Owner, producer, baby momma for the Wild Records bands. Based in Hollywood, CA.
1. At what age did you first discover Rock’n’Roll music?
In my mother’s womb, or around 12 years of age.
2. What artists and styles of music were you listening too as a teenager?
Glam rock; T-Rex, Bowie, Roxy music… then first wave punk; Buzzcocks, Pistols, Clash, Penetration. Along with Elvis, Roy Orbison, The Animals, Mavelettes, and all of Motown/Sun records.
3. You were a well known DJ and socialite on the London Rock’n’Roll scene many years ago. What were your reasons for moving to the UK from Dublin, was it’s totally music related?
I moved to the UK to work at Rough Trade Records who at the time were releasing fantastic punk and new wave. I worked there for about five years.
4. What were your favorite hangouts and clubs during your time in the Capitol?
The Hope & Anchor, The Lycum, the Marquee Club, Acklam Hall, The 100 Club allnighters, Station Tavern & Dingwalls.
5. There were some truly fantastic young bands around in the 80’s and 90’s in Great Britain who were the cream of the crop in your opinion and do you think that music has progressed since then?
Chords, the Clique, the Aardvarks, The Blue Rhythm Boys, Carlos & the Bandidos, The Jumping Jacks, Big Town Playboys, Electrocuting Elvis and too many more to mention. I think music has definitely progressed since then.
6. You moved to the USA, was it always your intention to start a record label and why?
It wasn’t my intention to start a record label. I started the record label because I found artists that I felt were unique and were unlikely to find a record label.
7. When did you first start Wild Records and who was your first artist on the label?
I first started Wild Records in 2001 and the first band was Lil Luis y los Wildteens followed by Omar & the Stringpoppers.
8. How do you compare the acts of today on Wild to say the bands from Europe during the 90s?
The main difference is originality. A big difference, what I mean by this is by most bands in the 90’s were not writing original material. Currently, almost all the acts on the label write their own material.
9. There seems to be a huge following of the Wild bands worldwide why do you think this is?
See previous question and also the Wild bands I believe offer a fresh approach to the rock’n’roll music they play. All our bands look to the future, not the past. The Wild bands don’t feel they need to fit into a box, that is, rockabilly, punk, garage, just be a wild band–unique, honest, passionate and a little messed up. Our audience, I believe, have the same passion as our band members about music.
10. Who is the most booked act from Wild Records since Its birth?
In this order; Omar Romero, Gizzelle, Luis & the Wildfires, Dustyn Chance & the Allnighters, The Rhythm Shakers, Hi-Strung Ramblers but Omar Romero would be the #1 act booked since the beginning, someone has to be.
11. What does the future hold for California’s Wild Records and do you think that the Rock’n’Roll scene Worldwide is still a healthy one?
We have the movie coming out this year which is a feature length documentary that spent nine months filming in 2012 about myself, five featured characters from the label while also filming all the wild bands and a lot of major shows. Our recording sessions are booked through 2014. Our release schedule is also full through 2014. We will continue to hold quarterly auditions for new acts and I remain astonished at the huge amount of people that have been attending these auditions. So things are looking good.
12. Who is ‘the’ most influential person in your life?
My son, Hayden Kennedy, who inspires me to love and have passion for life who inspires me to appreciate my wife, Jenny and my Wild family.
13. And finally Reb, you are stranded on a desert island with just a record player and three of your most prized nuggets on 45rpm. What would they be?
Warren Smith, any of his Sun 45s (I have them all), Barbara Lynn–Lonely Heartache, The Undertones–Teenage Kicks; I could give you 3,000 prized 45s but that would get boring.
Cosmic Keith - Long time collector and owner of the small independent record label ‘Boparama’ since 1992 and the ‘head honcho’ in London's Metro & Boston Arms Rockabilly clubs .
Along with the Clique, the Aardvarks transformed the Mod and Sixties live music scene in London during the late eighties and nineties. Up front in this cool quartet the suave Pietronave brothers Mark (guitar) and Gary (lead singer/semi acoustic) were accompanied by a tight rhythm section, including Jason Hobart, and later Kev White, on bass with Ian O’Sullivan on drums. We caught up with Ian ahead of their much anticipated live performance at Le Beat Bespoke 9 in London this Easter.
DR: When and how did the Aardvarks get together?
IOS: (Ian O’Sullivan) Gary and Mark started the band at their school back in ’83. They were knocking out standard Kinks, Beatles, Stones and The Who covers. They were initially a 5-piece with an occasional keyboard player. One of the guys I worked with was at school with the Pietronaves, and knowing that I was well into my 60s stuff, suggested I hooked up with them. I’m a little bit older and was at college so it did seem a bit weird sitting in this little office at their school where they rehearsed.
DR: What bands influenced the Aardvarks in your early days?
IOS: Apart from the obvious ones, we were into early Deep Purple, Vanilla Fudge, Cream – heavy stuff. I liked US garage and UK freakbeat so started making tapes for Gary and Mark, which I think got them into that side of things a bit more. Bands like The Chocolate Watchband, The Litter, Creation, Birds are all part of the canon now of course but back then you were definitely showing off by citing bands like that. The Prisoners were a seminal influence of course, and their appearance on The Tube in 1984 was one of those seismic moments for a lot of youngsters putting bands together.
DR: Where were the bands early performances held and what memories do you have of those gigs?
IOS: The first gig I did was at Gary and Mark’s school social. Playing to all these mums and dads I remember the DJ introducing us as ‘The Hard Fucks’ and just playing to a swathe of empty floor while the parents just nattered away at their tables. We did a posh girls’ school one Christmas and went down a storm there. After that, we did a couple of gigs at the Swan in Kingston, a tiny pub by the river with a function room out the back. There were some Hell’s Angels in there one night who thought we were all hilarious in our paisley shirts and what-not. They came into the back room and starting spitting beer over people. After that we became regulars at the Clarendon in Hammersmith until it closed down. Downstairs at The White Horse in Hampstead was another brilliant venue. That was the early days of the Zombie Club. Captain Sensible used to come and see us back then; he was a bit of a fan.
DR: Your debut EP was recorded with Billy Childish how did that come about and are there any other unreleased tracks from that session?
IOS: I can’t remember if it was his or our idea to make it an EP but that’s how it turned out. I don’t think we’d given much thought to the logistics of how and where we would record it so one night in November ’89 we’d supported Thee Headcoats at the Falcon in Camden and I drunkenly asked Billy Childish whether he’d produce. He agreed and a few weeks later we’re trundling down the A2 to Rochester on a freezing night to meet him in a pub.
Billy was still drinking back then so the night turned into a boozy affair. We went from the pub back to his old house. I remember Gary trying to convince Billy about the merits of The Marmalade and then going off to puke. We eventually crashed out in a cold, empty room. I’d had the foresight to bring a sleeping bag I remember the others just lying on the floorboards in their clothes, and the wind rattling on the old sash windows.
Three hours later Billy’s shouting up the stairs: “Get up you shower of shit! You fucking psychedelic wankers.” We come out and he’s going: “What were doing in there? I didn’t mean that fucking room I meant the OTHER room!” Sure enough, in the adjacent room were blankets and pillows.
There aren’t any unreleased tracks I’m sorry to say. It was a miracle that we recorded the four tracks that are on it.
DR: How did the James Whale television performance come about and what did you think of your performance?
IOS: Jason got it in mind to write to the James Whale show. I don’t remember him telling us. I just remember him calling me to say that he’d written in and that we were going to be on it. I always thought it was live. It was a pretty ramshackle show and was scheduled perfectly for the post-pub crowd. I couldn’t believe it when it turned out to be pre-recorded on a Monday afternoon in a little studio off Carnaby Street. They recorded two shows back-to-back and ours was the second programme.
The first programme was all about the music industry so they had all these industry big-wigs and Radio DJs in the studio discussing the state of the business. I can’t remember which band played on that show, or even if there was one, but I do remember thinking that it would have been good if we’d got on that show in front of all those people. As it turned out, we were on the second show and the theme of that was testicular cancer.
We were setting up and Mike Mansfield came down and said hello which was exciting. I used to love watching Supersonic on Saturday mornings when I was a kid so it was great seeing him with his mane of swept back white hair. Arthur C was a bit shaky but Fly My Plane was great I thought. All our mums and dads had their videos on.
DR: As a massive fan of the band I remember many great live performances what shows stick out in your mind and why?
IOS: Sometimes you just know that everything’s going good and you’re doing a great set. I fondly remember The Purple Weekend back in 1999 being particularly good. Saarbrucken was brilliant too. No mean feat given we were the last band on in a four day festival and hadn’t slept for days. The live tracks on the live LP which I mentioned earlier bear that out.
We did some great gigs in the early days at the Clarendon. I recently heard a tape of us from 1987 from there and it’s real hi-octane stuff. There were no flies on us that night.
DR: I also remember shall we say some more casual performances during the bands lifetime, what was the most disastrous and humorous?
IOS: Yes, we could be a bit, err, “loose” in that way sometimes. I think complacency used to rear its ugly head from time to time. We played a real stinker one night at the St John’s Tavern in Archway and it got reviewed in a fanzine which quite rightly didn’t pull any punches. The points made were totally valid and I think it gave us a bit of a kick up the backside.
I don’t think we’d ever have gone abroad just to turn out a crap performance. I’ve fallen off my stool a few times (most memorably at Dingwalls supporting The Creation), Gary’s puked up once or twice and I remember a bass amp falling on Jason midway through a number. Playing at a strip club in Hamburg, which had been an old boxing gym—in fact, the stage still had the ropes around it—and trying to talk an enthusiastic fan out of getting The Aardvarks tattooed on his arm.
DR: How did the Cherry Red best of the Aardvarks album come about and when will it be released?
IOS: John Reed at Cherry Red is an old friend and he was keen to get the idea off the ground again about a year ago. Richard Allen from Delerium and Dizzy at Detour Records have helped out a lot too. It’s been fun doing it and we’ve called upon some old pals to help us out. Dan Abbot is an amazing graphic artist and primarily works with Storm Thorgussen who is of course famous for designing the covers for Pink Floyd albums. Dan used to design the most incredible gig flyers – absolutely psychedelic and very witty. Dan did the titling on the original Arthur C Clarke EP back in 1990 so it was great to have him back on board.
Andy Morten in another old mucka whose band The Nerve used to play with us a lot. Andy’s even sat in for me on the drums on a few occasions. These days he does a lot of the artwork for Cherry Red releases as well as producing the marvellous Shindig! magazine. My good friend Lenny Helsing has done the liner notes, which is a real thrill for me as an old Green Telescope/Thanes fan. It also features lots of great photos taken by Darren Russell too.
DR: Are there anymore unreleased recordings not included on the best of and will they ever see the light of day?
IOS: The well has pretty much run dry I’m afraid! Given how long we were knocking around for we didn’t actually record that much. There were a few things which we would have included but were limited by the physical capacity of CDs.
The two live cuts from the Saarbrucken weekender in 1994 (Stephanie Knows Who, and When the Morning Comes) didn’t make the final compilation sadly. Pity, as they give some idea of the band live. There’s also a demo of Mr Inertia but I’m sure Mark’s not losing any sleep about that not being included. The session which produced Drive Me Wild also resulted in covers of The Chocolate Watchband’s “Are You Gonna Be There (at the Love-In)” and the Kinks’s “I’m Not Like Everybody Else – both are pretty decent. I doubt they’ll be released now but I think you can catch them on YouTube!
DR: When was the last Aardvarks show and why did the band decide to finish?
IOS: Funnily enough, our last show was actually at the first Beat Bespoke back in 2004. I think we’d had one or two “last shows” before that but LBB1 was definitely the last one. I guess we just decided that after such a long time and not having written any new stuff for quite some time, that there wasn’t much point in going on with it.
DR: Your gig at Le Beat Bespoke 9 this Easter is eagerly anticipated how are rehearsals going and what do you have in store for the fans?
IOS: I think we’re clearing the pipes and shaking off the rust pretty well so far. Just knocking things into shape really and trying to ensure the harmonies are at least passable! We’ve called upon another old pal, Parsley, to enhance the sound a bit with keyboards. Hopefully we’ll catch up with a few old faces and hopefully turn on some of the younger crowd too. Can’t wait!
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.
Watching Omar on stage is like watching a tornado unleash. The StringPoppers live show never disappoints, setting records for encores at all of the major Rockabilly festivals. Omar’s talents extend beyond the stage as he is the Head Sound Engineer and session musician for Wild. Don’t miss a rare chance to see one of thee WILDEST Rock n Roll acts of the 21st century here in London this Easter at LBB9.
DR: Omar, When did you first come to Europe to play?
O: I believe it was 2003, we did a series of gigs starting in Germany then England, Switzerland, Holland and Spain.
DR: How much do you think you have changed as a musician since then?
O: It has changed me a lot. It has showed me that there is a massive world out there that loves music. Different kinds of it too, which keeps it very interesting for us all.
DR: What are your biggest influences and inspirations in the style of music you play?
O: Well, Hayden Thompson and Jimmy Wages are my favourites on Sun Records, but I also really look up to Bob Luman along with Marty Robbins and the very talented Jerry Reed.
DR: We know you’re a huge Sun Records fan, who are your favourite artists on the label and why?
O: Like I said, Hayden Thompson because of his very cool, suave flamboyant style, Jimmy Wages ’cause he’s a nut-case, and Charlie Rich, ‘cause he has the voice of an angel.
DR: Who did you listen to as a kid and has your musical taste changed much over the years?
O: A lot of different artists. My dad was a fan of surf and the Beatles so heard a lot of that. I myself am not a fan of the Beatles, but I am a fan of my dad having a good time, so I listened to the records with him. It was around the age of 14 that I heard proper Rockabilly from my lifelong friend Victor Arreguin. My musical taste is so varied that some people think that I’m not a “true Rockabilly”.
DR: At what age did you first pick up and guitar and learn to play?
O: When I was eight. My dad showed me a few chords and I’m still trying to perfect them.
DR: You were the first artist on Wild Records, what impact has it had on your musical career?
O: Actually Luis Arriaga was the first, I just jumped on board. It has made me fulfil my little dreams of working with music in many, many levels.
DR: Do you prefer to play live or record bands at the ‘Wild’ studio?
O: It all depends on my mood, but I actually love doing both.
DR: Which artists are you most fond of today?
O: Funny enough, my friend/label mate Alex Vargas and also Rusty Pinto, Big Sandy and Barrington Levy.
DR: How many releases have you had on Wild Records and do you have favourite?
O: I have four in total. I really dig the song we covered on my 45rpm ‘Shake the hand’.
DR: What other styles of music do you listen to apart from rockabilly?
O: Reggae/ska/rocksteady, soul, blues, country, house and some old hip hop and a lot of indie due to where I live.
DR: Is there any particular country in the world you most like playing and why?
O: Every country I’ve played so far is special in its own way, they all seem to have friends of mine there that make it fun and special.
DR: What about the future?
O: I’m not sure, but I hope I can keep people happy and still have them enjoying my music and shows.
DR: And finally. Elvis or Gene Vincent?
O: Elvis! Cool hair, cool style and a lot of ladies!
Cosmic Keith - Long time collector and owner of the small independent record label ‘Boparama’ since 1992 and the ‘head honcho’ in London's Metro & Boston Arms Rockabilly clubs .
Dr Robert NUTs Head Honcho and toppermost in demand DJ Prescribes a second in the series of Modernist sonic set of fruity delights, rarities and underground shakers to accompany your Summer days. Have a real good listen and feel free to share it with those you love!
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.
Newuntouchables.com ‘head honcho’ and compiler of the Le Beat Bespoké LP Series selects some underground gems that can often be found filling the dancefloors at various events around the UK and Euro Scene based Clubs and Events! Well worth a listen! To listen to the podcast, click the play button in the left hand corner of the Podcast Player below! Et Voila!
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.
This entry is part 2 of 15 in the series Hey! Mr DJ
A short profile of New Untouchables Head Honcho and globe spinning DJ Dr Robert
1. How and when did you get into music and what was you listening to then?
Through the kids at our school and one of our teachers who used to DJ and played ‘Green Onions’ at the Christmas disco (quite sure they don’t play that anymore). Mum and Dad’s old vinyls – mainly 60’s pop and the odd Motown and Ray Charles record. We also had some great local bands in the Medway area including the Prisoners and Milkshakes.
2. Where was your first DJ slot?
Along with old pal Lee Miller at our local ‘Cool Running Scooter Club’ nights held at Ditton Community Centre. The system comprised of two old 70’s record players from our homes hooked up to two speakers.
3. What was your most memorable DJ spot?
Wow, tough one! So many great experiences in the last twenty five years.
4. What so far, has been your worst DJ experience?
My worst experience has to be the trip to the Wilderbeat Festival in Canada. After a long travel by aeroplane and then a car ride from Toronto down to the lakes. An hour before I was meant to start the festival was closed down by the Police for noise problems.
5. Your favourite scene DJ’s and why?
Another tough question! So many good DJ’s on the scene that are identifiable for particular songs or sounds that contributed so much. Ady Croasdell as the first ten Kent albums had a profound influence on getting me interested in buying the rarer Mod club sounds. My DJ team Pid, Chris Dale, Speed and Lee Miller for so many fantastic performances over the last twenty years and also the great variety of Mod sounds. International DJ’s like Philippe Golbert, Michael Wink and Frantz who have contributed many great discoveries, I could go on and on.
6. What has shaped your DJ sound and why?
My sound has changed naturally over twenty five years and I genuinely enjoy a wide variety of Mod and 60’s sounds which is why I’m still able to enjoy it after all this time. When I started DJing at the weekenders and London clubs it was a mix of Northern/R&B/Jazz/Ska and some British sounds. After a few years I wanted to do something different as hardly anyone in the UK played Freakbeat and then Psychedelic and Garage music soon followed. In 2004 the NUTs Organisation started the Le Beat Bespoké LP series and the annual event. I still buy all the styles of music I love and play different choons at different venues.
7. What was your best ever find/discovery?
One that comes to mind is the Gene Latter – Holding a Dream on UK Spark which has a super blend of Soulful vocals, fuzz guitar with funky drums.
8. Who was your biggest influence musically and your favourite artist(s)?
Beatles as you can’t deny the consistent quality and the very same artists they idolised and covered at the start of their career ended up covering the Beatles songs a decade later.
9. Do you collect specific labels/artists/genres?
Never fallen into that trap. I’m a DJ, not a collector. I buy records with the dance floor firmly in mind. It’s become such an expensive habit now, especially if you draw records from more than a couple of genres like I do.
10. Where can folks currently catch your DJ set?
At numerous New Untouchables events and clubs like Mousetrap, Timebox, Crossfire and International weekenders and festivals. Keep an eye on the website calendar for dates.
11. What is the record you would most like to own?
Soul record: The Bluejays – Point of View and rock: The Pretty – Moustache in Your Face
12. Please give us a top 10 all time favourites and a current top 5 spins?
Top Ten – in no particular order
1. Mike Leslie – Right or Wrong
2. Caleb – Woman of Distinction
3. The Paragons – Abba
4. J Joyca – Time
5. Rebel Rousers – As I Look
6. Eddie Jefferson – Psychedelic Sally
7. Billy Hawks – Oh Baby
8. Tony Colton – I Stand Accused
9. John Lee Hooker – Money
10.Betty Harris – Mean Man
Top 5 current faves
1. The Stoics – Hate
2. Bruno Leys – Dans La Galaxie
3. Knights Bridge – Make Me Some Love
4. Harvey Averne Dozen – Never Learned To Dance
5. Eddy ‘G’ Giles – Soul Feeling
Brazilian polymath Eron Falbo came to London in 2009 after leaving his band ‘The Julians’ to pursue a solo career and become a cosmopolitician. Falbo began writing at the age of 11 for the school newspaper. By the age of 16 he had got his first job as a journalist. His experience in other magazines stretches from film critic to travel writer, passing through much but never leaving the culture spectrum. Apart from writing, Falbo is also an emerging singer. He was invited to record an album in one of the best studios in Nashville, Tennessee by none other than legendary producer Bob Johnston, who recorded the best material by the likes of Bob Dylan, Simon & Garfunkel, Leonard Cohen and Johnny Cash (all acclaimed writers). As of yet he’s only released one single, ‘Beat the Drums’ which was featured on Dermot O’Leary’s “Go Buy Monday” (single of the week) for BBC Radio 2, among other media. Currently, Falbo fronts the band ‘the Kyniks’ in venues in London and around the UK and can be occasionally spotted prowling the scene of the New Untouchables taking notes.
