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Eyeplug defines its Soul focus, as a passion for the mainly Black American independent music explosion that happened in the late 1950’s and early 1960’s with roots in the Gospel/Church/Testify communities, that fused R‘n’B with these deeply emotional expressions from the Congregation. Soul Music is about poverty and day to day drudgery and the emotions that are spawned from tough times and limited Civil Rights.

The Soul singers of the golden period of the 1960’s and 1970’s became the voice and heart of rebellion, that spearheaded massively long overdue socio-political changes. The music has evolved into many sub-genres and takes on many forms and is probably best knock globally by the record labels Motown and Stax.

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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 : Soul Tags:,
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Rhoda Dakar Speaks to Eyeplug

Rhoda Dakar recently took time out from her growingly hectic schedule to speak to The ‘mighty’ Scenester about her current activity including her all new fab EP, ‘The Lotek Four Vol 1’ which is out now.

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S: So, tell us a little about the new EP.

RD: It started out from an idea about when I first took my son to the studio. Cecil and Terry Callier were recording ‘Dolphins’, Doctor Robert was the producer, up at the Church (The Eurythmics’ studio) and my son was six months old at the time, and he was humming along.

They wanted to have a parents’ evening, a concert where the music teachers and the parents actually performed, so I said why don’t we do ‘Dolphins’? One of the music teachers played piano, we didn’t have a bass player. In our first run through, in the rehearsal studio, I recorded it on my phone. It sounded amazing. You really don’t need all the fuss. If the song’s good, and it’s played well, and the arrangement’s right, you don’t need all the extra stuff. It’s a different art form, putting the extra stuff on. So that was the idea for the EP, to get back to the essence of what a song is, so you have a good song, and record it in a good studio, with the minimum of fuss. It was all recorded it in two sessions, in one day. We were lucky enough to have The Black Barn. We recorded two versions of one song (‘Fill the Emptiness’) just to show that it’s not even about style in which you record it.

The EP was recorded with my live band, and that was the real joy because we already had an understanding. I teach vocals and performance, I‘m used to working with different people. It’s about weighing people up, seeing what they’ve got to offer, and seeing how you can get the best out of them. There are some people you can work with a million times and still never get anywhere with them.

S: What first got you into music?

RD: My Dad. He was a singer; he used to sing around the house. There was always something playing. We had a gramophone, and 78’s; they had a big record collection, my parents. I had wanted to be an actress, and my first job was at the Young Vic, at the theatre wardrobe. My grandmother had been a theatrical costumier, she taught me how to sew, so I got a job in theatre wardrobe, and I was there for a couple of years, and in all that time, there was one mixed race actor came in for one play. I had been in the Youth Theatre and we’d done Shakespeare at the Old Vic, and I went to the Young Vic, which is just across the road, working professionally, and I suddenly realised I’d be playing nurses and prostitutes for the rest of my life. I just had to re-evaluate what I wanted to do. I went into the Civil Service but I was only there for about six months, and in that time, I got in a band, and we got a deal. I’d actually been performing for over ten years by the time I got into a band. It takes a long time to be a good singer, and I wasn’t when I started, I’ve had to work at it.

S: How well did you cope with fame at such an early age?

RD: I had been around bands for a long time. I went to see my first gig when I was thirteen, so I’d seen lots and lots of bands and two of my friends were in the Sex Pistols, and I spent a lot of time with them. So I saw how they coped with it, and I saw how some didn’t cope so well, and how one coped brilliantly because he was very grounded and when he wasn’t doing anything, his Dad used to make him work for him. That keeps you on it. I have to say, that Paul Cook was a massive influence on how I behaved in the music industry. His attitude to people, his level-headedness, and I really loved that, so I took after him.

S: Which artists did you like when you first got into music? Are they different to the ones you were into when you first became a musician?

RD: Some of them, I am, I mean, I can’t say I’m a big fan of The Partridge Family anymore, but that was kind of the first thing. Very quickly, I was into David Bowie, and that’s remained a constant, although I have to say he went out of favour with me, and I think it was when I saw him cutting up lyrics, and I thought, I’ve pored for hours over lyrics, and he just cut them up and put them together willy-nilly. I was a bit huffy about that, especially as when I wrote very much from the heart.

S: Which of today’s artists do you admire?

RD: There are loads of young grime artists that I like, when my son was too young to go by himself, I saw Skepta, Wretch 32 years ago, and I think someone who is going to do well is Stormzy. He’s bright enough to know that you can’t take one idea and go with it forever, you have to branch out, and he’s got a little twinkle in his eye. There’s an American band called The Interrupters, I think they’re under thirty, and they’re like a ska-punk band, which wasn’t something I was ever into, but they have this song called ‘Take Back The Power’ which really resonates with me at the moment, you know ‘What’s your plan for tomorrow, are you a leader or will you follow? Are you a fighter, or will you cower? It’s our time to take back the power.’

S: Which person has had the most significant effect on you?

RD: Musically or attitudinally? It’s got to be Bowie, I as a fan when I was 13, even before I went to see him. At the time, to be a Bowie fan was like, we were called Bowie freaks; it was so different to what was going on. Also, I’ve met so many people, with whom I’m still in touch, and they shaped my adolescence. One of them, Jill from Bromley, ended up going out with Paul Weller, she was into Siouxsie Sioux, and so we all ended up knowing Siouxsie, back in the day. Essentially, the reason I’m still hanging around with bands is all about those people connected with Bowie. People I’ve reconnected with over the years, like Hugo Burnham, who was the drummer for the Gang of Four, he was one of our group, all have ended up connected with music in some way. I wasn’t one of those people tearing my clothing when Bowie died. I thought it was a shame, very much so, because I thought he was influential in a good way and the fact that he was starting to make music again. It was just brilliant. As I was coming up the escalator at Piccadilly, somebody was singing, ‘Where are we now?’ If a busker can’t ruin it, it’s a good song.

S: (Mentions ‘Kooks’)

RD: I was there; I did it with Dr. Robert! We did an acoustic version, we were invited onto the Women’s Stage at Pride, and we sang ‘Kooks’, and my son was like 18 months old, in the audience, in his pushchair. It (Kooks) was about his son, wasn’t it? I let my son think it was about him. I remember him (Duncan ‘Zowie’ Bowie) when he was a little tiny boy in his pushchair, ‘cause I used to sit outside Bowie’s house. I was that mad about him.

S: If you could travel back in time, to any place, when and where would it be?

RD: I’ve been asked this before. The answer I should have given is to go back to Swinging 60’s London, however, the real answer is that I would have loved to go to my Dad’s Jazz Club in Piccadilly, in the 40’s, and see what that was like. My parents met there in the Second World War, I’m sure my mother shouldn’t have been there, but in those days, people just thought ‘Well I might be dead tomorrow, let me just go and see what this is about, a Jazz Club in a basement behind the Regent Palace Hotel.’ My Dad hosted the Caribbean Club there, and the house band was the Ray Ellington Quartet. There is some great photos I’ve got from there, amazing. My Dad was so charming. Oddly enough, it would have been his 120th birthday today. He was 62 when I was born. He was from another era; he was the youngest of eleven.

S: Is there anything you would like to have prevented coming into being?

RD: Gosh. Very difficult, because you want to say, ‘prevent Hiroshima, prevent Nagasaki’, but I think I’d like to have prevented HIV. A terrible, terrible thing and I really don’t know how it came about. I don’t know how selfish this would be, but maybe prevent Trump being born.

S: If you could backtrack through your career, what would you edit, if anything?

RD: I don’t think I’d really excise anything. I’d like to add more. I’m putting this thing out now (EP) and I feel like I finally know what I’m doing. If I’d done more, would that have come to me earlier?

S: If you were to meet yourself in your early twenties, what advice would you give yourself?

RD: The advice I would give myself would be either ‘get yourself a decent manager’, or ‘learn about the music business’. I have lost and have been eased out of thousands and thousands of pounds over the years, because I trusted people to do things for me – because we never had a manager for more than about six weeks, I never joined the PRS. So I missed out on money there for example. Another one; just never reading paperwork properly that was given to me. Get acquainted with the business, and be on point, as the young people say.

S: What songs or arrangements are you most proud of, and why?

RD: I would say I’m proudest of this latest EP, particularly because I was in charge of making everything happen, for the first time ever. Nobody found the studio for me; I found it. Nobody decided on the tracks; I decided on them. I made all the big decisions, I designed it, and it’s all down to me. If there’s something wrong, it’s my fault. Even the free download, it was my decision.

S: ‘The Boiler’ is such a powerful piece of work. Did you have any misgivings about it? Has it ever proved a millstone around your neck?

RD: I don’t think of it as a bit of a millstone. For me, it was a transition between me doing acting and singing. It was the only original song we had at our first gig. It was where I started to become a songwriter. I’d think of it as a millstone if people still expected me to do it. That said, I can’t do it because it’s very much a piece about someone like my younger self, I’m not twenty, I don’t think the same thoughts. It would be me faking being twenty.

S: How did the launch for the EP go?

RD: I’m pleased I’ve had a positive response, it’s very rewarding, and we’re already writing the next one!

Rhoda Dakar spoke with Scenester1964 23/2/2017

Rhoda Dakar; The Lotek Four Vol. 1 (LTK4V1CD)

 

Coming from the doyenne of the 80’s Ska revival scene, and dressed in natty hounds-tooth (the EP, not Rhoda) the five tracks on offer here are a personal labour of love.
‘Fill The Emptiness’ opens as a languorous, swaying Lover’s Rock track, with some lovely falls in the voice, and a crisp, raspy sax solo to boot.

‘Tears You Can’t Hide’s high, pumping beat and tension and release dynamic shows Rhoda’s rounder, yet ironically, more stentorian voice tone.

‘You Talking To Me?’ has the kind of late night atmospheric sax and keyboard that welcomes you in, the voice smooth, even drifting into French at opportune moments.
Rhoda lets her voice soar on ‘Dolphins’, the ‘lapping water’ piano complementing the jazzy feel in a relationship tale.

‘Fill The Emptiness (Reefa)’ reprises in a very different style, and fits its piano riff well, the slide guitar setting it off beautifully, Rhoda duetting with herself at one point.

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Scenester1964 7/3/2017

Scenester

Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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March 8, 2017 By : Category : Articles Eyeplugs Front page Interviews Jazz Modernist Pop Soul Tags:, , , ,
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Author – Roger Marriott

This entry is part 5 of 9 in the series Old Dog Books

Roger Marriott was born on a council estate in West London in 1967, and grew up in the 70’s and 80’s with a whole heap of bad music around me! In 1979 I discovered sixties soul which became the main soundtrack of my youth. For a big chunk of my career I strove to become a decent graphic designer. Later I had the chance to run some quite sizable marketing agencies, which I very much enjoyed. Now, I’m a London Taxi driver, which gives me great material for my main passion which is writing and enough head space to do it.



01. How did you get started in the world of words?

One day I asked my English teacher if I could use swearing in an essay – she said that if it was relevant that I could. At fourteen I made sure that I made it relevant just to get it in without a detention. She taught me that writing didn’t need to be stuffy to be considered good, which was inspirational.

02. Has it been a struggle getting your first book published?

Well, my first one was in 1994 – and that was a struggle for many reasons. Over the last twenty years it has got harder for authors, there is no doubt about that. Most publishers generally won’t read work that comes directly from an author; it seems that everyone needs an agent now.

03. Where did you see the first piece you had written in print, how did that feel?

My first novel, Waterstones – Tottenham Court Road in 1994. It felt surreal.

04. What was the main reasons that you started to write seriously?

I felt the need to tell a story, and believed that I could do it. I love the challenge of sitting in front of a blank sheet of paper, knowing that within a certain space of time, you as a human being can create something from words that no one has ever seen.

05. What’s a typical working day like when you are writing?

I’m up pretty early and getting the coffee down me. Then I’ll scope out what I need to achieve that day. Usually I start with the good old pen and paper, that’s how I work creatively – nowhere near a laptop for this stage. Sometimes I’ll fire up my old Lambretta and go for a spin to a local coffee shop and do some work there. Then once I’m happy with the sound of it creatively, I’ll start crafting it on the laptop, chipping away or adding bits to make it flow nicely.

06. What were your teenage experiences that helped to shape your later mindset?

There are so many, what a question! I guess a chunk of them are in my novel East of Acton which is semi-autobiographical. But I think the resounding one was that at fourteen I loved graphic design, like a lot of young people at the time I was into The Jam. I’d done some very rudimentary illustrations and cover designs and decided to phone Polydor records up and tell them about my work. I ended up going to their offices and meeting their creative director which had a lasting impression on me: If you want something and think you can add something, then do it, you have nothing to lose.

07. What was it like to be young in the 80s involved in Street Cultures, what were your pointers and outlook?

It was quite dangerous, but brilliant at the same time. There were so many youth cults out there that seemed to exist all at once – very exciting. I was seriously into the Mod thing which very much promoted a positive stance. It was all about progression.

08. What was that 80s period in London like for you as a young man outside of the Music world?

Busy and very positive. Outside of youth culture my work was my passion and at that time progression in the work place for working class kids wasn’t so much of an issue. Social mobility was possible. With a lot of hard work and some talent you could get somewhere.

09. How did the Media distort what was going on with youth culture at that time?

Apart from big names like The Jam, the media more or less ignored the Mod thing – a flash in the pan 79’ revival and then silence. We were invisible. I think the media always promote their agenda no matter what era. That’s why having the internet now is such a bonus – people can see and connect with what they are into, it can’t be hidden.

10. What music, films and books helped you to the pathway of all things alternative?

Wow, how much space have I got? Films such as Taxi Driver, Meantime, Nil by Mouth, The Long Good Friday and obviously Quadrophinia to name but a few. Books, Brighton Rock, 1984, On the Road, To Kill a Mockingbird, City of Spades, Iron in the Soul… just too may to list!

11. What other books do you wish you had written?

The Wasp Factory by Iain Banks, it was his first novel and is amazing and Cannery Row by John Steinbeck, it just moves at such a pace, you feel like you are in Monterey Bay with him.

12. How has the internet changed what you do?

Great for research and connecting with likeminded people, a real bonus.

13. Do you have any advice for wannabe authors?

Write from the heart and just keep going. Write because you enjoy it, not because you want to become a millionaire, because it’s odds on that you won’t.

14. What projects are you planning for the future and please feel free to plug your latest book?

I’m writing the beginning of two new novels at the moment because I can’t decide between their concepts. I’ll see how they stack up after a chapter or two and then shelve one for later.

East of Acton has just been published and is available at: www.olddogbooks.net and www.amazon.co.uk

15. What has been the re-action so far to your book?

Well, it’s just about to be published, so we will have to see.

EOA_cover_8mm_spine_front

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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 10, 2016 By : Category : Culture Features Front page Interviews Literature Music Soul Tags:, , , , , , ,
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Casino Classics – Longjohn Reviews

Casino Classics – Complete Collection Album review

Cherry Red Records have seen fit to extend their musical family to incorporate a new label that is devoted exclusively to the release of Northern and Rare Soul. The newly created Soul Time has launched their new venture with the release of Casino Classics – The Complete Collection. This 3CD box set comprises everything ever released by Wigan Casino founder Russ Winstanley and club manager Mike Walker on the Casino Classics label.

The box set comprises the 3 best selling Casino Classics albums in chronological order plus a number of bonus tracks, which include all the singles spread across 3 CDs. Included in this box set is a 32-page booklet with a foreword by Russ Winstanley. The liner notes are impressive and they help to make the music come alive, as they are detailed and concise and provide the listener with important background information on the artists and their recordings.

The Casino Classics label was launched in 1978 to coincide with the enormous success of the Wigan Casino club and to reissue popular Northern Soul gems to a devoted following. The story regarding England’s fascination with Afro American music is long and has been told and debated as some might argue to the point of exhaustion. However, the British public absolutely adored this up-tempo, brass driven, string-laden music with passionate vocals of heartache, love and loss, and the Northern Soul scene is still thriving well into the 21st century.

The Casino Classics label’s three-year existence saw the release of a string of 45rpms and 2 albums with the third album being released posthumously after the closure of the Wigan Casino in 1981. The first thing that will strike the listener especially those familiar with Northern Soul is the absolute lack of snobbery in terms of songs chosen for the albums. The set comprises a combination of Northern and Modern Soul with the latter much more prevalent on discs two and three. The compilations are a curious mix of obscure songs with big selling hits and far away misses.

With hindsight this open minded music policy is to be applauded as the Northern scene in more recent years has succumbed to churlish elitism, by puritanical DJs and collectors, who will sneer at those whose own tastes in music are not obscure and exclusive enough to be allowed into the clique. This must seem baffling to outsiders considering that without exception all of these artists wanted to be popular and wanted their music to be heard by as many people as possible. However, for many reasons including lack of commercial appeal these artists were ignored in the 1960s, but here in the U.K these records were devoured by music obsessed working class English with the apogee of Northern Soul popularity arguably reaching its peak in the mid 1970s.

The selections on this box set may not appeal to everyone but compilations play a vital role in introducing the uninitiated to new types of music. However, there is a playful nature to some of the selections on these albums, for example, the inclusion of a cover version of the Doris Troy Classis “I’ll do anything’’ by Lenny Gamble (AKA Tony Blackburn) is somewhat baffling considering that Doris Troy’s version is vastly superior. However, there is an amusing story behind the discovery of this record. Long-term soul fanatic, legendary DJ and head of A&R at Ace Records Ady Croasdell discovered this song not long after it’s 1969 release and subsequently cut an acetate, which he covered with a white label and sent to Wigan Casino DJ Keith Marshall, who then proceeded to play it to unsuspecting club goers.

The Ron Grainer Orchestra also appear on chapter one and the inclusion of a “a touch of velvet’’ & “Joe 90’’ seems rather odd with hindsight. Grainer was a composer of film and television scores and was arguably without equal in this department. His iconic theme tunes include Steptoe and Son, The Prisoner, Doctor Who and Tales of the Unexpected. However, a soul icon he is not but you have to admire Russ Winstanley for including these tracks, as it is unlikely that these tunes will grace many Northern Soul compilations these days. However, one has to question the inclusion of Mods 79 who recorded ‘’Green Onions’’ and ‘‘high on your love’’. For some the ‘Mod Revival’ that occurred on the back of The Jam’s success in 1979 spawned a barrage of sometimes turgid identikit groups that used corny band names and eschewed Mod imagery and are probably best forgotten in the main.

This compilation has several classics on it that are so well known that they hardly need any introduction here. However, Gloria Jones, “tainted love’’ (1965) (covered by Soft Cell), The Ramsey Lewis Trio, “Wade in the water’’ (1966) and the finger clicking soul of The Tams, “Hey girl don’t bother me’’ (1964) are simply great tunes and should not be ignored. It would be fair to say that very few Northern or Rare Soul DJs would even touch these records now because of their mainstream popularity, and let it be said that casual listeners should never let a soul elitist spoil your listening pleasure.

Some other absolutely great songs grace this compilation, including a pair of gems recorded by London born Lorraine Silver in 1965. “Lost summer love’’ and ‘‘I know that you’ll be there’’ were recorded by Silver at the tender age of 13 and her assured and mature delivery makes these songs even more remarkable. Reparata and the Delrons were an American girl group in the 1960s, and although they did not quite attain the commercial success of The Ronettes and the Shangri-Las, they did record a number of great singles including “panic’’ in 1968. Even more impressive is that this particular song was a B-side and it is no surprise that this song with its insistent shuffling beat was so popular on the Northern Soul scene in the 1970s. More recently the song was recorded by those jingle jangle sunshine pop maestros The Primitives for their 2012 album “Echoes and Rhymes’’.

Jackie Trent has a pair of songs on this compilation, including “Send her away” and a stupendous cover of The Ronettes classic “You Baby’’, which were both recorded in 1966. Jackie Trent died in March of this year and along with her husband Tony Hatch wrote songs for Shirley Bassey and Petula Clark in the 1960s. Other highlights include the Just Brothers, “Sliced Tomatoes’’ (1965), (which was heavily sampled by Fat Boy Slim for his 1998 hit single ‘“Rockafeller Skank’’), Jimmy Radcliffe’s evergreen classic “Long after tonight is all over” (1965) and The toys’ “A lover’s concerto’’ (1965).

Without being accused of favourtism a special mention should go to The Flirtations. They released a string of great singles for Deram in the late 1960s and early 1970s. They became stars on the Northern Soul scene in the U.K but success largely evaded them in their native U.S.A. It could be argued that they were not distinctive enough and were just another 1960s girl group that had the talent but just not the right material to make them stand out. This observation may be slightly unjust because their best-known release ‘’nothing but a heartache’’ has been a classic on the Northern Soul scene for years. They also then recorded the Holland, Dozier, Holland penned “Little Darling (I need you)” in 1972, and sadly it never was to be the hit that it perhaps should have been. Luckily Russ Winstaley re-issued it in 1978 for avid Wigan Casino club goers and it is also included on this extensive compilation.

This box set will probably not appeal to rabid rare souls fans as everything on this compilation will already be in their collections or dismissed because they are now too popular for their exclusive tastes. However, this compilation is a great introduction for a relative beginner, and without sounding biased the only possible argument one can make against the song selections is that it is rather a little light on classic 1960s soul. Whether your preference is for Northern or Modern Soul or even both this box set will serve a newcomer well, and let the voyage of discovery into rare soul begin in earnest.

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Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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September 29, 2015 By : Category : Cult Eyeplugs Front page Reviews Soul Tags:, , ,
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Blue Mink – LP Review

The Singles Collection – Blue Mink (Glam CD 124)

Take yourself back to the early 1970’s, to an age when the big noise was the humble pop song, whether shrieking out of a tiny transistor radio or blaring out of a bruiser of a record player. The better-selling LP was the older, less fashionable brother’s format, but the 7’’ single still had near-totemic power over the nation’s nation’s pop kids, who were staring at the posters on their walls, and happily enjoying this subculture, to the amusement – or more likely, the complete incomprehension – of their parents.

As Britain’s rock acts became ever more LP-orientated, the Top 30 (see glossary for these archaic terms) soon filled with a great variety of light rock, MOR and honest-to-goodness, well-crafted pop. The latter was perfectly exemplified in the talented team of Blue Mink. Basically a conglomerate of long-experienced session players, singers and pop craftsmen, their respectable string of hits from ’69-’74 are all collected on this neat CD, with the welcome addition of some of their less successful output.

‘Melting Pot’s simple and honest plea for racial understanding may sound a little patronising these days, but this Roger Cook-Roger Greenaway ditty was minted at a time when racially bigoted attitudes were common currency. The vocal duo of Roger Cook and Madeline Bell delivered the lines with a gentle touch, and the song peaked at No 3.

‘Good Morning Freedom’s bright, wide-awake start couldn’t fail, with its rolling piano and Gospel tinged harmonies, and managed a No 10 for this rangy group. A stab at the eco-protest song with ‘Our World’ followed, opening with doomy chords, but soon slipping into the shared vocals of Madeline Bell and Roger Cook and a rousing, hopeful chorus. Although not as successful as the previous two singles, it still sold enough to matter.

‘Time for Winning’s failure to chart proved an early set back, in spite of its use in film ‘The Raging Moon’, but the band were soon back on top with the schmaltzy Salvation Army march, ‘The Banner Man’. Their most successful single and a global hit, and Madeline Bell’s voice is as honeyed as ever, I bet you still remember the words.

‘Sunday’s bluegrass feel was a departure from their usual fare, but despite its lazy, summery beat and drawling vocals, it met with no success, and it looked like Blue Mink had peaked early. ‘Count Me In’s creeping intro, a little reminiscent of Three Dog Night’s ‘Mama Told Me Not To Come’, suits this further slice of protest pop, with some finely orchestrated backing and heartfelt vocals.

‘Wacky Wacky Wacky’s jolly tune and nonsensical lyrics mask a song of longing that still didn’t work its magic for a chart placing. Fans of stoner humour will no doubt appreciate some of the song’s cultural references, ‘Stay with Me’s smoochy ballad, with a simple backing and fine, blended vocals saw the band back in the Top 20, in amongst the first stirrings of glam rock.

The Gaelic lick and ‘join in’ vocals of ‘By the Devil I Was Tempted’ show the band’s strengths well and this simple, almost stereotypical Gospel song propelled them to a fairly respectable Top 30 position. Their final hit, a Top 10-er at that, would be the pub singalong, ‘Randy’, with its tinkling piano, choppy guitar and celebratory vocal, about a whimsical, carefree character, all so common in those far-off days of virtual full employment and endless possibilities for the young.

‘Quackers’ silly instrumental may try the patience a little, but ‘Get Up’s jaunty piano and funky beat proves more palatable, with its essential countdown and expert vocalising. ‘Another Without You Day’ tugs at the heartstrings, with its pastoral guitars and gentle vocals, hinting that the well wasn’t quite dry yet. Ironically, the single didn’t get released until after the band had called it a day.

‘You’re The One’ marked a belated return for the band in 1976, although this chugger, faintly reminiscent of The Captain and Tenille’s ‘Love will Keep Us Together’, also failed to pay dividends. ‘Five Minute Wonder’s stab at disco is enjoyable enough, but their take on this hugely popular genre didn’t garner any chart action. ‘Where Were You Today’ seemed a return to the jauntier rhythms they were so fond of, but a rival version of the song by its co-writer, David Dundas, was released at the same time. Neither version met with success, and Blue Mink laid down their instruments for the last time.

Scenester 30/6/15

Scensters’ Useful Glossary:

Transistor radio: Ingenious, inexpensive device from Japan, giving th’ kids access to a world of pop perfection via the medium of the airwaves. As ubiquitous as the mobile phone today, no possibility of cyber-bullying and no ridiculous contract amount to pay each month.

Record player: Heavy, wooden box with cast iron arm and spinning platter on which to play your singles and LPs. Design basically unchanged since Victorian times, except for electrical propulsion.

7’’ single: A disk of vinyl plastic inscribed with a spiral groove, with enough room for one shot of pure musical heaven, and a rather dodgy support song on the other side.

LP: Long playing disk of vinyl plastic, the big bro’ of the above, with enough room for about twenty minutes’ worth each side of potential singles (if you were lucky) or sheer self-indulgent clod-hoppery (if you weren’t).

7’’ singles and LPs were also both known, confusingly, as ‘records’, as if something generated by the National Archive.

Top 30: Allegedly the 30 singles which garnered the highest sales that particular week. Cynics suggested it was more to do with offers of bungs and sexual favours and the pop world’s equivalent of the Old Boy’s Network, which placed a single in the higher reaches of the Top 30.

‘Hit’: A record which succeeded in reaching the ‘charts’. Stretching the definition, a ‘Hit’ could be Top 20, Top 30, or Top 40, depending on whether you were a pop fan or a record label skivvy.

‘MOR’: Middle of the Road, a stereotypical song or act. Often wildly successful viz the late great James Last.

 

Scenester

Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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July 3, 2015 By : Category : Classic Front page Glam Music Reviews Soul Tags:, , , , , ,
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The Montecristos: LP Review by Colin Bryce

The Montecristos: Born to Rock‘n’Roll (Easy Action)

Its rock‘n’roll fetish time! Big ‘ol guitars! A blazing (all gal) horn section with a stand-up bass pumping the bottom of that primitive rockin’ rhythm to get ‘em out on the floor. Add a pile of peroxide and pomade, a little bit of leopard on your strides and some suggestive late-night ideas from vocalist/guitarist and front man Neal X and you’ll have a pretty good idea where London’s Montecristos are coming from. Fronted by former Sigue Sigue Sputnick and Marc Almond guitarist Neal X this six piece outfit has got the show going. Plenty of 50s glitz and gonzo with the occasional nod to the swingin’ 60s (the Rascal’s “Good Lovin’”) and with Marc Almond as featured guest vocalist on Vince Taylor’s well-known classic “Brand New Cadillac”. Like “Good Lovin’” it could probably have been swapped out for one of the band’s originals or something a little more uncommon but they may very well help with getting some friendly radio play. I was very pleased to see the great rock writer Nina Antonia listed as co-writer on the title track “Born to Rock’n’Roll”. No doubts here – the Montecristos are rockin’ it. (14 tracks.)

GRAB A COPY HERE!

Web Links
themontecristos.com

Colin -Mohair Sweets- Bryce

One of Canada’s late 70’s “punk” rock crowd and from 1997 to 2007 the fellow behind Mohair Sweets print and webzine. Currently passes the time by playing the odd gig or two, shaking his head, wringing his hands and pondering whether or not the tape vaults of the legendary Pirates are really exhausted.

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June 5, 2015 By : Category : Blues Eyeplugs Front page Garage Modernist Music Picks Reviews Soul Tags:, , , , ,
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Count Indigo speaks to Eyeplug.net

Count Indigo is a versatile pop singer, performer lyricist and compere of surprising vocal and aesthetic range. His music encompasses smooth baritone soul grooves, dark falsetto dance rhythms and exhilarating orchestral arrangements. The uniqueness of his approach to music – making comes out of combining mature themes of joy and betrayal and with a beguiling soulful accessibility. A decade of acclaimed nightclub & festival performances all over Europe and honed an intimate, humorous showmanship personified in his album, Homme Fatale. We caught up with ‘The Count’ recently and he explained his new ‘Crowd Funded’ Queens Ransom Project in some (semi-secret) depth.

01. When did you first start in Music, what were you doing prior to this date?

​I started writing songs whilst still at college in the Eighties and had a couple of bands. Clay and The Magnificent and The Love Ambassadeux. (The band name’s spelling wasn’t my idea!)

02. What brought your Sound together and how did you decide on that moniker?

The sound, the aesthetic is down to how I wanted audiences to feel and behave rather than any overwhelming love of a particular genre. Lounge music, library music written for advertising or incidental music is all about a lack of ego and mood setting. It’s wonderful as a means of getting under the listeners skin. I got my nickname ‘The Count’ from wearing suits and vintage clothing even when brassic as a student. Whilst I adopted Indigo from Duke Eliington’s jazz blues ‘Mood Indigo’.

I started a nightclub (Indigo) playing rhythmic midcentury soundtracks and library music. It allowed people to chat, dance and enjoy really varied entertainment without pre judging the content.

03. What are the diverse influences that shape your current sound?

Its all about people. I’m really enjoying working with great musicians again after a lot of time in programming suites. The opportunity to collaborate with Kenny Clayton for instance gives me a direct link to the heyday of beautifully crafted pop practitioners like Matt Monro, Petula Clark and Shirley Bassey. How to craft and then really interpret a lyric. While a bass player like Dale Davis is fantastic for channelling that melodic funk tradition from James Jameson to Bootsy Collins.

04. At present you function in various formats and sizes, how does that function when touring and the onstage set-up?

Count Indigo Original
For my own original Count Indigo yachtpop sets like Queens Ransom I have a 5 piece band that glows in a soul/loungecore disco glory. I occasionally do a vocal PA without them.

Count Indigo Vintage
For a set that concentrates on covers and the wholly easy-loungecore tradition I ‘m well known for I work with The Brighton based 7-piece Jet Set International complete with sitar and go-go dancers.

Twickenham Toy Orchestra
Finally I have a rather joyous side project The Twickenham Toy Orchestra, which is a six-piece ensemble doing covers like Golden Years and The Ace of Spades but on kids instruments.

05. What can someone that has yet to see your live show expect to see and hear?

Twenty years of compering means I like to really engage an audience. A Count Indigo set is slick moving from bossa-novas to 70’s funk onto Daft ‘Punkesque’ disco over drive. A loungecore set cranks up the kitsch familiarity of huge ‘60s soundtracks and fabulous shifting melodies.

The Twickenham Toy Orchestra charms the socks of you with a cheeky joie-de-vivre. In the end everybody wants to get down to Word Up done on a melodica, kazoo and kids drum kit!

06. What types of people do you attract along to your Club events?

It’s very genuinely inter-generational. The new music attracts people in their twenties after some authentic grooves and provocative subject matter. ( There aren’t too many funk outs referencing kidnapping the Queen for example). The interpretative bands offer something a little more cosy and humorous with a funky go-go twist.

07. You have played many established festivals and historic venues, and even been on TV a good few times, what were the high and low points and stand-out memories?

The Count’s first live appearance on British T.V. was on the very first show of Chris Evans’ TFI Friday. A hilarious live session on French T.V. backed by Parisian band A.S. Dragon comes to mind. My face, when the presenter announces the arrival of ‘Cunt Indigo’ is quite a picture!!! Russian T.V. interviews are always pretty surreal experiences, involving fabulous parades of of utterly un-self conscious fashionistas. I loved presenting at The Vintage Festival at Goodwood in 2010 – what an ambitious and fully realised jamboree. Shame it didn’t endure really! Contact me here for bookings!

08. What Countries are most receptive to your current Sound?

Anywhere keen on sunshine and the metropolis. So Southern Europe and the American West Coast, New York, Paris and my traditional hunting grounds in Eastern Europe. I’m also hoping to thrill Latin America soon!

09. How do your songs develop? What is the usual process of writing new material?

I usually find a subject matter inspiring first and almost always start from a fully realised lyric and melody that I then flesh out with a writer or arranger.

10. What are your Heroes and Zeroes from music and beyond?

Heroes
Darius Milhaud via Burt Bacharach
Nelson Riddle
Scott Walker
Billy Strayhorn
Prince
Lee Hazelwood
Bruno Nicolai
David Whittaker
Danger Mouse
Willy Brandt

11. What is your current favourite music and influences? What do you think of the current music scene?

I’m not much influenced by contemporary music, but like listening to the acts listed below. I don’t think there really is a current music scene as such, as things have become so atomised and domesticated by the digital revolution.

First Aid Kit
Perfume Genius
Matthew E. White
Gregory Porter
Mikey Georgeson And The Civilised Scene
Death and Vanilla
Curtis Harding
Forever Pavot
Rumer

12. You have collaborated with various people, how did that come about and work out?

I’ve worked a lot with French producer and composer Bertrand Burgalat, founder of Tricatel Records. We were introduced by my manager of the time when he produced my second single Her Other Man. We also co-wrote Trinity together. Tricatel produced my album Homme Fatale but its lack of commercial success meant we went our separate ways, although we still gig together from time to time and have written regularly together over the years.

13. What shows/events have you got planned for the near future?

Best place to keep up to date with my dates is to visit my all new cool website here!

14. Are you involved with any other outside projects?

The key ones are the clubs Mrs Peels (mrspeels.club) and The Variety Discotheque.

Mrs Peels is very much a penthouse take on more obscure grooves of the Swinging ’60s. Featuring go -go dancers, body painting and live music. All in on the 4th floor cocktail lounge of a hitherto private club.

Variety Discotheque reignites light entertainment in a nightclub setting featuring the party sounds of DJ The Psychedelic Milkman against the Backdrop of house band The Twickenham Toy Orchestra and visiting performers featuring magic, comedy, sword swallowing and trad jazz spoons playing.

15. Tell us about your unique taste, style-sense and outlook?

I love to entertain and seduce an audience with performances that hark back to the wealth of post war showmen and women from Louis Jourdan to Sammy Davis to Grace Jones. I’m more a made to measure guy than bespoke. Given too many sartorial choices I’m prone to disappearing up my own fundament. I believe that the art of entertaining comes out of embracing and challenging your audience to adore melody and good timing.

16. Is there anyone that you would dream to work with on a mini-project?

I’d love to get Michel Legrand (who I interviewed once) to do arrangements on a fabulous sex and soul E.P. I’m planning away now as we speak!

17. Please feel free to plug any of your recordings that may be for sale?

I’ve recently become the sole vendor for my album Homme Fatale. Its never had distribution in the U.K. and its a neo-soul tendencies prefigure bands like Gnarls Barkley and Metronomy.

18. What does the future hold for you all?

I’ve recently completely rediscovered my creative mojo after being completely immersed in my loving role as a father. I want to make at least 2 E.P.s a year for the rest of my life and also develop a whole range of fun live formats and products that make people happier!

19. Tell us about the Queens Ransom project?

Queens Ransom is a crowd funded fantasy Yachtpop E.P celebrating my kidnapping of Elizabeth II on the eve of her becoming the longest reigning monarch in British history. Check it out here!

20. Can you tell us a joke please?

I once upon a time had a bad experience telling Bruno Brookes (who?!!! ) a joke once and swore to never tell one again! Sorry!

Web Links
Website: Countindigo.net
Twitter: twitter.com/countindigo
Facebook: facebook.com/pages/Count-Indigo/
Pinterest: pinterest.com/brucemarcus3/​

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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March 27, 2015 By : Category : Articles Exotica Features Interviews Music Pop Soul Tags:, , ,
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The Record Collector & The Holy Grail

I am off on a trip next week to Strummer Fest in Agen, France. It is a town that I know absolutely nothing about except that at 26 Rue Garonne, I can buy some 60’s garage and soul singles from King Bees Music.

That’s because before I go anywhere, the first thing I do is look up on the internet is where I can buy some vinyl.  I’ve bought records all my life but probably in the last few years, and especially since I purchased my first Jukebox it’s become a bit of an obsession.

Once whilst on holiday in Paris, and pre-internet times, I followed a rockabilly because he looked cool and was obviously into his music. I had been searching for an album that had been released in France but not in the UK and the Virgin Megastore and French chain stores didn’t stock it. After at least 45 minutes of tailgating him, he led me straight into a record shop where I duly entered and found that elusive album I had been searching for. Result!

These days my missus keeps telling me that I have too many records and that I need to start selling some as they are slowly taking over the house. I think you can never have enough vinyl and that she should stop buying shoes!

I do only buy music that I like and generally want to DJ with these days. As vinyl is making a comeback, I do view the records as mini investments, but have never bought one that I intended to keep and not play at all. I don’t see the point in that. Buying something that you want to hear and keeping it stored in a box somewhere. You need to love it, cherish it and play it. Sometimes, if it’s that good I give my neighbours a treat and let them hear it too by turning up my amp.

Whatever you collect though you are always on the lookout for a bargain. One day whilst  traipsing through a jumble sale or record fair, I’d  love to find a nice, mint copy of the first MC5 single on AMG (the one I am currently looking out for), God Save The Queen on A&M Records or maybe even Frank Wilson’s ‘Do I Love You (Indeed I Do) on Motown. The last time one of these went to auction, it sold for £25,742 back in 2009 and was considered by many to be the ultimate single for soul collectors.

That was until a post appeared on the Soul Source website
(www.soul-source.co.uk) back in June this year.

Someone had been cataloguing their collection when they came across a copy of Darrell Banks 1966 hit, ‘Open The Door To Your Heart’ on the London American label. The record was listed as being previously available on Revilot, Stateside, Quality & Million but nothing was listed about this issue. A request for info went out on the Soul-Source website (and within hours the record was being hailed as not only authentic, but ‘the find of the century’ and ‘the Holy Grail of Northern Soul’ for U.K. collectors.

So what is the fuss all about?

The song was the first US release by Darrell Banks in 1966 and also the first single on Revilot Records, a soul label from Detroit, Michegan. It reached number 2 in the R&B charts and number 27 on the Billboard Hot 100. Banks although originally credited as the sole writer, lost a legal battle with Donnie Elbert who had claimed that the song was a copy of his composition ‘Baby Walk Right In’.

Back on the other side of the pond, the single was due for a UK release on the London American label which was owned by British Decca. London American had been set up to promote American labels such as Chess, Imperial & Dot which were licensed to British Decca and bore the logo stating ‘London American Recordings” on the label. Licensing issues meant the release was shelved and the record eventually came out on Stateside.

So for many years, soul fans and record collectors had heard about a copy of ‘Open The Door To Your Heart / Our Love (Is In The Pocket)’ existing on London American, but with no concrete proof, was being brushed off as just a rumour. Maybe the release had been scheduled, moulds made, labels had been printed but as the release had been shelved, everything just ended up in the pressing plants skip somewhere.

And then, 48 years later one magically materialised! We can only assume that an employee from the Decca pressing plant managed to take one home, stashed it away in his collection where it remained un-played  for years before being sold on as part of a job lot that was picked up by the current owner.

Photos posted on soul source appear to have satisfied the die-hards that the record is genuine and are hailing this as ‘the find of the century’ and ’the holy grail’ for soul collectors. The single has now been put up for auction via John Manship Records at www.raresoulman.co.uk. Within a few hours of the listing, the price hit £3k so who knows what it will eventually sell for when the auction finishes on the 21st December at 18:00 GMT.

It would be great to think someone passionate about the soul scene would be able afford to buy this, or a London American collector. It is likely though that just a general collector, maybe from overseas will just buy it as an investment for a possible UK single record price.

So that’s the brief story of the record, what else do we know about the artist?

Born in Mansfield, Ohio but grew up in Buffalo New York, Banks started signing gospel before choosing a career in secular music. He signed to Revilot Records and recorded ‘Open The Door To Your Heart’, a single that was later to be covered by the likes of Jackie Wilson, Betty Wright & Gregory Isaacs. Banks follow up single ‘Somebody (Somewhere) Needs You was a lesser hit and other releases for the Atco, Cotillon & Stax failed to chart.

He died in Februarry 1970 when he was shot in the neck and chest after allegedly pulling a gun on off duty policeman who was reputedly having an affair with Banks’ girlfriend Marjorie Bozeman.

No enquiry was ever held into his death. He was laid to rest in an unmarked grave in Detroit Memorial Park Cemetary. After his funeral, a benefit gig for his family was played by some of Detroits top performers that included Martha Reeves and The Vandellas where the money raised was gathered in a trust fund for his two children. Years later, thanks to donations from around the world collected via www.soulfuldetroit.com, a memorial bench was placed over his final resting place.

So the final questions must be, if I had the necessary cash in the bank would I bid for the rarest UK soul record ever made?

No, I think I would stick with my £10 Revilot original.

If I owned the record though, would I sell it?

Yes, and with the money safely in the bank I would probably head to pay homage to Darrell Banks in Detroit. It’s a town that I know that used to make cars, has a great musical heritage and that at 4100 Woodward Avenue I can find Peoples Records where I can buy some great sixties garage and soul records and quite possibly I may find that copy of my elusive MC5 single on AMG Records.

Dave Taylor is a Music Promoter and Eyeplug Writer.

Latest show HERE!

Dave Showplug Taylor

Dave Showplug Taylor is owner of Showplug Promotions, a man who makes things happen, loves providing great affordable quality Events, Gigs, Shows, Comedy Plugs and great all around Entertainment. Works closely alongside Eyeplug Media and lives by the Sea with his Family. Loves the MC5 and Cold Beer.

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November 19, 2014 By : Category : Front page Music Reviews Soul Tags:, , , ,
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Dub Rifles – No Town No Country

The Dub Rifles were a mixture of modernist power pop, ska, punk-funk  and garage soul band, formed in 1980, in Winnipeg Canada. The original members were lead singer/guitarist Colin Bryce, drummer Eloi Bertholet, saxophonist Matthew Challenger and bassist Clint Bowman. A year following their onslaught, a second saxophonist, Dave Brown, was also added. After completing three EPs, the Dub Rifles reached the end of their line in 1984.

Colin Bryce (a.k.a Mohair Sweets and Eyeplug key writer)  has lovingly re-visited the original mster tapes (wherever possible) old vinyl (where impossible) and some vibrant sounding live shows mainly from Montreal cicra 1984 to glue together this rather astonishing until now hidden treasure trove of songs that provide a sterling snapshot of the rampant widespread influences that mashed together to re-surface in these fine forms herein. BUY A COPY HERE

Track One – NO TOWN NO COUNTRY

The Dub Rifles kick off this collection of rare as hens teeth recordings taken from 1981-1984 with an upbeat corker that displays curt interplay between brass, guitar, bass journeys and solid-as-you like drums, this version being lifted straight form the master tapes which helps set the tone.

Track Two – STAND

A choppy, catchy brass riff with slow chanted vocals of ‘are you ready’ and moody booming backing grind and drive this one along and no wonder or real surprise that it was quickly snapped up for a Trouserpress/ROIR ‘Best of American Underground collection at that time – not bad for a Canadian outfit!

Track Three – DELICATE ACTION

Another moddy-powerpop classic in the making, jaunty arrangement, with Bowmans’ bass and Bertholets’ drums squeezing in more explosions among that solid Bryce guitar sound and the dual brass glory from Challenger and Brown. Just teeters on the edge of collapse yet strangley makes sense at the same time.

Track Four – MINE

One of several live recordings taken from Montreal circa 1984, ‘The sun sets in my street and I just choose to get on home’ saw the Dub Rifles venture further into modernist pop perfection with thoughts of even bringing in names such as Georgie Fame to assist on production duties during a studio trip to Toronto. We can only guess at how that would have played out!

Track Five – X

Really cannot get enough of this our fave standout track from this wonderful bunch! A seeming Motown/garage post-punk that is more catchy than a wicket keeper and lingers like a hot n spicey meal. A dark yet uplifting ode to those testing times in life in all of the ups and downs. Deep, personal and yet universal. Well crafted, well played and as we say here: toppermost. Artful, heartfelt and sincere, this really is a lost classic.

Track Six – PRODUCTION OF FUNDS

Free and scratchy funky-soul motion with a no-wave twist that digs at one of the big creative issue that won’t ever change, art versus cash! Remixed deftly by Colin Bryce from the master tapes and serves as a sublime snapshot form this entire era in terms of sonics with that James Brown meets MC5 glow.

Track Seven – TESTIFY

Taken from the BOOM E.P. A no nonsense, what you see is what you get, garage soul blaster. You can almost still smell the  fish soup, weed and patties from the room above the reggae record store that was HQ at the time.

Track Eight – CAFE OF THE FOR

The Two Tone influence is evident here, that mixes with a big punky guitar sound that somehow works against the lyrics of alienation, tedium and the like. Nifty brass stabs build and drift against the wall of sound from the guitar, bass and beat. Live and direct from Montreal 1984!

Track Nine – BOMB SHAKES THE DANCHALL

‘Bomb’ being a hand-drawn character from the sleeve of the first EP, etched into the Bryce imagination dancing on the death of Politics as we know it. Wild sax from Dave Brown ply against Clint Bowmans’ throbbing bass lines with Eloi Bertholet holding it all together with his fine skin-work and proves time and again on this collection that some drummers can also sing! Nice controlled feedback and flourishes from Colin Bryce on guitar and for some odd reason this somehow reminds me of a certain Boris the Spider???

Track Ten – FACE UP!

Another live treat form Montreal ‘84, tight and vibrant sounding, a band really at their peak with everything falling into place yet not sounding over-played and bland. The powerpop punky-funk spirit is alive and kicking here for sure! The balance is just prefect!

Track Eleven – TESTIFY (Live)

Another live alternative workout form Montreal ‘84,  with nice high energy !

Track Twelve – PUNCH

Rolling tom toms and floating  and whooping sax lines underpin this steady mid-tempo affair then at 2:20 all hell seems to let loose, nice!

Track Thirteen – PRODUCTION OF FUNDS (Live)

Another live alternative workout form Montreal ‘84,  with nice call and response and a bit of muttered swearing thrown in!

Track Fouteen – NUMBER ONE 

The virgin tune with refreshed remix, bright and poppy and likeable and illustrates the bands ability to sometimes push to the boundary of chaotic implosion yet veer nicely into complete control. A dancey ska infested beat, this track was much loved by CFRW and top DJ Lee Marshal in particular who even took in the odd live show. Has the familar sound of a lost classic. Some bright arsed advertising guru should grab this as a soundtrack pronto.

Track Fifteen – RELUCTANT HOST 

A tight locked in type of groove with a roots rocker vibe that bounces nicely along recalling youthful summer daze, partying with unwanted annoying guests that turn hosted fun parties into latent doss houses, with a superb guitar break and we really love that effective door slam at the end of the piece! Mighty! The art of gate-crashing is a fine thing!

Track Sixteen – OVER THE TOP

Another live take with a light anti-war guilding via Trenchtown with natty bugle calls in response to a bouncey backdrop.

Track Seventeen – X (Live)

More live mayhem from Montreal with this one comparing nicely alongside the tighter and cleaner studio version.

Track Seventeen – SEE YOU! 

And so ‘bye, bye!’ it is to this interesting and diverse assortment of tracks, sounds and styles that collide and smash but always cut a dash! This final track points what could have been the way ahead for this fine outfit, a more ‘feelgood’ raw rnb seemd to be looming with a subtle hint on display here.

My final thoughts are that this is a well thought out and well packaged VFM product that is an honest and warm snapshot to an underground era that chucked up an almost earnest, innocent way of making music that proudly wore its influences yet steered clear of simply copying them without filter. It therefore  shows that the sound clashed to provide new and inspiring versions that assimilated and embraced the traditional forms without being servants or slaves. That slight tension, twisting and distortion is what made bands like The Dub Rifles so much less bland that much of todays clone-like masses thats simply did not have the day to day struggles to draw from in the same way. Maybe thats a little over generalised but being original and hard to fathom is something to via for. Do yourself a favour and grab a copy of this one!

Sundowning Sound Recordings:

Canadian Music Encylopedia entry: 

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 23, 2014 By : Category : Features Front page Funk Garage Modernist Post-punk Reggae Reviews Soul Tags:, , , ,
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DozenQ – The Intermission Project

This entry is part 9 of 19 in the series DozenQ 4

Jim Rubaduka and Alex Stevens, two former Primary School friends were reunited at Sixth Form College through their love of great music. Two very talented singer/songwriters they formed The Intermission Project in 2011.

With an acoustic, folk, soul sound their wonderfully crafted songs and velvety soulful voices reveal a maturity way beyond their years. These two 19 year olds from Ashford in Kent have created a sound so very beautiful, thought provoking and immediately captivating that it leaves you singing their tunes over and over.

2013 has seen them joined by drummer Charlie Campbell and playing to packed audiences at festivals including The Great Escape, Kendal Calling, Green Man, Lounge on The Farm and Shambala, impressing audiences with their heartfelt songs, fresh, uplifting sound and charming performances interspersed with humorous tales and anecdotes.

They released their debut EP ‘Sorry’ on 23rd September 2013, the title track has already been picked up by BBC Introducing and played on Tom Robinson’s BBC 6 show. If this is just the beginning of their musical career you can only wonder at their future.

01. How did your band get together?

Jim and I met in primary school and after 6 or so years apart, we met again in sixth form. We were in the same music tech class and found ourselves in rehearsal rooms making music. We got in contact with Charlie as we wanted a drummer and another body on stage. He came down to Ashford for a jam and the rest in history.

02. Where did your name come from?

Jim came up with the name. At the time we started making music, we were approaching the tricky transitional moment in life where you’re forced to make important decisions that can inform the life you lead and it was our ‘Intermission’ phase so that’s where the idea came from.

03. Who were your major influences and inspirations?

We all have our individual heroes and like a variety of different music. The thing that inspires me personally is anything that really resonates with my soul, and that can be anything from Otis Redding singing to my friend saying a sentence that changes the way I see things.

04. What drove you to make music together?

Initially it was just a happy accident but what drives us to continue making music together is the fun we have, the people we meet and the chance to make a career out of something we love doing.

05. What can someone who has never seen you live before expect from your shows?

A good night out; three boys sweating; people heckling (mainly our family members) and the same three boys playing songs that they love.

06. Who writes your songs?

What types of themes and subjects do you deal with?Jim writes the songs, not sure if there is one particular theme or subject he aims for but a lot of songs are very people driven and experience driven. But it’s always evolving so who knows what he’ll be writing about a few years down the line.

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

We started off with only using acoustic instruments and no form of percussion because that’s all we had at the time and now we have a drummer and a couple of electric guitars and some other fun stuff.

08. What has been your biggest challenge as a band?

How were you able to overcome this?So far we haven’t had any really big challenges that stand out in our mind maybe the biggest challenge we’ve had so far is trying to find some venues with no sat nav. We have overcome this problem by investing in a sat nav.

09. Does the band play covers? If so, do you argue over the choice of songs? Who usually gets his own way?

We don’t play any covers but that’s not to say we won’t but the reason Jim started writing songs in the first place is because every time he learnt how to play a song he loved he never felt like he could do it justice so he started writing. But who knows maybe we’ll figure out something in the future.

10. What do you love and hate outside of music?

Alex: Love – Travelling & Hate – The cold, Jim: Love – Football & Hate- Walking into spider webs, Charlie: Love – Good films & Hate – Bad films

11. Who would you most like to record with?

Does it matter if they are dead or alive? I think it would be awesome to record something with Lisa Fischer, her voice is just so unreal but that’s a hard question there are just too many people that we’d love to record something with.

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

More live shows, more songs, more smiles and more good things.

Web Links:

facebook.com/IntermissionProject
twitter.com/IntermissionPro

Tour dates 2014:

27th March – The Boatshed Presents, Auriol Rowing Club, Hammersmith

6th April – Paradise Club, Kensal Rise, London

31st May – Sunrise Festival – All Good Things, Nr Bristol

26th June – Revelation St Marys Church, Ashford

19th July – Larmer Tree Festival, Salisbury

27th July – Ashford Create Festival, Ashford

9th August – Woodbridge Festival Suffolk

16th August – Green Man Festival, Wales

Link to buy current single:

theintermissionproject.bandcamp.com
itunes.apple.com/sorry-single

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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March 26, 2014 By : Category : DozenQ Folk Front page Interviews Music Soul Tags:, ,
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