Browsing Tag NUTSMAG

Reviews June 2017 – Part 1

The Baron Four

‘Silvaticus’ – LP

Formed 2012, it’s been a couple of years since Baron Four’s last outing, but this has been well-worth waiting for. They have always set out to capture the exciting sound of classic Beat and Rhythm & Blues, and this is another quality example, and in my opinion, their best work so far. ‘It’s Alright’, ‘Don’t Need You Anymore’ and ‘Certain Type Of Girl’ evokes the spirit of the Pretty Things, Kinks and Yardbirds. 2014s ‘Out Of The Wild Come The Baron Four’ is their only album to date, but this EP is a welcome addition to the fine collection of singles before and since that LP. If you are going to the Brighton August Bank Holiday Weekender, you can catch the Baron Four live at Volks Tavern on the Saturday afternoon with Men Of North Country.

facebook.com/thebaronfour
thebaronfour.bandcamp.com

BJ’s New Breed

‘How Come’ b/w ‘I’ll Never Come Back Again’ – Single

BJ’s New Breed rose from the ashes of Vienna’s Jaybirds and The Attention a few years back and return with this classy 45 of Beat-inspired garage. ‘How Come’ is a mid-paced Beat ballad, while ‘I’ll Never Come Back Again’ sees the BJ’s back on familiar territory, with this rockin’ fuzz belter. Definitely, one to look out for on Time For Action Records.

facebook.com/BjsNewBreed

Dukes Of Hamburg

‘Germany’s Newest Hitmakers’ – LP

Surely there are few finer exponents of Beat/R&B in Germany than the Dukes Of Hamburg and they have been ever present on the scene not just in Europe, but in America for a long time. Formed and led by the irrepressible Thilo Pieper, The Dukes give us a rockin’ great set of R&B belters with this album including tracks originally by the likes of Larry Williams, Big Joe Turner, Chuck Berry, Cab Calloway and Herman’s Hermits (yes you did read that correctly !) Their version of ‘I’m Henry The VIII’ is far more enjoyable than the original, just for the sheer fun of it. What I really like about The Dukes is the way they appear not to take themselves too seriously, but really know how to get the best out of any song they tackle.
Great fun and a great album.

facebook.com/DukesofHamburg
www.dukesofhamburg.com

The Haggis Horns

‘Take It Back feat Doc Brown’ b/w ‘Take It Back instrumental’ – Single

The Haggis Horns have been around in the UK funk and soul scene for over ten years and 2015s album ‘What Comes To Mind’ was a highlight of that year. This Leeds-based combo has cut another slice of top-drawer funky soul with this single. The A side features rapper Doc Brown (which may not be to everyone’s taste here at Nutsmag), but make no mistake, the instrumental flip side more than holds its own as a stand-alone track. Rumour has it a new album is on the way, so soul and funk fans, keep your ears open for that one while enjoying this single.

www.thehaggishorns.com

facebook.com/thehaggishorns

thehaggishorns.bandcamp.com

Shindig Magazine

Issue 68

After the scare last year when the future of Shindig looked in doubt (through no fault of Mr. Mills or Mr. Morton) thankfully the best music magazine by a country mile is still going strong and what a treat this edition is; especially for mods. Apart from all the usual features like the extensive reviews, news and interviews with up-coming bands (Shindig are more clued up than most on that score), this edition features the last ever interview with Steve Marriott, a cracking interview with Steve Ellis and a major interview with Paul Weller.
And it is the Weller feature that is proof that Shindig really has moved to the top of the league. Let’s face it; Mr. W is not one to suffer fools or journalists gladly, so when he does give an interview, you know he has checked out exactly who he is dealing with and it is clear from this piece that he was very comfortable in the company of Jon Mills and Paul Osbourne.
In these days where the last surviving music paper is so far up its self it is an irrelevance, the magazine for vinyl junkies has lost its way and the only ‘general’ music mag seems content to wallow in the dull corporate-mire of the music biz, be thankful that Shindig is a reminder that quality, innovation and editorial independence is still alive and kicking.

https://www.shindig-magazine.com
facebook.com/Shindig.Magazine


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Graham Lentz

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

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July 3, 2017 By : Category : Bands Front Page Music Reviews Tags:, , , , , ,
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Reviews June 2017 – Part 2

The Riots

‘Now Or Never’ b/w It’s My Life’ – Single

If ever there was a band that should have been huge, it is The Riots. This single was a follow-up to 2013’s ‘Time For Truth’ debut album which had massive appeal and support from the mod-rock fraternity in the UK. An ill-fated UK tour was arranged, but due to bad planning by the promoter and the British authorities refusing a visa to lead singer and guitarist Sasha Bolotov, the tour went ahead with the other bands while the two other members of The Riots sat out the entire time in a hostel in London with no money and help. Although they toured the rest of Europe successfully, it was the UK market that they really needed and that put a strain on the band who have been inactive for a while now, but there is always hope they will be back. This single shows just what a powerhouse band they were and that they could match contemporaries like The Spitfires, The Orders or The Costellos. A classy piece of powerpop/mod-rock from Moscow’s finest. Скоро вернусь мои друзья (Come back soon Riots)

facebook.com/TheRiotsBand
theriotsband.bandcamp.com
www.theriots.band

Samuel S Parkes

‘Lock and Key’ b/w ‘Let Me Go’ – Single

This Leeds-based outfit really have gone from strength to strength over the last few years working with the likes of Martha Reeves and the Vandellas and Dennis Greaves. They class their music as ‘new northern’ which is a good way to describe it. ‘Let Me Go’ is a Hammond-driven belter of Northern-influenced dance music, while ‘Lock and Key’ is a delightful soul ballad. Samuel S Parkes is another one of those bands that is destined for even greater things in future and if you haven’t seen them live, you should. Apart from the music, watching backing vocalist and percussionist Rachel Mary Shaw go through her routine is enough to make you feel tired!

facebook.com/samuelsparkesmusic
twitter.com/samuel_s_parkes
samuelsparkes.bandcamp.com/

Sidewalk Society

‘Strange Roads (the songs of Rolled Gold by The Action)’  – LP

Regular readers of Nutsmag Reviews may well be familiar with Sidewalk Society; the trio from Long Beach, California who have a great love of British music of the 60s. This new album on Fruits De Mer Records is their interpretation of the legendary demos recorded by The Action between ’67 and ‘68 that stayed buried until the early 90s when they were released under the title ‘Rolled Gold’. Losing George Martin as their producer became the catalyst for the breakup of The Action which meant the demos remained just that; demos. So Sidewalk Society decided to interpret these songs in a very considerate, passionate and respectful manner. There is no point trying to make comparisons here, so I’m not going to. Dan Lawrence, Dan West and Jerry Buszek are very talented musicians who have used the base material to explore all possibilities without diluting the class of the songs. Sidewalk Society does have their own ‘sound’, so this is no attempt at being copyists. The arrangements are superb, the production is top drawer and in short, they have made an excellent album.

facebook.com/sidewalksocietymusic
www.sidewalksocietymusic.com
www.fruitsdemerrecords.com/sidewalk

Weeks

‘Get Away’ b/w ‘Law and Order’ & ‘Fingers Raised’ – Single

This is the debut single by Isle Of Wight-based four-piece, Weeks. Featuring Liam Hodge (formerly of The Jam DRC), Marc Maitland, Nigel Lynk and Sid Ryan. All three tracks are very definitely in the punk/powerpop/mod-rock style; fast-paced, power chords and angry vocals, but there is something a little different that makes these tracks not quite as predictable as you might assume. Granted, some bands can sound a bit ‘samey’ in this genre, but maybe it’s the fact that all four band members supply vocals or it’s the structure of the tunes or it may be they don’t sound like a rehash of mod ’79. Whatever it is, Weeks have come up with a very impressive debut and they are so new, they haven’t yet organised any social media links, so you will have to go via the splendid Time For Action Records to get a taste or buy a copy.

www.timeforaction.de
https://en-gb.facebook.com/Time-For-Action-Records-299324823433736

The Franklys

‘Are You Listening’ – LP

And so, after five years and over 250 reviews for Nutsmag, this album is my final contribution and it almost seems appropriate that it should be The Franklys debut LP. It was April of 2013 that I first reviewed the debut EP from this band. I heard great potential in what they were doing and through these pages, the Nutscast Sessions podcast and at Blues Kitchen for Nutsmag Review Night, I have tried to champion The Franklys because I thought they could ‘make it’. And here they are with a collection of ten songs, some are familiar to die-hard fans (Puppet, Bad News, Weasel for example) and some that are new numbers. Lead track ‘Castaway’ is the very definition of who and what The Franklys are about; brilliant, in-yer-face, all-girl rock and this is a fine a debut album as you could ask for. They are a complete unit with Jennifer Ahlkvist’s attacking vocals, Fanny Broberg’s lead guitar, Zoe Biggs’ solid, dependable bass, all held together by new drummer Lexi Clark. I am extremely proud of  The Franklys because they are proof that Nutsmag really is at the grassroots of music and is not afraid to recognise great new talent and back it with reviews, interviews and gigs. We listened when no one else did, now four years later, mainstreamers like NME and Louder Than War are taking them seriously. Next stop for The Franklys has to be Glastonbury surely?

So thank you all for reading the reviews over the years. I hope you have enjoyed them and they have led you to discover a band that you have become a fan of because they need you as much as you need them. And I just want to thank Rob Bailey and Barry & Denise Pease for all their help.

www.thefranklys.com
facebook.com/thefranklys
twitter.com/TheFranklysUK


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Graham Lentz

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

More Posts - Website - Twitter - Facebook

July 3, 2017 By : Category : Bands Front Page Music Reviews Tags:, , , , , ,
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Jazz for Modernists 12 Grant Green 6 of the best

In the pantheon of guitar greats, Grant Green (1935-1979) stands tall. Troubled with health problems and yet hugely prolific throughout the 1960s, his fluid, bluesy and bebop-inspired guitar licks can be found on over 50 recordings for Blue Note during that decade (as leader and sideman). A melodic player of crisp, crystalline linear runs, inspired as much by saxophonist Charlie Parker as guitar hero Charlie Christian, Green’s first recordings were with tenor sax player and fellow St. Louis native Jimmy Forrest for the United label.

Around 1959/60, after being ‘discovered’ by Blue Note stalwart and alto sax man Lou Donaldson (with whom he toured briefly), Green moved to New York where he was introduced to Blue Note’s Alfred Lion. Hugely impressed, Lion started recording him as leader on a glut of sessions (some unreleased until the late 70s) and sideman for Baby Face Willette, Hank Mobley, Stanley Turrentine, Don Wilkerson, Lou Donaldson, Jimmy Smith and Ike Quebec. Though initially fitting perfectly into the soul-jazz organ trio, gospel and Latin formats, Green’s early experience of playing with Coltrane drummer Elvin Jones would in time see him participating in some of Blue Note’s more adventurous recordings by the likes of Herbie Hancock (My Point of View), Bobby Hutcherson (The Kicker), Lee Morgan (Search for the New Land) and Larry Young (Into Somethin’).

Green’s initial period of success at Blue Note ran from 1961-1965. This was followed by a brief flirtation with the Verve label, a period of enforced absence and a return in 1969 for a series of funky but rather patchy LPs later championed by the acid jazz movement. In terms of overall legacy, mention must be made of four or five outstanding LPs he recorded for Blue Note as leader: Grant’s First Stand (1961), Idle Moments (1963/5), Talkin’ About! (1964/5), Street of Dreams (1964/7) and Matador (1964/79). Ranging from soul-jazz through to modal grooves, these are all essential additions to the collections of the thoughtful mod about town (or in her or his rural retreat). However, for those interested either in the dance floor or creating a party atmosphere, here are six tracks culled from the Green back catalogue that were released as singles (edited versions of album tracks). Some, if not all, will be familiar to long-standing participants in the mod and jazz dance scenes.


1. ‘Miss Ann’s Tempo’ (1961) 45 – Blue Note 1811; 33 – From Grant’s First Stand BST 84064
WATCH & LISTEN HERE

From Green’s second Blue Note session (first to be released), ‘Miss Ann’s Tempo’ was also his debut single for the label, coupled with his version of Porter Grainger’s blues standard ‘Ain’t Nobody’s Business if I do’. A trio date, with Ben Dixon on drums and Baby Face Willette on organ, the vibe is similar to Brother Jack Mcduff’s The Honeydripper session for Prestige recorded just a week later and also featuring Dixon and Green. Intriguingly, a track by Eric Dolphy, ‘Miss Ann’, had been recorded with Booker Little the previous October. There’s plenty of righteous call-and-response jousting here between Green’s limpid melodies and Willette’s chugging chords and gospel-drenched soloing. One for the expert jazz dancers!


2. ‘Mambo Inn’ (1963) 45 – Blue Note 1870; 33 – From The Latin Bit BST 84111
WATCH & LISTEN HERE

Throughout 1961 and 1962, Green featured on around 25 Blue Note recordings and a handful for Prestige and one or two other labels. Collectors of Blue Note 45s will therefore hear his playing on singles of the period by other artists. Such mid-tempo dance floor tunes include Lou Donaldson’s ‘Watusi Jump’, Dodo Greene’s ‘You are my Sunshine’ and Don Wilkerson’s ‘Camp Meetin’. Two 1962 sessions also led, the following year, to the release of The Latin Bit, from which the Mario Bauzá-Edgar Sampson-Bobby Woodlen tune ‘Mambo Inn’ was culled for the jukebox. An uplifting blend of Afro-Cuban rhythms and bluesy bop, this tune features Willie Bobo and Carlos Valdes on percussion and John Acea on piano.


3. The Cantaloupe Woman (1965) 45 – Verve VK 10361; 33 – From His Majesty King Funk Verve V/V6-8627
WATCH & LISTEN HERE

Likely to be heard at many a New Untouchables night, ‘The Cantaloupe Woman’ comes from Green’s only session as leader for the Verve label, 1965’s His Majesty King Funk. While this swings like an upbeat Lee Morgan tune of the era, a new modal undercurrent is present, provided by the Hammond playing of Larry Young, for whom Green had supplied guitar on his debut Blue Note LP Into Somethin! (1964). On that session, Green was reunited with Elvin Jones and sparred alongside the more avant-garde saxophone playing of Sam Rivers. Change was in the air.


4. Big John Patton: Amanda (1966) 45 – Blue Note 1926; 33 – From Got a Good thing Goin’ BST 84229
WATCH & LISTEN HERE

Between 1963 and 1966, Green appeared on six Blue Note LPs led by Hammond man Big John Patton. The last in the sequence, Got a Good Thing Goin’ yielded the 45 ‘Amanda’, a cooking cover of the Duke Pearson tune that kicked off his 1964 date Wahoo! Although his initial role is to vamp a rhythm, Green lets loose a cracking solo half-way through the album version. One of those addictive melodies that it’s good to know exist in edited format for the club night and in longer versions for domestic pursuits. At over nine minutes, the Pearson version (without Green) is especially wonderful as a soundtrack to preparing vegetables.


5. Ain’t it Funky Now (1970) 45 – Blue Note 1960; 33 – From Green is Beautiful BST 84342
WATCH & LISTEN HERE

On July 1, 1966, Grant Green played on Stanley Turrentine’s Rough ‘n’ Tumble, a date including the wonderful singles: ‘And Satisfy’ (Blue Note 1929) and ‘Feeling Good’ (Blue Note 1933). Apart from a solitary 1967 date later released on Cobblestone as Iron City (1972), he would then be absent until early 1969. By this time, rock, boogaloo and funky soul were entering new dialogues with jazz; the period from 1969-1972 would see Green return as a key figure in the groove-based styles later defined as acid jazz. Much of 1969 was seen recording with Prestige artists such as Rusty Bryant, Charles Kynard and Don Patterson and Reuben Wilson’s enjoyable Blue Note date Love Bug. By October, he was leading his own sessions, one of which, 1970’s Green is Beautiful, gave us the monumental groove ‘Ain’t it Funky Now’, released as a Parts 1 & 2 single. Idris Muhammad’s marvellous drumming helps make this take on James Brown a memorable one.


6. Sookie Sookie (1970) 45 (edit): – Blue Note 1965; 33 – From ‘Alive!’ BST 84360
WATCH & LISTEN HERE

From the subsequent Blue Note LP, recorded live in August 1970 at the Cliche Lounge in Newark (New Jersey as opposed to Nottinghamshire), Don Covay and Steve Cropper’s 1965 ‘B’ side is given a full funk workout. Green, organist Ronnie Foster, and tenor sax player Claude Bartee improvise righteously over a solid groove laid down by Idris Muhammad, Joseph Armstrong on congas, vibes player Willie Bivens and Foster on organ bass pedals. Some of the material Green worked on with Blue Note after 1969 was not as strong as this, but overall he could be proud of the legacy he left for the label from 1960 to 1972. We’ll be looking at more legends of the label in the future. Until then, enjoy these tunes.



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James Thomas

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

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June 30, 2017 By : Category : Bands Front Page ModJazz Music Picks Tags:, , , ,
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Hey Mr DJ – Glyn Preece

This entry is part 7 of 7 in the series Hey! Mr DJ 6

NUTSMAG recently caught up with DJ Glyn Preece in for a nice chat about music.

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

I got into the mod & scooter scene late 78, early 79 , I grew up listening to music through my parents, They were into Rock & Roll, so I was listening to the likes of Elvis Presley, Little Richard, Chuck Berry & such like, I was going to youth clubs & discos from an early age & hearing The Who, Small Faces, The Jam, & Motown sound and it went from there finding out about Motown, Northern Soul, R&B. Finding out about the clothes, style & Scooters… I was hooked.

2. Where was your first DJ slot?

My first DJ slot was at some old youth club, playing tunes from small collection out my little ” youth club box” which still have.

3. What was your most memorable DJ spot?

Most memorable. I get a buzz from DJing anywhere really. Although being asked to DJ in Turin was amazing. I love Italy anyway, so to go and DJ was fantastic. I would love to go again as well as other places abroad. To be asked to DJ at Brighton is a huge honor for such a fantastic weekend.

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

My worst DJ experience, thankfully I haven’t really had any apart from the odd technical hitch with decks, amps etc.

5. Your favorite scene DJ’s and why?

Haven’t got a favorite, So many Top DJ’s out there & some brilliant new blood. But whoever the DJ, If they play thumping tunes top tunes, underplayed, never heard before. That’ll do for me.

6. What has shaped your DJ sound and why?

Well growing up listening to Rock & Roll & the Mod revival going to Northern Soul events & DJing at them as well as Mod & Scooter rallies… Hearing the early R&B, Boogaloo, Latin, Jazz. Always hearing more sounds that not heard.

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

My biggest influences are the Small Faces, The Who & Motown.

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

Haven’t really got any favorites, I hear so many great sounds I couldn’t pick a favorite.

9. Where can folks currently catch your DJ set?

You can currently see me DJ at OUT of TIME – Wolverhampton, Secret Door – Telford.

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

All of them, my wants list is endless.

11. Please give us a top 10 all time favorites spins?

Top 10 Tracks of All Time:
Tough to pick top 10, they’re always changing’, In no particular order:
1. Freddie Hubbard – Return of the prodigal son
2. John Lee Hooker – Money
3. The Young Holt Trio – Ain’t there something that money can’t buy
4. Maurice Simon & the Pie Men – The Git Go
5. The Golden Toadstools – Silly Savage
6. Louis Jordan – What I say
7. The Soul Society – The Sidewinder
8. The Marvelettes – Destination Anywhere
9. Curtis Mayfield – Move on up
10. Small Faces – All or nothing

 


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drrobert

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

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July 3, 2017 By : Category : Articles DJs Front Page Interviews Music UK Tags:, , , ,
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UK Tamla Motown singles Part 3

This entry is part 6 of 6 in the series Collectors Corner 2

“I’ll be doggone! – UK Tamla Motown singles Pt.3: TMG500 Series”

 

At the end of the second part of our trawl through the near-perfect run of soul classics released in the UK from the USA stable of record labels (Tamla, Motown, Gordy and Soul), boss Berry Gordy had just put pen to paper for EMI in Britain to follow Decca’s lead (with Atlantic the previous year) and launch Tamla Motown as a stand alone label to release the labels hits pouring out of the USA in the UK. With much fanfare, and with a corresponding (and very poorly attended at times) package tour featuring The Supremes, Martha & The Vandellas, Stevie Wonder, Miracles and the Earl Van Dyke six, March 1965 saw the first six records pressed and released to a British public becoming more and more interested in the soul sounds pouring out of the other side of the Atlantic. TMG 501 was the first release, with its iconic black and silver label, large 45 rpm on the right-hand side, and clad in a beautiful orange / white company sleeve. Things couldn’t have got off to a better start as The Supremes “Stop! in the name of love” hurtled up the charts to number 7, followed swiftly by Martha & The Vandellas “Nowhere to run” which reached #26 at the same time. Thus started a near perfect run of singles, commonly known as the TMG 500 series, which have been avidly collected by record hoarders ever since.

The Supremes quickly established themselves as the labels biggest hitmakers, frequently hitting the top ten throughout the decade, including 500 series favorites “You can’t hurry love” and “You keep me hanging on”. They were soon followed by The Four Tops who hit the charts with “I can’t help myself”, “It’s the same old song” and in 1966, having the first bonafide Tamla Motown UK number one with “Reach out I’ll be there”. Other artists began to have minor hits too, The Miracles “Going to a go-go”, Stevie Wonder’s thumping “Uptight (everything’s alright)”, Marvin Gaye’s “Little darling” and The Temptations “Beauty is only skin deep” all reaching the charts. The same artists also gave us some very sought after rarities too, as they all had flop releases at the same time. The Supremes “Love is like an itching in my heart”, Four Tops “Ask the lonely”, Marvin’s “I’ll be doggone” and The Temptations “Get ready” always fetch good money with collectors, even though they do turn up for sale quite often.

After a great start, the label had more hit & miss luck releasing singles, with 1965 seeing quite a few record releases selling almost nothing then later becoming sought after “lost” classics on the northern soul scene. Early release must haves include Kim Weston’s “I’m still loving you” (TMG511), Brenda Holloway “When I’m gone” (TMG510), Shorty Long’s “Out to get you” (TMG512), The Hit Pack “Never say no to your baby” (TMG514), Choker Campbell “Mickey’s monkey” (TMG517) and The (Detroit) Spinners “Sweet thing” (TMG514). Most of these early singles hit £100+ when they come up for sale, which isn’t very often! The rest of 1965 saw a flurry of good selling releases from label favorites, with The Contours and The Marvelettes also getting in on the action. Four very poor selling releases stand out amongst this run of classics, none of which are easy to find. Billy Eckstine “Had you been around” (TMG533), Dorsey Burnette “Jimmy Brown” (TMG534), The Lewis Sisters “You need me” (TMG536) and Tony Martin “The bigger your heart is” (TMG537) are all sought after, mainly due to rarity as they aren’t amongst the best of the labels’ releases!

As 1966 came around the label continually released great records with varying degrees of success. Joining the artists mentioned above saw releases by Kim Weston, Shorty Long, Gladys Knight & The Pips and, with one of Motown’s greatest ever songs in “This old heart of mine”, The Isley Brothers. Some notable, and scarce releases this year included Kim Weston’s Northern favourite “Helpless” (TMG554), The Contours “Just a little misunderstanding” (TMG564), The Elgins “Heaven must have sent you” (TMG583) and Gladys Knight & The Pips masterpiece “Just walk in my shoes” (TMG576). Hardly a duff release was pressed at all up to TMG599 in March 1967, such was the stellar amount of talent pouring out of Detroit at the time. This is partly why this period of Motown releases is so sought after. Although collecting “the hits” can be done quite cheaply and easily as the label sold tonnes of 45’s in the mid to late 60’s in Britain, completing the set does require quite a fat wallet! Black label stock copies are generally a lot cheaper (though not always easier to find) than the very sought after iconic Red A label demo discs which were pressed in very small numbers and are much cherished by UK soul release connoisseurs. The main exception to this rule is the Spinners “Sweet thing” which is near impossible to find as a stock copy. Monetary value aside, a complete collection is a sight (and sound) to behold, and once complete you’ll be in possession of one of the best ever set of musical releases ever. Happy Motown hunting!


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James Clark

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

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July 3, 2017 By : Category : Articles Club Soul Front Page Music Picks Reviews UK USA Tags:, , , ,
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The Kinks on Pye: Part 2 – “I’m not like everybody else”

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

During our last article, we concentrated on The Kinks hit-packed period when they never seemed to be off the charts. As psychedelia took hold of 1967 and strangled most British bands in beads and flowers, The Kinks took off in a different direction and released some wonderfully wistful and melancholic masterpieces. These songs seemed to hark back to a more innocent time which probably only existed through rose-tinted (psychedelic) spectacles anyway. Ray proceeded to write a series of genius 45’s, and more importantly, albums which unbelievably sold less and less with each release. 1968 started well for the boys with the budget LP release “Sunny afternoon” hitting the top ten during the important Christmas market and selling very well indeed. So when Pye released the first new material of the year in April 1968, the lovely and restrained stand-alone 45 “Wonderboy” would have been assumed to sail into the top ten, but it unbelievably stalled at a lowly number 36 in the charts. This began a run of wonderful, yet underappreciated single releases which were low sellers, hence the rarity of some of them today.

Two months later in June ’68, one of Ray’s most loved compositions, “Day’s” was released and fared much better, just stalling outside the top ten at number 12. Though all the bands singles contain nuggets hidden away on their B-sides, this one had one of the bands hardest rockers on the flip, “She’s got everything”. Originally recorded and shelved two years earlier, it could have been a big hit in 1968 as The Stones, Beatles and Move all had massive rock’n’roll influenced hit singles. Luckily it wasn’t forgotten and still fills mod dancefloors to this day as soon as it starts up. Into 1969, the thumping “Plastic man” was released and again reached no higher than number 31, a flop by the band’s lofty standards. It seemed the better Ray’s songwriting became, the fewer people bought the bands records. “Drivin'” was released in August 1969 and became the first 45 to miss the hit parade since “You still want me” in early 1964. Even worse was the total no-show of “Shangri-la” in September which sold incredibly poorly and is one of the hardest of UK Kinks singles to find. In December, the upbeat album track “Victoria” at least managed to hit the low 30’s in the chart but it took a tale of a Soho nightclub meeting with a transsexual to have the band visiting Top of the Pops again. “Lola” was soon flying up the charts and hit the number two slot in August, kept off the top by Elvis. Shortly after “Apeman”, backed with the wonderful “Rats” on the flip, became the group’s last UK top ten hit when it reached number five in the summer. “Days”, “Lola” and “Apeman” apart, these 45’s are now quite hard to find, especially in top condition and prices have risen in the last few years. Expect to pay between £10-20 for the low sellers and up to £30 “Shangri-la”. All were pressed up as yellow demo copies, these are also really sought after and can reach £100+ at auction. A quick shout must go out to Dave Davies at this point. In between 1967 and 1968, he released four cracking solo 45’s and a super rare EP, “Dave Davies Hits”, which is a £200+ artifact nowadays. All four singles (Death of a clown, Suzannah’s still alive, Lincoln County and Hold my hand) are worth seeking out, the last one, in particular, is hard to find and is coveted for it’s fantastic psychedelic B side “Creeping Jean”.

The decline of fortunes in the singles chart was mirrored with the blue label Pye album releases, none of which charted at all. The 1968 release “The Kinks are the village green preservation society” needs no introduction to Kinks aficionado’s, it’s simply one the all-time album masterpieces. Originally envisaged as a twelve track album, a handful of white label promos were pressed up before the track listing was changed to the fifteen track album we all love today. It’s impossible to put a price on the promo copies, but even the released album reaches £200+ in top condition as it sold in small amounts. This album, and it’s follow-up were both released in mono and stereo, the former the harder to locate and more valuable to collectors. They were both encased in very flimsy laminated gatefold sleeves which are invariably damaged and worn, make sure you look after any mint copies out there! “Arthur (or the decline and fall of the British empire)” was released the following year in 1969, and although similarly full of stellar Ray Davies songwriting, this one sold in small amounts too. Hence it has a £100+ price tag nowadays with the “Queen Victoria” insert still there (it’s invariably missing!). 1970’s “Lola vs Powerman and the money-go-round” was the first to be a stereo only release and sold more than the previous two, mainly due to the massive hit singles released at the same time. For a band to release so many groundbreaking and classic songs on Pye, it’s a shame that their parting shot was a soundtrack to
the 1971 Hywel Bennett film “Percy”, a comedy about a man who has a penis transplant. The album still sells for a good price, mainly due to its creators, and Pye also released four tracks from the album as a “maxi-single” with a picture sleeve at the same time. The band signed a contract with RCA in 1971, becoming the “Muswell hillbillies” of that decade who would, at last, have massive success in the USA. But it’s that catalogue on the iconic pink and blue Pye label that will always hold a place in most collectors hearts.


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James Clark

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

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May 9, 2017 By : Category : Articles Bands Front Page Music Picks Reviews Tags:, , , , , , , ,
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Newbreed – Los Retrovisores

This entry is part 4 of 6 in the series Newbreed5

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

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

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

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

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

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

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

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

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

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

05. How would you describe the style you play?

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

06. What are your live shows like?

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

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

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

08. What are your main influences outside of music?

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

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

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

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

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

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

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

12. What has been the biggest challenge to date?

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

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

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

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

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

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

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

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

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

Discography:

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

Web Links:

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


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drrobert

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

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February 23, 2017 By : Category : Bands Europe Front Page Interviews Music Scene Tags:, , , , ,
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NewBreed – New Candys

This entry is part 2 of 6 in the series Newbreed5

New Candys formed in Venice (Italy) in 2008, consisting of Fernando Nuti (vocals, guitar, sitar), Diego Menegaldo (vocals, guitars), Stefano Bidoggia (bass, organ) and Dario Lucchesi (drums, percussion). Their influences have roots in The Velvet Underground and Syd Barrett.

After a self-produced EP, in 2012 they released the album “Stars Reach The Abyss” on Foolica, a UK tour followed. In 2015 they took part in “The Reverb Conspiracy”, a compilation curated by Fuzz Club/The Reverberation Appreciation Society (Levitation Austin). Later that year “New Candys As Medicine”, album mixed by John Wills (producer and drummer of Loop), has been released on both Picture In My Ear/Fuzz Club and added to The Committee To Keep Music Evil catalogue, receiving praises from Simone Marie Butler of Primal Scream and Stephen Lawrie of The Telescopes.

Two EU/UK tours followed, including festivals like The Secret Garden Party 2015 and Liverpool Psych Fest 2016. They shared the stage with The Warlocks, Dead Skeletons, Crystal Stilts, Slowdive, Savages, Jon Spencer Blues Explosion and The Vaccines among others.

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

For 9 years now, half of us were friends since teenage years, the other half because of the common passion for music.

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

Lots of bands, every time one of us discovers something cool it starts being played in our van, we talk a lot about what we like to see if it can become an influence on our own music.

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

There are many, all of them truly believe in what they do and we like them: Kill Your Boyfriend, Mother Island, Gli Sportivi, Supertempo, High Mountain Bluebirds, Zabrisky, Miss Chain & The Broken Hills, Father Murphy, Hund, Temple Mantra and many others.

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

The city we come from is Treviso, a boring city with a passion for food and nothing else, the area of Venice let us become what we are today, with people more passionate about music and real interest in culture.

05. How would you describe the style you play?

Modern dark rock’n’roll.

06. What are your live shows like?

It depends, if the venue is not too big and people starts moving and dancing since the beginning, we can show our best. Lights/visuals also have an impact on our performance, the darker the better.

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

We played some covers of The Velvet Underground, probably our main influence together with Syd Barrett. Nirvana, Oasis and Brian Jonestown Massacre have been important for us too. Speaking about what is normally considered a “classic”, we don’t like Led Zeppelin, Queen and generally all bands where vocals sound like Axel Rose.

08. What are your main influences outside of music?

Cinema, directors like Fellini, Argento, Bertolucci but also Refn, Kubrick, Lynch to name a few. Poetry, Blake, Bukowski and of course Dante Alighieri.

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

We write together, the subjects are surreal sometimes, metaphorical, lyrically we try to describe a scene, like painting, using words just to evoke images, we’re not interested in carrying clear and immediately understandable messages. It is important to give freedom to the listener, let everyone’s sensibility influence the codification of a song.

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

Probably are the ones from the new album, after a while, you get tired of playing the old songs so the newer sounds fresh and are more interesting to play. From another artist, we like “Some Velvet Morning” by Hazlewood/Sinatra.

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

We feel like we are part of a scene because we end up playing shows with the same bands in different parts of Europe, and we can see there is a net that includes all these bands. This is really helpful, we feel like we all share the same attitude, have roots on almost the same cool music.

12. What has been the biggest challenge to date?

The recording process, in general, is difficult, psychologically and technically, it’s a completely different thing than playing live and writing.

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

We rehearse at least two times a week, more if we are in a productive creative moment. We play live as much as possible, record once a year (or two).

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

Media are not involved much in what we like, the internet is the only way to find interesting stuff. If the music scene is what we see on TV these days, we would probably not be a band now. American hip-hop and mainstream pop bands/singers currently under the spotlight are simply pure rubbish with nothing to say, if people like them, good for them.

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

Mainstream… The Strokes maybe? About underground bands, we like BRMC, The Black Angels, The Warlocks, The Dandy Warhols, A Place To Bury Strangers, Dead Meadow, Singapore Sling and many others.

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

We don’t have big knowledge about producers, to be honest, so let’s say with someone interested in us that has done albums we like.

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?

A new album this year with a US/Canada tour after, that’s our main goal. We’re excited for our new short tour (before the new album), here you can find the shows listed: newcandys.com. Many thanks for the interview!

Social Links:

Website – newcandys.com
Facebook – facebook.com/newcandys
Twitter – twitter.com/NewCandys
Bandcamp – newcandys.bandcamp.com
Soundcloud – soundcloud.com/newcandys
Instagram – instagram.com/newcandys


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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 12, 2017 By : Category : Bands Front Page Interviews Music Tags:, , ,
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Hey! Mrs DJ – Miss Clawdy

This entry is part 6 of 7 in the series Hey! Mr DJ 4

We recently caught up with DJ Miss Clawdy to talk about her musical outlook.

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

My Dad was a Saxophonist in a band during the 70s and when I was young he used to spin some of the songs he was playing with that band, such as “Booker-T Green Onions and Willie Mitchell 30-60-90”. Those sounds were weird and fascinating to me and at the age of fourteen, my Sister who was a Mod got me listening to classics from the 50s, 60s and Ska.

02. Where was your first DJ slot?

Was in a club called Indian in Pisa, in front of a few happy people and some drunk friends. I remember being so excited I wrote a quintessential playlist some days prior to the gig that I followed song by song. That night me and my friends had so much fun that I decided to continue DJing and that was an excuse to buy more records.

03. What was your most memorable DJ spot?

I particularly like my DJ Spots for a club called “La Limonaia”, in Tuscany. I played the hottest tunes I have to warm up the crowd’s spirits, even the ones I rarely get a chance to play. It was outdoor and the atmosphere was lovely. The moon was out on a summer’s night and the stars were shining brightly. Along with candles and great drinks, people were feeling the vibe and loved my tunes.

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

My worst DJ experience that springs to mind and makes me laugh whenever I mention it was when I was young and inexperienced and I was organizing Rock and Roll nights with some friends of mine… those nights were totally crazy. People were opening champagne, wine, beers spilling them anywhere and dancing almost naked… nobody could calm them down and sometimes I didn’t know how to protect my equipment and records! Once I got home I checked all my records and sleeves only to find many of them drenched in wine! Fortunately, the records were fine.

05. Your favorite scene DJ’s and why?

DJ Henry from Milan (Rollin’ and Tumblin’) and all the Tender crew, they have anything you would like to hear.

06. What has shaped your DJ sound and why?

Rough and crazy sounds combined with Exotic and hot vibes. Probably because these things match with my nature!

07. What was your best ever find/discovery?

Big Don’s Rebellion – It Was True. When I heard that song for the first time it captured me and I was compelled to hear more. I was positively speechless, getting goose bumps! That record was my first true impulse, it costs me nearly half of my salary at the time.

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

Dick Dale.

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

I have a thing for the Blues, Sun Records recordings, and songs with a minor scale structure from the late 50s to early 60s.

10. Where can folks currently catch your DJ set?

I currently don’t have a standing spot. Right after Le Beat Bespoke, I will be in Florence at the Rollin’ and Tumblin’ club. Just drop me a line on FB for friendship and you can find my next gigs.

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

Nat Couty & The Braves – Woodpecker Rock – Fox

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

Top 10 Tracks of All Time:

1.Lloyd Price – Lawdy Miss Clawdy
2.Louie Louie – Richard Berry
3.Link Wray – Rumble
4.Dick Dale – Misirlou
5.Johnny Kid and the Pyrates – Shakin’ all Over
6.The Cramps – What’s Inside a Girl
7.Hasil Adkins – She Said
8.Yma Sumac – Gopher
9.Etta James – I just want to make love to you
10.Fats Domino – Why Don’t you do Right

Current Top 5 Tracks:

1.Berta Rosen Con Enrique Lynch Y Su Orquesta – Boogaloo En Cuarta Dimension – Sono Radio
2.The Fabulous Silver Tones – Dimples – West Coast
3.Bracey Everett – Lover’S Curse – Atlantic
4.Sugar Boy Williams – Little Girl – Herald
5.Little Florene – Miss You So – Excello

Next Club Nights 2017:

Lady Luck Club at Le Beat Bespoke, London – 14 April
Rollin’ & Tumblin’ – Florence – 22nd of April

Social Networks: facebook.com/claudia.missclawdy
Videos: MissClawdymusic


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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 14, 2017 By : Category : DJs Front Page Interviews Music Tags:, , , , ,
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Leslie Cavendish: The hairstylist to The Beatles…

This entry is part 2 of 4 in the series Fashion Scene 4

I first became aware of the name Leslie Cavendish when I was researching for an article that I wrote a few years ago. That article was on the boutique ‘Dandie Fashions’. When the said boutique was taken over by the Apple Corp in the spring of 1968, the boutique then changed its name to ‘Apple Tailoring’. It was decided that it would remain in the hands of John Crittle to run the day to day activities surrounding the boutique. Within the premises there was an unused basement, which became a unisex hair salon. Clientele could be fitted for a garment and then pop down the stairs to the basement for a haircut! The person who was put in charge of running the hair salon was Leslie Cavendish. As far as my research went for the article on Dandie Fashions – that is as far as I got with the hair salon / Leslie Cavendish part of the story.

As I delved deeper into Leslie’s background, it became quite clear to myself that he was an important part in that whole time period of the mid to late sixties. With some more research, I eventually managed to get in contact with Leslie, and as our correspondence increased, a meeting was arranged!

On a cold and grey late November morning, my wife Susie and I headed to London to meet Leslie. The rendezvous venue was chosen by Leslie, so we headed over to Hampstead and a pub called ‘The Old Bull & Bush’. I have to admit that I was quite nervous as we entered through the doors of the pub – lots of anxious thoughts racing through my mind. Within seconds of meeting and exchanging pleasantries, I knew that we were all going to get on fine. Phew….

From the pictures that I had garnered from the internet, it is crystal clear that Leslie was a man of style and great taste. Dark-haired, handsome and mysterious looking – not dissimilar to the guy that used to front the old Milk Tray chocolate adverts! As I looked at Leslie while in our conversation – he still retains the same qualities.

I got to work on asking my questions, almost immediately! Leslie gave me a brief story of his childhood in London, which eventually got to the part where he started an apprenticeship with Vidal Sassoon. From working with Vidal, he eventually got onto the subject of The Beatles and how he become part of that inner-circle. While our conversation deepened, it became apparent that Leslie had incredible understanding and memory of what was happening, in and around himself – back in those heady days! Even within the short time that we shared Leslie’s company, he managed to regale us both in some wonderful stories. I got the feeling that Leslie was enjoying telling his stories, as he had found the perfect audience. Leslie is hoping to get his book of memoirs published in 2017, and I expect lots of these incredible stories to be in the book. So, until that time, the tales Leslie did pass onto Susie and myself will remain as our own special secrets!

We spoke about music, fashion and football. I have to mention that Leslie is a lifelong QPR supporter or sufferer! And like myself, every now and then he was looking to his mobile phone for football updates.

There were still lots of questions that I wanted to ask, but I was aware of not bombarding Leslie or overstaying our welcome. So I asked if I could email him some questions – and that way, he could spend a little more time in his answering.

Before you read the Q&A part of my article – I have to mention what a charming and warm natured man Leslie is. As we left the pub, I think that we both felt we had gained a new friend.

I emailed Leslie a number of questions – here is what I asked, and Leslie’s answers:

01. What age did you take up hairdressing?

I left school at 15. I then started an apprenticeship at Vidal Sassoon at 171 New Bond Street. The apprenticeship was for three years, where I became Vidal’s junior for three months, and I was then promoted to junior hairstylist at his Grosvenor House hotel, Park Lane, salon. Just before my eighteenth birthday.

02. How did you manage to find a job working for the world-famous Vidal Sassoon?

My best friend at school and still to this day, Lawrence Falk (he started the first unisex salon in the U.K. called ‘Crimpers’) started working in a salon in London. I thought why not try it myself – so I asked him where would be the best place to start out. He said ‘Vidal’s salon’. So I called the salon and managed to get an interview and from there I got an apprenticeship.

03. Tell us something about the kind of clientele that would frequent the salon?

The salon had a very mixed clientele. From wealthy ladies who wanted the latest Vidal style to young models (some of which became household names), famous actors, musicians, fashion designers, to big film directors, and Mary Quant, who with the ideal hairstyle, set off the swinging London scene.

04. The world’s music, fashion, arts and hairdressing seemed to all explode in the early to mid-sixties – did you personally feel like you were part of something special that was happening in London?

You didn’t really think too much about it at the time. Life was exciting anyway working at Vidal’s. Added to that, the music and fashion were part of my youth. You did feel like ‘the times they were a changin’!

05. How did you become the personal hairstylist to The Beatles – and what were they like as people?

At Vidal’s, a client of mine was Jane Asher (who was Paul McCartney’s girlfriend) – she asked me one day if I would like to cut her boyfriend’s hair! And I think you know what happened next…

I met them all at a time when they had all decided to stop touring. So they were all a lot more relaxed than I imagine they would’ve been if they were on the road. All four of them were different and I had a good friendship with them all. This also applied to the team that was around them. I was the only one who wasn’t from Liverpool, but because I never spoke to journalists about my link with The Beatles – and never hassled them for autographs etc – I become one of the inner circle that they could trust.

06. What are your memories of managing your own salon within the boutique that became ‘Apple Tailoring’?

It was an intimate salon and very personal to whoever came in to have their hair done. My clients came from the music world and from streetwise people who just found the salon – and loved to have their hair done in the remarkable atmosphere that was ‘Apple Tailoring’! Being in the boutique and watching the dandies of London being dressed up in velvet and frilly, patterned shirts, was extremely interesting. They came in the shop to be dressed, and left as peacocks!

07. What are your memories of working alongside John Crittle at ‘Apple Tailoring’?

At first, John was great to be around, and I used to like watching his friends, who were mostly from the ‘Chelsea Set’, hanging around the shop. After a while though, I lost a lot of respect for John, as he was often stoned and spoke to people in an arrogant manner. He seemed to think that he was a Chelsea via Australian aristocrat, who was doing everybody a favour in dressing them, and he didn’t have time for the regular customer – who were the ‘real’ customers!

08. You were part of the chosen entourage for the now cult Beatles’ film ‘Magical Mystery Tour’ – what are your memories of that journey?

The MMT was one of my great memories and to be on tour with THE BEATLES, especially as they had stopped touring, was something special. If you have watched the film, you will have seen the coach journey and it was great to be one of the passengers, and to be able to watch The Beatles close up. More of which will be in my book!

09. I know that you were very interested in the music that was happening all around you – what were your personal favourite bands, both live and on vinyl?

When I was young I used to like Buddy Holly, Roy Orbison, and The Everly Bros. Later on, I discovered Buffalo Springfield, Jefferson Airplane, Vanilla Fudge, The Doors, CSNY, and many more West Coast bands. My taste in British bands were The Animals, Free, The Kinks, Dusty Springfield, and Cat Stevens. I was also into folk music – and Neil Young was a hero of mine. I saw many bands live, but CSNY at the Albert Hall, and David Bowie (Ziggy Stardust), and not forgetting The Beatles, were concerts not to be forgotten.

10. What are your thoughts on the clothing that you were wearing back in those days? From the photos that I have seen you certainly were a snappy dresser!

I loved the whole hippy look – Afghan coats and velvet jackets with ‘Anello & Davide’ shoes. I also got into suits from ‘John Michael’ and ‘Take 6’.

11. What are your thoughts on contemporary men’s hairdressing – and do you still cut hair today?

I am like a gunfighter who put his scissors away in a holster a few years ago. Today’s hairdressing is an art form. The use of electric cutters and the thinning outlooks, makes out for spectacular hairstyles. Hairdressing is like Punk music – nobody makes the rules – you do what you want and that is called fashion.

12. And finally – what other interesting things are you up to these days?

I have now finished my autobiography about my life as a hairdresser at Vidal’s, and this included my time with The Beatles. The book should be out this year. I have given lectures at universities about the culture and fashion during the sixties period. I have been asked to be a guest speaker at The Beatles week this year in Liverpool, which I am looking forward to doing.

I occasionally do VIP Beatle tours. My clients come from all over the world and instead of the usual Beatle tours that take place around London, I can tell them what it was actually like in the recording studios, as well as being in the building, while The Beatles performed on the roof!


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Peter Feely

Married to Susie, both actively involved in the UK 60s scene for many years. My personal interest in 1960s culture goes back over 30 years, with my main two passions being music and fashion, both in equal measure. I run my own menswear label – ‘Perfumed Garden’ clothing, catering for the discerning dandy male - in addition to sourcing and selling vintage mens’ gear, with a particular interest in those hard-to-find jackets and shoes! I also run the Facebook group, ‘Psychedelic Clothing for Men: Then and Now’, with 2200+ members. Although I have no formal training in the fashion industry, what I do possess is a real passion, and through the years I have gained valuable knowledge of many areas of mens’ fashion from the mid to late 1960s. I’m also a musician and have played in many bands in my younger years. I’m an avid collector of music and music-related paraphernalia. I started running my own club nights back in the mid-1990s, and at present I run a psychedelic night in Derby – ‘The Perfumed Garden Of Musical Delights’. Through this I also get to DJ at many exciting events up and down the country

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February 15, 2017 By : Category : Fashion Front Page Inspiration Interviews News Tags:, , , , ,
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The Kinks on Pye: Part 1 – “I’m not like everybody else”

This entry is part 4 of 4 in the series Collectors Corner 3

Although The Kinks have long been one of our most influential and cherished groups, in the last couple of years since the hit musical “Sunny Afternoon” and especially since Ray Davies joined brother Dave onstage in London back in December 2015, fans have been hopefully awaiting the reformation of this most wonderful of bands. Although The Kinks back catalogue spans over forty years it’s the halcyon Pye years from 1964 to 1971 in which the band constantly released classic hit records which have collectors scouring record shops, fairs, and the internet for hits and rarities, and a full set of UK releases will set you back a fair few quid should you wish to complete the set. For this two-part article, we’re going to give you a run through of the hard to find releases from the debut 45 back in early 64 to the “Percy” soundtrack eight years later. The first part will concentrate on the “Pink” years, when the band had a string of top ten singles, including three UK number one hits, the second part will then concentrate on the “Blue” years when Ray was at his songwriting peak but the record buying public were not buying the records in such great numbers. Hindsight shows how wrong they were.

Hailing from Muswell Hill in North London, Ray, Dave and bassist Pete Quaife were originally an R’n’B combo called The Ravens who came to the attention of ace producer Shel Talmy after he heard a demo tape and helped get the group signed to the Pye record group where they were enlisted drummer Mick Avory to complete the classic first line up. On 7th February 1964 their debut single “Long tall Sally”, a R’n’B cover of the Little Richard classic was released on the pink Pye label (7N15611) was unveiled to the record buying public. Although the single hit the lower reaches of the NME chart it was a commercial flop making copies a nice rare collector’s item today with prices usually reaching £75-120 depending on condition. The next 45 was released in April 1964 and like all the Kinks singles after the debut, it was a Ray Davies penned number “You still want me” (7N15636). Although the first single sold in respectable amounts, this one was an unjustified complete flop and is by far the hardest Kinks UK 45 to locate in nice condition. Expect to pay at least £200 for a copy of this, one even reached the amazing price of £400+ at auction in 2016! With Pye threatening to cancel the band’s contract if they didn’t have a hit single, Ray composed one of the most influential two and bit minute slabs of musical perfection ever committed to vinyl, “You really got me”. With Dave’s incendiary and groundbreaking lead guitar bursting through the track, it couldn’t fail when it was released on 7th August 1964 (7N15673). And fail it didn’t as it shot up the UK charts, reaching the coveted number one spot shortly after where it stayed for two weeks. The Kinks had arrived.

From then on every single the group released up until 1968 hit the upper regions of the UK charts, with every single release apart from “Everybody’s gonna be happy” hitting the top ten, two of them reaching the top spot. As runs of stellar 45’s go, the following one takes some beating for songcraft, influence and sheer greatness: “All day and all of the night”, “Tired of waiting for you”, “Everybody’s gonna be happy”, “Set me free”, “See my friends”, “Till the end of the day”, “Dedicated follower of  fashion”, “Sunny afternoon”, “Dead end street”, “Waterloo sunset”, “Autumn almanac”. Being massive chart smashes these are usually findable in nice condition for around £3-5 each, with a premium for truly mint copies. All the Kinks singles were also pressed as demonstration copies in small numbers, these are very desirable to collectors and can reach top prices at auction, especially in top condition with unblemished labels. Also look out for UK export release 45’s, mainly for the European market. There are four in total, including album tracks “David Watts”, “A well-respected man” and “Milk cow blues” on a 7″ format. Ray’s songwriting prowess also resulted in some fantastic and very rare releases by other artists around this time. “I go to sleep” was covered by The Applejacks, Peggy Lee, Marion, Fingers and The Truth in 1965-66 although none were hits and it wasn’t till a few years later The Pretenders took the song into the charts. Other great, obscure and coveted releases include Barry Fantoni “Little man in a little box” (Fontana), The Thoughts “All night stand” (Planet), The Cascades “I bet you won’t stay” (Liberty) and Leapy Lee “King of the whole wide world” (Decca). Ironically it’s Dave’s composition “One fine day” which was covered by Shel Naylor and released on Decca in 1964 which fetches by far the most money, with prices sometimes hitting the £500+ mark!

With the band constantly having smash hits Pye also released a nice series of EP’s in wonderful colour laminated sleeves. Five were released in total, the first three”Kwyet Kinks”, “Kinksize hits” and “Kinksize session” are not particularly hard to find, but the fourth “Dedicated Kinks” from 1966 is more elusive and the final EP “The Kinks” from April 1968 is incredibly scarce easily reaching £200+ at auction in top condition. The band’s first three LP’s “The Kinks”, “Kinda Kinks” and “The Kink controversy” were good sellers but easily sell for £50+ in nice condition with clean sleeves. Particularly coveted are rare export Stereo pressings of the first two LP’s with stickered UK sleeves as they were mono only releases in the UK. “Face to face” from 1966 was a move towards Ray’s late 60’s songwriting style and is an absolute classic but strangely failed to chart resulting in scarcity of copies today. This was followed by the live album “Live at Kelvin Hall” in early 1967 and lastly by the masterpiece “Something else by The Kinks” in September of the same year. All were released in both Mono and Stereo, the latter being the scarcer of the two, especially with the Stereo sticker still attached! Prices vary wildly from one week to the next but be prepared to have a large bank account if you want a truly mint copy of any of them. As 1968 approached Ray’s songwriting grew more world-weary and pastoral and the band embarked on an influential but poorly received at the time run of releases on the newly redesigned light blue Pye label. We’ll have a look at these next time around…


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James Clark

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

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February 15, 2017 By : Category : Articles Bands Front Page Music Picks Reviews Tags:, , , , , ,
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Reviews February 2017 – Part 2

Les Darlings

nm_january_2017_les_darlings

‘Le Tourbillion’ b/w ‘Hey Baby’ – Single

When you find out who the members of Les Darlings are, it’s easy to see why these two infectious slices of Garage-power pop are so good. Comprising of Pascal, David Peter, Thomas and Dorian, they have joined forces from some of Europe’s top psych and garage bands; namely The Norvins, The Youth and The Wilde Sect. For this single, they have also been joined by Cecile Wurlee (Curlee Wurlee) and to complete the perfect circle it was recorded at Yeah Yeah Yeah Studios with the splendid Dennis Rux at the controls. What else can I tell you about this single? Two full-on Beat belters with all the expected component parts and another success for all involved. Let’s hope Les Darlings are not just a passing phase.

facebook.com/lesdarlingsband
lesdarlings.bandcamp.com

The Seen

nm_january_2017_the_seen

‘The Seen’ – EP

The Seen were formed in 2014 and are from Bonn, Germany. This is their debut five-track EP. Ania, Peter, Max, Vic and Tobias have all been in previous bands before, so they are not exactly novices. The opening track is a cover of ‘Big Sensation’ by Cool Stove which was originally released in 1969 and is something of a rarity, but The Seen have given it a new lease of life. The other four songs are original compositions and are loaded with psych, garage and Beat reference points. Ania’s vocals are perfect for this style with a hint of punk delivery. ‘Time Of Change’, Trouble’ and ‘Since You’ve Been Gone’ are all belters, while ‘Make It Right’ is a well-arranged change of pace. This EP is out on the excellent Copase Disques who also have French Boutik among their roster, so you know this release is going to be good…..and it is…..very good.

www.theseen.de
facebook.com/theseenbn/
theseen1.bandcamp.com
copasetic.de/theseen

Wolf People

nm_january_2017_wolf_people

‘Ruins’ – LP

Arguably, Wolf People are the finest exponents of folk-rock in the UK right now and this new album certainly enhances that reputation. Following on from their previous two studio albums Steeple (2010) and Fain (2013), ‘Ruins’ is not a concept album (as the band insist), but songs linked by a common thread; what would the world be like without humans? Indeed, it is fair to say that this is unmistakably a ‘Wolf People’ album. They have such a wonderfully eclectic range of influences that shape their music, but still retain a very distinctive sound of their own. While that sound may come across as quite heavy at times, there is a genuine intelligence, passion and complexity that makes this album well worth listening to. ‘Ninth Night’ sets the tone, interspersed by tracks like ‘Kingfisher’, ‘Not Me Sir’ and ‘Salts Mill’. Jack Sharp’s rounded, deft vocals fit beautifully around the sterling work by Tom Watt on drums, Dan Davis on bass and Joe Hollick on guitar. For those with a penchant for folk-rock, you’ll be hard pushed to find a better album than this one.

www.wolfpeople.co.uk
facebook.com/WolfPeople
wolfpeople.bandcamp.com

Alex Cooper

portada_club45-ok.cdr

‘Club 45 Again’ – Book

Alejandro Diez Garín, former leader of Los Flechazos and now in charge of Cooper, unpacks his collection of records and memorabilia sixties to offer us 90 unforgettable songs. I know this because we have handy things like translation apps that mean I can understand Spanish sentences, but I’m not likely to use said app to translate the whole book, which has been published in the Spanish language. Yes, I know this will put a lot of people off, unless you are fluent of course, but that said, the publisher; Ediciones Chelsea have done a magnificent job on the production side. Obviously, I can’t vouch for the text, although you do get a sense that Alejandro has done his homework here and to be fair, the selection of songs are very good indeed. But by far the most appealing aspect of this book is the quality of the print and the reproduction of some really great photos and there are lots of them. Most are in colour and the layout of the book is really tidy, allowing your eyes to skim over the pages with ease. It is a shame there does not appear to be an English language version, but let’s hope they can get one organised, as I think a lot more people will find this a welcome addition to their ‘mod-related’ library.

www.edicioneschelsea.com
facebook.com/club45


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Graham Lentz

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

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February 21, 2017 By : Category : Bands Front Page Music Reviews Tags:, , , , , ,
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Reviews February 2017 – Part 1

Creamer and Wesley

nm_january_2017_creamer

‘Geoffrey Porter’ b/w ‘Carnivals’ – Single

This was one of those that just missed the deadline for the previous Nutsmag Reviews. Dean Atkins (aka Eddie Creamer) and Kieran Wilson (aka David Wesley) released their debut single on the newly formed Psych-A-Rella Records before Christmas. This is definitely for those with a preference for folky-psych ballads. Acoustic 12 string guitars and whimsical lyrics abound on both sides, with ‘Carnivals’ being mixed by Andy Lewis. As debuts go, it is a solid-enough performance and one that gives a glimpse of good potential by the duo. I’ll be interested to see what comes next.

facebook.com/CreamerandWesley
www.psycharella.com

The Dustaphonics

nm_january_2017_dustaphonics

‘Johnny & Bo’ – LP

It’s been three years since Dustaphonics last outing, the splendid ‘Big Smoke, London Town’. They went down a storm at Le Beat Bespoke in 2016 and now they’re back with yet another cracking slice of manic surf, hi-octane rock’n’roll and a pinch of funky groove on this new album due out early February. Led by the London club scene legend Yvan Serrano, this LP is in keeping with the overall Dustaphonics ‘sound’, but it also has some truly charming diversity. The opening track, ‘You Don’t Love Me Any More’ is familiar territory for the band; helter-skelter, aggressive rock and roll. The title track is a superb blend of Mr Serrano’s influences; those being Bo Diddley and Johnny Ramone (and believe me, it works!), while ‘Q Sounds Groove’ is the first of a couple of collaborations with the French studio’s house band; the very same band that works with Adelains and Little Clara to name but two. We also get a couple of fantastic covers. The Special’s ‘Gangsters’ gets the surf treatment, while Ike Turner’s ‘I’m Hurting’ gets the unmistakeable Dustaphonics stamp. There is a fitting tribute to actress Tura Satana of Russ Meyer’s ‘Faster Pussy Cat Kill! Kill!’ fame and the latin-flavoured ‘Cachaca’ which is a nice, unexpected surprise. Vocal duties are split between Hayley Red, Aina Roxx and Kay Elizabeth, all of whom are first class.
This is a really great album and should do very well.

thedustaphonics.bandcamp.com
facebook.com/TheDustaphonics

Goldie

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‘Could It Be’ – EP

It’s hard to understand the rationale of the record industry back in the Sixties. How often have we heard previously unreleased gems which have gone on to gain huge popularity on the scene? One wonders what the ‘decision-makers’ thinking when they ‘canned’ such great songs? Thankfully, for us at least, there is a small, dedicated army of people investing their time and money to unearth these tracks and make them available. This latest release on the Top Sounds label (responsible for 2015’s brilliant The Action EP) is another prime example. Goldie, who arrived on the shores of the UK with her Gingerbreads in 1962, made a handful of great records for Decca as a solo artist and these three previously unreleased gems prove that claim. The A-side; ‘Could It Be’ is a wonderful slice of early blue-eyed Northern, with a lush production. The B-side starts with Goldie’s version of the Goffin & King penned; ‘Goin’ Back’, which, (according to the story contained in the excellent booklet that comes with the EP) Dusty Springfield ‘stole’ from Goldie and got it out before Decca knew what was happening. By that time Goldie was so angry with Dusty, she refused to have it released. If it had been released, I think it would have given Dusty a run for her money. The final track is the Andrew Loog Oldham composition; ‘Headlines’, which again, is a British stab at capturing the Tamla sound. So thanks to Nigel Lees at Top Sounds for delivering another lost belter.

www.topsoundsrecords.co.uk

The Beatpack

nm_january_2017_beatpack

‘Back, Behind and In Front’ – EP

It’s hard to believe it is twenty-seven years since Beatpack released their debut EP, but thankfully they are still going strong with this latest offering on the excellent State Records. If you still know nothing about the band, what you get is an uncompromising, hard-edged fusion of R&B and Garage. Opening track; ‘Loopin’ With Lucy’ is a prime example, while ‘A Fog Is Lifting’ and ‘If I Look Outside’ show they have never been a one-trick-pony with monastic chants and jazz influences shining through.
‘Met Myself Coming Back’ is more familiar territory, but one thing you can be sure of is it’s always top quality. Beatpack have recently completed tours of Germany and Spain and I’m sure there will be UK dates this year. If you get a chance, go see them as it is always a great show. In the meantime, this EP is well-worth the investment.

thebeatpack.bandcamp.com
facebook.com/TheBeatPack
www.staterecs.com/store-uk


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Graham Lentz

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

More Posts - Website - Twitter - Facebook

February 21, 2017 By : Category : Bands Front Page Music Reviews Tags:, , , , , ,
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The Lovely Eggs speak to NUTsMag

The Lovely Eggs bring their own artful autonomy and pickled noir humour to a growing list of original, vibrant and offbeat compositions, films, gig/parties with a bold visual and cinematic flavour that really should be on the National Schools Curriculum to dispel the whiff of ‘X Factor’ drudgery and all of its equivalents. Art meets real life talent, we introduce The Lovely Eggs, your own real, new favourite everyday band!

Members:
David Blackwell: drums, guitar, tamb, other stuff.
Holly Ross: Singing, guitar, tamb, other stuff.

01 How did the band get together?

In Paris in 2006.

02 Where did your name come from?

A pigeon laid two eggs in an abandoned nest on our bathroom windowsill.The eggs were incubating while we were writing our first songs. Then during the summer they hatched and that is when we flew back to England and formed our band. It just seemed a natural name. There were two of them and two of us and we were born at the same time.

03 Who were your major influences and inspirations and who do you despise?

We are influenced a lot by everyday life. A lot of our songs are quite observational about the ridiculous things people get up to every day. So in a way just getting up in a morning and mooching round is a big inspiration to us. It’s good living in Lancaster, which is a small northern town, so you know everyone and its funny to see life tick along. We’re also influenced by the obvious poets and writers and artists and that predictable stuff. Our favourite is Richard Brautigan. We don’t despise anyone.

04 What drove you to make music together?

We just wanted to be in a band where there were no rules where we could be free to make exactly the music we wanted to hear.That seems hard for some bands these days but it is really easy!

05 What can someone who has never seen you live before expect from your live shows then & possibly even now?

We like to have a party at our gigs. Parties are timeless.

06 Who writes your songs? What types of themes and subjects do you deal with?

David’s mum. We write about everything in the life capsule.

07 How did your music evolved since you first began playing together?

We maybe sound more powerful now. When we first started David had never played drums before. We had a lot of soft songs when we first started. Now we are more wild and raw.

08 What has been your biggest challenge as a band? Were you been able to overcome this? If so, how?

Our biggest challenge was probably touring across America for 21 days in a car with another band and all the equipment WITHOUT Strongbow!

09 Do you play covers? If you could pick any song, which would you like to cover most and why?

We’re generally not into playing covers, although we once did a cover of It’s Spooky by Jad Fair and Daniel Johnston for a B side of our Halloween single Haunt Me Out. We also covered Hotpants Romance before just to make them scream!

10 Where did you envisage the band being in five years time?

Depends what day, but if it’s January 16th 2017 we’ll probably be mooching round our mums house.

11 Who would you most like to record with?

Well Jonathan Richman would be pretty good.

12 What should we be expecting from the band in the near future?

Some more records, some more gigs and a bit of falling about. We are playing at Le Beat Bespoke 12 Easter next year (2017) We are really looking forward to the whole event.

Thanks To The Lovely Eggs.

www.thelovelyeggs.co.uk/
www.myspace.com/thelovelyeggs
twitter.com/TheLovelyEggs
soundcloud.com/thelovelyeggs
www.facebook.com/thelovelyeggs

 

Thanks to eyeplug.net © 2011


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admin

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

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December 7, 2016 By : Category : Bands Front Page Interviews Music News Tags:, ,
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