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DozenQ – Jess Morgan

This entry is part 12 of 20 in the series DozenQ 2

Jess Morgan writes songs that tell stories – about women and men, life and death, work and play; the adventures of the real and the imaginary sure to make you laugh and cry. Jess is a singer-songwriter who is steadily building a name for herself in roots and folk music at home and away. Accompanied by acoustic guitar Jess’s style has been likened to that of the classic names of the 1970s but with her own easily distinguishable voice. Songs are peppered with influence from British Folk music as well as country, folk and blues from across the Atlantic.

01 How did you get started in music?

I started at school. I played bass guitar in couple of bands playing covers. I wasn’t at the front of the stage but I definitely got the bug for performing and for walking around with a guitar on my back. At university they had an open-mic night on campus – which was where I got my start in terms of singing and playing my own songs. Some really friendly singer-songwriters took me under their wings and I started playing in pubs and busking in York.

02 Where did your direction come from?

I was brought up on a really eclectic mix of music a lot of which I still love today and from which I take a great deal of inspiration. However I bought my first Bob Dylan album after we dipped very briefly into the art of protest music in History at school. ‘The Times They Are A’Changing’ was a far cry from Sheryl Crow’s ‘Tuesday Night Music Club’ but I was sold on acoustic music and spent most of my late teens finding the music that filled in the gaps.

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

British singer songwriters like – Ricky Ross and Justin Curry – and a lot of those classic North American writers in particular, James Taylor, Carly Simon, Joni Mitchell, Carol King, Paul Simon, Jackson Browne, Gene Clark…

I don’t despise anyone – maybe Ryanair?

04 What inspires you to make your current type of songs and sound?

I like to keep things very simple. I love the rhythm of words and guitar chords and for me, and in a perfect world – thats all there really would be to it. I’ve been known to be a bit of a purist so at the moment I’m concerned with other textures that can make a recording of a song more accessible but while not killing the simplistic vibe. Anyone who has ever worked with me would have heard me say at least one something along the lines of “thats great…but play less.”

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

There’ll be me, a big glass of water (trying to get into good habits now…) and hopefully an appreciative audience! Expect lots of foot tapping (think Happy Feet), guitar hitting and rhythmic playing, quite intimate songs and some funny bits and pieces too and songs that tell stories.I can probably guarantee you the worst stage-banter in the world…ever.

06 How do you begin your songs? What types of themes and subjects do you deal with?

I’m trying to work out a way I can tackle the big stuff – things that are real and worth singing about without it being contrived or even preachy. I think a lot of people set-out to be political with their music and so many get it so wrong that nobody wants to listen. I’m not forcing anything – just hoping that the right means will develop slowly.

Right now I really love working with existing ideas – like folk tales, local myths, things that we all know happen in relationships… and sometimes the ideas/characters/stories are imagined and new.

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

I’d like to think I’m a better singer and player than I was when I started – but I’ve got such a long way to go! I’d like to think I’m getting better at writing too – but sometimes I wonder if I’m just falling more and more in love with C, F and G as the years go by!

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

I toured with a band once that I didn’t get on with. We were stuck together for a month on a tough tour with no breaks. It was really hard to stay professional at all times and keep my head up – but I managed. I had my running shoes packed, so I could get out in the fresh air – which was a great help!

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

Most of the covers I play don’t make it out of the house with me. I played a version of Luther Vandross’ ‘Never Too Much’ for my Sister’s wedding this year. It had a really mellow arrangement in a lovely open-tuning and I really enjoy playing that from time to time.

10 Where did you envisage being in five years time?

I’d like to be doing all the things I’m doing now – but on a much bigger scale. I’d like to think I’d be able to afford to treat a few more friends to dinner now and then but I can’t see myself being rich or successful in mainstream music.

11 Who would you most like to record with?

I’ve seen enough documentaries and special features to know that being in the studio with ‘The Boss’ – Springsteen is something very special indeed. He know what he wants and is so passionate.

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

I’m launching a new ep this March – which is a collection of songs I recorded myself over last summer in locations in my home region of East Norfolk. The recordings are one mic / one take and very simply laid down. There are 4 new tracks and 3 re-records of tracks from my album Aye Me which came out last year. The album is still getting great feedback so I just wanted to show people that there is more to come and more to expect from me.

I’m also going to be touring pretty heavily over the Spring with folk festivals in Summer and a bit of touring planned in Germany, Italy and Norway too.

Web Links:

jessmorgan.co.uk
facebook.com/jessmorganmusic
twitter.com/jessmorgan

Tour Dates 2013:

Jess heads out on a 32-date UK tour starting this month as follows:

23/02 Cambridge | CB2
24/02 Twickenham Folk Club
04/03 Norwich | EP Launch Norwich Arts Centre
06/03 Birmingham | Red Lion Folk Club
07/03 Ipswich | Number 16 The Meeting Place
09/03 Rugby | Rugby Roots
10/03 Swindon | The Rolleston
13/03 London | Folk Room at The Queens Head
14/03 Lowestoft | Zoo Clairmont Pier
15/03 Didcot | Cornerstone Arts
16/03 Maidstone | Maidstone House Concerts
17/03 Purbeck | The Square and Compass
17/03 Bournemouth | Bournemouth Folk Club
19/03 Seend | Seend Music
21/03 Cambridge | Hot Numbers Cafe
23/03 ORT Cafe | Birmingham
25/03 Isle of Man | Ramsey | The Northern Lights
26/03 Isle of Man | Online Gig
27/03 Isle Of Man | House Concert
28/03 Manchester | Thank Folk For That
29/03 Wells Next The Sea | The Albatross
30/03 St. Austell | The Eden Cafe
06/04 Falmouth | Miss Peapods
07/04 London | The Woodman in Highgate
09/04 Sheffield | The Redhouse
10/04 Coventry | The Nursery Tavern
12/04 Farnham | Farnham Maltings
14/04 Needham | The Red Lion
16/04 Stourbridge | Stourbridge Folk Club at Katie Fitzgeralds
17/04 Nottingham | Guitar Bar
18/04 Rothbury | Rothbury Roots
24/04 Leicester | The Musician

Tickets for the shows are available from Jess’s website here: jessmorgan.co.uk/tour-dates

Link to buy the current single – New EP Richer Thinner Smarter released March 4th and available from jessmorgan.co.uk

admin

Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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June 5, 2015 By : Category : DozenQ Folk Front page Genres Hype Interviews Music Tags:,
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DozenQ – The Chapman Family

This entry is part 11 of 20 in the series DozenQ 2

The Chapman Family are an alternative rock band from a seeemingly forgotten corner of the North East of England.

01 How did you get started in music?

I got started in music due to the sheer boredom and frustration of watching the same bullshit touring bands week in week out at my local club in Stockton. They could have been from John O’Groats or Lands End it was completely irrelevant – they were all the same and they all spoke nothing to me about my life. This was around the same time as the arse end of the Libertines initial success and every band in Christendom wanted to be a bit like them. They were all scruffy and at least one of them would wear a pork pie hat. They’d all look like they were skagged to the eyeballs but you knew in your heart of hearts that they weren’t. Every move was choreographed – from the main singer mumbling between songs as if he’d been transported in from a far off planet to the two guitarists sharing the same mic homoerotically like Carl and Pete – it was as mind numbingly obvious as one of them wearing a Breton shirt. It was all just so boring and it got to the point where I couldn’t differentiate between any of them. I got indie snow blindness. More importantly no one had their heart in it and no one wanted to rock the fuck out. I wanted excitement and thrills and someone on stage putting their very last drop of energy and passion into their performance – not some wanker who wished he was on Hollyoaks. So, in short, I started to get into music and started the band in direct reaction to that. We’re swamped with casual nothingness shit and I’m sick to death of it, possibly even more so now than six or seven years ago. Everyone just wants to be famous – they want to be a twitter trend or a hashtag – no one wants to do anything with any actual meaning, relevance or purpose. All of these charisma-less orange freaks on reality television and failed pop stars more famous for snorting coke up their nose whilst in the company of their infant children should hang their heads in shame for managing to plummet the last dregs of culture on this planet to the absolute depths.

02 Where did your direction come from?

That depends what you perceive our direction as being. As I said, the band was formed as a reaction against the bland and the mediocre. I wanted to be in a band that I was craving to see every single week. I wanted it to be exciting to be in and exciting for the audience to watch. We don’t have a specific direction – we don’t have a cast iron plan in place. It’s really easy to spot a band with a fixed scheme or design – usually because they are absolutely dull as arse and devoid of any inspiration whatsoever.

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

We are influenced and inspired by every waking day of our lives. I despise (in no particular order) the celebration of celebrity, war, injustice, poverty, homelessness, famine and cruelty. And The Script as they are fucking wank.

04 What inspires you to make your current type of songs and sound?

I mainly only write the lyrics so I can’t really speak for the rest of the band creating the music. I honestly think you are inspired by every single moment of your life up until the point you put your pen to paper and write that particular lyric down. By the time you come to the next song that you want to write you may have seen something on the news about a war in a distant land, or a terrible tragedy that’s occurred just down the road, or you may have fallen in love, or you may have been sacked, or you may have had someone beep at you aggressively in a traffic jam… Inspiration comes from everything that’s around you – I think it’s irresponsible and unfair to single something out like “The Cure’s early stuff and a bit of post punk yeah” as inspiration even though they may be locked away somewhere at the back of your subconsciousness.

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

They can expect either the single greatest night of their lives or their maybe even their worst. Usually their greatest.

06 How do you begin your songs? What types of themes and subjects do you deal with?

I don’t have a set plan as to how I begin to sit down and write. I don’t go searching for a subject and then decide to moan about it. I’m not that calculating. The subjects come searching for me as it were. In 2012 it was really easy as injustice was flying in from all corners and lyrical content and themes were everywhere. Everyone seems to hold up 2012 as a great seminal year for Britain but for me it was an utter embarrassment. The country was (and is) an utter shambles with a puppet Government of hooray Henry’s and greedy toff buffoons with tax allergies yet we still all sat there and didn’t quibble as they ploughed billion after billion into a big London-centric sports day. The rest of the nation was then supposed to be grateful that we had a minor celebrity running through our town in a shellsuit clutching an oversized ‘match’ and like the fools we are we all fell for it. Well, nearly all. Everyone kept banging on about the “Olympic Spirit” and how the nation had embraced it within its collective bosom and could now finally stand up with their massive Seb Coe head held high. Luckily though, the X Factor started a couple of weeks after the Olympics finished so we could all get back to what Britain is good at – slagging off delusional untalented scruffbag poor people. As if to rub salt into the wounds as a nation we also had to have a whip round for our poor old Queen. We bought her a lovely big solid gold boat and Gary Barlow put a huge self-congratulatory slow wank of a concert on for her – all of which was paid for the Great British public. Did we complain? Did we fuck. Because we’re idiots. We’re in one of the worst financial crises of modern times and we decide to squander every last drop of our savings on trying to make a grumpy old woman – and one of the richest women in the world (who may or may not be a shape shifting lizard) – crack a smile. Utter madness. That was then though. At the moment I’m writing love songs.

07 How has your music evolved since you first began playing?

It has evolved as we get bored very easily and are constantly trying to find ways of improving not just brand new songs but old songs also. We never rest on our laurels. As far as I’m concerned there is absolutely zero point in being in a band if you are not open to the idea of evolution. I can’t think of anything more boring than being in a band and playing the same songs in exactly the same way that you’ve always played them for five, ten, twenty, thirty, forty years. Even Keith Richards must be fucking sick of playing Jumpin’ Jack Flash by now surely.

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

It’d be really easy to say our biggest challenge was having two members of the band leave and having to replace them a couple of years ago but that’d be a lie as it wasn’t a difficult transition if truth be told. In reality our biggest challenge was probably the turbo of our hire van failing near Heidelberg on a tour of Germany in 2008. As none of us speak very good German simply trying to get to a garage was traumatic enough but going up and down huge European hills in October at 30mph with an ever growing swarm of BMWs and Mercedes’ beeping behind you is fairly traumatic.

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

No as it’s a completely futile exercise. We’ve done two cover versions in the past – one was in 2007 and was a Beatles cover for a local radio station and the other was a version of Kate Bush’s ‘Army Dreamers’ that was originally intended to be a b-side in 2010. I’d much rather put effort into our own work than try to convert someone else’s song into our own style. Plus I don’t understand why you’d want to be known as a band or artist that does a cover version regardless of how much you absolutely nail it – just get in the X Factor queue for all I care, you’re not relevant to me.

10 Where did you envisage being in five years time?

Hopefully not playing covers.

11 Who would you most like to record with?

David Bowie. He’s my ultimate hero. I am going to cry massive seas of tears if he ever leaves this earth.

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

We’ve just released a brand new song called ‘ADULT’ which is available to download for free via our Facebook page. It’s a schizophrenic stomping song. Then we’ll have a more traditional single (that won’t be free!) coming out early in the summer before an album later in the year.

Web Links

Facebook: facebook.com/thechapmanfamily

Twitter: twitter.com/chapmanfamily

Tour Dates

07/02 THE HOP, WAKEFIELD
08/02 THE STUDIO, HARTLEPOOL
10/02 KRAAK GALLERY, MANCHESTER
11/02 FRUIT, HULL
12/02 HOUSE, LIVERPOOL
13/02 CLWB IFOR BACH, CARDIFF
15/02 ELLIOT’S BAR, ABERDARE
16/02 JOINERS, SOUTHAMPTON
17/02 THE WESTCOAST, MARGATE
18/02 GREEN DOOR STORE, BRIGHTON
19/02 ARTS CENTRE, COLCHESTER
20/02 SURYA, LONDON
22/02 THE RAINBOW, BIRMINGHAM
23/02 THE COCKPIT, LEEDS
24/02 THE CLUNY 2, NEWCASTLE
08/03 GEORGIAN THEATRE, STOCKTON-ON-TEES

Link to buy the current single: ChapmanFamilyAdult

admin

Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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June 5, 2015 By : Category : DozenQ Front page Genres Hype Indie Interviews Music Pop Tags:,
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808 State @WOWfest 2012

This entry is part 12 of 13 in the series Eyeplug@WOWFest

808 State are a British electronic music outfit, formed in 1987 in Manchester, taking their name from the Roland TR-808 drum machine and their common state of mind.

Please see the great interview below, answered by Graham Massey from the band.

808 State Interview, Graham Massey from the Band:

1. What are your earliest memories of getting bitten by the music bug?

The family record player. We actually did have a wind up 78 that my Dad would drop Gracie Fields records on. Then we upgraded to a Dancette 3 speed. My Brothers and I took turns getting a 7 inch each week. Beatle mania ensued, The Shadows instrumentals, popular classical on 7 inch EPs. One of my first 7 inches was a freebie with Action Man. I used to like the sound fx side, just war noises That might be telling?

The Radio was always on around meal times. I remember it was a mix of Brit groups and older stuff like Sinatra and Ella Fitzgerald.

2. Was your family background musical in any way?

Not wildly. We had a piano. My brother had lessons and had sheet music to Rolling Stones and Kinks records. I used to do a version of Also Sprach Zarathustra (2001 fanfare) with my fists. I could also do it on mouth organ, there was no applause or accolades.

Next door had an arch top guitar, I had a banjo uke’ and there was some occasional Skiffle in a shed. I remember having a go on a relatives electric organ, that may have been formative in that “reverb” seemed to be the missing link to the space age, which coloured everything for me back in the 60s, terribly exciting futures awaited us on other worlds, all sound-tracked with electronic tones.

3. What were your original influences and how have they changed over time?

One of the first inroads into music was through getting a cassette recorder at the age of 12. It was the must have item for boys in 72. You used to record chart run downs off your radio or Top Of The Pops off the TV by shoving a microphone in front of said devices. Recordings of TV Adverts and theme tunes, you could do fake Michael Parkinson interviews with your mates and then any musical activity you could dream up with what ever you had… Stylophones, electronic project kits. Woolworth’s reed organs seemed to be universal.

There were books in the library that talked of the afore mentioned electronic space tones “Experimental Music” with interesting pictures of La Monte Young, Terry Riley ,Cage etc. There was a notion of “avant garde” that appealed and became supported when I got into Virgin records budget vinyl like Faust Tapes and Gongs “Camembert Electrique”, and Hawkwind etc in the mid 70s.

Punk was a game changer for me, or rather Post Punk, because you could take electronic and experimental influences from Prog & Spacerock and marry that to mad energy. It was also a form of music that addressed clubs and dance floor culture, disco and technology.

When we formed 808 State it wasn’t just about a love of abstract US dance music, it was as much about an exploration of emerging music technology. Samplers were a key revolutionary instrument. The technology was the common syntax but the accent was a blend of experiences that you tend to get in a place like Manchester. The UK urban thing is a different packet of seeds to the US or European counterpart. It’s why you can still mix an early 90’s “Shut Up And Dance” record with Dubstep. The relay race isn’t over yet. The UK sound is easy to spot in the global mush of your modern dance floor. There’s no software for style but I think most people can’t help but respond when they hear it.

4. Have you ever been to the Isle Of Wight?

Yes, 808 State played Bestival in 2008 and I also played Bestival with The Sisters Of Transistors in 2010. We got lost trying to find the Festival site… some locals had taken all the signs down or pointed them in the wrong directions.

5. Tell us about your live sound?

We are currently a five piece live band. Darren does MCing with decks and percussion, Andrew and I do the synths and we run a MacBook Pro using Logic to a fireface sound card with multiple outs. We use a bunch of old analogue keyboards like Moogs and Rolands. I also do guitars and sax. We have Paddy Steer on Bass Guitar, he’s a very interesting and great musician whom I’ve collaborated with on many projects. We also have Carl Sharrocks on Drums; I spotted him playing with a tech group called Sirconical a few years back. He can lock on like an Exocet and it turns out he grew up listening to our stuff and knows it like the back of his hand.

6. How has your sound changed over the years?

It has just grown with the technology of the times. I guess we’ve been having a relationship with technology long enough to realize that “new” isn’t always better, which is why we still use a lot of analogue synths and an element of live instruments along side the computers.

Computers are way more powerful & reliable for stage use now. When I look back they were such a struggle throughout the 90’s, crashing and sticking, never being able to trust the timing, it could send you demented. We are an odd combination of DJ crew and band that grew organically from having to present a studio product live and keep it exciting on stage. It can get messy, we are a sweaty techno band, not really in the Kraftwerk mould.

7. What have been the high points of your career?

I think we were lucky to ride the big wave of Rave when it first happened in late 80’s. It was a very exciting time in music as a whole, and we were allowed to freely be creative with a positive back up in that it was all valid. We had a audience that wasn’t niche, it was Pop and Edge at the same time. High points are always about moment of creation, you might not always have people ready to listen. It was great when that process was immediate.

8. And the low-points?

We made all kinds of daft decisions, but what do you want Snow Patrol?

9. What about the present day set up?

We are all still active in areas of music, a lot of archiving going on in recent years as you have to over see that your music is digitally converted properly – that’s a big job with a back catalogue like ours.

Our website 808state.com will keep you up to date on current projects. Andy & Darren go out and DJ a lot as 808 State Sound System, they also do a new web radio show on Beatwolf.com which is far from your usual dry dance radio fayre. They’ve always had a natural flair for radio. I’m quite often on Freakier Zone on BBC6 Music… It’s a program about “outsider music” or trainspotter “up it” music depending on your stance.

10. Thoughts on today’s music scene?

I think everybody has their own music scene, it’s not centralized through the media anymore. Internet hype, out of touch print and other media has diminished trust, word of mouth and faith in music as an uplifting force and will always prevail.

Keeping ears expectant is the current dilemma. You need all your basic music food groups: quiet reflective music, body punching loud abandon, mystery, history, community, appreciation of dynamic sound. Few places have a decent sound these days. We should give ratings to a venue for sound quality, or simply gather as groups around quality sound systems to recalibrate what it means. Your brain shuts off to music if you don’t tickle it the right way.

11. What can we expect for your WOWFest 2012 Show?

You can expect to put your hands in the air. You will be shouted at with considerable amplification. You will suffer abdominal sub bass cramps that will be followed by involuntary euphoria.

Websites
808 State Website
808 State on Facebook
808 State on Twitter
808 State on YouTube

Eyeplug@WOWFest

Eyeplug@WOWFest - Insider Media Coverage and the First Event Hook UP from the MULTI-MOOD-MACHINE SOUNDSYSTEM fro a new Festival taking place this August 2012 in Shanklin, Isle Of Wight in fab settings with a super dooper line up! Watch out for new, reviews, articles, insights, and general focus right up to the Event itself and beyond! Check out the WOWFest webiste and come along for the Party! Tickets Available Now!

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June 5, 2015 By : Category : Beats Culture Events Eyeplugs Festivals Front page Hype Media News Tags:, , , ,
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Baka Beyond @WOWfest 2012

This entry is part 10 of 13 in the series Eyeplug@WOWFest

After 20 years of mixing African and Celtic music in equal measures Baka Beyond have become one of the finest danceable bands around, creating the sound of the African global village.

Not just a touring band, Baka Beyond have a unique relationship with their inspiration – the Baka Pygmies of Cameroon – sending royalties to help their development projects, and even touring with Baka musicians.

Baka Beyond was founded in 1992 after British musicians Martin Cradick and Su Hart had visited the Baka Pygmies of the Cameroon rainforests after seeing a TV documentary. So inspired were they by their magical rhythms and melodies that they recorded an album “Spirit of the Forest” under the name Baka Beyond which pushed them into worldwide recognition.

In order to make sure that the Baka get their fair return for their compositions they also founded the charity, “Global Music Exchange”. So started this very positive African – European collaboration.

Since these early beginnings when the term “world music” barely existed, Baka Beyond has evolved into a multicultural, dynamic live stage show and album sales top a quarter of a million copies. Band members hail from Brittany, Cameroon, Senegal, Sierra Leone, Congo and Ghana as well as Britain. Each musician brings their own influence and talent to the music creating a unique spectacle and honoring a lesson learned from the Baka people, “everyone is to be listened to”.

Baka Beyond’s years of touring have paid off. The energy of their thoroughly uplifting and seamless blend of African rhythm and Celtic melody defies anybody to sit still. They recently headlined Edmonton Folk Festival and wowed the 15,000 strong crowd, most of whom were new to the magic of Baka Beyond.

The band digitally released their new album ‘Kisumani’ in Spring 2012 and there will be a ‘physical’ release in the Summer.

For selected shows the band will be joined on vocals by Molara, Fela Kuti’s niece and the original voice of dub dance pioneers, Zion Train. Ghanaian percussionist, Nii Tagoe provides the rhythm section along with Tim Robinson and Congolese bass player Kibisingo Douglas (of Kanda Bongo Man). All of this is very much tied together by the energy of Paddy le Mercier ‘s Bretagne fiddle and Martin Cradick’s hypnotic guitar, recently described as sounding like ‘Jerry Garcia after a long trip in West Africa’.

Baka Beyond Interview, Martin Cradick from the Band:

1. What are your earliest memories of getting bitten by the music bug?

Although I had piano lessons at the age of 8 or 9, I wasn’t really enthusiastic about music until hearing someone play guitar and sing a song around a campfire when I was on holiday aged 12. I got a cheap classical guitar and started teaching myself for a year until I had classical guitar lessons at school. After Grade 5 (at age around 15) the pieces got more intellectual and boring to my ears and I gave up formal lessons and started playing electric guitar in bands.

2.Was your family background musical in any way?

The only music played at home was Christmas Carols at christmas time. Apart from that my Mum would constantly hum “busy bee” tunes while doing the housework. I don’t think she was ware of it and it is probably responsible for my affinity to improvised tunes that doodle on and on without going anywhere – “as directionless as a runaway shopping trolly” as one reviewer once said! I found that there were quite a lot of people who actually liked that sort of music!
My grandmother’s sister (who I never met, was a concert pianist in Australia, and the first woman to write a piece of music for a brass band apparently, and her mother was trained as a concert pianist but damaged her hand before she could take it up as a career. So I suppose there is some musical ability in my genes.

3. What were you original influences and how have they changed over time?

When I first started playing guitar my elder sister was going out with someone in a progressive rock band so I heard the records she had – Genesis, Yes, Camel etc. The first album I bought was Aladdin Sane ny David Bowie, but it was the music of Can that actually influenced me most at that time – the philosophy that great music comes by accident from improvisation.
After that it was mostly live music that influenced me. I saw (and jammed with) a reggae band at Stonehenge Free Festival (probably about 1979/1980) and I realised that if you mixed improvisation with music that people danced to it made it more accessible.

I was busking in Paris on my 21st birthday and heard Fela Cuti. The first time I had heard African music and it had an immediate resonance with me.

Travelling to South America in 1988, and hearing the bands at the Baranquilla Carnival in Columbia was influential. None of them had a drum kit, but they all had all the parts of the drum kit played by different people creating a totally different feel.

At the time I was co-running a music club in Oxford (The Madhatter’s Club). It had recently been closed down due to neighbour’s complaints, and being the last music venue in town (the council having already closed all the others down) we kicked up a huge fuss and eventually were allowed to stay open and even get support from the council. People who know the Oxford music scene now wouldn’t recognise that kind of attitude from the council who now can’t do enough to help live music. We had to really fight to set the ground for that.

The biggest influence has of course been Su’s and my visit to the Baka in 1992. (I’ve been going ever since – every year at least once now since 2000, and a few times before then). That is the influence that gives the sound to our current band. Not necessarily totally in the sound we produce, but in the spirit of the music. All grooving together to create a positive vibe.

4. Have you ever been to the Isle Of Wight?

Yes.

5. Tell us about your live sound?

African based rhythms underlying a mixture of Celtic, African and improvised melodies. Dance/Trance music with a positive vibe and many influences from traditional music in Africa and Celtic fringes of Europe.

6. How has your sound changed over the years?

It shifts and changes quite organically, depending to a certain extent on which musicians are playing as we try to make a space for each person’s style. The albums have mainly been studio based and end up being quite a different entity to the live show. This year we are going back to a more “traditional Baka Beyond sound” with pretty much the lineup of 2000 – Eleanor has joined us this summer again on vocals after a gap of 12 years.

7. What have been the high points of your career?

Probably playing to 20,000 people on a saturday night on the main stage at Edmonton Festival in Canada (view on youtube Here) Also bringing 7 Baka musicians over from Cameroon to tour with us in 2012.

8. And the low-points?

Spending most of last year recording a new album and then having to shelve it due to the band members all falling out. Partly due to me trying to learn not to be a control freak and failing dismally. We live and learn and as Jimmy Cliff says, “you’ve gotta walk and don’t look back”

9. What about the present day set up?

Back to “traditional Baka Beyond”. Drums, African percussion, positive vibes and highly danceable rhythms (but you can just lie back and let it all take you away, if that’s what you prefer).

10. Thoughts on today’s music scene?

I’ve been spending a lot of time in Africa recently and to be honest am not that in touch with what’s current as far as radio etc is concerned. I’ve always been far more interested in live music, and that seems really exciting at the moment. What I find really striking is that so many young bands seem to be playing music very similar to the music bands I was in in the early ’80s were playing, although at the time most bands we knew then thought we were crazy and hopelessly out of touch!

11. What’s in the pipeline for the future?

I’ve just finished mixing and mastering an album I recorded in Cameroon in February. Its a follow up to Baka Gbiné’s album “Gati Bongo” (tThe title track of which has just been selected to be on a new Zumba Dance video game!). The Baka musicians have formed a really tight rhythm section and the music sounds great. I would like to help them tour in the Cameroon next year and then come to Europe in 2014.

 12. What can we expect for your WOWFest 2012 Show?

Energetic infectious rhythms, beautiful harmonies, dancing feet and happy faces all around you.

Websites

Baka Beyond
Myspace
Facebook
Twitter
Youtube

Eyeplug@WOWFest

Eyeplug@WOWFest - Insider Media Coverage and the First Event Hook UP from the MULTI-MOOD-MACHINE SOUNDSYSTEM fro a new Festival taking place this August 2012 in Shanklin, Isle Of Wight in fab settings with a super dooper line up! Watch out for new, reviews, articles, insights, and general focus right up to the Event itself and beyond! Check out the WOWFest webiste and come along for the Party! Tickets Available Now!

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June 16, 2015 By : Category : Culture Events Eyeplugs Festivals Front page Gigs Hype Media News Tags:, , , ,
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More Acts Confirmed for WOWFest 2012

This entry is part 8 of 13 in the series Eyeplug@WOWFest

wow_red-funnel_1a

WOWfest is thrilled to announce the UK exclusive appearance of Madeleine Peyroux, on her much awaited return European tour, in August. Headlining the Blue Angel stage on Sunday night this American bohemian, once discovered busking on the streets of Paris, has a voice likened to the late great Billy Holiday. With self penned soul searching lyrics delivered in husky tones of a jazz/folk style, the lady who left us with “Careless Love” five years ago, returns with two more albums under her belt and stronger than ever.

WOWfest has the greatest reggae line up of this season and how appropriate that there is also a stage, at this brightest new festival, to revive the mood of the British modern Jazz era of 1950s London clubs, around Carnaby Street, growing at the same time as sounds from the Caribbean were integrating into UK musical culture around the same haunts as jazzfather Johnny Dankworth.

The WOWfest Blue Angel Stage revives the spirit of the great island jazz festivals, but with an extra pinch of WOW. During the day escape into the eclectic world that is jazz – from ’40s swing to bebop and modern fusions, plus the most unexpected – to night time burlesque and comedic cabaret with all the ingredients of turn of the century France or pre-war Berlin. In Das Kabaret see one of the most respected and admired performers in the world of burlesque, LouLou D’vil, along with the King of Comedy Magic, Christian Lee and legendary street performer, Chris Lynam, among others to whip up a froth of expectation and much laughter.

The Blue Angel stage boasts enigmatic renditions from the UK’s hottest vocal harmony group, The Overtones, with songs from their platinum selling album ‘Good Ol’ Fashioned Love’. Influenced by classics artists like Amy Winehouse, Duffy and the Drifters, their unique doo-wop vocal harmonies will be sure to keep audiences spellbound.

Gregg Kofi Brown makes a first time appearance on the festival isle. Gregg has been a member of the world class African pioneers OSIBISA for over 22 years and has travelled all over the world promoting the music of Ghana. His music is an addictive fusion of funky afro-rhythms, jazz and conscience-laden lyrics.

And anticipated to be making a return to the Isle of Wight is DJ Perry Louis & his JazzCotech Dancers or “Red Box Perry” and “those brilliant dancers” as they became affectionately known at IW Jazz Festivals. They’ll be occupying the Blue Angel during the weekend with their own style of Old Skool Jazz, Street Dance and DJ Perry’s enviable collection of over 10,000 vinyls covering all those great genres that have their musical roots in Africa.

Performing on the Blue Angel stage is London born singer, writer and multi-instrumentalist Joe Cang who has toured, recorded and written with Ian Drury, Scritti Politti, K.T. Tunstall, Desmond Dekker, Hall and Oates,Marianne Faithfull, Hugh Masakela, Leona Lewis and Aswad – with whom he wrote the million seller hit “Shine”. Joe’s band includes some of the cream of London’s musicians and they are currently playing throughout Europe their unique blend of new classic jazz with a strong hint of blues.

From Ronnie Scotts to Milan and finally to the Isle of Wight’s WOWfest, ex Communard Sarah Jane Morris is one artist that really lets you “Leave your preconceptions at home,” as one London critic said of the sensual singer-songwriter. Sarah straddles rock, blues, jazz and soul with a goosebump-raising four octave range that rumbles from the heels of her size eight shoes to the tips of her flame-red mane. Famed for her association with the Communards in the mid-80s, Sarah has always attracted as much attention for her politics as for her soul-driven, seismic voice.

Other artists gracing the Blue Angel are distinctive Dominican jazz guitarist Cameron Pierre, the Shez Raja Collective, the London Gospel Community Choir, award winning Dennis Rollins – the most exciting British trombonist of our times – and Dixie chicks Larkin Poe, the precociously talented young women who recently took America by storm.

Tickets are available, still promotionally priced at £99 for adult weekenders, from www.wowfest.co.uk. Follow us on Twitter: #WOWfestIOW and Facebook: WOWfest. To receive WOWfest Newsletters, send your email address to enquiries@wowfest.co.uk.

Eyeplug@WOWFest

Eyeplug@WOWFest - Insider Media Coverage and the First Event Hook UP from the MULTI-MOOD-MACHINE SOUNDSYSTEM fro a new Festival taking place this August 2012 in Shanklin, Isle Of Wight in fab settings with a super dooper line up! Watch out for new, reviews, articles, insights, and general focus right up to the Event itself and beyond! Check out the WOWFest webiste and come along for the Party! Tickets Available Now!

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June 5, 2015 By : Category : Culture Events Eyeplugs Front page Gigs Hype Media News Tags:, ,
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Talisman @WOWfest 2012

This entry is part 7 of 13 in the series Eyeplug@WOWFest

Talisman were one of the UK’s top Roots Reggae bands in the later 70’s and early 80’s.The band’s prowess earned them support slots with acts as diverse as Burning Spear, The Clash and The Rolling Stones. They have reformed with the original line up after 30 years apart to support the re-release of their classic roots single ‘Dole Age’ on a brand new album ‘Dole Age – The 1981 Reggae Collection’. One of Bristol’s finest live acts are back and ready to party once again.

Originally formed in 1977 Talisman were consummate performers constantly vying for the title of one of the country’s most popular live reggae bands. They toured the UK building up a loyal following and leaving memories of gigs that are still discussed to this day.

Until now the only way to hear Talisman has been to track down their two difficult to find singles from 1981, or their two later LPs, “Takin’ The Strain” from 1984 and “Jam Rock” From 1990. Now after nearly thirty years Bristol Archive Records have lovingly compiled this CD of the band at their peak in 1981. Not only does the CD contain the band’s two original 7” singles, but also eight carefully selected live cuts from classic shows at Glastonbury Festival and other infamous shows.

Hot on the heels of the critically acclaimed ‘The Bristol Reggae Explosion 1978- 1983’ Bristol Archive Records release ‘Dole Age – The 1981 Reggae Collection’ celebrated at their first Bristol show for 20 years at The Fleece in Bristol on 27th May 2011.

March 2012 sees the band re-release their first album “Takin’ the Strain”, originally release in 1984, as a CD (Deluxe Edition) and Digital Download. The nine tracks showcase variety and even include a soul tune, the Deluxe Edition also includes five live bonus tracks.

Talisman Interview, with Dennison from the Band:

1. What are your earliest memories of getting bitten by the music bug?

At the age of 15 I saw a guy at school playing  Jumpin’ Jack Flash’ on a acoustic guitar. I thought to myself ….I can do that.

2.Was your family background musical in any way?

In church I could hear the tones of my mother’s voice when she sang.

3. What were you original influences and how have they changed over time?

  • Listening to the radio at an early age in the Caribbean, mainly Country and Western from the US. I was hooked by the harmonies.
  •   In short, I have found my singing voice.

4. Have you ever been to the Isle Of Wight?

No.

5. Tell us about your live sound?

Roots and Culture for the mind, laced with humour.

6. How has your sound changed over the years?

We know what we’re doin’ now.

7. What have been the highpoint’s of your career?

Receiving messages from people saying how Talisman helped to shape their lives.

8. And the low-points?

The band breaking up too early.

9. What about the present day set up?

A more mature and seasoned approach to our musical direction.

10. Thoughts on today’s music scene?

There are good some messengers out there.

11. What’s in the pipeline for the future?

New music.

12. What can we expect for your WOWFest 2012 Show?

Good music…Good vibes.

Websites

Talisman
Facebook
Myspace

Eyeplug@WOWFest

Eyeplug@WOWFest - Insider Media Coverage and the First Event Hook UP from the MULTI-MOOD-MACHINE SOUNDSYSTEM fro a new Festival taking place this August 2012 in Shanklin, Isle Of Wight in fab settings with a super dooper line up! Watch out for new, reviews, articles, insights, and general focus right up to the Event itself and beyond! Check out the WOWFest webiste and come along for the Party! Tickets Available Now!

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June 16, 2015 By : Category : Culture Events Eyeplugs Festivals Front page Gigs Hype News Reggae Tags:, , , ,
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Black Roots @WOWfest 2012

This entry is part 6 of 13 in the series Eyeplug@WOWFest

Black Roots were a powerful and potent force in the British reggae music scene throughout the 80’s and left a legacy of no less than ten albums and more than eight singles before bowing out of the public eye in the mid-90’s. Hailing from the St Paul’s area of Bristol, the original eight-member band were formed in 1979 and quickly gained a large following by touring almost non-stop around the country, playing their brand of ‘militant pacifism’ roots.

Their debut album “Black Roots” released in 1983 was a highly acclaimed debut for Black Roots and saw them make their mark immediately on the national music scene. Their second album “The Frontline” included the title track “The Frontline” which had been composed at the request of BBC TV for a new television comedy series of the same name. Black Roots’ fourth album “All Day All Night” was produced by Mad Professor. The album “Live Power” was recorded at a gig at the Moles Club in Bath on 22 September 1988, which came about after fans asked for a live album, seeking to capture the power and strength of Black Roots’ tight, vibrant and entertaining stage performance.

In 1991 Black Roots and Neil Fraser released “Dub Factor: The Mad Professor Mixes” along with Black Steel and the horn section from the All Day All Night album. The tenth and final album “Dub Factor 3: Dub Judah & Mad Professor Mixes” released in 1995 finally brought the curtain down on Bristol’s finest exponents of reggae and without doubt, one of Britain’s best loved performing bands of the Eighties.

“If anyone tells you that there is no such thing as good British reggae, first tell them that they are a herbert and then listen to Black Roots.” – John Peel

Black Roots Interview, with Jabulani from the Band:

1. What are your earliest memories of getting bitten by the music bug?

My earliest memory was listening to a radio competition on RGA in Jamaica in the 60’s with artists such as the Wailers, Toots and the Maytals and so on.

2.Was your family background musical in any way?

No, only singing in church.

3. What were you original influences and how have they changed over time?

My original influences were by the Wailers and Burning Spear and over the years it’s more or less the same because I’m a roots man at heart.

4. Have you ever been to the Isle Of Wight?

I’ve never been but I would like to because I’ve heard that they will have a great festival this summer 🙂

5. Tell us about your live sound?

Our sound is a mixture of roots, melodic, spiritual and uplifting.

6. How has your sound changed over the years?

From militants to middle age spiritual fulfillment.

7. What have been the highpoint’s of your career?

Touring Europe with UB40 in the late 80’s.

8. And the low-points?

When we had a break.

9. What about the present day set up?

The 6 original members and 5 new additions that complete the jigsaw.

10. Thoughts on today’s music scene?

Very computerised without the sense of human feel.

11. What’s in the pipeline for the future?

We have a new album coming out in September and a tour coming to promote the album in the new year.

12. What can we expect for your WOWfest 2012 Show?

You will see Black Roots in a new rock reggae style with reggae at its heights, the way reggae should be played.

Websites

Black Roots
Facebook
Myspace

Eyeplug@WOWFest

Eyeplug@WOWFest - Insider Media Coverage and the First Event Hook UP from the MULTI-MOOD-MACHINE SOUNDSYSTEM fro a new Festival taking place this August 2012 in Shanklin, Isle Of Wight in fab settings with a super dooper line up! Watch out for new, reviews, articles, insights, and general focus right up to the Event itself and beyond! Check out the WOWFest webiste and come along for the Party! Tickets Available Now!

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June 16, 2015 By : Category : Culture Events Eyeplugs Festivals Front page Gigs Hype News Reggae Tags:, , , ,
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Kitten and The Hip @WOWfest 2012

This entry is part 5 of 13 in the series Eyeplug@WOWFest

Take a beautiful and fantastic singer, add a world class horn section and some pumping backing tracks. Throw in some electro swing, some R & B, a bit of camp disco, a dollop of drum and bass a smidge of dubstep, add some brilliant hooky pop songs and there you pretty much have it, Kitten and The Hip.

One year ago, Ashley Slater met Kitten Quinn. Ashley was an ex pop star (Freak Power) and Kitten was a beautiful and intelligent singer songwriter. They wrote songs together, they hung out, and they mischiefed. But mostly, they wrote great songs together.

In February, they were having a chat, and Kitten advised Ashley not to worry about something. ‘Don’t You Worry’ was born the next day. A demo was sent to Carl Hanaghan, head of A & R at HedKandi records in London. Less than half an hour later, the phone rang at Kitten HQ, the deal was made, the record was signed and the ball of yarn started rolling.

The single was release in September and has already created a significant noise on the Electro Swing scene. Another of Kitten’s tracks ‘By My Side’ has been signed to ‘Bart and Baker present Electro Swing 4’, which was released November 7th 2011 on Wagram Paris.

Live, they are a quintet, with Kitten singing and Ashley and three brass monkeys playing horns. Kitten is a natural onstage, at once mesmerising and seductive.

It’s a party with class, so don’t forget your ass!

Kitten and The Hip Interview:

1. What are your earliest memories of getting bitten by the music bug?

Kitten: I started dancing at 3 years old and then got into musical theatre at an early age as well. I think that explain some of the theatricality of our music.

2.Was your family background musical in any way?

The Hip: My dad played almost any stringed instrument, my mom couldn’t carry tune if it was in a bucket. Bless.

3. What were your original influences and how have they changed over time?

Kitten: I love pop music. I’ve always been into great modern female singers like Lauryn Hill and Whitney Houston, all of the big divas. I also listened to a lot of country folk and rock when I was younger.

4. Have you ever been to the Isle Of Wight?

The Hip: Indeed I have. I’ve guest lectured at Platform One College a few times and what a lovely institution that is.

5. Tell us about your live sound?

Kitten: It’s a big sound because we use backing tracks as well as live musicians. Very heavy bass and beats, so it works well in a club. Obviously, there’s a lot of singing, I like to layer up bf’s forever… And then I sing out over the top of all this, which can be quite a challenge.

6. How has your sound changed over the years?

The Hip: Well, we’re only one year old but our sound has gone through quite a few changes already. We’re still looking for the ideal live sound, we’ve gone form having backing tracks with three horns to doing lot of duo gigs with backing tracks to our current line-up, which is Kitten, me, drums and guitar. And…backing tracks. In the studio, our sound is defined by Kitten’s voice.

7. What have been the highpoints of your career?

Kitten: Well, my career has only just started, but I’ve had my share of high times already. We did a gig in Ostrava last year standing in for another band. There were 3,000 people in a room who had never heard of us, but we rocked that room for an hour and made a lot of friends. We also had a memorable gig in Paris where we had a few half naked men crawling all over the stage. Kind of weird…

8. And the low-points?

The Hip: Haha. You haven’t got enough space for that, but there have been a few.

9. What about the present day set up?

Kitten: I sing, The Hip sings and plays trombone (not at the same time) we have a guitarist called Duncan Wilson who is a mental and a drummer called Gillan McLaughlin who needs a good spanking!

10. Thoughts on today’s music scene?

The Hip: I think it’s better than ever. There’s always a layer of scum floating on the top of anything, but dig down a little bit and music is vibrant, interesting and very much alive.

11. What’s in the pipeline for the future?

Kitten: We have an album ready to go and are looking for the right partners to work with to release it. There’s a single coming out on Freshly Squeezed quite soon (it may be out by the time you read this). Basically, our goal is to be huge and that’s what’s going to happen!

12. What can we expect for your WOWFest 2012 Show?

The Hip: Great songs, great players and a great time.

Websites
Kitten and The Hip
Soundcloud
Facebook

Eyeplug@WOWFest

Eyeplug@WOWFest - Insider Media Coverage and the First Event Hook UP from the MULTI-MOOD-MACHINE SOUNDSYSTEM fro a new Festival taking place this August 2012 in Shanklin, Isle Of Wight in fab settings with a super dooper line up! Watch out for new, reviews, articles, insights, and general focus right up to the Event itself and beyond! Check out the WOWFest webiste and come along for the Party! Tickets Available Now!

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June 16, 2015 By : Category : Culture Events Eyeplugs Front page Gigs Hype News Reggae Tags:, , , ,
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Neville Staple @WOWfest 2012

This entry is part 4 of 13 in the series Eyeplug@WOWFest

Best known as singer, toaster and composer with The Specials, and as one of the founding members of Fun Boy 3, Neville Staple is credited with changing the face of pop music not only once but twice.

Catch his show these days, and you’ll get a mix of old favourites from The Specials/Fun Boy three back catalogue plus choice solo releases.

Neville’s first involvement with The Specials was when they were still called The Coventry Automatics. He initially joined as their roadie but at a gig supporting The Clash, Neville took to the stage and never looked back. For a while, The Clash’s manager Bernard Rhodes managed The Specials. Neville used to toast of Bernie, “Bernie Rhodes knows. Don’t argue” at the beginning of the Specials hit single “Gangsters”.

When The Specials split up, Neville departed with Terry Hall and Lynval Golding, to form Fun Boy Three. They had a string of chart hits, some in collaboration with the all- female trio Bananarama.

It was officially confirmed on the 7 April 2008 that the Specials were to reform, and on the 6 September 2008, six members of the band performed on the Main Stage at the Bestival billed as the ‘Surprise Act’. By December 2008, the band had announced 2009 tour dates to celebrate their 30th anniversary. Throughout 2010 the band played many festival dates and toured the USA in the early autumn. After which Neville returned to the UK with a string of dates with his own incredibly tight band. 2011 saw Neville play various festivals including Glastonbury and Beatherder, also supporting Madness.

Neville’s autobiography, THE ORIGINAL RUDE BOY, was published by Aurum Press in the UK in May 2009.

Websites

www.nevillestaple.co.uk
www.myspace.com/nevillestaplefromthespecials
www.facebook.com/nevillestaplefromthespecials

Eyeplug@WOWFest

Eyeplug@WOWFest - Insider Media Coverage and the First Event Hook UP from the MULTI-MOOD-MACHINE SOUNDSYSTEM fro a new Festival taking place this August 2012 in Shanklin, Isle Of Wight in fab settings with a super dooper line up! Watch out for new, reviews, articles, insights, and general focus right up to the Event itself and beyond! Check out the WOWFest webiste and come along for the Party! Tickets Available Now!

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June 16, 2015 By : Category : Culture Events Eyeplugs Festivals Front page Gigs Hype News Reggae Tags:, , , ,
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The Selecter @WOWfest 2012

This entry is part 3 of 13 in the series Eyeplug@WOWFest

The Selecter® – Starring Pauline Black & Arthur ‘Gaps” Hendrickson

“Too Much Pressure” released by this important and influential platinum selling band in Feb 1980 remains a classic touchstone for a generation of Ska lovers and the band are excited to announce they will be playing the album in its entirety plus a selection of other much loved Selecter tracks and some new surprises at concerts throughout 2011.

Mixing punk, ska and reggae, ‘Too Much Pressure’ successfully reflected the social and political issues of the early Thatcher years in Britain and gave a voice to disaffected youth across the racial divide.

The Selecter® fronted by the original singing duo of the female icon of the 2-Tone era Pauline Black & Arthur ‘Gaps’ Hendrickson deliver classic hits like ‘Three Minute Hero’, ‘Missing Words’, ‘On My Radio’, ‘James Bond’ and of course ‘Too Much Pressure’. New Selecter Album ‘Made In Britain’ & Pauline Black’s 2-Tone Memoir  ‘Black By Design’

2011 sees the return of one of the most vital, visceral and important Ska acts ever. Queen of 2-Tone, Pauline Black featured prominently in BBC4’s recent “Reggae Britannia” series, contributing to a 90 mins documentary and a live concert broadcast from The Barbican in London.

The Selecter® have written and recorded a new 10 track album ‘Made In Britain’, featuring covers of Amy Winehouse’s ‘Back To Black’ & a hugely popular anti-racist ska/reggae re-working of Woody Guthrie’s ‘All You Fascists Bound To Lose’  re-invented as ‘Big In The Body – Small In The Mind’, which is due for release in September 2011.

Discography 1979 – 2011

The Singles

1979 – On My Radio/Too Much Pressure [2-Tone]
1980 – Three Minute Hero/Carry Go Bring Come [2-Tone] 1980 – Missing Words/Street Feeling [2-Tone]
1980 – The Whisper/Train to Skaville [2-Tone]
1981 – Celebrate The Bullet/Last Tango in Dub [Chrysalis]

The Albums

1980 – Too Much Pressure [2-Tone]
1981 – Celebrate The Bullet [Chrysalis]
1992 – Out On The Streets Again [Triple X]
1993 – The Selecter® and Prince Buster (Madness) [Triple X] 1994 – The Happy Album (studio recording) [Triple X]
1995 – Pucker [Triple X]
1996 – Back Out On The Streets [Triple X]
1997 – The Very Best Of The Selecter® [Triple X]
1998 – Cruel Britannia [Snapper]
1999 – Trojan Songbook Vol 1 [Trojan]
2000 – Trojan Songbook Vol 2 [Trojan]
2001 – Trojan Songbook Vol3 [Trojan]
2002 – Unplugged For The Rudeboy Generation [Almafame] 2003 – Real To Reel [Captain Mod]

Visuals

1980 – Dance Craze [2Tone/Chrysalis Films] 1989 – Dance Craze [2Tone/ VHS]
2003 – Live In London [Secret Films/DVD]

Line Up

Lead Vox: Pauline Black
Lead Vox: Arthur “Gaps” Hendrickson
Drums: Winston Marche
Guitar: Anthony Harty
Keyboards: Greg Coulson
Bass: John Thompson
Horns: Neil Pyzer & Orlando LaRose

Websites

www.theselecter.net 
 www.paulineblack.com

Eyeplug@WOWFest

Eyeplug@WOWFest - Insider Media Coverage and the First Event Hook UP from the MULTI-MOOD-MACHINE SOUNDSYSTEM fro a new Festival taking place this August 2012 in Shanklin, Isle Of Wight in fab settings with a super dooper line up! Watch out for new, reviews, articles, insights, and general focus right up to the Event itself and beyond! Check out the WOWFest webiste and come along for the Party! Tickets Available Now!

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June 5, 2015 By : Category : Culture Events Eyeplugs Festivals Front page Gigs Hype News Reggae Tags:, , , ,
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