Genre

Newbreed – Allah Las

Jenni and Holly had a chat with Pedrum Siadatian, the lead guitarist and vocalist with Allah Las ahead of headline show at Euro YeYe, Spain on Thursday 3 August.

1. Some of you guys met through school and working at Amoeba Records, can you tell us a bit about what brought you to start playing together and how you became The Allah-Las?

Once Spencer and I started getting acquainted at Amoeba, we shared our individual bedroom recording projects with each other and started jamming just for fun. Soon-after, we asked Matt to join us and drum because he was our friend and had similar tastes. Then they asked Miles to sing cause they knew him from high school and none of us wanted to sing.

2. Having worked in a record store prior to the band and all being big music fans, what different musical influences does each member bring to the band? Do you try to get this across in the music?

We have a lot of overlapping tastes but each of us has certain tendencies that the other doesn’t so it kind of balances out- popman, worldman, folkman, caveman.

3. Obviously California is musically one of the richest places to live with so much history and new music, how influenced are you by living there and other music coming from the area?

Bands are products of their environments just like people are, so I think whether we wanted to or not that Los Angeles was gonna come across in our music to some degree. We are really into the Byrds, Love, Seeds, Rain Parade etc.., in terms of paying homage to those influences, we did it best on our second record.

4. You’ve also had a very strong art direction with your artwork and videos, are there other influences outside of music which you draw from?

Yeah – books, movies, art, friends, and conversations. they’re all equally important.

5. Nick Waterhouse took on production duties on Worship the Sun, how did that come about? Do you have plans to work together again in the future? Or indeed are there any other people on your wish list to work with?

it came about cause he helped us with the first record and it seemed like a good move to work with him again. We also spent a lot of time with Dan Horne in the studio doing overdubs and mixing. I’m into the idea of recording ourselves for the next one!

6. Following on from Worship the Sun, Calico Review takes things a bit further and a slightly darker turn. Can you tell us a bit about the writing of the album and recording process for it?

We were just writing songs separately, a continuation of the process that had started with Worship the Sun. When it came time to start working on Calico everyone started showing the rest of the band the songs they had written and we learned em, demoed em, then recorded em proper off-and-on over the course of a year.

7. Your weekly installment of Reverberation Radio has become a bit of an institution for fans, how did that come about?

Miles had a graveyard shift time slot at KXLU every Wednesday from 2-6am and we would all go down to the station, bring records, and hang out. We got kicked off the air for playing too much old stuff, and with the help of our friend Robbie, we turned it into a weekly podcast that’s been going on for about 5 years. The four of us in the band take turns contributing, as well as six of our friends and the occasional guest.

8. What is the 60s underground scene like in LA? Is this something you are involved in as a band?

There is a small one but I don’t feel like that’s our vibe. We never wanted to be a full on 60’s homage group, even though the video for Tell Me contributed to that.

9. It feels like you’ve been touring pretty much nonstop over the past year. You’ve toured extensively across America, Europe and Australia since the release of Calico Review – what have some of the highlights been?

Some of the best shows have been the shows where we didn’t know we had an audience and loads of people came, like Cape Town, Tel Aviv, Budapest, Moscow, Bali.

10. Are you looking forward to playing at Euro Yeye? What can we expect from the set? When you record, are you always thinking about how it will sound live?

Yes, we’re gonna try to do some stuff we’ve never done live. No, that comes after it’s done!

11. As you’ve been spending a lot of time touring, has this given you much time to check out some new (old) music? What’s been your soundtrack on the tour bus over the last few months?

I’ve been listening to my friend Maston’s record that’s gonna be coming out this fall, it’s really great instrumental/soundtrack music. Also, Chris Lucey, the Only Ones, and VU always.

12. Calico Review came out last year, what are your plans for the rest of 2017? Focussing on touring or will you be heading back into the studio?

Yeah we have a short west coast tour in September but otherwise, we’re gonna start working on the next record this winter!

Band Members: Matthew Correia, Spencer Dunham, Miles Michaud, Pedrum Siadatian

Discography:
Albums

Allah-Las (2012)
Worship The Sun (2014)
Calico Review (2016)
Singles
“Catamaran”/”Long Journey” – Pres, 2011
“Tell Me (What’s On Your Mind)”/”Sacred Sands” – Innovative Leisure, 2012
“Don’t You Forget It” – Record Store Day split w/Nick Waterhouse, 2012
“Had It All”/”Every Girl” – Innovative Leisure, 2013
“501-415″/”No Werewolf” – Innovative Leisure, 2014
“Famous Phone Figure” – Mexican Summer, 2016
“Could Be You” – Mexican Summer, 2016

Main Site:  allah-las.com/

Social Networks:
Facebook Click Here
Instagram Click Here
Twitter Click Here
Soundcloud Click 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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July 17, 2017 By : Category : Articles Bands Beat Europe Front Page Interviews Picks Psych USA Tags:, ,
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Newbreed – Las Munjitas del Fuzz

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

We started together as Doctor Explosion in the springtime of 1989. We were the first original line up under this name and we did hundreds of shows and five albums plus some singles and eps till 2001 when the original line up splits up, although i decide to keep going with different members as Dr Explosion after that date till nowadays. In 1993 after reading an article about obscure Spanish bands in the 60s, i discovered about Las Monjitas del Jeep, a group of real nuns who consider themselves as “ye yes”, “we are YE YEs but of the type that don’t get in troubles”. They were living in a convent and done their shopping in a Jeep. Fascinated by the idea of this group of religious devoted nuns who had such a cool gear (seen in pics such as Gibson 335, Grestch guitar, etc).

It was after that that I proposed to Felix and Varo to start a parallel band under the name of Las Monjitas del Surf to play spontaneously at our local temple, the music bar La Foli, a year after in 1994 we rescued the idea to play with another guitarist (Marcos Montoto, who we did at least two shows with) under the name of Las Monjitas del Fuzz. After that we did a tour in Spain with Lightning Beat Man in 1996 as his backing band.

We were very busy as Dr Explosion that time during the 90s so we used las Monjitas to do punctual shows randomly. After that, in 2001 with the new members of Dr Explosion we played at the Wild Weekend in Benidorm under the name of Las Munjitas. I think it was a mistake by Josh Collins to change the name of the band, the O for the U, but maybe not and it was only genius from Josh!! Bravo!! so when Varo last year (2016) proposed we get back together with Felix (the original line up of dr explosion) under las Monjitas del fuzz name I rescued the U in MUNJITAS from Josh’s idea, cause it sounds like MOON-hittas, in English and esthetically the name looks better with the same U as FUZZ.

As Las Munjitas del Fuzz we have been active since Varo called me in April of 2016.

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

We have lots of music influences in common, all the fuzzy mid 60s garage, and late 60s acid Pysch garage with raw strident guitar tones, but also all British 60s bands, 50s Rhythm and Blues, good Rock and Roll, Soul music and jazz and obviously much more. We know that Las Munjitas del fuzz land is the territory for the most extreme fuzzy and pysch garage sounds with creepy Spanish lyrics from the vision of a tormented nun who lives in these crazy modern times

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

Around Gijon, Bobkat 65 cause although they are still in the process of learning to find their own way and self-confidence there is a real truth and love in what they do that you can feel in the spirit of their songs that makes them more real and special than other “professional” musicians. Check them out, they have a new album on Get Hip Records! I also spend part of my time in Austin, Texas that I consider also my area so, there I could mention hundreds of examples of good music like The Black Angels, Amplified Heat, Mike Flannigin (best hammond organ combo in town) Sweet Spirit, The Ripe, The Uglybeats, The Bellfuries, A Giant Dog, Sweet Spirit,The Thunderchiefs and many more.

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

Here in Gijon it is quite boring I might say, lots of no talented and pedant shit over polished and enhanced by music business media, some indie rock song writers with pretentious political intentions but nothing really exciting except some real talented people like Fee Reega, Captains and a few others like Bobkat 65, Las Potras and Peralta.

In Austin is an amazing community of talented musicians with hundreds of good bands around.

5. How would you describe the style you play?

Fuzzy Psych Garage Punk

6. What are your live shows like?

Mystic Ecstasy, Out of Control, Tremors and Levitation, Religious Fervor and Mass Mess

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

My influences in Music are very wide, as somebody said once, I like all the good music and a bit of the bad stuff. Las Munjitas only play covers for now but I write my own lyrics in Spanish that gives the songs a new vision. We have the intention of writing our own material for the next records. it is very interesting and fun to see from a language point of view how changing that affects the final result. Even though I respect all the accents of the melody by just changing the meaning of the lyrics and the sounds of the words you can export a song to a new dimension, where that recording means something totally different to a new group of people. I love playing with that, it’s a in joke for us to transform the songs we have always loved into something really stupid to laugh about, we don’t respect anything.

8. What are your main influences outside of music?

God

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

I write the lyrics. As I said above we play covers, golden Garage hits from the mid-60s, that we used to play in our setlist in the 90s, plus some other new. When Varo asked me to get the band back together again I thought it was a good idea to do it under the name of Las Munjitas. It made no sense to play those songs again with their original lyrics, so as long as we were now Las Munjitas del Fuzz and not Dr Explosion I started to write new lyrics with the vision of a real catholic nun.

Catholicism has been a huge part of our education since we are all coming from deep Catholic families, Varo and I were both in Catholic schools. So, in most of the lyrics I want to sound like a real nun with an ancient conservative traditional mindset trying to understand and describe today’s World. Trying to understand today’s young people and the music scene, and at the same time trying to be part of it, but with her own spirit. Like a Christian rock band but with Garage Punk tunes, sometimes I go a bit wild with the lyrics like “Let’s go in 69” where i describe the sexual act of a 69 between two nuns. but aren’t we all sinners? “And you know that temptation and the devil is always there. And well, the attitude of the lyrics is surprising, like…”Oh my god!! it is a 69!!” Although there are also explicit descriptions of oral sex. it is real as life itself where tragedy and comedy walk together hand in hand.”

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

I like a lot “Satan sal de mi” which is our first single and the new video we’ll put on youtube soon. A song by another artist it could mention hundreds but I am gonna say “I am a lover not a fighter” by Lazy Lester because I met him last Saturday after his show and had a beer with him, and because I love that single!

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

I think the underground scene is in a very interesting, there is a lot of cool bands all around the World, and more important, there is a new generation of fans interested in today’s scene with festivals like Levitation in Austin, Liverpool and Angers. I participate as much as I can, producing and recording bands. I have been working with Boogarins, Golden Animals, Dallas Acid, Amplified Heat, The Ripe and Sean Lennon.

12. What has been the biggest challenge to date?

Not being arrested by the border patrol when we were shooting our videoclip of “Satan sal de mi” near the Mexican border dressing like nuns. the officer asked us: “Are you guys roman Catholics?”

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

Well, Varo lives in Valencia (800 km away) so every time he comes over to Gijon we try to do as much practice and recording as we can. Actually the records we have been putting out are first takes of the first rehearsal we did after 16 years. A large part of our set are songs we used to play in the 90s. We practice at my studio Circo Perrotti where I put mics and record the rehearsal with the intention of hearing the possible mistakes and work on the songs after that. The truth is that we liked the way the songs came out with their imperfections, and we love that fact as important part of the footprint of real music. We have a new single on Slovenly/Shit on the Milk records, with a hidden surprise at the end of the 1st cut. we also have one more single coming up on Groovie Records. We have a recorded lots of hits like “No la van a Bautizar”, “Aun soy Virgen”, “Frivola” or “El Twist de la Genuflexion” that will be included in the Munjitas album.

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

It is like in any other business, people follow the mainstream, most of the times just a matter of investing money and time, there is a parallel World of talented people doing the most interesting things in the underground and occasionally the massive media discovers one or two of them and gives them bigger exposure

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

The Black Angels are my friends, I play with Jake Garcia in The Ripe and he invited me to join them for their show at Primavera Sound, and although I saw them many times before in Austin, that night was special for me. To see Jake my brother on stage having a massive success in my own country, made me feel very proud of him and of the hard work they have been putting into this new record. I also produced the last album of Boogarins “Manual”, great Psych rock with Brazilian roots. I love that band and to work with them in my studio in Spain was an amazing experience. The album was a nominee in the Latin Grammys last year. I am currently working on the production of Micky’s new album in Gijon. Micky from Micky y Los Tonys had some number one hits in Spain and Germany in the 70s and 60s and he is very well known all around Spain.

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

We are lucky in the that sense as I have my own studio. Apart from Circo Perrotti I’d love to record again with Liam Watson, he is a good old friend and I love what he does, and he recorded us for the first time in 1994

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?

Well we will play at Euroyeye fest in Gijon this summer and I want to complete our first album. I also want to do our own material for a conceptual psychedelic album based in texts of Santa Teresa de Jesus and the Spanish mystics of the XVI century…

 
Band Members: Sor Alvaro Coalla (Bateria), Sor Felix A. (Asuncion) Dominguez (Bajo, Teclado y Voces), Sor Jorge Munozz Cobo (Voz y Guitarra)

Discography: 2016 Single “Satan Sal de Mi” (Funtastic Dracula Records), 2017 Single “Es el 69” (I shit on the Milk Records), 2017 Single “Pecado” (Groovy Records)

Main Site: CLICK HERE!

Social Networks: FACEBOOK HERE!

Tour Info: CLICK HERE!


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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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July 3, 2017 By : Category : Articles Bands Beat Europe Front Page Fuzz Garage Interviews Picks Psych Tags:, , ,
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Newbreed – Men Of North Country

We recently caught up with the Men Of North Country (from Tel Aviv) for a nice chat for NUTSMAG, here is what they had to say…

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

We’ve been recording proper since 2011, performing since 2012. Back in 2007 Yashiv was heard singing along the tunes he was spinning at a party and from there it slowly developed into MONC.

2. influences do the band members have in common?

Soul music.

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

Our bass player, Jonathan, is also in a band called Taani Esther, which is a brilliant psychedelic pop band that sings in Hebrew.

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

Tel Aviv is a great city but compared to other cultural Meccas it’s pretty small. So the 60’s scene isn’t big. There’s the Tel Aviv Soul Club, there are some lovely surf bands and retro nights.

5. How would you describe the style you play?

One of the streaming sites (Pandora or Last FM I think) described our music as basically Soul with influences of Mod 79 sounds and Punk 77 music. We’re pretty happy with that. We’d add post punk to the mix as well, especially The Cure.

6. What are your live shows like?

Loud and brassy.

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

First of all Northern Soul, Dexy’s and The Cure. After that it’s the usual suspects: The Jam, Motown, Stax, etc. We love doing covers. We did Human League’s Mirror Man in the first album (it’s basically a Motown tune), The Who’s The Seeker for our Magic EP, Lou Pride’s I’m Com’un Home for the second album and we do some more live – Kinks, Standells, Joe Jackson, Solomon Burke and more. I really do despise Radiohead…

8. What are your main influences outside of music?

Probably film if we’re talking art.

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

Doron writes most of the music, and I (Yashiv) write the lyrics. Subjects are mostly personal stuff I go through and some political stuff as well. Coming from where we come from, you can’t really escape that sadly.

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

Personally I’d have to say that I dig Running the most now. I call it Northern Soul for The Cure kids. I’m blown away by the string arrangement Boaz has come up with for this one every time I hear it (he’s our drummer and arranger). Fav song by another artist? That’s too tough a question. Just listening to John Bowie now, so let’s go with that ok?

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

I run the Tel Aviv Soul Club so I guess I do. And whenever I’m abroad I try to get to a party or a gig. And we perform of course. From the last event I’ve been to in London I think I can describe it as a bit too fuzzy, and too rare. Still the best scene around though.

12. What has been the biggest challenge to date?

I guess the Madness House of Fun Weekender last November was a big thing for us, although once you’re on stage you just do your thing…

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

Rehearsals depend on live gigs. We do more of them before gigs naturally. We have a couple of European tours a year (I still count the UK as European for that if you don’t mind…) and we also play in Tel Aviv and the rest of the country every few weeks/months. We’ve just recorded a version of The Jam’s Circus for the Specialized project which is supposed to come out this summer so that’s pretty exciting. I think The Jam would approve with our take. And in August just before the NUT gigs we’re releasing a new single which is always an exciting event for us.

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

Well, it looks like the world is heading to a click-bate era which isn’t so promising, and so is the music coverage. On the bright side, everything is so accessible these days that you can easily find a place to your liking, musically and media-wise as well.

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

I love The Coral. And BJM too. And a lot of other stuff as well. Too many to mention.

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

We’ve recorded our Magic EP at the all-analogue Yeah Yeah Yeah studios in Hamburg. Great experience. Wouldn’t mind doing that again. And would love to record with the Skeleton Key guys from Liverpool. Or Andy Lewis in London. He’s our godfather. Or Bob Stanley from St Etienne! Now that would be really something!

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?

More gigs and more records. More. Looking forward to our first Brighton visit. Heard so much about it. Gonna comb the beach for rockers!


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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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July 3, 2017 By : Category : Articles Bands Beat Front Page Interviews News Picks RnB Scene Tags:, ,
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Hey! Mr DJ – Felix

This entry is part 3 of 7 in the series Hey! Mr DJ 6

NUTSMAG recently caught up with DJ Felix in for a nice chat about music.

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

I got into 70’s and 80’s soul, funk & jazz in the early to mid-eighties when I was a teenager (I also listened to the old school hip hop and punk), the popularity of house music made me rush back and look for 60’s Soul. The football terrace and my 60’s punk band got me into the Mod scene. From then I have stuck with it, I don’t know why… (30 years now?) well, I have to say I enjoy life and not only mod things…

2. Where was your first DJ slot?

I had a radio show in the mid to late 80’s with soul, funk and jazz music. First soul nights were in a drug-dealer club every Tuesday night in early 90’s. Life taught me hard… and cheap hahaha!

3. What was your most memorable DJ spot?

I can’t remember.

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

I can’t remember a “worst” but I’ve had a few, usually related to technical stuff. Last week I was djing at the Euro Lambretta Rally in Italy and one of the decks stopped to function. No start, no stop. The owner of the equipment who had skipped the step of plugging and connecting both records players and balancing both arms (cartridge and stuff aside) when I was about to begin blamed me for that so I laughed a lot cos I thought he was joking. But no, then my mood changed.

5. Your favorite scene DJ’s and why?

More than DJs, I love sets, right songs in the right moment and this doesn’t depend only on the records, if you know what I mean. I admire many DJs for their taste in music and their know how, technically and dancefloor-wise.

6. What has shaped your DJ sound and why?

It comes from inside me, I play the music I like, even if the disc is a $5 buck vg+ original. Mod means individuality and I don’t really like DJs that play the already well known in demand records, cos this only shows they have money (something that I don’t usually have). I prefer DJs who take the risks and don’t mind throwing in a few lesser known classics together with “newies” and always following their own style.

7. What was your best ever find/discovery?

My penis, not long ago. A Jet 200 in a barn in 1998 that was sold to me for 90eur. Mod Jazz music, my fave music. The “Churn the Butter” song I still can’t stop dancing after all these years and soooo many others… “Tell the world we’re not in” by the Peddlers” is a cheapie that nobody played at the time. I also discovered in New Zealand Chase “Get it On” and in Verona the Remo Four, uff I spend my life trying to discover new sensation and the day I give up, I’ll be dead.

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

When you own 1000’s of records you simply cannot choose one and now I’m not tempted to throw the rarest artist name in to be given a badge. I LOVE modjazz, souljazz, Motown, vintage funk, underground disco sometimes when I’m high and in the right weekender… and dig garage, punk, and r&b in the same circumstances…

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

I collect Playboy magazines from 1965 to 1970 (I only miss 5 numbers now) I collect Spanish Tamla Motown from 1966 to 1973 (our first series) I only miss two 45’s. And I try to collect Lambrettas but my vivid zest for life and the pursuit of happiness sometimes makes me sell them instead of buying them… currently I think I have 12. And BASICALLY I love music, regardless the label, artist or genres, so I buy what I can afford (and a bit more than that). Obviously, there are a few labels that make me stop instantly while whizzing through record boxes in fairs.

10. Where can folks currently catch your DJ set?

At Barbaro Chico Club in Gijón and Euroyeye, Check my facebook

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

After all these years, I’ve learned that no record is worth the distress. Recently, I’ve had to sell a few expensive records from my Collection, cos I needed money to travel (to the USA and the Balkans on my Lambretta) and no pain at all, in the end it’s just music. One friend told me last year “our collections can be our pensions when we are older”, and he might be right. Anyway, I must admit once I get hung up with a tune I first try to buy the original but if it’s way toooooo expensive I assume I am poor and listen to it in youtube.

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

Top 10 Tracks of All Time:
1. Duffin’ Around – Brother Jack Mc Duff & David Newman
2. It Was A Very Good year – Della Reese
3. It’s My Thang – Marva Whitney & the JB’s (live)
4. The Cat – Organ Summit with Paul Shaffer, Joey DeFrancesco, Doug Riley and Dr. Lonnie Smith (live)
5. What’s Going On – Marvin Gaye
6. I Want A Love I Can See – the Temptations
7. What Becomes Of The Broken Hearted – Jimmy Ruffin
8. Pow Wow – Many Corchado… (simply second to none)
9. Own Up Time – Small Faces
10. Harmonica – Graham Bond Org.
11. She Needs Company – Manfred Mann
12. Maybe Tomorrow – The Chords
13. Walls Come Tumblin’ Down – The Style Council
14. From Now On – Magnus Carlson & The Moon Ray Quintet

Current Top 5 Tracks:
1. Roy Thompson Band – I Don’t Need You Anymore
2. Eddie Buster & Jr Robinson – Churn the Butter
3. Machito – Green Onions
4. Otis Leavhill – Boomerang
5. Ray Pettis – Don’t Use Me

Main WebSite: www.euroyeye.es

Social Networks:
FACEBOOK HERE


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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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July 3, 2017 By : Category : Beat Club Soul DJs Europe Front Page ModJazz Music News RnB Tags:, , ,
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Jazz for Modernists 12 Grant Green 6 of the best

In the pantheon of guitar greats, Grant Green (1935-1979) stands tall. Troubled with health problems and yet hugely prolific throughout the 1960s, his fluid, bluesy and bebop-inspired guitar licks can be found on over 50 recordings for Blue Note during that decade (as leader and sideman). A melodic player of crisp, crystalline linear runs, inspired as much by saxophonist Charlie Parker as guitar hero Charlie Christian, Green’s first recordings were with tenor sax player and fellow St. Louis native Jimmy Forrest for the United label.

Around 1959/60, after being ‘discovered’ by Blue Note stalwart and alto sax man Lou Donaldson (with whom he toured briefly), Green moved to New York where he was introduced to Blue Note’s Alfred Lion. Hugely impressed, Lion started recording him as leader on a glut of sessions (some unreleased until the late 70s) and sideman for Baby Face Willette, Hank Mobley, Stanley Turrentine, Don Wilkerson, Lou Donaldson, Jimmy Smith and Ike Quebec. Though initially fitting perfectly into the soul-jazz organ trio, gospel and Latin formats, Green’s early experience of playing with Coltrane drummer Elvin Jones would in time see him participating in some of Blue Note’s more adventurous recordings by the likes of Herbie Hancock (My Point of View), Bobby Hutcherson (The Kicker), Lee Morgan (Search for the New Land) and Larry Young (Into Somethin’).

Green’s initial period of success at Blue Note ran from 1961-1965. This was followed by a brief flirtation with the Verve label, a period of enforced absence and a return in 1969 for a series of funky but rather patchy LPs later championed by the acid jazz movement. In terms of overall legacy, mention must be made of four or five outstanding LPs he recorded for Blue Note as leader: Grant’s First Stand (1961), Idle Moments (1963/5), Talkin’ About! (1964/5), Street of Dreams (1964/7) and Matador (1964/79). Ranging from soul-jazz through to modal grooves, these are all essential additions to the collections of the thoughtful mod about town (or in her or his rural retreat). However, for those interested either in the dance floor or creating a party atmosphere, here are six tracks culled from the Green back catalogue that were released as singles (edited versions of album tracks). Some, if not all, will be familiar to long-standing participants in the mod and jazz dance scenes.


1. ‘Miss Ann’s Tempo’ (1961) 45 – Blue Note 1811; 33 – From Grant’s First Stand BST 84064
WATCH & LISTEN HERE

From Green’s second Blue Note session (first to be released), ‘Miss Ann’s Tempo’ was also his debut single for the label, coupled with his version of Porter Grainger’s blues standard ‘Ain’t Nobody’s Business if I do’. A trio date, with Ben Dixon on drums and Baby Face Willette on organ, the vibe is similar to Brother Jack Mcduff’s The Honeydripper session for Prestige recorded just a week later and also featuring Dixon and Green. Intriguingly, a track by Eric Dolphy, ‘Miss Ann’, had been recorded with Booker Little the previous October. There’s plenty of righteous call-and-response jousting here between Green’s limpid melodies and Willette’s chugging chords and gospel-drenched soloing. One for the expert jazz dancers!


2. ‘Mambo Inn’ (1963) 45 – Blue Note 1870; 33 – From The Latin Bit BST 84111
WATCH & LISTEN HERE

Throughout 1961 and 1962, Green featured on around 25 Blue Note recordings and a handful for Prestige and one or two other labels. Collectors of Blue Note 45s will therefore hear his playing on singles of the period by other artists. Such mid-tempo dance floor tunes include Lou Donaldson’s ‘Watusi Jump’, Dodo Greene’s ‘You are my Sunshine’ and Don Wilkerson’s ‘Camp Meetin’. Two 1962 sessions also led, the following year, to the release of The Latin Bit, from which the Mario Bauzá-Edgar Sampson-Bobby Woodlen tune ‘Mambo Inn’ was culled for the jukebox. An uplifting blend of Afro-Cuban rhythms and bluesy bop, this tune features Willie Bobo and Carlos Valdes on percussion and John Acea on piano.


3. The Cantaloupe Woman (1965) 45 – Verve VK 10361; 33 – From His Majesty King Funk Verve V/V6-8627
WATCH & LISTEN HERE

Likely to be heard at many a New Untouchables night, ‘The Cantaloupe Woman’ comes from Green’s only session as leader for the Verve label, 1965’s His Majesty King Funk. While this swings like an upbeat Lee Morgan tune of the era, a new modal undercurrent is present, provided by the Hammond playing of Larry Young, for whom Green had supplied guitar on his debut Blue Note LP Into Somethin! (1964). On that session, Green was reunited with Elvin Jones and sparred alongside the more avant-garde saxophone playing of Sam Rivers. Change was in the air.


4. Big John Patton: Amanda (1966) 45 – Blue Note 1926; 33 – From Got a Good thing Goin’ BST 84229
WATCH & LISTEN HERE

Between 1963 and 1966, Green appeared on six Blue Note LPs led by Hammond man Big John Patton. The last in the sequence, Got a Good Thing Goin’ yielded the 45 ‘Amanda’, a cooking cover of the Duke Pearson tune that kicked off his 1964 date Wahoo! Although his initial role is to vamp a rhythm, Green lets loose a cracking solo half-way through the album version. One of those addictive melodies that it’s good to know exist in edited format for the club night and in longer versions for domestic pursuits. At over nine minutes, the Pearson version (without Green) is especially wonderful as a soundtrack to preparing vegetables.


5. Ain’t it Funky Now (1970) 45 – Blue Note 1960; 33 – From Green is Beautiful BST 84342
WATCH & LISTEN HERE

On July 1, 1966, Grant Green played on Stanley Turrentine’s Rough ‘n’ Tumble, a date including the wonderful singles: ‘And Satisfy’ (Blue Note 1929) and ‘Feeling Good’ (Blue Note 1933). Apart from a solitary 1967 date later released on Cobblestone as Iron City (1972), he would then be absent until early 1969. By this time, rock, boogaloo and funky soul were entering new dialogues with jazz; the period from 1969-1972 would see Green return as a key figure in the groove-based styles later defined as acid jazz. Much of 1969 was seen recording with Prestige artists such as Rusty Bryant, Charles Kynard and Don Patterson and Reuben Wilson’s enjoyable Blue Note date Love Bug. By October, he was leading his own sessions, one of which, 1970’s Green is Beautiful, gave us the monumental groove ‘Ain’t it Funky Now’, released as a Parts 1 & 2 single. Idris Muhammad’s marvellous drumming helps make this take on James Brown a memorable one.


6. Sookie Sookie (1970) 45 (edit): – Blue Note 1965; 33 – From ‘Alive!’ BST 84360
WATCH & LISTEN HERE

From the subsequent Blue Note LP, recorded live in August 1970 at the Cliche Lounge in Newark (New Jersey as opposed to Nottinghamshire), Don Covay and Steve Cropper’s 1965 ‘B’ side is given a full funk workout. Green, organist Ronnie Foster, and tenor sax player Claude Bartee improvise righteously over a solid groove laid down by Idris Muhammad, Joseph Armstrong on congas, vibes player Willie Bivens and Foster on organ bass pedals. Some of the material Green worked on with Blue Note after 1969 was not as strong as this, but overall he could be proud of the legacy he left for the label from 1960 to 1972. We’ll be looking at more legends of the label in the future. Until then, enjoy these tunes.



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James Thomas

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

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June 30, 2017 By : Category : Bands Front Page ModJazz Music Picks Tags:, , , ,
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Newbreed – Les Darlings

We recently caught up with the Les Darlings (from Paris, London, Copenhagen, & Bordeaux) for a nice chat for NUTSMAG, here is what they had to say…

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

Well, we started the band in March 2016. Kitty runs a record label, Lust Record, originally created to re-issue 60’s obscurity. At the time, I was too shy to ask those talented guys to form a band when we met during concerts and festivals but Kitty cheered us up to play together so we finally met in Hamburg for songwriting and created more songs than expected. Originally the idea was to make a 45, but we got enough material to release an LP.

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

I think we all deeply love all kind of 50’s/60 music, from BlueBeat, crude R&B and naturally ’66 garage and Mod sound.

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

As I live in London now, I can tell that the Cavemen are just one of the most outrageously good band I’ve seen recently! The Embrooks, King Salami, etc, etc! From Paris, French Boutik, The Wave Chargers….

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

I think the whole 60’s scene is held by a handful but deeply passionate people. It’s an endless story, every decade you got a bunch of young lions who discover and embrace that style. Les Gry Gry, The Arrogants, all in their glorious 20’s… I wish we had more bands like this. Now synth punk is back yet again… I hope they get quickly tired of all that 80’s Kawai keyboards (ha! ha!)

5. How would you describe the style you play?

I think we got one boot in the 60’s, another one in the present. Makes no sense for me to be a tribute band or so, but it doesn’t mean that we are untrue to our influences. All the great bands I loved always added a little something on top of the rest. Just to be different. Who wants to listen to another cover of ‘Shapes of things’? The best example for me is The Youth, The Urges or The Jackets. Our main goal is to create some heavily influenced ’66 moody garage songs that you can really dance along to.

6. What are your live shows like?

It can get really sweaty, especially when you play in a 3 pieces wool suit! Thomas is a Christic frontman, he totally gives himself on stage. We actually have to try to protect him from the action. We love to play together, and the public feels it.

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

Everything from the Peebles comp, Back from the Grave or High in the Mid Sixties… We play a couple covers that Kitty threw on the table, especially ‘Lily’ from an obscure Californian band called Drusalee & The Dead… In fact, we play live the records we cannot afford to buy haha. Rob also suggested us to play a French cover and it was definitely a good idea. The goal is to create our own thing of course.

8. What are your main influences outside of music?

Aside from 60’s culture, we got our secret garden…

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

Allah wrote them for us. We just need to listen to Allah, and then the songs pop out by themselves. Seriously it’s a collective work, Thomas takes care of the lyrics as he’s writing poetry too.

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

My favorite is ‘Hey Baby’, ‘I know David Peter really likes ‘Make her mine’. If we don’t like a song anymore we just throw it out and write another one that’s as simple as that. I love too many songs to choose only one. My favorite song changes every day or so.

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

We go to gigs or festivals as often as we can. It is like an International Brotherhood.

12. What has been the biggest challenge to date?

Bringing back Dorian alive from Hamburg.

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

As we live far away from each other, we can only rehearse one or two hours before each gig. Of course, it’s always a disaster, to begin with. But something magic always happens when we hit the stage, thanks to the hundreds of gigs we each did with our previous bands!

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

I think it’s really bad in the so-called ‘Mass Media’. We can only pay homage to the few passionate people like you to shed a light on this very sharp scene.

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

I really love The Wrong Society, they released a couple of singles that really nailed it. Of course The Youth, The Jackets… The Teamsters, The Urges too.

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

We started the thing with Dennis Rux as a producer and we gonna continue with him. His studio is located in front of a 24/7 gas station loaded with the greatest German lager. Decent döner round the corner too. Beside of this Dennis is perfect gentlemen who own one of the best analog studios between planet Earth and Dagoba system. Apart from Toe Rag and Circo Perrotti, i don’t know where we could have recorded it. It was absolutely normal to do it in Mono from the start for him ha! ha!

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 need to work together to finish our LP which is almost completed! We’re also gonna have an organ player with us, Mr Dècheman, a great entertainer too, so you can expect some more action on stage. We still are a fresh new band but people look interested in our work, we got a lot of contacts to play all across Europe. As we say in France, ‘Bientôt dans une épicerie près de chez vous’ (soon at the juke joint near you).

Band Members: Thomas (vox) Dorian (drums) Pascal (guitar) David Peter (bass)

Discography: 2016 – Single: ‘Le Tourbillon / Hey Baby’ –  Lust Records

Social Networks: FACEBOOK HERE


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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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July 3, 2017 By : Category : Articles Bands Beat Front Page Garage Interviews Picks RnB Scene Tags:, , ,
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Newbreed – Melange

We recently caught up with the Melange (from Spain) for a nice chat for NUTSMAG, here is what they had to say…

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

We have been playing in different bands the last 20 years in many groups like Lüger, Rip Kc, Bucles, Magic Bus, Los Imposibles, Cachalote… We started to play together as Melange two years ago. Miguel was the one who connected all of us. He had a bunch of songs and they were the beginning of the band.

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

Our influences are wide. I think it could began with Jazz, Blues, Folk, R&B, Soul and Funk passing through Psychedelic music, Avant Garde, Tropicalia, African Music, Anatolian Rock, Flamenco, Latin, Punk, Electronic and many more, till the borders difumine!

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

Yes, for sure. First, we recommend Mohama Saz, a kind of Spanish Turkish style. Alberto Montero a folk-pop singer with brilliant records…

4. Tell us about the 60’s/underground music scene from Spain?

In Spain, we had some very good bands like Los Bravos, Los Salvajes, Los Ángeles, Los Pekenikes emulating the British and American style (ye-ye bands) and some other people making a deep cultural approach into our culture like Pedro Iturralde, Paco de Lucía, Sabicas. Then in the late sixties we have Spanish prog style with bands like Smash, Máquina, Cerebrum, Storm, Pan y Regaliz, Música Dispersa, Evolution who leaded us to a significant productive period in the seventies that came along with political changes with bands as Triana a many more…

5. How would you describe the style you play?

Ops! A tricky question to answer. We visit lots of styles, breaking any style rule. We try to build our own style mixing all that we have in our polluted heads.

6. What are your live shows like?

We have 5 people. 2 guitars, keyboards, bass and drums. Sometimes four voices at the same time. We play loud, trying to make solid sounds with a strong rhythm section adding colour with evocating a surrealistic melody. Sometimes unexpected changes and lots of subliminal intention.

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

We love tons of different music. But we don’t play any version for the moment. I would love to play a song from Jeannette or Edu Lobo.

8. What are your main influences outside of music?

Photography, Films, Plastic arts and literature in general. Then the present and life is the most important influence.

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

Everybody in the band write the song. Sometimes the song is already constructed by one of us, but there’s always space left for the others to say something else or take the subject to another place.

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

Saquesufah! True Spanish style with lot of garlic on it. It´s short. It´s direct and so rich in terms of melody and rhythm and it´s fascinating to play live on the stage.

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

I think that we are tried to talk about underground. We have been living this shit for years and still doing it. We still try to change what we don´t like with no concessions.

12. What has been the biggest challenge to date?

The biggest challenge is to find the time to play as much as we can.

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

We try to rehearse once a week and play as much as possible.

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

I should not be necessary to answer that the music of the media is just commercial focused bullshit, no art, just cheap and superficial entertainment, that’s nothing new, but there have always been local alternative radio stations, and from some years now many podcasts in internet, like for example “Músicas sin prejuicios” here in Spain.

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

Underground bands… thousands of them. Mainstream… Kraftwerk, they are a band, which all Melange members like a lot.

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

At the moment, we have recorded two LP’s with Carlos Díaz Requena, we are very satisfied with the results that we don’t think about anybody else. We all like to record at the countryside, north or south, doesn’t matter, the best for us is an old country house where we can bring our family and our equipment for recording.

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?

Our new album will be released on September 2017. Our plan is still trying to create beautiful music and share it with people all around the World. We hope to make even better recordings. We are so excited about our summer gigs in Quintanhilla Rock (Portugal) and Euro Ye-Ye in Gijón (Spain) also we can’t wait to play in the Zaragoza Psych Fest and BAM (Barcelona) this September.

Band Members: Adrián Ceballos (Drums and vocals), Daniel Fernández (Bass and vocals), Mario Zamora (Keyboards, Synths), Miguel Rosón (Guitar and vocals), Sergio Ceballos (Guitar and vocals)

Discography: 2016 “Melange” (2LP) Discos Tere

Main Site: melangemadrid.bandcamp.com

Social Networks:
Facebook Here!
Instagram Here!


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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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June 28, 2017 By : Category : Articles Bands Beat Europe Front Page Interviews Picks Psych RnB Tags:, ,
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Hey! Mr DJ – Lluís Cardenal

This entry is part 2 of 7 in the series Hey! Mr DJ 6

NUTSMAG recently caught up with DJ Lluís Cardenal in for a nice chat about music.

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

I got into music by the mod scene from Barcelona and Girona at the early age of 14. I met a mod one summertime in the early nineties. He gave me some tapes and after that, my interest in music grew until today. At that time, with no internet, it was difficult to be able to listen to some stuff and at the same time, I was too young to travel to Barcelona for parties and gigs. There was a small scene in Girona with only one band and without much club action. I remember going to local jazz gigs in Banyoles with my sister.

2. Where was your first DJ slot?

My first DJ slot was in Barcelona in a small bar called Barbara Ann, sharing decks with my best mate Alberto Valle.

3. What was your most memorable DJ spot?

Well, I‘ve enjoyed very much playing records everywhere that I’ve been invited. The Boiler has always been a special place for djing. I remember playing the first anniversary, it was magic, all the times I played there has been a proper experience as everybody goes crazy for dance and party.

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

Well, I’ve been quite lucky playing records on the scene and I never had any problem at all. One time in the north of England a guest DJ of the party I was invited to play, asked me If I was going to DJ flamenco?… The worst experiences have been outside the scene where it is more difficult to play some stuff. I have had too many to relate, especially at an outdoor Jazz bar where I’ve DJayed for about 8 years…

5. Your favourite scene DJ’s and why?

There is so many good DJs around. To name some, Jean-Marc Vos, Paul Newman, Bill Kealy, Andy Powell, Mace, Mik & Gav, Eduardo Domingo, Dani Herranz, Àlvaro and Mocky Dimples and the guys from Teramo (Andrea, Ceritano, Mattia, Dani and Roberta). They have always impressed by having the dancefloor in pure action.

6. What has shaped your DJ sound and why?

Well, the parties in Barcelona and Madrid really inspired me. Playing in a Jazz club outside from the scene was a good way to learn how people react to some tunes and beats.

7. What was your best ever find/discovery?

One of my best finds was getting the Joe Thomas And Bill Elliott – “Speak Your Piece” on Symbol for 4 dollars moons ago on ebay.

A good discovery was getting a cheap R&B dancer of the version from Eddie Cleanhead Vinson called “Kidney Stew” signed by Claude Maxwell on a tiny label called Sydney. A more recent discovery is west coast R&B beauty from Guitar Shorty, “Love Loves” on the local label Pull from Los Angeles.

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

Mostly all the jazz musicians of the bebop era, the same thing with the R&b made in Chicago and California.

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

Mainly I collect R&b and jazz. I am focused on searching for rhythm and blues that was issued during the late fifties till the mid-sixties in my favorite state at the moment, California.

10. Where can folks currently catch your DJ set?

I run a club with my two mates, Alberto Valle and Dani Urbano, in Barcelona called Take Ivy. We do parties once every two months. This summer I am playing at the Euro-Yeye in Gijón and in Paris at the beginning of October.

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

One that goes on the “I would never own” list, is the one only copy of the acetate by Brian Auger doing an outstanding version of the Sidewinder on Decca. The coolest version I’ve ever heard and luckily enough I had the opportunity to dance to it twice in a club.

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

Top 10 Tracks of All Time:

1. Sonny Knight Quartet – The Groove Is On (Celebrity)
2. Freddie Hubbard – The return of the Prodigal Son (Atlantic)
3. Billy Hawks – O’ Baby (Stateside)
4. The Artwoods – I’m looking for a saxophonist… (Decca)
5. Champion Jack Dupree – Barrelhouse woman (Decca)
6. Johnny Guitar Watson – Wait a minute Baby (Highland)
7. Big Jack Reynolds – I had a little dog (Hi-Q)
8. Gloria Irving – I need a man (Cobra)
9. Graham Bond Organization – Harmonica
10. Buddy Rogers – Waiting for the sun to go down (Lowery)

Current Top 5 Tracks:

1. George Bean – Er-Um-Er (London)
2. Ivans Meads – Bottle (Parlophone)
3. Guitar Shorty – Love, Loves (Pull)
4. Johnny Guitar Watson – She moves me (RPM)
5. Sonny Forrest – Mama keep my wife at home (Red Top)

Social Networks:
FACEBOOK HERE


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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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July 3, 2017 By : Category : Beat Club Soul DJs Europe Front Page ModJazz Music RnB Tags:, ,
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Hey! Mr DJ – Juanito Volumen

This entry is part 4 of 7 in the series Hey! Mr DJ 6

NUTSMAG recently caught up with DJ Juanito Volumen in for a nice chat about music.

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

I’ve been listening and collecting music consciously since I was about 12 years oldplaying, because my brother always used to listening to music at home and I began to like the heavy metal music sounds (!!!). At the end of time, I discovered Punk Rock through bands such as The Ramones or The Clash, a sound that flew into my head and made me forget all the others, and it was what made me begin collecting vinyl records when I had still had no turntable. Shortly after, my cousin showed me the Quadrophenia film and The Who, and since then I started to be interested in 60’s and Mod music, and groups such as The Kinks, The Rolling Stones, Yardbirds and The Jam, who began to become my favorites, in fact in the school I took an outstanding work of the Who as a music study subject.

2. Where was your first DJ slot?

It was in a summer bar in Toledo, in the early 00s at “La terracita del Bú”, one of the few places who gambled by underground music in this city, and so, shortly after I then also became a resident DJ at a small bar (Mamola Club) that could present music that was not commercial and people responded pretty well,  and we filled it almost all weekends.

3. What was your most memorable DJ spot?

I especially loved the first Club Beatniiik in Pamplona, Spain, with a lot of very good friends within an unbeatable atmosphere, and the time I was also spinning at Purple Weekend, in my opinion, the best all dayer ever. I also have very good memories of spinning at a celebration of New Years Eve in Piacenza, Italy.

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

I never really had bad DJ experiences, but if I have to mention one, I think it was the II Green fuzz festival in Burgos, Spain, due to a nasty local manager who was all the time in my set just behind me controlling everything I tried to do and kept turning the volume down.

5. Your favorite scene DJ’s and why?

Rob Bailey is a reference for me (I would say although this magazine was another, ha! ha! ha!) so apart he helped me to discover so many songs that have became firm favorites since then, I think that is an all-terrain DJ, both black and white music and mixing the songs with much class. Tony the Tiger is another of my favorites because he always shows me something I didn’t know and I think that he is a specialist in my favorite genre, garage psych. At the Spanish scene, I get sticky Pablo de la Cruz, has always seemed one of the best to me.

6. What has shaped your DJ sound and why?

Apart from all the festivals and weekenders both national and international that I have attended, the Nuggets, Rubbles, Pebbles or Back from the Grave compilations, to name a few, have been those who have most influenced me and those who have helped me to create my style.

7. What was your best ever find/discovery?

A few years ago I found a pristine promo copy of The Sparkles “No friend of mine” for 10 dollars, but the best was a promo copy of Hipster Image “Make her mine” for a very interesting price. Aquamen “Line and track” and Yesterday’s Obssesion “The Phycle” might be two nice examples of discoveries in a club/DJ context.

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

Well, I couldn’t name you only one, in my sets I mix many styles, but British late 60s psychedelia and mid 60s American garage are always present. In terms of bands I can cite to be the Beatles, Birds, Them, Factory, Pretty Things, Captain Beefheart, Kaleidoscope, Standells, Remains, Shadows of Knight, Question Mark and the Mysterians, Stooges, The Seeds, 13th Floor Elevators, Moving Sidewalks… would you me like to continue?

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

Mainly British psychedelia, Europe freakbeat, US-American garage and psych 45s, certainly no particular labels or artists.

10. Where can folks currently catch your DJ set?

Euroyeyé 2017 (august 3-5) Gijon, Spain, could say that its gonna be the most important date this summer, but the can catch me in places like Salou, so often at the main music clubs in Madrid and more dates to be confirmed for the summer. Stay tuned, folks!

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

Fire “Father’s name is dad” (Decca – 1968) An absolute classic and a track that I could hear on loop for all eternity, I appreciate it what both song and the effort that brought me to get it. A timeless anthem. The other side “Treacle Toffee World” is very good too and I use to love spinning it very often.

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

Top 10 Tracks of All Time:
1. One In A Million – “Fredereek Hernando”
2. The Attack – “Magic in the air”
3. Toby Twirl – “Romeo and Juliet”
4. Factory – “Gone”
5. Tintern Abbey – “Vacuum Cleaner”
6. The Hooterville Trolley – “No silver bird”
7. The End “Cardboard watch”
8. Genne Latter “Holding a dream”
9. Long Time Comin’ “Part of the season”
10. Open Mind “Magic Potion”

Current Top 5 Tracks:
1. Oscar Hamod and the Majestics – “Got to have your lovin’”
2. Eduardo Araujo – “Nem sim nem não”
3. St. Louis Union – “East Side Story”
4. Douglas – “Si je buvais moins”
5. The World famous Ron Wray light show – “Speed”

Main WebSite:
facebook.com/clubbeatniik/

Social Networks:
facebook.com/clubbeatniik/


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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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July 3, 2017 By : Category : DJs Europe Front Page Fuzz Garage Music Tags:,
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UK Tamla Motown singles Part 3

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

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

 

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

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

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

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


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James Clark

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

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July 3, 2017 By : Category : Articles Club Soul Front Page Music Picks Reviews UK USA Tags:, , , ,
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Newbreed – The Bongolian

The Bongolian are based in Wales & London, UK with band members being: Nass Bouzida: Organ, Moog & Bongos, Johnny Drop: Drums, Glyn “tufta” Edwards: Electric Piano, Dan Rooms: Percussion, Trev Harding: Bass Guitar.We recently caught up with Nass and had a good old chatter!

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

We’ve been together for 17 years , The Bongolian was originally my studio project, but as soon as the LP was released, and such a huge success we are asked by the organisers of France’s biggest festival; Transmusicale to perform the LP live then other offers flooded in so the need for a full live band came about.

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

A love of Nandos, check trousers and eggnog.

03. Many folks reading this interview will be aware of your other band Big Boss Man, so why did you form Bongolian and what are the main differences?

Trev from BBM slaps the bass guitar rather than his usual axe work, and it’s a much more percussive, rhythmic and V-neck jumper based affair.

04. How would you describe the style you play?

Chaotic! Space-age Latin Boogaloo.

06. What are your live shows like?

The live show is a celebration of heavy bongo beats, funky organ and grinding oscillator work. Brian Auger meets Mongo Santamaria in Carnaby Street.

07. What are your main influences in music?

Mod-Jazz with a touch of Psychedelic Bongos!

08. What are your main influences outside of music?

Wood Carving ( mainly medieval cutlery; spoons, knives, forks etc.)

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

Nasser writes all the songs and Subject matters usually revolve around past experiences of his childhood in Bolton.

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

Psyche Yam from the Blue Print LP is my live fave at the mo. My fave song by another artist is “Simply the Best – T Turner” or anything from “No Jacket Required”!

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

Thriving and yes I participate, especially enjoyed the New LP “Moog Maximus” Launch in London’s Blow Up club in Soho.

12. What has been the biggest challenge to date?

Creating all layered analog synth tones for the LP Moog Maximus and then arranging for live performance.

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

We rehearse in Beat Mountain, (www.beatmountain.com) – we stay in the studio for weeks on end, carving out the musical maze that is the sound of The Bongolian. We have had quite lot of plays on BBC Radio so we are aiming to tour UK/Europe in Autumn. New Bongolian album is due for release in July.

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

Quite good!

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

Pine Cone are a great band!

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

Lonnie Smith at Abbey Road or Electric Ladyland would be good!

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?

I’m working on a hard, uptempo, latin-soul album, and working with Big Boss Man on a new LP, and setting up a new UK and European tour for Autumn. Also check out: www.beatmountain.com  – where I have recorded 548 drum and bongo breaks for use in any musical endeavors.

Tour Dates:
27 May ‘17 Mod & Sixties Festival, Margate, UK
01 July ’17 South London Soul Train, Peckham, UK
22 Sep ‘17 International Festival of Psychedelia, Liverpool, UK
Autumn ‘17 Moog Maximus, European Tour, TBA Europe.

Discography: Vinyl Releases:
7” Singles:
2002: Bongo Head
LPs :
2002: ‘The Bongolian’,
2005: ‘Blue Print’,
2007: ‘Outer Bongolia’,
2011: ‘Bongos for Beatniks’
2016: ‘Moog Maximus’
Main Site:
bongolian.com
Social Networks:
facebook.com/thebongolian
twitter.com/@the_bongolian
spotify.com/thebongolian


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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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May 9, 2017 By : Category : Articles Bands Beat Club Soul Front Page Interviews ModJazz Picks Psych UK Tags:, , ,
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Newbreed – The Gallerys

This entry is part of 6 in the series Newbreed5

The Gallerys; hail from Bristol, Wales, and Kent with band members being: Guitar – James Wood, Bass – Craig Barden and Drums – Dan Maggs. Every so often a new young band pops-up on the scene creating a buzz. We caught up with The Gallerys ahead of their performance at the Margate Mod/Sixties weekender.

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

With the current line-up of Craig, James and Dan we have been active for a year and a half. Dan and James met at college in Tunbridge Wells where they discovered a shared love for music, and decided to start a band. The original bass player stayed in the band for a few months before leaving for university, at which point Dan had a mutual friend who put the band in touch with Craig who then joined to complete the line-up.

What influences do the band members have in common?

The band members have a lot of musical influences in common; The Who, The Jam, Stone Roses, The Beatles, The Rolling Stones, The Specials, and Oasis.

How would you describe the style you play? What are your live shows like?

Our styles quite innovative in the sense you can’t really put it into one category. It has influences of alternative and indie, mixed with the energy of garage rock and – at times – rhythm and blues. All this is held together by our three-part harmonies. The best thing about coming to one of our shows is that we play our sound which spans many different genres. Our live shows have tons of energy and we always go for it.

What are your main influences in music?

Bands like The Beatles, Oasis, The Jam, were all ordinary guys who – through great songwriting and determination – made something of themselves with their music. We’d definitely take inspiration from these bands; we write our own music, arrange our own music, have created an image for the band and have recorded our own EP. The thing about these bands is that they had an idea of where they wanted to go with their music, which they followed through with and achieved; a great example for us.

Who writes your songs and what subjects do you deal with? What’s your favorite song in your repertoire currently?

Craig and James write the songs although The Gallerys sound doesn’t come until we arrange the tunes as a band in the rehearsal room. James has written songs such as ‘Paisley’,  ‘Is this real’, and ‘The End’ with Craig writing ‘You Don’t Really Love Her’, ‘You Can’t Look Through Me’ and ‘Doctor Friend’. The songs cover real life issues i.e. Paisley describes being totally overwhelmed by a positive feeling in a relationship whereas You Can’t Look Through Me covers the relatable topic of being ‘looked through’ in life whether that’s at work, at school or with friends. Something everybody has felt in their life. We want people to relate to our music and feel something when they listen to our tunes.

What’s your favorite song to play?

Our favorite song would be ‘Imperfect Perception’. It’s a chaotic track filled with descending guitar chords, driving bass lines and punchy drumming, all glued together with vocals from all three members. For me, this tune solidifies it’s a team effort for us. Each of us has an equally important role to play in our sound.

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

I’d say there’s definitely an underground scene out there. We’ve played many gigs in various areas of Kent like Maidstone, Tunbridge Wells and Ashford, we’ve played in London, Bristol, Portsmouth and Leicester, and there’s always bands that are doing something different which hasn’t been touched upon before. I’d say we participate in the sense we have a unique sound which merges lots of different styles and genres.

What has been the biggest challenge to date?

The biggest challenge to date would have been recording our three track EP ‘Paisley’, which we finished last December. The EP features lots of three-part harmony so there was a pressure to be on top form from a vocal perspective on the days of recording. We split recording the EP over three dates which wasn’t a lot of time. However, we stayed incredibly focused and managed to record the EP in the time frame that we set ourselves.

How often do you rehearse? Play live? Record?

We don’t rehearse as often as we should do. Most of the time we gig about two or three times a week so it’s very difficult for us to find time to rehearse but as we’re always playing live we’re getting tighter and more familiar with each other’s musical styles. At the moment we seem to be recording about twice a year.

Anything interesting coming up?

We’ve got some good shows coming up. Currently, we’re on a national UK tour with indie rock band The Rifles which will see us support the band in Bristol, Portsmouth, Cambridge, and Oxford. We’ve just supported From the Jam at the o2 Academy Leicester which was one of our best shows to date. The venue was absolutely packed and we played our set which was met with great reception. We’re playing live on BBC Radio Kent during the Breakfast show which is a great experience; you’re able to reach audiences all across Kent. We have a special show at the end of May supporting The Specials guitar player Roddy Radiation in the Dublin Castle in Camden; a top venue we love playing at.

The highlight of our year is shaping up to be when we will support Madness at the Detling Showground in Kent, August. We do however have a big announcement to make very soon so stay tuned for what we have coming up.

On the 28th May, we’re playing a slot at the Margate Mod and Sixties festival in Olby’s music room which is going to be special. We played at a clothing shop in Margate called “Rat Race” before which was very well attended. We have a lot of support in Margate so it’s gonna be great to come back for this festival.

What do you think of the music coverage in the media? Do you rate any current mainstream or underground bands?

There’s a good mixture and variety of music in the media at the minute. Sure there could be more but it seems to be fine at the minute. We rate bands like The Strypes, Temples, The Moons, The Rifles and Miles Kane.

What should we expect from you in the future what are your plans and ambitions?

We want to keep going. We want to write better songs, play to new audiences in new locations and most importantly, make a massive impact with our music.

Social Networks:

Facebook: facebook.com/TheGallerysUK/
Twitter: twitter.com/thegallerysuk?lang=en
Soundcloud: soundcloud.com/gallerys

Tour Dates: Supporting The Rifles *

*2nd May, The Thekla, Bristol
*3rd May, Wedgewood Rooms Portsmouth
*9th May, Cambridge Junction
*25th May, The Bullingdon, Oxford
28 May – Margate Mod/Sixties Festival


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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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May 9, 2017 By : Category : Articles Bands Beat Front Page Interviews Modern UK Tags:,
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Hey! Mr DJ – Simon Penfold

This entry is part 1 of 7 in the series Hey! Mr DJ 6

NUTSMAG recently caught up wuth DJ Simon Penfold in Tunbridge Wells, Kent for a nice chat about music.

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

Through my parents always playing 50’s & 60’s music in the car growing up and then due to my sister’s boyfriend, who was a Mod in the early 80’s, introducing me to Northern Soul.

02. Where was your first DJ slot?

At a Night Owl Northern Soul night in Brighton in the late 80’s.

03. What was your most memorable DJ spot?

Honestly, I enjoy them all mainly, none stand out as it were!

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

As above, not one stands out really, it’s with the next event!

05. Your favourite scene DJ’s and why?

Maybe Ginger Taylor, Andy Crane,  and Ady Croasdell – Ginger and Andy as I like a decent amount of 70’s Northern Soul thrown in and Ady because of his success with The 100 Club which was where I had my first experience of nighters in the late 80’s.

06. What has shaped your DJ sound and why?

I guess being into Scooters/Northern Soul and getting goosebumps from brilliant, quality oldies!

07. What was your best ever find/discovery?

The Imperial C’s – Someone Tell Her – Phil L.A. Of Soul years ago in the USA.

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

60’s & 70’s Northern Soul originals.

09. Where can folks currently catch your DJ set?

At The Little and Swig, Tunbridge Wells, Kent go here folks: facebook.com/Across-the-Street-Soul-Club

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

Lenny Curtis – Nothing Can Help You Now – End (An absolutely BRILLIANT/PERFECT Northern Soul 45)

Current Top 5 Tracks:

Shawn Robinson – My Dear Heart – Minit
The Sweet Things – I’m In a World Of Trouble – Date
The Masqueraders – Do You Love Me Baby – Wand
Billy Prophet – What Can I Do? – Sue
Little Joe Cook – I’m Falling In Love With You Baby – Hot

Top 5 Tracks of All Time:

Gerri Granger – I Go To Pieces (Everytime…) – Bell
Arin Demain – Silent Treatment – Blue Star
Christine Cooper – Heartaches away My Boy – Parkway
Ritchie Adams – I Can’t Escape From You – Congress
Mickie Champion – What Good Am I – Musette

Social Networks:

facebook.com/Across-the-Street-Soul-Club

Next Club Spots: Tunbridge Wells – Northern Soul Night – 20th May


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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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May 9, 2017 By : Category : Club Soul DJs Front Page Music UK Tags:,
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Jazz for Modernists 11 Blue Note 45s

The iconic status of Blue Note’s catalogue of LPs from the 1950s and 60s in the field of funky and soulful modern jazz is, of course, a testament to the high quality of its recording artists, the general excellence of the music and the production values instilled by owners Alfred Lion and Francis Wolff and perfected by audio engineer Rudy Van Gelder (RIP). However, it would be fair to state that the cover art, designed for the most part by Reid Miles, and with informative sleeve notes by the cream of contemporary jazz critics, together form an integral part of both the listening experience and the overall modernist package. Of those who own the vinyl, especially, who can disassociate the music of, say, John Coltrane’s Blue Train from its cover, or Dexter Gordon’s Our Man in Paris?

One consequence of this is that this most revered of labels tends to be valued for its 33 rpm products almost exclusively, something perhaps a little unusual for the world of mod music collectors. So it may come as a surprise to some (it was to me) to find out that, in addition to the 400+ LPs recorded on Blue Note between 1955 and 1972, the same period also saw something in the region of 350 7” 45 rpm singles released by the label. A handful of rare export copies came in picture sleeves, but on the whole we’re talking blue and blue and white label in paper bag territory.

The first thing to say is that virtually all the singles were sides already cut for an LP. Certainly this holds true for the ‘A’ sides, though a notable exception is the 1958 vocal version of Horace Silver’s ‘Señor Blues’ (see number two in list). The ‘A’ sides are overwhelmingly the ‘catchiest’ track on the LP, and in some cases, such as Horace Silver’s Tokyo Blues LP (1962), as many as three tracks were released on separate singles (as parts 1 & 2), such were the commercial possibilities of that finger-snapping record. Some tracks recorded in the studio for an album were edited in length for the singles or divided across both sides as ‘Parts 1 & 2’. Whether always the same take is something I haven’t yet been able to ascertain.

In future articles, we will look in more depth into the Blue Note singles catalogue (even acknowledging some of the 78s that were released from 1939 to 1955). This will involve examining the social context for their releases and their audience and reception compared with the albums. For now, though, here is an introductory selection of 10 major releases, many of which have been played over the years on the mod scene.

 


sonny_rollins

01. Sonny Rollins, ‘Decision (pts 1 & 2)’ (1957) – Blue Note-45-1669

After nine LPs for Prestige, New York-born tenor saxophonist Sonny Rollins recorded four for Blue Note between December 1956 and November ’57. Four singles were culled from these sessions, including this marvellous mid-tempo slice of soulful hard-bop taken from the 1957 LP now known as Sonny Rollins, Vol. 1 (BLP-1542). A stellar line-up featuring future Miles Davis pianist Wynton Kelly, drummer Max Roach, bassist Gene Ramey and trumpeter Donald Byrd trace out over 8 minutes the transition from bebop to soul jazz.

WATCH & LISTEN HERE


02. Horace Silver Quintet (with Bill Henderson), ‘Señor Blues’ (1958) –Blue Note-45-1710

Horace Silver initially recorded this Latin-tinged tune as an instrumental in late 1956 for the 6 Pieces of Silver LP (BLP1539) and a shorter, alternate take was duly released as a single coupled with ‘Cool Eyes’ from the same session. Then, in 1958, a new lyric version, with a different line-up (though Donald Byrd remained) was recorded with Chicago-born actor and vocalist Bill Henderson. Apparently one of the labels best-selling 45s, ‘Señor Blues’ turned up on the excellent 1993 compilation Blue ‘n’ Groovy. Henderson, who passed away earlier this year at the age of 90, also recorded two singles with Jimmy Smith in 1958.

WATCH & LISTEN HERE


03. Herbie Hancock, ‘Watermelon Man’/ ‘Three Bags Full’ (1962) – Blue Note 45-1862

Covered by John Hendricks, Mongo Santamaría and Manfred Mann, among others, Chicago-born pianist and composer Herbie Hancock’s ‘Watermelon Man’ is now a jazz standard both in this, its original form, and the electro-funk version he made over ten years later for the 1973 Head Hunters LP. Some see this track, taken from debut LP Takin’ Off as the first blueprint of one of the label’s key signatures of the next five or six years: the inclusion on an LP of at least one exotically-titled funky, latin-tinged soul-jazz number which, in edited form at least, could get dance floors moving. Featuring Dexter Gordon on tenor sax, trumpeter Freddie Hubbard and, with Hancock, a rhythm section comprising Billy Higgins (drums) and Butch Warren (bass), ‘Watermelon Man’ was written with commercial success in mind and evokes from Hancock’s childhood the cry of a Chicago street vendor and the rhythmic beat of his wagon wheels.

WATCH & LISTEN HERE


04. Jimmy Smith, ‘Can Heat’/’Matilda Matilda’ (1963) – Blue Note 45-1905

Taken from his penultimate Blue Note LP, Rockin’ the Boat (BLP4141), featuring Lou Donaldson on alto sax, ‘Can Heat’ is just one of over 40 singles released by Jimmy Smith on the Blue Note label between 1955 and 1972. This one, a nice slice of mid-tempo r & b/soul jazz, is classic mid-60s Smith, one for getting the dance floor bubbling as opposed to an out-and-out mover. A lovely tune, though, for relaxing to with a glass of cool beer or camomile tea for more adventurous souls.

WATCH & LISTEN HERE


05. Stanley Turrentine, ‘River’s Invitation’ (pts 1 & 2) (1965) – Blue Note 45-1917

Another stalwart of Blue Note’s soulful side, Pittsburgh tenor man Stanley Turrentine (1934-2000) had already recorded with R & B heavyweights Lowell Fulsom and Earl Bostic before teaming up with Max Roach in 1959. In 1960, he married organist Shirley Scott, going on to record with her for Prestige and Impulse! ‘River’s Invitation’, a sparkling orchestral version of Percy Mayfield’s gospel-drenched blues, is taken from Joyride (BST84201) and features Herbie Hancock and guitarist Kenny Burrell.

WATCH & LISTEN HERE


06. Lee Morgan, ‘The Rumproller’ (pts 1 & 2) (1965) – Blue Note-45-1918

Readers of our recent top 10 soul-jazz LPs will know that trumpeter Lee Morgan’s ‘The Sidewinder’ (both as single and LP) was a massive success for Blue Note in 1964. ‘The Rumproller’, released in late 65/early 66, was the follow-up single and LP (though in the meantime Morgan had recorded the excellent Search for the New Land). A funky blues in the ‘Sidewinder’ fashion, this track was written by pianist Andrew Hill, one of Blue Note’s more experimental artists whose LPs for the label are highly recommended.

WATCH & LISTEN HERE


08. Lee Morgan, ‘Cornbread’ (pts 1 & 2) (1965) – Blue Note-45-1930
Recorded at the end of the funky summer of 1965, the Cornbread LP (BST84222) reached the Billboard top 10 when it was finally released in early ’67. Featuring the great ballad ‘Ceora’, the record holds a special place in this writer’s heart as the first Blue Note LP he bought as a teenager. The title track, another infectious bit of bluesy funk, was released as a single.

WATCH & LISTEN HERE



09. Duke Pearson, ‘Sweet Honey Bee’/’Ready Rudy?’ (1967) Blue Note-45-1931
The next single in the catalogue after ‘Cornbread’, ‘Sweet Honey Bee’, by in-house Blue Note pianist and composer Duke Pearson was taken from a late ’66 LP of the same name. At this time, Blue Note was often pairing its funky players with modal modernists and here Miles Davis bassist Ron Carter provides a more spacious and contemplative feel to the rhythm section. Flautist James Spalding, though, dominates with the melody that structures this bouncy mid-tempo track.

WATCH & LISTEN HERE


10. Lou Donaldson, ‘Alligator Boogaloo’/’Rev Moses’ (1967) Blue Note-45-1934

Coming on like a slower-tempo ‘Hot Barbecue’ (Jack McDuff), with Lonnie Smith at the organ, this Lou Donaldson swinging groove remains a bona fide mod jazz favourite. Though the album version weighs in at over six minutes, the single, as can be seen from the picture, is an edited version of less than 3 minutes and thus ideal for the discotheque. However, many mods will want to find the (original) vinyl LP for the iconic cover of Peggy Moffitt wearing a psychedelic Rudi Gernreich gown.

WATCH & LISTEN HERE


11. Bobby Hutcherson, ‘Ummh’ (pts 1 & 2) (1970) Blue Note – 1966
And so into 1970! This list is completed with a brief homage to the late great vibes player Bobby Hutcherson (1941-2016). LA-born Hutcherson was a regular featured artist at Blue Note and played on key dates such as Eric Dolphy’s Out to Lunch (1964). His own series of dates for the label, including Dialogue (1965), Components (1966) and Happenings (1967) are among the most thoughtful and atmospheric in the entire catalogue. By the time of San Francisco (1970), he had moved from the fringes of the avant-garde into the realm of jazz fusion and funk. Taken from this album, Ummh (pts 1 & 2) features Jazz Crusader Joe Sample on electric piano, John Williams on fender bass, drummer Mickey Roker and tenor sax player Harold Land (he that inspired the title of a song by Yes). It is one relentless gargantuan groove which hopefully Bobby above is still playing along to.

WATCH & LISTEN HERE


Postscript
In 1998, Dean Rudland compiled a selection of Blue Note 45s under the title ‘Blue 45s-the ultimate jukebox’. I don’t have a copy of this, but it might still be available and will no doubt have more useful information.


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James Thomas

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

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December 6, 2016 By : Category : Bands Front Page ModJazz Music Picks Tags:, , ,
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