LBB11 Review

LBB11 – Thursday

The Stairs, Graham Day & The Forefathers, The Wicked Whispers

Cor, blimey, Le Beat Bespoke ELEVEN? It only seems five minutes since the last one: what’s more, it only seems like yesterday I was musing on exactly the same thoughts. Wherever do our lives go?

This year is decidedly a bold step for the New Untouchables: for the first time, there is not one band or artist gracing the bill whose career predates the early-80s. THE WICKED WHISPERS, who like tonight’s headliners hail from equatorial Merseyside. Whilst I’ve never heard them before, their sound and appearance seem strangely familiar: (they twang their Rickenbackers and Telecasters with youthful fervour and exuberance, know their way round an eerie melody, and recall the Toytown stylings of Factory and Kaleidoscope as much as the West Coast hallucinogens of the Byrds, Charlatans and Music Machine, whose standout tune The People In Me they end with) their early 90s indie influences, by now an inevitable facet of any psych revival act, give them a defiantly British identity far more refreshing than many of their contemporaries’.

By contrast, GRAHAM DAY and his arse-kicking beat combo THE FOREFATHERS have always known where they want to be (in a word, Medway, where they’ve always been) and they revel in it. Sandwiched between two quintessentially North-Western acts, they couldn’t be more “Sahf Eastern” if they tried: whereas mate and mentor Billy Childish has spent half his career soaking up primal Americanisms, Day and long-term colleague Allan Crockford have always sounded, despite sharing the exact same blues, garage and RnR influences, like the bunch of Kents they are. This, of course, is why all their former bands were brilliant, and why they’re great. Thrashing through the tracks from their 2014 longplayer “Good Things” ( a mixture of Prisoners, Gaolers, Solar Flares and Prime Movers numbers re-recorded the way Day always envisaged them) they’re essentially, though they won’t thank me for this, the Mod or psych-garage-head’s equivalent to Motorhead, AC/DC or early Quo: rock’n’roll at its most undiluted and wilfully uncommercial, yet ironically featuring Beatles/Kinksesque hooks and melodies that could batter most so-called “mainstream” artists into oblivion.

And though something’s clearly up with Day’s guitar (thus robbing Love Me Lies and Begging You of about 30 percent of their overdrive) and Crockford’s allegedly brought the “wrong setlist”, these distractions only determine the trio further to grind such gremlins underfoot. Following a slight lull in pace, Sucking Out My Insides revives proceedings with incendiary aggression: the encore of Joe South’s/Deep Purple’s Hush is an arguably unnecessary adjunct to their own, far superior I Drink The Ocean, but one supposes every rock’n’roller must pay respect to his influences sometime and this has been in the set list on and off since the Prisoners days. The question is, will Day ever again channel his inherent Purpleness into performing selections from the Prime Movers’ Earth Church or Arc albums? What do you mean, “piss off”?

To mark their first London appearance in over 20 years, THE STAIRS have seemingly brought along an entire Scouse Mafioso of devotees and even if some of them do spend the entire set complaining about the volume (try not talking over everything, duckie, and you’ll hear it) the awe and reverence in which we all still hold them “dahn ere” obviously still pales into insignificance compared to their Godlike status up the ‘Pool. And so it should: without Edgar Summertyme-Jones and crew’s early 90s efforts, half the subsequent psych, R’n’B and indie acts that followed in their wake simply wouldn’t have followed. The Coral? Had they never heard “Mexican R’n’B”, they’d probably all be stacking shelves in the Hoylake branch of Tescos right now. Truly, the Stairs were, and are, that important so, now they’ve finally returned to show the pretenders how to do it properly, will they live up to the legend?

From the opening blues-pummel of Mary Joanna and Flying Machine, it would definitely seem (even if lead guitarist Ged Lynn’s distortion pedal doesn’t appear to be plugged in) that this is the case: When It All Goes Wrong and Mundane Monday have much the same (if more refined and textured) impact, although Russian Spy & I bumps the energy levels back to party proportions.

Woman Gone & Say Goodbye, Mr Window Pane and the evergreen Right In The Back Of Your Mind are as swaggeringly cocksure as any triumvirate of tunes can be, hitting the assembled fans (many of whom, including me, never saw ‘em first time round) in all the designated places. Conversely, just as many are bemused by both sides of the new single A Thousand Miles Away/Shit Town, the former sounding like extreme Canterbury prog fed through Robin Trower’s blues blender and the latter like the Swell Maps or TV Personalities on harder drugs than either ever took, but I personally find their uncompromising experimentalism encouraging after all, do you really want your favourite band to reform 20-odd years on having not developed in any way whatsoever? The Stairs have never danced to anyone’s tune but their own, and that’s what makes them special. And, somehow or other, I don’t see things changing. The final song of the set is Skin Up and the encore is (what else) Weed Bus. The Stairs represent the embodiment of everything New Untouchables has ever been about. Welcome back gentlemen.

LBB11 – Saturday

Jim Jones & The Rightous Mind plus Little Barrie and The Dustaphonics

Having sadly forgone Friday’s shenanigans, Saturday promised to be undoubtedly the most “rock n roll” of all four nights: definitely the most radical departure from the original NUTs template since the days of Circulus, albeit louder.

My apologies to the DUSTAPHONICS, who I was unable to see due to a family engagement in not-so-sunny West Kensington: having heard positive things about them, I was keen to catch at least some of their set, but after a while, it became apparent this wasn’t going to happen, something which also became increasingly true of LITTLE BARRIE as the hours wore on.

Nonetheless, the two songs I did catch were superb, full of bottom-heavy, fuzz-bass groove, and (though comparisons must be wearing thin by now) worthy of Zep at their best. Even from those eight minutes alone, it was evident that LB are not only light years ahead of any other band on the UK “vintage” scene, but any worldwide combo currently lauded as saviours of veteran heavy rock. Sadly, because of Barrie’s commitments (Morrissey, Primal Scream) they’ll possibly never be as big as the goddam should be. General sensors of opinion was that this was the show of the weekend

JIM JONES and the Righeous Mind mix the best elements of all three of Jones prior aggregations through a demonic, disjointed blender: it still rocks out, particularly on the thrudding grandeur of Base Is Loaded, Hold Up and Walk It Out, but there are more than three chords now, and it’s more angular, uncompromising. More Beefheart than Berry, more Red Krayola than Otis Redding, more King Crimson than King Curtis, more Sun Ra than Sun Studios. Unfortunately, this also means several quieter, blues’n’ jazz-tinged interludes, which a fair percentage of the crowd opt to natter over: whether this is down to the Mind being the most unusual Le Beat headliner yet or simply the unfamiliarity of the material is unclear, but there are definitely less transfixed attendees at the back than at the front. Once the album’s out and fully ingrained in their collective consciousness, though, they’re bound to pay more attention: with closing numbers as powerful as Alpha Shit, it looks as if they won’t have any choice in the matter anyway, and even Boil Yer Blood, which I have to admit I was resolutely unimpressed by on first hearing, is transformed into a stomping monster live, the dirtbox rhythms of drummer Lee Martini smashing thin air whilst Jones lurches and struts like some unhinged hybrid of Lee Brilleaux and Bill Hicks. Such a thunderous climax can’t fail to make impact, and by the closing chords, everyone’s been won over.

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Darius Drewe

Darius Drewe was born in East London in 1974. As a small child, both parents inflicted their musical tastes, from The Beatles and The Moody Blues to Ella Fitzgerald and Miles Davis, on him, and he was never the same again. Despite being born and bred a 'Cockney tosser', Drewe actually spent his teenage years in and around Birmingham, attending his first 60s/50s-themed nights there at The Ship Ashore, before "coming home" in 1993 to the South, where, with the exception of three years spent in Glasgow between 2007-2010, he has remianed ever since. In the almost two decades that have passed he has trod a strange meandering path from a shy 60s/70s-obsessed teen with no 'scene' to speak of to a Metalhead, sleaze-glammie, Goth, indie kid, glam-punker, garage-rocker, eventual Mod and psych freak (first attending Mousetrap in 2000) In that time he's also written for Shindig! Britmovie, DarkSide, Black Velvet and Get Ready To Rock, promoted various vintage and veteran acts at Camden Underworld, Glasgow Ivory Blacks and several other venues, DJed everything from psych, garage and soul to Metal at practically every well-known club in central London. Drewe is trying to build a time machine that will enable him to visit any period between 1960 and 1980 but still be able to use a mobile and Facebook. His ambition, aside from directing films and building said machine, is to morph into a cross between Jason King, Timmy Lea, Jerry Cornelius and Richard Hannay, and drift about the ether having adventures in a kipper tie, pinstriped flares and camel hair coat.

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May 4, 2016 By : Category : Bands Clubs DJs Events Front Page Music Reviews Tags:, , , , ,
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Bo Ningen

Friday night – 25th March
Bo Ningen + The Hidden Charms
(8pm-4am) £10/£15 (Club only £7/£10 adm from 11pm)



Questions 1-8 & 12 answered by Taigen Kawabe and the rest
by Kohhei Matsuda

01. How did the band originally get together and tell us about your name?

We all met in London 8 years ago but came from different parts of Japan. It was an amazing coincidence to form a Japanese band in London. Bo Ningen means “stick man” in Japanese, I named it because we are all skinny.

02. What was the music Scene like locally at that time around you?

Do you mean when we formed the band, right? I guess people did care even more about our shows in East London as there were many fake indie bands.

03. How has you sound evolved over the years together?

It started as total free form improvisation. We didn’t even have any songs for the first couple of shows, only riffs. Then we started to make songs with structure.

04. How much influence have the iconic ‘Psychedelic’ type bands had on your mindset?

Personally, I feel the word “psychedelic” has been abused in the music industry. I don’t find psychedelic at all from most of the recent bands who put “Psychedelic” on top of their genre. They just copy either fashion or drugs or some effect pedals… Psychedelic can’t be the limitation or excuse to take drugs to escape from something, a good drug dealer can’t be a drug junky. I do respect old psychedelic bands and I don’t mind if people call us a “psychedelic” band.

05. What Heavy type bands have inspired you up until now?

I guess more of Noise music rather than heavy bands.

06. How has your recording work in the studio changed since “Henkan” back in 2011?

I think Henkan was the turning point because we had a proper engineer involved in the production. I mixed the first album myself after that our recording became more of a collaboration.

07. What has playing bigger shows meant to the band as a unit?

Well, the bigger shows are great and I love play In front of many people. I thought more about how to connect with the audience after playing big shows. But I also like small shows as its intimate and more physical to me.

08. Your live shows are full of mayhem and energy how do you keep that up?

I feel our live performance is kind of detoxification or purification to me and hopefully for the audience too. We don’t pretend or fake it, but do stretch before the show to make sure we don’t get injured.

09. You have also performed collaboratively with Damo Suzuki, Faust and Savages?

Yes, these things came naturally. Just something great and magical happened.

10. Has the approach to recording and song creation changed since your first LP with Stolen recordings?

Of course. That first LP was 7 years ago or so. Our personal lives etc have changed, so has the approach to music.

11. Tell us about the ideas behind in your latest LP III (2014 Stolen Recordings)?

There wasn’t a specific “concept” behind it, but looking back, that LP is a conclusion of our 8 years path. Next one will be the new start.

12. ‘Line The Wall’ had a UK and Japanese edition, how do you find the difference in singing lyrics and relating the songs in either language?

Only the mastering is different, the lyrics and languages are the same.

13. You are playing at Le Beat Bespoké 11 this Easter in London, on the Friday night are you looking forwards to experiencing this event?

Yes very much so.

14. You are featured in the new Zoolander film that must have been real fun?

Yes. Totally different vibes going on out there. New world

15. How do you see the future for Bo Ningen?

Bright but not a straight path. We’ll try to make it through.

Friday night – 25th March
Bo Ningen + The Hidden Charms
(8pm-4am) £10/£15 (Club only £7/£10 adm from 11pm)


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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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March 2, 2016 By : Category : Bands Clubs Events Front Page Interviews Music Tags:, ,
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Masters – The Stairs

This entry is part 10 of 12 in the series Masters2

The Stairs were truly one of the great lost bands of the early Nineties, championed by Elvis Costello, Paul Weller and many other luminaries, they influenced (along with the La’s), a whole new generation of musicians including The Coral & The Zutons).

We are delighted to have The Stairs headline at Le Beat Bespoke, London, on Thursday 24 March. See full details HERE!

Mark Raison caught up with drummer Paul Maguire  & vocalist and bassist Edgar “Summertyme” Jones.

01. The Stairs first came to most people’s notice after you signed to Go! Discs and released “Weed Bus” in 1991. Can you tell us a bit about the formation of the band and your history up to that point?

Edgar: We were just psychedelically attached friends having a laugh really in bedrooms and bedsits with acoustic guitars banging ashtrays etc . Eventually we were borrowing the only spare time in my bro’s pracky room with a friend Pete Baker (the sleeping mexican on LP sleeve) on bass and me on guitar. Pete didn’t really take to the bass so things were slow. We gradually gained some momentum when I joined in Ian McCulloch’s group on bass (mid 89) and took over the bass duties in the group. Also now we were able to afford are own room and gear.

It wasn’t till we played and handful of our songs at a ridiculously rammed new years eve party (1990) at Mike Mooneys house that we realised that we were capable of pleasing anyone other than ourselves. We got a fortnightly residency at the Cosmos club playing covers & originals. Marc Riley was often in attendance & Alan Duffy from imaginary records came to check us and plans were formulated to record our 1st Ep (later sold on to Go Discs) with them.

Paul: Me and Edgar met on a youth music scheme around 89, we had a similar music interest of 60s garage punk. Ed had a few tunes he had written including weed bus, which we jammed and me and him started there. Ed knew Ged who was on the same music scheme so we roped him in . We skinned up and we got it together. We had our own night every Friday in the cosmos club where we played a set of covers, then we’d dj then we would play our numbers.

02. The first couple of EP sleeves and the shows around that time featured a fourth member, Jason. What was his role and what happened to him?

Edgar: Jason was a friend whose role was originally in his words as personal manager but eventually we managed to Coax him on-stage to play percussion, gob iron & keys as required. I don’t think he really took to the role as he would come & go frequently from the group. The comparisons to Bez & Eric Idle didn’t really help I suppose.

Paul: Jason was meant to be our manager in the beginning, but he wasn’t any good at that stuff. So we gave him a harmonica and maracas which he played. Haven’t seen him for years.

03. Go! Discs seemed to understand where the Stairs were at: recording in mono, strong 60s artwork etc. How was your relationship with them and why did it come to an end? What was their expectation of the band you signed?

Edgar: Thanks to being well-managed at the time by Pam Young we went to them with a strong vision of how we wanted things to look and I think they had fun what with it being a little different from their norm at the time. Our A+R man initially was Carl Smith (chas smash) from Madness. We were his first signing and he was very accommodating and enthusiastic. Unfortunately Madness reformed shortly a few months after our LP came out. With no key man clause in contract that was were our troubles began.

Paul: With go discs we were signed by Carl smith (chas smash from madness) who really loved our band. He got us the deal, liked all the artwork and the mono deal. He understood our band and was good dealing with us.
Then he decided to leave go discs. When Carl left there was no one there who understood the band. They thought we were a bit of a joke and didn’t know what to do with us. We left them pretty soon after.

The Stairs

04. Mexican R’n’B is, quite rightly, regarded is a classic LP. How did you feel about it when it came out and how do you view it now?

Edgar: Why thank you sir! How I felt at the time is a complex affair I’d need Sigmund Freud and couch and a few hours to get to the bottom of that. I’m definitely happier now as it seems to have stood the test of time. We definitely created a little slice of the 60’s in the early 90’s there.

Paul: I loved that album then and I still love it now. I’m very proud to have been involved and made Mexican. We were still all learning our instruments and grooves and singing when we recorded it. I thought at the time and I still think it now that Edgar is a genius. His songs and playing were so fucking cool. We were recording this at a time most of the world was getting into acid house. We wanted to give the general public something else to listen to. Get them on the Weed bus so to speak.

05. People often refer to your marijuana singles – ‘Weed Bus’, ‘Mary Joanna’ – but I’ve always noticed the preoccupation with rain on Mexican R’n’B, at least three songs mention it. Any correlation?

Edgar: I was probably because I was spending too much time in Manchester as their retrogressive shopping experience has always been far superior to ours despite the constant rain!

Paul: Well you’d have to ask Edgar that. Personally I like rain, except when it gets me spliff wet at the bus stop.

06. After being released from Go! Discs you were still gigging, recording and exploring different styles. How were the band developing at that time and why didn’t a second album materialise?

Edgar: Looking back I think we were too eager to move on from the Mexican R’n’B sound (we should have made another 3 of those really) and with having no one at Go to recognise this (not that we’d have listened) and with the copious amounts of weed being smoked I think we just wanted our music to be more mad really both structurally and sonically. The fact that I was just starting wholeheartedly to discover Soul music too just confused matters. We we’re constantly demoing but Go weren’t prepared to let us start a new LP as such. This went on for about 2 yrs and then we left the Label.

Paul: We started to sound a bit heavier, and we got better at playing. We loved touring always a good laugh. But it was hard to get any backing , we weren’t being taken seriously by any record company or music papers. We spent all our money recording the second album, so at the end no one wanted to release it.

The Stairs

07. Viper Records eventually released Who Is This Is. What are your thoughts on that? Is that how you’d envisaged the second album?

Edgar: After leaving Go we thought it a good idea to record the LP ourselves. A long-winded complicated affair with members coming & going. By the time it was done we’d about run out of speed hence it not seeing the light of day till Viper’s release.

Paul: I’m glad we did it, for me it has some great moments. But looking back it also sounds confused,which I suppose we were also at the time.

08. How did you feel about the reaction from your reunion gig in Liverpool? Had you kept in touch? Is it something you’d thought about over the years?

Edgar: Absolutely smashing! We’d all kept in touch but our paths only ever brought us together sporadically but usually only 2 of us in same room at same time. The first rehearsal was great when we kicked into Mary Jo it was more like we’d had 2 weeks off rather than 20+yrs. It was great to see the 2 tiers in our fan base that night. Those who were older and were coming back to see us again and the younguns who were there to witness the legend that got created by word of mouth in the past 20 yrs. The crowd reaction was fantastic I don’t think either tier felt let down.

Paul: The reunion gig was magik, the reaction was just overwhelming for all of us I think. Incredible, old fans , new fans. They knew all the words ha ha. I’ve always bumped into Ed round town when I’m there as I live in Reykjavik. I hadn’t seen Ged for years. We all moved in slightly different circles. I’d been hoping we could do at least one gig for a few years. And when Mike from the Wicked Whispers called me up, it felt exactly right. With the amount of toss that goes by the name of music nowadays, I think you need the stairs in your life.

The Stairs

09. What are the plans for the band now? Will you be recording new material? Any old material we’ve not heard before be resurrected from your archives or will you write from scratch?

Paul: We’re not sure just yet. Anything can happen in the next half hour.

10. There’s a new Stairs collection The Great Lemonade Machine In The Sky out now. Tell us about what’s on that.

Edgar: I’d recently found a suitcase full of cassettes in the loft at my mum’s that I thought had been thrown out when I’d left home way back. The previous Viper comp had come from the collections of friends and colleagues with my own thought lost at the time. So the idea was to create a second volume of ‘right in the back’ . I spent a fair bit of time trawling through them (lots were mix tapes etc.) and mixing down the 4 tracks where available and it was a real nice touch that it all came together in time the reforming of the group.

Paul: I left my copy in Liverpool so I haven’t listed to it yet. But I think it’s old demo tapes and some live tracks.

11. ‘Shit Town’ is a pretty mad single taken from it and might come as a bit of surprise to people who only know Mexican R’n’B. What was the story behind it and is it about anywhere in particular?

Edgar: It’s primarily about Liverpool if I’m right (Ged?). It was definitely one of the finest finds of the suitcase trawling. It was recorded during 2nd LP sessions. What you’re listening to is a remastered monitor mix. It was mixed with the others as Ged had left the group by that point.

Paul: You’d have to ask Ged, It’s obviously about Liverpool. The city was a lot different from it is now. On the other hand…

12. Which are your favourite three Stairs songs and why?


Weed Bus will always be big in my heart as it was my first song written in the Stairs style as such. Although it’s not our song I’ve always been proud of our arrangement of’ You Don’t Love Me. I guess to pick a third from the rest it’d be Right in the Back of Your Mind as its pretty kick ass and stress free to play out live (well for me anyhow?)


1. Woman gone said goodbye. It’s just the best of us. Growly, beaty,
big and bouncy.

2. Mundane Monday. I think it’s such cool little groove, and we sing about rain.

3. Skin up. I love playing this live, but it’s a bit tricky to skin up and play the drums at the same time. I used to do it back in the days.


Photos: Mark McNulty


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Mark Raison

I've spent three-quarters of my life wandering the mod path with detours down its side streets and dark alleys. From an enthusiastic youth to a still-enthusiastic-but-harder-to-tell grizzled old goat, I've dabbled in all parts of the scene from writing fanzines 'Round Midnight and Something Has Hit Me; to promoting bands; attempting to manage bands; singing in the mighty garage combo The Electric Fayre; putting on indie, psych and soul clubs including Freak Scene, Orange Sunshine, and Shake!; writing liner notes for Reg King releases on Circle Records; and, in fitter times, tucking away the odd goal for the New Untouchables. I still DJ from my box of R&B humdingers but more often you’ll find me tapping away on my blog at I like the poetry of Charles Bukowski and dislike the taste of cheese.

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March 2, 2016 By : Category : Bands Events Front Page Interviews Music News Tags:, , , ,
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Jim Jones And The Righteous Mind

Jim Jones and the Righteous Mind, the new band from former Jim Jones Revue / Black Moses / Thee Hypnotics front man. The new band doesn’t exactly pick up where his previous one left off, there is bluesy garage rock guitars and honky-tonk style piano, but also more reflective and more experimental sounds. Tracks like Boil Yer Blood, the title track of their debut EP, are loud and raucous; but the gently psychedelic 1000 Miles From The Sure is more distinctive and the groovy Hold Up is driven by drums, handclaps and backing vocals in counterpoint to Jones’ crooning.

We very much look forwards to seeing them at Le Beat Bespoke 11 on the Saturday night! Darius Drewe caught up with them recently.

01. Let’s start with the new songs. The three I’ve heard already, from the “Boil Yer Blood” single, are sonically very disparate, meaning that whereas I could get a “handle” on your previous bands quite easily, I’m still slightly perplexed by the Righteous Mind. Is this band deliberately meant to be un-classifiable, or is there a more clearly defined “modus operandi” you haven’t unveiled yet?

Hello mate, Yeh, the Jim Jones Revue was a fairly specific sound and, as you say, easy to get a handle on, so, after eight years or so of that, which involved a lot of touring, the first thing you want to do is ‘everything else’ .. you know, travel to new and exotic lands etc.

There’s already more than an albums worth of Righteous Mind material recorded, and it is fairly varied, by design, but there is a thread, or a kind of pattern that you can get a hold of once you’ve heard a number tracks… On the Boil Yer Blood EP. though, it was a conscious decision to put quite a wide spectrum across as the first release, so as not to get boxed in too early in the game.

02. What particular musical influences have shaped this new venture? Have you discovered any new sounds that excite and thrill you, and if so, what are they?

All the same stuff mostly; roots music especially, but from a different angle than before; from the standpoint of time and experience… I think all truly great music comes back to haunt you again and again in the best possible way; it’s like a lesson that you learn a little deeper each time.

03. On a similar subject, do you ever get tired of shifting from band to band? This will be the fourth group you’ve fronted in just under 30 years, and from the MC5/Stooges-infused psychedelia of Thee Hypnotics through the funky soul rock of Black Moses to the rock’n’roll revivalism of the Revue, they’ve all differed from each other significantly. Obviously, many of music’s greatest innovators, from Bowie to Miles Davis, constantly reinvented themselves but do you think people ever wonder why you can’t/won’t remain in the same outfit for more than five years at a time? Or has it simply been an accidental mixture of coincidence and circumstance?

It’s probably more like eight to ten years at a time, but I’m not counting. Trouble is: not everyone has the stamina to regularly get out on the road for long periods of time and give a hundred and ten percent of yourself night after night, it can take it’s toll… Once it’s in the blood though, it’s hard to do anything else. Most people will have a lineup change and keep the same name, which I guess is the smart way to do it, but I suppose I’ve never been business minded in that way, I always see it as a chance to wipe the slate clean and reinvent yourself. Hopefully The Righteous Mind will be the one that keeps rolling. Which is another good reason for the broad horizon on the first single.

04. Tell me a little about the other members of the line-up and how you came to know them.

I’ve always been pretty lucky when it comes to finding good people to play with, and The Righteous Mind is no exception, in fact it maybe the best unit so far.

Gavin Jay, as you know, was also the bass player in the Jim Jones Revue. First time I saw him, he was playing in a small club, the band and the crowd were pretty static, but he was throwing himself into it with gusto; a sharp dressed man, who could play well, and knew how to put some presence onto the stage… I’ll have some of that! I ‘borrowed’ him at first but the Revue soon became ten times busier than his other band and the rest, as they say etc etc. Gav is really great to work with and is also known as ‘Mr One Take’ in the studio – He plays amazing stand up bass too, with and without a bow, which was ignored in the Revue for one reason or another, so that was one of the first things I wanted to utilize with the Righteous Mind.

Phil Martini is on drums, I’ve known Phil from a while back and from his previous band The Tokyo Dragons. He was my first choice for someone to work with, and I approached him as soon as JJR started making noises about calling it a day. I’m always pushing the drummer to try to find an unconventional groove, a different approach and something unusual sounding for each song, which isn’t always easy for them, but Phil’s taken everything I can throw at him without batting an eyelid. This has meant that I could work really fast at getting new material together.

On piano we have the brilliantly mysterious Matt Millership. Originally, Henri Herbert was set to be part of the project, but around the same time I was starting to work on the bare bones beginnings of the songs that I had, Henri’s YouTube clip of him playing piano in St Pancreas station went viral and he was flooded with offers to come and play straight boogie woogie piano which had been a lifetime dream for him, so I just said good luck, and wondered where the hell I was going to find someone as good as him (???) It was Henri himself who recommended Joe Glossop. Joe’s an amazing intuitive player who’s been around the block, we worked with him and got the lions share of the songs up to speed and subsequently recorded. Joe did the first short tour with us, but when it came time for the first single release he couldn’t do the show’s that went with it… ‘what do you mean you can’t do the shows ?’ – ‘Sorry, I’ve been asked to go on the road with Tom Jones’… fair enough, as long as it’s a Jones… So I had to hunt around again and was lucky enough to get Matt. He had been in the frame to possibly replace Elliot Mortimer in the JJR but the timing hadn’t worked out and that’s when Henri had turned up just in time. Matt jumped straight in where Joe left off and without missing a beat, we were on the road again.

Malcolm Troon (Dr Troon) is playing pedal steel, theremin, additional guitar and percussion. I’ve known Malcolm for a while as a hot-shot Denmark street guitarist. He’s a formidable musician, and also, like Matt, stepped in to rescue the band when our original and also incredibly talented guy David Page was called away by Rick Ruben and the gang to work on an LP.recording with The Ruen Brothers… Phil had worked with Mal before in the Dragons and it was his suggestion to get in touch with him. As you can imagine; finding a pedal steel player isn’t the easiest thing, let alone finding two of em! The pedal steel itself takes a high degree of skill and confidence to master, and to make matters worse; I’m asking these guys to then NOT play it in the traditional way but to subvert it and use it to create new sounds. They’re all great to work with and easy to be around, I can’t believe how lucky I am really.

05. Do you think this band has an advantage over its predecessors, inasmuch as that whereas all the others began at “cult” level and attempted to work their way up, you were already famous by the time you formed this one? It has enabled you to more or less launch straight into medium-sized venues and big festivals, whereas both Black Moses and the Revue began their careers in small clubs..

Yeh, it’s definitely taken some of the slog out of the thing.

06. With the Revue, you were definitely perceived as a flag bearer for the vintage/retro/revivalist scene that was proliferating in the UK at the time, filled out by bands like your close friends the Urban Voodoo Machine on one side and the likes of Vintage Trouble and Little Barrie on the other. Did that sort of tag piss you off? And if so, is the Righteous Mind a deliberate attempt to escape it?

To a certain extent yes; on the one hand it’s frustrating to be misperceived, as I’ve never viewed the old/new thing in that way… It was never to do with a trend; in fact it’s more of a ‘reaction’ to bullshit trend’s or fashions… It can be a fine line sometimes, and I’m quite aware of how easy it is to fall into a weird kind of role play, and you have to avoid that at all costs if you want to feel you’re doing something valid and not just regurgitating the past. Just to be clear though: if there’s a choice between old and new; and the old thing is still valid and in working order; 9 times out of 10 the old shit is 100 times better than the new shit.

07. When I first knew you, you were living near Ladbroke Grove but these days, you reside in “trendy” Dalston. How do you view the perceived “hipsterization” of the East End these days, and more importantly, the music scene in London in general?

Hackney has now become a bit like Ladbroke Grove was when I left there… I live in Walthamstow now, which is where I was actually born and it still hasn’t been completely gentrified.

08. And what about equipment? One musician of my acquaintance (won’t name him, but he recently joined a reformed 70s punk act on drums) is such a purist that in order to achieve what the believes to be the “true rock and roll sound”, he insists his other band, in which he writes the material, only use certain guitars, basses, kits and amps. And, though I wouldn’t take that approach myself, he’s not the only one. But where do you stand on it? Obviously I can imagine what you wouldn’t use- I’d be unlikely, for instance, to ever see you playing a BC Rich or an Ibanez- but are there any particular brands you favour? And how essential are they to your music?

It’s not to try to sound like someone else; because that’s a dead-end; but I like old stuff, if it’s still working, or new stuff that’s built as good as the old stuff. It feels more honest, like it’s come out of the earth.

09. A lot of your music tends to celebrate an atmosphere of bohemian, bacchanalian decadence. How much of it is genuine? Is it a creed by which you live your life? I only ask because I’ve seen you leap across tabletops at a party with drink in hand, surrounded by stunning burlesque women, but I’ve also seen you being domestic, reading your kid bedtime stories. Is there a “real” Jim Jones? Or is he a mixture of all those disparate elements?

Yeh, it’s always nice to be a little more three three-dimensional, don’t you think? You really can move between worlds, as Tom Waits says: ‘You don’t always have to stay the night.’

10. On that subject, do you think rock’n’roll musicians sometimes have to play up too hard to their public persona, sometimes resulting in their premature demise?

Yeh, it can become that ‘role play’ thing again. It’s all nonsense really… I think what a lot of people miss, is that the difference with people like Lemmy or Keef is that they put their work first.

11. Final question. It’s taken you approximately 28 years’ worth of work, self-belief and dedication to get where you are now – do you think everything you’ve had to endure along the way has been worth it? Or do you think that it’s more a reflection of how long it takes to achieve anything in this country outside of the mundane, and that had you been born in the US or Europe, you’d have been a star by your 20s instead of your 40s? More to the point, if longevity is the goal, do you think you’ll stay the course like your mentors Iggy Pop, Wayne Kramer and Tom Waits have?

I don’t think it’s any easier in the States or Europe although there is more money for arts in places like France, but then that’s one less thing to kick against… I’m a lifer, there’s no getting around it, and it’s not really a matter of choice, you know, more of a vocation… I think the key is: don’t look back !

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Darius Drewe

Darius Drewe was born in East London in 1974. As a small child, both parents inflicted their musical tastes, from The Beatles and The Moody Blues to Ella Fitzgerald and Miles Davis, on him, and he was never the same again. Despite being born and bred a 'Cockney tosser', Drewe actually spent his teenage years in and around Birmingham, attending his first 60s/50s-themed nights there at The Ship Ashore, before "coming home" in 1993 to the South, where, with the exception of three years spent in Glasgow between 2007-2010, he has remianed ever since. In the almost two decades that have passed he has trod a strange meandering path from a shy 60s/70s-obsessed teen with no 'scene' to speak of to a Metalhead, sleaze-glammie, Goth, indie kid, glam-punker, garage-rocker, eventual Mod and psych freak (first attending Mousetrap in 2000) In that time he's also written for Shindig! Britmovie, DarkSide, Black Velvet and Get Ready To Rock, promoted various vintage and veteran acts at Camden Underworld, Glasgow Ivory Blacks and several other venues, DJed everything from psych, garage and soul to Metal at practically every well-known club in central London. Drewe is trying to build a time machine that will enable him to visit any period between 1960 and 1980 but still be able to use a mobile and Facebook. His ambition, aside from directing films and building said machine, is to morph into a cross between Jason King, Timmy Lea, Jerry Cornelius and Richard Hannay, and drift about the ether having adventures in a kipper tie, pinstriped flares and camel hair coat.

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March 2, 2016 By : Category : Bands Clubs Events Front Page Interviews Music News Tags:, , ,
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Hidden Charms

Friday night – 25th March
Bo Ningen + The Hidden Charms
(8pm-4am) £10/£15 (Club only £7/£10 adm from 11pm)


We caught up with the very busy and hard working Hidden Charms recently in full preparation for their up and coming Easter LBB11 appearance on the Friday night spot…

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1. How long have you been active for and how did you get together?

We’ve been together since April 2014 , but we’d all been playing in bands with each other for a couple of years before that,  so when a couple of people left one band we just put the remains together.

2. What influences do the band members have in common?

At the moment we’re into Nick Cave, Tom Waits and Hip-Hop from the 90’s.

3. Are there any other bands you’d recommend from your area? Why?

I think music isn’t thriving in London at this point in time, the music coming out of Liverpool, Manchester, Sheffield, Leeds is much more exciting.

4. What’s the 60’s/underground scene like where you’re from?

I’m aware of a 60’s underground scene throughout the entire country, which I think has been a permanent fixture almost since the 60’s. However, we are not part of this at all. Not to put anything down, but that era of sound and fashion isn’t a present influence on us.

5. How would you describe the style you play?

Cheese being thrown at a windmill.

6. What are your live shows like?

When a crowd knows your songs, a gig scenario is a whole different experience and as a young band, it takes a long time to get people to know you and remember you, so it’s only now that we’re starting to experience what a ‘real’ show feels like. The most important thing is to give it everything, you have to sweat, and you have to bleed, and sometimes shed a tear.

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7. What are your main influences in music? Who do/would you play covers by? And who do you despise?

Despise, that is a very strong word.I despise fakeness and people who have no respect for the origins of their music, it’s not proper to slag off other groups. Like I said before, we like people like Nick Cave, who has a great way of looking at things and an even better way of dressing that up in the studio, or on stage. People who are individual and who inspire me.

8. What are your main influences outside of music?

We like our clothes but that’s not to say we’re ‘influenced’ by changes in the fashion industry. We know what we like and we do exactly that.

9. Who writes your songs and what subjects do you deal with?

Ranald and I (Vincent) write the lyrics but it’s only when Josh and Oscar make their contributions that it becomes ‘Hidden Charms’. We write about what we know, which at our age could be not a whole lot… But in my mind, we have experienced a lot in our short time.

10. What’s your favorite song in your repertoire currently? What’s your favourite song by another artist?

In our repertoire I would say Long Way Down, as it’s always had a good reaction from fans of the band. It’s short and simple. Leave Her Alone by Nick Gillespie of The Persuasion is my favourite song this morning!

11. How would you describe the current underground scene? Do you participate?

I think it’s hard in London to stay underground or for Scenes to develop at all because of how hard it is to afford just to live there. But as a band, we have no one true home so it’s much more fun to see scenes in LA or Liverpool, or Edinburgh or Eindhoven and be part of that for one night only.

12. What has been the biggest challenge to date?

It’s hard to be told you’re no good, that you can’t write songs, that you can’t sing or any of those constant knock backs that come with doing this job, however the biggest challenge is seeing injustice in the industry, whether it’s losing people to the road, seeing the anodine made successful, or seeing black artist’s being totally overlooked, to see all that and still continue working for an ‘industry’ like that is the biggest challenge.

13. How often do you Rehearse? Play Live? Record? Anything interesting coming up?

We did 100 hundred shows last year and probably rehearse 10 times and recorded twice which is all wrong! This year we’re focusing on getting what we do live into the studio.

14. What do you think of the music coverage in the media?

I feel like there is a lot more of Kim Kardashian’s arse being covered which isn’t necessarily a bad thing.


15. Do you rate any current mainstream or underground bands?

I rate the Growlers and I rate Little Simz.

16. Who/Where would you most like to record with and why?

We’ve been lucky enough to work in some of the best scenarios any young band could ask for. For us, it’s important to use tape machines etc, so any studio we use would have to be Analogue because everybody knows it’s better.

17. What should we expect from you in the future? What are your plans and ambitions? What interesting gigs have you got coming up?

An EP to come out in April/May and then hopefully an LP to follow that, towards the end of the year. I think as a band starting out , your dream is to be the ‘biggest’ or to be championed by magazines and the television but if in order to do that your music has to become dull and soulless then it’s better to play for fewer people and be overlooked by the big bad world!

Friday night – 25th March
Bo Ningen + The Hidden Charms
(8pm-4am) £10/£15 (Club only £7/£10 adm from 11pm)


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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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March 2, 2016 By : Category : Bands Clubs Events Front Page Interviews Music Tags:, ,
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Mousetrap 25 Years

01. When did the Mousetrap first emerge?

I had been looking all over London during 1991 for an allnighter venue and had almost given up when I stumbled on Fabio’s which is what it was called back then.

02. Why the name Mousetrap?

The venue had two entrances and the one to the basement had a sign above the door called Mousetrap in a great font. The club started in the basement only, so we would use the Mousetrap entrance. I also really liked the name and the connotations it threw up like ‘Get Caught in the Mousetrap’ as the strap line on our early promotional artwork.

03. Tell us a little about finding the Venue and why you stayed?

After looking around a few venues in Finsbury Park, I drove past Fabio’s, parked the car and went inside. The first thing I noticed as I entered was that I was pretty much the only white person in the venue. I was only nineteen and a little apprehensive as I enquired about the venue over the bar. This was where I met Anthony who was managing the place at the time. I explained what I wanted to do which raised a few eyebrows and asked to take a look around. The ground floor had a bar, DJ booth, dancefloor with a raised seating all around. Over in the corner was a metal spiral staircase which went down to the basement. As soon as I got down there I knew it was perfect. The basement had a very low ceiling with a black and white checked dancefloor, DJ booth in one corner and bar in the other with lots of nooks and crannies and small seating booths. It was just how I had imagined those original sixties venues like the Scene or Flamingo. It also had a killer sound system that was used for the Dub Club and other Reggae based nights at the venue.

04. What were the early Mousetrap nights like, what was the format?

We started on one floor only in the basement the first night which was a success despite sharing the toilets with the venue regulars who had never quite seen anything like it before. The owner liked it and more importantly – us, which are comments I get wherever we go and have a party. The music at the time was right across the board sixties, before Popcorn or Psychedelic sounds became popular. British beat and soul would be played alongside the American sounds.

05. What were the big sounds in the early days?

Early records that were popular were mainly the established Mod scene classics and current club sounds it took a little while for the club and DJ’s to develop the Mousetrap sound.

06. Can you name some of the DJs that were part of the first decade of the Mousetrap?

Obviously the NUT’s team past and present including; Pid, Chris Dale, Speed, Lee Miller, Gav Evans, Mark Ellis and Nick Hudson. Early guests included Paul Hallam (Sneakers), Roger Banks, Jon Paul Harper, Scott Copeland, Nigel Lees, Tony Castle, Putney Sean, Paul Newman, Ian Jackson, Karl Flavell, Dave Ingle and Shinzo Shnijo.

07. What were the highlights and low points of the early years?

The club went well from the start and in 1995 Loaded magazine did a great article on the night which you can read elsewhere in the NUTsMAG, Timeout also covered us early on. By the mid nineties Brit-Pop was in full swing and a new younger clientele started mixing with the regulars. Round this time the club moved into its best era on two floors with the beat basement and soul loft and sometimes a third floor the jazz lounge. The atmosphere was incredible and the scene was very exciting. We should have finished at 6am but often went well beyond that most nights.

08. Moving on with the New Untouchables era how did things evolve?

The club was a separate entity throughout the Untouchables era and then became part of the NUTs portfolio in 1998.

09. Did the music policy change to reflect the times as it were?

By the mid to late nineties the resident DJ’s had started developing the Mousetrap sound. Records were broke at the club every month and became hits all over the European club and weekender scene. Some off the early tracks to break included Hopscotch, Larry Trider, Mike Proctor, Randy & the Radiants, King Size Taylor, Jigsaw, Dusty Wilson and Callum Bryce.

10. How did you manage to keep the various passionate musical tribes in the Scene happy?

The club continued on two floors for the best part of a decade with black music on one floor and white sounds in the basement until the owner sold the ground floor in the mid naughties. During this time an incredible amount of records went onto to become big sounds.

11. You eventually split the allnighter into 2 separate nights?

The downside of having two floors for a long period was that both crowds were used to hearing their favourite sounds all night and those like me who enjoyed both would move between the two floors. So when the ground floor was sold going back to mixing all the music together just didn’t work so I started the separate dances each week.

12. How did that change things, did some folks happily attend both?

Yes, some regulars like Niamh and Innes, Mark Raison and the twins who enjoy all the sounds attended both but the majority went one week or the other.

13. Twenty five years is a massive achievement, you must be proud?

I’m very proud, there is something magical about the venue even on a quieter night we still have a great atmosphere and on a busy one there is nowhere better. It’s my second home and I get to enjoy the night as it’s a relatively easy production. I love Djing there as well as you can always slip some new sounds in which I’m passionate about.

14. What would be your all time top 10 Mousetrap spins from all styles in one list?

So many Mousetrap anthems over the last 25 years and many ended up on the free anniversary single. Mike Leslie – ‘Right or Wrong’ is one I always use to play at the end of the allnighter. Gene Latter – ‘Holding a Dream’ is a great funky blue-eyed soul dancer with fuzz. The Latin Dimension – ‘Mr Mod’ was an LP only track and available for the first time on the Mousetrap 45.

I found the Jack Hammer 45 down in the subway at a record fair in Sweden when I was Djing out there for a couple of quid. I later realised that it was only released as a 45 in Sweden and would start to fetch big bucks as its popularity grew. It went on to become one of the most popular releases on the label.

The first European track to be released for the Mousetrap 14th anniversary 45 was Erick Saint Laurent – ‘Le Temps d’y Penser’ which is a killer groovy garage dancer. Speeds discovery ‘Lovemaker’ by Callum Bryce also went on to become a massive Mousetrap record.

Although no doubt played on the Soul scene Chris Dale introduced tracks like ‘Fine, Fine, Fine’ by Judy Hughes and Dusty Wilson – ‘Can’t Do Without You’ to the Mod scene at the club. The list is endless and I have not even mentioned The Paragons, Bit a Sweet, Tam White, Chris Britton, Phil Wainman, Don Fardon version of  ‘I’m alive’ (which eventually ended up on a TV advert featuring Don), Louisa Jane White, Heidi Bruhl, Jimmy Thomas, Paul Nicholas and The Tops that all ended up on the Le Beat Bespoke album series. You can view all the Mousetrap releases here or even buy them via the NUTSTORE.

15. You have even managed to fit a few film crews into the Mousetrap over the years too?

MTV came down to film in the mid nineties as part of their series on club land culture and made a great snap shot of the club which features interviews and footage from many of the regulars and is a great testament to that era of the Mousetrap. You can view it on our NewUntouchables TV youtube channel here.

We did a fun shoot a decade later in 2005 this time with no interviews just footage from the club which turned out a bit like a scene from a movie and was beautifully shot by Simon Smith who did a videos for The Cure and the Wonderstuff amongst others. Take a look here.

There is also a really nice interview with Rhys Webb of the Horrors a club regular who recalls his first visit as a sixteen year old from Southend and the whole new World he discovered. Rhys is quite often seen behind the decks spinning his vinyl treasures or grooving away on the dancefloor. Watch it here.

16. What has the past few years been like for one of London’s great institutions?

We have had our ups and downs like any club over a period of twenty-five years and are now on our third or fourth generation of regulars. I’m very humbled and happy when I get comments from the new faces experiencing the club maybe for the first time, about it being their favourite night out in London and without doubt it’s still mine after all these years.

17. How do the venue owners feel about having a club night running for so long?

Anthony the boss, has always been supportive and has seen the bigger picture when things are not going so well, which is rare in the fickle World of London club land and the pressures of running a venue. Ade the security chap and Alex at the cloakroom, have been with us a long time and I want to thank them all too for the fantastic ride we had together so far.

18. Any names that you wish to check for their help over the years? What’s the tiny Mouse called in the logo?

Many heroes behind the scene for me who I would like to thank including those who run the door Maz Weller, Paul Owers, Ellie Tracey and Kolorz. The great artwork created by Dom Strickland, Jason Ringgold, Mary Boogaloo and Bazden at Pip! Pip!

The resident DJ’s past and present who have helped me create the Mousetrap soundtrack Chris Dale, Speed, Lee Miller, Jack White, Gav Evans, Pid, Steve Bowstead, Mark Ellis and Nick Hudson. The hundred or more guest DJ’s who have often travelled far to spin I thank you all.

Most importantly the regulars both past and present that have supported the night and created some of the best times of my life.

Marvin and I hope to see you all get caught in the Mousetrap once again on either 20th Feb 2016 for the Psychedelic allnighter or 27 Feb 2016 for the R&B allnighter to celebrate an amazing twenty-five years of Mousetrap!

Best Wishes Rob Bailey

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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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December 1, 2015 By : Category : Articles Clubs DJs Events Front Page Music News Tags:,

Bill Kealy – Hey! Mr DJ

This entry is part 12 of 20 in the series Hey! Mr DJ

Promoter/Resident at ‘For Dancers Only’ club in Wexford and semi-regular resident at ‘Sleepless nights Soulclub’ Dublin.

1. How and when did you get into music and what were you listening to then?

Got into music big time in the early eighties through the Mod Revival and then bands like The Prisoners came along with a much more sixties sound. Northern Soul was quite big in Dublin at the time but to be honest that whole scene passed me by.

2. Where was your first DJ slot?

When I was in College in Carlow in 85/86 I used to play a local pub playing mainly mod revival / sixties.

3. What was your most memorable DJ spot?

It’s hard to pick one; stand outs have been The Boiler in Barcelona, Klubb Magnus in Oslo. Always the Hideaway, plus and Basics and Friday Street in Scotland, and of course the Mousetrap and R’n’B 123 earlier this year were a bit special.

4. What has been your worst DJ experience?

I remember one night at a ‘Northern Soul’ club in Ireland they only had CD decks and couldn’t understand why I had only brought records.

5. Your favourite scene DJ’s and why?

Alan Handscombe, Chris Dale, Steve Hiscock, Soulful Jules, Niamh Lynch, Neil Henderson, Davie Hudson, Jimmy and Luis Soulful, Andy Pollard; they’ve all introduced me to new tunes and have such a great passion. Jamie Parr and Alfredo Maddaloni came to Dublin recently and they rocked the place.

6. What has shaped your DJ sound and why?

I love the sound of records from the mid to late fifties/ early sixties, before the sound was sanitised for white America. The records were produced for the dancefloor and that’s why they still sound so good.

7. What was your best ever find/discovery?

I can’t lay claim to discovering any record but my best find was Harry Starr at a record fair in Wexford for a tenner.

8. Who was your biggest influence musically and your favourite artist(s)?

My favourite singer ever is Little Willie John, his voice is unique. I also love Ike & Tina, Howlin’ Wolf, Lavern Baker, Ray Charles.

9. Do you collect specific labels/artists/genres?

I don’t collect any specific labels, I’d never be able to afford it for a start. I don’t ever buy a record unless I really like it no matter how popular it is.

10. Where can folks currently catch your DJ set?

Currently working on a new night in Dublin, I’ll be at Sleepless Nights in Dublin and of course For Dancers Only, check the club page for details.

Next Club Spots for 2015:

Bill will be playing at The Nutty New Year Event in London, see all the details HERE!

11. Please give us a top 10 all time favourite’s and a current top 5 spins?

Top 10 Tracks of All Time:

1. Harry Starr – Another Time, Another Place
2. Danny Owens – You’re a Little Too Late
3. Four Tops – Baby I Need Your Loving
4. Gay Poppers – I Want to Know
5. Ernie Washington – Lonesome Shack
6. Little Willie John – I’m Shakin’
7. Sity & James – You Needn’t Tell Me
8. Mary Ann Fisher – Put on your Shoes
9. Sammy Ambrose – Monkey See, Monkey Do
10. The Ascots – She Did

Current Top 5 Tracks:

1. Ercel Jones – That’s My Man
2. Roy Brown – Mr Hound Dog’s In Town
3. Otis Blackwell – Let the Daddy Hold You
4. Katherine Hughes – How Can I Go
5. Ruby & the Wonders – Don’t Cha Do It

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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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December 1, 2015 By : Category : Clubs DJs Front Page Interviews Music Tags:, ,
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Callum Simpson – Hey! Mr DJ

This entry is part 6 of 20 in the series Hey! Mr DJ

1. How and when did you get into music and what were you listening to then?

I got into the mod/scooter scene at 15 years old. I bought my first scooter, a Vespa 50cc Special and joined a scooter club called High Moderation. I had an older brother and cousins who were into the Mod scene so I started to hang around with some Mods who were a year above me at school. Once into the fashion it was only a matter of time before I started to get into the music. I started listening to bands such as Paul Weller, The Jam, Small Faces and The Who. My brother had a big part to play in my musical taste progressing, as he was listening to bands like The Specials, Madness and was listening to lots of soul and Motown compilations, which exposed me to artists like Marvin Gaye, Aretha Franklin, The Four Tops and Martha Reeves.

At 16, looking slightly older than my age (not the case now), I was able to start going to clubs like Brighton Beach, local soul nights and the occasional scooter rally. This is where I was exposed to lots of new sounds. I was hearing records like Mel Torme – Coming Home, Sandi Sheldon – Gonna make me love you and Sam Dees – Lonely for my baby. As you can imagine I was blown away by these sounds and the exposure made me delve a little deeper into the music and vinyl records. I bought my first record from Boogaloo Records in Leicester when I was 17 for 6UKP and it was Ray Charles – Go on home.

2. Where was your first DJ slot?

My First DJ set was in Birmingham; by this time I lived for the weekends and was travelling up and down the country regularly attending mod/soul nights. Through attending nights on a regular basis Pid asked me to DJ along with a couple of mates Soggy and Gibbo. Dudley Steve was also on at the same night. I remember playing records like Joe Tex – You better believe it baby, JJ Jackson – Oh Ma Liddi and The Artistics – hope we have. I also remember playing a reissue, but this was before I was aware of the OVO policy! A couple of people looked amazed that they saw a young 17 year old lad behind the decks playing Bobby Adams & Betty Lou – Dr True Love…quite funny thinking about it now!

3. What was your most memorable DJ spot?

My most memorable DJ set has to be in Barcelona at the Boiler club. The city is amazing enough but the Boiler Club is how clubs should be, exciting, vibrant and a full on party from start to finish. I was deliberating weeks before about what I should play and selecting records for my play-box! I was pleased with my sets and judging by the dance floor so were the dancers, it was packed from start to finish… I even played a B-side by mistake and the dancers liked it, thankfully it was a very good B-side!

4. What so far, has been your worst DJ experience?

If ever you get asked to DJ at a wedding DON’T DO IT! I was asked off the back of running a club called ‘Shoutin the Blues’. One of the bar men liked the music and asked me to play at his wedding. At the time I was about 18 or 19 and thought that I could make a few quid. I made it clear that I only had Soul, Mod, R&B, Latin records and that he wouldn’t be getting the usual type wedding DJ playing music like ABBA, The Village People etc. He was adamant that he wanted something a bit different and that his guests would enjoy the music. I agreed to do it and for a price of £150, which I thought wasn’t bad for a few hours work! How wrong could I have been!

I was conscious not to play rare stuff, so I took more mainstream (to me) records which consisted of lots of Motown and dance floor friendly classics. Anyway to cut a long story short only 1 person danced throughout the whole night and that was towards the end of the night… funnily enough it was probably the rarest record I played all night ‘Billy Hawkes – Oh Baby’. Towards the end there were a group of lads who were sat at the back of the room, one of them came to ask me if I would play ‘You’ll never walk alone’, me being a Man United fan replied “I don’t play that stuff”, every record I played then was drowned out by a chant of “Who the f hell are you”. Shortly after that I decided to call it a night. I got my wages and left. Looking back now it’s pretty funny but at the time it was a nightmare!

5. Your favourite scene DJ’s and why?

Mik Parry – Forward thinking and so ahead of the game it’s unreal. It’s only now other DJ’s have been able to acquire records he was playing years ago. A) because the records are pure quality and B) they have seen his playlists. Check out his You tube channel ‘POW WOW MIK’

Karl Heard – Is what I call a proper DJ! This man has the ability to create an atmosphere like no other. Karl had a record collection to die for, but has now sold most of them off…not that I’m complaining! You think of all the big tunes – Volumes, Charles Johnson, Judy Stokes, Notations, Magicians, Harvey Averne, Johnny McCall AND Karl had or has these and loads more of this calibre.

Gav Arno – I always say it but it’s true, he’s a dark horse! Every time I hear him behind the decks and also when I have a look through his playbox he surprises me with what he has. Gav has a passion for unearthing quality unknown records, he finds tomorrow’s big records today!

6. What has shaped your DJ sound and why?

The three DJ’s I have mentioned in question 5 have helped me shape my taste, especially Karl Heard, over the last few years. Another is by regularly attending club nights and hearing DJ’s spinning new (to me) interesting records. The thing I love about Mod nights is you get such a varied taste of music from Soul right through to Jazz.

The internet is also a great way to hear new records and other DJ’s from around the world. Shows such as Jester Wild and YouTube channels are a great way to hear new stuff. Over the years I have collected all sorts but now I am much more selective about what records I buy.

7. What was your best ever find/discovery?

Tough question…my best discoveries are records I have recently posted on YouTube, Lil Archie & The Majestics, Leave my Girl Alone & Victor Lane, There’s Something About You. I have had them for about 4/5 years now and have been searching hard since but have never come across other copies. That is the reason why I have put them on YouTube to give them more exposure but also to see if other DJ’s/collectors can unearth copies…good luck!

8. Who was your biggest influence musically and your favourite artist(s)?

I honestly don’t have a favourite artist, I really like Marvin Gaye but not sure I could call him my favourite. I would relate this back again to question 5 and say that in my time as a resident at The Pow Wow Club, Mik and Gav were massive influences over me musically. The stuff these guys were playing was unreal! Imagine being 19/20 and hearing The Jokers, Jonathan Capree, The Fads, Young Jessie etc. Both well ahead of their time and two great DJ’s.

9. Do you collect specific labels/artists/genres?

Not in the slightest, if it’s good and I like it I’ll have bid/buy it. I don’t just buy records for DJ-ing with though. If I hear a record that I like but is not right for playing out, depending on cost, I will still by it for Sunday afternoons relaxing at home, listening to a few records.

Although I do like the Soul Brother Records label. It can be found here.

10. Where can folks currently catch your DJ set?

I am not currently a resident or running any club nights but I get asked to guest DJ quite a bit, so if you keep your eyes peeled I’m sure you will my see my name on one or two flyers. In terms of running my own night… watch this space! Callum will be playing at The Nutty New Year Event in London, see all the details HERE!

11. What is the record you would most like to own?

Another tough one, it would have to be either Eddie Parker, I’m Gone on Awake or The Hopkins Bros, Shake Cherri on Magnetik. I can remember when I first heard both of these records for the first time and thinking Holy smoke!

I first heard Eddie Parker in Sweden at the Soulastic All-nighter when Ginger Taylor was playing. When the first few notes came in the atmosphere was something I had not experienced before at a soul all-nighter and something I will never forget. That night we all went onto an after party and one of my friends had what I thought was a copy of ‘I’m Gone’ and the only difference between his copy and Ginger’s was that my mate’s was a boot (the look-a-like boot). I wasn’t aware of the value of the record at this point and I thought he had a copy, he then explained it was worth in the region of between 5-7K, needless to say, it was hammered that night and played probably about 30 times at the after party… oh what good times!

I first heard Andy Dyson play The Hopkins Bros at Lifeline a few years back and again the place went crazy. Only a handful of DJ’s had it at the time, all the big boys such as Dyson, Butch, Ian Wright… I’m not even sure if Mick H had one at that time!? Shame that it has been booted now! It’s still record of the night every time I hear it out, but I hate that I can now go online and buy a boot of it for £10, it has to be OVO!

12.  Please give us a top 10 all time favourite’s and a current top 5 spins?

Top Ten Favourites:

1. Eddie Parker – I’m gone

2. Hopkins Bros – Shake Cherri

3. Jonathan Capree – I’m gonna build me a mountain

4. Carol Anderson – Taking my mind off love

5. Ray Agee – I’m losing again

6. Billy Hawkes – Oh baby

7. Volumes – I ain’t gonna give you up

8. Otis Lee – Hard Row to Hoe

9. Parisians – Twinkle little star

10. Tobi Lark – Sweep it out in the shed

Top Five Spins:

1. The Sacred Four – Somebody watching you

2. Ray Agee – I’m Losing again

3. J T Parker – If you want to hold on

4. Judy Stokes – Real Man

5. Charles Simmons – Save the World

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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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November 30, 2015 By : Category : Articles Clubs DJs Events Front Page Interviews Music Scene UK Tags:, ,
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NUTs – Brighton Weekend 2015

The New Untouchables – Brighton 2015

As my cab pulled into North Street, the spectacle that is Grit’s & Groove corner came into view. Every year the sight sends shivers and raises hairs – the sight of sharply dressed and sussed Mods spanning the width of the junction of North Street and Gardner Street, home to the Komedia, where the next three nights the New Untouchables events would be presented. As my cab passed, I could see the faces of friends from all over the UK & Europe. Just proving that the Brighton weekender, was the place to be.

As I entered the building, the queue was already 75 strong and it was only 10:45. Sound checks done, in both rooms, the clock struck 23:00 – doors opened – the weekend starts here!

The Main Room, started to fill, quickly, with smartly dressed Mods, ready to dance, and after that first taste of Dutch courage, or was it the sound of Billy Larkin’s version of “I’ve Got A Woman”? – the dance-floor was full – and there, the precedence was set for the rest of the evening, through until three am. The plethora of Mod sounds, all played from original vinyl kept the hand’s clappin’, feet tappin’ and the refreshments flowin’!

Meanwhile, upstairs in the Studio Bar, The Ham Yard DJ’s Guy, Ryan, Lucas, Rachelle & Stacey were turning up the heat on the dancefloor, playing some of the best in Soul, Jazz & Rhythm & Blues.

3 am came around too quickly and it was time to say the “See you tomorrows!” but there were just as many “Hello’s!” from  a flock of new faces I hadn’t seen during Fridays proceedings.

If there was a view to be had of Madera Drive it’s from the top of the wheel, or the access ramps above The Volks. It’s 13:15 and I’ve just arrived to the afternoon session, official kick off at 13:00, but as the story goes, they were arriving from 11am… So back to my view… rows of scooters adorned the roadside outside the Volks, also opposite to both sides of the pathway, with more and more pulling up throughout the afternoon. Inside the venue, there were many dealers with quality items, from original clothing, shoes, records, accessories to mobile tailoring, and no roundel embossed tat in sight. 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 dress was impeccable, and great to see the New Breed showing some, how it should be done!

Throughout the afternoon guest DJ’s gave us an insight into their own personal record collections as well as live set’s from The Turning & Gemma & The Travellers both introduced by the Baron and both received very well!

For me Saturday night had started at 21:00 at venue 2 – The Volks. From the ‘git-go’ the dance floor was moving and grooving – again the atmosphere was electric and the clientele very smart. Deck duties were handed over to Gary Wall from Nottingham and Paul Molloy from Glasgow, and I made my way over to The Komedia, for round two.

Mirroring the previous night’s views, I entered the Komedia to the sound of the un-credited version of The What Four’s – ‘Destroy That Boy’ and Rita & The Tiara’s’ version of ‘Gone With The Wind Is My Love’. Thirty minutes into the evening and Rob Bailey is dropping these tracks to an appreciative audience. Just time, for a couple of ‘hello’s’ and to get a pint or two, of liquid refreshment, just to keep me going during my set. Many dancing feet and clapping hands show their appreciation for Rob’s early doors, soul selections. Topping it off with, Joey Heatherton’s – ‘When You Call Me Baby’. Tonight’s DJ team, Rob, Gary, Paul, Chris Dale & myself played to a very appreciative crowd, keeping the floor filled until the last note.

Tonight upstairs in the Studio bar, the guest club hosting, is R&B 1, 2, 3. with avid vinyl selectors Alan Handscombe, Chris Dale & Mary Boogaloo at the decks. Every time I popped in to this room, the true Mod Club atmosphere was inescapable, sussed, smart and sweaty.

Sunday started again down at The Volks, with the dealers looking like they were doing a roaring trade, with many more scooters adorning the roadside. Many daytrippers, for the impressive ride out, and scooter competition. Again 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 Tim Fuller & Samantha Stevens to name a couple. Bringing you some great sounds from their own personal collections, and not that god forsaken 7T’s Wigan crap that some one thought was good being played out of their scooter stereo, ruining the vibe, just not Mod or cool man!

Scott Fraser Simpson and Martin Coolcat joined out host Rob for the in enviable task of judging the scooter competition. The standard of both models was incredible but the sheer amount of amazing Lambretta s meant that after over an hour and much deliberation the results were as follows. The trophies were presented in front of the big wheel with Brighton Pier as the backdrop for photos, congratulations to:

Best LambrettaJaymo Kid – TV175
Best VespaJohn Paterson – SS180
Best ModDarryl Bunker – TV175.

Many thanks to judges and Ade & Claire, Neil & Mel and Andy McCovy for help with marshalling the ride-out a superb job folks.

Early doors at The Volks for me again, and then back to the Komedia for the last time this year.

In the Main room, Brighton Got Soul was in full flow. I only caught part of Ginger Taylor & Chris Dale’s sets. And again the dancefloor was packed, Mods & Soulies enjoying the best Soul and the atmosphere was buzzin’. All the reviews from this room were good. Well done, Yann, Craig & Simon the other DJ’s in this room.

The Mousetrap was the guest club in the Studio bar tonight, with Chris Dale, Rob Bailey, myself and guest Scott Fraser-Simpson supplying the Hand Clappin’ Foot Stompin’ 45’s, where I spent most of my night. Again, the appreciation for the soundtrack was shown at the end of every tune and the voting was done with the feet… The Mousetrap baton was passed over to the Fuzz For Freaks DJ team at 3am who kept the party going thru until dawn.

It’s at this point I realised that I’m not in my early years anymore, and the 5 hour drive does not seem as easy as it sounds after spending 3 days with the most sussed, smart fantastic friends & acquaintances, laughing, drinking and peacocking around… Bring on Brighton 2016!

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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 22, 2015 By : Category : Articles Events Front Page UK Tags:, ,

Euroyeyé 21st Anniversary

Easier said than done!

Once again, from July 31 to August 2 Gijon became the world’s capital of the 60’s underground and European mod scene. After our twentieth anniversary last year our home at the Oasis discotheque was turned into a McDonald’s drive through so how would this year’s weekender go?

We started this year on Friday 31st July with the presentation of two great books. “Mods: a guide for an elegant life” by Dani Llabrés (Lenoir editions) a must-buy if you enjoy our scene (and understand Spanish), and the Lambretta Club of Spain book about the Lambretta factory in Eibar.

After that, a first alldayer with DJs in the Patio de la Favorita and another parallel scooterist meeting with craft beers to taste, DJs and scooterist stalls. And right after, at 22h, the first concert in the Plaza Mayor de Gijon with over 5.000 people enjoying it. The Excitements firstly on their own and then with Julián Maeso and Miguel Herrero backing soul diva Betty Harris (with her three backing singers) was a wonderful show and great way to start the weekend.
 After that our first allnighter at the amazing Dragon Discotheque and with almost no time to sleep, Saturday’s ride out started with the roar of a 200 scooters at Blow Up Club’s terrace, facing the beach of San Lorenzo in a strangely sunny day for our asturian climate. Many people said that the ride out was the most beautiful in the recent years but this, my friends, you have to be here to experience it by yourselves.

Vermouth and food in a restaurant in Castiello de Bernueces with lovely views over the entire council of Gijón, sweepstakes, prizes (this time the furthest travellers were a couple of classic Vespa riders from Cadiz over 1000kms x 2 to get here!) And then rushing to the “Battle of the Bands” at Discoteca Acapuclo. The Pow Pow Pows won it this year, congrats!
 Two hours after, Acapulco was ready to receive the Extended Plays and American’s Powder for the first time in Europe. Both concerts striped high but “the American Who” aroused great enthusiasm among the public, undoubtedly one of the highlights of this edition. After that, two simultaneous allnighters in both venues (100mts one from the other) were accessible with a wristband. Soul Music with special guest DJ Ginger Taylor in the Dragon and 60s rock music, garage and freakbeat in Acapulco.
On Sunday we still had the alldayer in the Patio de la Favorita and concerts by young European bands The Carnations (UK) and Les Grys Grys (Fr) who, incidentally, tore down the nightclub with their rave 60’s r&b covers. I don’t know if they will be the same when they have their own songs but their strength on stage is indisputable, currently the most powerful combo in the world in their style.

Thank you very much to collaborators, sponsors and all who have participated and attended another year of Euro YeYe and especially the sponsors of the Scootercruzada, Scootering Mag, Ancoralba, Scooterist Factory, Lambretta locomociones, Only Scooters, ASM Scooters, Scooterup, Scooter Classic Oils, Gijón, Vespa and Lambretta Club of Spain (not sure if I leave one out, forgive me). Till the next time Felix.

Photos by: Carolina Santos Noval for the full selection go to:

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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 23, 2015 By : Category : Bands DJs Europe Events Front Page Music Reviews Scene Tags:, , ,