Pye label that will always hold a place in most collectors hearts.

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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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May 9, 2017 By : Category : Articles Bands Front Page Music Picks Reviews Tags:, , , , , , , ,
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Reviews May 2017


Gemma & The Travellers

‘Too Many Rules And Games’  – Album

Legere Recordings are well-known for being one of the foremost soul, R&B and funk labels in Europe and are absolutely the right home for Gemma & The Travellers. This is their debut album and it has been a long time in coming. Over the last four or five years, Gemma & The Travellers have released a succession of danceable, catchy R&B/soul infused singles and slowly building a fan base across Europe. The New Untouchables recognised the potential and have welcomed the band to Shoreditch Got Soul and the Brighton Weekender in the past, but we were particularly pleased to host the official UK launch of this album. What we have are nine original compositions that show exactly why they are on a label that includes New Mastersounds, Mighty Mocambos and Nick Pride to name but three. From the first track ‘I Keep On Thinking’, you know this band is the real deal. With Gemma Marchi giving her customary fine vocal performance, superbly backed by Damien Barbe on keyboards, Kevin Hoffman on saxophone, Robert Petersson on guitar and a top-notch rhythm section of Alan Beckman on bass and Robin Tixier on drums. ‘Where I Lived Before’ is a slice of pure proper R&B, while ‘Take My Heart And Breathe’ is as fine-a-ballad as you could hear anywhere; oozing with emotion and soul. The showstopper for my money is ‘Please Don’t Forget My Name’, delivered with real punch and power. You know the saying ‘good things come to those who wait’? Well if you have been waiting for this album, it really has been worth it. If you have never heard of this band before now, you need to check them out. After all, Craig Charles isn’t a bad judge of music, and he’s a fan.

Stone Foundation

‘Street Rituals’ – Album

Stone Foundation are a band that has defied all the odds. Their success story should be a shining example to any band or artist that is hoping to progress their career without selling your soul to a ‘major’ label or Simon Cowell. This album came out just after the last edition of Nutsmag, hence the slightly late review. It has entered the official UK charts and the band is currently on a sell-out tour to support the album. So how have they got to these dizzy heights? In my opinion, the mark of a great band is when each album is better and surpasses the previous one. Such is the case with Stone Foundation. ‘Find The Spirit’ was great; ‘A Love Unlimited’ was brilliant, this album, ‘Street Rituals’ is a masterpiece. It is the latest installment from a group of musicians who have remained dedicated, committed, determined and focused on the art of writing great songs in the belief that their hard work will eventually be recognised, and so it has proved to be. ‘Ah yes’, I hear you say, ‘but they had Weller helping on this one, so they couldn’t lose.’ It’s a fair point, but I would argue, a misguided one and I will address the ‘Weller’ issue a little later. For now, let’s look at the product. To pick a few highlights from these ten tracks is a task I find very difficult such is the high standard. As I have listened through it, my ‘favourite track’ has changed six times already. Whether it’s ‘Limit Of A Man’(shades of Style Council here), ‘Strange People’, ‘Back In The Game’ or the title track, I can’t choose. They are all unbelievably brilliant. They are songs of hope inspired and influenced by 70’s American soul, while being undeniably British soul. It’s that ‘je ne se quoi’ that sets British soul apart from the Americans. Soul2Soul had it, as did the Brand New Heavies for example and now Stone Foundation have it. As for Mr Paul Weller? He should be given the 2017 Producer Of The Year award right now for this album. Yes he plays and sings on the album and co-wrote a few tunes, but I get the sense he was energised by the whole project and it comes across in his performances. Neil Jones’ voice works so well with Mr Wellers’, ‘hand and glove’ come to mind. And I think two people also deserve special mention; engineer Charles Rees and percussionist Rob Newton. Great job fellas.


‘Love Says Yes’ album

It has been some time since I last reviewed a release by SoulNaturals. Apart from a small handful of impressive singles, the output has been sparse, but that has mostly been due to this album being recorded and it is well worth the wait. With Tony Cannam at the helm, SoulNaturals tend to use an array of vocal talent rather than one focal singer. This album of 11 quality tracks features 10 different vocalists and each one gives a great performance. Arguably, the most notable among them is Mr. Dave Barker (of Dave and Ansell Collins fame) on ‘Let Freedem Ring’; as sweet-a-ballad as you could wish for. Other standout tracks include ‘I Got Sunshine (Enough For The World) featuring Jo Kelsey, ‘I Never Knew A Hell Like You’ with Gloria Pryce and ‘Oh Lord When Will You Free Me’; a lilting gentle reggae-meets-gospel corker with Nadia Pimentel taking the vocal duties. A couple of years ago, it really looked as if SoulNaturals were going to explode on to the soul scene. They were certainly very popular on the live circuit, so with this album to promote, they have a winner on their hands and the live dates can’t be far off.

The Neighbourhood Strange

‘Let’s Get High’ b/w ‘One Last Chance’ – Single

This new single from the ever impressive Neighbourhood Strange brings two quality cuts of garage/neo-psych. All the component parts are present and correct; jangly guitars, catchy hook-lines and Hammond organ. ‘Let’s Get High’ is a mid-paced grower, while ‘One Last Chance’ is a slower, more deliberate song delivered with just the right amount of gusto. This Salisbury outfit is definitely one to watch out for and I, for one, will be keeping a keen eye out for the next installment.

 The Missing Souls

‘The End’ b/w ‘Mom, Won’t You Teach Me How To Monkey’ – Digital Single

The French scene is thriving right now with some really great bands making their presence felt and the Missing Souls from Lyon are no exception. They have been together for three years and gaining decent support for their brand of 60s influenced garage. Zaza, Ricky, Ian and Lester have been very impressive and this digital single continues to build on their repertoire. ‘The End’ is a proper rocking good time, while ‘Mom…’ is a slower R&B-styled groover. It all bodes well for the future and here’s hoping they will be tempted to come to the UK for live shows. I think we would all be in for a treat.


‘Spring’ EP

I first became aware of Mayfield with their album ‘Tempo Of Your Soul’ in 2013. Last year they released ‘Keep On The Soul Side’ while simultaneously band leader Domonic Elton built a new studio facility in his neck of the woods. But something a bit special has happened in the meantime and this EP shows exactly what that is. Their 2013 album was very good indeed, but it didn’t show just how good Mayfield are, especially when you see them play live. This EP carries three tracks, two of which are tunes given a total make-over from that album. ‘Fling’ and ‘Sunshine’ are almost unrecognisable from their previous arrangements. What is most notable is that Mayfield has found the polished soul that was lacking four years ago. I had to revisit the old versions just to remind myself and what a transformation has taken place. Superb. ‘Fling’ is now a sumptuous jazz-funk belter, while ‘Sunshine’ is descended from the great days of Acid Jazz; punchy brass, great hook-line and typically British Soul. However, I have saved the best until last. ‘This Time Around’ featuring Decosta Boyce is a soul/northern crossover monster of a tune. I love the ‘What’s Goin’ On’ style ‘Ooos and Ahhs’, the chugging guitar, driving drums and Dacosta delivers the lyrics with stylish aplomb. Of course, Andy Lewis deserves great credit for the mix as well. So welcome back Mayfield. I’m told the vinyl will be available in October, so this is download only for the time being.


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Graham Lentz

AKA ‘The Baron’ - Like many of his generation, The Jam started Graham's love affair with all things mod back in 1977. He is the author of 'The Influential Factor - A History Of Mod' which was originally published in 2002. An extract from the book was re-printed in Paolo Hewitt's 'The Sharper Word - revised edition' in 2011. Being a self-confessed 'broad-church' mod, Graham's interests range from Modern Jazz to today's up-coming new bands and everything in between. Although he has a passion for mod history, he also has a passion for the new. Whether it's music, clubs, media of every kind, clothing, scooters or art and photography, Graham supports, promotes and encourages as much as he can, because that's how we keep going. 'Give it a chance' is his motto. If it's not for you, that's cool, at least you tried it.

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May 9, 2017 By : Category : Articles Front Page Music Picks Reviews Tags:, , , , , , ,
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The Kinks on Pye: Part 1 – “I’m not like everybody else”

This entry is part 4 of 4 in the series Collectors Corner 3

Although The Kinks have long been one of our most influential and cherished groups, in the last couple of years since the hit musical “Sunny Afternoon” and especially since Ray Davies joined brother Dave onstage in London back in December 2015, fans have been hopefully awaiting the reformation of this most wonderful of bands. Although The Kinks back catalogue spans over forty years it’s the halcyon Pye years from 1964 to 1971 in which the band constantly released classic hit records which have collectors scouring record shops, fairs, and the internet for hits and rarities, and a full set of UK releases will set you back a fair few quid should you wish to complete the set. For this two-part article, we’re going to give you a run through of the hard to find releases from the debut 45 back in early 64 to the “Percy” soundtrack eight years later. The first part will concentrate on the “Pink” years, when the band had a string of top ten singles, including three UK number one hits, the second part will then concentrate on the “Blue” years when Ray was at his songwriting peak but the record buying public were not buying the records in such great numbers. Hindsight shows how wrong they were.

Hailing from Muswell Hill in North London, Ray, Dave and bassist Pete Quaife were originally an R’n’B combo called The Ravens who came to the attention of ace producer Shel Talmy after he heard a demo tape and helped get the group signed to the Pye record group where they were enlisted drummer Mick Avory to complete the classic first line up. On 7th February 1964 their debut single “Long tall Sally”, a R’n’B cover of the Little Richard classic was released on the pink Pye label (7N15611) was unveiled to the record buying public. Although the single hit the lower reaches of the NME chart it was a commercial flop making copies a nice rare collector’s item today with prices usually reaching £75-120 depending on condition. The next 45 was released in April 1964 and like all the Kinks singles after the debut, it was a Ray Davies penned number “You still want me” (7N15636). Although the first single sold in respectable amounts, this one was an unjustified complete flop and is by far the hardest Kinks UK 45 to locate in nice condition. Expect to pay at least £200 for a copy of this, one even reached the amazing price of £400+ at auction in 2016! With Pye threatening to cancel the band’s contract if they didn’t have a hit single, Ray composed one of the most influential two and bit minute slabs of musical perfection ever committed to vinyl, “You really got me”. With Dave’s incendiary and groundbreaking lead guitar bursting through the track, it couldn’t fail when it was released on 7th August 1964 (7N15673). And fail it didn’t as it shot up the UK charts, reaching the coveted number one spot shortly after where it stayed for two weeks. The Kinks had arrived.

From then on every single the group released up until 1968 hit the upper regions of the UK charts, with every single release apart from “Everybody’s gonna be happy” hitting the top ten, two of them reaching the top spot. As runs of stellar 45’s go, the following one takes some beating for songcraft, influence and sheer greatness: “All day and all of the night”, “Tired of waiting for you”, “Everybody’s gonna be happy”, “Set me free”, “See my friends”, “Till the end of the day”, “Dedicated follower of  fashion”, “Sunny afternoon”, “Dead end street”, “Waterloo sunset”, “Autumn almanac”. Being massive chart smashes these are usually findable in nice condition for around £3-5 each, with a premium for truly mint copies. All the Kinks singles were also pressed as demonstration copies in small numbers, these are very desirable to collectors and can reach top prices at auction, especially in top condition with unblemished labels. Also look out for UK export release 45’s, mainly for the European market. There are four in total, including album tracks “David Watts”, “A well-respected man” and “Milk cow blues” on a 7″ format. Ray’s songwriting prowess also resulted in some fantastic and very rare releases by other artists around this time. “I go to sleep” was covered by The Applejacks, Peggy Lee, Marion, Fingers and The Truth in 1965-66 although none were hits and it wasn’t till a few years later The Pretenders took the song into the charts. Other great, obscure and coveted releases include Barry Fantoni “Little man in a little box” (Fontana), The Thoughts “All night stand” (Planet), The Cascades “I bet you won’t stay” (Liberty) and Leapy Lee “King of the whole wide world” (Decca). Ironically it’s Dave’s composition “One fine day” which was covered by Shel Naylor and released on Decca in 1964 which fetches by far the most money, with prices sometimes hitting the £500+ mark!

With the band constantly having smash hits Pye also released a nice series of EP’s in wonderful colour laminated sleeves. Five were released in total, the first three”Kwyet Kinks”, “Kinksize hits” and “Kinksize session” are not particularly hard to find, but the fourth “Dedicated Kinks” from 1966 is more elusive and the final EP “The Kinks” from April 1968 is incredibly scarce easily reaching £200+ at auction in top condition. The band’s first three LP’s “The Kinks”, “Kinda Kinks” and “The Kink controversy” were good sellers but easily sell for £50+ in nice condition with clean sleeves. Particularly coveted are rare export Stereo pressings of the first two LP’s with stickered UK sleeves as they were mono only releases in the UK. “Face to face” from 1966 was a move towards Ray’s late 60’s songwriting style and is an absolute classic but strangely failed to chart resulting in scarcity of copies today. This was followed by the live album “Live at Kelvin Hall” in early 1967 and lastly by the masterpiece “Something else by The Kinks” in September of the same year. All were released in both Mono and Stereo, the latter being the scarcer of the two, especially with the Stereo sticker still attached! Prices vary wildly from one week to the next but be prepared to have a large bank account if you want a truly mint copy of any of them. As 1968 approached Ray’s songwriting grew more world-weary and pastoral and the band embarked on an influential but poorly received at the time run of releases on the newly redesigned light blue Pye label. We’ll have a look at these next time around…

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James Clark

Loves collecting records. My main loves are 50's rock'n'roll, 60's soul and r'n'b, beat, mod and psych and hopefully will be sharing some nuggets with you over the next few months. Apart from being a vinyl junkie I'm a Arsenal obsessive and a hopelessly romantic drunkard, but don't let put you off, we all have our faults.

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February 15, 2017 By : Category : Articles Bands Front Page Music Picks Reviews Tags:, , , , , ,
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Rob’s Round-Up 5

This entry is part 5 of 5 in the series Rob’s Roundup

Massive thanks to all those who joined us for yet another fun NYE party.

Despite the madness going on all around us the one thing that is still in our destiny is having a good time and enjoying the music and style, we are all passionate about. Our team have been working hard on our annual Easter extravaganza in central London.

Le Beat Bespoké attracts pleasure seekers from all over the globe, with only one thing in mind having a real damn good party. So, with that firmly in mind, we have assembled yet another exciting line-up across two fantastic venues in the heart of London.

Check out our brand-new website for all the info you need. We booked ten stellar live bands featuring some of the best up and coming talent alongside two stellar acts from the 20th century.

However live music is just part of what makes Le Beat Bespoké such a fun and unique event. For your dancing pleasure, we have booked a dynamic DJ line-up from across Europe armed with explosive sounds on 100% original vinyl across 3 rooms of clubbing after the live bands.

Our guest club nights for the Rhythm & Blues Weekend include Crossfire, The Pow Wow, Lady Luck & Mousetrap all at the forefront of good times and taste. The menu is served All-night and includes authentic Rhythm & Blues, Northern Soul, Jazz, Latin, Boogaloo and Ska/Reggae.

The Beat Basement hosts the wildest and grooviest Freakbeat, Garage and Psychedelic ‘nuggets’ known to man to a back drop of eye candy visuals and groovy Go-Go girls.

A brand-new location for our daytime treats on Sat & Sunday afternoon is Dingwalls one of London’s most beautiful venues, situated right next to Camden lock in the World-famous Camden market. Expect DJ’s, bands, Easter egg hunt, record fair and market.

Contact for trade stand.

But before Easter, we have celebrated an incredible 26 years at Mousetrap in the same venue with the same owner virtually unheard of these days, let alone in the ever-changing landscape of London. All those that attended would have got a free 45 with two rare tracks from the club’s playlist including one that has never been released on 45 before.

Hope to see you all Easter for an epic party!

Cheers Dr. Robert

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Pip! Pip! Are the Creative Business Engine behind various music based organisations of the cool underground variety. Providing angst, confusion, bewilderment and annoyance in equal amounts. We design/host/manage great sites like this one! Why not hire us one day soon?

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February 21, 2017 By : Category : Articles Bands Clubs DJs Events Front Page Music Picks Reviews Tags:, , ,
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Reviews February 2017 – Part 2

Les Darlings


‘Le Tourbillion’ b/w ‘Hey Baby’ – Single

When you find out who the members of Les Darlings are, it’s easy to see why these two infectious slices of Garage-power pop are so good. Comprising of Pascal, David Peter, Thomas and Dorian, they have joined forces from some of Europe’s top psych and garage bands; namely The Norvins, The Youth and The Wilde Sect. For this single, they have also been joined by Cecile Wurlee (Curlee Wurlee) and to complete the perfect circle it was recorded at Yeah Yeah Yeah Studios with the splendid Dennis Rux at the controls. What else can I tell you about this single? Two full-on Beat belters with all the expected component parts and another success for all involved. Let’s hope Les Darlings are not just a passing phase.

The Seen


‘The Seen’ – EP

The Seen were formed in 2014 and are from Bonn, Germany. This is their debut five-track EP. Ania, Peter, Max, Vic and Tobias have all been in previous bands before, so they are not exactly novices. The opening track is a cover of ‘Big Sensation’ by Cool Stove which was originally released in 1969 and is something of a rarity, but The Seen have given it a new lease of life. The other four songs are original compositions and are loaded with psych, garage and Beat reference points. Ania’s vocals are perfect for this style with a hint of punk delivery. ‘Time Of Change’, Trouble’ and ‘Since You’ve Been Gone’ are all belters, while ‘Make It Right’ is a well-arranged change of pace. This EP is out on the excellent Copase Disques who also have French Boutik among their roster, so you know this release is going to be good…..and it is…..very good.

Wolf People


‘Ruins’ – LP

Arguably, Wolf People are the finest exponents of folk-rock in the UK right now and this new album certainly enhances that reputation. Following on from their previous two studio albums Steeple (2010) and Fain (2013), ‘Ruins’ is not a concept album (as the band insist), but songs linked by a common thread; what would the world be like without humans? Indeed, it is fair to say that this is unmistakably a ‘Wolf People’ album. They have such a wonderfully eclectic range of influences that shape their music, but still retain a very distinctive sound of their own. While that sound may come across as quite heavy at times, there is a genuine intelligence, passion and complexity that makes this album well worth listening to. ‘Ninth Night’ sets the tone, interspersed by tracks like ‘Kingfisher’, ‘Not Me Sir’ and ‘Salts Mill’. Jack Sharp’s rounded, deft vocals fit beautifully around the sterling work by Tom Watt on drums, Dan Davis on bass and Joe Hollick on guitar. For those with a penchant for folk-rock, you’ll be hard pushed to find a better album than this one.

Alex Cooper


‘Club 45 Again’ – Book

Alejandro Diez Garín, former leader of Los Flechazos and now in charge of Cooper, unpacks his collection of records and memorabilia sixties to offer us 90 unforgettable songs. I know this because we have handy things like translation apps that mean I can understand Spanish sentences, but I’m not likely to use said app to translate the whole book, which has been published in the Spanish language. Yes, I know this will put a lot of people off, unless you are fluent of course, but that said, the publisher; Ediciones Chelsea have done a magnificent job on the production side. Obviously, I can’t vouch for the text, although you do get a sense that Alejandro has done his homework here and to be fair, the selection of songs are very good indeed. But by far the most appealing aspect of this book is the quality of the print and the reproduction of some really great photos and there are lots of them. Most are in colour and the layout of the book is really tidy, allowing your eyes to skim over the pages with ease. It is a shame there does not appear to be an English language version, but let’s hope they can get one organised, as I think a lot more people will find this a welcome addition to their ‘mod-related’ library.

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Graham Lentz

AKA ‘The Baron’ - Like many of his generation, The Jam started Graham's love affair with all things mod back in 1977. He is the author of 'The Influential Factor - A History Of Mod' which was originally published in 2002. An extract from the book was re-printed in Paolo Hewitt's 'The Sharper Word - revised edition' in 2011. Being a self-confessed 'broad-church' mod, Graham's interests range from Modern Jazz to today's up-coming new bands and everything in between. Although he has a passion for mod history, he also has a passion for the new. Whether it's music, clubs, media of every kind, clothing, scooters or art and photography, Graham supports, promotes and encourages as much as he can, because that's how we keep going. 'Give it a chance' is his motto. If it's not for you, that's cool, at least you tried it.

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February 21, 2017 By : Category : Bands Front Page Music Reviews Tags:, , , , , ,
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