Scene

Cathy McGowan – Fashion Icon

This entry is part 1 of 1 in the series Fashion Scene 5

Nicknamed ‘Queen of the Mods’, but what was it about Cathy McGowan that made her so effortlessly hip and cool?

Twiggy said she regarded Cathy McGowan as an icon. “I’d sit and drool over her clothes. She was a heroine to us because she was one of us,” she said. Perhaps that was it – McGowan wasn’t too glamorous and she certainly wasn’t just eye candy. She knew and loved the music she presented on the TV show, Ready Steady Go and responded to it with the same youthful enthusiasm at the show’s television audience.

A year into co-presenting the Ready Steady Go with Keith Fordyce, McGowan, in 1965 was given the job of fronting the show all by herself. Her love of fashion was evident from the start. She had, after all, applied for the job while working on Woman’s Own magazine. She was the epitome of what being a young women in the mid 60s was all about. She was obsessed with anything new and was always looking for the next ‘in’ thing, be it in clothes, music or clubs.

As a presenter on the show, she had to make sure she wore a new outfit every Friday. Her fans would promptly rush out and buy what she was wearing or the next best thing the following Saturday. McGowan wrote articles on music and fashion for the magazine’s Rave and Mods Monthly. Her Mod Snips column in Mods Monthly (which read as breathlessly as she talked) was basically a list of what to wear, listen to, who to see and where to be seen. In one column she writes: “Fred Perry shirts worn by a few girls these days… could catch on!” In another: “ What do you think of red mohair suits… I prefer the tonic ones!” There’s a great blog where you can read a selection of Cathy’s articles for Mod’s Monthly called Tintrunk here.

McGowan was said to have been given a weekly clothing allowance so she could make sure she had something new to wear each week. As the show began to revolve even more around its presenter it began to run a fashion segment too. She was a fan of all the top labels and regularly wore the likes of Biba – where were was a regular shopper and Foale and Tuffin.

In a 1964 edition of Rave magazine, the same year Biba was opening its first shop, she tells the story of how she goes to visit Biba’s Barbara Hulanicki at her flat and Barbara presents her with a dress custom made for her. “It had what in my opinion any outstanding dress should have: simplicity and a design and cut of sheer brilliance.”

Like Barbara Hulanicki, Cathy liked a trouser suit which at that time were considered very high fashion. Shoes-wise she loved the Mary Jane style but, she was also a big fan of boots – the flat heeled, knee-length kind. She remarked in one article that had these in almost every colour. She was also a fan of accessories – large bags and berets and square buckle belts on hipster jeans. On dresses, she would often wear the length just above the knee. The designs again would be simple with minimal detailing – a patch pocket or scalloped collar. Her trademark look though was her hair. Backcombed slightly on the crown and worn either straight and slightly turned up at the ends.

It wasn’t long before she launched her own line of clothing: Cathy McGowan’s Boutique was born in 1965. She sold simple A-line shift dress, tops and trouser suits. They were unfussy designs that any girl could carry off. Any girl that is with an eye-skimming fringe, a love of black kohl liner, and a penchant for the words – ‘smashing’, ‘super’ and ‘fab’!

 


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Claire Mahoney

At the age of 13 mod made perfect sense to me. I liked the look and the attitude - but most of all I liked the music. Secret Affair was my entry point, but they were soon playing second fiddle in my affections to The Jam. Paul Weller, of course, proceeded to break mine and many others hearts in 1982, when he put an end to that particular musical roller coaster – but what it meant was that, uninterested in anything else that was happening in music at the time, I had to look back. I was lucky enough to be given two plastic bags full of 60s 45s by my uncle who used to stock the jukeboxes back in the day. Their contents included a number of Stax originals, plus the Who and the Small Faces, as well as Motown classics from The Four Tops and the Supremes. So, when Phil Collins charted in the mid 80s with 'You Can't Hurry Love' it was nice to be able to say: “I've got the original of that!” It became quite an irritating habit of mine over the years. These days I still enjoy discovering new, old music, be it soul, rnb or jazz, as well as witnessing mod taken another turn among today's youth with bands like The Strypes. My day job as a journalist means I am lucky enough to be able to write about music and modernism now and again. Other than that you'll find me mostly on the dance floor or on eBay still looking for that perfect A line dress.

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May 22, 2017 By : Category : Articles Fashion Front Page UK Tags:, , , , ,
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Masters -The James Hunter Six

This entry is part 6 of 6 in the series Masters3

Le Beat Bespoke 2010 was the last time NU had the honor of having The James Hunter Six grace our stage. I managed to have a chat with the main man ahead of the Margate Mod/Sixties weekend show on Friday 27 May 2017 @ Olbys.

You’ve had some rave reviews for the new album. How pleased are you with the way it has turned out?

Very much so! I know the phrase ‘We feel this is our best album’ is generally a coded way of saying ‘We feel this is our latest album’ but I would describe ‘Hold On’ as the record I always wanted to make. ‘Hold On’ is released on the Daptone lable.

How did that deal come about and were you a fan of their output beforehand?

We were between record labels and we wanted to work with a company whose ethos was the closest match to our artistic concept (or “a company who got our vibe” to use the parlance of today’s cider-addled youth). My barber played me Sharon Jones and the Dapkings’ stuff a few years ago and I liked it a lot, so at the first opportunity, we tried to get their label interested in us.

The producer for ‘Hold On’ (Gabriel Roth aka Bosco Mann) has compared you with Smokey Robinson in terms of your songwriting. That is high praise indeed, but how do feel about those kinds of comparisons?

I have been compared to Smokey before, although never favourably. I love his work, particularly his charming quirk as a compulsive rhymer, which effectively turns every fade out into a built-in bonus track.

How much of your life experience has influenced your songwriting?

I don’t think I’ve ever written anything explicitly autobiographical although some real-life moments end up in my songs. But that bit in ‘The Gypsy’ about whacking a fortune teller over the crust with a lead pipe is complete fiction. I deny all knowledge of this incident and I’m prepared to stand up in court and say so.

It’s fair to say your life has been anything but dull, from appearing on The Tube as Howlin’ Wilf, working with Van Morrison and Doris Troy (to name but two), then having to pick yourself up from a very low point to start again, what do you think has been the driving force that has brought you to this point?

Shortly after we appeared on ‘The Tube’ we had two record companies expressing an interest in us (neither of them went for it in the end) but when one of them invited us to the office he played the video of our performance and then turned to us and said: “Well you’ve done it now. You’ll never stop working!” And he turned out to be right, we never did, although there have been one or two lengthy holidays along the way.

The 2006 LP, ‘People Gonna Talk’ was a huge album in America, topping the Billboard Blues chart and earning a Grammy nomination. It was also critically acclaimed, what do you think was the key factor behind its success?

It might have been the novelty value of a middle-aged white bloke from England singing soul music, but hopefully, it was also because some of the songs were fairly catchy!

You have never recorded a cover version, but if you had to do a cover, what would it be?

We did attempt a cover of Allen Toussaint’s ‘Lover of Love’ for the ‘Hold On’ sessions but we didn’t really do it justice, so we’ll have another stab at it one day.

The other five musicians in your band have been with you for some considerable time now. What are their best qualities?

All of them have differing and eclectic tastes in music (anything as long as it’s good!) so each one brings a different element to the music, which stops it becoming too much of a slavishly copyist band. They also contribute to the arrangements of the songs after I’ve written them, which prevents them getting too samey. Oh, and availability is a strong factor as well.

We are really looking forward to seeing you in Margate James, thank you very much for talking to NutsMag.

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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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May 15, 2017 By : Category : Bands Front Page Interviews Music News Scene UK Tags:, ,
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Newbreed – The Bongolian

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

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

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

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

A love of Nandos, check trousers and eggnog.

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

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

04. How would you describe the style you play?

Chaotic! Space-age Latin Boogaloo.

06. What are your live shows like?

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

07. What are your main influences in music?

Mod-Jazz with a touch of Psychedelic Bongos!

08. What are your main influences outside of music?

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

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

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

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

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

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

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

12. What has been the biggest challenge to date?

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

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

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

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

Quite good!

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

Pine Cone are a great band!

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

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

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

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

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

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


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drrobert

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

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

This entry is part of 6 in the series Newbreed5

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

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

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

What influences do the band members have in common?

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

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

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

What are your main influences in music?

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

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

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

What’s your favorite song to play?

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

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

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

What has been the biggest challenge to date?

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

How often do you rehearse? Play live? Record?

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

Anything interesting coming up?

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

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

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

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

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

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

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

Social Networks:

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

Tour Dates: Supporting The Rifles *

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


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drrobert

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

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

This entry is part 1 of 3 in the series Hey! Mr DJ 6

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

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

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

02. Where was your first DJ slot?

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

03. What was your most memorable DJ spot?

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

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

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

05. Your favourite scene DJ’s and why?

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

06. What has shaped your DJ sound and why?

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

07. What was your best ever find/discovery?

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

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

60’s & 70’s Northern Soul originals.

09. Where can folks currently catch your DJ set?

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

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

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

Current Top 5 Tracks:

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

Top 5 Tracks of All Time:

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

Social Networks:

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

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


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drrobert

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

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May 9, 2017 By : Category : Club Soul DJs Front Page Music UK Tags:,
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Hey! Mr DJ – Pete Kelross

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

Pete Kelross is Co Promoting and a DJ at Nightshift Northern Soul @ Lakeside
based in Woking, UK

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

I have always loved music of all genres. I guess it started with Two Tone in the early 80’s which I got bored with after a few years, then moved onto 1960s and a Mod influence through the scooter scene, I did my first Northern soul night in 1985 and never looked back.

02. Where was your first DJ slot?

The Soul Spin Syndicate at Woking Football Club in 1991.

03. What was your most memorable DJ spot?

Las Vegas 2010, I was in The Plaza Hotel Ballroom, I don’t think I have ever seen a room so up for it in my life,.Having taken over the decks from a Ska DJ the reggae crowd walked off the floor, the soul crowd walked on, I smashed it 🙂

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

I won’t mention the club, but having to stop half way through my set to do a meat raffle.

05. Your favourite scene DJ’s and why?

Roger Stewart.. limitless knowledge, Ginger Taylor, vinyl envy, Kieth Woon, taught me they did make good records after 1969 Ady Croasdell, has forgotten more than I Know and my partner in crime. Derek Mead, always introducing fresh tracks to my box.

6. What has shaped your DJ sound and why?

I just love good powerful brash Northern Soul, I think being brought up on Elvis and Country music by my parents kind of conditioned my musical taste towards powerful vocal and big orchestral backing that raw soul has… sorry Mum

07. How did the Nightshift Club come about?

I started Nightshift in 1998 because all the other nights in my area at that time were solidly focused on rarer and rarer tracks and cared little for oldies at that time, though when the classics were played the floor would fill, I saw an opening for a oldies night with the objective of playing to the floor. After Derek came on board in 2000 we began to bring the big names from Wigan down,the crowds grew and the venues changed leading to the fantastic 15 years we spent at Bisley pavilion that sadly closed its doors last year.

08. What was your best ever find/discovery?

I can’t honestly say I have discovered anything, the two records that spring to mind that I broke to my own circle are Doug banks, I just Kept on Dancing, a massive tune at Mytchett in the early days, and Joe Tex Under Your Powerful Love. Not my discoveries by any means but when a large chunk of your friends scramble to buy them it gives you satisfaction.

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

Hard to say where the influence came from, soul is all about emotion good or bad so life’s experiences mould the lyrics that grab you mix it with the musical sound you like and that’s where the magic happens, favorite artist wow it chops and changes, but the one that always hits the top for me would be Ray Pollard, I missed his UK live performances, I’m still kicking myself today.

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

I collect anything. Any genre, any speed, any size!

11. Where can folks currently catch your DJ set?

Nightshift Club, Lakeside, Surrey, UK.

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

The Salvadors, Stick By Me Baby!

 

Current Top 5 Tracks:
1. Going To A Happening Tommy Neal – Pameline
2. I Cried My Life Away Tommy Navaro – De Jac
3. I’m A Peace Loving Man Emanuel Lasky – Thelma
4. Little Girl Lost The Shepards – ABC
5. I Can’t Let Go Johnny Summers – Yorktown

Top 5 Tracks of All Time:
1. This Time Ray Pollard – Shrine
2. Cover Girl Carl Spencer – Rust
3. I’m Your Yes Man Clarence Reid – Wand
4. Beauty is Just Skin Deep The Sweethearts – Kent
5. Baby Without You Danny Monday – Modern

Social Networks: 

facebook.com/PeteKelross

Next Club Spots:

Lakeside: 3rd June 2017 Isle of Wight (Crown Hotel) Aug B/H Soul invasion
Los Angeles{ 15-16 Sept 2017


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drrobert

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

More Posts - Website - Twitter - Facebook

May 9, 2017 By : Category : Articles DJs Front Page UK Tags:,
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Fashion – Foale & Tuffin

This entry is part 1 of 4 in the series Fashion Scene 4

Claire Mahoney looks at the lesser-known, but no less influential 60s design duo that was: Foale & Tuffin

Designer Zandra Rhodes described them as the ‘Queens of Carnaby Street,’ others dubbed them the ‘Liver Birds’ of the London fashion scene – the dynamic duo that they are referring to are designers Foale & Tuffin.

You may not have heard of them. (I hadn’t until I started delving deeper into the history of 60s fashion.) But these two East End art school girls has no less an influence on 60s fashion and the mod look than the likes of Mary Quant and to those who were in with the in-crowd, they were the designers that people wanted to wear.

Marion Foale and Sally Tuffin met at Walthamstow Art School. These bright young girls epitomised everything that the 60s was really about. They were determined to do something different and they were going to do it all by themselves and not sell out in the process.

So they stepped straight out of the Royal College of Art and took the bold decision to set up on their own. In 1961 they rented a small workshop and showroom in west London for six guineas a week. Then, with just two old sewing machines bought for them by their parents, they rolled up their sleeves and got to work. Initially they would buy their fabrics from the local department stores. Their workshop was not far from Liberty and the department stores’ famous Arts & Crafts influenced prints became a feature of many of their creations. Entire collections were made lovingly by hand to order and when their business started to take off they opened their shop in Ganton Street just off Carnaby Street.

Their little boutique attracted a devoted following – fans included Jean Shrimpton. Julie Christie, Susanna York and Cilla Black and their house model was Pattie Boyd’s sister, Jenny.

So what was it about Foale & Tuffin’s designs that were so appealing? Well for a start they were rebellious and they understood what young people wanted because they were young themselves.

“We’d had it rammed down our throats – I had to go to Sunday School with white gloves, a hat and a handbag, just like a miniature mum in a dress made by her, exactly the same as hers! I mean who wanted to do that? We just wanted to kick against it all,” says Sally Tuffin. And kick they did. People talk about how Yves Saint Laurent introduced the trouser suit for women but actually, it was Foale & Tuffin that did it first. Their design was in brown corduroy and most importantly was created for women by women.

Marion Foale recalls in an interview for the V&A ahead of a retrospective exhibition of their work in 2009. “I remember us putting a corduroy jacket on Jill Kennington and putting the trousers with it and falling about with laughter – it was so funny. We must have been making trousers anyway, but not with jackets. We put it all together and thought it was hilarious!”

It was good timing. By the mid-60s the sharp mod look was starting to get a little more playful with the likes of John Stephen stocking more dandy-ish styles with frills and Victorian style detailing for men. So as the men began to embrace their feminine side the women could explore a more liberated a less sexualised androgyny, that ironically, was no less sexy for it.

Foale & Tuffin designs were also playful. They were one of the first designers of the era to ignore the rule of matching clothes and accessories and wantonly clashed spots, stripes and checks – sometimes all in the same outfit.

They loved plaids and tartans and created skirt and trouser suits in contrasting prints and colours. They matched them with brightly coloured woollen tights. Their designs were so popular that they were eventually picked up by the big stores in the States and licensed to J C Penney and Paraphernalia.

Foale & Tuffin like many of the brands of that era either fizzled out or changed course in the early 70s, in this case, both had settled down to raise their families. Marion Foale, however, later went on to set up a very successful knitwear design business and Sally Tuffin became a successful ceramicist.

The legacy of their brand may not have been discussed as much as the likes of Quant and Biba. But to those in the know, Foale & Tuffin were a brand to be reckoned with.

To read more about them and see some fantastic pictures of their designs – take a look at Foale and Tuffin: The Sixties. A Decade in Fashion by Iain R. Webb, published by ACC Publishing Group.


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Claire Mahoney

At the age of 13 mod made perfect sense to me. I liked the look and the attitude - but most of all I liked the music. Secret Affair was my entry point, but they were soon playing second fiddle in my affections to The Jam. Paul Weller, of course, proceeded to break mine and many others hearts in 1982, when he put an end to that particular musical roller coaster – but what it meant was that, uninterested in anything else that was happening in music at the time, I had to look back. I was lucky enough to be given two plastic bags full of 60s 45s by my uncle who used to stock the jukeboxes back in the day. Their contents included a number of Stax originals, plus the Who and the Small Faces, as well as Motown classics from The Four Tops and the Supremes. So, when Phil Collins charted in the mid 80s with 'You Can't Hurry Love' it was nice to be able to say: “I've got the original of that!” It became quite an irritating habit of mine over the years. These days I still enjoy discovering new, old music, be it soul, rnb or jazz, as well as witnessing mod taken another turn among today's youth with bands like The Strypes. My day job as a journalist means I am lucky enough to be able to write about music and modernism now and again. Other than that you'll find me mostly on the dance floor or on eBay still looking for that perfect A line dress.

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March 1, 2017 By : Category : Fashion Front Page Style UK Tags:,
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Newbreed – Los Retrovisores

This entry is part 4 of 6 in the series Newbreed5

Los Retrovisores a Fuzz Soul band from Barcelona. Sounds louder than 1968.

Band Members:
Victor Asensio: Singer
Leo Hernandez: Bass
Pere Duran: Guitarra
Sergio Sanchez: Hammond
Quim Corominas: Drums
Hector Fàbregas: Chorus and Percussion
Edu Polls: Sax Tenor
Alexis Albelda: Trumpet
Francesc Polls: Bariton Sax

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

Since 2006, most of the members came from a Jamaican music band called ‘The Cutties’.

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

We all are late 60’s and early 70’s dance sounds enthusiasts. We love most of the styles: from R & B to soul, reggae, psych or garage, back to rocksteady, and deep into beat… We’re also very influenced by the 60’s Spanish counterpart of that styles, as you could tell listening to our compositions.

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

There are so many cool bands in our area: Rubén López & The Diatones (reggae) Penny Cocks (punk 77), Mambo Jambo, The Excitements or Los Fulanos (Latin Soul) to name a few…

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

Barcelona has several bands, clubs, promoters, collectors and festivals… Some clubs we highlight: The Boiler Club, Movin’ on, The Gambeat Weekend, Le clean Cut, Wamba buluba and Pill Box. There you’ll find some of our favorite DJ’s: Xavi Beat, Julian Reca, Jordi Duró and many more.

05. How would you describe the style you play?

We just play the music we love to listen and dance to, without more restrictions. Our style evolved at the same rate we did. In our current set list you can find from Spanish soul to groovy funk, even freakbeat.

06. What are your live shows like?

The audience defines it as fresh and fun. We don’t like the bands that make a script for live shows. We improvise and always try to be ourselves. Our repertoire is compact, short and straight to the neck. No time for solos.

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

Our influences are as wide as our musical tastes. Mainly Spanish sixties bands, that like us borrowed the patterns from their own references, but projecting their own personality to their songs. We really love Bruno Lomas, Los Bravos, Los Canarios, Los Salvajes, Los Nivram, Pau Riba… We despise too many people to name it here!

08. What are your main influences outside of music?

Our universe is strongly influenced by the sharp & surrealistic Monty Phyton’ sense of humor. The French nouvelle vague and its evolutions are also one source of inspiration for our lyrics and videos.

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

Everybody does his one’s bit, but to date most of the songs were written by Victor and Pere. This has changed in our last recordings introducing compositions by Leo and Hector.

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

Our favorite song from the current repertoire comes from our EP Alma y Pisotón. It’s named ‘Me olvidé de ti’ wich, by the way, it’s been just released on video in a ‘Horror B movie’ style. Check it out! Our choice by another artist is Fire & Ice’s Music Man. We loved the complex brass arrangements and changing our regular subject –love- to an ode to that DJs that make us dance party over party, and that’s why we covered it (you can find our version at Alma y Pisotón EP too)

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

The underground scene, at least in our city, is in a good shape regarding shows and parties. We all participate in one way or another, Victor, for example, is deeply involved with The Gambeat Weekend & the clubs Pillbox 60’s Club and Bread & Groove.

12. What has been the biggest challenge to date?

To forge ahead the band, beside the financial precarity of our members, the lack of public resources and benefits for empowering culture, and the economic depression that we are all suffering.

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

We rehearse minimum once a week and play an average of three or four shows per month. More than two years passed between our debut album and our second release “Alma y pisotón”, but we’re reducing the time between recordings and we’ll release our third record in June, one year after the previous release.

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

In Catalonia the mass media doesn’t give coverage to the bands that don’t belong to the mainstream market. For some time now, specialized magazines start to write about us. We also make great use of the social networks to reach our fans.

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

We’d love to record in London with George Martin and a gigantic strings & brass orchestra, just like Spanish duet Manolo y Ramón did back in 1970. We’d also like to record with Ricard Miralles, arranger for Joan Manel Serrat in the album dedicated to Antonio Machado.

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

We’re still working on consolidating our own sound and our show. We’d like to make people outside the scene dance, without losing authenticity or selling out. We’d like to say thanks for our appearances at Euro Ye Ye Mod Festival (Gijon, SP), Purple Weekend, Festival Beat (IT), Soundflat Ballroom Bash (GER) and look forward to our first ever show in the UK (London) at Le Beat Bespoke, Easter – 16th April 2017.

Discography:

VVAA – “L’Edat Daurada” (Jamaican Memories, 2008) CD
VVAA – “Moderno pero español, vol. 8” (Bon Vivant, 2009) CD
VVAA – Somos los Mods vol.1 (Bip Bip Records, 2010) CD
“La nostalgia ya no es lo que era” (Flor y Nata Records, 2011) LP/CD
“Alma y Pisotón” (Soundflat records/BCore Disc, 2013) EP 7″
“En el surco” (Soundflat records/BCore Disc, 2014) EP 7″
“Sonido Joanic” (BCore Disc/Soundflat records, 2016) LP/CD

Web Links:

facebook.com/Los-Retrovisores
bcoredisc.com
facebook.com/los.retrovisores
twitter.com/LosRetrovisores


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drrobert

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

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February 23, 2017 By : Category : Bands Europe Front Page Interviews Music Scene Tags:, , , , ,
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Blazers – via Uppers

This entry is part 1 of 1 in the series Uppers

Blazer 1: one that blazes 2: a single-breasted sports jacket in bright stripes or solid color. (Websters)
The blazer as a garment walks the fine line between formal and informal wear. Whether you wear it strolling down your favourite street with the swagger of a metropolitan boulevardiér or when in a hurry to work (deftly avoiding screaming children and their mothers), the blazer is a great piece of clothing. Depending on how you combine it you could be just perfectly dressed for the occassion. So let’s smartly about-face and look to the origins of the blazer in it’s first and most double-breasted form.

Looking at the classic blazer, the double-breasted blue one with brass buttons, the conclusion that the jacket is of military tradition is rather obvious. Legend has it that the commanding officer of the frigatte HMS Blazer had a special uniform-jacket made for his men at some time when queen Victoria was going to make an appearance. It was styled after the short jacket worn by naval men at this time (1830-50).This new garment found royal approval and was soon appreciated by both naval men and marine minded gentlemen who wanted to sport something that wasn’t a uniform but still associated with maritime virtues. Hence the name: blazer. The result of civilians having jackets like these made for occasions sportif and also naval officers getting jackets tailored in the same style as their uniforms, evolved into what is the originator of both the sporty striped blazer (a bastard child-bearing many names) and the plain blue blazer. End of history lesson.

Nowadays a blazer can look almost anyway you please, of course within certain given parameters: namely style and the threat of your friends having a go at you. Basically the only valid definition of a blazer is this: a short jacket, blue in color, always with two side vents and a double-breast with brass buttons . Does this remotely sound like anything you have hanging in your wardrobe? I shouldn’t think so. Fortunately there has been a lot of changes in the makeup of this garment. The striped blazer worn by rowing-club members sweating at the thwarts. The light jacket with a shiny finish of the mediterranean gentleman sipping his Pernod. The bottle-green blazer favored by americans mostly (this is the only place where colours other than dark blue is popular in the plain jackets). Somewhere along the line the blazer even lost it’s brass buttons (which were only there to flaunt membership of clubs, etc). In these times with a wide array available, the line between jacket and blazer is a thin one. If you start hollering: belay that bolard, tote that rope and starboard helmsman!.. you’re probably wearing one (a blazer that is).

The stylistic qualities of the blazer cannot be overlooked. Many tasty photos adorning some very groovy records reveal several hip cats of royal pedigree wearing them. If you’re going to look to the continent there are several very good examples: Serge Gainsborough , Boris Vian… you know, cool guys. Steve Marriott used to look really smart in the striped ones and most of the Creation wore them and still managed to look hard. Ard. Oh sorry, guess I am overstating it a bit. Still if you’re into history this is a point isn’t?

Most mens outfitters stock good off the peg blazers. If you’re in Italy I guess you could pay Brioni a visit. The Italians are known for the subtlety and novelty of their materials. Maybe some mohair and silk would look good? Italy is the land of fabric possibilities. But really why go overboard with this when the charm in the blazer lies in its simplicity . There’s nothing wrong with a plain blue one is there? But if you want “a garment cut by an individual, for an individual, by an individual” then it’s a nice touch.

So how to get the look right? Well it’s up to you. Are you into the more bohemic style go for the plain ones (we’re talking mod bohemic) combined with a pair of light trousers. Corduroy or moleskin looks really good. Traditionally the combination of dark blue and brown is considered bad. But then again because of tradition people on horseback in red ridingcoats (‘redingote’ in french, which always cracks me up) dementedly gallivants around the english countryside chasing some poor fox. The fox ain’t even Jane Fonda or Monica Vitti (I know it sounds unbelievable). If you want that youthful look in the summer get a striped one and match it with a pair of really dark denims and suede slipons.

With a blazer you could even leave the top button of your shirt open (gasp!) While you’re at it, stuff a Hermes scarf in your collar and sit down at the grand piano and play ‘Trains, Boats and Planes’ to entertain your friends if they are in a Burtish mood. You see, it makes perfect sense doesn´t it? The blazer is the preserve of the jet-set and who are you to argue?
© Jules Olivier 2001 – 2015 [Published 26 January 2001]


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admin

Pip! Pip! Are the Creative Business Engine behind various music based organisations of the cool underground variety. Providing angst, confusion, bewilderment and annoyance in equal amounts. We design/host/manage great sites like this one! Why not hire us one day soon?

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December 7, 2016 By : Category : Articles Fashion Front Page Style UK Tags:, ,
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Jazz for Modernists 8 – Interview with Julie Tippetts and Keith Tippett (Part 2)

This entry is part 7 of 7 in the series James Thomas on Jazz

Here is part 2 of JTM’s interview with Julie Tippetts and Keith Tippett.

09: The period 1967-1972 was generally one of great dialogue between jazz, blues, folk, improvisational forms and rock music. On a personal level, did you experience this as a process of mutual discovery, each of you learning about the other’s musical backgrounds?

KEITH: As in our lives where we have grown together, also in the music. And may I take this opportunity to state that Centipede and the composition Septober Energy (1971) encompasses all these genres. Performing live with an orchestra including Jazz musicians/Soul and progressive rock musicians/improvising musicians and classical musicians had never been done before or since.

Centipede, Septober Energy (1971)

10: In April, 1971, Julie, you recorded Quartet Sequence, with The Spontaneous Music Ensemble. How did this come about and what was it like to step into this new area of improvisational singing?

JULIE: Our shared manager at the time, Giorgio Gomelsky, was also recording people like John Stevens and John McLaughlin, so I had the opportunity to listen to and try out all sorts of diverse musical areas of creation. Joining The Spontaneous Music Ensemble with John Stevens, Trevor Watts and Ron Herman was part of a natural progression moving into a freer approach to playing. As was (Ovary Lodge (with Keith, Frank Perry and Harry Miller), and collaborations with [previous SME member] Maggie Nicols. She and I set up our friendship and teamwork in Centipede. We did lots of improvising together in preparation for the concerts. We have always had an incredible rapport.

Spontaneuous Music Ensemble, Frameworks 

11: Much of this music is considered ‘improvisational’ or ‘experimental’. Is improvisation primarily a response to another musician’s performance or is it aiming to represent something tangible (a landscape, an idea, an emotion etc)?

KEITH: It is definitely not experimental. Composition is frozen improvisation. The ability to solidify on paper the idea you have created in sound. This is just the start. Likewise with the technology available today, what starts as an improvisation in a Dartington concert can be heard on a beach in Bali on cd 5 months later. All composers are improvisers.

12: Julie, you have periodically returned to more ‘conventional’ song forms throughout your career, working again with Brian Auger on Encore (1978), Fire in the Mountain (1989) with Working Week and quite recently, Sessions (2008) with Nostalgia 77 (with Keith). How would you describe the main differences in approach to structured song and improvisational singing?

JULIE: I love music… My privilege has been, being open enough to be part of many genres. I feel comfortable in composed or spontaneous music.

13: In 1975, you recorded Sunset Glow, a recording that in parts evokes for me works like Tim Buckley’s Starsailor (1970), Robert Wyatt’s Rock Bottom (1974) and Linda Perhac’s Parallelograms (1970). For those who love your 1960s work, could this LP be the gateway into your more experimental work, perhaps the one they could relate to most?

JULIE: I don’t think so really. For me personally, I can’t possibly make that statement. I have loved every limb of the body of work I have produced or been part of producing. It’s all part of the same journey. How people conceive it, or accept it, is part of their journey.

Julie Tippetts, Sunset Glow (1975)

14: Keith, during the 1980s and 1990s, you actively promoted the Rare Music Club in Bristol, an arena for experimental and collaborative music, based in part around your group Mujician. What were the major successes of that and did the experience make you optimistic about future music in Britain?

KEITH: The Rare Music club put on a programme of improvised music/jazz/20th century/contemporary western classical music/ and folk music from various countries. At least 3 different musics per night. Wonderful idea. I thought it would be commercial. I was wrong. Mujician was the house band and we were subsidizing guest artists. There was no profit whatsoever. Even with a hard-working committee raising small amounts of money, we could only sustain the club by the musicians’ good will. We had some headline, internationally known artists, and prosperous Bristol (a University city) did not have interest enough – particularly local musicians and students. The future of non-commercial music is in more danger now in the UK than it has ever been (with the exception of contemporary western classical music, which the establishment funds)… Thank God for Europe… ps…I worked more in Tokyo last year than my home town Bristol!!

Mujician (Paul Dunmall, Keith Tippett, the late Tony Levin, Paul Rodgers)

15: Keith, teaching has been important to you and you include many younger musicians in your improvising groups and write scores for younger musicians to perform. When you perform, you always seem to be interested in how they respond to your musical cues and suggestions…..

KEITH: Younger musicians are the future of course… musical cues and suggestions are of course discussed and rehearsed. I also am still working with many of the older comrades who were first-generation creators of improvised music.

16: Are you hopeful about the future of jazz and improvisational music?

KEITH: I am hopeful to an extent. However Europe (East and West) is where the work place is. The audiences also seem to be more knowledgeable.


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James Thomas

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

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September 29, 2016 By : Category : Bands Front Page Interviews ModJazz Music UK Tags:, , , ,
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Hey! Mr DJ Lee Miller

We caught up with Leeds based but Kent born and bred, DJ Lee Miller recently to talk about his life as a DJ and collector.

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

I started listening to music from a young age. Mum & Dad had quite a large collection of 50’s & 60’s R&R, with a bit of pop thrown in. Buddy Holly, Chuck Berry, Bill Hayley, Gene Vincent & Bill Fury, but my favourite, that I used to do the air guitar & hairbrush routine too was a lesser known “B” side by The Attack – Any More Than I Do – which I still have today. They don’t know how they came to have that 45, all we can assume is that they thought they were getting Jeff Beck’s – Hi Ho Silver Lining.

02. Where was your first DJ slot?

I first started playing records at my local youth club, in the early 1980’s, at the ripe old age of 11 or 12. Playing a selection of sounds that I deemed to be Mod – 2 Tone, The Jam, Small Faces and The Who, and as my knowledge grew, Tamla Motown, Stax, John Lee Hooker and Kent Compilations. Forward to 1985/6, Rob Bailey and I used to run local nights, using two hi-fi systems and speakers. Playing a mix of original 45’s, Kent & Charly Compilations. I think my first “big” Mod club spot was somewhere like Drummonds in 1988. But prior to that would have been one of the Hidden Traces AMSC events around Bracknell, or a lunchtime session at a CCI Rally.

03. What was your most memorable DJ spot?

There have been so many, really great experiences, and I have been honoured to DJ at so many events and clubs over the world, over the past 25 years. Each one drawing a different reaction, whether it be a basement club or a large dancehall. To pin just one down, that’s hard. But, for the euphoria, that has to be the opening set for The New Untouchables Motown Review, at Modstock 2014. Followed closely, by the round of applause I received, at Brighton 2008 at the end of my set which was at the Saturday night. I had been seriously ill and this was my “return” to the decks.

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

It’s very difficult to say really, because you make the bad become good. But there is one incident in the early 1990’s – I was playing a set and this guy comes up and complains that I’m not playing “Mod Music” … So I announce over the microphone that if this isn’t Mod music, I’m in the wrong place and sorry for wasting your time, and proceeded to play Lou Donaldson’s – Everything I Do Gonna Be Funky (From Now On). Like a smacker o’blueidy, the guy’s punch catches me unaware and he runs off.

05. Your favourite scene DJ’s and why?

There are many “scenes” under the umbrella of Mod, Soul, Blues, R&B & Jazz. My main influences come from the MOD Scene.

Pid, Alan Handscombe, David Edwards Andrew “Mace” Mason & Chris Dale, sounds lame, but they have always been there, can read a dance-floor/crowd, keep them dancing and always create the atmosphere, and bring new exciting sounds to the turntables

Ady Croasdell & Roger Banks, both I have known for many years, and again never fail to deliver the goods.Discovering those un-issued Soul Jazz & R&B tracks which become dancefloor dynamite.

Paul Molloy & Mikey Collins, two Mod stalwarts! These guys cover all angles on time, everytime.

DJ’s Soup & Bread Or Mark & Ollie, from Leicester. Young, enthusiastic and mindful. These guys are the scenes next dynamic duo. They say you can’t teach an old dog new tricks, well they have.

There are many more DJ’s I’ve had the pleasure of working alongside and many I’ve admired from afar, each one bringing listening pleasure to my ears and tapping to my feet; Mark Ellis, Jon Godden, Neil Henderson, Mocky & Alvaro Dimples, Roberta Pompetti, Andrea Mattioni, Mark Stewart, Joe Dutton (RIP), Mik & Gav @ POW WOW, James Parker, Gav Needham, Axel, Hoss & Mark Thomas.

06. What has shaped your DJ sound and why?

I play the music I like, mainly black American sounds, Soul, Jazz & Blues. The Mod scene has gone through many musical phases* in my time so I take a little from each and mix it all up. The “job” of the DJ is to keep the floor dancing and not just play what he / she likes. *by this I mean, the popularity of one genre of sounds alone is the “fashion” ie: Soul R&B or Jazz for a length of time.

07. What was your best ever find/discovery?

If we’re talking the best 45 at the cheapest price, then there are far too many to mention. I do have some unreleased acetates, that I would file under both finds and discoveries. Some have been played out and others will hopefully have their first airings this year.

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

There are two main label stables that have influenced me for 20+ years, Chess Records & Berry Gordy’s Motown Empire. Favourite artists, too many to mention, as many of the greatest tracks were one-off’s.

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

Yes and no. I used to be a collector and felt the need for every release on various labels and of course in Mint condition, and the lesser ones for DJ’ing. But in the end I sold 60% of my collection as there were too many I couldn’t ”use”, like ballads, country, rock & roll.

10. Where can folks currently catch your DJ set?

Shiver & Shake, Manchester – 20th August 2016
Brighton New Untouchables Weekender – August 2016

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

That’ll be the record I still don’t know it exists.

Current Top 5 Tracks:

J.J. & Lilly – My Baby Done Left This Town
Jimmy Smith – Uh Ruh
Lonesome Sundown – My Home Ain’t Here
Oliver Miller & The Quinlans – Rock The Boat
Hector Rivera – Be On The Lookout

Top 10 Tracks of All Time:

Top Ten – in no particular order

The Capitols – Cool Jerk
Billy Hawks – O’Baby (I Think I’m Losing You)
Herbie Goins & The Nightimers – Crusin’
The Untamed – My Baby Is Gone
B.B. King – Think It Over
Bobby Bland – Farther On Up The Road
Dionne Warwick – Walk On By
Junior Wells – Snatch It Back, And Hold It
Jimmy Smith – Stay Loose
The Mohawks – Beat Me ‘till I’m Blue


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drrobert

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

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June 6, 2017 By : Category : DJs Front Page Interviews UK Tags:, ,
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Hey! Mr DJ – Michael Wink

NUTsMag recently caught up with Michael Wink for a quick chat about music…

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

I bought my first scooter in 1984 and then got involved in Düsseldorfs Mod scene. There has been a good scene with some great clubs like ‘The Pops’ or ‘Okie Dokie’. Because of the British Army in our area we had many British Mod bands playing live, like Purple Hearts and The Moment.

2. Where was your first DJ slot?

At a Mod/Sixties Club called: Villa Körner in 1989

3. What was your most memorable DJ spot?

There where so many over all over Europe. But the first Purple Weekend in 1997 is still very present in my mind, more because I didn’t know what I was going to expect. It was a bombastic five-day-weekend. Direct afterwards by car to Italy, Cattolica for the next weekender.

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

On a wedding day, where everybody asks for strange songs that I don’t actually know.

5. Your favourite scene DJ’s and why?

I don’t have any special favourite DJs. Nowday, there are so many very good and intersting Djs on the scene, whichthen I really love. It never ever can get boring for me!

6. What has shaped your DJ sound and why?

The first Kent-Soul Compilations, because that sound was hard to find in Germany and it wasn’t played at most of the club nights.

7. What was your best ever find/discovery?

Once I found two copies in one time from Tintern Abbey – Vacuum Cleaner on UK Deram in a German record magazine called Oldie Markt for just a tenner. I bought just one, but in thinking that it could be easy to get another copy again, I sold my copy at an Untouchables Rally for one hundred to help finance the weekend. The guy, who bought it, was dancing on a table afterwards. Then I realised I had made a mistake and never found another copy sadly.

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

In the late 80’s we start to listen to Mod-Jazz like Mose Allison, Brother Jack McDuff and Ramsey Lewis Trio. I’m still into that sound. Later I came more into British Freakbeat, because of bands like The Action and The Birds.

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

No, I like to collect many different styles.

10. Where can folks currently catch your DJ set?

Over the last 25 years, I have run so many clubs and weekenders in Germany. Now I run the Monkey Cave 60’s Club in Duisburg and The Two Men From L.I.N.Z. Weekender in Linz.

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

Wow, there are still so very many!

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

Top 10 Tracks of All Time:
The Action – I’ll keep on holding on
The Jam – In The City
The Sonics – The Witch
Marcia Griffins – Feel Like Jumpin
Berts Apple Crumble – The Quick
Rebel Rousers – As I look
The Majority – One Third
Joanie Sommers – Don’t Pity Me
Joe Jama – My life
Yvonne Baker – You Didn’t Say A Word
Timi Yuro – It Will Be Never Over For Me

Current Top 5 Tracks:
Otis Lee – Hard Row To Hoe – Quaint
The Lively Set – Blues get off my shoulder – Satin
The Staccatos – Stop Rockin The Boat – Rocket
Little Jimmy Ray – You Need To Fall In Love – Gallant
The Lost Souls – Secret Of Mine – Raven

Web Links:

www.facebook.com/michael.wink

 


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drrobert

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

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July 20, 2016 By : Category : DJs Europe Front Page Interviews Music Tags:, , ,
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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.

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

Web Links:
facebook.com/strangecages/

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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drrobert

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

More Posts - Website - Twitter - Facebook

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

Marta Ren & The Groovelvets are based in Porto, Portugal with current band members: Marta Ren (vox), Hugo Danin (drums), Bruno Macedo (guitar), Sérgio Marques (bass), Sérgio Alves (keyboards), Manu Idhra (percussion), Fábio Almeida ( tenor sax), Nelson Ferreira (trumpet) and Hugo Marinheiro (baritone sax)

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

I started to sing professionally at 16 years of age, my first band “Sloppy Joe” were together, playing for 10 years, then came “The Bombazines”, I was already thinking of doing a solo album before the band finally ended. Three years ago, I started finding and talking to the musicians that I needed to make the album that I wanted to and I named them “The Groovelvets”, and then the adventure started!

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

Classic soul and funk, that’s what unites us. We also like other genres but what we really have in common is the love for that core music.

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

Almost every band coming from Daptone Records, Record Kicks or Timmion Records, I think the reason it’s obvious, they are releasing great classic soul and funk often with a modern twist.

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

In the 60’s in Portugal, most of the bands played a lot of covers with adapted lyrics in Portuguese. We also have our famous ‘Fado’ singers and our traditional Portuguese songwriters.

05. How would you describe the style you play?

Classic soul and Funk.

06. What are your live shows like?

Normally we have nine musicians on stage, giving it all they’ve got. They’re energetic shows, you have little spaces to breathe, but we came to get you right after you catch your breath.

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

I love music in general , if I like a song it doesn’t matter what genre, but my main influences are soul and funk singers or bands. We play a cover from The Doors and another by Lucille Mathis. I despise everything that’s not done with truth and soul.

08. What are your main influences outside of music?

I like arts in general , I studied graphic arts from my 10º to 12º grade, but I think what influences me more are the movies.

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

I always wrote my own lyrics and melodies, I think it’s important to really feel what you’re singing, the compositions came from different composers, some from the producer “New Max”, others from the bass player “Sérgio Marques” others from the guitar player “Bruno Macedo”, one from “Lino Matos” and other from “Eurico Amorim” former Bombazines. I mainly deal with life, with love relationships, frustration, unconformity, sometimes I write about friends stories or stories from movies that I relate to.

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

That’s a tough one… it depends, on Monday my favorite is “So Long” and “I wanna go back”, Tuesday “Let’s talk about the kids” and “2 kinds of men”, Wednesday “Release Me” and “It’s today”, Thursday “I’m coming home” and “Smiling Faces” and Friday “Be ma Fela” and “Don’t Look”. It’s so hard to say one, I have many, the first it came to my mind was “Try a little Tenderness” from Otis Redding.

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

If you asked me that 10 years ago, I could answer, now I don’t really know. I’m very focused on my family my dogs, my rehearsals with the band, I always try to suggest new arrangements for the songs or live show.

12. What has been the biggest challenge to date?

Every record or show are big challenges, but I think the biggest is yet to come.

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

We try to rehearse every week, with or without shows. Playing live, it really depends on various things, but normally we have three/four shows per month, it depends on the season. We have a lot of interesting shows coming up in Spain, France and England and at this moment we have a new video for “Release Me”.

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

It’s the same I think in other similar subjects or arts, normally they cover with high-attention what they are told to do or paid to do, not what has real quality and new potential interest. It’s supposedly dangerous to cover interesting things, people could get clever with that and have their own new ideas!

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

The past days I spend listening to the new Red Hot Chilli Peppers album ‘The Getaway’.

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

Every record or producer has their own charm, I don’t really have a favourite. When I start recording I always feel like it’s going to be the first and last thing that I’m going to do in my entire life.

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

I expect to play this album as much as I can live, everywhere, all over the world, and make enough money to pay my bills and make the next record. Fortunately I have more than I expected , in Portugal a few new Festivals (not despising the other gigs, every gig is important and interesting to me) and I’m excited to go to Euro Yé Yé and Blues Kitchen and Brighton Weekender.

Discography:
2002 – SINGLE ‘An Easy Night’s Day’,
2003 – EP ‘A Watchjob Apple’,
2004 – LP ‘The Profile Fillers Sing Your Destruction’, 2007 LP ‘Jimmy’

Web Links:
profilefillers.com
facebook.com/marta.ren
instagram.com/martaren_groovelvets
facebook.com/MartaRenTheGroovelvets
myspace.com/profilefillers
twitter.com/martagrooveren
soundcloud.com/profilefillers

 


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drrobert

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

More Posts - Website - Twitter - Facebook

July 13, 2016 By : Category : Bands Club Soul Europe Front Page Interviews Modern RnB Scene Tags:, , , , , , ,
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