Browsing Tag Dr Robert

Bo Ningen

Friday night – 25th March
Bo Ningen + The Hidden Charms
(8pm-4am) £10/£15 (Club only £7/£10 adm from 11pm)

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Interview

Questions 1-8 & 12 answered by Taigen Kawabe and the rest
by Kohhei Matsuda

01. How did the band originally get together and tell us about your name?

We all met in London 8 years ago but came from different parts of Japan. It was an amazing coincidence to form a Japanese band in London. Bo Ningen means “stick man” in Japanese, I named it because we are all skinny.

02. What was the music Scene like locally at that time around you?

Do you mean when we formed the band, right? I guess people did care even more about our shows in East London as there were many fake indie bands.

03. How has you sound evolved over the years together?

It started as total free form improvisation. We didn’t even have any songs for the first couple of shows, only riffs. Then we started to make songs with structure.

04. How much influence have the iconic ‘Psychedelic’ type bands had on your mindset?

Personally, I feel the word “psychedelic” has been abused in the music industry. I don’t find psychedelic at all from most of the recent bands who put “Psychedelic” on top of their genre. They just copy either fashion or drugs or some effect pedals… Psychedelic can’t be the limitation or excuse to take drugs to escape from something, a good drug dealer can’t be a drug junky. I do respect old psychedelic bands and I don’t mind if people call us a “psychedelic” band.

05. What Heavy type bands have inspired you up until now?

I guess more of Noise music rather than heavy bands.

06. How has your recording work in the studio changed since “Henkan” back in 2011?

I think Henkan was the turning point because we had a proper engineer involved in the production. I mixed the first album myself after that our recording became more of a collaboration.

07. What has playing bigger shows meant to the band as a unit?

Well, the bigger shows are great and I love play In front of many people. I thought more about how to connect with the audience after playing big shows. But I also like small shows as its intimate and more physical to me.

08. Your live shows are full of mayhem and energy how do you keep that up?

I feel our live performance is kind of detoxification or purification to me and hopefully for the audience too. We don’t pretend or fake it, but do stretch before the show to make sure we don’t get injured.

09. You have also performed collaboratively with Damo Suzuki, Faust and Savages?

Yes, these things came naturally. Just something great and magical happened.

10. Has the approach to recording and song creation changed since your first LP with Stolen recordings?

Of course. That first LP was 7 years ago or so. Our personal lives etc have changed, so has the approach to music.

11. Tell us about the ideas behind in your latest LP III (2014 Stolen Recordings)?

There wasn’t a specific “concept” behind it, but looking back, that LP is a conclusion of our 8 years path. Next one will be the new start.

12. ‘Line The Wall’ had a UK and Japanese edition, how do you find the difference in singing lyrics and relating the songs in either language?

Only the mastering is different, the lyrics and languages are the same.

13. You are playing at Le Beat Bespoké 11 this Easter in London, on the Friday night are you looking forwards to experiencing this event?

Yes very much so.

14. You are featured in the new Zoolander film that must have been real fun?

Yes. Totally different vibes going on out there. New world

15. How do you see the future for Bo Ningen?

Bright but not a straight path. We’ll try to make it through.

Friday night – 25th March
Bo Ningen + The Hidden Charms
(8pm-4am) £10/£15 (Club only £7/£10 adm from 11pm)

buy_tickets


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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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March 2, 2016 By : Category : Bands Clubs Events Front Page Interviews Music Tags:, ,
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Little Barrie

Little Barrie are a trio originally formed in Nottingham, Nottinghamshire, England, who since relocated to London. Their sound is a mixture of Garage Rock, Rhythm & Blues, Surf and Psychedelia. The trio is behind the opening theme to ‘Better Call Saul’. Fronted by vocalist/guitarist Barrie Cadogan who has been a touring member of Primal Scream since 2006 and has also worked with artists such as Anton Newcombe, Spiritualized, Paul Weller, Pete Molinari and Scott Asheton. Drummer Virgil Howe is the son of Yes guitarist Steve Howe.

We very much look forwards to seeing them at Le Beat Bespoke 11 on the Saturday night! Darius Drewe caught up with them recently.

Over the last ten years, we have definitely seen a resurgence of musicians with similar inclinations, from Jim Jones’ numerous bands to the Stone Foundation, Cat Black (featuring your ex drummer Billy Skinner) Lynne Jackaman/Saint Jude, Miraculous Mule, Marcus Bonfanti and Vintage Trouble (USA). It seems like a “vintage rock” explosion. But do you see it as a scene? Or is it merely a simple case of several individual bands happening to be in similar places at similar times?

I don’t think some of the bands you mentioned have much in common musically. In cities there are always people making all different kinds of music at any given time. There’s also been an interest in rawer, stripped down forms of rock music for many years. There are bands and musicians that we have a camaraderie with like Jim Jones and Gil De Ray, either through gigging and working together or just liking each others music and having in interest in similar music, but I don’t see it as a scene.

How important is it to have clubs such as Blues Kitchen, What’s Cookin’, Heavy Load and of course our very own NUTs been to establishing it and encouraging musicians and music lovers to combine? And, conversely, now that venues all over the capital seem to be closing every day, how do you think it will be affected? Is there ANYTHING that you think should be done to prevent this wanton destruction?

Music venues, bars and clubs are hugely important to any cities music culture. Some new venues have appeared, but there are so many we’ve played over the years that are now sadly gone. Places where we also saw great gigs, heard new music and met people who have been important to our lives in many ways. These places should definitely be preserved for future generations. The social and cultural cleansing going on in London right now seems to be purely in the name of profit. The people at the top simply don’t care about places of artistic importance or encouraging creativity in the artists of the future. Central London is becoming more bland and boring each year. London could end up just being a giant dull shopping centre no one wants to hang out in, with only Disneyfied versions of its old cultural haunts aimed at the tourist market. The power of change lies with the money men, but I don’t think they give a shit.

On saying that though, the public shouldn’t be underestimated. People will still want to play and listen to music, go out and have a good time, you won’t stop that. Maybe folk will get more guerilla about things and get creative. It’s also easier for people to communicate now through technology and get their heads together.

Lewis: – I feel the  scene / atmosphere in London since I moved here in the early nineties has changed massively. I moved to London excited about music old and new, there were so many outlets for me to DJ music I had already collected and find out about and hear new things I was yet to discover. I genuinely felt I was in the middle of something really vibrant. I used to go to clubs and if I heard a song that was good but unknown people would react positively and now new things seem to clear the dance floor unless they have been on a major advert or radio campaign of some kind. I feel now that there is very little outlet for a scene to develop. Nothing is hidden or underground these days it seems so it doesn’t seem exotic or special. There are a very few venues such as the Blues kitchen that keep what I remember as a night dedicated to a certain quality of music rather than chasing the pound and playing it safe.

As a vocalist and guitarist, who would you say influenced you (Barrie) the most? I can hear traces of everyone from Steve Marriott and Robert Plant to Van Morrison, John Lennon, Dave Berry and even Duffy Power in there: I can even pick up a few traces of Brian Setzer and Gene Vincent!! However, all these could just as easily be accidental…

I’ve had so many influences over the years. As a vocalist I’m pretty limited but I was first drawn to more rhythmical singers like Chuck Berry, Bob Dylan and Lee Dorsey. I do love vocalists like Steve Marriott and Van Morrison but they’re leagues above me. As are all of my favourite singers like Sly and Rose Stone, Iggy Pop, Roky Erickson, Tina Turner, Gene Clark and the mighty Howlin’ Wolf to name a but a few.

My sisters record collection in the late ’80s was a huge influence on me guitar wise. My first big influence was John Squire, followed shortly by Johnny Marr, J Mascis, Jimi Hendrix (from my dad’s records), Ray Hanson from Jim Jones’ band Thee Hypnotics. From there everything opened up and over time keeps going. I’ll keep this short but I love Steve Cropper, Hubert Sumlin, Jimmy Nolen, Magic Sam, Neil Young, Michael Karoli, Ron Asheton, James Williamson, Tom Verlaine & Richard Lloyd, Stacey Sutherland, Danny Kirwan, Steve Jones, Link Wray, Wayne Kramer & Sonic Smith, Cliff Gallup… Better stop!

Though the band’s name is taken from your frontman, the sound is very much the combined work of three people. Do you think listeners sometimes have difficulty remembering that, and tend to not give Lewis and Virgil enough credit for what they bring to the table?

I can’t speak for other people but I think Lewis and Virgil’s presence on Little Barrie recordings and onstage is incredibly powerful. People definitely pick up on that at our live shows. Although the guitar can be upfront in our music and the sound has evolved over the years, it’s always been very rhythmical and beat driven. So much of that comes from the bass and drums. They have their own sound and groove. I do write alone a lot but it’s only when the three of us play together do the songs become what they should be. They’re brilliant musicians.

Has having a drummer with a world-famous father also been in any way advantageous to you, or might it be actually something you perceive as a bit of a millstone? Or do you reckon many people aren’t that aware of it anyway, and simply judge your music on its own merits?

Over to you Virgil: Virgil declined to answer!

Although you’re a contemporary band, your sound is undoubtedly rooted in the classic period of soul, blues and rock 1965-75: a song like Precious Pressure, for instance, sounds like it could easily have been lifted from an album of that period. When recording and playing, therefore, is there any particular guitar amplification, drum kit, bass cab, vocal mike, strings or even choice of instrument you would consider essential to achieving this sound?

We do like a lot of music from that era but we’ve never been on a mission just to replicate old records, we’re not purists. We just want to make music that sounds exciting to us and captures the feel we’re after. The aim is to find sounds we like and try to use them in our own way. Although I love a lot of old guitars and amps for their tone and character, they’re not essential. The key to capturing certain sounds in the studio or onstage has a huge amount to do with how the sounds are being recorded and who’s playing the instrument. To find engineers who understand the difference isn’t always easy. Two people I think are fantastic are Mike Burnham at Lovebuzz Studios in Bermondsey and Seb Lewsley who has worked with Edwyn Collins for many years. They know how to get great sounds. A lot of modern recordings involve over clinical by the book techniques which can kill the soul out of any performance. And for some reason some people nowadays seem reluctant to break those rules. Twelve high spec modern microphones on a drum kit and into a state of the art digital mixing desk won’t help you get a filthy sound like The Sonics. You’re better off with a cassette 4-Track or recording the band in one go on your phone and adding the vocal after.

How important is the bands image and how you present yourselves?

Image is important to us in our own ways. We all look different from each other and dress a little different too. I’m not really a flash dresser, but I do really like clothes and it’s always been important to me. I love old denim, vintage sweatshirts, military and motorcycle leathers and simple slim cut smarter jackets etc. and 60’s style boots. I wear a lot of ladies shirts.

Lewis: I have very little interest in following current trends unless something vibrant and vital has cropped up, most of it is the same old crap being regurgitated or some random baseless idea invented by people desperate to keep their job at a fashion / music mag. A lot of classic styles that I’m personally interested in are because they are things that have been generated by and represent attitude toward how you personally choose to live your life.

As a guitarist, you, Barrie, have played with some of music’s most legendarily “awkward” frontmen, such as Morrissey, Bobby Gillespie and Anton Newcombe, while the entire band has backed Paul Weller (also perceived as being slightly ‘difficult’ on occasion) Are these people the enfants terribles that their legends would suggest, or is it mainly press speculation and exaggeration?

I can only speak from my own experience. These people have all been cool
with me.

One of the biggest influences all three members share is obviously the blues, and a few years ago, two of you got to “live the dream”, as it were, when you went to New York to play for Hubert Sumlin. Tell us a little about that experience.

We opened for Hubert at a gig in 2005. We first met him the year before when we were both on the same US label for a few years. We’d asked if there was any chance of meeting him but didn’t expect anything. So we were in New York for the first time on a promo ‘meet and greet’ trip and had to do this awkward lunchtime showcase gig in the label office in front of the staff (about 15 of them) playing through little amps. We were just setting up and Hubert walks in and sits down right in front of us. I was half over the moon and half shitting myself because now we had to play in front of him. It seemed to go ok although it was nerve-wracking as hell, he was the guitar on Killing Floor! Hubert was a lovely guy, very kind mannered and charismatic. He spent quite a lot of time chatting and took a few pictures with us. He was very encouraging. The following year we were recording in Brooklyn with Russell Simins playing drums. The label had brought him to the studio with the idea of us doing a song together but we never got chance to get stuck into anything. But a week or so later we got a gig opening for him in Manhattan. Towards the end of his set he called me up onstage to play Got My Mojo Working with him. I couldn’t believe it was happening. It was one of the best moments of my life, a true privilege. We hung out and talked with him longer that night. He told us some amazing stories, about him getting his first guitar, him leaving Wolf’s band for a short while to play with Muddy Waters and also that he thought his brother was a better guitar player than he was. It means even more now he’s no longer with us. We were all grateful to have met him.

We couldn’t go much further without discussing your highest-profile recording to date, the theme to the hit US TV show Better Call Saul. How did this come about?

We were approached by Thomas the music director for the series. He was into the band and had all of our albums, which was bizarre to us as he was based in LA and we hadn’t played there much at all. He asked if I could write 17 variations of a short guitar piece for the main title theme of the show and get them recorded in three days. I scrapped all other plans, got them done and we recorded and mixed them on day three and sent them off to him that evening. A few days later he got back to us and asked for 12 more variations, so we did the same thing. Other people were pitching for it too. A few weeks later we found out they’d chosen our theme, which was really cool. It was nice surprise – I’d never even seen
Breaking Bad.

Your new album has seen you experimenting with Krautrock influences- is this something you’ve always been a fan of?

Yes I first discovered Can in the early/mid 1990’s. I’d read somewhere that their sound may have influenced band like the Stone Roses and Happy Mondays who inspired me a great deal. I went out to Selectadisc and bought the Ege Bamyasi album – It totally blew me away. It sounded so modern still and it was from 1972 or something. It was mesmerising, they had a fairly regular rock band set up – guitar, bass, drums & keys but played nothing like British or American rock n roll or R&B. The core of it being that amazing hypnotic rhythm of Jaki Leibezeit’s drums. I got to play with Damo Suzuki a few years back in Paris with a few friends of mine. It was great. He’s an amazing guy, he had some stories too. About his adventures traveling the world solo in the late ’60s. He came to see us when we played in Cologne and took us a Russian bar after the show. A gentleman, a hero and a great host.

You’re already onto your fourth album, in what seems like a short space of time, and each has been a progression from the last, suggesting immense longevity for the future. But where do you see Little Barrie in two decades? Will you still be touring and recording?

To be honest I think we make albums fairly slowly, but some of that can be down to other commitments and financial constraints. We’re writing a new album right now. Little Barrie in two decades??! Who knows… It would be cool if we still played together though. I want to play for as long as I can.

I’m actually doing what you did in reverse in a few months, and decamping from the South to the East Midlands. How would you describe the music scene up there, and are there any clubs or venues you’d particularly recommend, particularly with regard to psych, garage, freakbeat, prog or vintage rock?

I’m probably the worst person to ask Darius… I’ve been in London for 15 years now and am very out of touch with what’s happening in Nottingham these days. I don’t get to go back very often and when I do it’s all about seeing family and a few old friends if I can. But I’ll try to ask a few people and get back to you if they have any ideas. Quite a few of my old friends are music fans and big record collectors. There’s some good record shops there – Look up Rob’s Records and Big Apple for second-hand stuff. There’s also a Rough Trade and probably others too. They could be good places to meet people.


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Darius Drewe

Darius Drewe was born in East London in 1974. As a small child, both parents inflicted their musical tastes, from The Beatles and The Moody Blues to Ella Fitzgerald and Miles Davis, on him, and he was never the same again. Despite being born and bred a 'Cockney tosser', Drewe actually spent his teenage years in and around Birmingham, attending his first 60s/50s-themed nights there at The Ship Ashore, before "coming home" in 1993 to the South, where, with the exception of three years spent in Glasgow between 2007-2010, he has remianed ever since. In the almost two decades that have passed he has trod a strange meandering path from a shy 60s/70s-obsessed teen with no 'scene' to speak of to a Metalhead, sleaze-glammie, Goth, indie kid, glam-punker, garage-rocker, eventual Mod and psych freak (first attending Mousetrap in 2000) In that time he's also written for Shindig! Britmovie, DarkSide, Black Velvet and Get Ready To Rock, promoted various vintage and veteran acts at Camden Underworld, Glasgow Ivory Blacks and several other venues, DJed everything from psych, garage and soul to Metal at practically every well-known club in central London. Drewe is trying to build a time machine that will enable him to visit any period between 1960 and 1980 but still be able to use a mobile and Facebook. His ambition, aside from directing films and building said machine, is to morph into a cross between Jason King, Timmy Lea, Jerry Cornelius and Richard Hannay, and drift about the ether having adventures in a kipper tie, pinstriped flares and camel hair coat.

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February 22, 2016 By : Category : Bands Front Page Interviews Music News UK Tags:, , ,
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Hidden Charms

Friday night – 25th March
Bo Ningen + The Hidden Charms
(8pm-4am) £10/£15 (Club only £7/£10 adm from 11pm)

buy_tickets

We caught up with the very busy and hard working Hidden Charms recently in full preparation for their up and coming Easter LBB11 appearance on the Friday night spot…

HC_0000_Layer 2

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

We’ve been together since April 2014 , but we’d all been playing in bands with each other for a couple of years before that,  so when a couple of people left one band we just put the remains together.

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

At the moment we’re into Nick Cave, Tom Waits and Hip-Hop from the 90’s.

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

I think music isn’t thriving in London at this point in time, the music coming out of Liverpool, Manchester, Sheffield, Leeds is much more exciting.

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

I’m aware of a 60’s underground scene throughout the entire country, which I think has been a permanent fixture almost since the 60’s. However, we are not part of this at all. Not to put anything down, but that era of sound and fashion isn’t a present influence on us.

5. How would you describe the style you play?

Cheese being thrown at a windmill.

6. What are your live shows like?

When a crowd knows your songs, a gig scenario is a whole different experience and as a young band, it takes a long time to get people to know you and remember you, so it’s only now that we’re starting to experience what a ‘real’ show feels like. The most important thing is to give it everything, you have to sweat, and you have to bleed, and sometimes shed a tear.

HC_0001_Layer 1

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

Despise, that is a very strong word.I despise fakeness and people who have no respect for the origins of their music, it’s not proper to slag off other groups. Like I said before, we like people like Nick Cave, who has a great way of looking at things and an even better way of dressing that up in the studio, or on stage. People who are individual and who inspire me.

8. What are your main influences outside of music?

We like our clothes but that’s not to say we’re ‘influenced’ by changes in the fashion industry. We know what we like and we do exactly that.

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

Ranald and I (Vincent) write the lyrics but it’s only when Josh and Oscar make their contributions that it becomes ‘Hidden Charms’. We write about what we know, which at our age could be not a whole lot… But in my mind, we have experienced a lot in our short time.

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

In our repertoire I would say Long Way Down, as it’s always had a good reaction from fans of the band. It’s short and simple. Leave Her Alone by Nick Gillespie of The Persuasion is my favourite song this morning!

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

I think it’s hard in London to stay underground or for Scenes to develop at all because of how hard it is to afford just to live there. But as a band, we have no one true home so it’s much more fun to see scenes in LA or Liverpool, or Edinburgh or Eindhoven and be part of that for one night only.

12. What has been the biggest challenge to date?

It’s hard to be told you’re no good, that you can’t write songs, that you can’t sing or any of those constant knock backs that come with doing this job, however the biggest challenge is seeing injustice in the industry, whether it’s losing people to the road, seeing the anodine made successful, or seeing black artist’s being totally overlooked, to see all that and still continue working for an ‘industry’ like that is the biggest challenge.

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

We did 100 hundred shows last year and probably rehearse 10 times and recorded twice which is all wrong! This year we’re focusing on getting what we do live into the studio.

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

I feel like there is a lot more of Kim Kardashian’s arse being covered which isn’t necessarily a bad thing.

HC_0002_Background

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

I rate the Growlers and I rate Little Simz.

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

We’ve been lucky enough to work in some of the best scenarios any young band could ask for. For us, it’s important to use tape machines etc, so any studio we use would have to be Analogue because everybody knows it’s better.

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

An EP to come out in April/May and then hopefully an LP to follow that, towards the end of the year. I think as a band starting out , your dream is to be the ‘biggest’ or to be championed by magazines and the television but if in order to do that your music has to become dull and soulless then it’s better to play for fewer people and be overlooked by the big bad world!

Friday night – 25th March
Bo Ningen + The Hidden Charms
(8pm-4am) £10/£15 (Club only £7/£10 adm from 11pm)

buy_tickets


 Powered by Max Banner Ads 

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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March 2, 2016 By : Category : Bands Clubs Events Front Page Interviews Music Tags:, ,
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The Dustaphonics (Newbreed)

This entry is part 18 of 18 in the series Newbreed4

NUTSMAG recently caught up with the band in London…

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

Started 2008 in Hackney, when the actress Tura Satana (Faster Pussycat Kill Kill) asked me to create a few pieces of music for her new film. Sadly she passed away a few months after our first single was released on Dirty Water with the song we co-wrote: “Burlesque Queen”.

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

With an additional horn section, we’ve been the backing band of the Blues Brothers’ Dan Aykroyd, and James Moore, Big Mama Thornton (RIP) and Sugar Pie Desanto’s manager, asked us to be Sugar’s backing band for some future UK shows. We love all kinds of good music, but the main thing the band members all have in common is a passion for Rhythm & Blues and R&B-based music.

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

I lived in London for 20 years, and there are always some great bands in the big smoke. I am in Lille now (North of France) where you can find cool kids: The Arrogants, The Hoodoo Tones, etc.

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

I stopped my weekly club night in London (Raison D’Etre) to start the Lille-Roubaix Vintage Weekender (17,000 visitors). Lille is a vibrant city with a great eclectic music scene. The perfect crossroads between London, Paris, Brussels and Amsterdam. John Sinclair (MC5/White Panthers) was there in January for The Detroit Boom Boom; I played guitar alongside his great live poetry performance.

05. How would you describe the style you play?

As a DJ, musician, producer, I’ve been influenced by many genres: Rhythm & Blues, Surf, Rocknroll, Rockabilly, Soul, 60’s/90’s Garage Punk, 70’s PunkRock, British R&B, Latin Boogaloo, Funk, Jazz, Bossa Nova, Ska, Early Reggae, Country, Mambo, etc.  All those elements, at different doses, combine to make the sound of The Dustaphonics! Some people love it and understand the idea beyond and see something fresh. Some people start off really confused about it but often they’re up and dancing a few songs into the set. Would “Vavavoom Rock’n’Roll”
describe us?

06. What are your live shows like?

“Dustaphonics! You are a world-class act and a very fine RockNRoll band!”  Rob Lind (The Sonics) described us that way on stage after we’d supported them at the Forum London. He also asked for a cd, as did Martha Reeves and her 2 sisters when we played with the Vandellas. They even asked us for signed copies of our new single. How crazy is that – some of our heroes asking for our music! Hayley joined us only 3 years ago and she has made great progress, considering that she never really had a proper band before. She does the show on 10,000 volts, BOOM! While, us, the boys, are at the “back” making sure all sounds solid and tight! Dustaphonics shows are simple, energetic, good vibe and open to all.

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

Despise? I prefer keeping my ears fresh for the bands and artists that I love and ignore the rest. My influence comes from the music arrangements of the 1960s Motown (like the Ramones; not much guitar hero guitar solo), Bo Diddley, Sonics, Hubert Sumlin, Link Wray, Mickey Baker, Cliff Gallup, Them, Ramones, Dick Dale, Larry Collins, The Animals, Ronnie Dawson, Joe Clay, The Saints, The Jam, etc. We do and love covers: Bo Diddley “Dearest Darling”, Sugar Pie Desanto “Witch of The Night”, Louisiana Red “Ride on”, Sonics “Shotdown”,  Sonny Burgess  “Red Headed Woman”,  Ike & Tina Turner “Worried and Hurting”, Howlin’ Wolf “You Gonna Wreck my life”,  traditional Gospel “Don’t let the Devil Drive your car”, The Strangeloves “Night Time”. The other 20 songs or so in the set are originals.

08. What are your main influences outside of music?

The good and the bad sides of our society. Girls, 1950s, 60s, 70s Cinema, design, literature. Helping and producing young music talent. Organising music and cultural events.

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

I bring the theme, the idea, the melody, the riff, Hayley or Aina write the lyrics, I work on the global arrangement while the lyrics are done, then we give a go all together with the full band. We deal about positive things, nothing really dark or too serious. No politics. Few examples: “Party Girl “was influenced by my girlfriend, “When you gonna learn” is about mistakes we can all make sometimes, “Rockin’ Boogaloo” is a tribute to all the DJs who are spinning/collecting the goodies on vinyl.

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

Too many great songs made by so many great artists. As for the Dustaphonics’ repertoire, they have to be all our favourites, otherwise they won’t be played on stage with soul and passion.

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

I think the global underground scene at the moment is booming, vibrant with a fresh energy from a new generation of great musicians and bands. Same wherever we are playing: Spain, UK. France, Italy, in a small club for 100 people or on a big festival’s stage for 20,000 people. There is always a great multi generation mix of people at our gigs: Mods, Garage, Surf, Punk, Rockers, Cats, Beatnicks, Bikers and classic music lovers. It is not that easy to be semi-pro musicians by playing niche music in a specific closed circuit, so for that reason, we cannot belong to only one circuit or one scene, we do participate in various scenes who are booking and looking after us.

12. What has been the biggest challenge to date?

Coming back alive from 5 fantastic Spanish tours, no, joking. Few years ago I had a very serious accident and ended up paralysed for few months. I had to learn again how to walk, to talk and play guitar, The biggest challenge was my body/brain synchronization and to run the band, keep on doing tours and gigging whilst in a very weak physical and mental condition, but it was the only way, the best therapy for getting better.

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

We are playing Le Beat Bespoke Festival in London Saturday 26th March! A fast 40 min set before the great Little Barrie and Jim Jones. Book your ticket for the 3 days, there Is an amazing line up of great bands and DJs.

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

Dustaphonics members can speak English, Spanish, French, German and Italian, so we can read/translate specialist magazines like Mojo, Blues & Soul Mag, Shindig, Vive Le Rock in UK, Ugly Things in US, Ruta 66 in Spain, Soul Bag, Dig It in France. Blow up in Italy, Dynamite in Germany plus some great online blogs too. We would love to have more coverage in the media but we cannot afford to pay a PR for that.

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

I am ok with a few, like The Hives, Shingai Shoniwa, Erykah Badu, etc. I love and collect mostly vintage 50s and 60s stuff but I do enjoy a lot of current bands like: James Hunter, Sharon Jones, Nick Waterhouse, Jd Mc Pherson ,Phantom Surfers, Mike Sanchez, Lee Field, Junior Brown, Little Victor & Co, Masonics, Bill Kirchen, Bellfuries , Urban Voodoo Machine, Nico Duportal, etc…and of course the new generation too, like in France Fuzzy Vox or Les Grys-Grys, who headlined my event the Roubaix Vintage Weekender 2 years ago.

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

1/ Muscle Shoal (Sheffield-Alabama) with Mark Neil? Why? Because I am a big fan of The Unknowns and Mark’s work. In the late 90s we even recorded a song together, that is locked in the secret vault of Toe Rag Studios, with Mark (guitar), Dave Doyle (bass) Liam Waston (drums) and me (guitar). 2/ RCA Studio Nashville with Mark Neil and Liam Watson or Mark Neil and Jim Diamond? 3/ Toe Rag (London )with Liam and Ed? 4/ Rimshot Studio (London (with Mike Thorne and Healer Selecta? 5/ Circo Perrotti (Gijon) with Jorge and Healer Selecta?

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?

Meeting more and more fans and great people on the road, recording our 3rd album, doing some shows with Sugar Pie Desanto and other legends, coming back alive from our 6th Spanish tour in September. We have just done a great interview too for Ruta 66 magazine (booking Spain via soundealer Madrid).  We are playing a great Blues Soul Festival in France in March with another Motown legend: Bettye LaVette.

Band Members:

Lead Vocal: Hayley Red
Guitar: Yvan Serrano Aka Dj Healer Selecta
Drums: Eric Frajiria
Bass: Devid + Special Guest
Guitar: Dan Whaley
Harmonica: Kevin Smith

Discography:

2015
EP: Q Sound Groove
Q Sound Records Paris

2014
LP: Big Smoke London Town
(King-a-ling Records Under License To Dirty Water Records )

2012
LP: Party Girl
(King-a-ling Records Under License To Dirty Water Records)

2012
Single Jinx/lookin’ At You
(King-a-ling Records Under License To Munster Records/vampisoul Madrid)

2009
CD: Burlesque Queen Cd
(Kingaling Records) 2009

Single: Burlesque Queen/tornado
(King-a-ling Records Under License To Dirty Water Records) 2009

Compilation:

LP/CD Gangster on Specialized compilation: A Modern Take On Specials Classics (Teenage Cancer Trust) 2012 UK

Main Site: www.healerselecta.co.uk
Social Networks:
Facebook: www.facebook.com/TheDustaphonics
MySpace: www.myspace.com/thedustaphonics
Twitter: www.twitter.com/dustaphonics
Soundcloud: www.soundcloud.com/dustaphonics
Videos: Big Smoke London Town & Party Girl
Updated Releases and Tour Dates: www.reverbnation.com/dustaphonics


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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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March 2, 2016 By : Category : Bands Front Page Interviews Music Tags:, , ,
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Juan VG Duque – Hey! Mr DJ

This entry is part 13 of 14 in the series Hey! Mr DJ 3

We caught up with Juan VG Duque recently who lives in Madrid, Spain to talk about his passion for good music.

Reference: Resident DJ at Mod Generation Club, Madrid. Part of The John Colby Sect Record Label

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

When I was a child I used to look over my parents’ records collection. I was fascinated by one box of cassettes recorded by a friend of them who traveled to London frequently. There was 60’s pop, punk or even reggae. Lucky me! I’ve always been very DIY so I have made/done my own style with all the things I have learnt or someone share with me.

02. Where was your first DJ slot?

As far as I remember was in Madrid at Groovie, 2010.

03. What was your most memorable DJ spot?

Mushroom Machine Club in Feb’15. Crazy and funny day…and night! I was with Fogbound traveling from León to Madrid when our van broke down. We spent the evening waiting for a friend to pick us up…

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

I’ve been very lucky spinning records. I can’t remember a bad experience at all.

05. Your favourite scene DJ’s and why?

I love a lot of Djs from Spain: Miguel, Sebas, Emilio, Xavi… They are real friends, amazing record collectors & Djs, I could stay with them days and days learning and talking about music. But if I have to choose my favourites Lolo and Ángel Brocos are the DJs. They’ve taught me almost everything I know about DJing and I love their taste. Coruña rules, neno!

06. What has shaped your DJ sound and why?

In my box there is place for anything : from soul rhythms to garage punk. A DJ must be versatile spinning records.

07. What was your best ever find/discovery?

I like when I find some U.S. band with british influences. I think records like Meddy’s People – Fantasy World or Mechanical Switch – Everything is red are good examples.

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

I love all freakbeat & popsike records from UK. Classic or rare; Pretty Things or Winston Fumbs. I never get tired of this amazing music.

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

No, but I’m always filling gaps in Decca & Deram labels.

10. Where can folks currently catch your DJ set?

Mod Generation Club, the club I run with Miguel Ygarza & Alber Acedos
in Madrid.

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

I couldn’t say just one … I want all the records of the world in my library haha!

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

Top 10 Tracks of All Time:
1. Caleb – Woman of distinction (Phillips – 1967)
2. The End – Cardboard watch ( Introspection – Decca – 1969)
3. Outsiders – You remind me (Polydor – 1968)
4. The Byrds – I Wasn’t born to follow ( Columbia – 1969)
5. Gene Latter – Holding a dream ( Spark – 1969)
6. Actress – It’s what you give ( CBS – 1969).
7. Left Banke – She may call you up tonight ( Smash – 1967)
8. Turquoise – Saynia ( Decca -1968)
9. 4PK – Down and Out ( No Label – 1966)
10. Barrier – Spot the lights ( Philips – 1968)

Current Top 5 Tracks:
1. MG & Escorts – A Someday Fool
2. Enough’s Enough – Please Remember
3. Paper Blitz Tissue – Grey Man
4. Stone Cutters – Fellow Slave
5. The Attraction – She’s a Girl

Web Links:

Main Site: www.thejohncolbysect.com
Mod Generation Club – Facebook: www.facebook.com/modgenerationclub
The John Colby Sect – Facebook – www.facebook.com/thejohncolbysect 
Twitter: twitter.com/johncolbysect 
Instagram: www.instagram.com/thejohncolbysect
Soundcloud: www.soundcloud.com/thejohncolbysect

Next Club Spots: Saturday 12 Mar, 2016 – Mod Generation Club

Le Beat Bespoké 11 – London (Easter 2016) 24th to 27th March – see all the details HERE!


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drrobert

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

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February 20, 2016 By : Category : Bands DJs Front Page Interviews Music Tags:, , ,
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Mousetrap 25 Years

01. When did the Mousetrap first emerge?

I had been looking all over London during 1991 for an allnighter venue and had almost given up when I stumbled on Fabio’s which is what it was called back then.

02. Why the name Mousetrap?

The venue had two entrances and the one to the basement had a sign above the door called Mousetrap in a great font. The club started in the basement only, so we would use the Mousetrap entrance. I also really liked the name and the connotations it threw up like ‘Get Caught in the Mousetrap’ as the strap line on our early promotional artwork.

03. Tell us a little about finding the Venue and why you stayed?

After looking around a few venues in Finsbury Park, I drove past Fabio’s, parked the car and went inside. The first thing I noticed as I entered was that I was pretty much the only white person in the venue. I was only nineteen and a little apprehensive as I enquired about the venue over the bar. This was where I met Anthony who was managing the place at the time. I explained what I wanted to do which raised a few eyebrows and asked to take a look around. The ground floor had a bar, DJ booth, dancefloor with a raised seating all around. Over in the corner was a metal spiral staircase which went down to the basement. As soon as I got down there I knew it was perfect. The basement had a very low ceiling with a black and white checked dancefloor, DJ booth in one corner and bar in the other with lots of nooks and crannies and small seating booths. It was just how I had imagined those original sixties venues like the Scene or Flamingo. It also had a killer sound system that was used for the Dub Club and other Reggae based nights at the venue.

04. What were the early Mousetrap nights like, what was the format?

We started on one floor only in the basement the first night which was a success despite sharing the toilets with the venue regulars who had never quite seen anything like it before. The owner liked it and more importantly – us, which are comments I get wherever we go and have a party. The music at the time was right across the board sixties, before Popcorn or Psychedelic sounds became popular. British beat and soul would be played alongside the American sounds.

05. What were the big sounds in the early days?

Early records that were popular were mainly the established Mod scene classics and current club sounds it took a little while for the club and DJ’s to develop the Mousetrap sound.

06. Can you name some of the DJs that were part of the first decade of the Mousetrap?

Obviously the NUT’s team past and present including; Pid, Chris Dale, Speed, Lee Miller, Gav Evans, Mark Ellis and Nick Hudson. Early guests included Paul Hallam (Sneakers), Roger Banks, Jon Paul Harper, Scott Copeland, Nigel Lees, Tony Castle, Putney Sean, Paul Newman, Ian Jackson, Karl Flavell, Dave Ingle and Shinzo Shnijo.

07. What were the highlights and low points of the early years?

The club went well from the start and in 1995 Loaded magazine did a great article on the night which you can read elsewhere in the NUTsMAG, Timeout also covered us early on. By the mid nineties Brit-Pop was in full swing and a new younger clientele started mixing with the regulars. Round this time the club moved into its best era on two floors with the beat basement and soul loft and sometimes a third floor the jazz lounge. The atmosphere was incredible and the scene was very exciting. We should have finished at 6am but often went well beyond that most nights.

08. Moving on with the New Untouchables era how did things evolve?

The club was a separate entity throughout the Untouchables era and then became part of the NUTs portfolio in 1998.

09. Did the music policy change to reflect the times as it were?

By the mid to late nineties the resident DJ’s had started developing the Mousetrap sound. Records were broke at the club every month and became hits all over the European club and weekender scene. Some off the early tracks to break included Hopscotch, Larry Trider, Mike Proctor, Randy & the Radiants, King Size Taylor, Jigsaw, Dusty Wilson and Callum Bryce.

10. How did you manage to keep the various passionate musical tribes in the Scene happy?

The club continued on two floors for the best part of a decade with black music on one floor and white sounds in the basement until the owner sold the ground floor in the mid naughties. During this time an incredible amount of records went onto to become big sounds.

11. You eventually split the allnighter into 2 separate nights?

The downside of having two floors for a long period was that both crowds were used to hearing their favourite sounds all night and those like me who enjoyed both would move between the two floors. So when the ground floor was sold going back to mixing all the music together just didn’t work so I started the separate dances each week.

12. How did that change things, did some folks happily attend both?

Yes, some regulars like Niamh and Innes, Mark Raison and the twins who enjoy all the sounds attended both but the majority went one week or the other.

13. Twenty five years is a massive achievement, you must be proud?

I’m very proud, there is something magical about the venue even on a quieter night we still have a great atmosphere and on a busy one there is nowhere better. It’s my second home and I get to enjoy the night as it’s a relatively easy production. I love Djing there as well as you can always slip some new sounds in which I’m passionate about.

14. What would be your all time top 10 Mousetrap spins from all styles in one list?

So many Mousetrap anthems over the last 25 years and many ended up on the free anniversary single. Mike Leslie – ‘Right or Wrong’ is one I always use to play at the end of the allnighter. Gene Latter – ‘Holding a Dream’ is a great funky blue-eyed soul dancer with fuzz. The Latin Dimension – ‘Mr Mod’ was an LP only track and available for the first time on the Mousetrap 45.

I found the Jack Hammer 45 down in the subway at a record fair in Sweden when I was Djing out there for a couple of quid. I later realised that it was only released as a 45 in Sweden and would start to fetch big bucks as its popularity grew. It went on to become one of the most popular releases on the label.

The first European track to be released for the Mousetrap 14th anniversary 45 was Erick Saint Laurent – ‘Le Temps d’y Penser’ which is a killer groovy garage dancer. Speeds discovery ‘Lovemaker’ by Callum Bryce also went on to become a massive Mousetrap record.

Although no doubt played on the Soul scene Chris Dale introduced tracks like ‘Fine, Fine, Fine’ by Judy Hughes and Dusty Wilson – ‘Can’t Do Without You’ to the Mod scene at the club. The list is endless and I have not even mentioned The Paragons, Bit a Sweet, Tam White, Chris Britton, Phil Wainman, Don Fardon version of  ‘I’m alive’ (which eventually ended up on a TV advert featuring Don), Louisa Jane White, Heidi Bruhl, Jimmy Thomas, Paul Nicholas and The Tops that all ended up on the Le Beat Bespoke album series. You can view all the Mousetrap releases here or even buy them via the NUTSTORE.

15. You have even managed to fit a few film crews into the Mousetrap over the years too?

MTV came down to film in the mid nineties as part of their series on club land culture and made a great snap shot of the club which features interviews and footage from many of the regulars and is a great testament to that era of the Mousetrap. You can view it on our NewUntouchables TV youtube channel here.

We did a fun shoot a decade later in 2005 this time with no interviews just footage from the club which turned out a bit like a scene from a movie and was beautifully shot by Simon Smith who did a videos for The Cure and the Wonderstuff amongst others. Take a look here.

There is also a really nice interview with Rhys Webb of the Horrors a club regular who recalls his first visit as a sixteen year old from Southend and the whole new World he discovered. Rhys is quite often seen behind the decks spinning his vinyl treasures or grooving away on the dancefloor. Watch it here.

16. What has the past few years been like for one of London’s great institutions?

We have had our ups and downs like any club over a period of twenty-five years and are now on our third or fourth generation of regulars. I’m very humbled and happy when I get comments from the new faces experiencing the club maybe for the first time, about it being their favourite night out in London and without doubt it’s still mine after all these years.

17. How do the venue owners feel about having a club night running for so long?

Anthony the boss, has always been supportive and has seen the bigger picture when things are not going so well, which is rare in the fickle World of London club land and the pressures of running a venue. Ade the security chap and Alex at the cloakroom, have been with us a long time and I want to thank them all too for the fantastic ride we had together so far.

18. Any names that you wish to check for their help over the years? What’s the tiny Mouse called in the logo?

Many heroes behind the scene for me who I would like to thank including those who run the door Maz Weller, Paul Owers, Ellie Tracey and Kolorz. The great artwork created by Dom Strickland, Jason Ringgold, Mary Boogaloo and Bazden at Pip! Pip!

The resident DJ’s past and present who have helped me create the Mousetrap soundtrack Chris Dale, Speed, Lee Miller, Jack White, Gav Evans, Pid, Steve Bowstead, Mark Ellis and Nick Hudson. The hundred or more guest DJ’s who have often travelled far to spin I thank you all.

Most importantly the regulars both past and present that have supported the night and created some of the best times of my life.

Marvin and I hope to see you all get caught in the Mousetrap once again on either 20th Feb 2016 for the Psychedelic allnighter or 27 Feb 2016 for the R&B allnighter to celebrate an amazing twenty-five years of Mousetrap!

Best Wishes Rob Bailey

Find out all latest Mousetrap Dates Here


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

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December 1, 2015 By : Category : Articles Clubs DJs Events Front Page Music News Tags:,
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French Boutik (Newbreed)

This entry is part 17 of 18 in the series Newbreed4

Band Members:

Serge: Guitar and vocals
Gabriela: Lead vocals
Zelda: Drums and vocals
Jean-Marc: Bass

Discography:

2012 – Les Chats de Gouttère EP
2013 – Ici Paris Double 45 
2014 – Mieux comme ça double 45

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

Serge and Zelda met at a soul night he was DJing in 2010 and started songwriting together. I (singer Gabriela) started with the group in 2011 and Jean-Marc joined us just this past year in 2014. We’re all more or less active in the mod/ skinhead scenes here in Paris so met at various shows and DJ nights.

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

We all love classic pop, rnb, soul, jazz, rocksteady, Britpop and powerpop, but then as our members are so varied it goes all over the place!

However, we’ve been listening to more and more new powerpop recently, due to sharing the stage with lots of great bands like Paul Collins and The Riots, and are really trying to create a brand new sound vs being retro.

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

Yes, also from Paris is a great latin boogaloo band called Paz Antiguana and a new garage/pop group called Jon & The Vons. Also there are lots of great bands in France right now, it’s really exciting: Les Grys-Grys, Gemma & The Travelers, The Gentlemen’s Agreements, Tower Brown, Les Kitschenettes. The sounds are all different and they tend to be a bit more “retro” than us but they are all good. More rock oriented but also excellent from Paris are Les Soucoupes Violentes, and our friend Popincourt will be releasing an album soon, Zelda and I guested on backing vocals so have heard a bit and it’s great so far.

On the less underground side, also in France there is a really good group called Archimede. Kind of Britpop in spirit but in French.

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

Small but dedicated: Friends have soul DJ nights – Paris Magic City is always fantastic and worth a trip over, there is Bam Bam 007 for regular reggae nights, and bars like Le Tiki Lounge and the Pigalle Country Club are small but have good DJs regularly. Les Minets were putting on absolutely incredible allnighters for a while there, hopefully again soon. 

However as the mod scene is so small here live gigs tend to be focused on garage and soul as those can get a more general “60s or soul dance party” audience.

05. How would you describe the style you play?

Pop Moderniste. For us it’s a short way of summarizing: Pop, French and Mod but Modern! We tend to be pretty varied in different songs: some more lighter and jazzy, some psych, some straightforward powerpop, some a bit garage… We get bored easily and don’t like to repeat ourselves.

06. What are your live shows like?

I would say they are surprising to people who expect us to be aloof and posing: we play a lot with powerpop bands and also mostly to non-French speaking audiences who may not know us (as the scene here is so small most of our shows are international – mostly in the UK but we have played in Spain, Ireland, the US, Germany, Canada, Russia, Denmark, Sweden and Italy), so as our songs can be a bit complex on the records we try to do a more powerful and straightforward show where we really connect with the audience even if they cannot understand the lyrics.

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

Honestly it’s really hard to say as we really are trying to create something new. I can say just what we listen to – besides classic soul, rnb, soul, 60s pop etc for French sounds we all dig Jacques Dutronc, Henri Salvador, Nino Ferrer and Bertrand Burgalat but are pretty varied within the group. Serge is a huge Kinks, Jam and XTC fan, while Zelda is extremely varied with Oi, soul and Britpop, among my favorites are The Zombies, The Everly Brothers & Herbie Goins, and Jean-Marc loves the Beatles and The Most. We also like Blondie, The Damned, The Clash and other punk and new wave bands.

We do adaptations of Madness and The Clash for the Specialized compilations benefiting the Teenage Cancer trust but while we tried to remain true to the spirit of the originals the arrangement is quite different and also they both have new French lyrics. We also do In The Meantime pretty faithful to the Georgie Fame version, but in French of course!

Hmm for despising it is harder: I guess really anything that is manufactured top 40 pop or mainstream rock radio.

08. What are your main influences outside of music?

Serge is a graphic designer so really nice images are important to us and we are all clothes horses which makes band photos easy (apart from never matching)! And a few of us are politically active and we spend a lot of time debating politics which is reflected in the lyrics of our songs. Zelda being a language teacher, Jean-Marc a journalist and my father having been a poet and author also probably all contributes to making lyrics very important to us.

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

Serge composes almost all of the music, while we split lyrics duties. Zelda has written all of the English language songs (but she also writes in French), Serge some, myself (Gabriela) some, and it is great when all 3 of us can collaborate. And we are really happy as Jean Marc has just written his first text (about the useless journalists that you can’t escape here) so we won’t be short of ideas from now on!

Our subjects tend to be either funny or serious observations and critiques of society, we only have one love song, and most of them are in French as that’s the language that we speak to each other in.

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

I think for ours I’ll have to go with Le Mac, about a detestable French politician, coming out very soon. But for other artists so hard to choose, maybe Billy Bragg’s Greetings to the New Brunette? Or Waterfall by Jimmy Cliff always makes me happy.

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

It seems that the mod scene is coming out with lots of interesting new sounds internationally which is really exciting, for a long time bands were stuck in retro or copycat mode and now are mixing things up a lot. There are cool bands not just in the UK but in Sweden, Russia, Brazil, Argentina and all over the place. We are trying our best to keep up with them all!

12. What has been the biggest challenge to date?

I’d have to say the lack of places to play in France, a problem common to all of the groups here, which means that we go abroad to play most of the time and we love to play live so we end up arranging lots of trips. Of course that is absolutely wonderful for us, we love to travel and meet people and it is so cool to see the enthusiasm in the UK and other places where normally foreign language groups don’t do so well. But it presents financial challenges, we need to cover the cost of travel each time and also get time off work.

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

We rehearse at least once per week and sometimes twice, and play live as often as we can, that usually means one big weekend abroad with 2-4 shows per month.

We record about once a year, and hopefully will release our first album in 2016! We love 45s but everyone has been asking for an album, it’s a bit tough for financing but we hope to be able to crowdfund as we did our last record. We have tons of new songs, 3 already recorded, 4 in almost final shape and a few others in the pipeline and they are all over the place as far as subject matter and style.

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

It sucks, outside of small sites and fanzines, always the same groups and especially in France it seems very controlled by the music industry, people are afraid to like anything different.

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

All of the French bands we mention above, and for international mod scene bands our favorites are The Riots, The Most, The Shalalas and The Sound of Pop Art. And we recently picked up the new album by Paul Collins and it was just as good as his older classics with The Nerves and The Beat, definitely go to see him if you get the chance. In the UK recently, we also got to play with The Boss who were fantastic, and we will soon again play with Trambeat which is always a treat.

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

We love where we currently record whenever we have the chance, Yeah!Yeah!Yeah! Studios in Hamburg, they have a perfect combination of old and new for recording and mixing. Dennis Rux is the engineer there and he seems to perfectly understand what we are trying to do, does not over-engineer out “flaws” and has great suggestions for little touches that really make the song. If we were to change, we would go with Gavin Linch and Graham Lentz at Rocket Studios in Croydon, they just mixed a demo for us that we are really happy with, also a natural sound but with finesse.

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?

As mentioned before, hopefully our first album next year, followed by more records that we are proud of, other than that and playing lot of fun gigs with cool bands that’s pretty much all of our ambition.

We have a rare gig in Paris this Friday with our friends The Most from Sweden which will be a nice boost during a rather sad time here. And for 2016, we’re really excited to play with Graham Day’s new band The Senior Service in Putney in January, and after that back for March of the Mods Reading with Geno Washington, Trambeat and the ShaLaLas and 2 dates with SlimShack from Brighton over the weekend, and then MOTM Margate for our first show there which should be really fun. And seems back in the UK in June too now!

(By the way, thank you New Untouchables, we played our first UK show ever for your night in Camden and as you can see now the UK is where we play the most)

And, if we can swing it, we’d love to get to Latin America next year. We are not really sure why but if you look at the countries of the fans of our group there are lots in Argentina and Mexico, they are right after France, the UK, Spain and Ireland. We got to go to Montreal in August for the Modtreal weekender and the US before that but it takes a lot of planning and is very expensive so we’ll see!

Web Links:

Main Site: www.facebook.com/frenchboutik
Videos: www.youtube.com/user/gabs150/videos
Social Networks: www.facebook.com/frenchboutiks 
Soundcloud: www.soundcloud.com/french-boutik

To buy our current releases:

To buy Mieux Comme Ca: www.copasetic.de/french-boutik-mieux-comme-ca
To buy previous vinyl: Sold at CopaseDisques, search: www.amazon.co.uk for French Boutik

Updated Releases and Tour Dates: www.facebook.com/frenchboutik/events


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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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December 1, 2015 By : Category : Bands Europe Front Page Interviews Music Scene Tags:, , ,
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Scooter Works talks to NUTsMag

I caught up with Craig the owner of Scooter Works for chat about his passion for motor scooters.

01. When and how did your passion for scooters come about?

I was inspired by Vespas as a kid in the seventies, living in the pacific islands the electric meter reader rode a Vespa 50S and took me for rides. I was seventeen when I got my first scooter, an LI125 series 2.

02. When did you turn your passion into your profession?

In New Zealand while an aircraft mechanic I would repair Vespas, Lambrettas and old cars as a hobby, which continued through a photography and a commercial pilot career until I arrived in the UK in 1993 where I started work at Agius Mtrs while I got on my feet over here. At the end of ’94 I imported my first scooters out of Italy and the business kicked off around then. I worked out of three lock ups in Peckham initially, taking on an arch in ’97 and opening my retail shop in Waterloo in 2000. I stopped importing about 5 years back to focus on the businesses I have. That was after bringing in about 3000 scooters.

03. What is Scooter works all about?

It’s about looking after people’s classic scooter needs with good solid honest service and customer back up.

04. I see from your website you sell vintage scooters and take on restoration projects?

We do everything regarding classic scooters – sales, restoration, repairs and MOT’s done in-house. We search out scooters for customers and give advice on ebay purchases. You could say a one stop shop for all your scooter needs.

05. How long does an average restoration job take?

It depends on the scooter, the sprayer’s schedule, spares supplies. A standard Vespa should be 12 weeks, Lambrettas will take longer.

06. How many scooters do you own personally and what models?

I have 12 Vespas and Lambrettas – all original paint. Sportique (200cc-old faithful), VBB2, SS180, SS90, SS50,1951 Faro Basso, Sportique 200cc no2 (in NZ), PK125, Lambretta SX200, TV ser2 , Eibar winter model and Ser3 150.

Then I have a collection of Piattis, Moto Guzzi’s, and other bikes Norton, Sunbeam, Motobecane, Benelli, Ducati plus eight classic cars, an airplane but no boat yet…

07. Please tell us about where you are based and the opening hours.

We are based in Bermondsey near Tower Bridge at 68 Enid Street, SE163RA. Opening hours are 9am-6pm Monday to Friday and open until 2pm on Saturday.

08. Do you sell and work on modern scooter models as well?

That’s the bread and butter of a classic scooter business – for us it’s about 30% of our work. We turn a lot away.

09. Do you sell spares and accessories and are these originals or are they being manufactured today?

We keep a lot spares in stock to keep old scoots on the road daily, accessories are mostly reproduction with the odd gem turning up now and again.

10. You always have a great selection of Vintage Lambretta and Vespa models for sale, are they getting harder to find now?

We don’t have as many as we used to, at one stage we had 150+ always in stock but now we are down to handful. I tend to leave the sales of scooters to the e-bayers and we are here to support those purchases.

11. Where do you see Scooter Works heading in the future and any other exciting projects in the near future?

We have diversified now with two bars, a coffee roasting and bakery business. The idea is to give us a buffer for the lean periods so you can count on us being around for a long time yet.

We will be expanding the workshop facility in 2016.

12. And lastly what do you think of the current Mod & Scooter scene in Europe?

It’s very busy and seems to be maturing with more appreciation of original non restored scooters.

Web Links:

www.scooterworks-uk.com

www.facebook.com/scooterworksuk66

 


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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

December 1, 2015 By : Category : Cars and Scooters Front Page Interviews Style Tags:, , , , , , , , , , ,
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David Flynn – Hey! Mr DJ

This entry is part 11 of 20 in the series Hey! Mr DJ 2

Flynny has been based in Tokyo, Japan for the last decade, but was one of the resident DJ’s (alongside Irish Greg, Alan. H and Carl Fortnum) at the much lamented Capitol Soul Club. He runs AnoraksCorner.com for full-on Rare Soul collectors and even breaks down how to identify where and when, and indeed by whom, your 1960’s US Soul 45’s were manufactured, set alongside the tasty record sales pages, all regularly updated!

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

So, there I was, a 9 year old kid attending the local youth club back in the latter half of the 70’s when in amongst the chart hits of the day there was a portion of the evening handed over to the “big kids” with their own choice of records, and the DJ instructing us youngsters to clear the dance-floor to allow them to do their fancy dancing! Hop forward a few months to the night of the school leaver’s disco (wave goodbye to Junior school!) and the legendary “England This England” TV documentary on Wigan Casino was shown. I can still remember watching it and yelling to my Mum to come and see as this was the music I liked and was now dancing around to! That was it, pretty much Northern Soul from the start!

02. Where was your first DJ slot?

That would be back in the early 80’s at the Wheelwrights Club in Gloucester at the age of 16, I was already a veteran (!) having attended Wigan Casino and the Yate nighters from the age of 14 and had already put together a fair collection of original US 45’s, thankfully pocket-money would cover original vinyl back then! I would do the warm-up set and can still recall a feeling of pride as I noted that I had original US copies of some of the bootlegs/pressings the older guys would then be spinning later the same evening – the spirit of OVO was with me from the get-go!

03. What was your most memorable DJ spot?

Can’t pin-point down to just one, but the Capitol Soul Club nights were always special…looking out across the crowded dance-floor there was inspiring. Those were special times in London, the CSC, Scenesville, These Old Shoes and the 100 Club were all riding high! I also must mention the Uptight all-nighters in Frankfurt – they were special to DJ at too as many friends frequenting them from all over Europe.

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

No complete disasters to report, thus far, but it was kind of heart stopping last NYE when I played the Mello Souls out in the UK for the first time (for me) and it jumped on the intro due to the springy floor by the decks!

05. Your favourite scene DJ’s and why?

Initially, I really enjoyed the sets from Dave Evison (Casino) and Jerry “Hippo” Hipkiss’ (Yate), as they mixed up popular and forgotten tunes – always with enthusiasm! Richard Searling of course, for his tail-end of the Casino classics, of which many have stood the test of time for both quality and rarity, and he always delivered them in a professional manner. Onto the mid-80’s with Guy Hennigan and Keb Darge pushing the scene forward in charismatic style, these guys were untouchable in their prime! The late 80’s early 90’s saw Butch solidifying his rightful place on the Soul-throne with a stream of top notch unknowns and Ady Croasdell took the Kent label to new lofty heights with the unissued material – again both presenting their sets in an addictive way that made one travel for hours to experience. I also must give nods of respect to Andy Dyson, Kitch, Dean, Kenny Burrell, Tony Smith and the omnipresent Arthur Fenn and Soul Sam, every one mentioned being consummate DJ’s and amongst my faves.

06. What has shaped your DJ sound and why?

I don’t have a specific “sound”, though it’s fair to say I am pretty much 95% 60’s only weaving classic Oldies, Stafford period anthems, 100 Club-esque big beat ballads and even a splash of Latin Boogaloo. Of late I am also conscious of playing possibly too many uptempo 100 mph sounds in a row, when I should be giving the dancers a breather between them, maybe!

07. What was your best ever find/discovery?

There is one acetate I have been sat on for a while though – it is a powerful version of a track called, “Go On Home”, also recorded/released by Ray Charles – albeit with a totally different backing track and pace. The backing vocals are reminiscent of those on John Leach’s, “Put That Woman Down”, the harmonica stabs are “Of Hopes, Dreams & Tombstones” and the lead male vocalist is strong and earthy, whoever he may be, but I’ll call him “Jimmy Frasier” for now! Finding the first copies of many Northern Soul classics on Japanese presses has also been satisfying – Lada Edmund Jr and Joey Heatherton on Japanese Decca instantly spring to mind – totally unknown to exist until I turned them up!

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

Musical directions – I would put forward Guy Hennigan and Ady Croasdell’s DJ sets as having majorly influenced my own development. I must also mention Joop Visser, who was a director at Charly Records during my tenure at that label/distributor – his passion for Jazz, Blues and vintage Soul was infectious. In fact my 20 years working within the UK music industry gave me access to so much music, so I honestly appreciate all kinds of musical genre – I also have to admit to having a rather large collection of vintage Japanese pressed Jazz and Latin albums! As for a favourite artist, for quantity and quality across a variety of styles I’ll go with Chuck Jackson, whose “Any Day Now” is one of my Desert Island discs for sure!

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

Nowadays my passion is for collecting and archiving vintage 60’s Japanese pressed 60’s US Soul, in fact I’ve been researching and writing a book on the very subject! There were no label listings, price guides or fanzines for me to refer to, so it has taken me years of collecting and reading through old record company catalogues in various archives, to actually piece together what came out, even for Motown! I am proud to say that I am now at the point where even the Japanese reissue labels come to me for information, pictures and source!

10. Where can folks currently catch your DJ set?

In the UK, only over the festive period nowadays – in Japan, the occasional collector’s night in Tokyo, and at least once per year down in Kobe at the Nude Restaurant, total respect to these guys who have held the only real-deal Northern Soul nighters in Japan regularly for longer than most UK clubs! Who knows, one day I may even pop up at a continental European doo once again!

Dave will be playing at The Nutty New Year Event in London, see all the details HERE!

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

Brief answer, I wouldn’t say no to the original acetate of “Suspicion”.

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

Top 10 Tracks of All Time:

I certainly don’t mind the following to be on repeat – never get bored of them:

  1. Larry Clinton – She’s Wanted – Dynamo
  2. Soul Incorporated – My Proposal – Coconut Grove
  3. Mello Souls – We Can Make It – Mello
  4. Eddie Parker – I’m Gone – Awake
  5. Detroit Soul – All Of My Life – Music Town
  6. Jimmy Raye – Philly Dog Around The World – KKC
  7. Nomads – Somethin’s Bad – MoGroov
  8. Yvonne Baker – You Didn’t Say A Word – Parkway
  9. Edwin Starr – My Kind Of Woman – RicTic
  10. Major Lance – You Don’t Want Me No More – Okeh

Current Top 5 Tracks:

I will go with these from the shelves:

  1. Mello Souls – We Can Make It – Mello
  2. Prophets – If I Had (One Gold Piece) – Shrine
  3. Counts – Peaches Baby – Shrine
  4. Jimmy Frasier – Go On Home – Acetate
  5. Joey Heatherton – When You Call Me Baby (alt. version) – Japanese Decca

Web Links:

AnoraksCorner.com


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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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November 30, 2015 By : Category : DJs Front Page Interviews Music Tags:, , ,
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Soul Sam – Hey! Mr DJ

This entry is part 13 of 20 in the series Hey! Mr DJ 2

I managed to bag an exclusive interview with the great Soul Sam ahead of his appearance on New Year’s Eve in London and this is what he had to say.

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

I got into music in the late 50’s, as a typical teenager, listening only to the latest American Rock’n’Roll releases and buying the likes of Jerry Lee Lewis, Fats Domino, Chuck Berry, Little Richard, Elvis Presley and Rick Nelson. The driving beat and tunes were the appeal as at the time as I wasn’t aware of the different r’n’b, rock-a-billy influences, my favourite artist being Buddy Holly and the Crickets! I listened to music in the local coffee bars or on radio Luxembourg and my very small record collection. By the 60’s I’d moved firstly to early r’n’b, then by the mid 60‘s, Motown & Stax, buying mainly “Soul’ Records but I also liked the Phil Spector sound, the surfing harmony sound, especially the Beach Boys.

02. Where was your first DJ slot?

In the Wrexham area, 1968, playing mainly in youth clubs, starting with the Victoria Y.C, then Queen’s Park and my first night club, Pepper’s Place, playing Club Soul, Motown and the latest uptempo soul releases and a few reggae record under the name of “Sam’s Soul Sounds” (no! I never had to play any progressive/heavy rock! LOL

03. What was your most memorable DJ spot?

This is impossible to limit to one, but most memorable nights included:

The Cleethorpes Pier All Niters (in my opinion the best ever!)

Raynscourt Hotel, Great Yarmouth (best cross over events)

In more recent times, Lifeline in the UK and the amazing European experiences at Bamberg and Barcelona.

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

Perhaps the worst was comparatively recently; two minutes before I was about to start my spot, I was threatened with legal action by another DJ for what I had written in an article about him, so was not thinking too much about what I was playing in the next hour!

No names and the venue itself were in no way responsible for what happened so will remain anonymous!

05. Your favorite scene DJ’s and why?

1. In the 70’s Colin Curtis, he was such a perceptive judge of a new sound and has never lost his enthusiasm – from Northern through Jazz into Soulful House.

2. Arthur Fenn, my best mate on the scene has great taste in music and is always trying to break new esoteric sounds.

More recently Butch, so knowledgeable and innovative along with Mick H, Andy Dyson who have certainly given that ‘Lifeline’ to our scene!

06. What has shaped your DJ sound and why?

I was first attracted to the rare Soul/Northern scene as I was hearing interesting different records on a weekly basIs and still love the enthusiastic attitude now.

I could never be an ‘Oldies’ DJ confined to the top 100-500 records of the same repeated sounds (however good they are) as I want to play/share any new finds/sounds with hopefully the punters.

Hence while I still love 60’s/Motown, I’m equally enthusiastic to program the best more funky and modern tracks.

07. What was your best ever find/discovery?

On a trip to the USA in the late 80’s with Arthur Fenn, we were in a shop in Philadelphia and found, as a complete unknown Tolbert, ‘I’ve Got It’ on Rojac for a few dollars. Since then it has been one of my favorite records, almost making my all time top 10.

08. Who was your biggest influence musically and your favorite artists(s)?

I’ve never had a “bigger influence” as such, being more attracted by the overall sound and tune of a particular record. In the late 60’s many Motown record appealed for this reason, as the northern and modern ones later.

I’ve always like the vocal delivery of artist such as Marvin Gaye, Gladys Knight, Otis Redding, Teddy Pendergrass, O’Jays, Temptations, but equally appreciate the one off masterpieces of totally unknown artists like the one in my top 10 all time favorite records.

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

The simple answer is no as I am not a completist only buying what I really like (and can DJ with), I do have many hundreds of Motown records, but would certainly not buy a Billy Ecstine Motown record!

As a result, I probably have records by over a thousand different artists on weird and wonderful labels, nearly all of which come under general category of “Soul” from the mid 60’s onwards to Y2K.

10. Where can folks currently catch your DJ set?

In the UK, I regularly do Lifeline, BAE systems at Broughtons, Radcliffe all-niters and many of the big Northern Weekenders, various small evening events around Manchester area (often more funky sounds here) as well as one off events around the UK and in Europe!

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

Perhaps the record I’d most like to own is one I don’t even have the correct information about, as it is a cover up by a mate of mine George Mahood – who credits this little gem to the Hamilton Movement.

Other top wants include, Bernard Drake ‘Do The Natural Thing’ (La Louisiana), Wanda Mcdanields ‘Ganster Boy’ (Appleray), Superbs ‘Wind In My Sails’ (Dore), Scott 3 ‘Running wild’

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

Top 10 tracks of all time

1. The Mark IV- If You Can’t Tell me Something Good – Brite Lite
2. Joseph Webster – My Love Is So Strong – Crow
3. Velvelettes – These Things Will Keep Me Loving You – Soul
4. Moses Smith – The Girl Across The Street – Dionn
5. 4 Dynamics – Thing’s That A Lady Ain’t Supposed To Do – Peachtree
6. Lil Manor Williams – Girl (You’re So Sweet, You’re So Fine/Girl Don’t Leave Me – Williams III
7. John & The Wierdest – Can’t Get Over These Memories – Ties
8. Jan Jones – Independent Woman – Day Wood
9. Eddie Foster – I Never Knew – In
10. Supremes – Stoned Love
11. McFadden & Whitehead – Ain’t No Stoppin’ Us Know – Philadelphia International

Current Top 5:

1. Tommy Deny – Soul Thing – Cobblestone
2. Aggregation – A Child Is Born – Charity
3. Bamboos/Chris Columbus – Tighten Up (2 version) Kay Dee
4. Betty Boo – Jingle Jangle – Bell Sound Studio Acetate
5. Unity & The Down Beats – Love Dream – Sound Of Selma


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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

November 30, 2015 By : Category : DJs Front Page Interviews Music UK Tags:, , ,
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