Strange Cages (Newbreed)

Strange Cages are based in Brighton, UK featuring band members: Charlie McConnochie (Guitarist, Singer) Elliott Loughridge (Bass player) Ellis Dickson (Drums), we caught up with them recently for a nice chat.

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

Just over 2 years. I found Ellis in a ditch. His legs were sticking out. They’re far too large for any ditch.

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

We have many influences in common. Some examples are: The Cramps, T Rex, The Jesus and Mary Chain.

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

Wax Machine are a great band of groovy freaks with good solid tunes. Skinny Milk is another band worth checking out too, they are a two-piece bass and drums combo with a great sound (they’re much better than Royal Blood).

04. How would you describe the style you play?

Noisy rock and roll for reptiles. Music that makes you want to run around in the woods downing wine, smoking and dancing until you pass out.

05. What are your live shows like?

There is a lot of sweat. We recently played Green Door Store at 2am and things got quite wild. There was a woman swinging her jumper round, then she knocked the mic over and tried to get on the stage. At first, I thought she was really enjoying the gig, but then realised she was trying to get on stage to kill me. A bouncer had to stand with her for the rest of the gig.

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

We like to occasionally play ‘Jack the Ripper’which is an old garage song, covered by a lot of artists like Screaming Lord Sutch and The Horrors. We’re inspired by The Horrors’ version mainly. There’s not a lot better than howling “Jack the Ripper” down a microphone. I don’t like boring bands who play boring music and look bored whilst playing it. What is the point? Do you not feel anything? Do you want to be the same as everyone else? It baffles me.

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

In our set: I like to play ‘Ego-Killer’ because I get to make a lot of noise. It’s usually our last song and it will be out on the EP next month.
Another artist: I keep listening to Autumn’s Child by Captain Beefheart because it’s just so so right. As is the rest of the album “Safe As Milk”

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

It’s great, there are loads of great things going on Brighton. We’ve recently started a new night called Strange Cages’ Deadbeat Disco. We’re getting our favourite bands to play in a tiny space and it’s all free. It’s once a month, so come down and do a little dance.

09. What has been the biggest challenge to date?

The hardships of having to work and play music. It’s a bit of a nightmare working until 4pm, travel to a different city to play a gig and then leave straight away to get to work at 8am. Of course it’s worth it though and it obviously takes a long time for anyone to make money from music – if ever.

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

It’s okay. There are plenty of good sites etc. I wish there were better magazines on paper. The NME has clearly gone downhill, a good example of this is that Chris Moyles was on the front cover. I also wish people would write more honest reviews of bands rather than just throw in superlatives.

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

I watched Goat live at Field Day festival and it was incredible. I didn’t know what the fuck was going on but loved it. If you don’t know who they are you should go and see them live as soon as you can.

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

I’d like to record with Josh Homme in his desert studio. I think we’d quite a lot of fun if that happened. I’m also looking forward to recording at Hermitage Works Studios with producer Margo Broom again. It’s where we recorded our upcoming EP and I don’t know if there’s anywhere around that’s better.

13. 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 first EP will be out late July/August. We’ll be doing an EP launch at our Deadbeat Disco. I can’t wait to play 1234 Fest in September with Jesus and Mary Chain and Gang of Four. We plan on recording and releasing stuff at a much better rate in the future.

Free download – Desert (2014)
Single on Strong Island Recordings – Pony (2015)
Free download – Catharsis (2016)

Web Links:

Updated Releases and Tour Dates 2016:
6th July – Shacklewell Arms, London
17th July – The Lock Tavern, London
28 August – Sticky Mikes Frog Bar, Brighton Psych Fest

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

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July 5, 2016 By : Category : Bands Beat Front Page Fuzz Garage Interviews Music Psych Scene UK Tags:, , , ,
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The Beatniks (Newbreed)

The Beatniks are based in Southend-On-Sea, Essex, UK, featuring band members: Andy (Hammond/Keys), Tony (Vox/Harmonica), Sean (Bass/Groove), Paul (Guitar/Fuzz), Heather (Drums/Beats) we caught up with them recently.

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

We started with the official line-up at the beginning of 2015, with our first gig together being Valentine’s Day at The Railway Hotel for Dandy Bloom. Sean and Andy were the original members with a different drummer and singer, and once they left Heather and Paul joined shortly after. The four of us were trying out different singers for quite a while. We really wanted to find someone who not only suited the style of music we play, but was fully immersed in the scene too and then we found Tony!

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

Musically speaking, we’re all into the general mod/sixties vibe but we all have specific genres that tie in together quite well. For example, Tony is more of a 60s psych man, Andy is into his acid jazz, Sean is more classic mod/scooter, Paul loves his funk and garage and Heather loves a bit of a northern soul. This dynamic works really well, especially when it comes to writing songs. We’ve got 4 new tracks in the pipeline that are completely different from the next, but they all fit in with the ‘mod’ scene.

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

Tuppenny Bunters are a fantastic husband and wife duo, really energetic and simply amazing to watch live. They’re also owners of our favourite local pub (and DJ residency) The Railway Hotel. Mo Fingers are a brilliant Hammond driven band (similar to us but more instrumental based). There’s so many, more though! Just off the top of our heads… The Scarletts, The Ends, Howling Black Soul and Rollin’ Machine. It goes on and on!

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

We usually head up to London for that sort of scene (mostly for your nights Rob!) but you’ve got Almost Grown at Saks, they also do a mod weekender in May which we’ve played at twice now and the only other one would be Dandy Bloom, both usually play Northern Soul/R’n’B sort of stuff. We’re actually thinking of starting our own local night which we can DJ and play live at. Because of our eclectic interests (as mentioned previously), we’ll have a mix of genres that we reckon could get a good crowd in. It’s just a case of coming up with a name and getting a venue sorted!

05. How would you describe the style you play?

It’s a mix of all the different styles of music we like collectively. Hammond stuff, garage, soul, acid jazz, psych and even a bit of indie thrown in. We don’t sit down and think we are going to come up with a Northern Soul or an instrumental track or whatever. We just jam it out and it ends up how it ends up.

6. What are your live shows like?

They seem to be getting better and better. Now we have a few gigs under our belt and working more originals into the set list, it’s getting more exciting and fun for us and we hope that reflects onto the crowd.

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

Again, it’s the mod scene in general. We started off doing covers by bands like The Small Faces, Brian Auger, The Kinks, Shocking Blue, Terry Reid and various other bands and we are not against cover versions, but is so much more satisfying playing our own songs. Who do we despise? Bono is pretty much universally despised and with good reason, so probably him… and Coldplay too. There are many to pick from.

08. What are your main influences outside of music?

Generally speaking. it comes back to music, but if we had to pinpoint specific influences we would say the fashion that comes with that 60s era/vintage clothes and the scooter scene too.

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

We are all involved in the writing process. One of us might turn up with a riff, a chord sequence or idea and we just jam it out. Tony has written pretty much all the lyrics so far, but that’s just how things have worked out. Any one of us can come up with a lyric or riff and if it sounds good, then we will use it.

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

Our newer songs (Seven Suns, Soul Jive, Inspector 71) are probably more fun to play purely because they are the newest. By another artist, and it changes so very often, but we would say at the moment, ‘Dude’ by Pappy’s Haunted House or ‘If I Could Only Be Sure’ by Nolan Porter.

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

We’ve noticed in the last few years there’s a younger generation trickling through the scene who seem to be influenced by the 60s Mod look and that seems to be growing. We do tend to go out as a band, whether we’re playing or just participating we try to get out to various venues within the scene.

12. What has been the biggest challenge to date?

Probably finding a singer. Since Heather and Paul joined we were rehearsing for about a year as an instrumental band, but really wanted a front man or woman. We had a few people come down to audition, but for one reason or another wasn’t right or didn’t fit. Then we met Tony through a friend of the band and he came down and it all seemed to work. Maybe it was fate as we sort of knew one another through friends of friends and we all seem to gel really well as a group and really got on. We knew he was the man almost instantly.

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

Well, we try to get at least one rehearsal in a week, but twice a week leading up to a gig. We book our own gigs at the moment, so it’s really when we are able to sort one out. We have had a few people contacting us now though and that always helps. Coming up, we are on a compilation called Dirty Mod which is out through Well Suspect Records with a launch party at Pretty Green in Carnaby Street, we are really chuffed with that. We would like to put an EP or album out this year, but on CD and vinyl, this time as our debut was vinyl only.

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

Not great in the media is it? They focus too much on what makes a lot of money instead of what actual talent is. There’s still a lot great bands about, but you have to dig a little deeper yourself. There isn’t much coverage of the stuff we like in the media, but the internet is a good source of information, as are recommendations.

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

Fogbound are really good. We played with them at Crossfire last year and they were excellent. Great band, great tunes and a really nice bunch of chaps too.

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

We could mention dozens of people, but I think we all agree that Steve Marriott would have been great to record with. I think we would all be in awe being in the same room as him, let alone record with him! They don’t make ‘em like that anymore sadly.

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 have been coming up with quite a few new songs and ideas and recently recorded a few tracks that we are hoping to put out on an album or EP a bit later in the year. It all depends on how many songs we have got together and how quick we want to get them out. Getting signed would be amazing, but we self-financed our first single and would go that route again to get the songs out. Would love to play 100 Club or the odd gig abroad. Amsterdam or Spain would be really cool. We have Village Green, which is a pretty big festival in Southend we’re all looking forward to that. Other than that, we have a few local gigs lined up, but the Brighton Mod Weekender is the big one that we are really, really excited about. So see you there and hope you enjoy our set.

Single: 2016 – AA 7” ‘CC (Love Surprise)/Ball & Chain’ (Self Released) – BNR001
Compilation: 2016 – ‘Dirty Mod’ (Well Suspect Records) – SUSSLP07/SUSSCD07

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

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July 13, 2016 By : Category : Bands Beat Front Page Fuzz Garage Interviews Music News Scene UK Tags:, , ,
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Hey! Mr DJ – Lee Petryszyn

This entry is part 18 of 19 in the series Hey! Mr DJ 3

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

Growing up there was always music & records about, me old dear loved Motown, the old mans a huge soulie (DJ’s himself still) but was my older brother who introduced me to everything that was good growing up through the 90’s with Blur, Oasis, The Verve then the inspirations to those bands like The Who, Small Faces etc… It was The Horrors fanzine that I first got my early glimpse into Psych with a track off a CD that used to come with it… Hooterville Trolleys – No Silver Bird, which blew my mind and opened up a new one seeking similar sounds!

Where was your first DJ slot?

Used to play a couple of mates indie nights but the first 60s bash was as resident for a night that used to be called Psychedelic Sunday’s at the Lexington with my pal Jamie Cook a few years back with mostly cheap nuggets singles.

What was your most memorable DJ spot?

My second time at Mousetrap, one of my favourite 60s haunts as a punter, always a game crowd in a nowadays rare club that has all the right ingredients for a top night. At the brilliant Margate Mod weekender – playing records with my old man for a good while in the day. The farewell night at Berlin Beat Explosion which was open deck at Wowsville bar playing back to back with Riccardo Para from Italy.

What so far, has been your worst DJ experience?

Fortunately in my thus far short-lived Dee Jin escapades I’ve not endured any too drastic, My first time at Mousetrap had a couple of hiccups with the mixer not working to start with which didn’t help calm the nerves!

Your favourite scene DJ’s and why?

Joseph Spurgeon was the first DJ that initially captured my psychedelic imagination! Rob Bailey, Carolina Pastore, Rhys Webb, Peter Feeley, Holly Calder, Stephen McConville – in fact anyone who collects and plays as it’s not a cheap game to be in!

What has shaped your DJ sound and why?

Mostly anything from 66 to 71 that’s uptempo, fast and frantic with a good groove.

What was your best ever find/discovery?

Discovering Psychedelic Music and all the nights that play it like Hidden Door Club/Cave/Le Beat Bespoke/Mousetrap.

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

My Brother, My old man for the thirst for Vinyl, Cave Club & Mousetrap nights and the DJs that play. Brian Jonestown Massacre being my favourite artists.

Do you collect specific labels/artists/genres?

If I could choose it would be British Demos & Pictures sleeves but any great tune will do,but predominately French Psych/British & Dutch/Belgium Freakbeat.

Where can folks currently catch your DJ set?

Hidden Door Club at Mascara Bar in Stoke Newington Friday 8th April. Margate Mod & 60’s Weekender on Sat May 28th 2016, see all the details HERE!

What is the record you would most like to own?

Adams Recital – There’s no place for lonely people.

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

Top 10 Tracks of All Time:

The Fox – Hey! Mr Carpenter (CBS)

Legay – No one (Fontana)
The Accent – Red Sky at Night (Decca)
July – Dandelion Seeds (Major Minor)
Ruperts People – Dream on my Mind (Columbia)
The Mickey Finn – Garden of my Mind (Direction)
The Koobas – Royston Rose (Columbia)
Dragonfly – Celestial Empire (Philips)
The Orange Alabaster Mushroom – Tree Pie (POP 24)
Pink Floyd – See Emily Play (Columbia)

Current Top 5 Tracks:

Peshka – Danse Du Ventre (JAG)
Glass Sun – Silence of the Morning (Sound Patterns)
Sheephouse – Ladder (Decca)
Joys of Life – Descent (Columbia)
The Fairytale – Guess I Was Dreaming (Decca)

Web Links:


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

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May 4, 2016 By : Category : Beat DJs Front Page Fuzz Garage Interviews Music Psych Tags:, , , ,
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Bowie in the 1960’s

This entry is part 4 of 5 in the series Collectors Corner 2

It’s fair to say that most music lovers were shocked and deeply saddened when the death of one of the world’s most revered music legends, David Bowie, was announced early on Monday 11th January 2016. David was an ever-present in most people’s musical tapestry, from his first break in 1969 with ‘Space Oddity’, through proto-metal with ‘The man who sold the world’ the following year, and then releasing a whole series of groundbreaking and innovating albums on RCA throughout the decade. He followed this run with the stadium years of the 1980’s, and then had a creative rebirth in the 1990’s, releasing a fine succession of critically acclaimed albums, ending with the wonderful ‘Blackstar’ which was released only two days before he died. Although the many tributes tended to concentrate on his hit making heyday, most headlines hardly gave a mention to the many wonderful and varied released Mr Jones released before he hit the big time and that’s therefore what we’re going to have a look at in this article.


Born David Robert Jones in Brixton, 8th January 1937, the family moved to Bromley when he was seven where in the mid 50’s he discovered rock’n’roll and decided music was what he wanted to pursue. He took up piano, ukulele and later saxophone, and like most musical fans of his age, joined and formed various skiffle, then beat groups in his early teens. At 15, Bowie and some friends formed The Konrads, but he soon left and joined The King Bees who were one of many of the British R‘n’B bands playing around the country in 1964. Taken under the management of Leslie Conn, the band were signed to Decca and on 5th June 1964 ‘Liza Jane’/‘Louie Louie go home’ was released on subsidiary label Vocalion V 9221. Both tracks were good but unremarkable British rhythm’n’blues and sank without trace in the busy release schedules of the time. By far the most desirable and expensive of Bowie’s UK singles, this single nowadays can fetch up to £2000 in mint condition. Be careful buying this disc as the record was bootlegged in the 1970’s with a large centre hole, a genuine original would have a four prong push out centre and should come in a red and white Vocalion company bag. A great and cheaper way to own this piece of musical history is the Decca mid-seventies reissue which can be picked up for around a tenner!


After the failure of Davie’s first single, he left the band and joined another Rythym & Blues band called the Manish Boys. The group was signed to EMI in 1965 and placed under the guidance of the company’s top selling label of the time, Parlophone. On 5th March 1965 the label released a cover of ‘I pity the fool’ backed with a great Jones written mod-jazz track ‘Take my tip’ (Parlophone R5250). Like the release before it the single stiffed badly and is also hard to find, especially as a stock copy. Yet again, copies of this single in mint condition can reach the £1000 mark, that’s when they rarely appear on the market. The B side had the added attraction of being the first Bowie song to be covered when Kenny Miller released his single ‘Take my tip’ (Stateside SS 405) in April of the same year. Also rare but decidedly cheaper than Bowie’s original, this can usually be picked up for around the £100 mark. In August, now firmly encased in the amphetamine filled Soho mod scene and regulars at the Marquee club, Davy Jones and The Lower Third as they were now known released another single on Parlophone, the manic, pop-art masterpiece ‘You’ve got a habit of leaving’/‘Baby loves that way’ (Parlophone R 5315). Produced by the legendary Shel Talmy, it should have been a hit in a chart full of Yardbirds, Who and Them singles but yet again it sold absolutely nothing leaving yet another £1000 rated 45. Both Parlophone singles are essential listening but luckily have all been reissued on EP’s in the last couple of decades, most recently on Record Store Day 2014 with a stunning 1965 era Bowie picture sleeve.

1966 and London was in full swing when Jones decided on the name change (to avoid confusion with future Monkee Davy Jones) to David Bowie, the surname he’d take to the grave. After parting company with Leslie Conn, the newly christened David Bowie and the Lower Third were signed to Pye records and released three fantastic 45’s during the coming year. The first, released on 14th January 1966, was possibly the highlight of his early career, ‘Can’t help thinking about me’, with the almost as good ‘And I say to myself’ on the flip (Pye 7N 17020). Despite plenty of publicity and airplay the song only managed to scrape into the bottom of the top 50 in a couple of music magazine charts. Even though it sold a few copies it’s still an in demand item and regularly sells for £200-300 for a copy. The next release came out three months later on 1st April, ‘Do anything you say’, backed with the jazz tinged groover ‘Good morning girl’ (Pye 7N 17079). Now billed solely as David Bowie this release was not as immediate as it’s predecessor and is the hardest of the three to locate, usually hitting over £500 in top condition. The final release on Pye was released in August 1966, a proper swinging London affair called ‘I dig everything’ coupled with another strong B side ‘I’m not losing sleep’ (Pye 7N 17157). Although this sold more than the second single this still reaches prices of £300+ at auction.



After three great commercial singles that just didn’t seem to click with the record buying public Bowie started 1967 joining the last days of pop-art mod band The Riot Squad. At this time David had come into possession of one the earliest pressings of the seminal Velvet Underground debut album and soon incorporated ‘I’m waiting for the man’ into the band’s live act. The track along a handful of others were actually recorded and finally secured an EP release on Acid Jazz in 2013. Now under the management of Kenneth Pitt who tried to steer Bowie down a more all round entertainer route he was signed to Decca’s new progressive label Deram as a solo artist. The first fruits of this new direction was the lightweight single “Rubber band” (Deram DM 107) which was a surreal mix of Anthony Newley and Syd Barrett. The B side ‘The London Boys’ is a lost nugget, Bowie’s sombre tale of mod London gone wrong. It sold incredibly poorly on release and is by far the hardest single of this period to find, especially as a stock copy. The next release, the novelty track ‘The laughing gnome’/ ‘Gospel according to Tony Day’ (Deram DM 123) released in April 1967 was another flop but this one would come back to haunt him when it hit the top ten six years later at the height of glam-era Bowiemania.


First pressings are much harder to find, original copies have an upside down matrix number on the label and flat push out centres rather than 1973 double ridged style centres, this is the difference between spending £5 and £50+ on a copy! After three years of non-hit singles, on June 1st 1967 the debut album ‘David Bowie’ was released to the world in both mono and stereo pressings (DML / SML 1007). It’s a mixed bag of English popsike and vaudeville, with Bowie himself later explaining his influences at the time as a mix of Max Miller and Elvis Presley. Unfortunately the music loving kids of 1967 decided to spend their money on another album released the same day, ‘Sgt Pepper’s lonely hearts club band’ and the album sank without trace creating a £700-1000 item nowadays. In July Deram had one last try with the catchy ‘Love you till Tuesday’ being released as a 45 (DM 145) which was one flop too many for Decca causing artist and label to part company soon after. In 1968 without a contract, Bowie, with mime artists Hermoine and Hutch, made a small series of promo films featuring remixed Deram tracks and also an embryonic version of a song that was to finally into the charts in the summer of 1969, ‘Space oddity’… But that’s a whole different story!

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James Clark

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

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February 12, 2016 By : Category : Articles Beat Front Page Inspiration Music Reviews UK Tags:,
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Gary Wall – Hey! Mr DJ

This entry is part 2 of 19 in the series Hey! Mr DJ 3

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

Always grew up listening to the various sounds of the 60s as both my parents were Mods in the mid 60s, so I guess you could say I was born a Mod.

2. Where was your first DJ slot?

I think it must have been the Adi Club in Chesterfield.

3. What was your most memorable DJ spot?

Has to be the Prestatyn Soul Weekender, playing with some of the countries best Soul DJs and with crowds of 1000+ easily wow, what a buzz!

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

(Laughs) So far I’ve been very lucky and (fingers crossed) things will stay that way!

5. Your favourite scene DJ’s and why?

Ian Gringham has to be one of them,his knowledge insight and passion of all things mod he certainly knows his stuff. Also Pid from Brum Beat, I love the way he plays and his pure brilliance behind the decks. Also without a doubt the late Derek Allen, he inspired me so much with the records he played such a massive loss to the soul scene. (RIP)

6. What has shaped your DJ sound and why?

I think over the years listening to great DJ’s playing stuff like British Beat, British R‘n’B, Soul, American R‘n’B etc; as certainly shaped the path I play nowadays.

7. What was your best ever find/discovery?

Unfortunately I am yet to discover a rarity for myself, but I do live in hope!

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

Without a doubt The Beatles, especially John Lennon. John was and is a true legend, his song writing his vocals, I love everything about the man!

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

Labels I usually collect are Decca and Columbia, but I do have a wide range of labels in my collection from all 60s genres.

10. Where can folks currently catch your DJ set?

Hubble Bubble, a Mod/60s inspired club which is held on the last saturday of the month upstairs at Theropewalk, 107-111 Derby Road, Nottingham.

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

I’ve been looking for years with no luck for one record in particular – so if anybody out there as a copy of ‘Meanie Genie’ by Tony Brook and the Breakers please get in touch!

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

Top 10 Tracks:

Peters Faces – Susie Q (Piccadilly)
Sonny Til – Hey Little Woman (CP Parker Records)
Comin Home Baby – Barron Knights (Columbia)
I Surrender – Bonny St Claire (Phillips)
My Love is your Love – The Isley Bros (Motown)
In my Lonely Room – The Action (Parlophone Demo)
Day Tripper – The Beatles (Parlophone)
Mary, Mary – The Monkees (RCA)
If I get Lucky Someday – Duffy Power (Parlophone)
In The City – Charles Dickens (Pye)

Top 5 Tracks:

St Louis Union – Easy side story (Decca)
The Measles – The Kicks (Columbia)
The Knickerbockers – One Track Mind (Challenge)
Zu Zu Blues Band – Zu Zu Man (A&M)
The Mccoys – Say those Magic Words (Bang)

Social Links:

Facebook: Here & Here

Next Club Spots: Brighton New untouchables Weekender.

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

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July 8, 2015 By : Category : Beat Club Soul DJs Front Page Interviews Music Tags:, ,
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Masters – Allan Crockford

This entry is part 2 of 8 in the series Masters2


Ask Allan Crockford about his musical CV and you can not help but be seriously impressed; The Prisoners, Prime Movers, Solarflares, Stabilisers, James Taylor Quartet, Goodchilde and Phaze. Add his own current band The Galileo 7 and you have a very fine body of work to appreciate.

All of these bands are highly influential and inspirational to successive generations of aspiring musicians with a psych, garage tendency. “But what about mod?” you may ask.

I work on the principle that arguably with the exception of The Small Faces, there is no-such-thing as a ‘mod’ band. However, there are legions of bands with a mod following. Most, if not all of the bands Allan Crockford has been a part of, fall into the latter category when it comes to the UK. Across Europe, they are more regarded as part of the psych, garage, punk scene.

Over the Whitsun Bank Holiday, Allan lines up with long-time collaborators, Graham Day and Wolf Howard at Margate as Graham Day and The Forefathers.

The purpose of this incarnation was simply to revisit the back catalogue of their combined output and revitalise some truly great songs, resulting in the acclaimed debut album ‘Good Things’.

01. How pleased are you with the reception of both the band and the album?

Very pleased with both. It’s come as a great surprise to be greeted with this sort of enthusiasm for doing something exactly the same as we’ve always done! We suspected that a few old faithfuls would be interested, but it’s gone beyond that. If only we’d had this sort of enthusiasm when we last together as The Solarflares then we might have carried on without the 10 year break. I think the internet has helped with making our presence known.

02. What has been like to revisit those great songs with Graham and Wolf?

A lot of them we had played before at various times, but not collected together in one set. It’s been pretty easy really. The real surprise has been doing Prisoners songs without the organ and not really missing it. I suppose we’ve got better at filling the holes in the sound, or maybe letting the songs breathe with a sparser sound. One of the two anyway… I’ve also really enjoyed playing Gaolers songs. To me they are like new songs as me and Wolf didn’t play on the original recordings. It means it’s not all nostalgia.

03. You have had a long-standing writing partnership with Graham Day. How does the process work for you both and has it changed over the years?

It’s not a writing partnership. Graham wrote the basic songs, then they were fleshed out and arranged with the full band, whichever one we were in at the time. I might have contributed the odd arrangement suggestion occasionally, but the songs we play in the Forefathers are very much his. If I made a contribution it’s more in being quick to pick his ideas up and play bass in a way that compliments his sound. I only started writing songs myself in the last 7-8 years, during the time that we weren’t playing together. If we were ever to record new material with this band, then I dare say we’d do it the same way as we always did, with me and Wolf jamming along with Graham’s basic idea until the song emerged. Why change a winning formula!

04. How surprised are you that The Prisoners and Prime Movers are still immensely popular in the 21st century?

I dispute that the Prime Movers were ever that popular! The only reason we were called that when we initially made our return was for a one off gig in Germany for an old record label that specially requested it. We dropped all the PMs songs from the set very quickly, apart from ‘Good Things’. And also ‘immensely popular’ is pushing it a bit for both bands! We’ve got a small set of very enthusiastic and loyal fans that make a lot of noise, but it’s still very small scale. We’re very grateful to them, but we never over-estimate our popularity. We’re preaching to a small number of converted.

05. You have told me in the past that throughout your career, from The Prisoners onwards, you and indeed the other members of the various bands, never regarded yourselves as mods, but you seem to have attracted a mod following in the UK. Why do you think that is?

We never disputed that there were ‘Mod’ elements to our sound and style, but we never wanted to be defined by a label. We just loved 60’s rock n roll and style. Most people dressed that way back then, but weren’t called Mods. I don’t get the need to identify with something narrow and limiting. Why can’t you play the music and wear some of the gear if you feel like it, without someone putting a label on you? The development of youth culture and tribal allegiances are kind of interesting as topics for a social thesis or a Phd, but it gets a bit boring to be asked the same question about it for the next 30 years… No disrespect! I love the music, but I also love a lot of music that apparently Mods aren’t supposed to like.

06. Your own band, The Galileo 7 have received critical acclaim for their album from last year ‘False Memory Lane’. How would describe your sound and what you are aiming for with them?

We’ve made two albums before that; ‘Are We Having Fun Yet? (2010) and ‘Staring At The Sound’ (2012). There’s also the brand new single ‘One Lie At A Time’. I suppose it’s psych-pop rather than garage-rock, if anyone can pick apart the differences within our little sub-genres. Influenced more by mid to late 60’s pop psychedelia than R&B, more Nuggets than Rubble… I haven’t got the vocal range to take on soully/R&B screaming and testifying like Graham, so I try to work on melodies and harmonies that will work whoever is singing. I’m not aiming for anything apart from carrying on playing and having a creative outlet for my ideas. I realise that not everyone who has liked the other bands I’ve played in will necessarily seek out our stuff, but there’s enough crossover musically for anyone who is into the same influences to find something they like. And with our new lineup, the energy level has increased and I think we’re delivering the songs better than ever live. Check us out when you can!

07. Getting back to Graham Day and The Forefathers, when can we expect a follow-up album to ‘Good Things’?

Don’t know if it’s ‘when’, more ‘if’. We haven’t got any plans at the moment. It’s very tempting to knock out ‘More Good Things’ just because the first one was so easy and everyone liked it so much. But that might be a bit lazy. We might do it, but doing new stuff together might be more rewarding. But it’s up to Graham to write the songs, and who knows if he has the time or the inclination these days. I think singles might be more likely if it’s going to be new stuff. And if we did record new material, we might do it under a different name just to be obtuse. The Forefathers are supposed to be our tribute band!

08. The band are playing Saturday night at the Margate Whitsun Weekender. Are you looking forward to it and what can the audience expect from the show?

We always look forward to playing, and the audience can expect…. The usual! A load of old songs played with energy and fire, with maybe some unexpected choices thrown in. we like to keep the set fresh by chucking in the odd song that no one expects to play. Sometimes we don’t expect it either.

09. Are there any other bands that have impressed you recently, and if so, which ones?

I don’t really see a lot of bands to be honest, so it would be forcing it a bit to write any down… I spend most of my time buying vinyl re-issues of records I’ve already got, like a lot of other middle-aged music fans.

10. And what about your own plans? Will we see more from The Galileo 7?

Yes, we’ll playing whenever we can and recording new stuff when I’ve written it. No definite plans but something will happen. I’m enjoying playing with the new line-up and I’m sure that will inspire me to come up with new material very soon.

Allan Crockford, thank you very much for this interview and best of luck with all your projects. Have a great time at Margate. See all the details here!


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Graham Lentz

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

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April 24, 2015 By : Category : Bands Beat Front Page Inspiration Interviews News Picks UK Tags:, , , ,
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The Who 1960’s UK releases

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

‘Out in the streets’ – Collecting The Who 1960’s UK releases

If you’d have told the four teenagers from Acton calling themselves The Detours back in 1964 that 51 years later the surviving members would be headlining a massive concert in Hyde Park they’d have probably laughed in your face, then Roger would have punched you. But as testament to the lasting power and magnificence of The Who that is exactly what they are doing next month. With this in mind I’ve decided to have a trawl through their original golden age from 1964 to 1969 and shed light on a run of records that are equal of any of their fellow bands of the time.


Our story starts in 1964 when, after changing their original name from The Detours to The Who then, along with another name change to the High Numbers, the band secure an audition with Fontana arranged by manager Pete Meaden. This led to a debut release on 3rd July 1964, ‘Zoot suit’/‘I’m the face’ on Fontana TF 480. Basically rewrites of r‘n’b hits by The Dynamics and Slim Harpo the record sank without trace and is now the jewel in any Who collectors crown, with nice copies usually hitting £1000+. In late 1964 under guidance from new management team (Kit Lambert and Chris Stamp) the band were recorded by Shel Talmy who leased the resulting tapes to Brunswick records in the UK. And so on 15th January 1965 ‘I can’t explain’ (Brunswick 05926) was unleashed upon the public and eventually became a smash single hitting No.8 in the charts. This was followed in May with the perfect mix of pop-art and mod, ‘Anyway, anyhow, anywhere’ (05935) which hit No.10 in the chart. October saw the release of their early masterpiece ‘My generation’ (05944) which surely is one record which needs no introduction and is a must in any collection. The single reached the heady heights of No.2 in the chart just before Christmas, being kept off the top spot by ‘The Carnival is over’ by The Seekers! Soon after this release came one of the most iconic 1960’s albums ‘My generation’ (LAT 8616), chock full of high octane mod, pop-art and r‘n’b tunes and wrapped in a superb eye catching cover. The album was a strong seller but copies still sell for over £100, and nearer to £500 for truly mint copies.


Come 1966 and The Who’s management were in wrangles with Fowley and the band found themselves signed to Robert Stigwood’s Reaction label. Fowley countered this by releasing spoiler releases on Brunswick every time a new single was released. This makes for a confusing catalogue, especially with the debut on their new label, ‘Substitute’ (591001) which had no less than three B sides. ‘Circles’ was the original B side and is the hardest version to find, copies can fetch over £50. This was swiftly replaced by ‘Instant party’ and finally ‘Waltz for a pig’ which although credited to The Who Orchestra was actually Graham Bond Organisation. The single reached No.5, and was followed by ‘The kids are alright’ (05965),  then ‘I’m a boy’ (591004) which reached No.2,  then ‘La-la-la lies’ (05968), and finally in December, the number 3 smash ‘Happy Jack’ (591010). Reaction records also found time to release an EP ‘Ready steady Who’ (592001) with a beautiful picture sleeve which is hard to find in mint condition and can reach £100 in top condition. The second LP was also released this very same year, ‘A quick one’ which was also a good seller. The Reaction singles all sold very well and are easy to pick up quite cheap but the 1966 Brunswick 45’s didn’t sell so well and can fetch between £30-£50. All The Who Brunswick 45’s were also originally pressed as red label ‘demo’ discs which are highly prized artifacts and regularly reach way over £100 each.


From 1967 onwards the band found their new home on Track records where they would stay for the next ten years or so and release most of their most celebrated records.  Singles wise the band started the year with another top ten smash, ‘Pictures of Lily’ (604002), a Jagger/Richards support flop single ‘The last time/Under my thumb’ (604006) which fetches between £20-£40 and then another top tenner in ‘I can see for miles’ (604011) and a third album, the ridiculously underrated ‘The Who sell out’ which was released in mono and stereo. The album originally came with a stickered sleeve and beautiful psychedelic poster which is ridiculously rare and can turn a £80 album into a £500 album! By 1968 The Who were drifting towards albums rather than singles and all their releases were pretty poor sellers by the bands standards. ‘Dogs’ (604023) and ‘Magic Bus’ (604024) both missed the top ten and the makeshift compilation LP ‘Direct hits’ also sold poorly despite it’s great colour cover.


Townshend was now hard at work on his forthcoming rock opera ‘Tommy’ which would catapult them into the major league forever. The first fruits of his labour in 1969 was the 45 ‘Pinball wizard’ (604027) which became their last 45 of the decade and also hit No.4 in the chart. Released in May 1969 the album ‘Tommy’ originally came with a laminated gatefold sleeve, and a numbered booklet. These are the pressings that get collectors dribbling with excitement, but condition is very important regarding prices. A standard copy with an un-numbered booklet can be picked up for as little as £15 as the record sold untold copies, but numbered copies can easily fetch £100+. There were also four promo only 45’s released to promote the album to radio stations and these are much sought after (PRO 1, 2, 3 and 4) though the first one ‘The Acid queen’ is rumoured not to actually exist as a copy has yet to be found! So there you have it, one of the most amazing, original runs of music ever released, and a great collection which can be gathered at a quite reasonable price… what you waiting for?, go out and complete the set!

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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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April 24, 2015 By : Category : Articles Bands Beat DJs Front Page Objects UK Tags:, , ,
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Masters – The Small Fakers

This entry is part 3 of 8 in the series Masters2

Arguably the greatest Mod band ever The Small Faces have inspired generations of young Mods and musicians ever since the sixties including a young Paul Weller. Ahead of their performance at Margate Mod and Sixties Weekender, Whitsun bank holiday, I had a chat with Dan Taylor the drummer in the Small Fakers about his obsession with the four faces.

01. When did you fascination with The Small Faces start?

1967 I reckon, hearing their records played on the radio while still in my mum’s tum! In all seriousness, I can actually remember specific records being played on the radio when I was a very young kid. Even now, every time I hear it on the radio I’m transported back to the kitchen table in our old house, playing with my toy cars while mum’s ironing, or cooking dinner.

Getting into the mod scene via the ’79 revival is what encouraged me to delve deeper into them, and buying ‘Small Faces – Big Hits’ off the second hand record stall at our local market with my paper round money got me properly hooked.

02. Whose idea was it to form a tribute to The Small Faces?

Me and Matt (lead singer and guitarist) pretty much had it simultaneously. We were in a 60s covers band together and John Hellier very kindly invited us to play his Small Faces convention in 2006. Matt, although he was a massive Marriott fan, never tried to dress or style his hair like him in any way. But for this show he did, and – it seems absurd now – that was the first time that I realised how striking a physical resemblance he has to him. As did the audience. The reaction was incredible. I phoned Matt the following day and said to him;
“You know what, last night went so well I reckon we should have a go at a…” “Small Faces tribute band?”, he interrupted – “I agree, let’s get going!” And we did.

03. What was your memory of those early rehearsals and shows?

Nerve-wracking! All four of us in the band are huge Small Faces fans, and we really really wanted to produce something decent, that even the most ardent Small Faces fans would appreciate. You could probably tell how nervous we were at our very first show Rob, you was there! I actually think we were pretty ropey that night, but the audience reaction was positive again, and that gave us lots of encouragement. But I think it probably took us about a year of performing and honing our playing – and clobber, and barnets! – until we felt happy with what we were serving up.

04. The band sound very authentic to my ears but not being old enough to have seen The Small Faces live personally what do those who did see them say?

That’s really kind of you Rob, thank you mate. Honestly, it means an awful lot to us when people like yourself, who really know your stuff, or people who saw the band back in the day, say we’re doing a decent job. We do get a lot of people coming to our shows who were lucky enough to see the band. I suppose we only get to talk to those who make a point of chatting to us after the gig, to basically say ‘Good job, keep it up.’ And that happens a lot, which is just brilliant. If any original fans have walked out in disgust, they’ve not contacted us to tell us – so fingers crossed, that means none have!

05. What did Kenney and Mac (RIP) plus the members of Ronnie and Steve’s family think of the Small Fakers? Have any of them seen your live shows?

We’ve been privileged to have original members and their immediate family come to see the band, and all have been really positive and encouraging. Kenney’s seen us three times now, and kicked me off my drumstool once to play ‘All Or Nothing’ with us! He’s pure class, as a performer and a person. A real gent. Jimmy Winston has played with us too. Steve’s mum’s seen us, and shared a very touching moment with Matt after the show. There were tears. And Stan, Ronnie’s brother has seen us loads and invited us to play his 70th birthday party. He’s another real gent, a diamond. Yeah, I would say they all enjoy what we do. We feel accepted by them, which is lovely.

06. What is your favourite song and album to perform live?

Fave song – ‘Afterglow’. Kenney’s drumming on that is just amazing. It’s a real workout, marvellous. Fave album – at the moment, it’s ‘Ogden’s’, which we play in its entirety including Unwinese narraction provided by Stanley’s son John. In December we’ll be performing ‘Ogden’s’ and the first ‘Small Faces’ LP back to back at The 100 Club in London. I suspect the first LP will take over as my fave then – I can’t wait to get stuck into tunes like ‘You Need Loving’, ‘Come On Children’ and ‘Own Up Time’. Fab.

07. What has been your favourite Small Fakers live show to date?

Probably one of the Glasgow shows we’ve done – the audience in that city is just really amazing. Right up for it straight from the off. Doing ‘Ogden’s’ for you on New Year’s Eve in 2011 was special too. For the novelty factor, playing a gig in Trafalgar Square takes some beating – there really can’t be too many bands who’ve done that!

08. Do you ever get the urge to write or perform your own songs? Could you write a Small Faces original for the Fakers?

It’s funny you should ask that! All of us have been in bands playing original material, and continue to write stuff. Since we started doing Fakers more and more people have been urging us to put out and perform our own material, and this year we’re going to do it. At the moment, the plan is to unveil it at our 100 Club shows in December. But we won’t be setting out to write stuff that sounds like The Small Faces. It’ll sound however it sounds. But I suspect it will sound more like The Small Faces than Sique Sique Sputnik for example!

09. It seems to me The Small Faces with the superb new boxset, convention, magazine and plaque in honour of them are more popular than ever since their unfortunate demise. What is about the music and style of these four ‘east-end’ lads that is so enduring?

It’s the combination of lots of different ingredients I think. Marriott’s astonishing voice and the band’s superb musicianship and image count for a lot. But at the end of the day, it’s the quality of the songs that really counts. For me, they were way ahead of their time, and way more experimental than a lot of people give them credit for. Because of that, their songs still sound fresh and contemporary I think, compared to lots of other fantastic bands from the 60s, which may not necessarily sound dated as such, but you can definitely place them in a particular moment. The Small Faces’ songs always seem to reward you some way when you play them again, there’s always something new to hear. Remastering just enriches that experience further. Plus, let’s not forget that with each passing year there are more and more bands for the Small Faces to be compared to, and be placed stand head and shoulders above.

10. What treats do you have lined up for us on the Friday night of the Margate Mod and Sixties weekend?

Hopefully my tailor will have finished my new trousers by then – they’re pretty astonishing! Seriously though, without giving the game away, I can say that anyone who has ever seen us before is definitely going to get something different from us that night! That’s all I’m prepared to say at the moment Rob.

11. What plans lie ahead for the Small Fakers?

We’re really looking forward to performing the first album in its entirety for the first time, along with ‘Ogden’s’ at the 100 Club in December, plus more shows with PP Arnold hopefully. And working on our own material, which we’ll be putting out under a different name. Don’t know what that will be yet. So far everything we’ve come up with has been laughably piss poor, so if any of your readers have any suggestions, please email them to: – ta mate!

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

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April 23, 2015 By : Category : Bands Beat Front Page Interviews Music News UK Tags:, ,
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Legay – High Flying Around – EP Review – Dr Robert

This entry is part 2 of 2 in the series Record Picks

Legay – High Flying Around EP

Well worth the wait ‘High Flying Around’ finally sees the light of day on a 60 gram vinyl EP looking like an acetate from the golden era housed in a brown paper bag with a free Legay pin and postcard with a picture and history of the band. What about the music I hear you say? Well the title track has been getting a hammering by DJ’s Speed and Dr Robert at clubs and events all over Europe for the last few years. A killer Pop-Sike dance floor filler that surpasses the classic 1968 Fontana release. ‘No One’ for me is the more polished of the four tracks. ‘Minstrel Boy’ has more of an early Move late Action soulful feel and ‘You’re on my mind’ is frantic freakbeat and demonstrates what an exciting live band Legay must have been. ‘Impartial Judge’ rounds of the EP, grab one quick from Circle Records here:

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

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April 29, 2015 By : Category : Bands Beat Front Page Fuzz Garage Music Psych Reviews Scene UK Tags:, , ,
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Le Beat Bespoké 6 LP review – Rhys Webb

This entry is part 1 of 2 in the series Record Picks

Le Beat Bespoké, now at volume six has been delivering a tailor made compilation of underground Sixties club hits for a decade now. Compiled by New Untouchables organiser Rob Bailey it has been an introduction for many to the sights and sounds that have been fuelling the dance floors of happenings like Mousetrap, Crossfire and the annual Le Beat Bespoké festival.

Where infamous compilations such as Pebbles, Back From The Grave and Rubble have focused on the lost treasures and treats from the vaults of fanatical collectors, Le Beat Bespoké differs in that it is made by a DJ with the intention of delivering an LP that will keep your feet moving from start to finish. For those familiar with the club nights it’s a flashback to evenings spent enjoying the tunes and for the uninitiated it’s an invitation to experience what lies inside those legendary London haunts that have become so important to so many.

The twenty tracks on volume six stomp and shake through a variety of genres from the distorted crunch of opener ‘I’m The Man’ by Jerry Holmes to the swinging euro soul of Belgium’s Birds And The Bees with ‘Tiger Dance’. There’s a few great Belgian cuts to be found here ‘Girl In The Future’ is a great example of the fine fuzz-tone the countries more weird and wonderful producers seemed to favour back in those hazy days.

Soul is also represented with Monica’s deep funk take on the Richie Havens classic ‘Freedom’, It’s a belter with a truly way out wah-wah guitar solo.

You can find fantastic American garage punk collected here too ‘It Happened’ by Paul Martin is a moody organ lead snarler, ‘Rat Race’ by The Tears is a Beatlesque pop treat and ‘Poor Poor’ Genie by Damon is probably one of my favourites collected on this LP. Recorded by a mysterious traveling musician in 1969 and laced with finger symbols, Eastern rhythms and lysergic acid drenched guitar lines, it’s certainly a 3-minute trip I’m happy to keep dropping.

There’s only a couple of UK cuts represented on this volume but I have to say that Samurai’s ‘Temple Of Gold’ released in 1968 on United Artists is one of the most exciting discoveries of recent years for me. Although not strictly a British group, (band leader Tetsu Yamauchi was Japanese), the single was recorded in London with British musicians and is a super psychedelic track complete with Flutes, Sitars and Strings, this is a 45 I’m sure will be found on countless want lists for
years to come.

Album closer ‘The Lesson’ by The Cords, from Texas, is a great choice of final track and will remind many regular attendees of the compilers long running club nights about how much fun can be had listening to this great music. The album is a great document of whats happening right now at those clubs. Although not every track might be your cup of tea, this is a fantastic glimpse in to the record boxes of one of the scenes most progressive DJ’s. Grab your copy here!


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Rhys Webb

Horror by day, vinyl junkie by night, Rhys is a DJ and collector whose passion for underground sounds started back in his teens attending the Mousetrap allnighter. Promoter of London club ‘the Cave’ he has also been seen moonlighting in another combo called ‘The Diddlers’ masquerading as a demented frontman about to smash his numerous sets of maracas on your bonce.

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April 29, 2015 By : Category : Beat DJs Front Page Fuzz Garage Inspiration Music Psych Reviews Scene UK Tags:, , ,
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Bob Downes Interview – by Peter Markham

This entry is part 2 of 2 in the series Peter Markhams Spot

Bob Downes Interview

Jazz saxophonist and flautist Bob Downes was one of the many fine musicians who passed through the ranks of JC & the Machine. He has since had a successful solo career with his highly original prog psych jazz outfit, Bob Downes Open City amongst other things. I chatted with Bob from Gschwend-Mittelbronn, Germany, where he has lived since the ‘70s.

When and how did you join JC & the Machine?

Probably 1966, around that time. I was with another band, Dave Anthony’s Moods and I think the guitarist was in that band at some time. That’s how it came about.

Who else was in the band?

For a couple of gigs there was an Australian saxophone player (Bruce Johnstone) who later played with Maynard Ferguson. But he was really a jazz musician, and didn’t really fit the music. You have to be into that beefy, rocky, earthy feel, and not have too much intellect going on, which a lot of jazz musicians tend to be like terrible! Ha ha!

Julian would alternative on the drums with the regular drummer Keith Webb?

Yes, very rarely, he would sit in for one number and take a drum solo on something brilliant! He was the singer in the band but he was a far superior drummer. When he played the drums is was a much bigger sound, without being loud. It’s the same sort of style as Elvin Jones when he was playing with John Coltrane, it just sounded loud and crashy! I first heard him play when I was walking along the street in Soho, that’s where Ronnie Scott’s Jazz Club was and you could hear them play from outside.

Tell me about some of the gigs you did?

We used to do the American bases, but work was few and far between. He used to send me a telegram about a gig and where the pick-up was. I had a telephone, but he didn’t, but there was a telephone box on the corner of the street. Maybe he didn’t have any small change ever, ha ha! So gigs used to happen like that.

He got us this gig in Africa in Accra, Ghana where we played for a week, and that was hilarious! We stayed at this hotel, and this African guy who looked after us turned up barefooted, so Julian gave him a striped rugby shirt and his Cuban heeled boots, and then he looked really smart, this guy! He used to take us into the jungle and we’d buy some grass, we couldn’t even see the people we were buying if off, it was so pitch dark, we couldn’t see their faces. We paid one shilling, three pence for it and they were ripping us off three pence, and it rather looked like an enlarged felt bag that they used to put potato crisps into at that time. We got so stoned that they had to guide us out of there, so we didn’t fall into these gullies for the rain water, and this guy who took us around had my saxophone case on his head.

We played an open air gig and everybody loved it! One night when we were in Accra, Julian sat at a piano in a hotel lounge and played some opening bars of I think a piano concerto, which brought about him a gathered audience. But suddenly he stopped playing, stood up and said to everybody that he just wasn’t really in the mood. Groans of disappointment rang through the room. Later Julian told me that was all he could play of it!

Sometimes on the way to gigs we would stop off at Curzon Street, near Piccadilly Circus, and there was a record company there. Julian and the guitar player would get out and disappear for ten minutes, and then they would come back some money in their hands, they were on some kind of a retainer. We didn’t get any of it, it wasn’t to pay the band. Very weird that was.

What led you to leave the band?

I can’t remember why I left really. Maybe I went into a night club job, that’s quite possible. Then I joined Manfred Mann and I can tell you some stories about him!

North Wind Blew South track-by-track commentary

By Philamore Lincoln 

At the time of its release I was not able to list all the musicians appearing on The North Wind Blew South because several were contracted to other record companies and were not allowed to appear on rival labels. However, enough time has now passed so here is a list of the line-ups as far as I can remember as well as a few notes and comments on the background to some of the tracks. The songs not mentioned speak for themselves through the lyrics. The tracks “You’re The One,” “The North Wind Blew South,” “Rainy Day,” “When You Were Looking My Way” and “The Plains of Delight” are all songs about previous girlfriends.

The North Wind Blew South

Musicians: Herbie Flowers (bass), Ronnie Verrell (drums), Dick Heckstall-Smith
(soprano saxophone).

You’re The One

Musicians: Jimmy Page (guitar), Jim Capaldi (drums), Jack Bruce (bass), Speedy Acquaye (congas).

Lazy Good For Nothin’

Musicians: Charlie Daniels (guitar), Jim Capaldi (drums), Brian Odgers (bass).

The track is about a drifter bumming around the US.

Early Sherwood

This is the sum of several parts and I can’t remember exactly who played what at the recording session, but here are a few words of explanation about the places referred to in this part of my childhood in Sherwood.

The Flying Fields used to be an area of open countryside. It has steep hills so it was a great place to fly model aeroplanes. We spent many hours playing there and on the Poppy Fields. Both were built over and this part of the song “the green has turned to grey” was a lament for their passing.

“Scrumping, scrumping over the lake” etc. Scrumping is stealing apples from trees that belong to someone else, plimsolls (gym shoes) got wet walking through the edge of the lake. “Coins on the line” etc. Daybrook Railway Station was in an area of Sherwood not far from our home. It had a path leading up to the platforms. Through a gap under part of the safety fence you could see the railway line about three feet away. We used to listen for any sound of an approaching train and, if all was clear, we would put pennies on the line and wait for the next train to come by and squash them. It was fun at the time!

“Conduit cannons at the Five Ways Rec blowing holes through corrugated iron”. During the second world war many ammunition dumps were set up in Sherwood Forest, and similar areas, to make sure that English civilians could fight back in the event of a German invasion. After the war they were all supposed to be cleared away, but a few were so overgrown that they were missed. Some of the older kids I used to play with knew where they were. They would arrive with a pack of 303 rifle bullets, pull the bullet out and extract the cordite. This was placed inside a length of conduit (steel pipe) with one end flattened and a small hole drilled in it to take the fuse. A ball bearing was pushed in front of the cordite and a length of Jetex (model aeroplane rocket engine) fuse was stuck into the drilled hole. This was then aimed at a large square of corrugated iron leaning against a tree fifteen feet away. The fuse was lit and everybody ran. After a massive BANG! we would inspect the resulting 12-inch wide hole in the target. It was all much more interesting than train spotting.

“Ernie rode his bike down Five Ways Slide.” The Five Ways was a large roundabout right where five roads met. The Rec was the recreation grounds very close by. Ernie was a guy called Geoff Hern. He was the local fearless daredevil. He was not reckless, he would calculate what he was about to do and then just do it. I never saw him fail, fall off or crash. The slide at the Five Ways Rec. was tall and had many steps. Geoff would take his bike up to the top, balance for a few seconds then zap down the slide just managing to somehow avoid falling into the stream beyond the end.

“The prettiest thing she came round on a swing, skirt in the air as she rode at Goose Fair.” Since it began, 700 years ago, Nottingham Goose Fair has become a massive international fun fair held in October for three days every year. I went to the fair and recorded a bit of the background noise you can hear at the start of that section.

Rainy Day

Musicians: Keith Webb (drums).

Temma Harbour

Musicians: Harold “Little G” McNair (flute), Philamore Lincoln (drums).

I went to Ghana in Africa to do some TV shows. We were there for two weeks and, apart from jamming with the local drummers, we used to get on the local buses and discover places. One day I went to Temma Harbour. It’s an industrial port but, if you are facing the sea and look to the left, there is a beautiful spot with fine white sand and coconut palms. It was all good enough to inspire the song.

The fabulous flute playing is by the great Jamaican jazz musician Harold “Little G” McNair who goes right back to his roots to spread some joy. The correct spelling is “Tema” just one m. Whoops!

The Plains Of Delight

Musicians: John McLaughlin (guitar), Jack Bruce (bass), Ronnie Verrell (drums), David Snell (harp), members of the London Symphony Orchestra booked as session musicians (strings and woodwind).

This is an invitation, to a certain lady, to join me on an exotic journey.

The County Jail Band

Musicians: Charlie Daniels (guitar), Jack Bruce (blues harp), Keith Webb (drums), Brian Odgers (bass).

“Joe was a robber, Jesse was a thief, Lou left a mother crying in her grief.” The idea for this song was that a branch of the Salvation Army, located in the deep South of the US decided that their musical instruments were so worn out they would replace them all. They were about to dump them in a skip when someone said, “Wait, why don’t we donate them to the local country jail? Some of the prisoners might be able to get a tune out of them.” And this is what these desperate lifers did. The obvious thing would have been to ask Jack Bruce to play bass, there is no one better, but I needed some urgent blues harp and Jack nails that department too. Plus, with him in the studio I knew that Brian Odgers would play his socks off, which he did.

The great Charlie Daniels kindly came over from Nashville to play on this and another track. He plays fabulously tight, tough guitar lines throughout. All driven along by my much missed old buddy Keith Webb on drums.

When You Were Looking My Way

This track was recorded at Lansdown Studios, Holland Park, London. Musicians: Keith Webb (drums).

Blew Through

Musicians: Graham Bond (Hammond organ), Pete Wingfield (piano), Philamore Lincoln (drums).

This blues is on the album because, just before I finished recording I read that Graham Bond was due back from the US. Graham played this kind of slow groove live but I do not think he had recorded anything similar. I called his manager, to get the exact date he was due back, and then I booked some recording time at Morgan Studios. The US blues pianist Otis Spann, was about to arrive in the UK for a tour. Mike Vernon was organizing the tour and I called him and booked Otis for the session. Three days before the recording Mike called me to say that the Otis tour had been cancelled. Mike recommended Pete Wingfield, as a replacement, so I booked him and he did a fine job. There were two very good jazz saxophonists on the session. I kept trying to drag a bit more R&B filth out of them but, as you can hear, they struggled. However, all this is completely irrelevant. What matters is the magnificent Hammond organ blues playing of the late, great Graham Bond. His playing is straight from the heart, passionate, compelling and unique. I am so glad I was able to include this wonderful example of such a very fine musician.

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Peter Markham

I am a veteran of the Scandinavian garage punk scene, with an obsessive compulsive interest in 60's music and culture. I have been writing for fanzines on-and-off since the mid 80's and I am currently contributing to Ugly Things magazine, quite possibly the world's foremost journal of obscure and forgotten musical gems of the past. I am also the co-founder and one out of five DJ's for Club Mau Mau - the long-running Copenhagen based 60's inspired beat club. I am of English/Danish descent and believe that life, in fact, begins at 45 rpm.

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July 2, 2015 By : Category : Articles Beat Club Soul Front Page General Interviews Music Tags:, , , , , , , ,
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Philamore Lincoln Interview – by Peter Markham

This entry is part 1 of 2 in the series Peter Markhams Spot

Philamore Lincoln Interview

The name Robert Cromwell Anson might not instantly ring a bell with enthusiasts of ‘60s music, but his pseudonyms surely will. First as Phil Kinorra, drummer with the New Don Rendell Quintet and the Brian Auger Trinity. Then he cut a stunning blue eyed soul club classic as Julian Covey & the Machine, sat in for Keith Moon for one gig, played with the Graham Bond Organi-zation, released a pop psych nugget as Philamore Lincoln, became a record producer and then vanished into thin air… Here is his story and the first interview he has given in over 45 years.

“When did you change your name from Poirot to Markham?” Philamore Lincoln wrote to me when I finally managed to track him down after searching for him for about two years. I had been in contact with some of his former musical collaborators such as Brian Auger, Bob Downes, Pete Solley, Jim Cregan and Johnny Spence. But nobody had been in contact with him for many years or knew about his whereabouts…

He politely turned down the offer to be interviewed in person, but agreed to answer my questions via good old fashioned Royal Mail as he was “plumbing the depths of memory banks that have lain unmolested for decades.” To say that I was well chuffed is an understatement! He was eager to clear up some of the myths that have been written about him—which are basically rumors of what (later) famous musicians played or didn’t play on his records… and as he put it—made sure that I got “every Higgs boson particle of info” that I asked him about…

The Julian Covey & the Machine single “A Little Bit of Hurt” b/w the equally hip organ groover “Sweet Bacon” has been a favorite of mine for a number of years. To me this disc is the embodiment of the ‘60s Swinging London sound—pounding drums, groovy organ and an uptempo danceable beat—no wonder the Northern Soul and Mod DJ’s slipped this 45 in the record boxes. Produced by Jimmy Miller, famed knob twiddler of the Spencer Davis Group, the Rolling Stones etc, this hip soul nightclub act were surely destined for greatness, but this remained their only recorded output.

Soon afterwards he emerged as the mysterious Philamore Lincoln on the The North Wind Blew South album, only released Stateside by Epic in 1970. A wonderful, magical, dreamlike, folka-delic pop masterpiece, nowadays hailed a lost British pop psych classic up there with the Small Faces’ Ogdens’ Nut Gone Flake, the Zombies’ Odessey and Oracle, Kaleidoscope’s Tangerine Dream and the End’s Introspection among others. Some of the songs nod in the direction of Donovan’s Sunshine Superman era (quite a few of the same session musicians also appeared on the Scottish troubadour’s A Gift From A Flower To A Garden), while other cuts have a harder rocking approach, with elements ranging from country blues to funk to bossa nova—a very diverse album. All the songs were penned by Philamore himself, backed by a host of literary who’s-who of the London music scene as the time.


You were born on October 20, 1940, in Sherwood, Nottingham. Both your brothers were also involved in music?

Yes, I was born and grew up in Sherwood, Nottingham. My younger brother, Mike, played bass guitar in a local band (called Mother’s Worry, under the name of Cranson – Ed.) and my older brother Peter, owned a successful TV/Hi-Fi business [Peter Anson Electronics].

Jazz music was your first love, when did first you start playing drums?

Around the age of eleven I began to start noticing the drumming on jazz records, playing on the radio. Just before midnight I used to sneak downstairs in my parents’ house, put a blanket over my head, and turn on the radio and tune in to The Voice of America Jazz Hour. It was great to hear so many excellent players every night. I began to buy records featuring drummers [that I liked], and then I found a good drum teacher and began to take lessons. When I was fifteen I joined a naff group playing middle of the road music and I remembered what the drummer Andy White had told me: “When you are learning, take every opportunity to play, every bit of experience helps you develop”. Andy was the session drummer on the Beatles’ first single (“Love Me Do”—George Martin was unhappy with both the versions of the song recorded with Pete Best and Ringo Starr and brought in Andy White, who he had used on sessions before – Ed).

You joined the Royal Air Force in your late teens, tell me a bit about that.

I joined the RAF Music Collage at Uxbridge, Trevor Watts (later of the Amalgam and the Spontaneous Music Ensemble – Ed.) and the fine trombonist Paul Rutherford were there at the same time. I was at Uxbridge during the day and jamming in Soho jazz cellars all night. The deal with the RAF was that you could, if you wanted to, buy yourself out of the RAF within three months of joining. With just two days left to the deadline I decided that jazz was more important than anything else. I sold my Avedis Zildjian hi-hat cymbals, paid them the money and escaped from Uxbridge in the nick of time. I was playing drums with Dudley Moore every Sunday night at a cellar jazz club in Fulham Road, called Café Des Artistes and jamming in small clubs all over Soho the rest of the week.


In the beginning of 1960 you played in a R&B outfit with Heather Logan, sister of Scottish jazz singer Annie Ross. Could you tell me a bit more about that band?

At this point the bass player, Tony Archer, and I went up to Scotland to do a gig on the Isle of Bute for a few weeks. On my way back to London, when the gig finished, I spent a couple of days in Glasgow. I got a call to say that an American R&B band had just arrived for a UK tour but that just before they had left the US their drummer had been busted for possession of pot. His entry visa was revoked and they needed a drummer to do the tour. The singer was the younger sister of the jazz singer Annie Ross. I went to the audition and they offered me the job.

Around this time you started using your first stage name Phil Kinorra. Where did that come from?

The American R&B band liked my playing but they said that my name sounded very English and, as it was supposed to be the original US line-up, could I come up with a more American sounding name? I started thinking and then I remembered that a girl I had been dating on the Isle of Bute had mentioned a place called ‘Villa Kinorra’. It may have been somewhere in Mexico… I put the name ‘Phil’ in front of Kinorra and it seemed to fit and when I called the R&B band, to run it past them, they said it was much better and would I please use it for the UK tour. Every time we finished a tour date we headed back to London where the sax player and I would jam around the clubs. We were playing at the Flamingo Club in Wardour Street one night when some musicians asked the sax player what my name was. He told them ‘Phil Kinorra’. The MC at the Flamingo was a record company executive called Tony Hall. Tony also wrote articles for a music paper called Disc and when he wrote a piece about me he referred to me as Phil Kinorra. After it was published I was stuck with the name, so I thought “what the hell” and carried on with it.


You also worked with the Peter King Quintet and the Ronnie Scott Quintet around this time?

I was playing in a Soho club called the Mandrake one night when Ronnie Scott came in and jammed. He invited me to go to his club [Ronnie Scott’s Jazz Club], in Gerrard Street, any time. I began jamming there regularly and, eventually, the great alto saxophonist Peter King asked me to join his quintet, which I did and several months later Ronnie Scott asked me to join his quintet which I did. That was a tough demanding gig and great experience, all the guys in the band were exceptionally fine world class players.

Then you joined the New Don Rendell Quintet in May of 1960 and recorded the LP Roarin’ in June 1961. Could you tell me about that band?

After I left Ronnie’s quintet and after months of gigging all over the place I joined the New Don Rendell Quintet. We toured and played jazz festivals and recorded for Riverside Records. Graham Bond was a well trained keyboardist, but he was only playing alto saxophone with the quintet. I wrote a blues for the band called “Blew Through.” We played it for the first time at a Sunday gig in Coventry. The audience reaction was incredible. A couple of weeks later Graham Bond told me that Alexis Korner wanted Graham and me to join his new band Blues Incorporated. Jazz, at its best, is a very seductive mistress and we said no, but some good seeds were sown.

You lived in Cleveland Square, Paddington, in a house where Larry Parnes put up aspiring musicians such as Duffy Power and yourself?

I lived at Cleveland Square for a few months, but I had no connection with Larry Parnes. I moved out to live in Fulham with a former girlfriend.


During this period you also deputised for Tony Mann during a London run of Jack Gelber’s play The Connection. Could tell me a bit about that?

In the early ‘60s I appeared in a play called The Connection at the Duke of York’s Theatre in St Martin’s Lane, London. Four of the characters were real jazz musicians and 30 minutes of original jazz music was played live at every performance. The music was written by the jazz pianist Freddy Redd, and Freddy and the great alto saxophonist Jackie McLean came to the UK to appear in the London production. Both of them were previous members of Art Blakey’s Jazz Messengers. The drummer Tony Mann was doing the play, but he was a member of a regular band and could not do all the performances. We shared it and it was a privilege to play with the brilliant Freddy Redd and the late, great Jackie McLean.

What other bands did you play with in London during the period you played with Ronnie Scott—I have heard mention of the Bootleggers and the Paramounts and also American jazz musician Johnny Griffin?

I played with a band called the Bootleggers for a short period. Brian Auger and Glen Hughes were in the band, but we changed the line-up and the name after a few weeks (the line-up of the Bootleggers also featured guitarist Frank Bowen, later of the Pete Best Four and bassist Harry Scully of the Trends – Ed.). I was never in a band called the Paramounts. I met Johnny Griffin at the Blue Note Club in Berlin, where he was playing with the drummer Art Taylor. Brian Auger and myself were playing at another club in the city at the time.


In July of 1963 you joined the Brian Auger Trinity with Brian Auger on hammond organ and Rick Laird upright bass. Tell me a bit about that.

Over a period of two or three years I had played a lot of gigs with the hard swinging jazz pianist Brian Auger and we decided to form a new jazz trio. At this time Brian was playing jazz piano and had not started to play the Hammond organ yet. We needed a bass player and everything pointed to Rick Laird being the best player around. So we asked him if he would like to join us and he accepted. We rehearsed every day at Brian’s house in Shepherd’s Bush. A lot of the stuff we were playing was gospel influenced funk, so it seemed appropriate to call ourselves the Brian Auger Trinity. We started playing around London jazz clubs and were soon doing regular gigs at Ronnie Scott’s club.

The band then became the Brian Auger Group in February 1964?

After about a year or so we were contacted by a large nightclub in Piccadilly, London [the Pigalle]. They asked us to add two more musicians to the group and take up a residency to play jazz at the club. We were jointed by the guitarist John McLaughlin and the baritone sax player Glen Hughes. Glen had been playing with Georgie Fame & the Blue Flames. A few months later we played in Germany for a month and, after returning to London, Brian and I went to Berlin where we played with Leo Wright, from Dizzy Gillespie’s band, and the saxophonist Herb Gellar. I think the club may have been called the Tangent.

Did you ever record anything with the Brian Auger Trinity?

The Brian Auger Trinity never recorded, but we did a live BBC radio broadcast opposite the Tubby Hayes Big Band for the series Jazz Club. If the BBC still have the tape, that would be the only recording in existence.


When did you move away from jazz and became more soul and R&B influenced?

At a point when jazz was becoming more experimental, with less emphasis on intense grooves, I started to look for other outlets. I was doing a gig with a pick-up band at a US base in the UK when an agent told me that he had lots of work available if I could put a band together. So I did.

You then gave up playing the drums for some months to concentrate on a solo night club act that would eventually become JC & the Machine?

After three months of non stop gigs I got a call from some managers to go to a meeting at the Radio Caroline offices at 6 Chesterfield Gardens, off Curzon Street in London. The manager was Tony Secunda, the producer Denny Cordell and several others were all based at this large building. The managers offered me a deal. They wanted to call the band Julian Covey & the Machine and, if I agreed, they would pay for the van, a sound system, stage gear and everything else. I considered the offer for a full quarter of a minute and agreed.

How did you meet the producer Jimmy Miller?

After a few months of touring we were booked in, for a week’s residency, at a the Bag O’ Nails club in Kingly Street, Soho, London. The Beatles came in every night and so did the producer Jimmy Miller. Jimmy kept coming up to the side of the stage and putting his ear to the PA speakers, checking out my vocals. The following week he called my manager and said that he wanted to produce the band.

Jimmy and I got together and wrote “A Little Bit Hurt.” We recorded it in Studio A at Olympic Studios in Barnes, West London. Eddie Kramer engineered the session and Glyn Johns engineered the mix. At the mix session there were no spare tracks left on the Ampex four-track to take the backing vocals. We wanted to avoid going another tape generation onto the other four-track machine, so we sang the backing vocals live onto the quarter inch stereo master as the final mix was done.

Jimmy Cliff of “The Harder They Come” fame, was recording next door in Studio 2 and, during a break, he had come into Studio A
to hear what we were doing. When Jimmy Miller and I did a run through of the backing vocals, Jimmy joined us and it’s the three of us singing backing vocals on the single. The single did well in clubs along the South of France and was re-released a couple of times. Out of The Northern Soul Top 500 Kev Roberts put together the “100 Greatest Northern Soul Songs” and “A Little But Hurt” came in at number 49. I’m very happy with that.

The single had a big drum sound, something that Jimmy Miller—who was drummer himself—was known for. What was it like working with him being a drummer yourself?

Working with Jimmy Miller was absolutely great. In addition to all the other attributes, needed by a good producer, Jimmy had a special gift for getting each member of a band to tighten up the intensity of the groove. As far as the big drum sound was concerned, Jimmy picked a recording engineer who could give him what he wanted. He used Glyn Johns, who is renowned for the John Bonham drum sounds he created for Led Zeppelin. Keith Webb was a hard hitter, so the combination worked very well.

The organ sound on the single is quite similar to Wynder K Frog a.k.a. Mick Weaver. Who was behind the keys?

The Hammond organ on “A Little Bit Hurt” was played by Pete Solley. He used a boosted Leslie amp plus a bit of direct injection.

Quite a few prominent musicians started out in playing in the Machine, what was your favorite line-up?

I would say that the recording line-up from 1967 was the best line-up (Julian Covey & the Machine #5 1967, see page 67 – Ed.).

You were managed by Tony Secunda who was known to be quite controversial, and also managed the Move. Did you do a lot of gigging with them?

I got on very well with Tony Secunda. He was fun to be around and was always full of unpredictable ideas. [I don’t think] we ever did any gigs with the Move. Tony was called upstairs— I hope it was upstairs — far too early…

The Machine’s booking agent was Austrian brothers Johnny and Rik Gunnell, who allegedly had connections to the London underworld at the time? Are there any stories you would care to share?

I can’t tell you anything about Rik Gunnell because I hardly knew him. His booking agency was at the far end of Gerrard Street, Soho, but he had a separate office, in another building, so he was never around.

You seemed to play quite a lot with the Spencer Davis Group around this time, were you friendly with them?

We never played with the Spencer Davis Group, I met Steve Winwood a couple of times with Jim Capaldi, but I did not know the others. Jim Capaldi was never in the Machine [as some people think], he was always with Steve Winwood or other bands but I was pleased, at a later date, to be able to use Jim on my album.

The Machine backed up visiting US artists like John Lee Hooker while they toured the UK?

We backed John Lee Hooker for a UK tour. He was mighty! His sense of time was cast in GRANITE! I know his work very well from all the albums I had had for years. The drummer with the Machine was backing John, but when a gig on the tour came up, at a large club in Oxford Street, London called Tiles, my drummer had a blister on his hand that was bad enough to prevent him from playing. I stepped in and had one of the best playing experiences of my life. John liked a simple groove with lots of drive, so that’s what I gave him. At the end of the set, in the dressing room, he said, “Who was playing drums?” I said, “I was, John”. He had a big grin on his face and he said, “You drivin’ me along.” I had just had the privilege of locking onto, and sharing, some great grooves with this truly great artist. I treasure the memory.

The Machine was a heavy gigging band, and besides a lot of club dates you also played the 6th National Jazz & Blues Festival at the Royal Windsor Racecourse, Berkshire. Could you tell me a bit about that?

 The only thing I remember about the 6th National Jazz and Blues Festival is that we were onstage, in a tent, and the acoustics were terrible… (in the festival programme the Machine are described as having “an exciting Afro-Cuban influnce” – Ed.).

 “A Little Bit Hurt” was covered by the Spanish beat combo Los Albas. Would you say that at the time of its release, the record was more popular in places like Germany and France than in the UK?

I have not heard any cover versions of “A Little Bit Hurt” so I can’t comment. At the time of its release “A Little Bit Hurt” got very little promotion in the UK, but it did well in Europe and it finally got noticed, in the UK, when the Northern Soul phenomenon took off.

“A Little Bit Hurt” was a club hit but didn’t chart. It is said that you were then offered a five album deal with Island Records. Why did the deal fall through?

This is a myth and the first time I have heard it. Island Records never offered us a five album deal, so there was never anything to fall through.

“A Little Bit Hurt” was re-released by Island in 1978. Have you been aware of the popularity of the song?

Some time after its re-release, in 1978, Chris Blackwell called me to say that Island Records had lost the quarter inch stereo master of “A Little Bit Hurt.” I call that careless! I was finally made aware that audiences like the track when it became embedded in the Northern Soul clubs.

What songs were in the live repertoire?

In addition to some songs by the late, great, Solomon Burke we also used to do several songs by Don Covay—no relation!

Why did the Machine initially break up?

The Machine broke up because it was time for me to explore a different musical direction.


On the 29th of May 1967 you were drafted by the Who to take Keith Moon’s place at a gig at the Glasgow Locarno Ballroom. Were you originally going to do more dates?

In May 1967 my manager got a panic call from the manager of the Who [Kit Lambert] to say that Keith had collapsed with a rupture and was in St George’s Hospital at Hyde Park Corner. The band had a gig in Glasgow and they did not want to let the fans down by cancelling, so could I go up to Scotland and fill in for Keith. I had a night off and they were stuck, so I said yes. I knew their singles, but none of their album stuff, which made up a lot of their set. In that kind of situation the best course of action is to keep it simple and solid, which is what I did. After that I had gigs booked with the Machine, so other people had to help out until Keith had recovered from surgery (Chris Townson of John’s Children did the remaining dates before Moon returned to the Who – Ed.).


From September 1967 until March 1968 you took over the drum stool in the Graham Bond Organization from Jon Hiseman. Could you tell me a little about that period?

I did not follow Jon Hiseman into the Graham Bond Organization. Hiseman had left the band many months earlier. I joined Graham by accident. I was driving around Putney, where I used to live, when I saw a poster saying “Graham Bond Live Tonight At Roehampton.” Roehampton was just around the corner so, of course, I went. As I walked into the back of the hall Graham was already playing. After hearing about four bars of the music it was clear that Graham was in great form. There was a big fat groove to be grabbed hold of and kicked. I hate to put anyone down, but the drummer with Graham, on that night, was missing it all. When the set was over I went round to the dressing room to see Graham. It could have been a year or so since I last saw him but, as soon as we met, he said, “We’re on tour, why don’t you join us starting tomorrow?” So I did. 

Graham Bond comes off as a very complex person as well as a fantastic musician. How was it like working with him again in his own band?

I knew Graham from just before he became a professional musician, when we were both members of the New Don Rendell Quintet. Graham had a day job, but the prospect of playing jazz for a living soon put paid to that. Underneath his later excesses he was, actually, a sweet guy. Great enthusiasm and a wicked sense of humor. His problem was that he did not seem to understand that his fine talent meant that all he had to do was play. He became overweight, which caused health problems, and had the misfortune, entirely beyond his control, to have an addiction prone personality. All this disappeared once the music started. That’s why so many outstanding musicians wanted to work with him.


How did the Philamore Lincoln project come about?

After JC & the Machine I wanted to go in a completely new direction. Many aspects of music were changing and I thought that a new name would help me to make a break with the past. An executive from Epic Records in New York called Chesley Millican came to London to sign new artists. I had been writing some new songs and Chelsey heard a couple of demos. He signed me to the label and asked me to write enough songs for an album. I had complete freedom, to do anything I liked, so no complaints. I spent several weeks writing, every day, and when the songs were finished I started to book studio time. The main studio I used was Olympic Sound Studios in Barnes, West London and Morgan Studios in North London.

Where does the inspiration to the name Philamore Lincoln come from?

The name Philamore just arrived in my head in the same way things do when you are writing songs. Coming from Sherwood, Nottingham, there is a certain subconscious awareness of Lincoln Green, so that part could have come from there.

You were signed to Brian Epstein’s NEMS label and issued one single “You’re The One” b/w “Running By the River.”

The NEMS single did not include “You’re The One,” it was “Running By The River” and I think “Rainy Day” (NEMS folded in 1969, and their roster was transferred to CBS who were NEMS’ distributor – Ed.).

Mary Hopkin had a hit with her version of “Temma Harbour” on Apple Records, produced by Mickie Most. How did that come about?

The Mary Hopkin version of “Temma Harbour” happened because Chesley Millican, who signed me to Epic Records, took my original recording to Mickie Most and played it to him. Mickie thought it was a hit song and produced a single with Mary.

The album has a beautiful sound and production, what was it like working with producer James Wilder?

The producer James Wilder does not exist. I was concerned, at the time I made the album, about being perceived as a smart-arse so I thought it would be better to have a fictitious producer’s name on the album. I produced the album myself and I had the pleasure of using the great engineer Glyn Johns and his highly talented, late brother Andy as engineers on the album.

What were the initial reactions to the album when it was released?

When my album was released Epic Records did nothing to promote it so, consequently, there was nothing for anyone to react to.

Are there any unreleased JC & the Machine or Philamore Lincoln tracks?

No, there are no other JC & the Machine or Philamore Lincoln recordings hidden away anywhere.


In January of ’71 you produced Paladin’s debut album with former Machine members Keith Webb and Pete Solley at Olympic Studios and Island Studios. Almost the whole album was recorded live in the studio, please tell me about that?

I produced the first Paladin album at Olympic Studios and Island Studios. Paladin were very much a live band who had their stuff down nice and tight. It’s true that we recorded most of the tracks more or less live. For the second Paladin album I booked the Beatles’ Apple Studios in Savile Row where I had the pleasure of working with the Beatles’ legendary engineer Geoff Emerick.

What have you been up to since the early ’70s? Philamore Lincoln fans have been speculating if you continued under a different alias?

Well, I could not find anyone who appeared to understand what I was doing musically, and then glam rock and punk arrived, so I got married, left London and moved to deepest Dorset. I found my original artist contract, with CBS Records, dated 24th February 1969. In addition to my signature the other signature is that of Clive Davis (former president of Columbia/CBS/Epic Records – Ed). Many artists have had bad experiences with terrible recording contracts but my own experience is very extreme and detrimentally career affecting. I am going to write a full expose of my dealings with what is now Sony Music Entertainment as a follow up to this interview. Part of it will include publishing my CBS Records contract, in full, online.

Five years ago, when my wife Nina and I came up to Oxford to visit our son, who was at university, we fell for the city and moved here. I have just built a studio in my garden and as soon as the sound insulation is installed I will be putting some new songs down!

THANKS to: Mike Anson, Bob Downes, Harry Shapiro and Alex Cooper
for the scans.

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Peter Markham

I am a veteran of the Scandinavian garage punk scene, with an obsessive compulsive interest in 60's music and culture. I have been writing for fanzines on-and-off since the mid 80's and I am currently contributing to Ugly Things magazine, quite possibly the world's foremost journal of obscure and forgotten musical gems of the past. I am also the co-founder and one out of five DJ's for Club Mau Mau - the long-running Copenhagen based 60's inspired beat club. I am of English/Danish descent and believe that life, in fact, begins at 45 rpm.

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April 22, 2015 By : Category : Articles Beat Club Soul Front Page General Interviews Music Tags:, , , , , ,
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Le Beat Bespoké 6 LP Preview

I recently caught up with NUTs Head Honcho and DJ Dr Robert and spoke to him about the 6th in the series of the mighty fine Compilations Le Beat Bespoke. You can also get the latest Mousetrap Anniversay Single here at the NUTSTORE!

01 When did you first start on the road to becoming a DJ?

My interest in Djing started in 1985 at our local Cool Running Scooter Club nights in Ditton Community Centre. The system was rudimentary with two old hi fi turntables wired together to an amp and some old 100 watt speakers. No one really wanted to DJ back then everyone just wanted to have fun and get trashed but I got the bug and never looked back.

02 Le Beat Bespoke is an Event that it now in its tenth year, tell us about it?

The story begins in 2004 after a highly successful Modstock that celebrated 40 years of Mod. John Reed at Sanctuary records had contacted me about putting a compilation together of popular dance floor winners from the Mousetrap and New Untouchables events for his discotheque series. John had picked up my earlier compilation series on cassette called Hipshakers during the mid nineties. The New series would be on vinyl and CD and called Le Beat Bespoke. After the success of the Modstock I wanted to do an annual festival with a similar format but a wider musical and cultural compass.

With Pip! Pip! on board the first Le Beat Bespoke event was held at the Rocket over the Easter bank holiday 2005. The live music highlights included Love with Arthur Lee and Johnny Echols together for the first time in eons. It also turned out to be the last time Arthur would perform in London. A personal blow for me as I never managed to get my records signed by the great man as he locked himself in the dressing room before the performance and disappeared immediately afterwards. Two U/S garage heavyweights from different eras the Chocolate Watchband and The Fuzztones also performed. However the live music is just part of the LBB philosophy, International DJ’s and guest club nights at the top of their game feature at the allnighters. Other attractions include a market, record fair; go go dancers and light show. We also programmed a sorta pop-up cinema showing long lost vintage cult flicks!

03 How many LPs are there in the series?

There are six albums in the series available on both vinyl and CD except Le Beat Bespoke 4 vinyl which has sold out. We offer deals on the full set from the NUTSTORE.

04 Any personal favourite tracks that stand out?

Too many to mention as they are nearly all songs that have featured in my DJ set over the last decade. Right now I would say Jerry Holmes, Samurai or The Tears from the new LBB6 album. You always think the current tracks you spin are the best of course but I believe the new comp is the strongest collection so far.

05 How has your approach to compiling these collections changed over the years if at all?

The concept was to try and recreate a DJ set with songs sequenced like I would in a live DJ setting with short gaps between the tracks. I wanted to make an album that could also be played in a house party as well as your car and personal hifi. With the advent of downloads the new album will also be available on I-Tunes but the bespoke artwork from Pip! Pip! is part of the LBB experience IMO.

06 How do you technically set up for the Studio sessions, how does that develop over time?

I learnt a lot of valuable lessons over the years when compiling these albums. I have a good idea after researching and compiling several versions of the album at home before going to the studio. Getting masters for all the tracks is impossible so a studio with good restoration skills is important when using original vinyl.

07 If people are yet to explore the series, how would you describe the concept behind the sounds and why should they buy them?

I may have touched upon this one earlier but he overall concept has been ‘all killer no filler’! I remember buying many comps down the years and only listening or buying for a couple of tracks often. Well it’s a good way to listen to a few thousand pounds worth of songs often never compiled before for a tenner. They might be songs you have enjoyed from my DJ sets or a good introduction to what you can expect to hear at Le Beat Bespoke.


08 Are there any themes that root into each individual compilation or are they quite freeform?

My tastes are always changing there is more Garage sounds on Le Beat Bespoke 6 but still plenty of Psych, Girl Groups and Funky Rock sounds.

09 How difficult is it to continually source quality tracks to include?

As every year passes since the golden era and more comps are released it gets more difficult to source interesting tracks of the same standard. I had a three year gap since LBB5 which is why I feel this is the best compilation so far.

10 Le Beat Bespoke 6 is just about to hit the shelves, tell us the story on this one?

As I mentioned above after a three year gap gave me that extra year and more time to compile a set list largely based on what I have played out over that period and given those songs more time to gain popularity.

11 You have tried various different labels to spread the good word about Le Beat Bespoke?

Sanctuary done an amazing job on the first New Untouchables production which set the bench mark for the series but they went bust shortly before LBB2. The series moved to new home fellow NUT’s DJ Speed’s Circle Records for the next four releases. Pete’s knowledge and meticulous standards helped the series develop with artistic freedom. The Modstock project on Detour Records worked very well together last summer so a move to Detour for Le Beat Bespoke 6 made perfect sense.

12 How tried and tested are the tracks that make the final selection, what is the process?

Many of the tracks are tried and tested on the dance floor at Mousetrap first and then other events I DJ at around Europe before being compiled. One or two have great potential and a couple have been revived from the past that deserved another lease of life.

13 How do you see the market for CDs against say Vinyl and downloads in today’s world?

I’m very happy vinyl is having a renaissance it’s the best way to experience music IMHO. CD sales are falling all over the World and won’t stand the test of time like Vinyl has but are useful for the car especially. Download is killing music in some respects and takes away half the pleasure of experiencing music, but it’s the twenty first century and you got to work with it.

14 What types of tracks tend to work in the UK as opposed to the European dancefloors?

In the same way as different regions and crowds in the UK have varying styles and sounds; there have always been fads within the scene.

 15 You did the Rolling Stones post Glastonbury set a while back; can we expect anymore non-scene sets such as this?

Yea that was a real eye opener it was like watching a heard of wildebeest with all the dust and noise getting ever closer when The Stones finished their epic set, a real honour to be asked to DJ at Glastonbury. I have played Japan, Canada and the USA including events with a wider audience. The thing I always notice when playing these festivals/clubs is that the crowd dance to the beat and if it has a good groove it doesn’t matter if it’s fashionable on the scene they will dance.

16 Any future plans that you wish to share or talk about?

The new Mousetrap 45 is out now and features a mind blowing Psych track from San Francisco in late sixties by Dirty Filthy Mud and on the flip from just down the Californian coast Judy Hughes groovy tune ‘Fine, Fine, Fine’. Two tracks that will take you well over your overdraft limit if you can find a copy.

Le Beat Bespoke 6 is out soon, available on CD and LP from the NUTSTORE.

Grab Tickets Here for Le Beat Bespoke 10!

You can also get the latest Mousetrap Anniversay Single here at the NUTSTORE!

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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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March 31, 2015 By : Category : Beat Front Page Fuzz Garage Interviews Music Psych UK Tags:, , ,
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Marco Traxel (Traxman) – Hey! Mr DJ

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

DJ Traxman: or Marco Traxel is owner of the record label Soundflat Records, resident DJ at the Mongogo Cologne and Hip Shakin’ Beat Club, host of the Rarejerk Treat radio show and organiser of the SFR Ballroom Bash in Cologne, he is based in Cologne, Germany

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

I got into music when I was 12 years old and directly started collecting vinyl from my little pocket-money and I started with Metal.

Where was your first DJ slot?

It was much later, when I was studying and already collected Garage, Beat and Soul music, in a little club in Bonn called Blow Up. Together with my friend Andreas we were djing there every Wednesday.

What was your most memorable DJ spot?

That’s very difficult to answer, as I think each DJ spot has something special about it. However, some of the most outstanding parties and festivals I experienced were in Spain; of course the pool-parties at the Festival Beat in Italy and also the DJ-tour through Japan was unforgettable.

What so far, has been your worst DJ experience?

When I got stuck in a snow storm on my way to Hamburg and after I finally arrived I could only play a few more songs before the Party was over.

Your favourite scene DJ’s and why?

Uff, it’s very hard to name only one, there are many good ones, who contributed a lot to the “scene”, dig out more or less unknown records and have their very own style. In Germany to me the “topnotch”- DJs are Michael Wink, Lutz Räuber, Christof Sonnenberg and Kevin the ‘K’. And outside of Germany I think Miguel Ygarza, El Nino (RIP), Rob Bailey, Sebas Aviles, Slim and Goffry. All of them make the crowd dance!

What has shaped your DJ sound and why?

Through collecting vinyl from an early age I opened up more and more to different genres and got deeper and deeper into the music, which altogether happened to create the mixture between Psychedelic sounds, R&B, Garage and Soul that has proven itself as my preferred DJ-sound. Also the punkrock background (that directly followed my Metal-past) heavily influenced me.

What was your best ever find/discovery?

There were many, but especially in the times where there was no internet yet and you could really only find the records through detours and spending lots of time and energy, the feeling of finally finding what you were looking for was amazingly rewarding. Of course the internet contributed to finding many items on your want list, that made me happy, such as the Headhunters “Times we share” or Troy Dodds’ “Try My Love”, but the above described collector’s romantic is a bit lost this way.

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

I have to say that the Pebbles-Compilations and Back From The Grave-Compilations pushed me a lot into the direction I mainly collect now. Among artists I would say The Headcoats, The Untamed Youth, The Sonics back in their days, and I love The Kinks.

Do you collect specific labels/artists/genres?

Yes, for a long time now my focus has been mainly on Garage, Psych, Freakbeat, R&B, Northern Soul. I also like collecting themes like “outter space”, “horror” and with the focus on 12” I like the Hawaiian sound and Soundtracks.

Where can folks currently catch your DJ set?

Every fourth Friday in Cologne at the Buzz Club at Mongogo Cologne, and when you keep your eyes open you might catch me djing at different 60s events all over Europe, or at my monthly radio-show – the Rarejerk Treat on Yeahright Radio for example every Tuesday evening.

What is the record you would most like to own?

My want list is very long and changes (more or less) daily.

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

Top 10 Tracks of All Time:

Zu Zu Man – Zu Zu Blues Band (A&M – 1966)
The Headhunters – Times We Share (Fenton – 1967)
Heidi Brühl – Berlin (Philips – 1969)
The Tropics – As Time’s Gone (Columbia, 1967)
Eric St. Laurent – Le Temps D’y Penser (Barclay, 1966)
Vernon Harrell – Slick Chick (Lescay, 1963)
Adam’s Recital – There’s No Place For Lonely People (Barclay, 1967)
The Saints – Know Your Product (EMI, 1978)
Chuck Wood – Seven Days Too Long (Roulette, 1967)
Sleepy – Love’s Immortal Fire (CBS, 1968)

Current Top 5 Tracks:

Jimmy McCracklin – What’s That (Mercury, 1960)
David – Please Mr. Policeman (Philips, 1969)
4 P.K. – Down And Out (HOL, 1966)
Jack Hammer – Down In The Subway (Polydor, 1968)
The Hooterville Trolley – No Silver Bird (Lynnette, 1968)

Main Site:

Social Networks:

‘Sheephouse: Ladder’ –
‘Joe Jama: My Life’ –

Next Club Spots: Wáchina Wáchina Festival, Valencia, Buzz Club Cologne, The Two Men From L.I.N.Z. etc.

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

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February 4, 2015 By : Category : Beat DJs Europe Front Page Interviews RnB Tags:, , ,
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