The eclectic final night (Sunday) of LBB9 this year proved once again that we can all get on, with a musical journey from northern soul to psych and everything in between. The Crossfire allnighter also welcomed 70-year-old American R&B performer, Bill Bush, who was unable to perform on the night but took a bow when his record, ‘I’m Waiting’ filled the floor in the main hall. Nutsmag editor, Scotch Martin, was Bill’s guide for the night.
Remarkably, LBB9 was my first visit to Crossfire, with my other half usually getting the ‘pass out’ for this event while I babysit. But I had a very special reason for going this time as American Hammond player, Bill Bush, was over visiting Caroline and me and wanted to drop in to see what all the fuss was about.
Also travelling with us was Cassiobury Soul Club DJ, Martin Harland, and when we arrived the bands had already started in the main hall prior to the allnighter. Two live bands appeared and fellow Glaswegians, The Beatroots, were first to take to the stage. My old friend, and extremely talented, Groovy Graham, was playing sitar, which really added another dimension. Graham and vocalist Neil were previously in Figure 5, the fantastic power pop ensemble who brushed so close to fame they could taste it. But despite appearances across Europe, festivals, gigs at the Albert Hall and Camden’s Electric Ballroom, and an American TV advert major commercial success eluded them.
If you were lucky enough to pick up their free CD, you’ll already know that those years of training has produced a highly competent, psychedelic super group that are already making swirling, shimmering waves everywhere they play.
A big buzz followed for young Dutchman, Jacco Gardner, whose elf like persona fits well with his early Floyd / Sid Barrett-style cosmic sounds. A laid back affair with songs from the new album plus the singles. We were all curious to see if he could create the well-crafted studio sounds live.
I was bowled over with the musicianship, quality and imagination of both sets and although it’s not my ‘thang’, being more of a soul fan, I thought both bands impressive and talented.
The R&B room, at first freezing, later boiling, was hosted by long-running R&B club Mousetrap and DJ’s included Roger Banks, Alberto Valle (Barcelona) and Bill Kealy (Ireland) plus residents Rob Bailey & Chris Dale. The atmosphere is all very mod, with the whole black music spectrum covered from late fifties blues and R&B to late sixties Latin, boogaloo and reggae. That was where Bill and his entourage settled initially, signing autographs and meeting people before his appearance later. It all goes on at LBB!
Bill was particularly fascinated by the energy of the pysch room, where a DJ line-up from all over Europe had belted out the rarest and wildest garage, freakbeat and psych for two nights already and said it reminded him of New Orleans in the 60s. Special guests Sunday were Irish lads Paddy & Sarge, joining Miguel Ygarza (Spain), Carlo Espero (Italy) and NUTS own Dr Robert. The last record rang out at 6.15am with the lights on and a stage full off fun seekers still looking for kicks and shouting for more.
The Crossfire allnighter has a ‘London oldies’ music policy and didn’t disappoint. Most of the tunes from Sean Chapman, Ady Croasdell, Chris Dale, Derek Mead and Roger Stewart were guaranteed floor fillers, and the crowd showed their appreciation with a packed dance floor.
At 1am Chris Dale’s prized copy of ‘I’m Waiting’ shook the floor and Sean Chapman introduced Bill Bush, who thanked the dancers for supporting his music. It turns out that, at 70, it was ‘all a bit loud’ for the guy who played with Bobby Bland, Jerry Lee and Eddy Giles amongst others back in the day – but he left having fulfilled an ambition, to watch his obscure b-side from 1965 pack a dance floor in London, England in 2013. Job done.
Thank you to Ramees Farooqi, Esther Bellepoque & Cloat Culterior for all the great photos. You can see the full LBB9 Photo Albums from Ramees Farooqi & Esther Bellepoque here and from Cloat Culterior on Facebook here. You will need to login to see them!
Since the local youth club in the early-eighties Martin’s been Djing with records of one sort or another. Spots at the CCI National Mod Rallies across Britain in the 80s were followed in 1990 by the first in a line of successful northern soul and mod clubs in Glasgow. With four others he started Goodfoot in 91, with Acid Jazz-influenced playlists of Blow Up in London, and Brighton Beach in Leeds. Goodfoot arguably paved the way for a new generation of mod-influenced clubs in Glasgow over the past 20 years. Living in London in the late 90s Martin DJ’d at neuvo-modernist clubs including Where’s Jude and Lordy Lord, as well as regularly spinning at Duffer of St. George parties and other happenings. A career highlight was supporting legendary organist, Jimmy Smith, as well as pulling off 10 consecutive club nights during the 1995 Glasgow Jazz Festival. By 2001, back in Glasgow, Caledoniasoul launched. A definitive milestone in the Scottish soul scene, the club ran for six years and brought Butch, Mick Smith, Mick H, Arthur Fenn, Mike Ritson, Dave Rimmer and Ady Croasdell to Scotland for the first time to experience the sweaty, full-on atmosphere for themselves. As a journalist Martin has always written about music. In 2004 he tracked down singer and organist, Bill Bush, whose soulful, jazzy rarity, I’m Waiting on Ronn, was hitting on the northern soul scene. After visiting Bill in the USA and interviewing him for Manifesto he brought the band over to perform in the UK, complete with Hammond B3, and has helped Bill profit for the first time from the 1968 b-side. Martin is married to Caroline, has two children, lives in the London suburbs. Still collecting after 30 years!
Le Beat Bespoke Weekender, 229 Great Portland Street, London - Saturday (afternoon) March 30 2013
Out of all the bands that have graced the LBB stages over the years, legends from five decades and several continents, the one that would deliver the goods head and shoulders above all others for Nutsmag regular, Darius Drew, was West London’s very own, The Aardvarks.
First of all a few words for the barnstorming (if somewhat cartoonish and parodic) R’n’B support, MFC Chicken: equal parts Sonics, Feelgoods, Shondells and Ram Jam Band, with a touch of sweet Gene Vincent crooning, but adept writers of their own material, their earthy delivery provides the ideal aperitif for the upcoming sonic psych banquet, and unlike most of today’s pretenders found lurking around Hoxton fashion boutiques throwing this stuff on for kicks, they’ve been putting a fungus among the denizens of the Holloway Road for a good two decades.
And so on to the Aardvarks. I’m sure Gary – alongside his brother Mark on guitar – Jason Hobart on bass and Ian O’Sullivan on drums – believed that loads of old friends would come out of the woodwork for this special event, their first London show in almost a decade!
The LBB audience witnessed a heroes return, with even lesser-known numbers like the superbly Townshendian ‘Bad Clothes’ received like old friends (lest we forget, they were the band that helped unite the once-divided Mod scene in the 80s after all, bringing psych, garage, soul and pop strands together). The assorted members of the London gangs - The Masonics, Wildebeests, Of Arrowe Hill and even heavy rockers Leaf Hound, who (technically) predate them by a decade and a half, have come to bestow good wishes.
Forget all the legends told to me over the last two decades by various London faces, what I witnessed here was a show from a truly great British rock ‘n’roll band, period. They were even generous enough to share the good vibrations with some fat git from Aylesbury (I wonder who that might have been?) who they dragged up to play tambourine during a clutch of encore covers that included Easybeats’ ‘Sorry’, the Wimple Winch’s ‘Save My Soul’ and the Sorrows’ ‘Take A Heart’. In one hour they kicked the arse of practically everyone I’ve ever seen or reviewed here.
From the familiarity of such standards to the underground thrust of their own ‘You’re My Loving Way’ and ‘Girl On A Bike’ they really do sum up the feelings of a whole generation who were born too late to experience the greatest era of music first hand, yet decided they were going to try their damnedest to live in it anyway. Good on ‘em. But this is not simply a nostalgia trip. In fact, by some twist of bizarre logic, it would appear that after nearly three decades, the Aardvarks have not only finally become as much of a “classic” psych act as the 60s originals that influenced them, but a contemporary one. The future promioses collaboration with Adam Easterbrook and the Arrowe Hill chaps sounds promising. Watch this space, eh la.
So has the definitive retro band of the recent past finally arrived at their designated stop, coming round in a complete circle to meet themselves walking the other way? Possibly; and if that sounds like acid-drenched gibberish, then that in itself only stands as further proof that they’ve achieved their objectives and had precisely the level of influence they wanted.
Thank you to Ramees Farooqi, Esther Bellepoque & Cloat Culterior for all the great photos. You can see the full LBB9 Photo Albums from Ramees Farooqi & Esther Bellepoque here and from Cloat Culterior on Facebook here. You will need to login to see them!
Dashing Darius Drewe Shimon, aka just 'Drewe' 'Druid' or 'The Shim' to his mates, 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.
Le Beat Bespoke 9 split the atom once again with a great weekend featuring the full spectrum of mod / 60s music and Nutsmag’s Graham Lentz was there for (almost) the whole event. He joined Cerys Matthews, Chris Difford and Jeff Beck, to name just a few of the celebrities who realised something special was going on down Great Portland Street over Easter.
After the disappointment of Cornershop pulling out due to illness a hastily re-jigged line up saw the opening night (Thursday) get underway with indie/psych outfit theSee See. I hadn’t seen them before.
Stand out tracks were the title track from their latest LP, Fountayne Mountain, including ‘Painted Blue’ and the haunting new single ‘The Rain and The Snow’. The vacated headline slot was taken up by Alpha 9. I championed their latest LP ‘Gone To Ground’ in the most recent edition of Nutsmag but what I was interested in was whether they could get close to recreating the sophisticated sound and harmonies evident on the album – they did and LBB9 was off to a great start.
The Friday, arguably the most hotly anticipated night of the entire weekend, saw up-and-coming headliners, the Strypes, almost literally raise the roof with the cheer at the end of their frenetic performance.
My guess is that the packed venue (it really was rammed) was quite surprised by the in-your-face full-on Australian garage onslaught from the Frowning Clouds. As it turned out, most of the their set was made up of new material from their forthcoming LP, sounding like an equally impressive follow up to last years ‘Listen Closlier’.
The last time I saw the Strypes, they supported the Sorrows at 229 for the New Untouchables Crossfire back in late October 2012. Much has happened for the lads since then. A record deal with Mercury, a management deal with Elton John’s agency and a new single out, it’s all been going on. The Strypes are possibly the hottest ‘organic’ (as in NOT Simon Cowell created) band anywhere on the planet. These boys have genuine talent, they can play, they do it because they love music, not for 15 minutes of fame, and they have a massive future ahead of them.
I was elated, as were the crowd. It was clear to me that a lot of work has gone into sharpening the live show and what a show it was. Along with the now familiar R&B tracks we got the new single ‘Blue Collar Jane’, which I might add is fantastic. In all my visits to 229 The Venue, I don’t think I’ve ever heard a roar like it at the end.
Two of the three bands on Saturday had been reviewed in a previous edition of Nutsmag, so I had a very good idea what to expect, but even I was not prepared for the high-octane output of three of Wild Records extraordinary stable of rocking R&B artists.
First up was Omar and the Stringpoppers, they warmed up with numbers from their back catalogue and a few choice rockin’ covers. I found myself glancing around at an amusing sight of rockin’ ladies and gents, all of whom were very nicely turned out, at the front with curious mod-types, equally dapper, gathered at the back.
If anyone (like me) had relaxed a little too much after Omar’s session we certainly got a jolt from the Rhythm Shakers. With a set comprising many tracks from their current LP ‘Flipsville’, Marlene and the guys really did rock the joint. ‘But Still You Left Me’, ‘Rockin’ Daddy’ and ‘My Sweet Revenge’ really were outstanding. Marlene’s presence on stage is a sight to behold.
The audience barely had time to gather itself before the headliner. Gizzelle is also something special. She is the ‘Etta James’ of this generation. Power, subtlety, emotion and finesse – she has it all.
I handed over the batton for Sunday, but, there you have it, three nights, seven top quality bands and a lot of very happy customers. Le Beat Bespoke 9 could possibly be the best one yet.
Thank you to Ramees Farooqi, Esther Bellepoque & Cloat Culterior for all the great photos. You can see the full LBB9 Photo Albums from Ramees Farooqi & Esther Bellepoque here and from Cloat Culterior on Facebook here. You will need to login to see them!
Like many of his generation, The Jam started Graham's love affair with all things mod back in 1977.
He is the author of 'The Influential Factor - A History Of Mod' which was originally published in 2002. An extract from the book was re-printed in Paolo Hewitt's 'The Sharper Word - revised edition' in 2011.
Being a self-confessed 'broad-church' mod, Graham's interests range from Modern Jazz to today's up-coming new bands and everything in between. Although he has a passion for mod history, he also has a passion for the new. Whether it's music, clubs, media of every kind, clothing, scooters or art and photography, Graham supports, promotes and encourages as much as he can, because that's how we keep going. 'Give it a chance' is his motto. If it's not for you, that's cool, at least you tried it.
As you may have gathered, I’m a mod from the 1979 generation, and as such,
I have a love of all types of music within the mod spectrum and some outside of it. For this reason, I was really taken with this splendid EP from four-piece all-girl combo the Franklys. As reference points, they resurrect the spirit of Siouxsie Sioux, Slits, Au Pairs, the late Polly Styrene and even the pre-Everything But The Girl Tracey Thorn with her band Marine Girls. What about Debbie Harry and Blondie? No I don’t think so. The Franklys are too hard core for a Blondie comparison. The band comprise of Jennifer Ahlkvist on guitar and vocals, Fanny Broberg on guitar, Zoe Biggs on bass and Nicole Pinto on drums and what a great sound they make. Lead track ‘Weasel’ is a belter and rightly deserves it’s place at the top of the track listing. ‘Imaginarium’ gives a nod to early Joy Division with a delightfully haunting quality. ‘My Love’ takes the pace off, but picks up the un-nerving, unsettling mood. ‘Roadtrip Reality’ rocks. I can’t say anymore about it. It really rocks! And to complete the five track outing, ‘Some People Leave’ gives the Franklys the opportunity to show their potential with a song that shifts in pace, rhythm and complexity that the girls handle comfortably. This is a band I shall make a point of seeing live in the very near future because if their gigs are as full of energy and excitement as this EP, they will be well worth the admission price. Best of all, they are talented bunch of young ladies with their own sense of style (and I suspect) they have a habit of giving a two-fingered salute to anyone who gives them flak. You go girls! (as the saying goes).
Hypnotic Eye - Readin’ Your Will b/w Satisfaction
Hypnotic Eye are a six-piece psych outfit from south-west London who seem to be causing a stir on the gig circuit. They’ve been referred to as looking like they’ve just ‘stepped straight out of 1968′. I must admit, they do have a great look and the focus is very much on lead singer Grace Lightman. Her voice may be a touch ‘squeeky’ for some, but her vocal style definitely suits Hypnotic Eye’s music. ’Readin’ Your Will’ either by design or not, takes the riff from the Monkee’s ‘(I’m Not Your) Steppin’ Stone’ and remodels it into a tasty slice of authentic up-tempo psych with Miss Lightman and (I’m guessing) Lindsay Murray sharing the vocal duties. ’Satisfaction’ sees Grace taking us through a scratchy-guitar fuelled psych dancer with her pleas to ‘satisfy me’ with plenty of ‘yeah, yeah, yeahs’ to back her up. This is a ‘must’ for any psych fan. They do have a great look.
Button Up - Inhaler Single
Let’s get the basics out of the way first. Button Up are a terrific band based in Coatbridge near Glasgow and yes, this is a cover of the Miles Kane track from November 2010 which was re-released in July 2011. Inevitably, if you are going to do a cover, you leave yourself open to comparison with the original version. So, if you’re going to do it, do it well. Fortunately, Button Up have done just that. They have done it well, with swirling Hammond organ runs, stabbing brass section parts and with the urgent pace that the song demands. Vocally, Sara Kerr does a splendid job and over all, Button Up have turned this into the kind of rip roaring dancer that it always had the potential to be. But don’t get me wrong, I love Miles Kane’s original. I always believed ‘Inhaler’ would eventually be regarded as a ‘modern’ classic among the new generation of mods who are setting their own standards and interpreting mod for themselves….much like my generation did in the 1979 period. I would imagine this is a very popular part of Button Up’s live set, and rightly so. Great song, great version. There will be more Button Up reviews in the next NUTsMag due out in May 2013.
Like many of his generation, The Jam started Graham's love affair with all things mod back in 1977.
He is the author of 'The Influential Factor - A History Of Mod' which was originally published in 2002. An extract from the book was re-printed in Paolo Hewitt's 'The Sharper Word - revised edition' in 2011.
Being a self-confessed 'broad-church' mod, Graham's interests range from Modern Jazz to today's up-coming new bands and everything in between. Although he has a passion for mod history, he also has a passion for the new. Whether it's music, clubs, media of every kind, clothing, scooters or art and photography, Graham supports, promotes and encourages as much as he can, because that's how we keep going. 'Give it a chance' is his motto. If it's not for you, that's cool, at least you tried it.
This entry is part 19 of 19 in the series NewBreed
Band Members:
Marlene Perez - Lead Singer
Victor Mendez - Upright Bass
Andrew Himmler - Guitarist
Ricky McCann – Drums
Discography:
Flipsville (2008)
The Young Breed (2009)
Hit The Road (45 RPM 2009)
The Wildest Party 10”
Record (2010)
The Wild Show Live (2011)
Shake Your Hips (45 RPM 2012)
New Record (2013)
1. How long have you been active for and how did you get together?
We have been a band for a little over five years.
2. What influences do the band members have in common?
A passion for music, kebabs, booze and sense of humour.
3. Are there any other bands you’d recommend from your area?
I would recommend The Neumans. They just joined Wild Records and they’re pretty amazing.
4. What’s the 60’s/underground scene like where you’re from?
There are some very good DJs and clubs out there and it’s very entertaining. There are quite a few scattered around Los Angeles. Wild Records has been fortunate enough to find great 60’s style bands like The Hurricanes, The Neumans, The Bosstides, The Bloodhounds & obviously Don Juan Y Los Blancos.
5. How would you describe the style you play?
Aggressive rock ‘n’ roll. I don’t really sing about mushy, lovey-dovey things. I write my songs based on how angry I am so it generally turns out that way.
6. What are your live shows like?
We like to feed off the audience’s reactions. The more the crowd is into our show, the crazier we get. Once I ended up on the floor with my hair soaked in alcohol and my hands bloody from pounding on the stage.
7. What are your main influences in music? Who do/would you play covers by?
We have lots of influences from different genres whether it’s Ronnie Dawson or Brody Armstrong from The Distillers. If we like what we hear, we take that same energy and try to incorporate it in our music.
8. What are your main influences outside of music?
Happiness.
9. Who writes your songs and what subjects do you deal with?
I usually write the lyrics but the band helps me put everything together. The subjects are along the lines of heartbreak or being angry as a result of it.
10. What’s your favorite song by another artist?
At the moment, it would have to be ‘Shake Your Hips’ by Slim Harpo. It always gets the crowd moving and dancing.
11. How would you describe the current underground scene? Do you participate?
Because there are constant shows all over L.A. I try to make it to as many functions as I can. Sometimes there are two to three shows in one night so it makes it a bit difficult to choose from. We’re pretty fortunate to have lots of people involved in the underground scene.
12. What has been the biggest challenge?
Working on music. I think I tend to over think lyrics, melodies and the music in general. I can have a whole song structured and finished then I’ll turn around and throw it out because I feel it’s not good enough.
13. How often do you Rehearse? Play Live? Record? Anything interesting coming up?
We don’t rehearse too often and we play live about once a month at least. Our next big gig is the Le Beat Bespoke Festival in London (30th March 2013), which we are all extremely excited about.
14. What do you think of the music coverage in the media?
It’s non-existent in the indie scene.
15. Do you rate any current mainstream or underground bands?
By underground, do you mean outside of my own scene and the soul scene? If so, then I really enjoy stuff by The Black Keys, The Alabama Shakes, Jack White, The Dead Weather, Imelda May… I can keep going for days.
16. Who/Where would you most like to record with and why?
I would love to record with Imelda May. I think she’s a brilliant entertainer.
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 are currently working on new music and planning to record in the next few weeks. I would love to play more gigs with the band overseas. I think we are very fortunate that we have opportunities like that. There are 2 European tours in 2013 and an Australian tour in 2014. I hope the World doesn’t end before then.
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.
Owner, producer, baby momma for the Wild Records bands. Based in Hollywood, CA.
1. At what age did you first discover Rock’n’Roll music?
In my mother’s womb, or around 12 years of age.
2. What artists and styles of music were you listening too as a teenager?
Glam rock; T-Rex, Bowie, Roxy music… then first wave punk; Buzzcocks, Pistols, Clash, Penetration. Along with Elvis, Roy Orbison, The Animals, Mavelettes, and all of Motown/Sun records.
3. You were a well known DJ and socialite on the London Rock’n’Roll scene many years ago. What were your reasons for moving to the UK from Dublin, was it’s totally music related?
I moved to the UK to work at Rough Trade Records who at the time were releasing fantastic punk and new wave. I worked there for about five years.
4. What were your favorite hangouts and clubs during your time in the Capitol?
The Hope & Anchor, The Lycum, the Marquee Club, Acklam Hall, The 100 Club allnighters, Station Tavern & Dingwalls.
5. There were some truly fantastic young bands around in the 80’s and 90’s in Great Britain who were the cream of the crop in your opinion and do you think that music has progressed since then?
Chords, the Clique, the Aardvarks, The Blue Rhythm Boys, Carlos & the Bandidos, The Jumping Jacks, Big Town Playboys, Electrocuting Elvis and too many more to mention. I think music has definitely progressed since then.
6. You moved to the USA, was it always your intention to start a record label and why?
It wasn’t my intention to start a record label. I started the record label because I found artists that I felt were unique and were unlikely to find a record label.
7. When did you first start Wild Records and who was your first artist on the label?
I first started Wild Records in 2001 and the first band was Lil Luis y los Wildteens followed by Omar & the Stringpoppers.
8. How do you compare the acts of today on Wild to say the bands from Europe during the 90s?
The main difference is originality. A big difference, what I mean by this is by most bands in the 90’s were not writing original material. Currently, almost all the acts on the label write their own material.
9. There seems to be a huge following of the Wild bands worldwide why do you think this is?
See previous question and also the Wild bands I believe offer a fresh approach to the rock’n’roll music they play. All our bands look to the future, not the past. The Wild bands don’t feel they need to fit into a box, that is, rockabilly, punk, garage, just be a wild band–unique, honest, passionate and a little messed up. Our audience, I believe, have the same passion as our band members about music.
10. Who is the most booked act from Wild Records since Its birth?
In this order; Omar Romero, Gizzelle, Luis & the Wildfires, Dustyn Chance & the Allnighters, The Rhythm Shakers, Hi-Strung Ramblers but Omar Romero would be the #1 act booked since the beginning, someone has to be.
11. What does the future hold for California’s Wild Records and do you think that the Rock’n’Roll scene Worldwide is still a healthy one?
We have the movie coming out this year which is a feature length documentary that spent nine months filming in 2012 about myself, five featured characters from the label while also filming all the wild bands and a lot of major shows. Our recording sessions are booked through 2014. Our release schedule is also full through 2014. We will continue to hold quarterly auditions for new acts and I remain astonished at the huge amount of people that have been attending these auditions. So things are looking good.
12. Who is ‘the’ most influential person in your life?
My son, Hayden Kennedy, who inspires me to love and have passion for life who inspires me to appreciate my wife, Jenny and my Wild family.
13. And finally Reb, you are stranded on a desert island with just a record player and three of your most prized nuggets on 45rpm. What would they be?
Warren Smith, any of his Sun 45s (I have them all), Barbara Lynn–Lonely Heartache, The Undertones–Teenage Kicks; I could give you 3,000 prized 45s but that would get boring.
Cosmic Keith - Long time collector and owner of the small independent record label ‘Boparama’ since 1992 and the ‘head honcho’ in London's Metro & Boston Arms Rockabilly clubs .
There has always been an individual spark about Cornershop, While Paul Morley, the Observer, has said, ‘as interesting and adventurous as the Beatles’ and fans have described them as ‘instant aural sunshine for a grey day’. In the live arena they have toured extensively in mainland Europe and America with the likes of Beck and Oasis. Man about town, Darius Drewe, caught up with Tjinder Singh of Cornershop for an exclusive interview for NUTSmag.
DD: Why such a massive gap between albums? Five years passed between ‘When I Was Born’ and ‘Handcream’ and then a further seven before ‘Judy’. Are you perfectionists, extremely busy or just lazy?
TS: ‘When I was Born’ and ‘Handcream’ had a Clinton album between them, and between Handcream & Judy I did a film and we released a couple of singles through Rough Trade, and then set up our own ample play label. Also we all had kids except our percussion who bought more congas and became a qualified nurse. In the last three years we have had three albums out. The average is plain to see even if you are not a further maths prog rock tutor. More seriously though, there is no point in pushing albums out unless you play the game, and we are not in it as part of the game.
DD: Back in the day you were photographed burning pictures of Morrissey due to a throwaway comment made and a misinterpretation of a lyric. How do you look back on all that 22 years on?
TS: Here was a person whose music with The Smiths we had all liked, putting out dubious feelers using Skinhead imagery, unqualified lyrics, Union Jack drapery, and like his denial on his sexuality (which is his right) not elaborating on the issue. The unfortunate thing is that not elaborating on the issue of fascism still breeds race crime, from someone whom was very influential at the time. As an Asian at a time when Asians were seeing increased street violence this wasn’t something I, and we could let pass. All these years later, I think we did the correct thing, and our stance on other issues has borne out that we did it with the right intentions.
DD: You were away for a few years, then returned with quite a different style, and a runaway no.1 hit thanks to the remix of ‘Brimful of Asha’. For five minutes, it looked like world superstardom beckoned, but somehow that never quite happened. Why do you think that was?
TS: After the ‘Women’s Gotta Have It’ album we spent a lot of time in America and then the ‘When I Was Born’ album did very well there. We would have been happy as we were to be John Peel’s festive 50 no. 1, but the Brimful Mix change things somewhat. Even the label gave up on things after that, but for us we had started a Clinton album and that needed to be finished, and we continued as we were.
DD: The album ‘When I Was Born for the Seventh Time’ was very influential and innovative in that it took the ‘Britpop/indie pop’ template of the time (and the usual retro trappings thereof), your own Asian influences, and married both to hiphop beats, breakbeats and samples. Do you feel that, in a way, you were paving the path for a lot of the DJ culture that has followed? And prog rock men, the likes of Gruff Rhys and Gary Cobain, bringing guitar tunes to dance sets mining Eastern playback music?
TS: That is a lovely thought.
DD: What do you think of the recent compilations of Bollywood and Lollywood psych that have been doing the rounds? Do you think the compilers are finding the best tunes? And if not, give us the names…
TS: I’ve not heard much of it in comp’ed form, but there is some great stuff out there, as the music makers at the time mimicked western sounds, sometimes to hilarious results, and sometimes with the passing of time proves how great music can be.
DD: The album ‘Disco and the Halfway to Discontent’ came out under the name Clinton rather than Cornershop. Why was that? And will there be another Clinton record?
TS: Clinton was done so we could work with other people and take a fresh approach to what and how things were done. The music was not radically different, but more of the technology test department of what Cornershop did. In fact, the two are so similar that there probably won’t be another Clinton album. We are very pleased though that some say it predates much music by a decade, and even more pleased that not a week goes by without an inquiry about Clinton.
DD: After that came my personal favourite ‘Shop album, ‘Handcream for a Generation’ and the single, ‘Lessons Learned from Rocky I to Rocky III.’ The single itself, and some of the rest of the album, bore the influence of 1970s glam, while other tracks such as ‘Spectral Mornings’ delved further into the trance-like psych rock hinted at on ‘When I Was Born’. Who are the lyrics on that single referring to, the ‘soft rock shit’ and the ‘overgrown supershit’?
TS: Very glad you favour that album, and that’s why I said earlier that the record company gave up on us. A lot of brain cells and effort went into that album. Otis Clay opened it, & by touring with Oasis we had Noel on Spectral Mornings, and Guigsy did the bass on …Rocky I to Rocky III, then we had East London’s Nazerite reggae vocalists on Motion The 11, from USA we asked Rob Swift to help produce a couple if tracks. At the time I think I considered a lot of American groups as being ‘soft rock shit.’ I’m from the Black Country so considered groups like Metallica and Maralyn Mason as ‘soft rock shit’ and overgrown ‘supershit’ but in the fullness of time, I think they’re just shit. They certainly deserve everything that can be chucked at them.
DS: ‘Judy Sucks a Lemon for Breakfast’ seemed to consolidate that same early 70s sound, as if the band had finally reached their ‘happy home’ in an almost retro-rock World. Are you all a bunch of old mods and rockers at heart? And who are your greatest influences throughout? The first thing you tend to notice is a lot of Velvet Underground in the song construction and guitar riffing, and a lot of “soul-chick” backing vocals, which could hint at either the Stones or the Floyd, but how knowledgeable are you on your obscurities?
TS: ‘In terms of production I like the 70s sound, mainly because I lived through the 80s and no musician got out of the 80s unscathed. I liked the rawness of a lot of Indian music, so that always played a part too. In terms of influences, there has never been a strong defining one. I think the Velvets are a big influence…
DD: The promo videos from that period, particularly ‘Who Fingered Rock N Roll’ all seem to be similarly retro as if you’re hankering after a Britain long past. Isn’t that the imperialist, semi-racist and narrow-minded Britain that you once railed against?
TS: The Who Fingered Rock N Roll video used old footage because friends of ours were helping certain London Borough to archive such footage. The line from the song of ‘Who built the city’ seemed to go well with such footage so that was that.
DD: And now to 2012, and ‘Urban Turban’ Where would you say Cornershop stand in relation to the 2012 music scene?
TS: The Urban Turban album only became an album after a series of singles under the banner of ‘The Singles Club’ were released. I had a good few songs that we not related in any way, and it seemed a good way to put them out, and give something different to our supporters. Then, the tracks seemed to work with each other once they were mastered, and so it became the album.
It’s good to be able to do that, to just put things out, and in relation to the music scene of now, we feel that we are happy to continue as we always have done, without much regard for what others are doing. People seem to be slowly catching up with Cornershop, and that’s an even bigger thing we have in common with the Velvets than just their music.
We look forward to hearing their well crafted and unique psychedelic sound of sitars and guitars at Le Beat Bespoke 9 on Thursday 28 March 2013.
Dashing Darius Drewe Shimon, aka just 'Drewe' 'Druid' or 'The Shim' to his mates, 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.
This entry is part 15 of 19 in the series NewBreed
Band Members:
Ross Farrelly – Lead Vocals/Harmonica
Josh McClorey – Guitar/Vocals
Pete O’Hanlon – Bass Guitar/Harmonica
Evan Walsh – Drums
Discography: 2012 – EP ‘Young, Gifted & Blue’
1. How long have you been active for and how did you get together?
We’ve been active for roughly eighteen months now. Three of us (Josh, Pete and Evan) have been friends since we were very young and have always jammed together. We met our singer Ross two years ago. It was after he joined that we started getting a proper set together and gigging around Ireland.
2. What influences do the band members have in common?
Our common influences would be bands such as Dr. Feelgood, The Rolling Stones, The Yardbirds and John Mayall’s Bluesbreakers along with the original blues men and rock ‘n’ roll guys like Chuck Berry, Bo Diddley, Howlin’ Wolf, Little Walter, Muddy Waters, Little Richard etc.
3. Are there any other bands you’d recommend from your area? Why?
There are two Irish bands we’ve had the pleasure of playing with that we would highly recommend: The Hot Sprockets and Raglans. Both are great bands and a nice bunch of lads.
4. What’s the 60’s/underground scene like where you’re from?
There’s no 60s/underground scene from our area at all. We come from a pretty small town in rural Ireland so the audience for things like that is very small!
5. How would you describe the style you play?
Powerhouse Rhythm & Blues.
6. What are your live shows like?
Quite sweaty, loud and fast!
7. What are your main influences in music? Who do/would you play covers by?
Our main influences in music would be the people mentioned earlier: Dr. Feelgood, Chuck Berry etc. The covers we play in our sets are generally vintage rhythm and blues/rock’n'roll songs from the likes of Chuck, Bo Diddley, Howlin’ Wolf, Willie Dixon, Muddy Waters.
8. What are your main influences outside of music?
A few Band interests outside music include books, classic films and, in some cases, football, of course!
9. Who writes your songs and what subjects do you deal with?
The songwriting is generally a collaborative affair and as far as subjects go we mainly deal with bluesy topics!
10. What’s your favorite song in your repertoire currently? What’s your favourite song by another artist?
‘Heart Of The City’ by Nick Lowe is our current favourite, and our favourite song by another artist is probably ‘High Horse’ by the Jim Jones Revue.
11. How would you describe the current underground scene? Do you participate?
We don’t really participate in the underground scene, so wouldn’t be knowledgable enough to describe it.
12. What has been the biggest challenge to date?
Proving ourselves in new territories and trying to win over skeptics.
13. How often do you Rehearse? Play Live? Record? Anything interesting coming up?
We do all those things as much as possible.
14. Do you rate any current mainstream or underground bands?
Current acts we rate include Gary Clarke Jr., Jim Jones Revue, Jack White, Jon Spencer Blues Explosion and Vintage Trouble.
15. Who/Where would you most like to record with and why?
Dave Edmunds in Rockfield Studios.
16. Do you class yourselves as mods? If so, how did you first discover mod?
We’re influenced by mod fashion and love mod bands like The Who and Small Faces but wouldn’t necessarily class ourselves as mods.
17. Have you played other events or venues across Europe? What has been your impression of the mod scenes?
We were amazed to find that the international mod scene is so thriving. It helped get us out of Ireland and play venues across Europe.
18. What sight, sound or cultural icon sums up mod for you?
Like many of his generation, The Jam started Graham's love affair with all things mod back in 1977.
He is the author of 'The Influential Factor - A History Of Mod' which was originally published in 2002. An extract from the book was re-printed in Paolo Hewitt's 'The Sharper Word - revised edition' in 2011.
Being a self-confessed 'broad-church' mod, Graham's interests range from Modern Jazz to today's up-coming new bands and everything in between. Although he has a passion for mod history, he also has a passion for the new. Whether it's music, clubs, media of every kind, clothing, scooters or art and photography, Graham supports, promotes and encourages as much as he can, because that's how we keep going. 'Give it a chance' is his motto. If it's not for you, that's cool, at least you tried it.
This entry is part 14 of 19 in the series NewBreed
Band Members: Jacco Gardner – keys/vocals
Keez Groenteman – guitar/vocals
Jasper Verhulst – bass/vocals
Jos van Tol – drums
Discography:
‘Clear the Air’, and ‘Where Will You Go’ both 2012
1. Who are the other members of your band and what do you all do?
Jos van Tol plays the drums, Keez Groenteman plays guitar and sings backing vocals and Jasper Verhulst plays bass and does backings as well.
2. Where are you from and where are you based?
I was born in a city called Hoogeveen, in The Netherlands. I am currently based in Hoorn, where my studio is situated.
3. What inspired you to start making music and how old were you? What is your favourite instrument of the many you play?
My parents sort of pushed me into music lessons and eventually I started singing in a band. I learned bass and guitar, and keys too. My favourite instrument would be the bass guitar as it’s perfectly in between rhythm and melody. You can feel the vibrations as you play which is great.
4. How would you describe the music you make, and how would you say your solo venture differs from the work of your band The Skywalkers?
I’d say my music is much more melodic and soft than The Skywalkers. The Skywalkers were more about energetic raw beat music with a catchy organ sound; this is not the case for my solo work. Most of the songs have a dreamy cinematic feel to them.
5. You are often compared to Syd Barrett, is he one of your main influences in music? Who do/would you play covers by? And who do you despise?
Syd is where it all started. He really shaped my way of songwriting as his songs were the first I learned as I started writing songs. I don’t really despise anyone I think, but if I’d have to play a cover I would find it very hard finding something that would suit me. It could be anything, as long as it suits my voice, arrangements and style.
6. How are you finding playing live? Although you haven’t been playing live for that long you’ve already had some incredible shows.
It’s a process I have to get used to. I still feel more comfortable in the studio but playing live does feel better as I get more experienced. A highlight would be the show we did at the Fuzzbox night on the “Le Guess Who?” festival here in Holland.
7. How would you describe the current underground 60s scene? Do you participate?
I don’t feel part of a 60’s scene at all. I like the wave of neo-psych bands that’s coming along from the US, but most 60’s scene bands feel to me like they are too busy copying the 60’s and they forget to be original. Even in the 60’s bands had to be original to stand out.
8. We’ve seen a recent, very exciting development of psychedelic music being embraced in more main stream circles, with the success of the likes of Tame Impala. What other current bands do you rate?
I like White Fence, MMOSS, Paperhead, Maston, Crystal Stilsts, Quilt, Temples, and a lot more.
9. What should we expect from you in the future? What are your plans and ambitions?
The album has to be out there, which is goal number one, but that one’s almost reached as it’s released on 12 February. I guess my next ambition would be to tour the world and meet lots of like-minded people to work on music.
I’m one half of Eyes Wide Open in Glasgow, where we run a club, a label and now the Double Sight Psych & Garage Weekend, which takes place at the start of October. I love psych, garage, freakbeat, popsike, and have even been known to enjoy a wee bit of R&B! Always enjoy travelling to 60s clubs and weekenders around Europe, whether I’m there to DJ or just to mingle and dance!
This entry is part 13 of 19 in the series NewBreed
Band Members:
Gizzelle
Ricky McCann – Drums
Victor Mendez – Piano
Alex Vargas – Bass/Vocals
Takao Inoue – Saxophone
Discography: 2008 – SINGLE ‘Baby Please Don’t Go’, 2009 – LP ‘Devil or Angel’, 2010 – 45 ‘I’m A Good Woman’, 2011 – LP ‘Rhythm & Soul’
1. How would you describe your style of music?
I would say that my voice is R’n'B and Blues with a touch of soul.
2. Who are your idols and musical influences?
My biggest influence at 10 years old was Ruth Brown, Big Mama Thornton, Wynona Carr, Etta James, Dee Dee Sharp, Mary Ann Fisher, Lavern Baker, Patsy Cline, Barbara Lynn, Barbara Mason, Phyllis Dillon and I can go on forever.
3. As for current bands and music anything else you like out there right now?
Newer artist that I enjoy are Adele, Amy Winehouse and Ellie Goulding.
4.What are your live shows like?
Overseas I feel our fans really seem to listen to the meaning of songs it’s really hard to explain but it’s an amazing feeling. Back home our shows are always fun crowd full of our friends, family and new faces that become new friendships.
5. If you could go back in time and relive one year of the 1950’s or 60’s which would it be?
I’d say in 56/57 to get the chance to see my influences live and maybe get the chance to work with them.
6. What are your main influences and interest outside of music?
I grow up with a single struggling hard working mother who was always there for her three children. I myself have been through a lot as a young single mother.
7. Who writes your songs and what subjects do you deal with?
What I do is write what I am feeling or experiencing at that moment and then sit down with my partners from Wild Records.
8. For most, especially on the R&B/50’s scene, you are best known for your cover of Rose Mitchell’s- Baby Please Don’t Go. When you released your version of it were you surprised at the response it received?
It was intimidating but turned out to be the one song I related to the most. I was dealing with a horrible relationship at the time and the song was sung 100% from a broken heart. It’s truly an honour to see how much fans enjoy my version.
9. The “Baby Please Don’t Go” 45 release quickly increased in value, as collectors and DJ’s all over the World bought it. It now fetches sums of £25 upwards, have you kept hold of some copies?
Geez, when I seen the price the 45 is going for on eBay I was so overwhelmed I wanted to cry it’s really flattering. I did save one copy of the first 45 that came out also the purple one I framed them for my daughter. Everything else I have ever recorded I have saved two copies one for my biggest fan my daughter Gizzabella and one for myself.
10. What has been the biggest challenge to date in your career?
My biggest challenge is my shyness and nerves (LOL). I’ve been doing shows since I was 15 and I must say every time I get on that stage it is like if it were the very first time all over again. Singing is the one thing that helps me express who I am.
11. How often do you rehearse? Play Live? Record?
We try to rehearse once a week, playing live I would have to say has its ups and downs there are times we are really busy and then there are time we have one show a month.
12. What do you think of the music coverage in the media?
I think it’s pretty sad people are forgetting the roots of real music the way it is to have a band and not made by computer.
13. What should we expect from you in the future? What are your plans and ambitions?
Well in the near future what can be expected is a new record which we should start to record in a couple of months. For the future to truly pursue and accomplish what I’ve dreamt of being since I was a little girl, to become the singer I’ve always wanted to be.
Starting out venturing into the delves of the mod scene at the tender age of 17. A couple of years later and bitten by all things retrospective; scooters, knitwear and records have taken hold of me and I don't think they'll ever let me go - not that I really want to be that is!
Currently living in London and attending the 50s and 60s clubs that the homeland has to offer, as well as traveling further afield for the different countries versions and lessons in how to party.
I have been collecting record since 2009 and from that point on have been playing my take on early Rhythm and Blues, Soul and Latin Boogaloo. If you fancy a listen to what I have on offer check out my youtube channel - http://www.youtube.com/user/scottfsimpson?feature=mhee
For now, I'll see you out on the dance floor. And for some cool threads on offer: styleandclassics.wordpress.com/
