Masters – Corduroy

This entry is part 1 of 7 in the series Masters3

In the early 1990s, something unusual happened and something that has not happened since; two small independent British record labels were formed that defined the entire decade musically. On one side driving the Britpop era was Alan McGee’s Creation Records and on the other, Eddie Piller’s Acid Jazz which flew the flag for eclectic soul and funk. Part of that Acid Jazz roster was a band which may have had modest chart success, but retained a loyal fan base and critical acclaim for every album and single they released. NUTs caught up with frontman Richard Searle to talk about Corduroy and their forthcoming headline appearance at Le Beat Bespoke 12.

01. When did you get Corduroy back together and why?

We reformed in 2013 to promote a Corduroy CD box-set released by Cherry Red Records, featuring 3 of our 5 studio albums plus a Japanese live album; plus a previously unreleased live album via Acid Jazz Records.

 02. When did you first become interested in music?

We didn’t have a record player when I was a primary school kid. I grew up during Glam, (Slade, Sweet, T-Rex); but my oldest friend, who lived down my street (Elibank Rd), had a record player and his brother had two Who albums; so The Who were formative, and are still my favourite band.

03. Do you regard yourself as a mod? How did you get into it?

I bought punk records from 77 onwards, The Stranglers, The Damned, Generation X, Devo, Pistols etc, but I used to follow The Jam, they were ‘my life’. I saw them for the first time in 78 (supported by Generation X and Slade). My first parka cost £14 from Paraphernalia in Lewisham). My first bespoke suit, when I was 15, was from a tailor in Lewisham called James Joyce – the jacket still fits. When the ‘mod revival’ happened, I’d already started listening to psych stuff (the first Nuggets album, Velvet Underground, Shadows Of The Night, Electric Prunes, Love), so when the ‘New Psychedelic’ scene reared its head, I was already wearing more ‘swinging sixties’ gear, my hair was a ridiculous back-combed bouffant. I didn’t fit with the British ‘mod’ look, I was never into Two-Tone. When people ask, I say that I was a ‘psychedelic mod’.

04. How did the whole Doctor and the Medics thing come about?

The ‘psych scene’ was based around a couple of clothes shops, The Regal and Sweet Charity and a Soho club called The Clinic (in Gossips – Soho); the resident DJ called himself The Doctor he was my patrol leader in the scouts. The Doctor (Clive) was given the opportunity to record a single on Whaam Records, so he put a band together. It was only supposed to be for the one single, and a couple of gigs, but we had fun and carried on. I left after 8 years.

05. Which clubs did you visit during the late 80s and early 90s?

In the 80s it was mostly psych clubs, The Clinic, The Taste Experience, The Pigeon-Toed Orange Peel, and the Alice In Wonderland (a club which took over from The Clinic, in which The Doctor was resident DJ and The Medics played regularly). I went to The Bat Cave once – once was enough. In the 90’s I was going through a beatnik phase – Smashing, Frat Shack, Tongue Kung Fu. DJs like Martin Green and The Karminski’s were where it was at.

 06. How did you join up with Boy’s Wonder?

Boys Wonder were friends, they were truly great. They sacked the bassist Chris Tate and I filled in for a hand-full of gigs (a couple of head-lines at the Marquee and supporting The Hoodoo Gurus at the Town & Country, now The Forum).Tony Barber then joined.

Despite being ‘in vogue’ they were dropped by their record label, Sire, and then sacked Tony Barber. The Medics had stopped being fun by this point, so when they asked me to join permanently, I did so. The band then started a long downhill spiral of musical styles, band wagon jumping and failed attempts to get re-signed. By the time Boys Wonder finished, we were truly shit.

07. How did you meet Eddie Piller?

Acid Jazz was one of three record labels that the newly formed Corduroy went to see. Ed Piller booked us into his studio two days later.

His first words to me were… ‘Are you a mod?’

08. What is your assessment of the influence of mod on Acid Jazz and vice versa?

Acid Jazz became a refuge for displaced survivors of the mod revival, mainly because it was owned by one, (Ed Piller), but musically it was all over the place. The Sandals came from the ‘beat scene’, Emperor’s New Clothes were proper jazzers, and Mother Earth just wanted to be Traffic. Some bands initially did appeal to mods (JTQ and then Corduroy) but I think musical tastes changed with the labels’ output, which became quite ‘fusion’ orientated. Fifteen-minute hip hop, jazz funk, jam sessions by stone-heads with pubic beards wearing socks on their heads – just isn’t very mod.

09. What was the inspiration for the Corduroy sound?

We each had very different musical tastes, but we all shared a love of film music; this was the main inspiration for the Corduroy sound at its best (the first two albums). By the third album, that uniting force had vanished (lost through ego and endless Steely Dan records). I will always regret not actually leaving Corduroy after the second album.

10. What are you most proud of from your Corduroy years?

Record-wise, I guess the second album – High Havoc. Supporting Blur at Alexandra Palace, (with Pulp and Supergrass), was cool. Seeing the world, Japan, Hong Kong, Singapore, Australia as well as traveling all over Europe. But my fondest memory is of pulling a girl’s knickers off with my teeth, during an excellent round of strip-dice (a game that I invented).

11. What was it like being signed to Acid Jazz and part of a vibrant scene in music?

The Acid Jazz ‘scene’ meant that people would listen to you, who normally wouldn’t, simply because they were into ‘the scene’. At its best, this meant that there was a family type atmosphere between the bands, and a sense of belonging, plus lots of work. At its worst, by the time Acid Jazz stopped being known as the record label and became regarded as a music genre, the bands couldn’t develop. When Brit-pop then over shadowing things, it became more fashionable than, the Acid Jazz scene, bands identified with ‘the genre’ were ultimately finished. The ‘scene’ itself moved back into the clubs – eventually with Acid Jazz Records buying The Blue-Note.

12. Which clubs did you visit during the 90s? Was Blow Up one of them?

I went to Blow-Up at The Laurel Tree a couple of times, more so when it moved to The Wag… Corduroy played a gig there. I had my own bar tab at The Blue Note.

13. Which bands, music, clubs or scenes have impressed you during the last decade?

Bands: Super Furry Animals, Spiritualised, Verve, Manson, The Dandy Warhols, Kula Shaker, The Prodigy, Earl Brutus,

Clubs: Smashing, was for a year or so, the best.

14. What has been the response to Corduroy coming back?

Very positive; getting lots of international invitations for shows as well as UK interest. We are currently writing new material with every intention of recording a new album.

15. What can we expect from Corduroy at Le Beat Bespoké this year?

Groovy, spy themed, organ-fueled, raw garage, punk-jazz, dirty mod, fun!

16. Are you looking forward to it?

Yes, very much!


We are too Richard. Thanks for taking the time to talk to NUTsMag

Corduroy headline Sunday night at at Central London.

Check the bands facebook page here:

This interview was originally the one I did with Richard Searle for the updated Influential Factor.

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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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February 23, 2017 By : Category : Bands Interviews Music News Tags:, , ,
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Masters – Bronco Bullfrog

This entry is part 2 of 7 in the series Masters3

01.  For those new to Bronco Bullfrog, can you give us a quick account of who, how, when and why the band started?

Andy: 1996 (20 years ago – Jesus!). Mike and I had been in The Nerve and Louis had been in The Beatpack, Immediates, Morticians and probably others. He was in garage bands when he was about 10. These bands were playing the same ’60s/mod circuit in London and slowly got to know each other; dogs sniffing each other’s arses, so to speak. I joined Louis’ post-Immediates band Vibraphone sometime around 1990 but left after we were involved in a motorway accident after a gig in Spain. In ’96 all three of us found ourselves at a loose end and decided to try our luck together with something a little different. The garage/psych/mod approach had been mined pretty deep and we’d all started listening to a wider palette of music; country-rock, folk, powerpop, sunshine-pop. The aim was to absorb all of these influences into one cohesive whole while retaining our roots as Who/ Kinks/Small Faces worshipping fanboys. There were no rules at the beginning: if we liked the sound of it, it was in.

02.  You took your name from Barney Platts-Mills’ 1969 film, and your debut LP included ‘Del Quant’, based on the main character. What was it that captured your imagination about that film?

Andy: We’d all discovered the film around the time the band was starting out and I suspect, like many bands, needed a name for a poster in a hurry. It was to hand and it stuck. I had no idea there was a Spanish Oi! label with the same name. We watched the film endlessly and used to run off copies of my third-generation VHS, taped off Channel 4 in the ’80s, for our mates. When we were writing that first flurry of songs, it loomed large in our world and that’s where the lyrics to ‘Del Quant’ came from. Louis and I wrote it in the kitchen in the house we were sharing in Fosse Road South, Leicester. ‘Down Angel Lane’ is also named after a street in Stratford that appears in the film.

03.  Your debut album, Bronco Bullfrog, came out in 1998 on the small independent Twist label. In the preceding few years swathes of bands with even the slightest 60s echo were signed to big labels and had money pumped into them. Bronco Bullfrog had far more depth, imagination and superior songs (I’m allowed to say this, you can agree….) but got overlooked. Why do you think this was and was it a source of irritation?

Andy: We’ve talked about this a lot over the years (and over the beers) and we’re still not sure. Laziness? Nonchalance? Ignorance probably. When we started there was very little awareness of a lot of the stuff that most bands seem to crave from day one: we had no desire to get signed up or play at certain cool gigs or support Supergrass or whatever. We’d come up through provincial bands where playing to 40 people on a Saturday night was kind of enough. We weren’t chasing any kind of success or acceptance; we were literally doing our own thing. It all felt very insular; us against the world, getting stoned and buying obscure pop and psych records from Leicester market and writing these little songs.

We’d save up our pennies and when we had £150 we’d go into the cheapo studio in Leicester YMCA and cut three or four songs; that was our first album. Mark Le Gallez from Twist asked Louis if he had any Immediates recordings that he could put out. Louis said no but he had a new band, that was that. We recorded a couple more songs and all those short bursts of music on there and Twist put it out. We were on the same label as The Solarflares so all was well.

04.  You enjoyed a greater appreciation in other parts of Europe than in the UK. What were the differences at home and abroad and why do you think that was?

Andy: Again, we’ve asked lots people, particularly in Spain, where we’ve achieved a modicum of success, about this as we have no idea. The over-riding impression we’ve been given is that they like the songs primarily, and secondarily the way we try to put them across, with gusto and without fear of failure! Perhaps our tendency to “over-write” songs, to keep adding more musicality, more chord changes and structural elements, singled us out somewhat. I wasn’t hearing a lot of bands playing songs as naively adventurous as ‘Greenacre Hill’ and ‘7:38’ around that time. Still don’t actually. I guess the balance of downbeat, often melancholic lyrics in a spunky, super-pop framework isn’t that common either.

05.  Talk us through the Bronco Bullfrog albums. Are you self-critical? Some of the songs, particularly early on, appear very autobiographical and personal. What emotions do they provoke in you now?

Andy: Like I said earlier, this was 20 years ago, we were young men writing about the travails that young men go through: break-ups, breakdowns, high times, low times, girls, films, pubs and cake. Life was easier then – we didn’t have responsibilities like we do now.

What I hadn’t done before (as primary songwriter) was to write about myself and my emotions and those of my friends and the world around me. The Nerve was resolutely a psychedelic rock band; the lyrics were, for the most part, meaningless. The wah-wah and the Hammond were more important. It was only when people started telling me how much the words to ‘Paper Mask’ or ‘Sweet Tooth’ meant to them that I started to consider that there might be some emotional depth to what we were doing. Then we’d get on stage and try to be The Who in 1968 and any subtlety went straight out the window!

All three of us are incredibly self-critical of Bronco Bullfrog’s recordings, I can’t bear to listen to anything other than the first album and a couple of tracks from each of the others. They were all recorded cheaply, quickly and honestly – which is the way we wanted it – but that method can result in some rather, er, candid performances. We weren’t confident in the studio and would continually swap instruments if the other guy could do it better. That spirit was lost as time passed. And the red light syndrome always defeated us.

06.  Which three songs would you pick to give the best representation of Bronco Bullfrog and why?

Andy: Tricky. The first batch will always remain the most resonant as they represent a snapshot of our lives and our friendship at that time; precious, life-affirming memories. After that we tried our hand at all sorts of things but ended up gravitating towards a fairly regulation powerpop / power-trio format and some of that variety was sacrificed. Stylistically, a selection that I like would be ‘Paper Mask’ for its emotional heft, ‘Sweet Tooth’ for its blind pop optimism (poptimism?) and something like ‘Down Angel Lane’, ‘History’ or ‘One Day With Melody Love’ for almost capturing the essence of all those ’60s 45s we adore: punch, power, melody and dynamics. And mistakes!

07.  After years away Bronco Bullfrog have reformed in a very gentle manner, releasing a series of stand-alone 7 inch singles and the occasional gig. Tell us about those. What prompted the three of you getting back in the studio? Did you have songs you’d already written or did you write them once the idea had settled?

Andy: I guess we needed some time apart after the band split up in 2004; some growing up had to be done. I’m not saying any of us have grown up but we’re all best mates again now and that’s by far the best thing that’s come out of this reunion.

The singles were a natural by-product of getting back together and not wanting to go straight back on stage; we were more interested in writing and recording a bunch of new songs in as informal and low-key a manner as we could manage. We went to State Recorders when it was in Folkestone, then when it moved to St Leonard’s, as we’d known Mole and Marty since their Mystreated days and liked the rough and ready sound they were busy patenting. I emailed a few labels and low and behold! We’ve done four 45s on four labels so far.

08.  So many bands reform years down the line. People have mixed views about this, what’s your take? What makes a successful reunion, both from the point of view of a musician and a fan?

Andy: I can only speak from my own experience, which is that the whole time we were out of action we were still getting requests to go and play in Spain, Germany and Italy. After a while we realised that people remembered us and maybe we should give it a shot. We did a couple of warm-up gigs late last year to quell the nerves, then headed back to Spain in December and dived in at the deep end at Purple Weekend. We’ve done two tours over there since then and, while we’ve undoubtedly become less ragged, we’ve also realised that playing those songs for 90 minutes when you’re 47 is knackering!

09.  What can we expect from Bronco Bullfrog in the future? More gigs? Singles? An album?

Andy: We haven’t recorded anything for 18 months as we were preparing our sea legs for the Spanish shows. We’re all in other bands too and have assorted jobs and families that require our attention. The plan, however tentative, is to record an album and another single early next year. We’ll probably do it ourselves, in our time and space, on a couple of old four-tracks so a) it sounds more like the old records we dig and b) you can’t hear the mistakes so well.

10.  Finally, your 2013 single for State Records included ‘Never Been To California’ (my favourite track of the new BB-era). For someone whose songs have so often included Californian sunshine pop in their grooves, please tell me this isn’t true!

Andy: Sorry Mark, it is true. Neither Louis, Mike nor myself have been to the US of A so I thought I’d write a song about it and we’d try and make it sound like a Californian sunshine-pop band. Obviously we failed but that’s what Bronco Bullfrog has always been about really: creating something interesting and exciting by failing!



Sat 22nd October – Crossfire 29 @ 229 The Venue, London 

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Mark Raison

I've spent three-quarters of my life wandering the mod path with detours down its side streets and dark alleys. From an enthusiastic youth to a still-enthusiastic-but-harder-to-tell grizzled old goat, I've dabbled in all parts of the scene from writing fanzines 'Round Midnight and Something Has Hit Me; to promoting bands; attempting to manage bands; singing in the mighty garage combo The Electric Fayre; putting on indie, psych and soul clubs including Freak Scene, Orange Sunshine, and Shake!; writing liner notes for Reg King releases on Circle Records; and, in fitter times, tucking away the odd goal for the New Untouchables. I still DJ from my box of R&B humdingers but more often you’ll find me tapping away on my blog at I like the poetry of Charles Bukowski and dislike the taste of cheese.

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October 3, 2016 By : Category : Bands Front Page Interviews Music News Tags:, ,
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Masters The Embrooks

This entry is part 3 of 7 in the series Masters3

1. When did the Embrooks form originally and why reform now?

We met in the summer of 1995, when Mole’s group at the time, The Mystreated, played with the group Alessandro was playing then, Head & the Hares, at the Italian beat festival in Castel San Giovanni (Piacenza). In September of the same year, Alessandro moved to London to study and stayed in touch. Mole and Lois first created The Lyds (Lois on drums, Merv on guitar and Mole on bass and vocals), they released one single as Lyds then Merv left and Alessandro was invited to join. The group really began to exist at the end of 1996 and lasted until the summer of 2005 (our last show was in Liverpool as part of The International Pop Overthrow festival). The main reason for reforming is the fact that, after almost 10 years of retirement, Lois and Alessandro re-started actively playing music (with Thee Jezebels and Merry-Men, respectively), before that it would have been a struggle to even think of getting us together in a practice room. Other factors are the fact that concrete offers came along to play at Festivals in the UK and Europe and possibly (this might sound silly) the fact that Alessandro recently bought a 1964 Vox AC30 amp and did not know who to use it with (laugh).

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

The aggressive pop (Easybeats, The Who, The Small Faces, Move, The Yardbirds), the freakbeat/psych bands (Eyes, Creation, Game, Smoke, Open Mind, The Koobas, anything on the Rubble compilation series), the rock of the late 60s early 70s (Led Zeppelin, Black Sabbath), classic pop (the Beatles, Zombies, Left Banke), the US garage rock (Love, 13th Floor Elevators) but also lots of European and Australian beat. Many different things as you can see!

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

Because of recent involvement of Mole in the Medway Scene, we have to mention Galileo 7 and Graham Day and the Forefathers. We also like bands based where Alessandro currently resides (London) as the Magnetic Mind and See See/Hanging Stars among those with a more authentic 60s sound and Pacers for their 60s influenced but less nostalgic approach (Alex, the singer, has a brilliant voice!) and Little Barrie and Cat Black in the 70s rock/Stones/Flaming Groovies department. We are looking forward to share the stage with some of these over some of the future New Untouchables events.

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

There was a prolific scene in the 80s garage revival period mainly gravitating around the figures of Martin Ratcliffe, Tim Ray and Mole (Mystreated, Stewed). These bands subsequently gave birth or support to other combos that are still active today such as Higher State, Paul Messis and, of course, us.

5. How would you describe the style you play?

We started off by being a group inspired by USA “moody teen-punk” as of bands sounding like those included in the New England Teen Scene or Crude PA compilations. That period is reflected in our early 45s and our first LP, Separations. However, we have agreed not to include any of this material in our current live shows. Over the years we have gradually evolved into a more Euro-beat and British sound taking most of the inspiration from UK freakbeat and psych. Our latest LP Yellow Glass Perspections (YGP) could be described as “Mod Psych” and this is more or less the style that we are currently playing digging a lot from Our New Day, YGP and slightly earlier Toe-Rag sessions.

6. What are your live shows like?

Extremely loud! We also aim at keeping the energy high and especially to have fun on stage. There is nothing worse than seeing people not enjoying what they do.

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

We mentioned all our main influences above. Mole had roots also in the punk/post punk sound from the 70s and Alessandro is recently digging a lot the modern ‘psych’ bands from California (White Fence, Ty Seagall, Oh Sees) and Australia/USA (King Gizzard, Nightbeats, Heaters) although we still pretty much sound the same as we ever did. We are still performing most of the covers that we used to play in the early 2000s, personal favorites are ‘Dawn breaks through’ by the Barrier and ‘Francis’ by Gary Walker and the Rain as our versions have been often indicated to be superior(!?) to the originals. The latter is also our only song to be present in Spotify. We are not into ‘posers’ and people who are not genuinely passionate about what they do.

8. What are your main influences outside of music?

Alessandro digs cinema a lot, especially Italian movies from the most prolific era of the 60s and 70s (‘commedia all’Italiana’ and giallo/horror especially, which has implicit links to music via soundtracks Goblin and more recently Calibro 35).

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

Historically Mole and Alessandro wrote the original material separately or in collaboration and this is what still currently happens. Initial ideas from the writers are brought to the practice room and finalized as an Embrooks product altogether. Alessandro’s songs are typically autobiographical and related to heart-breaking love stories and daily life. Mole writing is a little more eclectic ranging from autobiographical experiences to more fictional/poetic material such as ‘Emilia Burrows’.

10. What’s your favorite Embrooks song? What’s your favourite song by another artist?

Emilia Burrows, Standing Upside Down and Helen are possibly our top three songs. Helen never came out as a 45, which is probably our biggest regret. One of the aims of us reforming is to try to go back in the studio to rectify this. The list of favorite songs by other artists would be rather long….we all probably agree that ‘You’re gonna miss me’ by 13th Elevators is one of the top tune ever written!

11. What has been the biggest challenge to date?

The USA tours in the 2000s were fun but also a bit of a challenge. The worst show we ever did was definitely one given in November 2000 in Iowa City. No one had come to the concert, the hall was empty and there were only us and our first parts! This city was a University town full of students and stupid farmers who have absolutely no interest in rock! The next day we had to reach New York after an almost 24 hour drive during which we were also stopped by the police for speeding on the highway and risked to be taken to the police station had not we paid the speeding fee on the spot!

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

Currently we are trying to practice twice a month, or at least monthly. After our first reunion show on Dec 31st 2015 as part of Hipsville NYE extravaganza, we have been committed to a number of festivals in the UK and Europe in 2016. We are planning to re-record Helen for a brand new 45 backed by a new original this summer. We are looking forward to do as much as possible in the near future. There are already offers to do more shows in 2017.

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

We tend to avoid mainstream publications, some have become even worse than they ever were (e.g. the new free version of NME, ouch!). There are a number of old and new mags targeted to a more niche audience whose coverage is excellent and some available in the main shops. Flashback is probably the most interesting one, not proposing features of acts already largely covered in the past. We also rate Ugly Things and Shinding! Mole was a contributor for the latter.

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

We look with interest to the ‘new psychedelic’ scene which includes a lot of different styles some of them which we would not personally classify as ‘psych’. There are definitely interesting bands playing at those festivals. Besides those mentioned above, other often neglected bands from the UK are Clinic and Archie Bronson Outfit for example. Their approach is modern but 60s influences are undeniable and they seem genuinely into what they are doing.

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

Most of our recordings were done at Toe-Rag studios in Hackney engineered and produced by Liam Watson, famous for his work with numerous 60s sounding recording over the past 20 years as well as the Grammy awarded work with Jack White on the album Elephant in 2004 as Best Alternative Music Album (White Stripes). More recently Mole has started his own recording studio (originally in a basement in Sandgate more recently in Hastings and now in his own living room) producing excellent material mostly featured in his own successful ‘State Records’ label. This will be also the home of next Embrooks recording session.

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’d like to promote the new 45 and get as much exposure as possible. We still have some of our historical fans following us around but most of the ‘new generations’ have not heard or seen us live so the challenge is to try to impress them as well as retaining the old ones. As mentioned we are have interesting offers to play other festivals and mod-rallies across Europe and we hope to build on those and possibly attract attention even outside the usual niche of 60s aficionados.

Band Members:

Mole (Bass and vocals)
Lois Tozer (drums)
Alessandro Cozzi-Lepri (guitar and vocals)




Separations… (Dig the Fuzz; Dyonisus) 1999
Our New Day (Voxx) 2000
Yellow Glass Perspections (Munster) 2004

Singles and EP

The Embrooks EP (Sympathy for the Records) 1998
But I Didn’t Know Him/Fight Fire (Dig the Fuzz) 1998
More Than Ever/You Can Be My Baby (Guerssen) 1999
If You Let Me Go EP (Max Picou) 2000
Jack/Dawn Breaks Through (Circle) 2000
Back in My Mind/The Time Was Wrong (Butterfly) 2002


45 & High Times (Munster CD) 2005

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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 : Bands Front Page Interviews Music News Tags:, , , , ,
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Masters – The Stairs

This entry is part 4 of 7 in the series Masters3

The Stairs were truly one of the great lost bands of the early Nineties, championed by Elvis Costello, Paul Weller and many other luminaries, they influenced (along with the La’s), a whole new generation of musicians including The Coral & The Zutons).

We are delighted to have The Stairs headline at Le Beat Bespoke, London, on Thursday 24 March. See full details HERE!

Mark Raison caught up with drummer Paul Maguire  & vocalist and bassist Edgar “Summertyme” Jones.

01. The Stairs first came to most people’s notice after you signed to Go! Discs and released “Weed Bus” in 1991. Can you tell us a bit about the formation of the band and your history up to that point?

Edgar: We were just psychedelically attached friends having a laugh really in bedrooms and bedsits with acoustic guitars banging ashtrays etc . Eventually we were borrowing the only spare time in my bro’s pracky room with a friend Pete Baker (the sleeping mexican on LP sleeve) on bass and me on guitar. Pete didn’t really take to the bass so things were slow. We gradually gained some momentum when I joined in Ian McCulloch’s group on bass (mid 89) and took over the bass duties in the group. Also now we were able to afford are own room and gear.

It wasn’t till we played and handful of our songs at a ridiculously rammed new years eve party (1990) at Mike Mooneys house that we realised that we were capable of pleasing anyone other than ourselves. We got a fortnightly residency at the Cosmos club playing covers & originals. Marc Riley was often in attendance & Alan Duffy from imaginary records came to check us and plans were formulated to record our 1st Ep (later sold on to Go Discs) with them.

Paul: Me and Edgar met on a youth music scheme around 89, we had a similar music interest of 60s garage punk. Ed had a few tunes he had written including weed bus, which we jammed and me and him started there. Ed knew Ged who was on the same music scheme so we roped him in . We skinned up and we got it together. We had our own night every Friday in the cosmos club where we played a set of covers, then we’d dj then we would play our numbers.

02. The first couple of EP sleeves and the shows around that time featured a fourth member, Jason. What was his role and what happened to him?

Edgar: Jason was a friend whose role was originally in his words as personal manager but eventually we managed to Coax him on-stage to play percussion, gob iron & keys as required. I don’t think he really took to the role as he would come & go frequently from the group. The comparisons to Bez & Eric Idle didn’t really help I suppose.

Paul: Jason was meant to be our manager in the beginning, but he wasn’t any good at that stuff. So we gave him a harmonica and maracas which he played. Haven’t seen him for years.

03. Go! Discs seemed to understand where the Stairs were at: recording in mono, strong 60s artwork etc. How was your relationship with them and why did it come to an end? What was their expectation of the band you signed?

Edgar: Thanks to being well-managed at the time by Pam Young we went to them with a strong vision of how we wanted things to look and I think they had fun what with it being a little different from their norm at the time. Our A+R man initially was Carl Smith (chas smash) from Madness. We were his first signing and he was very accommodating and enthusiastic. Unfortunately Madness reformed shortly a few months after our LP came out. With no key man clause in contract that was were our troubles began.

Paul: With go discs we were signed by Carl smith (chas smash from madness) who really loved our band. He got us the deal, liked all the artwork and the mono deal. He understood our band and was good dealing with us.
Then he decided to leave go discs. When Carl left there was no one there who understood the band. They thought we were a bit of a joke and didn’t know what to do with us. We left them pretty soon after.

The Stairs

04. Mexican R’n’B is, quite rightly, regarded is a classic LP. How did you feel about it when it came out and how do you view it now?

Edgar: Why thank you sir! How I felt at the time is a complex affair I’d need Sigmund Freud and couch and a few hours to get to the bottom of that. I’m definitely happier now as it seems to have stood the test of time. We definitely created a little slice of the 60’s in the early 90’s there.

Paul: I loved that album then and I still love it now. I’m very proud to have been involved and made Mexican. We were still all learning our instruments and grooves and singing when we recorded it. I thought at the time and I still think it now that Edgar is a genius. His songs and playing were so fucking cool. We were recording this at a time most of the world was getting into acid house. We wanted to give the general public something else to listen to. Get them on the Weed bus so to speak.

05. People often refer to your marijuana singles – ‘Weed Bus’, ‘Mary Joanna’ – but I’ve always noticed the preoccupation with rain on Mexican R’n’B, at least three songs mention it. Any correlation?

Edgar: I was probably because I was spending too much time in Manchester as their retrogressive shopping experience has always been far superior to ours despite the constant rain!

Paul: Well you’d have to ask Edgar that. Personally I like rain, except when it gets me spliff wet at the bus stop.

06. After being released from Go! Discs you were still gigging, recording and exploring different styles. How were the band developing at that time and why didn’t a second album materialise?

Edgar: Looking back I think we were too eager to move on from the Mexican R’n’B sound (we should have made another 3 of those really) and with having no one at Go to recognise this (not that we’d have listened) and with the copious amounts of weed being smoked I think we just wanted our music to be more mad really both structurally and sonically. The fact that I was just starting wholeheartedly to discover Soul music too just confused matters. We we’re constantly demoing but Go weren’t prepared to let us start a new LP as such. This went on for about 2 yrs and then we left the Label.

Paul: We started to sound a bit heavier, and we got better at playing. We loved touring always a good laugh. But it was hard to get any backing , we weren’t being taken seriously by any record company or music papers. We spent all our money recording the second album, so at the end no one wanted to release it.

The Stairs

07. Viper Records eventually released Who Is This Is. What are your thoughts on that? Is that how you’d envisaged the second album?

Edgar: After leaving Go we thought it a good idea to record the LP ourselves. A long-winded complicated affair with members coming & going. By the time it was done we’d about run out of speed hence it not seeing the light of day till Viper’s release.

Paul: I’m glad we did it, for me it has some great moments. But looking back it also sounds confused,which I suppose we were also at the time.

08. How did you feel about the reaction from your reunion gig in Liverpool? Had you kept in touch? Is it something you’d thought about over the years?

Edgar: Absolutely smashing! We’d all kept in touch but our paths only ever brought us together sporadically but usually only 2 of us in same room at same time. The first rehearsal was great when we kicked into Mary Jo it was more like we’d had 2 weeks off rather than 20+yrs. It was great to see the 2 tiers in our fan base that night. Those who were older and were coming back to see us again and the younguns who were there to witness the legend that got created by word of mouth in the past 20 yrs. The crowd reaction was fantastic I don’t think either tier felt let down.

Paul: The reunion gig was magik, the reaction was just overwhelming for all of us I think. Incredible, old fans , new fans. They knew all the words ha ha. I’ve always bumped into Ed round town when I’m there as I live in Reykjavik. I hadn’t seen Ged for years. We all moved in slightly different circles. I’d been hoping we could do at least one gig for a few years. And when Mike from the Wicked Whispers called me up, it felt exactly right. With the amount of toss that goes by the name of music nowadays, I think you need the stairs in your life.

The Stairs

09. What are the plans for the band now? Will you be recording new material? Any old material we’ve not heard before be resurrected from your archives or will you write from scratch?

Paul: We’re not sure just yet. Anything can happen in the next half hour.

10. There’s a new Stairs collection The Great Lemonade Machine In The Sky out now. Tell us about what’s on that.

Edgar: I’d recently found a suitcase full of cassettes in the loft at my mum’s that I thought had been thrown out when I’d left home way back. The previous Viper comp had come from the collections of friends and colleagues with my own thought lost at the time. So the idea was to create a second volume of ‘right in the back’ . I spent a fair bit of time trawling through them (lots were mix tapes etc.) and mixing down the 4 tracks where available and it was a real nice touch that it all came together in time the reforming of the group.

Paul: I left my copy in Liverpool so I haven’t listed to it yet. But I think it’s old demo tapes and some live tracks.

11. ‘Shit Town’ is a pretty mad single taken from it and might come as a bit of surprise to people who only know Mexican R’n’B. What was the story behind it and is it about anywhere in particular?

Edgar: It’s primarily about Liverpool if I’m right (Ged?). It was definitely one of the finest finds of the suitcase trawling. It was recorded during 2nd LP sessions. What you’re listening to is a remastered monitor mix. It was mixed with the others as Ged had left the group by that point.

Paul: You’d have to ask Ged, It’s obviously about Liverpool. The city was a lot different from it is now. On the other hand…

12. Which are your favourite three Stairs songs and why?


Weed Bus will always be big in my heart as it was my first song written in the Stairs style as such. Although it’s not our song I’ve always been proud of our arrangement of’ You Don’t Love Me. I guess to pick a third from the rest it’d be Right in the Back of Your Mind as its pretty kick ass and stress free to play out live (well for me anyhow?)


1. Woman gone said goodbye. It’s just the best of us. Growly, beaty,
big and bouncy.

2. Mundane Monday. I think it’s such cool little groove, and we sing about rain.

3. Skin up. I love playing this live, but it’s a bit tricky to skin up and play the drums at the same time. I used to do it back in the days.


Photos: Mark McNulty


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Mark Raison

I've spent three-quarters of my life wandering the mod path with detours down its side streets and dark alleys. From an enthusiastic youth to a still-enthusiastic-but-harder-to-tell grizzled old goat, I've dabbled in all parts of the scene from writing fanzines 'Round Midnight and Something Has Hit Me; to promoting bands; attempting to manage bands; singing in the mighty garage combo The Electric Fayre; putting on indie, psych and soul clubs including Freak Scene, Orange Sunshine, and Shake!; writing liner notes for Reg King releases on Circle Records; and, in fitter times, tucking away the odd goal for the New Untouchables. I still DJ from my box of R&B humdingers but more often you’ll find me tapping away on my blog at I like the poetry of Charles Bukowski and dislike the taste of cheese.

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March 2, 2016 By : Category : Bands Events Front Page Interviews Music News Tags:, , , ,
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Masters – Powder

This entry is part 5 of 7 in the series Masters3

July 23 2015, sees a little piece of music history taking place as West-Coast Beat legends Powder will play Blues Kitchen in Camden, London. It will be the first time in Rich Martin’s career that he has ever played in Britain and it is sure to be a wonderful landmark occasion.

Originating from San Mateo, south of San Francisco, Rich and his brother Michael were massively influenced by the British Invasion. In 1965 they were known as The Newcastle Five. Then in ’66, they teamed up with New Zealander Ray Columbus and became The Art Collection. A chance meeting with Neil Young led to an audition with Buffalo Springfield’s management. Although the audition was not successful, Sonny Bono was looking for a band to tour with him and Cher. And so, Powder came to be and they toured with Sonny and Cher as their opening act and road band. By 1969, the band evolved into a duo. This time Rich and Tom became Thomas and Richard Frost. Tom retired from music in 1974 while Rich continued to record.

In 1993, Art Collection, Powder and Thomas and Richard Frost material was curated for a retrospective album. Powder reformed and played their first show in San Francisco. Since then, they have continued to perform on occasion and with the addition of Paul Kopf they released a new album earlier in 2015 titled ‘Cellophane Lane’.

Nutsmag caught up with Richard Martin ahead of Powder’s debut not just in London, but also at Euro YeYe in Gijon, Spain in early August.

NUTs: Thanks for taking the time to chat with us Richard. It might seem an obvious question, but how much are you looking forward to coming to London and Spain?

Thank you for having me. Well I must say that I’m very much looking forward to it. Ecstatic is a better word. To have the opportunity to play to a European audience is certainly a dream come true for me personally. It’s the culmination of a lot of years.

NUTs: What sort of set can we expect to hear?

Primarily we’ll be playing our original 1968 songs from the “Ka-Pow” CD. You can certainly expect “Gladly” and “Turn Another Page.” We also plan to then showcase a couple of our new songs that we’re very excited about and hope that everyone enjoys hearing too!

NUTs: How has the new album been received?

Of the 1967–1968 recordings the only media that exists are studio acetates. Ace’s marvellous technical staff, using state of the art technology, was able to remove the distortion inherent in the old media. The response has been excellent. Much appreciated. Bang up job on the booklet artwork and liner notes thanks to Alec Palao and photos by the late Frank Zinn.

NUTs: How does the 2015 Powder sound differ from the 1966 version?

We play the same way we did back then really. We’re old school minimalists. Pretty much plug-in and play. I play my guitar parts as I did then. It’s the same with the drums and bass. We owe it to our audience to be as original sounding
as possible.

NUTs: I read in a recent interview, you mentioned when you teamed up with Ray Columbus, “We hit it off right away. We were mods, one and all.” How and when did you first become aware of this subculture called ‘mod’ and how did you assimilate it into your life?

As far as music is concerned I’ve journeyed through a lot of different musical genres over the decades but the Mod influence has always been there in one way or another. Thomas and Richard Frost wrote and played some country numbers but we wore crushed velvet trousers and looked more like members of Marmalade. I think over the years I’ve gained a keener awareness of art and fashion overall. I’m happy to see so many young people picking up the flag.

NUTs: Were you aware of many other fellow Americans who had discovered Mod at that time?

Absolutely. As a matter of fact, I lost my High School girlfriend to a Mod musician in Los Angeles. He’s a Dandy to this day.

NUTs: The Who were a massive influence on you. What was it about them that appealed to you?

For me just about everything encapsulated into an outfit. I identified with Pete taking his youthful anger and frustration out on his guitar and pulled in by his cool chord changes, melodies and lyrics. I was a troubled teen myself and expelled from high school three out of the four years for refusing to cut my hair. I grew disdainful of authority and The Who represented a voice for me. The band was a refuge away from society. The Mod culture provided a place of belonging and gave me an identity that was different from everybody else. I was also rebellious against the hippy San Francisco music scene. I looked at them as conformists too. Pete had a big influence on me at the time and still does relative to guitar playing style. I’m no Pete Townshend though. There’s only one of him. I was also a big Roy Wood/Move fan. The beat goes on.

NUTs: What was it like working with Sonny and Cher?

It was a wonderful experience and one I will always cherish. I couldn’t have asked for better people to work with. I learned a lot from them about being a professional and not to mention I had a secret crush on Cher. After a show we did in New York, when the audience left the building, Cher said, “Let’s go down to the stage and see what we can find.” She was referring to items that fans would throw on stage during the show. Cher found a diamond ring and was later contacted and returned it. It apparently was a family heirloom. No underwear was found though. They were just nice people. RIP Sonny.

NUTs: How did you feel about Alan Palao’s reissue of your work in 1993?

Wonderful. It was the first time the material was released to the public. The Gold Star recordings were pretty much lost until Alec discovered them.

NUTs: Has brother Tom ever been tempted to come out of retirement?

No he’s content in his retirement. He picks up the guitar now and then for enjoyment but isn’t interested in performing. He still loves his Everly Brothers and Beatles and can still hit those high notes.

NUTs: What plans do Powder have for the future? More new recordings?

Yes indeed. We’re recording a new album titled “Cellophane Lane.” We’ve been working on this project for what seems like forever but we want to make sure it’s right. I expect it to be out end of year.

Richard Martin, again, many thanks for talking to Nutsmag and best wishes for the shows in London and Spain. We’re all looking forward to seeing you at the end of July.

Thank you and see you soon. MORE INFO 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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July 8, 2015 By : Category : Bands Front Page Interviews Music News Tags:, , ,

Masters -The James Hunter Six

This entry is part 6 of 7 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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Masters – Magnus Carlson

This entry is part 7 of 7 in the series Masters3

We recently caught up with Magnus Carlson, for a chat for NUTSMAG for a preview of his special live show on 21st October 2017 at CROSSFIRE,London.

1. Are you looking forward to our Crossfire night at 229 the Venue in October and what can we expect from a Magnus Carlson show?

Seriously. I can’t wait! I’ve been wanting to go to a New Untouchables event for ages. But I tour so much, the dates have never matched my schedule before. I love and collect your compilations and 7″ singles. I have with me a great seven-piece band. Horns, Hammond organ, congas. the works! Every musician is hand-picked by me for their individual skills and love for 60s style jazz, soul and rhythm-n-blues. Every band member release albums on their own. I’m so proud of them. It’s like I’m the manager for Sweden’s National soul team. Very groovy and danceable. You will love it. I promise!

2. All of us here at New Untouchables extend our congratulations to you on the tremendous success of ‘Long Way Home’. Did you think it would be such a hit when recording had finished?

I’ve been in the music biz full-time since 1997. I’ve always followed my heart and done what I felt like. As a result, I have had a lot of number ones in Sweden but also a few flops. You never ever know what will be successful or not. But I can look back at a career (16 albums in 20 years) and be proud. Most of the stuff I do has a kind of timelessness to it. At least in my mind. I almost only listen to 60s music but I try not to be too retro even if that’s the style of music I make. It’s made today about the world today I think this is the first ever mod number one in Sweden. At least since 1967. When was a mod album number one in the UK last? The Jam?

3. For those who are new to your music, how would you describe your ‘sound’?

If you refer back to question number 1, I think that about covers it!

4. You are a massive star in Sweden and you are following in the footsteps of The Cardigans, Jasmine Kara and a certain 70s pop band to name a few; who have been popular here. How important is it for you to have a higher profile in the UK?

I’ve been doing this for so long now so I know the ups and downs. I’m perfectly happy just with my popularity in Sweden. It all can wish for. But certainly, I’m eager to try the UK. There are more mods there and I’m part of the mod scene. It’s only natural to wonder what could happen. I’m so happy you want me over! I feel grateful and excited!

5. Of course, some of our readers will know you from your time with Weeping Willows. Do you have any plans to record with them?

Oh! We have never split up. It’s my mother ship. That band will exist forever. But sometimes I go out on solo missions outside the ship. Jazz, soul, electronic excursions. Stuff I can’t do within that group. We’re more of a ballad group. The Walker Brothers type of stuff. But we are bigger than ever. We do a lot of gigs with symphony orchestras in sports arenas and Concert halls. This year we go out on a Christmas tour. 17 gigs in December. Next year we will record and release a New album. All our albums are number ones in Sweden.

6. The new album is inspired by Northern Soul. When did you first become interested in that style of music?

I was born in 1968. I grew up with punk and then New wave. I started to listen to everything my idols recommended. Naturally, that meant all kinds of 60s music. All things mod. So, through The Style Council and Dexy’s Midnight Runners, I got to know about rare soul. Then we had a lot of Northern soul clubs in Stockholm in the 90s which I went to because I love to dance. I got to know all the people. The soul scene is my home. And I have always loved and collected 7″ singles. My favourite format since I was a Punk kid.

7. Sweden has had a healthy 60’/Northern Soul/mod scene for a number of years with organisations like Uppers and people like Frederik Ekander. Were you aware of that scene at all?

Oh Yeah! There are a lot of soul clubs and DJs/collectors over here. Club Soul in Stockholm has been going every Saturday for almost 30 years now! Could it be a World record?! They still only play soul on vinyl. I sometimes DJ there. And then there’s the monthly club Soulastatic in Gothenburg that Punky has been doing for about 20 years now. Very strong soul scene. With lots of great DJs!

8. You have recorded the new album in English and spent time at Black Barn Studios with Andy Lewis. What was that experience like?

I knew Andy before. He had heard my Swedish version of Beggin’ from 2003. We have DJ’d together and even wrote songs together before. So, when I finally had the time to make a soul album I knew I had to do it with him. Andy said we should record at the Black Barn. So, we did. It was perfect and a great 4-day session with a great band Andy put together. And a bit of a romantic childhood dream.

9. Who are your musical influences?

Too many to mention. When I was a Teenager the people who made me want to sing was (chronologic) Elvis, The Smiths, Weller, Scott Walker. Through them, I got into the rarer stuff. Now I mostly listen to 60s soul and 50s jazz. I’m going backwards. Next stop for me is probably Blues and old gospel.

10. Are there any current bands or artists that you like?

Goran Kajfeš Subtropic Arkestra is amazing! He’s the trumpet player in my band. He’s a genius. He has a new album out just this week.

11. What is your favourite song by another artist that you could not live without?

I have a big record collection and I sincerely can’t part with any of them. You know how it is. It never ends. I find new old favourite every week! That’s the thrill!

Thank you, Magnus, for taking time out of your busy schedule to talk to With NutsMag. We can’t wait to see you on 21st October 2017 at CROSSFIRE,London.

Band Members:
Magnus Carlson singer
Goran Kajfeš trumpet
Jonas Kullhammar saxophone
Anders Kappelin bass
Anders Lewén guitar
Patrik Kolar organ
Johan Carlsson congas
Christer Björklund drums


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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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September 19, 2017 By : Category : Articles Bands Europe Front Page Interviews Music News Picks Scene Tags:, , ,
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