Clubs

Newbreed – Eliphant

This entry is part 3 of 6 in the series Newbreed5

Elipant is a North London Power trio formed in 2015. Psychedelic influences mixed with punk-rock sensibilities. Retro with a contemporary twist and a will to sound like no one else. Lyrically in between sensual surrealism and no-bullshit politics. Building a strong following with their high-energy live shows. Eliphant declares war against the stiff and the bored!

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

Eliphant was formed in spring 2015 by Dade and Elian who knew each other from a chance meeting and playing in another band, played our first gigs that summer with our first drummer Marco. We got Nelson on board in June 2016 and we’ve been living happily ever since.

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

We’re united by our passion for music, cinema and arts along with the fact that we both decided to come to London to pursue our dreams and ambitions.

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

Since we started we shared nights with some very cool 60’s influenced bands. The Carnations who pushed us to get together, Creamer & Wesley, Black Doldrums, The pacers, DIN,… They appeal to us because of their sense of originality, tunes and charm.

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

It’s hard to tell as we’ve been away for many years now and are yet to tour Europe. Elian, Nelson and Dade all used to play in bands doing pub circuits back in Paris, Lisbon and Nizza in Italy respectively. There wasn’t much of a 60’s/underground scene like there is now.

05. How would you describe the style you play?

Psychedelic sixties garage mixed with punk-rock sensibilities. Retro with a contemporary twist.

06. What are your live shows like?

Explosive! Live shows are the best representation of our band. We love to take our audience on a trip, between strong songs and improvisations. That way every show is different and surprising.

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

We all got an eclectic taste in music so anything relevant since rock’n’roll started. In our music, you could find influences from Bowie, Love, Stooges, early Floyd, Pistols, Pixies, Sonic Youth, White stripes and so on. We played covers of ‘Moonage daydream’ by David Bowie, ‘Break on through’ by The Doors. Apart from the top 40 garbage not worth mentioning… Virtuoso music, posers with no songs to offer, any music that sounds safe and formatted (Coldplay?).

08. What are your main influences outside of music?

Each of us in the band, our lovers and our friends. All the crazy characters we meet around this fair old town. Daily lives, socializing at night and Wetherspoons.

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

Elian writes the basic songs, lyrically dealing with love, lust, social commentary and a sense of freedom. Sometimes abstract to paint an emotion or a situation. other times we use music as a way to make fun of the crap that the media and society push on us.

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

One of our new songs: ‘She comes in waves’ or ‘Running out of dreams’, two sides of the same coin. Summer beats guaranteed to take you away. These are both inspired by last year’s adventures, trying to find moments of bliss amidst the chaos. Our favourite song would change every day, let’s be boring and say No Fun by the Stooges.

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

There’s a lot of exciting nights around town and many great talents to be found. The key is to be united and have a sense of community among bands, artists and DJ’s. We’re delighted to be part of this.musical landscape, looking forward to traveling around by inviting bands to a gig in our area and vice-versa, play festivals around the country.

12. What has been the biggest challenge to date?

Making a living in London while having enough time to do what we love and let it rock!

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

We rehearse every week, as for gigs, at least once a month. We once played 2 gigs in a day, that was a little crazy but fun. We’d play once or twice a week if we could. there’s nothing like playing live to get tight and hot as a band. We recorded two EP’s so far and we plan to capture the true essence of the band on tape in the very near future.

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

If you’re curious, the internet and social media make it real easy to find out where the action is, at least in terms of events. We only wish genuine artists who write and sing their own music would be represented more fairly in the media, but at least we don’t own TVs. New bands now do all the promotion themselves and pay Facebook and Spotify for sponsoring and getting their music out there. This is quite sickening when you think of the profits these companies make on behalf of artists works.

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

We like bands with a 60’s/70’s touch like Foxygen, Lemon Twigs and Public Access TV from across the pond. There’s some exciting bands around like Cabbage or Estrons, great shows.

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

It would have to be someone we get on well with, but the list could be long. It’d be intriguing to work with Dave Fridmann (MGMT, Tame Impala) he seems to be a sonic wizard. Abbey Road would be thrilling for obvious reasons, but if we could choose, why not go to a place like Sunset Sound in California? Absolutely everyone we love has worked there at some point. That, or a trip to the desert with Josh Homme.

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

We’re looking forward to experimenting and take our sound further, make new videos and have an album ready by the end of the year. We’ll be going on a tour in Italy at the beginning of March and we’re buzzing about it! Then we play at Le Beat Bespoke in London at Easter (April 2017). Ideally, we’ll continue to create and spread our music across the world and never feel old.

Free at last!

Main Site: eliphant.co.uk

Social Networks:

Facebook:  facebook.com/eliphantsound
Twitter: twitter.com/eliphantsound
Soundcloud: soundcloud.com/eliphantsound
Instagram: instagram.com/elian.eliphant


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drrobert

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: newuntouchables.com/rnbrecords for rare vintage vinyl.

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February 15, 2017 By : Category : Bands Clubs Events Front Page Interviews Music 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 www.lebeatbespoke.com 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 drrobert@btinternet.com 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!

www.lebeatbespoke.com

Cheers Dr. Robert


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admin

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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Dr Robert – Hey! Mr DJ

This entry is part 2 of 20 in the series Hey! Mr DJ

A short profile of New Untouchables Head Honcho and globe spinning DJ Dr Robert 

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

Through the kids at our school and one of our teachers who used to DJ and played ‘Green Onions’ at the Christmas disco (quite sure they don’t play that anymore). Mum and Dad’s old vinyls – mainly 60’s pop and the odd Motown and Ray Charles record. We also had some great local bands in the Medway area including the Prisoners and Milkshakes.

2. Where was your first DJ slot?

Along with old pal Lee Miller at our local ‘Cool Running Scooter Club’ nights held at Ditton Community Centre. The system comprised of two old 70’s record players from our homes hooked up to two speakers.

3. What was your most memorable DJ spot?

Wow, tough one! So many great experiences in the last twenty-five years.

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

My worst experience has to be the trip to the Wilderbeat Festival in Canada. After a long travel by airplane and then a car ride from Toronto down to the lakes. An hour before I was meant to start the festival was closed down by the Police for noise problems.

5. Your favourite scene DJ’s and why?

Another tough question! So many good DJ’s on the scene that are easily identifiable for particular songs or sounds that contributed so much. Ady Croasdell as the first ten Kent albums had a profound influence on getting me interested in buying the rarer Mod club sounds. My DJ team Pid, Chris Dale, Speed and Lee Miller for so many fantastic performances over the last twenty years and also the great variety of Mod sounds. International DJ’s like Philippe Golbert, Michael Wink and Frantz who have contributed many great discoveries, I could go on and on.

6. What has shaped your DJ sound and why?

My sound has changed naturally over twenty-five years and I genuinely enjoy a wide variety of Mod and 60’s sounds which is why I’m still able to enjoy it after all this time. When I started DJing at the weekenders and London clubs it was a mix of Northern/R&B/Jazz/Ska and some British sounds. After a few years, I wanted to do something different as hardly anyone in the UK played Freakbeat and then Psychedelic and Garage music soon followed. In 2004 the NUTs Organisation started the Le Beat Bespoké LP series and the annual event. I still buy all the styles of music I love and play different choons at different venues.

7. What was your best ever find/discovery?

One that comes to mind is the Gene Latter – Holding a Dream on UK Spark which has a super blend of Soulful vocals, fuzz guitar with funky drums.

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

The Beatles, as you can’t deny the consistent quality and the very same artists they themselves idolised and covered at the start of their career, ended up covering the Beatles songs a decade later.

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

Never fallen into that trap. I’m a DJ, not a collector. I buy records with the dance floor firmly in mind. It’s become such an expensive habit now, especially if you draw records from more than a couple of genres like I do.

10. Where can folks currently catch your DJ set?

At numerous New Untouchables events and clubs like Mousetrap, Le Beat Bespoke, Brighton, Margate, Crossfire, Blues Kitchen and International weekenders and festivals. Keep an eye on the website and my facebook page.

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

Soul record: Gwen Owens – Just Say You’re Wanted (And Needed)
Groovy Record: The Pretty – Moustache in Your Face

12. Please give us a top 10 all time favourites and a current top 5 spins?

Top Ten

1. Mike Leslie – Right or Wrong

2. Caleb – Woman of Distinction

3. The Paragons – Abba

4. David Bowie & Lower Third- Can’t Help Thinking About Me

5. Rebel Rousers – As I Look

6. Eddie Jefferson – Psychedelic Sally

7. Billy Hawks – Oh Baby

8. Hold Back The Sunrise – Ron Gray

9. John Lee Hooker – Money

10. All My Loving – Prince Buster

Soulful Sounds

1. Charles Spurling – Just A Minute

2. Bo Junior – Coffee Pot Part 1

3. Vivian Reed – The Shape Of Things To Come

4. Jesse Slaughter – I Had a Dream

5. Utee – Rosa Lee Brooks

Groovy Sounds

1. The Cords – Too Late (To Kiss You Now

2. I know – Dan Nix & The Teen Sounds

3. Oedipus & The Mothers-  How It Used To Be

4. Travis Pike’s Tea Party – If I Didn’t Love You Girl

5. The Tears – Rat Race

 


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Eron Falbo - EDITOR

Brazilian polymath Eron Falbo came to London in 2009 after leaving his band ‘The Julians’ to pursue a solo career and become a cosmopolitician. Falbo began writing at the age of 11 for the school newspaper. By the age of 16 he had got his first job as a journalist. His experience in other magazines stretches from film critic to travel writer, passing through much but never leaving the culture spectrum. Apart from writing, Falbo is also an emerging singer. He was invited to record an album in one of the best studios in Nashville, Tennessee by none other than legendary producer Bob Johnston, who recorded the best material by the likes of Bob Dylan, Simon & Garfunkel, Leonard Cohen and Johnny Cash (all acclaimed writers). As of yet he’s only released one single, ‘Beat the Drums’ which was featured on Dermot O’Leary’s “Go Buy Monday” (single of the week) for BBC Radio 2, among other media. Currently, Falbo fronts the band ‘the Kyniks’ in venues in London and around the UK and can be occasionally spotted prowling the scene of the New Untouchables taking notes.

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February 14, 2017 By : Category : Articles Clubs DJs Events Front Page Interviews Music Scene UK Tags:, ,
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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)

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Interview

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)

buy_tickets


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drrobert

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: newuntouchables.com/rnbrecords 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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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 !

Web Links:

www.righteousmind.co.uk
www.facebook.com/jjatrm
www.twitter.com/JJandtheRM
www.instagram.com/jjandtherm


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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)

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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.

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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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drrobert

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: newuntouchables.com/rnbrecords 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

Find out all latest Mousetrap Dates Here


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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:,
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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

DJ Promo Links
www.facebook.com/groups


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drrobert

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: newuntouchables.com/rnbrecords 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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drrobert

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: newuntouchables.com/rnbrecords 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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Fuzz for Freaks – August Bank Holiday in Brighton 2014

August bank holiday is synonym with the mod pilgrimage to Brighton, a massive migration of hyper accessorized and pimped up scooters, but this year something was lurking beneath the green tide of parkas and amongst the hip suited gents crowding the sunny little town: the fuzz sect was in for a blitzkrieg!

And I, was called, along with fellow high priests (introducing – George Martin  “Theme One”) Alexander Cozzi Lepri of Embrooks fame , Andy Roseaman and Our Lady Holly Calder of the Glaswegian Church of Lysergic, to celebrate the heretic ritual.

First act took place at the Volks, under the arcade on Brighton seafront. There was the usual buzz of mods gathering, some veterans of the night before, some others just arrived and keen to open up the weekend and start the prelude drinking antics in the warm afternoon sun.

To shake this nearly pantheistic idyll here they came, from south France, Les GriGris. Glowering under their fringes, a riotous gang of five took over the stage. Thrilling the air with their mendacious raw rhythm and blues, the way it was, the way it should be, these chaps made their sweaty set of classic covers and standards and, believe me, the word that first arose in mind was “Authentic”!

Singer was sporting a deerstalker hat, Don Craine style, and it was pretty obvious what they were going to deliver… harmonica fuelled stormers from the likes of “Baby what you want me to do” and “Maybelline”, the sort of trembling guitars and raucous vocals renditions that would make the Strypes cringe, and make the Pretty Things, the Primitives and  Wally Tax’s Outsiders proud parents; and with lead guitarist Romeo Kizmiaz casting  pure hendrixian virtuosity and staging raving stunts definitely the best R&B act since the Jaybirds ruled the 90s. Mods around gave their nodding and finger tipping appreciation.

So the first night of Fuzz For Freaks was due to start and, before getting changed I managed, with Ale to have our own initiation passage rite and see the deepness of the obscure knowledge that comes before or in other words a pizza dinner with our very own god of hellfire Berto ‘d Sera.

The Sticky Mike’s Frog Bar, the venue chosen for the night, had a massive cellar complete with stage and a nice bar. At 9 the music was already on, with Lady Holly setting the pace and putting the beautiful people in the right vibe for what had to follow.

They say they hailed from Birmingham but they seemed more like being catapulted straight from the Middle Earth club circa 1968, ladies and gentlemen: The Exploding Sound Machine!

Organ propelled, these folks, who I already have seen at the Blues Kitchen in Camden, were just outstanding as both in the outfits and sound. You instantly got tripped up in a music journey, an all round whirlpool of psychedelic colours and kaleidoscopic noyze. Impressive in the use of all studio trickery, phasing and reverberation they built up the acid frame to inlay the rest of the night.

The venue was packed and the crowd we keen to sweat to the deceiving sound of the swinging sixties and shake their hair to garage punk stompers which the DJ crew was shooting at 1000mph.

At 3am we had to put the word end to the show, but the fun was yet to finish and we moved to the main venue, the Komedia and joined the rest of hardcore dancers till I dunno, but the sun was already up and the seagulls screaming…

No rest for the wicked, so after just a handful of hours I got back to the Volks, which if possible was even more crowded than the day before. The glare of the chrome on the hundreds of scooters in the sunset was epic. So it was the dinner later…one of those memories you always recall with affection, relaxed atmosphere and top, top people were sharing it with me (you know who you were). Back to the B&B to refresh before heading to Sticky Mike’s again.

Two bands were scheduled for the big final. Local band The Dials played an eclectic mix of genres from more gentle pop with a hint of 60s to stronger rock material. The atmosphere was a bit quieter compared to the night before, no matter the second band, The Hypnotic Eye, thought well to shake it up a bit, their way.

Keeping faith to their name, all the audience was indeed staring like they were hypnotized by the seductive vocals of their lead singer. Despite the frantic guitar riffs of Lindsay Murray, another devoted follower of the holy church of the Sixties Underground, I wouldn’t define them as a garage band they don’t fit the role of a revival band, but make their own sound which mixes well their ancestral heritage to the new millennium age.

Hipswinging tunes restarted just after the gig and despite the wreckage of the energies exhumed the night before, people seemed to be tireless so much that once again, captained by psychedelic Rambo Berto, strolled back to Komedia once again at 3 am…

Dr Rob was smoothly conducting the night upstairs and was relieved to see all of us back, and not lost through the Brighton alleys which given our state and the hour could have been a possibility…

If we ever needed to tone ourselves a bit more help was on hand from Mr Royston, who in his kindness, turned up at 5.30 am with a last serving of jagerbombs! We definitely wanted to make the final rush of the weekend at a cavalry charge pace and danced till death!

That was awesome and will be repeated next year. I personally wanted to thank all the night creatures that turned up, the New Untouchables DJ team and all those who managed to chat and put a wide grin on my face. May the fuzz be with you!


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carlosesto

Carlo Sesto is a witty and cheeky character and a mod scene darling from many years standing. He runs the Casbah Candy Records, a mail order shop specialised in mod sounds and beyond. He is the face behind the Italian “Impossibles” mod list and events like “A Hazy Shade of Winter”. An avid collector and an international DJ, his contributions are due on books and compilations.

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September 18, 2014 By : Category : Bands Clubs DJs Events Front Page Music Reviews Tags:, , , , , ,
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Euroyeye 20th Anniversary

Gijon, Spain- 31 July 4 August 2014

Hundreds of Mods and 60’s lovers from around the World have gathered in Gijon every summer for the last twenty years for this unique festival in the northern Spanish province of Asturias. This means a great deal to us so we put probably the best line-up in our history together to celebrate this milestone.

Thursday kicked off in style with a free live gig in the main square of the city with local Spanish Soul band Attica Revolution warming up the 4000+ people with a great mix of originals and covers before Motown legend Brenda Holloway hit the stage for the first time in Spain and blitzed the audience with a magnificent performance. Brenda played almost the same set as Modstock covering big hits ‘When I’m Gone’, ‘Every Little Bit Hurts’ and ‘You Made Me So Very Happy’ and underground hits ‘Reconsider’, ‘Starting The Hurt’ and ‘Crying Time’. Two encores brought the show to close eventually leaving many happy smiling faces waiting for more action.

In truth the festival already begun a couple of weeks before with various art exhibitions and 60’s cult films which are free to visit for a whole month visit the website www.euroyeye.es to view the full program. The first of four allnighters was a short walk away from the main square and after some tapas washed down with local sidra I was ready for one of the hottest bands around right now The Night Beats from Texas. A loud hypnotic beat pinned by the bass and drums with psychedelic guitars and a great front man whipped the crowd into a frenzy and all too soon for me it was over. The night continued with DJ’s doing a sterling job playing sounds from cross the 60’s spectrum.

Friday morning came around far too soon, the first Scooter cruise was a big buzz as usual. The scooters gathered at the open day at Laboral with Lambrettas and Vespas from all Spain (and a few from abroad including Marco & Steve Groves & Friends from Scooter Emporium) at midday to enjoy the live shows, djs, stalls and exhibitions. After the acoustic gig of Nolan Porter and Neil Jones the exhausts of more than 120 scoots begun to burn west towards what some said was the best sights they had ever had on two wheels. A couple of hours everyone came back to the LAB for the exper-i-mental  Rubayat live 8:2 set, something that has never been done before in our scene.

Doors opened at 10pm for the second allnighter with UK band Stone Foundation which many readers here are familiar with making their Spanish debut. Needless to say they won the crowd over with songs from the fantastic new album ‘To Find the Spirit’ before another US Soul legend Nolan Porter also making his Spanish debut joined them on stage playing his scene faves and choice covers. After the live music the allnighter was wild with two dancefloors and the best mod and 60’s music played by over a dozen DJ’s from around Europe.

Saturday morning at 11am we decided to meet at a fantastic new place, all the vintage scooters gathered in what we call “El Rompeloas” (“wave-breaking wall”), in the sports port with the luxury yachts and fishing boats making a great background for nice pictures. After lots of shots and beers the long love (and loud) caravan headed East towards a “walk & ride” called the Claretian Route, almost coming to a stop at very old pathways in the hills near Luanco. The ride finished at the posh Golf Club of Castiello for a vermouth and great Asturian lunch, price giving, raffle and yet more beers, wine and sidra. Lambretta Club of Spain annual meeting also took place with interesting news for members, some of them I know you will love and enjoy very soon (agree, Andy?).

Then it was off to The Battle of the Bands as Sala Acapulco. After watching 4 great bands the winners were Gamonides, they will record a single at Circo Perrotti studios for free as well as getting the support slot at the allnighter on Saturday night. The heavens opened with torrential rain from early evening into the early hours of Sunday morning making an interesting evening on the terrace at the Oasis. Our headline band from La Coruna Fogbound with Fernando from the Elephant band on Hammond gave a great performance with strong originals and great covers like the Artwoods ‘In the Deep End’ which was appropriate for the Oasis swimming baths. The allnighter afterwards was frantic and really crazy ending gone past 8am with lots of people asking for more… not me.

My brains showed me white flag on the Sunday so no scooter action for me. Any fragile souls will have had their bones and brain shocked to the core when Graham Day & the Forefathers hit the stage ripping through over thirty years of Prisoners, Prime Movers, Solarflares and Gaolers material. The Catalan support Los Retrovisores played a mix of US and Spanish Soul and Pop with clever covers and great arrangements of the scene classics. The last allnighter was a blast again with a short break for Mr & Miss YeYe which are always chosen for their party antics over the last four days. Worthy winners were Raul from Andalucía and Amanda from Brazil. Champagne popped and crowns and banners fixed and it was time to party like it was the last one ever at the Oasis. Dr Robert was scheduled to finish at 6am and after about 5 encores with Esther Phillips ‘Just Say Goodbye’ and The Animals ‘It’s My Life’ the songs I can remember, the party was over for another year.

A fantastic restaurant was booked for everyone Monday to enjoy the local dishes and Sideria before their journey home.

Join us next year from 31 July to 3 August 2015 for EURO YEYE 21.

Pictures by: Eva Lussina Lopez Guisaraga
More photos and news at: www.euroyeye.es

Many thanks to all sponsors and all the artists, bands, djs and everybody involved in the organisation or simply everybody that made it to the yeye in these difficult times to create this unique atmosphere.


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drrobert

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: newuntouchables.com/rnbrecords for rare vintage vinyl.

More Posts - Website - Twitter - Facebook

September 18, 2014 By : Category : Bands Clubs DJs Europe Events Front Page Music Reviews Scene Tags:, , , , , , , , , , , ,
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The History of Northern Soul by Ady Croasdell

The Crossfire oldies allnighter in London on Easter bank holiday Sunday (20th of April 2014) promises to be something else with a stellar DJ line-up taking you on a musical journey through iconic Northern Soul venues like the Twisted Wheel, The Torch, Wigan Casino, Stafford and The 100 Club.

On our recent DJ adventure to the Mojo Workin’ weekend in Spain I managed to grab a chat with Kent Records and 6TS promoter and DJ Ady Croasdell for his personal account on ‘The History of Northern Soul’.

I first went to a rare soul all nighter in early 1969. It was in a solitary disused railway station about half a mile from the hamlet of Kelmarsh in north Northamptonshire, 5 miles from my home town of Market Harborough. I knew the big soul acts of the day whose records had made it to the UK – Otis, Wilson Picket, Carla Thomas, Temps, 4 Tops, Supremes, Fontella Bass, Brenton Wood Etta James – but the records I was hearing at the nighter were by the Esquires, Tony Clarke, Homer Banks and the American Poets who I had never heard of. The small function room soon filled up with 100 skinheads most of whom were dancing in groups or solo, so being on my own I felt comfortable to get up and move to the music. The crowd seemed intense but friendly despite my hair being longer than all the other blokes combined.

I told my mod/skin mates in Harboro about it and soon there was a crew of us going over, getting the pills down our necks while dancing to this alternate type of soul which we referred to as Old Soul. Who knew Tamla singer Kim Weston had recorded an uptempo soul mastepiece in ‘Helpless’ or the Velvelettes had cut one called ‘These Things Will Keep Me Loving You’? We made friends and recognised some of the other attendees as characters from Kettering, Corby and Wellingborough whom we’d normally avoid but here in this secret meeting place it was all cool and we had a shared love of the music and the speed.

It turned out there were outcrops of similarly minded youths around the country in Leeds, Wakefield, Manchester and Derby. Even handier for an impoverished student like me a bloke called Dave Godin wrote about it in the Blues & Soul magazine; complete with playlists and tips and recommendations of places to go to hear these secretive sounds. Eventually Dave would dub the scene Northern Soul in his Blues & Soul column and the name would stick.

The clubs were keenly watched by the dedicated drugs squads of the local police. Northants was supposedly one of the most serious in the country and they were getting pissed off at the number of chemists that were getting broken into around the county.

The raids they conducted eventually closed Kelmarsh and I mentioned it to Harboro’s local dance promoters who ran the Frollickin´ Kneecap nightclub. They started to then run all nighters at our town centre venue, renaming it the Lantern for those dances and making it a dedicated members club to get around the restrictive licensing laws. The scene was so small yet dedicated that there would usually be only one or two nighters on in the country at any time and when the Twisted Wheel in Manchester was finally raided early one Saturday night, the blocked up youths made the 100 mile drive down to Harboro to dance their blues away; in all senses of the word. The Wheel had been the total brand leader and the epitome of cool, style and sounds and its demise was a major blow to young go-getters across the country. Like the Lantern, a handful of other nighters would then spring up and be closed down as the drug taking soared and the squads simply clamped down.

The next venue to become the undisputed Mecca for the nighter goers was the Torch in Tunstall, Stoke On Trent. It was bigger than the traditional 100-300 clubs that had previously been host to the scene but the 6-800 capacity old music-hall, complete with balconies and theatre boxes, was ideal for the rapidly expanding clientele. Also it was dark as hell, dripping with atmosphere and sweat and the DJs were moving away from the classic mid to up tempo Chicago and Tamla beat to seriously stomping sounds that could keep pace with the drinamyl-induced pumping hearts of the mainly teenage audience. DJs, collectors and record sellers were finding more and more ways of getting their hands on the vast number of mid 60s soul releases that had not reached our shores before. Johnny Sayles, The Younghearts, Mamie Galore, The Fuller Brothers and the Cooperettes seemed to be even more glamorous soul names, none of which had ever got close to an English release.

The Torch lasted for little over a year but had accelerated the scene’s growth and demand so that when the next big all nighter started in 1973 it was more than big, it was massive.

Wigan Casino was a similar ancient music hall / dance emporium but about four times the size and more of a complex than a venue; you could house a small town in its many rooms. Early attendances were adequate but the place was far from full and in fact seemed a bit too big for purpose when I went to one of the early nighters. A few months later on my next visit it was rammed to the rafters, using the Torch´s blueprint of non-stop stompers its reputation had spread across the country and youths across the whole breadth of Britain, disaffected with both the teeny bopper and pompous undergound of the UK’s pop scene had become die-hard soul fans overnight. It was admittedly a certain style of soul starting at 85 mph and going up to 140 in extreme cases, sometimes the soul quotient was forgotten about. What the hell, there were thousands of stunning sounds out there in good ole black America just waiting for jaw-grinding scruffy UK youths to hop on an aeroplane and rescue them for their own personal kudos and wealth and for the edification of 2,000 kids moving as one, hand-clapping in just the right places. The scene was so big it could accommodate other big all nighters at places like Cleethorpes and Yate near Bristol as well as the big and influential evening events at the Blackpool Mecca and elsewhere. The Northern Soul weekend experience was so intense it would incorporate big Sunday all dayers so that reprobates need never see their parents between Friday morning and Monday tea.

It continued as a big noise throughout most of the 70s but the alternate punk, jazz funk and disco scenes creamed off many attendees and offered alternatives for potential new recruits: the scene was becoming jaded. In London in 1979 the mod revival was underway and a small club called the 6TS Rhythm ‘n’ Blues Society was showing those style converts what the original mod soul music was about.

After 18 months of moving around the capital, the 6TS ended up at the 100 Club slap bang in the middle of Oxford Street where it still runs in that distinguished basement club today. In a way it was back to the roots as a venue as well as musically and the classic dingy, smoke-filled, basement club was ideal for the nutters and fanatics who have slunk down those famous stairs over the last four decades. Musically though it started out as classic club soul with a dash of R&B, it reverted to the more standard Northern Soul formula once the all nighters were established around 1981. There was even a period when the rare 70s soul scene made an equal contribution to the musical playlist but that was reduced drastically when the club took up the gauntlet handed down by the 60s Mafia DJs of Stafford’s Top Of The World All nighters around the mid 1980s.

DJs Keb Darge and Guy Hennigan in particular were fed up with the staleness of constantly played oldies and reckoned there were still a lot of records, hardly known by the public let alone collectors, that could turn the scene on its head. Keb had a devoted band of followers who he would give cassettes of his new finds to so they would know his playlist when it was debuted at Stafford. They would rush to the floor to dance to records that otherwise would only have had interested looks. Guy was similar and mixed up the tempos a bit more than stompy Keb. He was the prime mover in big beat ballad scheduling and records like Tommy Navarro’s ‘I Cried My Life Away’ and Romance Watson ‘Where Does That Leave Me’ became massive. Keb also DJed at the 100 Club and Leicester nighters and soon the word was spreading. I was converted by the Latin sound of Bobby Valentine and spun a few down the 100 Club as well as big beat ballads like Johnny Maestro, Kurt Harris and the Trends ‘Not Too Old To Cry’. However what really put the 100 Club on the map, and helped the newies revolution, was finding some magnificent previously unreleased 60s soul tracks from the record company vaults. Melba Moore ‘Magic Touch’, Maxine Brown ‘Torture’, Chuck Jackson ‘What’s With This Loneliness’ started it and the Pied Piper RCA finds of Kenny Carter ‘What’s That On Your finger’, Willie Kendrick ‘She’ll Be Leaving You’, Lorraine Chandler ‘You Only Live Twice’ and Sharon Scott ‘(Putting My Heart Under) Lock & Key’ took it to a new level.

With the newies scene now established the super-rare scene started driven by one of Keb and Guy’s gurus the Stoke DJ Butch who had the best rare soul collection in the world and possessed records and later acetates so rare nobody could come close to him for 20 years (ongoing). It’s the territory of “how many of these are known in the world?”; the answer is usually less than five.

Stafford closed but the 100 Club kept on and new venues like Lifeline, Rugby, Burnley, Prestwich, The Dome, and others had their deserved moments in the spotlight. The 90s saw many returnees to the scene but a lot of those were happy to dance to the tunes of their youth and the rare scene has struggled in recent years. However the 2010s has seen an influx of new young faces and they are as keen on the new as the old, so there are signs of a revival in all areas and attendances are on the up again. A great new film on Northern Soul has been made by a Bury lass who has been a 100 Club regular for twenty years and the impact of that is eagerly anticipated.

Get down early and grab a space on the huge wooden dancefloor in the main ballroom and dance all night to 8 hours of the finest Northern Soul CROSSFIRE style. Tickets here: www.229thevenue.co.uk/modstock


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drrobert

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: newuntouchables.com/rnbrecords for rare vintage vinyl.

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April 4, 2014 By : Category : Clubs DJs Events Front Page Music Tags:, , , , , , , , ,
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Brighton Mod/60’s Weekender 2013 Review

The August bank holiday saw the New Untouchables team heading for Brighton to set up for a hotly anticipated weekend of fun in Britain’s best seaside resort. In this video are some of the highlights from 2013. Join us same time, same place next year for more action.

A Massive thanks to the team: Pip! Pip!, Ellie, Kolorz, Carlo Sesto, Graham Lentz, Lord Savage, Doug Sturrock and Nicky Bubbles (Bar Italia). The soundtrack was superb all weekend big shout for the live bands Faith Keepers & the 45’s, plus the NUTS DJs: Chris Dale, Lee Miller, Pid: special guests Pete & Kris Tebbutt, Holly Calder, Mik Parry, Ginger Taylor, Yann Vatiste, Andy Roseman, Jamie Parr, Simon Bridger, Craig Simpson, Dean Chalkley and Graeme Very and all those who spun at the open decks session at the Volks Saturday and Sunday afternoon.

Credits: Video by Doug Sturrock @ Stable Studios & Photos by Carlo Sesto


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drrobert

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: newuntouchables.com/rnbrecords for rare vintage vinyl.

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September 20, 2013 By : Category : Bands Cars and Scooters Clubs DJs Events Fashion Front Page Music Reviews Tags:, , , , , , , ,
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