Sohostrut

Wideboy Generation - Looters

2012-01-15T05:21:00.000-08:00

Wideboy Generation have a new single. "Looters" is a straight ahead piece of rock and roll assault, delivered in the way that the band do so well. They've never avoided talking about the social issues of contemporary Britain and this is social commentary of relevance to current generations in the way that "Police And Thieves", "Ghost Town" and "My Generation" were to those that have gone before. As as has been said on here before, this band have great things ahead of them. Turn it up loud.

Rob M

Likely Lads

2012-01-04T13:23:00.000-08:00

Who are they?

Four lads from York delivering an intoxicating selection of upfront English indie rock and roll.

What do they sound like?

With a name like that they’ve got to be good. Haven’t they? They say they “write honest songs that you want to hear”. I wouldn’t argue with that. As soon as your hear them, you know these tunes come from the heart. They‘re about their lives, their aspirations.

They represent a fine tradition, of course. I can hear The Who in there, The Kinks, The Libertines, maybe a little Wedding Present. But, like all their forebears, there’s something unique as well, a distinctive element that is of them and no one else.

They’ve got a strong sartorial edge as well. Check out the pics and the videos. Their wardrobe looks the business - part mod, part casual, part indie.

Who’s in the band?

Ross McLeod - Vocals/Bass
Ashley Harding - Lead Guitar
Ben Porter - Rhythm Guitar
Jordan Maher - Drums

Where can you hear them?

Check out their Facebook page - http://www.facebook.com/Likelyladsband

And their website - http://www.likelylads.co.uk, There’s a decent selection of tunes and videos there to enjoy. You can also download a live DVD.

Which songs should you check out?

The new tune is “Show Me The Door“ (see below) and it’s well worth a listen . We featured "Far Too Late" in the December sampler. Other tunes to especially look out for are “Time Will Tell“, “Not For Me” and “Big Dreams“.

Where can you see them?

They’ve been supporting Shed Seven on their recent tour. They’ve got some gigs coming up in their native York. Check their website and Facebook page for details.

What else?

This little beauty, that’s what. Their new tune.

Rob M

New Music - A Six Track Sampler For Winter

2011-12-06T04:18:00.000-08:00

There's a raft of great new tunes out there to warm those Winter chills. We've gift wrapped six of them right here.

The Moons - Double Vision Love

To start off with, how about this gem from Andy Crofts' superb outfit The Moons. Its out as a single soon. Very mid-sixties early psychedelia, in my view. And I love the video.

The Lost Boys - I Fall For Everyone

Then there's this slice of jangly guitar pop from Southampton's The Lost Boys.

Likely Lads - Far Too Late

These boys from York are one of the most promising outfits around. Hints of The Wedding Present, The Smiths and possibly the early Housemartins abound on this cracking tune. But it all has a very contemporary, incisive edge. And a great hook.

Os Efervescentes - Sempre Que Eu Veju

And there's this piece of full on rhythm and soul from Brazil. The spirit of the Beautiful Game applied rather tastefully to the music.

The Standards - Come On Now

Not forgetting the nifty fretwork and powerpop vibe on this little monster.

The Queue - Top Of The World

And last, but certainly not least, this is a great tune from The Queue. Love those chord changes, harmonies, and uplifting, breezy mood of the song. Will be looking out for more from them.

A great set of tunes. I want to hear more from all of these in 2012.

Rob M

Quadrophenia - Pretty Green Exhibition

2011-10-22T12:03:00.000-07:00

Quad. Iconic, inspirational, vital. A key element in my formative years, and I am sure the same applies to many other like minded soul brothers. I'm talking about the album from 1973, not the 1979 film (equally crucial but another beast entirely).

It will not have gone unnoticed that Pete Townshend, its originator, has been putting together a deluxe edition. To accompany it, Pete is opening up "his Quadrophenia-era achives" at an exhibition hosted by Liam Gallagher's Pretty Green flagship store in Carnaby Street.

My favourite photo from the selection has to be the one above of the "mod kid played by Chad" astride his "GS Scooter" and with his "hair cut neat". One of the session that would result in that classic sleeve.

This is the link to the Pretty Green feature. Worth checking out if you're in London in the next few weeks.

http://www.prettygreen.com/news/2011/10/27/who-quadrophenia-exhibition-launch-carnaby-street/

Rob M

Noel Gallagher's High Flying Birds

2011-10-22T11:58:00.000-07:00

I've just got my copy of Noel Gallagher's new album. First impressions are that it's a strong record, showcasing some of the best songs he's come up with since "Morning Glory". The delivery works well, a neat halfway point between the one man acoustic minstrel and the rock and roll band.

It opens dramatically and drags you in, the first tune containing touches that remind me a little of "The Importance Of Being Idle", undoubtedly one of his finest tunes of recent years. "The Death Of You And Me" and "If I Had A Gun" have been trailed on the web a lot in advance so we had a good idea what to expect.

On this record, Noel does what he does best. He's a philosopher with a great haircut and a guitar producing well observed vignettes about life, love and how "(I Wanna Live In A Dream In My) Record Machine". And that has to be my favourite tune here. I love the concept. Very mod, bohemian and with a hedonistic touch. All in all, its a quality album.

Rob M

Alex Turner - Suck It And See acoustic

2011-10-09T05:22:00.000-07:00

Reet now pop pickers. This what I call dead, dead good. Alex from the Arctic Monkeys performing an acoustic version of the title track from their wondrous album "Suck It And See". If you want to hear what pop music is capable of doing in the twenty first century, look no further than this album. Standouts? "Wreckless Serenade", "Piledriver Waltz" and this monster. I love the stripped down sound of this version, really captures the song well. Nice one Alex. Rob M

DC Fontana - La Contessa

2011-10-08T11:54:00.000-07:00

DC Fontana have reworked their debut album to include a strong European touch. The songs have been recorded in Italian and French and the result is a tastefully delivered interpretation of the original record which is an essential vibe for dancefloors, car stereos and nights at home in equal measure. You can find the details here:

http://www.dcfontana.com/.

In the meantime, here is the video to "Abbesses" which was recorded on location in Montmartre.It has to be one of the best videos I've seen for some time. Very nouvelle vague. Rob M

JC Brooks And The Uptown Sound - To Love Someone (That Don't Love You)

2011-10-08T03:52:00.000-07:00

JC Brooks And The Uptown Sound shot to prominence a while back with their eminently danceable "Baltimore Is The New Brooklyn". The Chicago boys have a single out right now that underlines their status at the forefront of the new soul movement in the US and beyond. "To Love Someone (That Don't Love You)" is a slice of delicious, soulful heaven. Lose yourself in those vocals, those harmonies, those instrumental touches. This record deserves to be huge. They've got a new album coming out soon. Bring it on. Rob M

The James Taylor Quartet - The Template

2011-09-21T15:57:00.000-07:00

It says on the cover that this is the twenty fifth anniversary album of The James Taylor Quartet. You don't have to listen to the album for long to know that they retain the quality that made them one of the greats of the underground scene all those years ago. Their distinctive Hammond sound is there in abundance, on instrumentals such as the title track, the wonderfully danceable "Koko" and "Song For My Dad" (a nod to Horace Silver, I ask). There are also a number of strong soulful collaborations with John Turrell on "Woman", "Light Up Your Soul" and "Why Can't We Get Along". Of particular note is the memorable version of Gil Scott Heron's "Love Is Where The Hatred Is". Recommended. Rob M

This is "Home Is Where The Hatred Is".

New Music - a six track sampler

2011-08-16T05:21:00.001-07:00

Forget the riots. There's a wealth of great music out there in Summer 2011, a variety of underground bands, who will have your feet tapping like its Saturday night forever. Here are a few that have caught my attention of late, courtesy of those nice people who run the New Mod Music group on Facebook:

The Fleet Street - "So Happy" - check out this slice of melodic pop:

Towerbrown - Let's Paint It Brown" - get those soul shoes on:

Nick Pride And The Pimptones - "Waitin' So Long" - a delicious piece of pure solid soul:

Missing Andy - "Sing For The Deaf" - another great, edgy pop moment:

The Like - "He's Not A Boy" - love this quirky pop feel. Blondie meets Altered Images:

The Spitfires - "From Cradle To Grave" - to finish, how about this slice of perfect full on rhythm and soul:

But these are only a sample. There are a whole lot more of great bands out there. Just off to check more out now.

Rob M

Andy Lewis

2011-08-13T04:41:00.000-07:00

Two releases this year from Andy Lewis, former DJ at Blow Up, member of Spearmint and Pimlico and now plucking the bass strings for Mr Paul Weller. Andy has continued as a solo artist in his own right and has come up with goods very nicely, thank you very much.

The first mini-album, "41", was released online in the Spring, having been written in two weeks at the end of the Weller tour in December. It features a selection of tunes that hint at a hybrid of Britpop ("Complexity", "Centre Of Attention"), synth instrumentals ("41", "Yarbles") and harder edged pop ("Mr Camera"). There are some strong vocal performances from Andy (his Britpop influences shining through) and memorable lyrical moments, in particular the character in "Centre Of Attention" - "just another crashing bore" - and the praise of a lazy (in a good way), hedonistic lifestyle in "Mr Camera" and the fact that "Mr Camera don't like it". A strong, enjoyable record that is well worth getting hold of.

The second release is "Good Soul In The Good Times", a three track ep collaboration with vocalist Jess Roberts. This is a return to a more upfront, high energy soul vibe that he has done so well in the past. A strong, Hammond fuelled groove provide the perfect backdrop for some very soulful vocals. An ideal soundtrack to a Summer visit to the Balearics or the Greek Islands, these two songs and one instrumental are a slice of sunshine that will be perfect for those days on the beach, those nights on the dancefloor, or maybe those languid moments sitting on your balcony as the sun sets. Recommended for musical connoisseurs everywhere.

Rob Massey

Amy Winehouse

2011-07-25T05:36:00.000-07:00

Its hard to know what more there is to say. It's all been said already. Suffice to confirm that Amy Winehouse was a soul singer of the highest quality, possibly the best that Britain has produced. Her phrasing, depth and range of delivery were sublime. She could interpret a tune, give it her own sensibility and outlook. And she sung from the heart.

But, more than anything, Amy was authentic. She meant those songs. She wasn't merely singing them, like a wannabe contestant on a talent show. They were her, they were real, they were contemporary. Don't concentrate on the errors she made in her life, celebrate the unique, the moment that she stood centre stage. Remember her this way.

Villain

2011-06-06T05:56:00.000-07:00

Villian are a punk band from Nottingham. They used to be called The Jet Boys. This is a clip of them on stage at the Maze recently. Top drawer rock and roll we'd say - maybe Johnny Thunders meets The Ramones, after a pint with Keith Moon. And I do like that Oscar Wilde t-shirt.

Wideboy Generation

2011-06-04T05:55:00.000-07:00

Digging Wideboy Generation's version of The Real Me. They're a top band from Essex with a raft of great tunes. Expect to see more of them.

The Revolution Will Not Be Televised

2011-05-28T04:34:00.000-07:00

The Bottle

2011-05-28T04:33:00.000-07:00

RIP Gil Scott-Heron. A true vision, through the mire. We miss him already. And the revolution is still not being televised.

DC Fontana

2011-05-22T05:37:00.001-07:00

Quality tune from DC Fontana from their new ep Meshkalina. It Don't Worry Me, a classic slice of sixties tinged heaven.

Miles Kane

2011-05-22T05:28:00.000-07:00

Liking Miles Kane’s recent solo work. This tune, “Rearrange”, is a prime example. A sixties flavour which is equally of it’s time right now. A special pop moment, in fact. And you can’t beat a nice whistle and flute.

Mabel Love

2011-04-08T14:56:00.000-07:00

We featured Mabel Love a couple of years ago. To recap, they're from Sheffield and include former members of bands such as The Crooks, Gas Club, Park Brigade and Rossman Frister. They've honed their sound very nicely indeed and have recorded a video of Breaking It All Down, which is featured here. Well worth keeping a look out for.

Small Talk

2011-03-11T11:23:00.000-08:00

There’s a band coming out of Essex who are keeping the modernist dream alive very nicely thank you very much. Small Talk are purveyors of Rickenbacker-fuelled anthems that will satisfy the mind and soul alike. Tunes like “Rise Up”, “Hate” and “What I Think”. Along with my favourite, “Best Friends And Lovers.

The band is:
Jake Sampson (drums and backing vocals)
Alan Everett (bass and vocals)
Jack Nyland (guitar and vocals).

The four tunes can be heard on the band’s My Space http://www.myspace.com/smalltalkofficial. You can also find them on Facebook http://www.facebook.com/home.php#!/smalltalkofficial.

They have some impressive gigs coming up in the coming months and we thought it was time to put some questions to them.

How long have you been together?

Alan: We've been together since January 2010, first gig was in the same month and it was a laugh to say the least.

How did the band form? Were you mates before?

Jack: Well, me and Jake met at a Small Fakers gig at The Square, Harlow in late 2009.

Alan: Yeah and me and Jack have known each other for ages anyway, we'd been in bands before prior to forming Small Talk, none of them were any good mind you haha.

Jake: Me and Alan had played together at jam nights in a couple of pubs in Harlow before and me and Jack were mates for a while before we formed the band.

What got you into the whole Mod ethos?

Alan: I've always been heavily into the music but when I Met jack I was exposed to the wider mod scene in a big way and it just clicked with me.

Jack: Well my parents we're mods so I’ve always been around the music but really a slight interest in The Jam as the kids just developed more and more as i got older and I just embraced the whole Mod thing.

Jake: I always loved the who, and just got into it through alot of the early stuff and of course the Quadrophenia Album.

Which artists would you say influenced your direction?

Alan: I wouldn't want say any band in particular, I mean we try and do our own thing as much as possible. But we've been told we sound like Squire, The Jam, loads of artists so I suppose the answer to that is whatever the listener makes of it.

Is there a particular phrase you would use to describe your sound?

Jake: I wouldn't want to dare really haha, but genre wise I'd say kind of mod/indie.

Which tunes should we be especially listening for and why?

Jack: I couldn't pick a personal favorite really, its kind of like a parent picking there favorite child you just cant do it ha. but Rise Up always goes down great at gigs, bit of a reggae feel to it haha. But we've got a load of new songs on the go live at the moment so we should be jumping in the studio very soon to get those down.

Do you have a main songwriter, or are the tunes all band compositions?

Jack: Thats my cue I suppose , Yeah I'm the main song-writer for the band. The other two do have an input though I mean only the other day jake suggested a pause in a new song.. and then forgot it at a gig the very next day ha!

Where have you played?

Jake: Corr, I don't know if I can remember everyone haha, but gigging highlights for me have got to be The Camber Sands Winter Warm Up Scooter Rally, where we won the battle of the bands and supported From The Jam. Also we won The Purple Emperor Battle Of The Bands last year; not a massive place but the crowd where amazing. Was the last date of our July "mini-tour".

Alan: Yeah and The Harlow Square in March 2010 was amazing to.

Where can people see you? Have you got any important gigs coming up?

Alan : Well we've got Mods Mayday at The Sound Bar, Birmingham on the May bank holiday weekend.

Jack: Also were back in Camber Sands in July for the Summer Rally which should be great!

Jake: As far as gigs go all the details of the gigs can be found on the Facebook and the My space.

If you had to choose any record as of particular importance, what would it be?

Alan: I think i speak for all three of us when i say, without a shadow of a doubt - The Who's Quadrophenia Just not one bad song on the album! lyrically great, musically great, conceptually - f****** amazing!

Any books or films you would mention?

Alan: Despite the fact is has nothing to do with music or the band at all I'm going to have to say Pulp Fiction, I just love it!

Jake: For me it's got to be Soulboy, i just recently started getting really heavily into Northern Soul and its just a great representation of the soul scene way back when.

Jack: A Beat Concerto - Paolo Hewitt. Without a Doubt. As Alan and Jake will tell you I'm completely obsessive when it comes to the jam and i just loved reading it.

And now the dreaded Desert Island question. Which album would you take with you?

Alan: Blimey! You weren't joking when you said it was the dreaded question... Maybe New Boots and Panties by Ian Dury and The Blockheads

Jake: Whichever Who album is on top of the pile at the time!

Jack: Stanley Road - Paul Weller - I just love that album and I could listen to it over and over again for days at a time - as a matter of fact I have!

Beady Eye

2011-02-28T10:54:00.000-08:00

Just got my copy of "Different Gear, Still Speeding". On the first few plays, it comes up to the promise of the initial singles - in particular "The Roller" and "Four Letter Word". Liam Gallagher and the rest of the band have managed to come up with a sound that is urgent, contemporary and definitely not a poor substitute for Oasis. In fact, the band has its own distinctive flavour which takes them some way from past glories. I would particularly mention "Beatles And Stones", an in your face blast of pure adrenalin and swagger, that only Liam can truly carry off. Can't wait to see them in April.

Rob Massey

Find The Torch Burn The Plans

2011-02-06T10:51:00.000-08:00

"Find The Torch Burn The Plans" is one of the standout tracks on Paul Weller's "Wake Up The Nation". It is also the name of a new DVD which captures the final night of his sell out set of shows at the Albert Hall in Spring 2010. Weller and the band are in fine form, delivering the key moments of "Wake Up The Nation" with confidence and panache. All of my favourites from the album are there - these include the title track, "7 & 3 Is The Strikers Name" and "Moonshine". There are also classics from the past - songs from The Jam and The Style Council, along with his earlier solo career. One of the additional features is a short film produced by Julian Temple, which follows Weller through London, and picks up his views on contemporary life. The whole package is stylish, insightful and an accurate representation of his current tunes. And I love the northern soul reference in the title.

Rob Massey

Illegal Notes

2011-01-15T06:18:00.001-08:00

Having produced a set of great tunes with The Reaction, Charlie Phelps has turned his attention to a new band, Illegal Notes. In so doing, he has confirmed his status as one of the best young songwriters around. To date the band, comprising Tom Forknall, Gavin Whitham, Sam Milton, have produced four demos, which showcase a flair for social realism.

Especially poignant is “Twisted Beginnings“, which looks at the darker side of relationships with an almost Billy Bragg touch. It comes at you from the point when you know something is wrong. When realisation sets in that what once was thought of as forever, might just not be. Charlie sings it with a swagger and confidence and an “oh no, oh no” that has touches of the Libertine about it.

“Sterling Notes And Illegal Antidotes” is an observation of a character dependant on alcohol and other substances. “Midnight Wanderers” gives a comment on class and pampered living, particularly relevant to the current celebrity obsession. “Little Jimmy Boy” is perhaps the most complete character study in the set. It charts the rise of an individual through cunning, bravado and belief to success and its trappings leading to meltdown and destruction.

These are songs that observe life, take a side, give a viewpoint. They look at the contemporary world as it is, without sentimentality or a predetermined critical eye. In so doing, they accurately reflect a moment in time.

You can hear the tunes here. I am looking forward to hearing more.

http://www.myspace.com/inotesmusic

Rob M

Mantis

2011-01-05T15:05:00.000-08:00

They describe themselves as “a blast from the past with a modern twist”. Andy, Ant and Glenn have evolved from The Telephones into one of the foremost new bands coming out of the East Midlands at the start of 2011. All things considered, the description would seem to be accurate.

Mantis offer a unique, yet deceptively familiar sound. You've heard it before, and yet you haven't, not quite like this. Though you can't put your finger on why. There's an energy to these poignant, reflective tunes, that emanates through the melodic surface. Tunes like “Flamer”, the memorable “Pick It Up” and “What Do I Know” can be heard at their website. My favourite has to be “You Had It All”, a wistful, melodic song with a bitter edge and incisive lyric.

The band's stature can be shown by the fact that they have been asked to be a part of a forthcoming film “On The Ropes”, which has “gym culture” as its central element. They have contributed “You Had It All” to the soundtrack and this song will be used in the film. There is a link to the website for the film on the band's site.

All in all, this is one band worth checking out. The film looks good as well.

You can find them here:

http://www.mantisband.co.uk/

Rob Massey

Are We Having Fun Yet? – The Galileo 7 (Teen Sound Records)

2010-12-19T10:01:00.000-08:00

Are We Having Fun Yet? – The Galileo 7 (Teen Sound Records)

http://www.facebook.com/thegalileoseven

‘Are We Having Fun Yet?’ is an album of catchy powered up pop trimmed with a bounty of psychedelic twists. Allan Crockford, who has backed up many a fine front-man in The Prisoners, The Solarflares, Thee Headcoats, The JTQ and The Stabilisers, has stepped out of the shadows to front his own group and write the tunes for The Galileo 7’s debut album, and he should be proud.

‘Never Go Back’ is barn storming super catchy mod pop and opens the album in defiant style. The upbeat ‘Mine! Mine! Mine!’ shakes the sugar, a fizzing pop nugget that burrows straight into the brain.

The psychedelic and strange ‘Orangery Lane’ trips out into the stratosphere. ‘The Sandman Turns Away’ continues in the pop-psyche vein with bursts of mellotron magick.

The album is punctuated with a pack of punchy tunes. ‘Run Baby Run’, ‘Are We Having Fun Yet?’ and ‘Go Home’ bounce along in a horde of harmonies, hooks and grinding organ.

The reflective 'Running Through Our Hands' adds strong lyrical flourishes to the thoughtful psychedelic melody. Nailing jelly to a tree is a particularly fine image.

If you like your tunes catchy and blended with psyched-out melodies, you’ll enjoy Galileo 7’s debut album ‘Are We Having Fun Yet?’. Jonny Magus.

The Chords Better Than The Jam ?

2010-12-04T16:48:00.000-08:00

Ok so there is a DVD due in 2011 telling the story of the Chords, interesting as they sit as one of my all time favorite bands.I saw a post on their facebook page and quote "What Became Of The People We Used To Be - The History Of The Chords In our travels we have heard suggestions that The Chords were actually better than The Jam but were just unlucky
Do you agree?"
I came up an answer for that and then thought I'd post it here for all to read.

Did the Chords also make bad luck or bad moves for themselves

It's a shame, but I agree that it would seem luck was not always with the Chords, however did the Chords also make bad luck or bad moves for themselves ? I have heard rumours that offers etc to help were often not taken, only the band can answer that.

John Peel, a master for hearing a cracking tune

The band were well loved by the early Mod revival Kids, they were also very much liked by the more sensible face of British DJ's and Media at the time, take John Peel, a master for hearing a cracking tune and he was very much happy to like the chords and indeed Champion them on his show.So they were well ahead of like wise bands on that front.

would they have earned another set of fans without Mod ?

Some have said that it was Mod itself that stiffled and caused the chords to fail, but coming along at a time when punk and new wave had lost a lot of it's appeal and Mod was the current thing, where else would the band have fitted in, would they have earned another set of fans without Mod ? um not so sure , and no one can doubt inc the band that the influences and the look were very part of Mod '79.

Weller and the band wrote an awful lot about what was going on

As far as being better than the Jam, is that really the point, anyone from that time surley can't disagree that Weller and the band wrote an awful lot about what was going on, they also had a real passion live, Yeah the Chords to had some cracking tunes that looked at the streets and what was going on, they were great live, but never on a par to how the public saw Weller, he managed to bypass all the Mod 79 backlash didnt he ?

I never thought of it as a competition

For me, now I have taken a breath, all I can add is that The Chords meant more to me than The Jam, and I often play Chords Tunes, and not so much any Jam stuff, but that's not because I never thought of it as a competition just Music and great music at that ! Tony Clark Dec 2010.

The Scene. London Mod band from the 80's Interview

2010-10-31T07:09:00.000-07:00

Ah well The Scene, a band I saw often during my youthful years, and indeed a band I promoted at the legendary Westcliff Hotel.

I have been watching with interest from the side lines as the band did the odd reunion gig, without being able to get to a gig, but hearing good things, so I caught up with Guitarist Garry Wood and threw some Sohostrut style question his way.

..So what's all this with The Scene gigs some 25 odd years after you called it day ?
Well we were all still in touch with each other and we all still had MOD in common. And mainly we wanted to hear all our songs played again!!
We last played together as a band in 1988 under another band name - Stranger Than Fiction

Were you guys still in contact ?
Yeah we were still in touch via letters and text and then email as the internet sprung up. We never rally fell out with each other thankfully - like some bands do. We just stopped playing together as family commitments overtook us at the end of the 80's.

..Inspiration, what makes Garry Wood Tick ?
ProPlus make me tick!!
Nothing stronger than caffeine now lol! I still love the sound of the songs that we wrote and played in the 80's - I can't let it go.

Have you guys, any plans for a new song/s or are we just looking at a classic Scene set ? for Goodmayes and beyound ?
We haven't really gone down that route of new songs. Andy Welsh and me have written a lot of songs over the intervening years but there aren't any plans to work them into a Scene set. We do a couple of new covers that we have always wanted to do - see if you can spot them in the set!!
We're also doing a mod alldayer thing with Dee Dee Kett on December 4th.

You guys must be proud that you wore THE MOD tag on your sleeve, never shyed away from it, and here you are now in 2010 still poss the ONLY real Mod band left ? thoughts.
I always say it for a laugh in interviews and on mod forums to se if it will wind anybody up lol. Having said that I do think it's the truth - not many people would admit to it back then in an interview bt we houted it loud and shouted it proud!!

..Has that bloke Drew been causing grief or is he doing as he's told at last :-)
I've never known him to cause trouble.......... and he tells us what to do now lol!
We still do as well!

Scooter events, I saw your Brother at the Isler Of wight a few years back, have you or any of the band done any rallies last few years ?
I've been to the Isle of Wight rally in 208 and 2007 - mainly cos I was playing in Long Tall Shorty. I'm planning to go next year with my wife.
My brother has done quite a few to the IOW over the last 20 years - he went to some in the 90's when there were only a handful of people there.
Russell is the main rally goer and he's the only scooter rider now - I haven't been on one since the 80's

For the older crew out there, what goes down as The Scenes special momet from the past ?
We really enjoyed The Untouchable support in 1985 at The Boston Arms. I can't answer for everyone else but my favourite moment was mashing my guitar at Ilford Palais in 1984. And the other one at Hammersmith Palais in 1985 when I smashed one!

And what about later incarnations of mod? What are your views on subsequent scenes, such as Britpop?
I enjoyed Britpop - at least it was guitar led music for the most part. I can't get into any of the other styles of music - I hate rap and modern Rn B with a passion. Stuck in the past I am ha ha! And ll the Irish gigs were great in 1984 too!!

Any plans for gigs in 2011
We're playing the Birmingham mod alldayer in April. We aren't really chasing gigs - just seeing what comes up or what is offered to us and then we vote on if we fancy doing it. We do gigs to enjoy ourselves now - not schlep about for the sake of it just to show that we are gigging. .

So there you have it, one of the better bands of the early to mid 80's still wearing the Mod tag with PRIDE..Catch them at Goodmayes Social, Ilford on Sat 13th Nov..I will be there..

Reggie King

2010-10-27T06:05:00.001-07:00

There's an argument that Reggie King, singer with The Action, was the greatest Briish soul singer of them all. Its an argument that is increasingly plausible the more you listen to his back catalogue. He may not have been as forceful as Steve Marriott or Paul Rogers but there was a plaintive element in his delivery that digs deep into the heart. Listen to the pathos on my favourite tune "Wasn't It You" - penned by one Carole King - or "Shadows And Reflections". Covers such as "In My Loney Room" and "Since I Lost My Baby" have a similar feel. This is real soul, from right down there in the gut, seeping out and telling a tale of love and loss and things that have gone wrong.

Not that Reggie King could sing only sad tunes. There was plenty of scope for full on, soulful abandon. For me, The Action version of "Land Of 1000 Dances" is better than the original, encompassing an element of dancefloor excess, mixed with a very British mod ethos. "Baby You Got It" is another that hooks you in, driving forward into a soulboy world where dreams are made on suburban dancefloors and in the creases of your sta prest. Reggie King had it there, in his heart and soul, efforletlessly, instinctively.

But don't take my word for it. Get hold of an Action compilation, or go over to You Tube, and check for yourself. The Action are the stuff of rhythm and soul coinnoisseurs, and much of that is down to the delivery of Reggie King. It is sad that he is no longer with us.

Reggie King, who passed away recently, RIP.

Rob Massey

Carl Barat, Nottingham Rescue Rooms, 18 October 2010

2010-10-23T05:00:00.000-07:00

Don’t look back into the sun. It’s the final tune of the night, the last encore. An adrenalin rush extraordinaire. There’s no one here looking back, that’s for certain. They’re looking forward at the endless possibilities, dreaming their dreams and loving the moment, making bohemia a real place. Its Carl Barat who’s taking everyone there. Running through his career of abandon, Libertine excess, a new world vision. Through Dirty Pretty Things and the rock and roll world, to solo greatness, as witnessed tonight. Go via Vallance Road and those two cold, crooked fingers, that are in defiance of the ordinary, the normal, the conventional. That raise themselves against austerity, bland musical uniformity and the antiseptic corporate world. That live for the beauty of Arcadia and Oscar Wilde and the Velvet Underground, where you can dare to dream, to look the other way, to see the world as it is meant to be seen, in optimism and hope. To know beyond doubt that there is another world out there, a world to which you can pay homage and walk away and laugh in the face of the ordinary. “We love you Carlos”, comes the chant as the final note ends. This is Carl Barat’s world. Don’t look back into the sun.

Rob Massey

2010-09-11T09:29:00.000-07:00

The Chords Live at the Balcony Bar Isle Of Wight August 2010
The Return of the "Single Masters" - The Chords including Billy H as front man.

Atmosphere
We were guest listed by Chris Pope(thanks) and were told that the band may well be on late, so when we arrived and joined the queue to hear it was only £5 to get in I thought strange, but guess what? The band were already playing (I blame Garry Moore).
Anyway a quick shifty and we were in, lots of familiar faces from the Mod revival scene, including Chris Well Suspect, Jeff Shadbolt and Kev and Dave Edwards. Boy was IT PACKED. On stage, 4 of the late 70's most talented and gifted young bands were beginning 'So Far Away'. If I wasn't 46 and the band not all 50 I would have thought it was south London 1979. Hot, sweaty, packed full of a bouncy crowd. What a fantastic atmosphere!

Past Glory

As with the single review I did, it was not all about past glory or a reliving of that - there was unfinished business here.
The Chords were a band that took their own path and for that their end came far too early. They didn't really need to prove anything to me or the 800 strong crowd, we all knew the Chords should have been massive. Maybe they thought they wanted to prove it to themselves, but the tour must have shown them that they are still held very dearly in our hearts.

Powerful
Is there really any point in highlighting the tunes? The new single stood out as a highlight that really has grown on me. So Far Away was awesome and of course the sing-a-long British way of Life went down a storm.
The perforance was powerful, they know their craft well. They owned the small stage...Billy H indeed really milking the crowd. He seemed to be loving it, the band are still POWERFUL.
But can they leave it like this?...Tony Clark Sep 2010

2010-08-10T10:23:00.000-07:00

I Guess you never thought it would begin again like this ?

The Chords Another Thing coming..Aspop Records August 2010

Billy Hassett still has that youthful tinge to his vocals,the almost Chords circa 1980 chant "Hey Girl" sounds familiar to tried and tested ears.It's not an instant reminder of past Glory Chords,that drum roll intro is so different.

A future Chords classic
It's not all about looking back "A Chords return" it's almost new ground in places, and chords formula in others, it would fit and guess it does around the Chords back catalogue, that cutting and jutting guitar works, the back line thumps way.A future Chords classic, um not sure, it defo is a grower, though, I'm sure like me many will instantly think is it another "British Way Of Life" or "Maybe tomorrow", it's neither, its here on its own merits..You decide its future classic status by buying it ..Sohostrut 4 Stars Tony Clark

Added Sep 20 th 2010..The surprize of this single is it really is a grower,after hearing it live and playing it on the cd player, it moves a long leaps and bounds, and I recomend you get this while you can.Tony Clark

D C Fontana - “Six Against Eight”

2010-07-18T09:34:00.001-07:00

They call it art and soul and you wouldn‘t argue with that sentiment one iota. DC Fontana have built up a strong reputation as a live band over recent years, with their trademark sound of Hammond and horns, and stage presence to match. In a few short weeks, their debut album, “Six Against Eight”, will be released. And the news is that it is a stormer.

The album was produced by Julian Cope collaborator Donald Ross Skinner, and was recorded at Parr Studios on Merseyside at the invitation of Echo And The Bunnymen guitarist Will Sergeant. It features their current multi-instrumental line up, particularly the enigmatically bewitching vocals of one Karla Milton.

The opener sounds as strong now as it did at the end of 2009, when it was released as a single. “The Contessa” spells out the band’s intent at the outset. It is a scorcher of an instrumental, starting with the revving of a scooter engine and launching into dance floor-wrecking vibe with fired up abandon. The single’s accompanying tune, the equally impressive “Snake Charmer“, with its innuendo, up tempo mood and playful feel is also included in this collection. Both are two of the best you’ll hear this year.

The band’s Hammond driven sound is featured liberally across the album, fusing effectively with strong song writing and poignant lyrics. The infectious “Remember Me” is a case in point, as is “Satisfied (Part 2)“’s maelstrom of dancefloor excess - “it’s a day in the life of living free/but money is the root of all evil” - , the full on party feel of “Sleeping With X” and the soulful mood of the title track.

But DC Fontana are not content to confine themselves to a particular sound, preferring to push the boundaries with a variety of different styles. There is the entrancingly psychedelic “Saturn In Her Eyes“, complete with sitar, which starts slowly and develops into a memorable, Eastern tinged moment. Then there are the jazzy touches of “You Are“, “Poor Boy” and “Benny“. “You Strip Me Bare” features a piano introduction that hints at The Faces in their most McLagan/Lane moments, followed by those horns which launch into a mid-sixties tempo groove with a strong hookline. Then there is the memorable “Winona Ryder“, a beautiful, mid paced tune with thought provoking lyrics, phrased by Milton in a deeply effective, almost plaintive edge.

But the standout tune for me is “Switchblade Love“. Stylistically, it has been compared to a variety of artists, from St Etienne to Dusty Springfield. It has that perfect pop vibe, evoking images of a mid-sixties afternoon in Summertime. The lyrical content, however, provides a dichotomy. “Your switchblade love is making me bleed/Ripping pools inside my heart/Its killing me”, sings Milton. There’s an edginess, an abusive relationship, a threat of violence. The contrast between the pop feel and the lyrics making it even more effective. A Clockwork Orange meets Fifth Dimension.

DC Fontana have produced an album which shows what can be done in 2010 by taking your influences, putting them a melting pot and looking forward. The result is a tour de force of modernism, a powerful record that fits equally with languid Summer afternoons as edgy Autumn nights. It celebrates the beauty of dreams and wondrous living, a timeless mix that is classless and rootless and ageless. As such, it is a perfect antidote to trashy cultural normality and austerity Britain.

“Six Against Eight” is a record for perpetual young soul rebels everywhere. Our recommendation? Beg, steal or download a copy. And do it soon.

Rob Massey

For more on DC Fontana, check them out on:
My Space
http://www.myspace.com/dcfontana
Facebook
http://www.facebook.com/dcfontana
Twitter
http://twitter.com/DCFONTANA

2010-06-10T16:14:00.000-07:00

From scooters to ski pants, from white lipstick to winkle pickers, STARK RAVING MOD! is a celebration of the 60s-revival Mod subculture in 1980s Australia by Ariana Klepac and Winston Posters.

128 Pages of Pure Mod Revival, but not in the vein of another look at the UK during the Mod revival, this is all about the thriving scene that was set in Australia.

As Seen Before
It seems that the Mod Revival in the land of Oz, was based around small scene's that managed to somehow bring themselves together to form a massive scene, not an easy feat when there is so much distance between you.Reading the text here It all seems very much like the UK of the time, although tweaked a little to make it It's own.

Glossy
The Introduction and opening photos could well lead the reader into thinking it was exactly what it is not,a British bible,of course there's a Weller photo why wouldn't there be ? his influence crossed the water.. but the opening pictures tell the tale very early on of how much 'their' scene was to that of 'Ours'.Its a Glossy affair as well, it looks classy very much like its contents.

A Different Scene
Where the book differs from the many UK based Coffee type Mod books is that it from the start focuses on the Venues and people and events that helped shape the scene, and the way they are talked about I could in visage myself there being part of it all, it works that well.

Little Dittos on Paper
Much of the writings are taken from longer pieces that the Ed's have used bits from, getting to the point of what was being said by the writer .There are ex certs from Mods/Skins and Punks, all the factions that were also around at the same time and whom without doubt from reading came together in one way or another at various gigs or events or by fighting.

Bands and Yet More bands
It was a scene that was made up of many bands, and each one is here in Black and White, with pictures and record releases, band members and fans.The scene was set in 1980 by a band called The Sets, whom I had heard of, who turned in Stupidity and were featured in the UK on a Countdown Compilation of the oz scene which was owned at the time by East London Mod Eddie Piller.They were fronted by two brothers the Hosie's and by reading you are told basically that these boys were at the forefront of the Revival they helped to shape it.

A scene that looked the same on the outside
The Pictures of Sweaty Gigs, young Mod blokes and Girls on Scooters, the club scene all look like any other set of photos from the time they could have been taken anywhere that had a big Mod scene,but often the Glorious Black and White shots,lead way to thinking they would not have looked out of place in Richard Barnes Mods Book, they are that good.

What have I missed
I bet loads, but it's well written, the photos are fantastic, the writings of the Ex-Mods are interesting, I guess it was written and type set to make it feel that it could be about any Mod scene anywhere and in that works, what it does do however is guide you through what seems to have been a really neat thriving scene. It was a scene, full of dedicated people,talented bands and a love of all things MOD..Anyway from the input in this book It still is full of Dedicated ex Mods whom loved every Min of the Oz Mod Revival.

So

Australia is a place that has changed very much over the years, Sydney very much like London,do kids yearn to see live bands that much now in little clubs, when they have I-Pods and I -tunes ?? .It works well I recommend this book to everyone..Yeah Its that good I hope I have done the book and its writers a little justice.

Tony Clark June 2010

http://stark-raving-mod.com/page/3/

Reggiimental featurng Matt Henshaw - The Deepest Cellar

2010-05-29T18:07:00.000-07:00

Former Censored vocalist, Matt Henshaw, has teamed up with prominent Birmingham MC Reggiimental, and they have produced this rather fine selection, going by the name of “The Deepest Cellar”. Its a fusion of northern soul and hip hop, delivered with a confidence and style that is endearing and enlightening. Reggiimental delivers those memorable lines, Matt the soulful crooning. The title track showcases the format and has a hookline that you’ll find running around your brain all day.

Other standout tunes include the wonderfully titled “Adidas Trainers” - “all I need is a melody and Adidas trainers” - which is the next single, the lyrically uplifting ”Can’t Hold Back”, and the politically charged “Propoganda” - capturing alienation and social insight very effectively - and “What’s Really Good”.

This is the freshest, funkiest thing I’ve heard in a long time. Modernist in its purest sense, it moves things forward, with new ideas, while retaining the key elements from the past. Combining the best, forging new cocktails of influence. Being a bit of a magpie.

And don’t you just love the word “swingingest“ in “The Deepest Cellar“. Inspirational.

Rob Massey

You can find more on Reggiimental featuring Matt Henshaw here http://www.myspace.com/matthenshawmusic

And this is the video for “The Deepest Cellar”

Sharon Jones And The Dap Kings - I Learned The Hard Way

2010-05-07T04:05:00.001-07:00

The first lady of the new wave of US soul has a new release. “I Learned The Hard Way” by Sharon Jones and The Dap Kings is the sort of quality selection of tunes that we have come to expect from this outfit. Ms Jones is on strong form, with some powerful vocal performances backed by a band that is clearly at the height of its powers. Stand out tracks? The title is particularly memorable, as are “Money“ “Without A Heart” and the stripped down conclusion of “Mama Don’t Like My Man”. Recommended.

Rob Massey

Paul Weller - Wake Up The Nation

2010-05-03T09:21:00.000-07:00

There’s been plenty of publicity surrounding "Wake Up The Nation". Five stars in certain magazines, hailed as a "masterpiece", and showcased with performances on Jools Holland and Jonathan Ross. There’s also the headline-grabbing return of Bruce Foxton on a couple of tracks and the input from Bev Bevan of The Move and Clem Cattini of The Tornados. So, what's the verdict?

The first thing that hits you is that its experimental and - initially at least - its not an easy listen. But therein lies its strength. Weller has teamed up again with Simon Vine as producer and together they have stretched the boundaries about as far as they can. It is not an accident that the first tune trailed from the album last Autumn - "7 & 3 Is The Striker's Name" - is one of the most radical things he's recorded. Most reminiscent of "Music For The Last Couple" and "Scrape Away" from "Sound Affects", it is a maelstrom of rhythm and sonic assault that only starts to come together after three or four listens.

Its with the experience of the tune that you approach the album. It is all unmistakeably Weller - but with a different type of edge. The one influence that comes through is David Bowie, "Aladdin Sane" and "Low" especially. You can hear it on the opener - the full on "Moonshine" - in "Andromeda", and in the Mike Garson style piano on "Fast Car Slow Traffic". The title track in particular is an anthem with its railings on contemporary values - "Get you face off Facebook and turn off your phone" - and is delivered as such. Rarely has the man been as angry as on this record.

The album as a whole is stylistically varied. "No Tears To Cry" is a spot on slice of northern soul inspiration, getting better every time you hear it. "In Amsterdam" is the best instrumental he has put his name to since The Style Council and “Aim High“ is a slice of soulful abandon, complete with falsetto vocal. But my favourite has to be the anthemic “Find The Torch Burn The Plans”. Lyrically it’s a summation of that certain attitude - with a northern soul torch to light the way, perhaps.

A masterpiece? You wouldn’t bet against it.

Rob Massey

The Universal

2010-05-03T08:50:00.000-07:00

Terry Shaughnessy has built up a strong reputation as a live performer and his band The Universal’s debut album is released on 10 May. With Piet Koehorst on guitar, Dave Ormsby on drums and Gary Chambers on bass, the sharply dressed quartet have produced a potent celebration of that mod-influenced, stripped down indie groove that we love at sohostrut.

With influences including the likes of The Small Faces, The Who, The Kinks and the solo Paul Weller, you can't go far wrong. Stick the cd on and turn it up loud. The guitars are full on, the vocals - both lead and backing - have a deeply soulful quality and the tunes are good examples of the tradition of well-crafted song writing.

Stand out tunes for me are the opener, Revolution, Shine On and Stand Up. But my favourite is the very impressive anthemic new single Day In Day Out. It’s a powerful album and one that is well worth a listen. Recommended.

Check them out at www.myspace.com/theuniversaluk or http://www.facebook.com/TheUniversalBand.

Rob Massey

J C Brooks And The Uptown Sound - Baltimore Is The New Brooklyn

2010-04-25T05:08:00.001-07:00

We featured these torch bearers of the new US soul movement a while back and they're still sounding spot on. J C Brooks And The Uptown Sound, fresh from their hometown of Chicago, are included on the cover cd with the current edition of Mojo magazine. This is the video of that tune - Baltimore Is The New Brooklyn. Top drawer, we'd say.

Rob Massey

Wideboy Generation

2010-04-21T15:47:00.000-07:00

They’ve got a new single out right now and it comes with the sohostrut seal of approval. “The Boys” has a cover that could be a cross between The Likely Lads and Kes. It gives a poignant illustration of the tune inside. Take some straight ahead guitar, thumping bass and pounding drums. Vocals that are straight out of the 77/79 school of pop art aggression. Put in some lyrics that are pure 21st century attitude. Mix it all up and you’ve got the brand new tune from Wideboy Generation that you can head right over to itunes now and download. These boys are at the forefront of the new breed of authenticity, swagger and self belief that is launching a very healthy attack on all things manufactured and bland. Do yourself a favour. Go and get it now.

Rob M

Mark Ellis

2010-04-21T15:46:00.000-07:00

The Lambrettas were one of the defining bands of the 1979 mod revival. The band originally comprised Jez Bird (vocals and guitar), Doug Sanders (vocals and guitar), Mark Ellis (bass) and Paul Wincer (drums). Their distinctive cover of “Poison Ivy” reached the upper echelons of the charts in 1980. They have toured under various line ups since then.

Rob Massey caught up with Mark Ellis and put a few questions to him.

1. Let’s go back to the beginning with The Lambrettas. How did you get together?

I had just returned to England after a couple years of living in the US. Pinned up a card on the notice board of the local music store in Brighton. Got a call, & met with Doug Sanders & Jez Bird, who were playing in a pub-rock band together. All seemed to click, so we looked for a drummer. If I recall correctly, Paul Wincer’s mum was friends with someone else’s mum...... Anyway, somehow we found him, & started rehearsing in early 1979.

2. What were your influences back then?
Like most musicians, I had tons of influences. I was a kid in the ‘60s, so the obvious ones, of course: The Beatles being the biggest. Definitely Motown. I was also a huge fan of The Who. My favorite album of theirs was “The Who Sell Out” – always thought it really captured the feel of England in that period.

3. Was The Lambrettas your first band?

Certainly played with lots of other people before, but nothing you could really call a serious organized band.

4. How long were The Lambrettas playing together before you were signed?

We were extremely fortunate. Extremely. We did our first gig in the spring or summer of 1979, and by the end of the year our first single, Go Steady, was released.

5. Your best known single is "Poison Ivy”. Why did you choose to cover that tune in particular?

We didn’t choose it! It was the idea of Peter Waterman -- who was then unknown & working for Rocket Records. He had produced Go Steady. We really didn’t like the idea of doing Poison Ivy but the record company were insistent. I suggested that if we had to do it, we should change the feel completely, & do a ska version, even though we were never a ska band. It was a well-made little pop song, but we had a love-hate relationship with it. I don’t think any of us liked the thing, but of course it being a hit opened a lot doors for us. It also got us an enormous amount of stick from the music paper journalists!

6. What is your favourite Lambrettas tune?

When I listen today, which isn’t too often, there are a few I really like a lot; most I think are pretty good; & a handful I think are total crap. But one favorite that comes to mind is actually a song we recorded quite late, called Decent Town. The single sold about 12 copies!

7. Who were your favourites of the other mod revival bands?

I liked The Merton Parkas. Speedball were good. Sta Prest. Long Tall Shorty. The Teenbeats were a lot of fun. But out of all the bands that were breaking in England around that time, my favorite has to be The Beat. They really had it nailed. In recent years, I’ve seen Dave Wakeling play a couple of times in L.A. (he lives here), & he’s still got it going.

8. How do you think the 1979 mod revival compares with the original in the sixties?

They don’t/didn’t even come close to the originals!

9. And what about later incarnations of mod? What are your views on subsequent scenes, such as Britpop?

I have lived in Los Angeles since January1983, and after a few years I just never kept up with what was happening in Britain. For example, I don’t think I would know an Oasis song if I heard one.......

10. What about current the current music scene? Is there anything out there that grabs you?

See previous answer: Sorry, but I’m pretty much out of the loop.

11. What other influences, other than music, have affected your work?

I have other interests: Don’t know if they have affected my music! I have always read a lot of politics, history, literature, etc. But I’m sure I never gave them a minute’s thought when I was playing!

12. Are you still playing music?

Always play, but not professionally.

13. If you were on a desert island, what book, film and record would you take with you?

Just one of each? That’s tough. Well, for what it’s worth, for today I would say Lolita by Nabokov; Withnail & I; and Revolver by The Beatles.

14. What are your plans for the future?

Not much: Just to discover a way to turn back the clock to 1980 and have all the fun over again.......

Twisted Wheel - Nottingham Bodega, 18 February 2010

2010-02-19T03:42:00.000-08:00

The Bodega is packed to the brim. The soul stylists are out in force tonight. A sea of Faces, resplendent in Fred Perry’s and trusted parkas, adorn its inner portals. There is expectancy in the air. A mood that is to be fulfilled in abundance.

You stand in the crowd and check out the support acts, two East Midlands bands with considerable live experience and devoted following to match. First up are Derby’s local heroes The Souvenirs, a quartet whose “vignettes of daily life” have been praised on sohostrut in the past. Tonight they are very much on form. They have become one tight outfit over the last couple of years, knocking out those infectious tunes with confidence and style, front man Dale Dawson delivering the vocals with panache. The final song, the single “The 21st Century” is a particular stand out.

Next its Nottingham indie superstars The Swiines. For the past eighteen months, they have been gigging, writing tunes and honing their sound, to the point where they’ are on the brink of something big. They have a solid, hard edged guitar sound, which can be heard (on their My Space) at its finest on their excellent new single “Stonefaced”. Vocalist Scott Bugg has a strong, distinctive style which is especially worth checking out.

Then it’s the band who you’ve all come to see. Jonny Brown takes to the stage, sporting a very sharp check shirt, and Twisted Wheel launch into their set. They’re on fire. Blasting out their repertoire of what are fast becoming indie-mod anthems. They’re all there, the tunes from their first album - “One Night On The Street”. “You Stole The Sun”, “We Are Us” and the rest, along with some new songs that sound equally as impressive.

It goes down a treat. It is rare to see atmosphere as charged or the crowd as rampant as this. There’s a short respite from the melee as Johnny plays a quality acoustic version of “Bouncing Bomb”. But the interlude is brief. A few seconds later, Rick Lees and Adam Clarke are back and the band deliver the remainder of their tunes, concluding with the anthem “Oh What Have You Done”, a song that has a special place in this band’s set.

And then its over. The crowd starts to disperse. You stand and drain your lager. Tonight, you know, has been something special. Three bands with fire in their hearts and soul in the frets of their guitars. It has been a vibe to be inspired by, where you can - for a moment - forget about the ordinary, the mundane, the talk of “broken Britain” and dream again. Muse that this scene keeps on moving, reinventing itself through each new generation. After all what else is there for an inspired bohemian to do but keep on keepin’ on? Or sing for a rock and roll band, perhaps.

You dirty rock and rollers.

Rob Massey

Check out:

Twisted Wheel
http://www.thetwistedwheel.co.uk/

http://www.myspace.com/thetwistedwheel

The Souvenirs
http://www.myspace.com/thesouvenirsmusic

The Swiines
http://www.myspace.com/theswiines

The Laynes - “Its For You”

2010-02-16T16:40:00.000-08:00

“I can’t help thinking ‘bout me”, comes the refrain. It’s the key message of “The Instigator”, the call to arms of a self-proclaimed 21st century Face - and one that is every bit as full on as certain other anthems we have come to know and love over the years. You can hear it on the new album “Its For You” from The Laynes.

Their strapline is “4 chords and the truth”, which is a pretty good motto from where I‘m sitting. They sounded more than a little bit promising with “Not The First Time“ on the Immediate Pleasures compilation from last year. This album confirms the potential, showcasing their varied range of musical styles.

The opener, “Yo-yo”, is a frantic Hammond blast of an instrumental, which piles in at the outset and pulls you into its soul. Its followed by Fun Thing”, a slice of top notch garage rock, complete with delicious feedback and powerful vocals.

There’s plenty of infectious guitar here, like on “Trippin’ On”, “Is It My Conclusion“ and the sixties pop feel of “Don’t Look Back In Time”. And the band know how to produce strong melodies, such as on “People Watching” with its clever and original hook (with, to my mind, touches of Simon and Garfunkel in places) and “Really Can’t Be Sure - think The Kinks brought up to date. Not forgetting the psychedelic feel of “Sunlight, nor the touches of a swamp instrumental on “Agent Orange”.

But my favourite moments are the ones where they come at you straight ahead. Fast forward to “Call Yourself My Friend” and “Find Your Own Direction “, a definite anthem of modernist independence.

There’s some strong, vintage garage coming out of the west of Scotland right now and these boys know how to kick up a treat. Check them out here. http://www.myspace.com/thelaynes. You’ll be pleased you did.

Rob Massey

The Reaction

2010-01-24T05:47:00.000-08:00

One of the key tunes on last year’s “Immediate Pleasures” compilation was “Then And Now” by The Reaction. Since then, the band has regrouped with a different line up and is forging ahead in the development of a tight, strong sound. Rob Massey caught up with Charlie Phelps, the band’s singer and guitarist, and put some questions to him.

Where do The Reaction come from?

Well I’m from Lincolnshire but drummer Billy and bass player Alex are from Potters Bar

When did you start playing music? Is The Reaction your first band?

Erm, I started playing about five years ago, but I’m not quite sure about the others

Tell me a bit about the bands you have been in

I had a band in my village when we first started out where I was just singing, it wasn’t nothing serious just a laugh really with a few mates and it soon just ended

Is this the original line up of The Reaction?

No there’s been a few different members, we started off as a three piece then the drummer went into the navy so that finished that one. Then we brought in a drummer that was just starting out and a lead guitarist, the original bass player broke his arm and was unable to play a few gigs so we all spoke and I played bass for a couple of the gigs until we brought in a new bass player. But after we started gigging round Lincolnshire and got a small following of people that enjoyed the music we was doing, the drummer and guitarist wanted to do all heavy rubbish, they insisted it would fit in with our original set of 60’s covers, haaaaa how funny, so I kindly told them no, also I think they were getting a bit too big for their boots. After that me and the bass player were going to start another band but both had different ideas so he has started a new band and I’ve got the new line- up with much much better musicians.

How did the current line up get together?

My Dad’s band The Pretty Green gigs round Hertfordshire and before this my Dad was in a band with John Dalton (Kinks bass) and Eddie Phillips (Creations guitarist) and Billy’s dad Micky Richardson who is now drumming for Elkie Brookes.

Billy’s Mum comes along to the gigs my Dad’s band does now and one time brought Billy, we both wanted to get up and play so we decided to do Johnny B Goode, it was amazing and I knew from the minute he started playing that he was absolutely brilliant, the best drummer of his age I’ve ever seen. We spoke after the gig and both was really up for starting a new band. Billy knew bass player Alex and he is absolutely amazing too, so now we’re just rehearsing and trying to get a tight set so then we can finally gig

Are you the main songwriter?

Erm ye I would say so at the moment but Bill and Alex are both interested in writing songs so…

For those who haven’t heard you, how would you describe your sound?

60’s new wave, so kinda The Jam, the Purple Hearts etc

Which artists would you say influenced your direction?

The Purple hearts definitely, my Dad, Paul Weller, Pete Townsend

Are there any other aspects - say, books or films - that you would mention as influencing you?

Erm I don’t really know, Quadrophenia maybe

You were featured on the Immediate Pleasures album with “Then And Now“. Tell me a bit about that tune.

Well I really liked the name of the Who’s album then and now so I thought I would write a song to the title. It came together quite easy, its about how life used to be just crap and then one day you fink bugger it and put the past behind you.

Have you other new tunes we should we especially be listening for?

Erm yes a couple, we’ve got a short number called “Here Comes The Reaction” which will be played as an intro song as it is soo short and there’s a couple more that people should look out for.

Where have you played live recently? Any gigs that stand out?

At the moment we are just rehearsing but we should be gigging soon hopefully, fingers crossed

We all have our favourite tunes - if you had to choose one life changing record, what would it be?

Well for me its got to be Millions Like us by the Purple Hearts, that song is just bloody amazing

Good choice! And, finally, what are your plans for the future?

Hopefully to have a record deal and be up there with the best!

For more info on The Reaction, check here: http://www.myspace.com/herecomesthereaction

For Facebook users, there is a video page: http://www.facebook.com/#/video/?id=258816626600

For everyone else this is a new tune “What’s Going On“:

The Len Price 3 - Pictures (CD Wicked Cool)

2010-01-07T11:01:00.000-08:00

The Len Price 3 - Pictures (CD Wicked Cool)

The Len Price 3’s third LP ‘Pictures’ is an album brimming with energy, gusto and versatility. Title track ‘Pictures’ opens the maelstrom with an eruption of Pop-Art The Who style guitar and layer upon layer of harmonies building up into a operatic crescendo. This mini-monster epic about an extremely dodgy photographer is a tale told in under 2 minutes, an impressive tune of concise proportions.

The jangly ‘Keep You Eyes On Me’ explores the media frenzy surrounding any of the latest tabloid starlets. The lyrics are satirical, but there is a melancholic undertone to the melody line, in which The Len Price 3 explore the way a person can destroy themselves physically and mentally for that glance of fame.

Full on Pop-Art’ism in The Creation/The Who vein is this delicious meal dished up on ‘I Don’t Believe You’, as The Len Price 3 blast away on a tune about an unmitigated twat.

Raw Kinks style shenanigans on ‘The Girl Who Became A Machine’ with cheesy organ adds an extra spice to already mind rattling catchy tune. The soul destroying nature of a mind numbing job has never been so tuneful, a nice paradox from the Len Price 3.

One of the key songs of the album is the magnificent ‘After You’re Gone’. This continues the tradition of songs that The Len Price 3 have written exploring old age, loneliness and the nihilistic waiting for death (such as ‘The Last Hotel’ and ‘If I Ain’t Got You’ on previous albums). The great talent that The Len Price 3 bring to the table, is to turn this serious subject into tunes with big chords and “cutting straight to the bone” words, rock’n’roll in other words and ‘After You’re Gone’ is great rock’n’roll.

‘Mr. Grey’ is a bouncy pop tune in the classic Kinks, Madness, Blur style, with lots of observation, as Mr. Grey lives for work, trying to keep house and home together, but leaving a lonely wife behind. When the veneer crumbles of this supposedly respectable aspirational life, a failed marriage and death are not far behind. A melancholic slice of social observation from The Len Price 3, but again, all told with infectious melodies, jaunty hooks and a horn section.

Back to the dirt with ‘Nothing Like You’ with a big chunk of fuzz, as the lads try to kick out the jams, but end up being proper frustrated when they have to put a brave face on dealing with dick heads.

‘If You Live Round Here’ has a hint of The Coral, in which a decent geezer with some brain cells is having to live in a hellhole with a bunch of violently hostile knuckle dragging goons. The distorted vocals make this quite a disturbing tune ‘I don’t think that it’s right, beating up a stranger on a Saturday night’, too right. ‘You Tell Lies’ is another tale of suburban hypocrisy as a ‘respectable’ cop goes around shagging everything in sight, including his wife’s best mate. ‘Man Who Used To Be’ is a sharp garaged up ditty about some has-been rock star, being an utter idiot, nuff said.

After three angry in-yer-face mod-garage tunes, ‘Jack In The Greens’ is a surprisingly lilting Eliot Smith style folk pop tune, wistfully melancholic, showcasing The Len Price 3’s pop versatility. ‘Under The Thumb’ ramps things back up with garage R&B rampage, full of bluster and anger about a relationship going very wrong, ‘you make me cry, cry, cry’ as the harmonica wails. ‘The Great Omani’ completes the album in Beatles-esque style, another pop prize. A rather eccentric inept escape artist perfects his own demise, a perfect song to finish off this great mod-garage-powerpop album.

From knuckle dragging sludge addled fools to the aspirational middle class wannabes, to melancholic loneliness, to sleaze bags and eccentric gentlemen the Len Price cut through hypocrisy, façades and get straight to the point with their explosively melodic music. I’ll be surprised if I hear better album in 2010, simply awesome. Jonny Magus

http://www.thelenprice3.co.uk/

WWW.MYSPACE.COM/THELENPRICE3

The album is st to be released on January 18th 2010 More information should be available from their label Wicked Cool

http://www.wickedcoolrecords.com/

The Iron Door Club -debut single

2010-01-03T09:03:00.000-08:00

Some good news. Derby’s The Iron Door Club have their debut single out in a matter of weeks. Formerly Young Guns, the trio of James Capper (vocals, guitar), Alex Kelly (drums) and Aaron Leech (bass) have produced a tune that is sharp, edgy and boasts a shedload of catchy guitar and vocal hooks. “Amateurs And Cheats” is out in February and, from where we’re sitting, is well worth spending your pennies on.

The band is shortly undertaking a headline tour to promote the single. You can check out the tour dates, as well as listening to the single and more their tunes (we‘d particularly recommend you check out the pop sensibility of “Isn‘t She Lovely“), here http://www.myspace.com/theirondoorclub. The single is available to pre-order at amazon, play and itunes right now.

Rob Massey

“The Contessa/Snake Charmer” - DC Fontana

2009-12-28T04:30:00.000-08:00

It starts with the revving of a scooter engine. Then there is a drum roll and in come the keys and the horns, with the refrain that will be buzzing around your brain all day, part 2-tone, part swinging London at one and the same time. Scorching Hammond rips through the mix, with a venom destined to burn up clubs and bars and living rooms worldwide. The horns and the keys interplay, taking you further, deeper into the maelstrom. You feel your feet move, subconsciously at first, as it pulls you in, driving forward and blasting through to its uncompromising crescendo. This is the debut single from DC Fontana. This is The Contessa.

Rob Massey

The double A side single “The Contessa” and the equally excellent “Snake Charmer”, featuring the vocals of Karla Milton, is available to download right now from i-tunes and the usual places. Or you can order it on vinyl online. To find out more about DC Fontana check here www.myspace.com/dcfontana

Danny Connors And The Ladders

2009-12-22T04:03:00.000-08:00

Looking for some full on rhythm and soul? With feeling and harmonies and style? And that deep, pulsating GROOOOOOOOOOOOOOOOVE! Delivered with the sort of panache you’d expect of the r&b exponents of yesteryear? Danny Connors And The Ladders might be just what you’re looking for.

The band is:

Danny Connors - Vocals/Guitar
Joe Kenny - Guitar/Vocals
Lee Canham - Bass/Vocals
Greg Coulson - Keys/Vocals
Dan Benton - Drums

Danny Connors used to be the frontman in the On Offs. They were good, very good. But nothing prepares you for the “yeah yeah yeah” harmony that opens “If You Could See”, the first track on their My Space. Its full on, its vital and that delicious Hammond is as sharp as the creases on the sleeves of your button down.

The four tunes that follow - “We Can Have It”, “ The Temperature”, “This Is My Heart” and “I Will Be At Home” - are equally strong. There are melodies, incisive guitar signatures and perfectly crafted song structure. Not to mention the quality of the playing and those oh so soulful vocals.

This is a band to keep an eye out for. They’ve got some gigs coming up at various locations over coming weeks. In the meantime, check them out here - http://www.myspace.com/dannyconnorsandtheladders Its enough to melt the Winter snow and put some fire in your heart.

Rob Massey

2009-11-17T01:45:00.000-08:00

The Len Price 3 - I Don’t Believe You (Digi-Single)

The Len Price 3 return into the fray with their new freakish beat of joy ‘I Don’t Believe You’. Their signature of crashing chords, walloping bass and burning drums is contrasted with super-catchy melodies and bubblegum harmonies, all ramped up to number 11 on the a-wop-bop-a-loo-mop-a-lop-bam-boom dial.

The song zips along like a demented bull in ardor, the band snorting and stamping, but their voices heavenly and exultant; that weird clash of the sublime and the profane that early Who were so good at, so too are The Len Price 3.

As with any decent rock’n’roll tune, it rushes into the ears, scrambles your brain, then does a runner and all told within 2 and half minutes of pure adrenalized happiness. Lyrically ‘I Don’t Believe’ might be about a lying cheating scumbag who requires instant atomization, but the sheer gusto of the tune is pure Smile.

I Don’t Believe you is available for digital download through their label Wicked Cool.
http://www.wickedcoolrecords.com/

If this is a taster for their forthcoming album ‘Pictures’, the a-wop-bop-a-loo-mop-a-lop-bam-boom quotient of their new platter should literally take the top of you head off, tres cool. Jonny Magus

For more information about The Len Price 3
http://www.thelenprice3.co.uk/
http://www.myspace.com/thelenprice3

Immediate Pleasure - 20 Tracks For The NEW Mod Generation (Rowed Out Records)

2009-11-02T14:15:00.000-08:00

If you needed any proof that the underground mod scene is thriving, stick on this cd. It’s the latest release from Rowed Out records and features an internationalist set of twenty tunes from a raft of bands who are keeping the flame burning.

There is a genuinely eclectic selection here. From the quality Small Faces covers of “Almost Grown” from The Royal Hangmen and “I Can’t Dance With You” by The Small Fakers, through to the top notch Hammond jazz of “Caffeind”, by Gene Drayton Unit. On the way your dancing shoes will come in very useful for the full on soul that is “Uncle Willie Time” by The Fonxionaires, the foot moving and stomping vibe of Button Up’s "Turn It Up To Bring It Down” and the dynamic rhythm and soul of “Satisfied” by The Nouvellas.

Then there is the full on R&B of “Ace Face” by The Attention and Nick Buckle And Thee Ones’ “Nite And Day”, the extremely infectious “Not The First Time” by The Laynes and the soulful psych of “Gloomy Monday Morning” by The Black Hollies. There are plenty of beat and garage vibes here in “I Wish I Did” by The Caper Story, Beat Revolver’s “Nobody But You”, “Ba ba ba” by The Effectives and “1-2-5” by The Petty Hoodlums.

If you like your tunes full on, look no further than the excellent “Tonight” by The Ace, whilst "Madamoiselle” by Connett sounds spot on. The power pop vibes come through strongly, courtesy of “Victoria” by Eurovox, “Weekend” by Tailor Made and “The Situation” by The Josephs. And to conclude, there are young Turks The Reaction with a spiky, in you face anthem “Then And Now”.

All in all, this is a record that is well worth adding to your collection. It conjures up visions of Soho coffee bars, sweaty underground clubs, and cosmopolitan cool. For more information, check this link http://www.rowedout.co.uk/index2.html. Get hold of a copy, stick it in your stereo and enjoy. This is the sound of mod today. And you know something. It all sounds as good as ever.

Rob Massey

“All About My Girl” - Jason Brummell

2009-10-17T03:19:00.000-07:00

A welcome addition to the catalogue of modernist literature is Jason Brummell’s “All About My Girl”. Taking its title from a Hammond classic by Jimmy McGriff, the book was initially conceived as an article for a South Coat Mod/Scooter magazine “Enjoy Yourself”. Jason then expanded it into a short novel, that explores the hipper side of life in early sixties London. Dedicated followers of modernism will recognise a large number of references, from videos, to celluloid, to literature.

Narrated by four characters, the book works on various levels. It is a journey into a very British scandal, a glimpse at gangland, an insight into the changing world of law enforcement - think “the craft” - as well as a convincing portrait of that well-used, yet enduringly apt, phrase “clean living under difficult circumstances”. Or, as the web site puts it, “those that agree that they have no pre-ordained place in society”. The descriptions of speeding, clubbing and creating “the look” are particularly memorable.

“All About My Girl” is absorbing, well-researched and stylish as a pair of Italian shoes. You can find out more about it, and how to get a copy, here http://www.allaboutmygirl.co.uk/.

Another novel is, I understand, on the way. Looking forward to its publication.

Rob Massey

The Moons - Torn Between Two

2009-10-17T02:45:00.000-07:00

Its out on Monday 19 October on Acid Jazz. Featuring Weller keyboard player, Andy Crofts, The Moons have produced a modern classic.

You can see the video below. There's the hypnotoic melody, the powerful lyrics, the way it sticks in your head all day. Give it a listen and you'll be hooked.

Rob Massey

Check out The Moons here http://www.myspace.com/themoonsofficial

Quadrophenia the musical..Dawn Sievewright Interview

2009-10-09T06:33:00.000-07:00

Dawn Sievewright was part of the recent Touring Quadrophenia she took some time out to Chat to Tony Clark about the show

Can you tell us more about Dawn, how you became an actor where did you study ?

....I'm from Glasgow in Scotland. My mum is a dancer and my dad runs his own events company. My mum started teaching me Ballroom and Latin when i was 3 and I learnt to dance with her. Then i started taking it seriously when i went to The Dance School of Scotland when i was in my last 2 years of high school, there i was one of 8 people picked form all over scotland to do a two year Musical Theatre course, i then went on to audition for all the stage schools (University courses) in London and decided to go to Guildford School of Acting.

The reason behind this chat with you, is because we were asked by the people at get Quadrophenia onto the West End Face book page to do a link and a mention, so with that in mind, do you think there is a possibility of the show making the West End ? Has there been talk of it ?

....All of the cast in the show were hoping that we could take the show further after the tour, there is always talk of west end transfers when you do a No. 1 tour, but I think the creative team are very excited about taking it all over the world and not specifically just the west end.

If so do you think the cast would inc you and the others or is it possible there might be a whole new cast , what's your thoughts ?

.....If they were to take the show any further or to the west end the creatives did mention that they wanted the exact cast that they used in the tour as they felt they had created the perfect style and casting for Quad, so I'm guessing it would be offered to us, whether people would decide to do it or whether people would be available to do it is a different story.

You played the part of one of the Guardian Angels ! is that the part you went in for or was that what you were offered ? I was seen for Guardian Angel and I also understudied the Mum.

Were you happy with your performance throughout the tour ? We made quite a lot of changes throughout the 6 months of touring, so everyone's performances were constantly changing. As an actor you are never fully happy with the performance that you give as you always find something you think you can do better! But you also get good feelings about some performances and bad feelings about others if something goes wrong!

How long did you guys take rehearsing the show ?We rehearsed solidly in Plymouth for 5 weeks and then as the creative team decided to make changes to the piece when we were out on the road we were in most days before shows rehearsing new scenes.

The Tour lasted was it 6 months ? what were the main highs and the lows of the tour ? Which Town or City stands out. 6 months yea. Obviously whenever Pete Townsend came to visit it was a great high and he threw us a great celebration at the end of the tour in Coventry! WHERE EVER we went in Scotland, it was always MAD! they were always shouting and screaing during the show! (in a positive way!) and never hesitated to get up and dance at the end!

You seemed to get standing ovations at most shows, did that make you and the cast feel special, that the show was really working ?...YEA!! An amazing feeling!

There were some changes along the way, esp set wise, did that work well, was it the right move to lose things like the Taxi etc ?....We missed the taxi! It was so much fun to play on, but it made sense for it to go when all the changes happened with the show. Same with the bed etc.

Have you read any of the many reviews, our included ?
ours went in part like this "but in both Jack Roth who played JIMMY, THE LUNATIC and Dawn Sievewright who played the GUARDIAN ANGEL stood out for me, Jack Roth for those manic piled up eyes and Dawn Sievewright for getting the look spot on"

The cast always made a point of trying to read what people/press were saying about the show, good or bad. It's always nice to be mentioned in a review, as I wasn't a lead part it was a little bit more of a compliment as it's a little harder to be recognised when your not in the frontline all the time!!

People keep asking if there will be a DVD of the show, parts have turned up on YOUTUBE, was the whole thing recorded at some point ? what do you think of the DVD idea ? would it work ? ...Honestly, I don't think there will be an official DVD of the show. Yes, there have bin naughty clips posted up on YouTube, but I think that's as far as it will go. I would love to have a full version of the show to keep in my library so I could have something to remember of the show that wasn't in my head! Hopefully it will be released sometime in the future! Or who knows....we might get back together and do it one more time! HA!

Had you heard the Album Quadrophenia before or seen the 1979 film version ? Thoughts ?I watched the film the night before my audition so I could get a look at what I was dealing with, but in all honesty I had never seen the film or heard of the Album....! I obviously knew who 'The Who' were, but I had never listened to the album.

My dad always tried to get me into music that he loved and I'm sure that was one of the albums he would have pushed me to listen to. I obviously bought the album straight after I was offered the job so I could see what I was going to be doing for the next 6 months. I then realised how amazing it was and was a bit gutted that it wasn't in my life earlier as it would have explained a lot of my teenage years to me and helped through a lot of hard times!!

There seems to have been lots of Mod and Scooter type people at most of the shows, were you aware that there was such a big scene out there Mod wise ? what did you think of it and the people you met along the way ? The Mods were AMAZING! Every week we were in a differnet city and every week MORE mods came!! Every Tuesday we would hold a ride out at each place and there were always these amazing groups of people with amazing clothes and amazing scooters! There were Faces, women on pink scooters and even in Cheltenam we had two gorgeous little girls on matching scooters! They never failed to impress us! It was amazing to know that we were reaching out to so many people.

Your Fave part of the show, which part if any really sticks out ? ...The show was constantly changing so it was always amazing to do. The part that NEVER changed through out the whole tour was the first section of the second act. '5:15' and 'I'm The Face' were always amazing fun to do. Because the first act was quite serious and dark it was always nice to throw everything out the window and go mental in the second act when we suddenly went to Brighton!

Thanks to Dawn for taking the time out to chat

Quadrophenia the musical..London's West End ?

2009-10-06T10:32:00.000-07:00

Someone over at Face Book has starting (with the added bonus of cast members) a page to try and help get the show into the WE..
How could we resist being asked to do our little bit and spread the word, you have read our review so you all know we loved the show, but it's hard to get a show running in the West End so every little bit helps.

We have aslo tracked down Dawn
and Sydney from the show and will run interview's with the girls here on sohostrut.. Soon
Thanks and good luck to the cast and crew and the people behind the face book page, which is here.

http://www.facebook.com/group.php?gid=138609116863&ref=mf

Tony Clark

Quadrophenia The Touring Musical Sohostrut 5 Stars *****

2009-09-21T16:36:00.000-07:00

Can you see the real me Can Yer ? Can Yer ?
I went and saw Quadrophenia the musical , it blew me and Ness away, that cast were great,young and full of energy- the band were rocking and the different twist on both the book and film was well put together, the whole Audience jumped up at the end.

1979
Like most young Kids in '79, punk was fading and we were looking for something new, luck for us there was a Mod Revival going on in London, and not living far from London it swept our way to, but like most of my mates at the time we saw it's arrival as poss the end of the Mod Revival as well, in terms of the neat little scene we had, was about to get blown a part thanks to the Who's Quadrophenia, don't get me wrong we all wanted to see it, we just felt Mod was at it's end by then.

However here I'm writing for Sohostrut again about Quadrophenia this time the Musical touring the UK in 2009.

The Crowd
Made up of Young Indie Types-Young Mods-Old Mods with Button downs and Fred Perrys singing every word.Couple's just out for nice night, yeah Quadrophenia managed to pull in the ALLSORTS and entertain them all :-)

The Cast

Very Young hand picked some making their first outing on a live stage, some a little more seasoned.But from the out start it was clear that this cast had the magic, had the suss and knew what was needed.No point in picking out any one they ALL stood proud and played their parts well,but in both Jack Roth who played JIMMY, THE LUNATIC and Dawn Sievewright who played the GUARDIAN ANGEL stood out for me, Jack Roth for those manic piled up eyes and Dawn Sievewright for getting the look spot on. Also an outstanding 'Love Reign over me ! sung by Sydney Rae White that had given lumps in the throat to many !

The Set
A strong part of the show, Flashing lights, Vespa all laden with lights, TV cameras and Brighton.For those not familiar with the Book or the film, I would think parts of the story were confusing, but it was all pulled of in rocking style, with 4 Jimmy's on the stage at the same time, yeah in all their quadrophonic glory.Fights with Rockers and The Band
To hear those songs again was fantastic but they were played with real Gutso by the live band, who were high on the stage on Scaffold, they even joined in now again with cast members who climbed up.

So

Was it any good it was ModTastic dear readers, I was woken from the first chords to the final curtain,we were then treated to the cast at the front of stage all singing My Generation, jumping clapping and chanting We are The Mods with the whole House standing and cheering,it was Powerful it was bloody ModTsatic and it needs to grace the West End. Tony Clark

Svengali

2009-09-20T06:40:00.001-07:00

If you’re fed up with the usual rubbish on the tv, have a look at this little series. Svengali tells the story of Dixie, a wannabe music entrepreneur who moves to London from South Wales in search of the big time. He meets up with the less than helpful former “friend” Horsey and, with a naively touching innocence, manages to undermine him at every step.

Featuring cameo appearances from Alan McGee, Carl Barat, Bonehead, Maggot and others, it’s a must. It was written by Dean Cavanagh and directed by Philip John and stars Jonathan Owen in the title role.

The series is a prime example of the way the internet is being used to circumvent the traditional media channels, to get something of quality directly to those who will appreciate it - a movement that we, naturally, support strongly. For Facebook users, there’s a page dedicated to the series, which provides useful background.

This is the first part. It is also - at the time of writing - available for free at iTunes. You can find the rest on You Tube.

Rob Massey

On The Road The Original Scroll

2009-09-13T13:30:00.000-07:00

I’ve recently been reading “On The Road - The Original Scroll”. For Kerouac afficionados, its publication of in 2007 was an moment off some importance. For the first time, it was possible to read the uncorrected manuscript, as Kerouac first wrote it, on a single scroll, in those three mad weeks over half a century ago.

When you first open the book, the first thing that hits you is that the manuscript is a single paragraph, with very little conventional punctuation. More importantly from the perspective of the history of the novel, the characters are there with their real names. So, instead of Dean Moriarty, we have Neal Cassidy, and rather than Carlo Marx, there is Allen Ginsberg.

There are also significant differences in the text. Contrary to legend surrounding the non-editing of spontaneous prose poetry, Kerouac clearly made changes (such as adding paragraphs) to ensure publication. As an example of textual alterations, compare the first lines. In the traditionally published version, this reads:

“I first met Dean not long after my wife and I split up. I had just gotten over a serious illness that I won’t bother to talk about, except that it had something to do with the miserably weary split up and my feeling that everything was dead”.

The original scroll, on the other hand, reads:

“I first met Neal not long after my father died…I had just gotten over a serious illness that I won’t bother to talk about except that it really had something to do with my father’s death and the awful feeling that everything was dead”.

I also love editor, Howard Cunnell’s, description, in the “Note On The Text“, of the opening line suggesting the “sound of a car misfiring before starting up for a long journey”.

I find “On The Road - The Original Scroll” to be fresher, more immediate and having a greater clarity than the traditional published version. As the New York Times put it (quoted in the blurb on the back cover) “the sparse and unassuming scroll is the living version for our time”. I cannot recommend it more highly. It is available in paperback at the usual places.

Rob Massey

Mabel Love

2009-09-11T10:15:00.000-07:00

There are some top notch tunes coming out of Sheffield right now, courtesy of these boys who call themselves Mabel Love. Taking their name from an early twentieth century Vaudeville singer, they are something of an underground supergroup, comprising former members of our old favourites The Crooks, along with Gas Club, Park Brigade, Union City and Rossman Frister. They are producing a sound that is familiar and distinctive in equal measure.

The band is:

David Mitchell - drums
George Moran - bass
Richard Rice - vocals/guitar
Dan Whitehouse - guitar

You can hear them here: www.myspace.com/mabellovemusic . All the tunes are worth a listen, especially Whistling Tune and Pear Shaped. Ha Ha People and Barkers are rather good as well.

Their influences range from The Beatles and Scott Walker to Nick Cave and Echo And The Bunnymen. They put me in mind in particular of the likes of Josef K and the rest of the early eighties rosta of Postcard Records of Scotland. Its those guitars and that distinctive voice that do it. Well worth checking out from where we’re sitting.

Rob Massey

Small Faces All Or Nothing DVD

2009-09-08T11:46:00.000-07:00

Its in the shops finally. A significant gap in the availability of great music on DVD has been filled by the release of “Small Faces: All Or Nothing 1965-1968”. And it more than comes up to expectations.

There are 27 performances from the original mod quartet, which you can watch either as part of a documentary or individually. There are also new interviews with Ian Mclagan and Kenny Jones, and archive ones from Steve Marriott and Ronnie Lane - including the last filmed interview with the latter. The documentary includes fascinating archive footage including clips of the band’s discerning fanbase, as well as the boutiques frequented at the time.

Particularly look out for the band’s debut performance at the Marquee as well as definitive versions of “All Or Nothing” on the Morcambe and Wise show plus “Tin Soldier” on Popside Sweden. In fact, a sizeable proportion of the shows are from European tv, including the classic street version of “All Or Nothing“, filmed on location in Scandinavia in the depths of Winter. Other tunes include “Lazy Sunday”, “Here Come The Nice”, and “I’m Only Dreaming”.

There’s also a booklet with information surrounding the performances and some quality pictures. Great monkey jacket Stevie!

This is the trailer - what more can you need to whet your appetite.

Rob Massey

.

Purple Hearts Ryde Isle Of Wight Aug 2009

2009-09-06T11:52:00.000-07:00

Purple is the best colour ..

So what inspired me the most to go to the Isle Of Wight International Scooter rally this August Bank Holiday 2009. Was it the thought of up to 25000 sharp looking Scooters, was it the thought of Partying with some current mates and mates from the past years, or was it that The Purple Hearts were playing the event ? It's a big thumbs up to all 3, BUT the Purple Hearts playing was real puller for me and some of my mates.

The Ryde Theatre was the perfect place for this gig, a 1000 capacity, a great Stage and a good vibe. There was an added bonus that my old mates Adrian Holder and Robert Moore were supporting that night in the new look Moment, top draw stuff from the Whistle Blowers that night.The D'J 's were setting the pass near to the Hearts coming on with some classic '79 Mod Tunes and then the boys hit the stage.

Top boys Mod 79

Were talking neat Purple Hearts Backdrops and lots of East London Mod swagger still, in fact you could see where Ian Brown got all those early moves from, he must have watched Robert Manton and learnt his trade.Still able to more than command the whole stage, Manton used and performed on every inch of it, he has not lost any of that Front man magic that made him one of the most talented at his trade .Not to say that all the other ORIGINAL members did not do their best to make it a very special show, Gary Sparks beating the the drums with such cool command, Simon Stebbing still fronting every bit of the guitar work with gutso and The Coolest Mod Jeff Shadbolt, keeping the Bass back line well on time.

swaggering-still owning the stage

You all know the tunes so there's no they did this and they did that, EXCEPT for the cover of Gloria, with added Jeff The Fish on Harp boy did it do that tune some justice.The crowd swelled as the band went on and it built from there, this band pulled lots of weight back in 79 and were there right up to the mark after most had gone by 1982.But here they were in 2009, yeah this band could blow most current bands away,Swaggering-still owning the stage.

Tony Clark

Wideboy Generation

2009-07-28T15:57:00.000-07:00

Sometimes you get a buzz that its happening. That there’s a band out there that is taking those influences and forging them into something new, like others have done before them, with the unique stamp of their generation on the vibe that emerges.

This trio are a case in point. Wideboy Generation - comprising Joe, Luke and Aiden - have an attitude and sound that are aimed fairly and squarely at kicking over whatever statues remain. Bristling with in your face lyrical content and full on guitars, they are forging a direction for a new breed of bands to take the approach of 77 to 79 and apply it to the modern world.

“Welcome To The New Generation” sets the tone. Its positive, confident and delivered with a definite swagger. Their other tunes deliver a similar message. You can hear “Buck & Belle”, “Mirror Man” and “Initial Verdict” on their My Space http://www.myspace.com/wideboygeneration. You’ll also find details of gigs on there - they’re playing round London and the south east over the coming weeks. Gigs elsewhere are planned.

Rob Massey caught up with the trio and asked them some questions.

Where are Wideboy Generation from?

East London, Essex & Herts
When did you form?
Christmas 09. First gig March 09
Were you mates before?
Joe (guitar/vox) & Luke (drums/vox) have been pals since dot… met Aiden (bass) at a local music venue and for a year never knew he was the tits in bass till we heard him play…so we bagged him a bit livo!

Wideboy Generation is a memorable name. What does it mean to you?

We are living in a time where even your own leaders haven’t got you back sso, whether its simply walking back home after a might out making your money and paying you way in life…no one is gonna look after you…
You gotta be sharp to survive! The wide boy generation is not as much who/what we are but what/where we are living in and around.
How hard it is to make it right/straight without a bit of skulduggery…its everyone from the pinching politicians, to those selling gear off the back of a toilet cistern. We liked the name cos it had generation in it, innit!
Which is this generation, our generation,,,my generation!

I'd hazard a rather strong guess that the whole Mod ethos means a lot to you? Tell us a little about that.

Well those modernist afficionados amongst us will love our style but may wince at the lack of Hammond., but its nearly 2010 and Britain is ripe for some geezer rock, and if that’s wrapped up in a Britpop bow and target wrapping paper then surely that’s all the more luverly. We just wanna bring back the British pop scene from every era and make it music for the here and now.
Which bands/artists are you influenced by?
The Who - Supergrass - Jam - Blur - Oasis - Clash - Pistols - Marriott - Muse - Motown - Queen - The Enemy - Greenday - Specials…etc etc

Is there a particular phrase you would use to describe your sound?

Hmmm……fuck me we were waiting for that one..
OK here we go…
British power pop on the rocks, a twist of mod & ska and lashings of punk rock, with a bittersweet aftertaste of 3 part harmony and of course southern soul.

I love “Welcome To The New Generation” - a real call to arms. There must be a story behind it?

Cheers…well…its got everything about us wrapped into 3 minutes, the story is about the coming of age, outdoing everything that’s gone before.
One youth claiming to be the chosen ones…
“Welcome to the new generation”…
The new order of things I suppose…
The king is dead long live the king
Our first big statement, kick down the doors and there we are, us/me/you

Any other tunes you would mention that we look out for in particular?

(Why Don‘t Cha)…Its got meaning its got soul and it‘ll get ya
(Buck & Belle)…Schoolyard nonsense
(Mindseye)…Just a choon! Nuff said

Who writes your tunes? Is there a main songwriter or are they band compositions?

Finished article is definitely a 3 pronged tridenty thing but song blueprints at the moment start with Joe
But Luke has got his tunes too (kept hidden under the bed in an Adidas sports bag) awaiting the difficult third album
Aiden’s got em. But he keeping em close to his hairy chest.
Lol X

Your lyrics celebrate youth to a large degree. Is that an important element of the band’s approach?

Yep all day long…we’ve all been and to some extent still are under-represented yoof,
they/we need a voice,
Time will change us as it changes everyone
Even Johnny Rottens selling butter
But first things first…
Good songs
Songs that work
Songs that matter
Live gigs
Build it up
Crank it up
Get em in
Get em excited
Then explode & kick some ass and sell some music

Any films or books that have influenced you?

Quadrophenia/Tommy/Life of Brian/Fight Club/The Lion King
If you had to choose any life changing record, what would it be?
Joe - My Generation/The Who
Luke - Love Reign O’er Me/The Who
Aiden - American Idiot/Greenday

And finally - what are your plans for the future? Are you planning gigs across the UK in the near future?

Yep we got these few gigs to start with then bang!!
World domination

The Souvenirs - first single

2009-07-22T15:38:00.000-07:00

This one’s well worth a listen. Those Derby boys, The Souvenirs, have been snapped up by The Animal Farm and now have their first single out to download.

Its entitled “21st Century” and is a full on slice of the sort of powerpop that they do so well, complete with wonderfully venomous vocals, bristling guitars and a quality hookline. Lyrically, its packed with observations about life in the age that is now, compared with utopian dreams of what might have been. An instant classic if ever there was one.

The B-side “Waiting For Tomorrow” is of similar quality. Taken at a slightly - but not too much - slower pace, its a memorable pop vignette, telling a story of the errors of letting days pass and failing to live for the moment. Quality sentiments that deserve repeating in our book.

You can hear the tunes at www.myspace.com/thesouvenirsmusic and can download them at iTunes, Play.com and Amazon.com. You can also see the video on their My Space - and here:

Rob Massey

The Style Council - An Appreciation

2009-07-12T07:08:00.000-07:00

Now that the warmer weather is at long last with us, it seems the most natural thing in the world to put on those old Style Council 45s. Songs such as “My Ever Changing Moods”, “Speak Like a Child”, “Solid Bond“, “Shout To The Top” and, of course “Long Hot Summer” are perfect for those long, languid days when the sun keeps shining and the San Miguel keeps flowing.

There is, of course, rather more to these songs than simply a soundtrack to Summer. The quality of Paul Weller’s song writing was, for the first three years at least, impeccable, as was the musicianship - especially Stevie White on the drums and Mick Talbot’s Hammond workouts. And not to be forgotten is the quality of the vocalists - primarily Dee C Lee but initially Tracie Young and on occasion Tracey Thorn from Everything But The Girl. And there were the tongue in cheek videos and the strong European influence. Along with the Absolute Beginner-esque visions of Soho streets and coffee bars.

And then there was the attitude. “Walls Come Tumbling Down” was the most obvious example of worn-on-sleeve rebellion. But it goes much deeper than that. Turn your attention to the lyrical content of perhaps their finest long player, “Our Favourite Shop“. Tunes such as “Homebreakers” and “Lodgers (She Was Only A Grocer‘s Daughter)” were overtly anti-establishment. And lyrically there’s an openness in the their tunes, almost of emotion laid bare. Songs such as “The Wholepoint Of No Return“ and “A Very Deep Sea“ contain an edge of a particularly raw quality.

What makes them even more interesting is the smooth, often danceable exterior. Hum along at the local disco to “The Lodgers“ - “There’s no peace for the wicked, only war on the poor, they’re batting on pickers, trying to even the score” - and you might find your head turned in a direction you didn‘t expect. Insurrection begins at home, after all.

Neither were they a proper band, in the traditional format. They eschewed that beast, the rockist mentality, in favour of a looser, more meaningful approach. For me, they took the ethics of the soul stylist and delivered it in its purest form. Those key principles of moving forward, pushing boundaries, while retaining the integral sharpness and attitude. And that love of soul. Never forget that crucial ingredient. And the defining look that went with it.

“Daylight turns to moonlight, and I’m at my best, praising the way it all works, gazing upon the rest”.

Couldn’t have put it better myself.

Rob Massey

Paul Weller, Sherwood Pines 19 June 09

2009-06-26T12:30:00.000-07:00

Some things can't be beaten. You've seen the man many times but it doesn't stop the sense of expectation each time there's a gig ahead. Tonight, the venue is slightly different. Yes, it has an arena feel but its an outdoor one. Sherwood Pines in Robin Hood country, a clearing surrounded by trees. Just the sort of place where dreams can be made.

Twisted Wheel start off, the moment's hottest sound as far as your concerned. Fire in their bellies and soul in their hearts. And a wardrobe to be proud of. Tunes are delivered hard and fast. "You Stole The Sun". "We Are Us". "Oh What Have You Done". Johnny Brown is a natural frontman and on form, as you would expect. The future looks good for this Mancunian trio.

The crowd is swelling now. Generations of peacocks. Original Jam fans, Style Council afficionados. Britpop groovers. And the new breed. Those who have discovered Weller anew, digging his currrent set of songs, along with his history. And its "Peacock Suit" that starts the show, with its driving guitar and lyrical summation of the modernist ideal. Then its "Out Of The Sinking", the timeless celebration of escape from Stanley Road.

He's on form tonight. As the light goes down, and the rain briefly starts to come down to cheers, old songs sit side by side with new. "22 Dreams", "Shout To The Top", "The Eton Rifles". More experimental songs such as the tango of “One Bright Star” and the new version of "Wildwood". The soulful mood of “Have You Made up Your Mind” and “All I Want To Do Is Be With You”. All greeted with the same enthusiasm. You can see he's loving it, engaging in banter with the crowd.

The whole mood has that positive feel. The delivery of "That's Entertainment", an electric version with the whole band, is one of the highlights. As is the finale of "Town Called Malice". Yes, there are tunes you'd like him to play - a little more Style Council perhaps, or “Cold Moments“. But, as the show ends, you know this has been a special night. One to be talked about for some time to come. Just like all the rest.

Rob Massey

The Mod Crop

2009-05-31T06:27:00.001-07:00

Take a walk past Nottingham central library, and you’ll see a display of authentic mod memorabilia. Its all courtesy of the project surrounding the Mod Crop musical, which appears at the city’s Theatre Royal between 9 and 13 June.

The production is based on the first of Alan Fletcher’s Mod Crop trilogy of novels - “Brummell’s Last Riff“, “The Learning Curve” and “The Blue Millionaire“. “Brummell” is a rites of passage novel, focusing on a trio of east Midlands mods - Andy (based on Alan), Don and Milt - as they live their lives cleanly “under difficult circumstances”. Whilst the novels are set in different eras - sixties, seventies and eighties - they share as a central reference point the pilgrimage to the East coast on August bank holiday 1965.

The show is produced by Alan (who was story consultant on Quadrophenia) and Steve Wallis (“Make Do And Mend”). It features Mark Joseph as Andy and sixties legend Dave Berry, who performs a version of his “The Crying Game“. The soundtrack includes a raft of classics from the era, including live performances of such gems as “Lazy Sunday”, “Gimme Some Lovin” and “Substitute” and underscored versions of tunes such as “Green Onions“, “Iko Iko“ and “Walking the Dog“.

What jumps out at you from everything surrounding The Mod Crop is its authenticity. Its the work of people who were there and know the detail of what the scene was really like. Then there's the young supporting cast, who were selected via a competition in Nottingham towards the end of 2008. The novels are certainly worth a read and if the production is in the same league - and every indication is that it will be - it is well worth checking in our book. I've certainly got my ticket.

Rob Massey

More information on the plot, cast, soundtrack and much more is at the Mod Crop website http://www.themodcrop.co.uk/.

We spoke to Alan last year and his interview can be found here http://sohostrut.blogspot.com/2008/10/alan-fletcher.html

Information on booking can be found here http://www.royalcentre-nottingham.co.uk/.

Secret Affair, Neville Staple and Pauline Black, Nottingham Old Market Square 23 May 2009

2009-05-25T15:27:00.000-07:00

The first sunny bank holiday in what seems like years. And Nottingham’s discerning clientele are out in force. Because tonight some of the true legends from 1979 are playing in the Old Market Square as a part of the City Pulse event. And its all for free.

There have been bands on all day. The afternoon has featured Dave Berry, The Merseybeats and The Manfreds. And at around seven, the assembled stylists are greeted by the 2009 incarnation of Secret Affair - Ian Page, Dave Cairns and co, joined by a powerful horn section, including one Steve Rinaldi, courtesy of old Sohostrut favourites, Rinaldi Sings.

The band are exceptionally tight (despite a malfunctioning smoke machine, which causes a little humour on stage). A suited and booted Ian Page delivers the tunes with as much panache as ever. Dave Cairns’ full on guitar is particularly worthy of mention, as is the wonderful Hammond vibe, courtesy of Bryn Barklam. They deliver most of the old favourites - “My World”, “Let Your Heart Dance” and an on fire rendition of the anthem “Time For Action”. Then there are the Motown covers, like “Going To A Go Go” and “Get Ready”. Enough to make the feet move and the soul sing.

And then the vibe of the soulboy is swapped for that of the rude boy. Because next on stage are Neville Staple’s band. The singer, taking a break from a tour with a re-formed Specials (they‘re playing the following night, he tells us) - is loving it. He’s still got the dance moves and style - and the vocal delivery. We’re treated to note perfect versions of “A Message To You Rudi”, “Gangsters” and “Ghost Town”, to name three tunes among many.

Towards the end of his set, he welcomes his “rude girl” on stage - Pauline Black of The Selector. The strength of her voice is clear as she delivers classics such as “Three Minute Hero” and “Too Much Pressure“, before being re-joined by Neville Staple. And then the two, wearing classic trilbies, run through a well-received encore.

The crowd are up for every beat. Chants of “Rude Boy” echo into the night as the sun goes down. One thing is clear. Both of these bands have the same fire as back in 1979. Time for action? You bet.

Rob Massey

Twisted Wheel

2009-05-06T14:43:00.000-07:00

Fancy some hard edged rock and roll? The sort they used to make back in 1977- fast, furious, adrenalin soaked. From a Mancunian trio whose name shouts out that they instinctively know the cultural significance of a Fred Perry polo and a pair of loafers. If so, you’ve come to the right place.

The debut album from Twisted Wheel holds back at nothing. From the dirty guitar that leads into the celebration of bohemianism that is “Lucy The Castle”, right through to the final moments of “What‘s Your Name“, this record captures the band‘s live sound extremely effectively. They were great when I first saw them in a small club a year and a half ago. But they’ve developed a lot in the interim, with new tunes and plenty of live exposure - culminating in a very tight sound. They’ve already been on tour with The Enemy and are supporting Oasis and Paul Weller in the next few months.

The influences take in the tradition of the great British bands. The Who meets The Arctic Monkeys picking up the likes of The Jam and The Clash on the way - with a whole lot more besides. Social observation - “painting pictures of life”, “one night on the street” and the rest - mixed with well structured tunes that sound deceptively simple. Listen to the frantic energy of “You Stole The Sun“. On one level, it’s a slice of punk brilliance. On another, a piece of perfect pop. “Hey Jude” meets “Anarchy In The UK”. All with an attitude that is unmistakeably contemporary.

But all the tunes are top drawer. Nearly all the songs are fired with the most ferocious guitar since a young Steve Jones strutted his stuff down at the 100 Club - songs like “She’s A Weapon” “Bad Candy“ and “Let Them Have It All“. Then there’s the single “We Are Us”. A swaggering modernist anthem, complete with gang mentality plus an uncompromising self belief. And you can’t ignore what is perhaps the standout tune - the full on bravado of “Oh What Have You Done”, a slice of “dirty rock and roll“, which fires out of the speakers like they can’t wait for tomorrow.

If the party down Kitchener Road in Quadrophenia was taking place today, this is the album that Jimmy and his mates would stick on the turntable. It is a record to restore the faith in the possibilities of what stripped down, no nonsense rock and roll - combined with pop sensibility and a shedload of attitude - can do. Brand new tunes to turn up loud and jump around the living room to, while rasping out the meaning in every word. “Twisted Wheel” - the album of the year? You could do far worse “you dirty rock and rollers”.

Rob Massey

John Weller RIP

2009-04-22T16:12:00.000-07:00

Some very sad news. We heard today that John Weller has passed away. As manager of The Jam - and then The Style Council and Paul in his solo career - John was an inspirational figure. He championed the band at every opportunity and his strong influence, and hugely successful management, are well documented.

All of us at Sohostrut offer our condolences at this time.

Tony, Jonny and Rob

The Purple Hearts

2009-04-04T02:35:00.000-07:00

Some positively good news to raise the spirits. The Purple Hearts have reformed. And they’re planning some gigs in the forthcoming months.

They were the cornerstone of the class of 1979. A band who caught the collective imagination, as soon as their sound first blasted from a generation of transistor radios, courtesy of the sadly now departed John Peel. They were originally The Sockets, a young punk band who legend has it formed to play a slot supporting The Buzzcocks. Then, with the advent of Mod Revival, they changed to The Purple Hearts after a certain illicit substance favoured by sixties Mods.

The debut single from the band - collectively Bob Manton on vocals, Simon Stebbing on guitar, Jeff Shadbolt on bass and Gary Sparks on drums (previously Nicky Lake) - was “Millions Like Us”. It was an anthem. A call to arms, complete with an infectious hook and power chords. And an inspirational lyrical content (see below).

Then there was “Frustration“, with its b-side of “Extraordinary Sensations“. A powerful combination, inspiring a young Mod by the name of Eddie Piller to take the latter as the title for his fanzine. Next was “Jimmy”, a tale of youth alienation. The album “Beat That” followed in 1980. It fulfilled all the promise.

These tunes dealt with universal truths, feelings and emotions. As such, they sound as relevant today as they ever did. The adolescent anger of “Frustration”, the suburban entrapment of the title track, the idealism of “Perfect World”.

We thought it was an opportune moment to speak to them. So Rob Massey put some questions to Bob Manton and Gary Sparks, about their beginnings as The Sockets, the heady days of the Mod Revival back in 79 and their reformation thirty years on. And a whole lot more besides.

To begin with, lets go right back. You were originally called The Sockets. A punk band, right? How did you get together?

Bob Manton: The Sockets were formed at North Romford Comprehensive School by myself, Jeff, Simon and Nicky Lake. My Sociology teachers were friends with Howard Devoto of The Buzzcocks so their band was playing with them at The North East London Polytechnic in Barking and we did our first gig at that.

Gary Sparks: My first involvement with The Sockets was we put on a gig at my school with various band playing. I was in a band with some of the lads that went on to be Dept S. The Sockets played that night. After the gig I met the rest of the Hearts for the first time. They came up to me and said lots of good things about the band and particularly my drumming. Within weeks I was playing with them.

Do any tapes/videos exist of The Sockets?

Bob Manton: There was a tape or two of The Sockets but I don't know what happened to them, would love to hear them!

Gary Sparks: No. There is a band who are big PH fans that play in a current band called the Sockets.

You had a mini rock opera? Tell me about “Reg”.

Bob Manton: `Reg` was an idea stolen from a Lone Groover cartoon in the NME where a three piece punk band say they`ve got this Rock Opera called Reg about some kid with 16 personality problems I think it was a playful dig at The Jam. The Songs were REG....DOWN THE ROXY....SULPHATE SALLY....BLOWIN UP and I forget, there was one other I think.

Did you keep The Sockets material when you became The Purple Hearts or write new songs?

Bob Manton: No we didn't keep The Sockets material as such but the Chorus of `Frustration` was taken from the verse of a Sockets song called `Take It Or Leave It“. ``What Am I Gonna Do` was the first PH song.

Had you always been influenced by sixties mod, or was that something that something you got into in the mod revival?

Bob Manton: Well we were all aware of the sixties stuff in general via Bowie's `Pinups` LP. I personally got into it through three radio programs in 76/77.

John Peel did a series of special programs on groups like The Yardbirds, Stones, Who and Jimi Hendrix. Then on Capital Radio on a Friday night Nicky Horne would play all sixties stuff, finally Roger Scott also on Capital had a program on Friday evening called` cruising` which was a different sort of 50`s Rock n Roll themed show every week, anyway when The Sex Pistols went national with the Bill Grundy thing he said "right tonight i`m gonna play you the real punk rock from the sixties” and it was all The Seeds/Question Mark/Electric Prunes and i just totally freaked!

"Millions Like Us” is perhaps your best known

tune. What is the inspiration behind it?

Bob Manton: `Millions` was my attempt to re-write `Making Time`. The title is from a world war two propaganda/documentary type film, It also quotes heavily from Pete Meaden.

There’s the line “Saturday Night And Sunday Morning”. Did you see sixties British film as an important cultural reference point?

Bob Manton: “Saturday Night and Sunday Morning` was indeed a reference to the film which was an influence. I used the same idea for `Smashing Time`

You had a raft of important tunes like “Extraordinary Sensations” and “Jimmy”. Songs that came together on the first album, “Beat That”, an album that, from where I’m sitting stands the test of time. Were you pleased with the record?

Bob Manton: I didn't like `Beat That` for a long time but i love it now as i`ve got enough distance from it to really appreciate it. It`s a great Garage/almost Folk Rock (lol) album lol.

Gary Sparks: Yes I think our stuff has worn well and doesn't sound out of place today and I am really enjoying playing the songs again.

Tell me about you live album, “Head On Collision Time Again”.

Bob Manton: The live LP was a bit of a mess. One review said it sounded a bit like The Amboy Dukes so that's cool I guess.

Gary Sparks: We played 2 nights at the 100 Club. The first one was brilliant. The second one wasn't. Guess what one they recorded lol.

For our come back we aim to make every gig brilliant. We have been rehearsing hard and everyone has been waiting a long time for this.

And then there was the second album “Popish Frenzy“?

Bob Manton: `Popish Frenzy` is something I`m very proud of. It totally bombed of course. I love the big empty sound. I think the record company would have preferred another `Beat That` though.

Gary Sparks: Popish Frenzy was recorded at a time in the mid eighties when we got back together for a brief while, It was good to get some songs we had worked on but not had a chance to put out. In general it was a good album and I think we were pleased with it. There is a story out there that it influenced the Stone Roses. Don't know how true that is !!!!!!

Now you’ve reformed. What influenced you to get the band back together?

Bob Manton: Don't really know, Perhaps fate ?

Gary Sparks: Two thing really. We finally all get on together again and it is a 30 year (OMG) anniversary and I suppose the fact that people have been asking for this for a long time. That's three isn't it lol

Is this the original line up?

Bob Manton: Yes its the original line up.

Gary Sparks: Yes we wouldn't do it any other way. Simon and me play in a band called RT3 and people keep saying call you self the PH. But Its never been a option.

Have you played any gigs yet? How have they gone down?

Bob Manton: We haven't done any gigs yet.

Gary Sparks: No. The first gig is in two weeks time @ Stanford-Le- Hope. It was meant to be a low profile warm up gig but it sold out in no time.

Are you going to be touring?

Bob Manton: Not touring as such but hopefully a lot of gigs.

Gary Sparks: We are gonna take it as it comes but not a tour as such just 6 or 7 gigs. Depends what comes up really. We are definitely playing the 100 club on 21st June and Camber on 5th July.

If you had to pick one quintessential Purple Hearts tune, which would it be?

Bob Manton: `Frustration`

Gary Sparks: Has to be Millions but I do know that a lot of peoples fave is Beat That maybe cos of how their lives have turned out lol.

What do you think of the scene right now? Any bands that stand out?

Bob Manton: Depends what scene you mean. I only listen to old stuff mostly.

Gary Sparks: I think the scene is good. Its not like the heady days of 79 has carried on going. I try to get out and see band as often as I can. Some stand out bands are Pope, Bresslaws, The Upper Fifth, Connet.

Can we expect new material from the Purple Hearts?

Bob Manton: We have talked about new material but that's something that's got to go on the back burner for a while. We need to see how things go first.

Gary Sparks: Probably not but you never know. Both Simon and Bob are still writing but they probably wont surface as PH songs.

Many thanks to Karen Stephens for the pic of The Purple Hearts' gig at The Ship & Anchor (Essex) 29 March 2009

For more on The Purple Hearts check out here http://www.myspace.com/thepurpleheartsofficial

“Waging War On The Obvious” - Connett

2009-03-20T11:22:00.000-07:00

Imagine its 1966, or thereabouts. You’re standing in a dark club. The buzz is electric, wall to wall feather cuts and mohair, the very fabric of the auditorium exuding adrenalin. Then the band - distinguished purveyors of sartorial splendour to a man - take to the stage and blast into a Stooges style guitar refrain. The singer walks up to the microphone and delivers a unique, full on vocal.

Stick on “Waging War On The Obvious” and the effect is similar. Darron J Connett and co - Glen Fuller and Stu Farnham on guitars, Stave Hanshaw on bass and Danny Maidens on drums - have been kicking up a storm in the haunts of the more discerning night owls over recent years. So it is with some anticipation that this new mini-album reaches the stereo.

The record starts with a brief - very brief - melodic introduction. Then the opener “Son” - endorsed by the bard of Woking, a certain Mr Weller - blasts into the subconscious in a matter of seconds. Check the aforementioned hard-edged guitar and distinctive vocal. It works a treat. And its a combination that is repeated with definite effect on the second track, “Running Miles”, one of the band’s strongest tunes, espousing the classic sentiment of escape, which is destined to become an anthem. Connett at their hardest.

The mood gets a little lighter with the next tune. “Lou” moves into more jangly, Kinks style territory (the influence of Ray Davies is present throughout the album) with a hook that will dig deep into your soul. The lady in question has style, swagger, her own views and attitudes and “is laughing at the day“. “No one‘s gonna tell her that she can‘t rule the world“ in fact. Can’t argue with that.

Next up, “Perfect Melody” breezes along with a neatly acoustic feel that will be ideal for those long Summer afternoons - and can I detect echoes of Marriott/Lane circa 1968 in there? “Song For Swingers” carries forward the indie-pop vibe, telling a story of the possibilities from the perfect relationship and keeping moving forward. “Can’t You Hear Me” opens with a bass line that puts this listener in mind of Motown and continues with dramatic strings, guitar and an infectious feel. Another very strong tune. The album concludes with “Perfect Melody - Wisbush Green Reprise”. A continuation of the tune but as a good old knees up, complete with brass and a party feel.

They‘re calling this sound “Nu Skool Music Hall”. From where we‘re sitting, it takes a set of essential influences and - in true mod style - puts them together into something new and unique. The sentiments are classic modernist ones - escape from the norm, independence, confidence. ”Clean living under difficult circumstances” in fact. All with a certain feel that takes in the British invasion, the mood of 79 and, of course, Britpop.

Do we dig the new breed on Sohostrut? Of course we do. And these boys fit that description perfectly. Go out and buy this set of tunes. It might just be the record you’ve been waiting for.

Rob Massey

Check it out here:

http://www.myspace.com/darronjconnett

Young Guns

2009-03-05T13:18:00.000-08:00

Towards the end of last year, we featured the work of James Capper, a singer/songwriter from Derby who, along with drummer Alex Kelly, was kicking up a storm with his original and dynamic tunes about daily living.

The good news is that the pair have teamed up with bassist Aaron Leech. The three piece call themselves Young Guns and are setting off as they mean to go on - with the same sort of in your face approach and inventive lyrical content, that are destined to take the band forward.

Check them out here:
www.myspace.com/younggunsderby

And download their album for free at their website http://www.younggunsband.com/

Rather fine we’d say. But don’t take our word for it. Check them yourself - you’d be mad not to.

Rob Massey

Juke Box Vandals

2009-03-02T16:32:00.000-08:00

Sohostrut would like to wish our friends Juke Box Vandals all the best of luck supporting The Rifles on Tour ..Tony Clark

I Ain't Going to Nike Town..Son Of Dave

2009-03-02T16:20:00.000-08:00

What we have here a man on a mission armed with a Harmonica, and some feisty roots and cutting vocal work.By looking at Son of Dave you'd think retro harking back..blah blah, there's much more to this than that.

Indeed this is sung with passion, with feeling you can tell that somewhere this might be a massive hit,but for these shores I fear not.There is plenty of hand-claps, plenty of feel good vibe, it sort of rolls along in semi Rap style.."I ain't going to Nike Town, take me shake me, you wont make go " Is this a look at kids and current trends of Named Clothing, I really don't know, but I seem to get lost in that Harp mid way through..Tony Clark

London Conversations

2009-02-23T08:02:00.000-08:00

Saint Etienne

They work the most perfect pop tunes don't they ?, the Best Of had to pop up at some time, and here it is.The current trend towards Electo Pop, has been done quite perfectly by SE for the past 22 years.
Time served pop, with clever tactic's that create tunes full of charm and gone in a matter of Minutes , arn't all the best tunes the ones that stick after a fast ending, the ones you want to hear again ? If you listen carefully you'll hear where lots of bands got their influence from.

Highlights and there are many are , He's on the phone and Who do you think you are ? It's a slice of classic pop.Tony Clark

The Waistcoats - Nederbeat Action

2009-02-20T14:31:00.000-08:00

The Waistcoats - Nederbeat Action

The Waistcoast are one of the finest contemporary Nederbeat bands and with a wealth of recorded material, they are Stark Raving Mod! In celebration of that fact that I've discovered their MySpace page, here's a review of their superb LP on Larsen, Beat This. Check out The Waistcoats here

www.myspace.com/thewaistcoats

http://www.waistcoats.org/

Beat This 10” Vinyl LP - The Waistcoats (Larsen)

‘Beat This’ is awesome Nederbeat from the masters of 60s inspired sounds The Waistcoats. With some of the tunes dished up by Liam at Toe Rag, you know you’re gonna get some authentic wild sounds. ‘Beat This’ has an abundance of rocking mod guitar, Beatles-esque melodies and folky harmonies made with a real enthusiasm to create catchy tunes.

The 10" vinyl album kicks off with ‘It's Not True’ a full on mod power pop art nugget that steams along like a mad beast. As one would expect from The Waistcoats, the song is super tuneful and digs right into your ears. Like a The Who’s mid 60s freak out ‘It’s Not True’ is full of ace riffs, copulating chords and bleeding bass. ‘Theme From W.A.I.S.T.C.O.A.T’ is a sweet instrumental with mod organ and choppy guitars. It reminds me of The Small Faces instros, so you know that this groove is gonna get your feet moving and your hips swaying, this is mod. ‘Day After Day’ is a melancholy Nederbeat/Merseybeat tune like The Searchers whisked up with The Zombies. This is a fine pop gem full of melody. ‘Shape Of You’ features more fine organ grinding on this psyche pop tune. ‘Gonna Tell That Girl’ has the ghost of the early Beatles helping turn this tune into another sugar shaking gem. Ace candy stick vocals and candy floss harmonies construct another nugget. ‘Everything Falls Down’ is another Pop Art blast creating a wild rock’n’roll racket. This is a driving, plunging, rampant mad daddy of a tune. ‘Forever Mine’ is a cool slice melodic garage pop. Minor chords and a cool guitar solo collude to make great listening ‘Summer Breeze’ with its groovy organ and chomping guitars generates an upbeat romp. The sun is shining and smiles abound, this is a perfect cinematic instro for bright sunny days. Liam at Toe Rag helps get the vibes perfect, a cool mod instro. ‘It’s Too Late’ is a rampant R&B garage punker with chunky riffs and a raucous vocals ripping it up, rock’n’roll ladies and gents. ‘Voice In The Wind’ finishes off the album with psyche pop awash with harmonies and soft focus vocals. 'Beat This' a great album filled with many shades and textures. Check out The Waistcoats because they are great. Jonny Magus.

The Telephones

2009-02-05T10:36:00.001-08:00

They’re four mates from Derby, intent on creating brand new music that’s rooted in a quintessentially British tradition, though one that's tinged with elements of Haight-Ashbury. It’s a sound with a timeless quality. Innovative and contemporary, yet taking you right back to the golden age.

Meet The Telephones. A band with a definite psychedelic, folky feel. They have a look and strut that’s just right for the vibe that’s buzzing right now. And a sound that is acoustic and melodic in part, strong and hard in others.

The band is
Andy Richardson, Vocals, Acoustic guitar
JJ Marriott, Lead guitar, Harmonica, Slide, Backing vocals
Gaz Sitlinton, Bass
Glenn Price, Drums and Percussion

You can check them out on their My Space. www.myspace.com/thetelephonesuk. Or, if you go to one of their gigs, you could pick up their new album “The Bridge“.

There are some solid tunes on there. We’d pick out in particular the swamp feel of the opener “Flamer“, complete with harmonica, the West Coast touches of “Graceless Bird“ (can I hear The Byrds in there?) and the more melodic “Sabina”.

They’re playing in and around Derby and at various other Midland venues over the next few months. We’d say they’re well worth checking.

Rob Massey

The Heroes

2009-01-18T11:22:00.000-08:00

Think about where you’ve seen it before. The unquestioned confidence. The precocious stage presence. The swagger. The one that says - we’re the best thing that have ever walked onto a stage and you should consider yourself privileged to be watching us. Sound familiar? All the great bands have had it. And so do The Heroes.

The band consists of:
Alex Totman (Rhythm Guitar & Vocals)

Alex Van Roose "Rooster" (Lead Guitar & Vocals)

Alister Lee (Bass & Vocals)

Craig Blockley (Drums)

They’re four lads flying the flag for the ongoing Leicester scene. And doing it with style. If you like classic jangly tunes delivered with a certain in your face attitude, you‘ll like this lot. You can hear them on their myspace www.myspace.com/theheroesuk. There are two tunes on there. The stupendously catchy “Wake Up Radio” - complete with infectious guitar hook - and the harder edge of “Only Living For Tonight”.

You should be able to check them out at bars and clubs in Leicester and beyond. Their name is spreading and they’re playing further afield (I caught them in Nottingham at the end of 2008 and they have had a recent show at the Dublin Castle). Don’t be surprised to see a coach load of their fans. They take a significant travelling support to all their out of town shows. They’re that sort of band.

At Sohostrut we dig The Heroes. We think you will too.

Rob Massey

Sounds of 2009 - Free Peace

2009-01-15T15:43:00.001-08:00

Sounds of 2009 - Free Peace

Free Peace are a new heavy trio outta Liverpool bringing forth their righteous sounds to emancipate the people into earthly paradise. Free Peace is the new musical message from Edgar Jones, formerly of garage mavericks of The Stairs and his recent jazz, doo-wop, blues combo, Edgar Jones and the Joneses. He’s joined on his mission of heavy heaviness by super talented comrades Nick Miniski on drums and Stu Gimblett on guitar both former members of the excellent but vastly under-rated Liverpool guitar pop outfit The Pedantics. Brimming with an arsenal of Led Zep riffs, Howling Wolf blues, the Burning Desire of MC5, and a deep soul funky grove, these heavy lads are gonna blow you smooth with their clarion call ‘may you live in interestin' times’.

Trying to motive the ‘dischordant nation’ into a groove is the path of Free Peace, so go on boys and girls give Free Peace a chance, they’ll blow you minds and rock your socks off. Their debut self–released EP is available from their website on MySpace and the three tunes are all monsters of groove and heavy blues, from the Le d Zeppelin, Cream, Hendrix deep heaviness of ‘She Stole My Fire’, to the sludgy weighty howling blues of ‘Dem Bones’, to the master stroke of deep soul rock of the superbly titled ‘May You Live In Interestin’ Times’.

Massive bass and guitars riffs, crazed drumming and Edgar’s wild vocals that stretch from a deep growl to a whooping howl, a combusting concoction of oozing tunes, raw soul. You gotta check these boys out. They’ve been given the big thumbs up by the Gallagher brothers and they will embark on a European tour with Oasis through February. Free Peace are gonna be one of the bands of 2009, it is time to get ready to be heavy.

www.myspace.com/freepeaceuk

(Photos taken from Leeds gig at Hi-Fi Club in Leeds 26th November)

Jonny Magus

The Rifles..Great Escape.. 5 Stars *****

2009-01-10T15:39:00.000-08:00

It's taken it's time almost 2 years of waiting for the second Rifles CD !A busy band indeed though, its not like they took Two years off to tan themselves is it? these boys have been busy gigging and building a mega rep up.So does it match up to the first Long Player..It does it is full of tunes that better that by miles,and that is no mean feat.There are some jagged Guitars on this offering and some fine sing a long tunes.

Its moved up many gears in the way of production, but it still holds faith with being a real band with something to say, raw and talented.So will this propel the band to the heights they now should be at, well put it this way, after a handful of the best Pop tunes for some years, it was still very much a slog for them, so who can say,me I guess that this will be very much like The Jams All Mod Cons, it will surprise many.Tony Clark

From The Sohostrut Archive - The Carnabys (2007)

2008-12-23T10:38:00.000-08:00

The Carnabys had for some time impressed us at Sohostrut Towers as purveyors of classic guitar pop, with a very English sensibility circa 1966. So, back in 2007, Rob Massey asked them a few questions.

How long have you been playing together?

LukeW: As a full band, The Carnabys started in March 2007. So it’s not even been a full year at the minute. Andy was the last addition to the band when he replaced a departing guitarist in March and Simon had been in the band just two month prior to that. Before that, me, Paul and Luke Headland were knocking about in a big shed at the bottom of my garden writing awesome tunes. At the time we suggested Paul change his name to Luke.

Paul: I didn’t!!! But we used to spend hours upon hours in that shed, with small 4-track, acoustic and note books full of lyrics…and a fridge of beer.

How did the band form? Were you mates before?

LukeW: It started as a pipe dream for me really and one by one, we got it together. I knew Paul from way back watching football down the pub and boozing at weekends. I knew Luke from Nottingham through a mutual love of the sixties and that.
Paul: Yeah, Luke (Williamson) was a bit of a face around town. A gobby lad that always popped up at 60’s nights and England games. It just went on from there.

Which bands/artists would you say have been a particular influence on you?

LukeW: Probably the easiest question you can ask. The Beatles, Oasis, The La’s and Dylan.

Paul: Same for me. But put The Stones and Small Faces down.

Luke H: Could probably narrow it down to: The Beatles, early Who, Kinks, Small Faces, Rolling Stones, Slade, La’s, Cast, Oasis

LukeW: Yeah, they’re all awesome too. Gotta love Slade.

Andy: Definitley The Who. But also Oasis, The Beatles, all sorts really.

Simon: Oasis mainly for me. And Weller.

Is there a particular phrase you would use to describe your sound?

Paul: We used to say we were rootsy. I think now we’re confrontational in our lyrics. Sort of makes me wanna drive 100mph straight onto the stage of a Bloc Party gig.

Andy: I’d call it fucking loud.

Luke W: Yeah before we turned everything up it was rootsy, that was it. But now we make a noise and it’s where the rattle in the EP name “Rattle n’ Soul” comes from. I think the soul side of us is self explanatory.

Simon: We’re like your best mate you’ve not seen for ages.

Luke H: Yeah. Crashing, big beat drums, broken Laneys, driven Orange is the Rattle and Williamson’s vocals is the soul.

I love “Wake Up To The Revolution” There must be a story behind it!

Paul: It was a two fingered salute to all non-believers. A bit of a rant. It took 5 minutes to write and half the time to perfect as a band. It’s a drunken anthem.

LukeW: I remember first time Paul brought me that song. It was obvious it’d be big. I think it sums up our ambition. The line “it doesn’t matter what they say” for me, is us sticking a finger up at those who like to have a dig.

Any other tunes you would mention in particular?

LukeW: The other side of us to ‘Wake Up’ is ‘We’ve Gotta Get Away’. It’s all about wanting to better myself and get something more from life. Not just plod along. Someone said that those two songs showed a Lennon/McCartney relationship with my deep song writing and Paul’s poppy side. I think Paul was a bit narked at being the McCartney comparison though.

Do you have a main songwriter, or are the tunes all band compositions?

LukeW: We have our own formidable song writing duo of me and Paul. We’ve wrote every number together except for Headland’s monumental tune ‘Rain (Oh Lord)’ and a new one called ‘The Enlightening’ that I did with other Luke as a set opener. Me and Paul share all the credits 50-50 because it’s always one of us with the initial idea but we develop them through each other. But Luke (Headland) is like the Harrison of the band. Not as prolific but writes top tunes.

Paul: Yeah, we can write alone or together but we influence each other.

LukeW: I am not gonna hold back with the Lennon/McCartney reference purely because I believe we are great. We are prolific song writers and we don’t write rubbish. Most bands have the odd catchy song and loads of set fillers. You don’t get that with us.

LukeH: We’ve got some top tunes. Williamson and Illife seem to churn em out quicker that we can play em.

The videos on your My Space profile are pretty good. Tell me about making them.

LukeW: We wanted them to look 60’s and simple. No frills if you like. It reminds me of some of them early Who videos but on a budget. There is no jumping around or gimmicks like all the young bands nowadays. Not a tacky glow stick in sight! Just a room, 5 guys and some top fucking tunes.

LukeH: Yeah but all videos nowadays are crap.

And now the dreaded Desert Island question. Which album would you take with you?

LukeW: Revolver every day of the week. There isn’t a day that goes by that I don’t listen to The Beatles, but this album tops em’.

LukeH: Revolver. If you took Yellow Submarine and Eleanor Rigby off and replaced them with the Paperback Writer single and it’s B-Side Rain, you’d have perfection.

Paul: If they’ve got Revolver, I’ll take Definitely Maybe. It’s the album that made me pick up a guitar.

LukeW: And me some sunglasses.

Simon: I’d take Oasis – Stop The Clocks. It’d have a bit of everything in it.
Andy: For me it’d have to be The Who Live at Leeds. The Deluxe edition though, because its got 2 discs and so it’d take longer to get boring.

LukeW: If we all got stuck on the same Island I reckon we should swap one of our copies of Revolver for ‘The La’s’ or ‘Pepper’. Then we’d have a right good set.

And finally - what are your plans for the future?

LukeW: World domination, adulation from millions. I wanna be a band that makes people pick up a guitar. And I wanna be able to buy endless amounts of jackets and sunglasses.

Andy: I wanna get signed and then I’ll be dead by the age of 40.

Simon: Wanna get signed so I don’t have to listen to the same shit every day at work.

Paul: I aspire to run over Bloc Party driving at 100mph

LukeH: Maybe pop down the local for a few pints and pickup a curry on the way home.

LukeW: Ultimately, we won’t be happy till we know we’re the most important band of our generation.

Adrian Holder - the 2008 interview

2008-12-21T06:36:00.000-08:00

We last spoke to Adrian Holder in 2006. But time moves on so we decided to speak to the former Moment frontman again. Tony met up with him and asked him about his new album.

Well what seemed an eternity; we finally got the release of 'The Whistle Blower' why did it take you so long?

Whistleblower has been a long time coming, that’s true. There are many reasons why but the truth is less interesting than a lie so, the tapes were stolen by Elvis. And so, I have experienced first-hand a side of the music business I thought, and wished, I had said goodbye to forever. Where’s the manager when you need him?
The album has almost died a number of times since its conception. Bad luck, bad planning and a lack of cash have been the main Spaniards in the works. The second album will go a little smoother… I hope.

All Of the tunes on there seem to be filled with a passion, do you have any faves, and what are the tunes about?

I love them all as if they were my children. The songs are a little bit like my children, they start off fine and then take on minds of their own and run off in all directions.

Having not played the songs live, yet. It’s hard to say which I get the biggest buzz out of. If I am pushed I would I would push back ;-) I can’t really say, I tend to feed off what other people say about the music. I’ll like the songs that prove to be the most popular. That’s the problem with me, easily led. I am probably the worst person to ask. I have already spent so much time with the album I can no longer be objective. I just hope people find something on Whistleblower that connects with them and their lives in a positive way.

We believe that you played everything on the album, inc producing was that fun ?

Fun, you could call it that. I would have rather had a load of guys come in and play the stuff I have had to struggle with over the making of Whistleblower. Then again, it has been really interesting having the final say on all aspects of the album from start to finish. I have also had to come up with all the ideas which can be challenging at times particularly when there’s a ‘shoulder monkey’ to deal with.

You know , with Secret Affair doing the rounds, Pope and poss the Purple Hearts , is it not time for you to showcase the Album Live, either with a band or Solo ?

I would love to play the album live. I have tried to keep the production as simple as possible with one eye on taking the show on the road. That said, where would I find musicians willing to put up with my unreasonable behavior long enough to put a set together? Now you’ve given me an idea… whatch this space.

How many Albums are there, how are they selling?

There are enough albums for everybody that wants one. It’s been a slow process so far mainly due to the restrictive nature of my distribution arrangements. I am looking into improving both areas over the coming months. If readers are interested in having a listen to Whistleblower, they could start by visiting my myspace and taking things from there.

Are you happy with the overall finished product? Is it your best writing and work to date?

The finished product has been a compromise in many areas. Things haven’t always gone to plan but I am happy to have got this far with it. It’s true, I haven’t had large sums of cash to spend in the studio or on top session players but the songs are there for all to hear. In some ways I am glad I didn’t over do the production, it makes the album seem a little more honest perhaps. It’s almost what you might hear if you walked in on me having a strum. Is it my best writing and work to date, maybe?

Happy with the feedback and reviews you’re getting?

The reviews have all been wonderful. Being reviewed has been a real lift after being alone with the album for so long. That fact that people have been so positive has been a bonus. But don’t believe everything you read, have a listen for yourself before you make your mind up.

The album needs to be heard, that’s what music is for.

Plans?

I have been working on the second solo album. I am toying with the idea of getting a few ‘old’ friends together to play a live date or two. Then, I am going to buy everyone I know an ice-cream.

Five Thirty Rare Footage From Youtube

2008-11-21T16:50:00.000-08:00

Footage found by moejorris for youtube, check out Five Thirty in their full on rocknroll glory.
Cheers
JonnyMagus

The Mondays

2008-11-16T04:08:00.000-08:00

Who are they?
Five lads from south east London who know how to skank it up and blast it out in equal measure. Four of them are old school friends - the Snelgrove brothers and Callum Lukey were founder members and Tony Guest joined shortly afterwards. Jordan Weller completed the line up after practising at a local hall with them.

What do they sound like?
The Mondays deliver an intoxicating mix of ska infused indie, with more than a smattering of punky attitude and demeanour. They tell tales of suburban days and nights, offering a taste of realism in their musical cocktail. Can I hear a little bit of The Members, with maybe a touch of Squeeze in there? Pretty sound in other words.

Who’s in the band?
Vocals: Tom Snelgrove
Guitar: Callum Lukey
Bass: Tony Guest
Keyboard: Rob Snelgrove
Drums: Jordan Weller

Where can you hear them?
On their website
themondays.co.uk

And their My Space
http://www.myspace.com/themondays07

Which songs should you check out?
We love the lyrical observations and full on delivery of tunes such as “Small Town Kings“, “Boys Outside The Shop” and “Legendary Nights Out”.

Where can you see them?
They have gigs in the south east over coming months - and we‘d suggest that you get your skanking shoes down there to check them out.

Rob Massey

The Prisoners – A Potted History

2008-11-14T06:37:00.000-08:00

The Prisoners – A Potted History

Coming out of the Medway delta, The Prisoners were/are a maelstrom of raw garage modness, with rough and ready guitars, soaring Hammond, punchy bass and rabid drums, a perfect concoction of rock’n’roll.

In the early 80s, Graham Day (guitar), Johnny Symons (drums), Allan Crockford (bass) and James Taylor (organ) burst out of school playing blistering rock’n’roll like their life depended on it. Their early gigs with the Milkshakes taught them the libertarian ‘no messing around, get up and go’ attitude and with this individualist ethos in place, they were ready to rock.

Unlikely as it seems, The Prisoners almost were finished before they even started, with the likely move of organ grinder Jamie Taylor going off to Uni. Instead of sulking, the band got off their arses and recorded ‘A Taste of Pink’ as a swansong to a very short local band career. Fortunately for us, ‘A Taste of Pink’ was a master class of young men creating havoc on vinyl. They set up their own label ‘Own Up Records’ and managed to get it in the Rough trade shop in London. The raw garage sound was an instant hit and interested music lovers snapped up preliminary copies of the album. The main problem with this belated success, and the possibilities of gigs in London, was that there was no band. It seemed like ‘A Taste Of Pink’ was going to be an epitaph for what might have been, but luckily enough Mr Taylor decided academia was not him and was back 3 days later, ready to roll, thus The Prisoners were now ready to be unleashed.

‘A Taste Of Pink’ is no messing around, adrenaline soaked, gusty, gritty, dynamic, rock’n’roll with the classic template of guitar, drums, bass, organ and vicious vocals. ‘Better in Black’ and ‘Coming Home’ showcase The Prisoners youthful nervy razor tunes.

With Taylor back in the outfit, it was time to hit the Smoke. With the aid of the Barracudas, they got their first London date at The Moonlight club in Hampstead. This was the first of many gigs beyond the Medway, including a residency at the Hope and Anchor that would help their live growing reputation.

The Prisoners made a mix of 60s garage rock, The Small faces, Hammond freak out and Hendrix, and they took their sound wherever anybody wanted it. Through bloody-minded perseverance, the band started to get rave reviews and the punters were desperate to get a hold of ‘A Taste of Pink’.

This gaining underground popularity started to intrigue those who work within the murky confines of the music business. Sky Dog a small French label released a 7” ‘There’s A Time’/’Revenge Of The Cybermen’ which led to a few dates across the channel in late 1983. This was all well and good, but The Prisoners were still without any serious backing, until Roger Armstrong decided it was time to offer them a short-term deal for Big Beat. In late 83, they recorded the album ‘TheWiserMiserDemelza’ and were allowed to run riot upon the world with the single ‘Hurricane’/’Tomorrow She Said’.

Surprisingly, the band were unhappy with the results of ‘TheWiserMiserDemelza’, as they didn’t think it raw enough and didn’t reflect their live sound. This was a frustration that was to crop up frequently during their career. When listening to album it is quite obvious that the recording is very raw and edgy with mad tunes like ‘Hurricane’, ‘Here Come The Misunderstood’ ‘Go Go’ blowing through your speakers. There is perhaps one nod to a more streamlined sound with a horn section added to one song, but Graham Day has recently admitted that he wasn’t too keen on his vocals on the album; mainly due to excessive amount of alcohol his was supping though the recording sessions. Though perhaps 1983 didn’t end the way the band would like, it paved the way for a more fortuitous 1984.

To get their distinct live sound down on vinyl, they employed the guile of fellow garage rocker Russ Wilkins, bass player with the Milkshakes. Early in 84,they came up with The Electric Fit EP, which includes the scorcher ‘Melanie’, bright blast of righteous raw pop. Again the band were dissatisfied by the actual recording, but the tunes became fan favourites.

The release of the new EP coincided with their now legendary TV debut on The Tube hosted by Paula Yates and Jools Holland. It was a special live event featuring four of the UKs best mid 80s garage bands. The Prisoners pumped out their sound through the TV with Thee Milkshakes, The Tall Boys and The Stingrays

All dressed up in Star Trek suits, this live appearance has become legendary amongst British garage rock fans, as many of the great underground rock’n’roll acts of the time hit mainstream TV on one show. The Prisoners pummelled through ‘Reaching My Head’ and all looked rosy for the future. A year of hard gigging and early forays into the US market with some releases Stateside, made 1984 a solid optimistic year for The Prisoners. The only cloud was the decision not to renew the deal with Big Beat by mutual consent.

With the beginning of 1985 The Prisoners were free agents again and it looked like it might be a struggle, but 1985 turned out to be their watershed year.

Their ferocious independent spirit made them wary of marketing men and lush production. If labels want a raw and gutsy band with great tunes, join the party, but most labels like to interfere, so the band decided just got on with it on their own. With the help of Russ Wilkins, the band regrouped and recorded their finest album, ‘Revenge of the Fourfathers’. Released in June on their own label ‘Own Up Records’ it was received with accolades and applause from critics, fans and the band alike. The Prisoners had managed to get something down that they liked.

‘The Last Fourfathers’ is a mature album with skilful song craft. It is also the first time that Jamie Taylor used a real Hammond organ, making the whole album swoop with soul. Graham Days lyrics are more exploratory, but also the instrumental grooves The Prisoners became specialists in (‘Explosion on Uranus’), really shine through on this album. The authentic instruments and Leslie speakers really widened the sound of the band, mixing rock with hard-edged soul and R&B. Killer tunes like ‘Whenever I’m Gone’ ‘I’m the Fisherman’ ‘Nobody Wants Your Love’ encapsulates the fully developed sound of The Prisoners.

You’d imagine The Prisoners would have been ecstatic, but releasing an album without much backing and the endless gigging was starting to take its toll on the band. Even with all the kind words, the hard grind of the business was getting to the boys and arguments were brewing over image, direction and the distinct lack of cash.

1986 should have been the shift in the bands fortune, when Eddie Pillar of Countdown Records offered them a decent deal with a big advance to get them started on some new stuff. Countdown was a subsid of the famous Stiff Records, so all was looking on the up. The band had some cash, unlimited recording time and an alleged supportive label.

Sadly, right from the start, this deal would turn into disaster. The choice of Troy Tate as producer was one of many moans the band had, as he was perfectionist of slick pop sounds and polished production. To add to this, Mr Tate had not actually seen the band live, so he went to work with his own method on the tunes. The band became increasingly horrified at the result of their recordings, as they seemed refined and soft compared to their masculine live sound. In hindsight ‘In From The Cold’ is a fine guitar pop record with finely crafted gems that would have sat well along side many of the finely polished albums during the Britpop era. That’s fine for the success obsessed bands of the mid 90s, but not the independent no surrender bands of the mid 80s. The great pop tune ‘Wish The Rain’ and Day’s melancholy masterpiece ‘Mourn My Health’ are some of the strongest Prisoner tunes. The moody ‘Deceiving Eye’ demonstrates that Tate did have some understanding of the band, as The Prisoners are in rampant form on this tune. Though ‘In From The Cold’ is thee great disputed album, is a still a fine romp and well worth a listen.

Though arguments over ‘In From The Cold’s limp sound, and fresh arguments with the label over publishing, had started to get bitter, the band were at their peak when it came to the live experience. A tour with the Ramones meant The Prisoners hit the big venues taking their Hammond rock’n’roll to the masses.

As with all good things, the arguments and the general lack of commercial success with the label had now taken its toll to the point that the band were incessantly arguing amongst themselves, so on the 16th September 1986 the band officially split up, with four great albums to their name.

Though The Prisoners didn’t have the best of luck, their independent outlook kept them true to what they believed was right, never compromising, keeping to that distinctive raucously soulful sound, true mavericks. Over the years The Prisoners have reformed to play the odd gig and they released an incredible single on Deceptive records called ‘Shine On Me’ in 1997, which put their imitators like The Charlatans, The Inspiral Carpets and Kula Shaker, firmly in their place.

The distinct sound of swelling Hammond, gritty guitar and Graham Day’s raw, but soulful vocals, could only mean The Prisoners, rock’n’roll baby. Jonny Magus.

The Len Price 3 – Chinese Burn (From The Sohostrut Archive)

2008-11-13T11:54:00.000-08:00

The Len Price 3 – Chinese Burn (Laughing Outlaw)

Pop Art Returns in Biff Bang Pow style as Medway Delta outfit ‘The Len Price 3’ pummel their way through 15 tunes, in just over half an hour. ‘The Len Price 3’ are a beautiful monstrosity that belt out 2 minute symphonies, keeping the kids alright. They take ‘The Who’ and ‘The Creation’ mix it with the suss of the ‘Ramones’ and blend the garage/mod stomping-ness of ‘The Woggles’ and ‘The Solarflares’; you’re gonna get a wildly joyous sound. High energy, catchy with crunching guitars, blasting bass and huge drums make for a rabid, wild and exciting sound, The Len Park 3 are ace. Massive chords are plunged, mean R’n’B vocals are mixed with sugar shaking melodies. The consummate harmonies are outstanding. There are so many great moments on this album, but I’ll limit my enthusiasm to a few.

‘Chinese Burn’ gets that mean and sleazy garage vibe roasting with big chords and wild vocals. ‘The Last Hotel’ is jangly pop with wondrous harmonies and a melody to kill for, top banana. ‘Amsterdam’ is Pop Pop Pop as the boys delve into to the brothels, ‘I’ll gonna soil my feet, on the filthy streets’, a great tune. ‘Hard Times Forever’ is a nice slice of Beatles style psyche pop, with a great chopping beat and fine vocals. ‘Shirley Crabtree’ a short burst of barmy pop about that maverick 70s wrestler, Big Daddy. ‘She’s Lost Control’ is more amazing Pop Art melodies, catchy as hell. ‘Fire in the Heart’ finishes off the album with a ‘Kinks’ style shindig combining more mega melodies with huge harmonies, a great song to finish off this awesome album.

‘The Len Price 3’ with ‘Chinese Burn’ have cooked up a magnificent album full great tunes, great guitars and great vocals, grrrrreeaaat. Jonny Magus

Five - Thirty Bed (From The Sohostrut Archive)

2008-11-13T11:42:00.001-08:00

Five Thirty Bed

Early 90s hopefuls Five Thirty were one of the most exciting bands to come out of the musical landscape of the pre-Britpop era. Five Thirty featured Paul Bassett on guitar and vocals, Tara Milton on bass and vocals and Phil Hopper on drums. With the Madchester sound king, all the indie bands went baggy with some vague dance beat in tow; though Five Thirty came onto the scene and ripped it up blasting out a bunch of no frills punked up mod pop tunes with a funky Hendrix edge. East West signed them hoping that the bands ability at writing great tunes, and their incendiary live act, would carry them through. Five Thirty were a kick arse rock’n’roll band with a horde of ace tunes. I’m as guilty as the next pop picker at loving the baggy boom, but I remember at the time, Five Thirty were very different to most of the other bands around in that period. Regardless of the minutiae of the music scene in 91, East West signed up Five Thirty and they recorded a series of great singles and the album Bed Unfortunately Five Thirty never quite made it into the mainstream and it was all over for the band by 1992. A great shame as Five Thirty had a real ability to craft exciting energetic tunes that stand steadfast in ones memory. Even though their career was short lived, it is a real pleasure to listen through Bed once again, and Five Thirty can be proud to have left such a superb album to posterity.

The album opens up with the upbeat ‘Supernova’ a prime slice of psyched up power pop, with a load attitude and a big melody. The shimmering guitars and sweet harmonies make this a blessed out pop tune. ‘I’ve seen your ego masturbating’ is an example of some of their wild lyrics and adds to the quirky nature of the song. ‘Psycho Cupid’ is slide guitar driven super-pop on this Small Faces style romp, with an impressive melody, great harmonies and a great soulful vocal with a melancholic undertone. ‘Junk Male’ is a blues driven RnB rampage with funky rhythms and anti-religious anti-authoritarian lyrics, ‘If God were to ever come my way, I’d spit into his face, then calmly walk away, contemplating Judgement Day’. ‘Junk Male’ is an anarchic song with defiant lyrics, grrrreeat. The funky-tastic ‘13th Disciple’, with its chunky rhythms, wokachikas and soulful vocals, is a tune to get your hips shaking. ‘13th Disciple’ is a great mover and shaker and the mega chorus blazes into your brain, a sweet occult transformation that takes off the top of your head. ‘Strange Kind Of Urgency’ is a Kinks/Jam style whimsical pop tune with a yearning melody and sugar swirling guitar licks that opens up into a powered up chorus full of energy and passion ‘I want tomorrow today’.

‘You’ is perhaps one of the most energetic love songs ever, with the distorted arpeggio introducing the song that blasts into full on desperation, as the lover tries to woo his muse, ‘All I want is you’. The object of his affection infects the lover’s everyday thoughts and the crazed wah wah adds to the demented feel. The outro of ‘You’ goes into a full on freak out, as the singer pleads ‘How Long’. ‘Songs and Painting’ is an eccentric tune with jerky rhythms, clattering guitars and a funky bass. The Who style harmonies, wonky guitar riffing and crazed sound effects enhance to this oddball tune, the glory of insincerity. ‘Womb With A View’ is an upbeat mod pop tune with melodic riffs from the lead guitar and a catchy surreal chorus about a womb with a view. The outro is a master stroke as a brass band plays a melodic but very melancholic end to the song.

‘Automatons’ is a noisy raucous funky annihilation, with wheezing guitars, distorted vocals and furious energy. The unexpected Kinks style melodic chorus add to the mayhem; a wild tune with crazy lyrics. ‘Wrapped In Blue’ is a total contrast to ‘Automatons’, as this gentle acoustic ballad takes off into the stars with a melody to kill for. Powered up mod pop ‘Abstain’ charges with a mansion load of energy and massive chords, fucking rock’n’roll, ‘I left my heart on the pavement for pedestrians like you’. The album closes with ‘Catcher In The Rye’ another monster tune filled with energetic devastation and more loony wah wah as the aggressive bass and slashed out sleazy vocals end to this awesome album.

The sheer breadth of style that is featured throughout ‘Bed’ showcased Five Thirty’s song writing talent, consummate musicianship and skilful song craft, all played with an eccentric edge and a massive amount of energy. ‘Bed’ is a passionate album that the mainstream somehow missed out on, but listening to the album again reassures me that ‘Bed’ is one of the greatest albums to come of the UK in the 90s. With wild wahs wahs and surreal anti-authoritarian lyrics aplenty, ‘Bed’ is an immense rebellious album. You must check out ‘Bed’ by Five Thirty, it is that good. Jonny Magus

From The Sohostrut Archive - Adrian Holder - the interview (2006)

2008-11-08T11:47:00.000-08:00

Now the man is back. We gave his new material a definite thumbs up with the top drawer “Goodbye Tuesday” on the Biff Bang Pow compilation “Shimmy”. When this piece was originally posted in 2006, there were the three tunes on his My Space site - “Ordinary Lover”, “Like A River” and “Letting Go” are equally dynamic. Power pop tunes that stay with you, trademark quality guitar, and thought provoking lyrics.

Now he has a new album out - “The Whistleblower”. All sounding spot on from where we’re sitting.

So our advice is to head off over to http://www.myspace.com/adrianholder and give those new tunes a listen. Then read Rob Massey’s interview with him from 2006 below.

But, before you do, check out the legacy of The Moment at http://www.myspace.com/themomentuk.

Where do you hail from?

Adrian Holder: “I was born and lived in Haverhill, Suffolk until my early twenties when I moved to London. I lived there in various locations until the year 2000, when I crossed the water to mainland Europe to live in Düsseldorf, a city I had played in so many times in the past.”

What inspired you to start playing in bands?

Adrian Holder: “When I was a kid, musicians were the new rock stars! All my heroes were in bands. My hometown was small and the only way up was to get out. Music was a vehicle for me to ride. I wanted to live life as if I was in a cool Sixties movie so London was calling me from a very early age. Punk exploded in my early teens… For me, the message was clear; ‘if they can do this, so can I’. I liked the fact you didn’t have to be beautiful, clever or well connected to give it a go. We were just kids doing what we wanted to do. We honestly believed we could make it happen.”

Tell me a bit about The Moment, who played a crucial part of the mod scene in the 1980s.

Adrian Holder: “The Moment was more to me than just a band. It represented youthful dreams, a mod way of life. We started out playing a gig at our local workingman’s club and a few weeks later we were playing at the 100 Club on Oxford Street and being offered a recording deal. We travelled all over the UK and mainland Europe with the band, we met and made friends with so many special people and had the time of our lives.

“At one point we realised the band had grown bigger than the sum of its parts and we really had achieved something. We jokingly used to say we were the biggest mod band in the world and – as so many other bands had called it a day, we probably were for a short while. The problem was the scene was a closed shop back then. Being a mod band had its benefits but it also turned non-mods against you. We came close to landing bigger record deals and mainstream interest but didn’t quite pull it off. That doesn’t take anything away from what we did achieve.

“Mods all over the world came to see us play and we toured in Germany, Holland, Italy, Austria and Switzerland many times. We had a small army of dedicated and loyal fans who we respected then and still do today. You can catch a small helping of what The Moment were about by heading to www.MySpace.com/TheMomentUK and checking out a few of the old tunes.”

Which artists would you say have influenced your musical direction?

Adrian Holder: “There really are too many to mention. If I were pushed to pick a short list it would read something like…The Beatles – John Lennon is God. I wanted to be a Beatle from the first moment I saw and heard them as a very small child.The Jam – I would put Paul Weller on the same street as John. I can’t really explain it but the man is just cool.Black soul/dance music from the Sixties and early Seventies – you can’t touch it, you can’t reproduce it, you can only dream about it… it is magic and never fails to take me to another place and time.The Who – how R&B should be played, very English.The Small Faces – the band I would have most liked to have been in!The Byrds – I always come back to them. No matter who has caught my ear I always return the masters of Folk-Pop. Put any Byrds album on and take the trip…The Moment – I have been very, very lucky to have known and grown-up with the likes of Robert Moore, Steve Rinaldi, Chris Hunt et al. They have influenced my writing since the beginning and continue to do so.“I have always been inspired by the music, the people, the clothes and way of life of the mods since the late Seventies to the present day. As Eddie Piller noted about me so many years ago, I am a mod for life. It has been the single most consistent influence in my life over the years.”You were featured on the compilation ‘Shimmy’ with ‘Goodbye Tuesday’.

Tell me a bit about that tune?

Adrian Holder: “It really was one of those songs that came very quickly as I was writing it. As a young man I had imagined one day I would have a beautiful daughter who I would call Tuesday because, as Chairman Of The Board would say, everything is Tuesday. But life didn’t go exactly as I had planned and my beautiful daughter turned out to be called Georgie. Therefore, ‘Goodbye Tuesday’.

”It has been a great experience having a song on the album. The feedback and reviews have been fantastic. I consider my self very lucky to have been given the chance to show my work again and thanks goes out to Paul and everyone at Biff Bang Pow Records, for making it happen. There’s some great music on the album, check it out.”

Have you other new tunes? Which ones should we especially be listening for?

Adrian Holder: “I have been working on material for an album. I hope people will get the opportunity to hear them sooner rather than later. There are a few demos to try at www.myspace.com/adrianholder , so have a listen and drop me a line. I hope you like them.”

Where have you played live recently? Any gigs that stand out?“

The last time I was on a stage was with The Moment at a one-off reunion gig in 2000 - it was planned as a follow-up gig to the Mods Mayday event at The Forum the previous year. Things didn’t quite go as planned and instead of being at The Forum the gig was moved to Clacton and only The Moment and Ian Page kept to their original commitment and played. The gig was great if a little smaller than we had hoped – who knows if we’ll ever have that chance again. There was serious talk of us reforming to support The Vapors at their reunion gig at the Astoria, but The Vapors seemed to have even more problems getting together that we do and the plugged was pulled on the idea!

”Of late, I have been concentrating on the writing process. Studio work can be very demanding and there are only 24 hours in each day! Perhaps, if there is a demand, there’ll be some live shows following the release of the album. I would love to play live, let’s wait and see.”

Are there any books or films that you would mention as influencing you?

Adrian Holder: “Keep the Aspidistra Flying by George Orwell influenced me enough to write a song about it. You can find it on the ‘Mod Gods’ CD out on Tangerine Records. The story is basically about our struggle with the ‘Money God’. Why does he always have to win?”

If you had to choose any life changing record by another artist, what would it be?

Adrian Holder: “Easy. Time For Action by Secret Affair, Maybe Tomorrow by The Chords and Going Underground by The Jam.”

What are your plans for the future?

Adrian Holder: “I would very much like to work with other musicians both on their projects and on my own. I would like to join in a little more than I have done since the days of The Moment. In addition to my solo work, I have been working with a few ‘old friends’ on another project which could surface during 2007.”

Alan Fletcher

2008-10-04T12:03:00.000-07:00

Alan Fletcher was an original mod in the sixties in Nottingham. A decade later, he worked as story consultant on Quadrophenia. And then, in the nineties, he published three novels - “Brummell’s Last Riff”, “The Learning Curve” and “The Blue Millionaire” - collectively known as "The Mod Crop", with the central theme of the sixties mod scene. In 2009, “Brummell’s Last Riff” will become a stage production at Nottingham’s Theatre Royal.

Rob Massey put some questions to Alan - all about Nottingham in the sixties, his novels and the forthcoming stage show. Along with his views on punk, the Mod Revival and Britpop.

1. Many of us are fascinated by the sixties and in particular the Mod scene back then. The bulk of commentary has concentrated on London. Were there a significant number of Mods around in Nottingham like, say, in London. Or did you feel you were a small pocket of like minded individuals?

There was a thriving Mod scene in Nottingham and all over the county. I remember one Sunday night in the summer of 1965 when there were more than a hundred scooters parked on Stanford Street outside the Dungeon Club.

In my early days of mod …in ’64 in Newark, there were only a handful of us and it was like being in some kind of exclusive club…pretty soon though a lot of the town’s youth got the message and the numbers began to swell.

2. What were the big venues in Nottingham in terms of bars and clubs?

There were no Bars as such…the culture and the social landscape of Nottingham (like every city or town then) was radically different in the 60s to what it is now …we used to frequent the pubs and some of the coffee bars and cafes.

“The Royal Children” and “The Salutation” were popular in Nottingham…because they were close to “The Dungeon Club” as was “The Sawyers Arms” (where HMV stands now at the entrance to The Broadmarsh Centre)

The “Kardomah” coffee shop on King Street was a good place to hang out… along with The “L” Shaped Room on Goldsmith Street (now part of the Nottingham Trent University campus) and “The Belvedere Club” off Fletcher Gate in The Lace market.

3. Which bands did you particularly like?

I got into most of the groups who were in the vanguard of the British Beat and Rhythm and Blues scene in the early to mid 60s…..as there was a healthy touring circuit you could see most of them live for five shillings or seven and sixpence…that’s around 25p to 35p in new money !

I used to like Georgie Fame, Chris Farlowe and The Thunderbirds…Them (with Van Morrison), Who, Small Faces, Rod Stewart in his many manifestations, Long John Baldry and The Hoochie Coochie Men….slightly more obscure were outfits like The Roulettes, who were Adam Faith’s backing group, later to form the nucleus of Argent and I saw a band at The Sherwood Rooms once called The Tea Time Four. …they were a really tight band from London I think…I only ever saw and heard of them the once…now that would be a good research project on Google…..

Most of the stuff we we were listening to on records down the clubs ( early Tamla and Stax imports) was really good music to dance to …and that was the criteria really …you liked it if you could dance to it.

4. Over recent years, various outlets have emerged in the city selling classic Mod attire. How easy was it to obtain the Mod clothes in Nottingham in the 60’s?

There were no shops you could say were dedicated “Mod “ shops, that is where you could go into a shop and come out with a complete set of Mod clothes. The scene in the 60s was one where you had to be creative and inventive…you got your stuff from anywhere you could ….and you protected your sources ! It didn’t matter who or what the shop was; as long as it had what you wanted that was fine…you might go to D and P School outfitters, Army and Navy Shops, Sports shops …even Woolworths !!

There were a couple of good shops in Nottingham, which had set themselves out to be “modern” and where you could buy good clothes…Jeffs Menswear on Alfreton Road at Canning Circus and The Birdcage” boutique on Bridlesmith Gate were patronised by the Mods..but so were C and A and Milletts..

The boys designed their own suits which could be made by the big chains like Burtons, Hepworths and John Colliers or maybe the bespoke tailors like Hannafords (opposite The Birdcage) There was a mens’ clothing shop on Pelham Street where they guy who owned it used to take a photo of every suit he made for the Mod youths… I can’t recall his name but he went on to work for Ben Sherman…now that photo collection would be some rare kind of window on the local scene in the 60s…
…a lot of the girls made their own clothes, as Mod in essence was a very neat minimal style and quite easily “run up” on your mother’s Singer machine…..

5. Let me turn to Brummell’s Last Riff and the rest of the trilogy. There’s a scene that stands out in my mind. Where Rod “The Mod” Stewart is holding court outside The Salutation flanked by Vespas. I assume that was based on a real incident - was that type of incident a regular occurrence?

This was all before stadium rock. Most of the venues were quite “intimate”. The stage at the “Dungeon” was easily accessible from the dance floor and consisted of no more than a raised dais really…in fact when we saw the Small Faces there for the first time we could just about make out the machine head of Steve Marriott’s guitar from where we were standing about 10 feet away from the group. The rest of the band were obscured by the clamouring audience and dancers.

Most of the members of the groups who played at the local clubs all used to drink in the pubs in the locality and they all mingled with the Mods…..this was what made that connection…that solid bond … this was all broken when the bands realised they could make more money playing football ground an the like.

I recall being with The Nashville Teens one Saturday night in the Sawyers Arms during the break in their set….yes, it was fairly regular occurrence.

The incident described in the book would have been typical of what happened regularly … I think most 60s Mods in Nottingham would have what could be loosely termed a “Rod Stewart” story. Many of the people who performed in those early days of their careers weren’t making a great deal of money and a lot, including Rod, would quite often have nowhere to stay after a gig and no spare cash for a hotel and would end up crashing on someone’s floor for the night.

6. When did you write Brummell’s Last Riff and the other books?

“Brummell’s Last Riff” made it into print on the August Bank Holiday of 1995. The Learning Curve” in 1996 and “The Blue Millionaire” in 1998.

I’d had the stories of “Brummell” and “The Learning Curve” in my head for years though, before their eventual publication dates.

7. What led you to publish Brummell’s Last Riff in the nineties?

I’ve no idea really !!! It just seemed right the right time…I think there is in fact a right time for most literary or artistic projects…When I was writing “Brummell” for the page I had this feeling that there was something bubbling underneath it…but not something I could put my finger on

I had no idea that there was still such an interests in the period or such a wealth of fanzines and magazines still keeping the faith.

8. Is Brummell’s Last Riff your favourite of the trilogy?

To be truthful I like them all. I suppose “Brummell”, being the first born of the Trilogy makes it kind of more special for me…..although I’m told that “The Blue Millionaire” is a better book than the other two, in terms of literary construction etc etc. “Brummell” is probably the most raw of the three……

9. All the novels in trilogy - starting with Brummell’s Last Riff - contain a central point - a particular Bank Holiday weekend in 1964. Is that an autobiographical description of that particular weekend?

All the books are “loosely” based on real life characters…me and a couple of my mates…one of whom I’m still in contact with…most the events portrayed in the books actually happened, although not necessarily to the characters in the book.

The incidents may have been from the stories of people we knew at the time or people we knew of.

The idea of having a common time frame in all of the books appealed to me.
It is not a word for word portrayal of the Bank Holiday weekend of August ’65 but there is, in the “Skegness” sections of all three books a lot of “drama” based on actual incidents…

I think in the books what I wanted to try and create was more of an ambience …an atmosphere of what it was like to be Mod out on the streets of England in the mid 60s.

Kevin Godley of Godley and Cream read the books a few years back and he mentioned to me in a telephone conversation that reading the books gave him a yearning after that time of life….whether the books are successful commercially or artistically it’s that sort of comment which makes all the hammering on type writer keys worthwhile.. job done !

10. I understand that Brummell’s Last Riff is going to be on stage. Tell me a bit about it.

This really is the story coming full circle. “Brummell” started its life as a visual piece. Last year I went to see a musical at The Theatre Royal, Nottingham, written by Steve Wallis and Joshua Goodman, This was entitled “Make Do And Mend” and was based on Steve’s grandmother’s recollections and experiences in wartime Nottingham in the 1940s. I liked the show and emailed him the following day with the proposition of turning “Brummell” into a musical… the upshot of this is that the musical will premiere at The Theatre Royal, Nottingham on 2nd June 2009 where it will run for a week.

The show is titled “Mod Crop – the musical” and will have a soundtrack of iconic songs from the 60s, sung live and also with a lot of underscoring from the actual records themselves.

The songs are all well known and part of our collective psyche…not all are pure “Mod” tunes but all are classic 60s songs. We have already cast some of the leads….Mark Joseph is playing the part of Andy (me !) and we also have Dave Berry on board with a cameo performance of “The Crying Game”.

Without wishing to sound conceited the story would work with or without the songs If we can get clearance on the ones we want then it really should be quite a spectacle. I have bought a 1965 Lambretta Li 150 series 3 scooter which was partly restored…the guys at Scooter Restorations in Nottingham are currently finishing the project off for me. This will be on stage, along with Dave Wyburn’s “Quadrophenia “ Vespa – VCB 160 (Sting’s machine).

There is a web site for the show currently under construction, to be finished shortly – http://www.themodcrop.co.uk/

11. Tell me about your role in Quadrophenia.

Well it all started with a film script I’d written in the mid 70s. This was called “Two Stroke Sonata” and was in fact the first incarnation of “Brummell”. I had tried to get it produced on TV, with some encouraging “reviews” but with no offer of production.

I saw Townshend on television one night and he was saying they were getting into films so I sent the script down to him asking him if they were able to produce it.

I put a PS on the letter saying I could write them a script for “Quadrophenia” if they were interested and that’s where it all started. To cut a long story short I was credited as a story consultant on the film and also wrote the Corgi novel which tied in with it.

12. Did you and the rest of those involved anticipate it would be such an iconic film?

No. I had no idea that it would become so huge. I thought the album was just
so atmospheric. It had that feel about it and the photos in the booklet which accompanied the original album were so perfect a re-creation of “the look”.

“Quadrophenia” seems to have slipped into the nation’s collective psyche. Everyone of a certain age seems to have a spot for it in their lives. I think it will remain a near perfect study of growing up and all the attendant adolescent pressures…from peers, from society.

There is a web site in America, apparently, which regards “Quadrophenia” as akin to the Bible ! ..and this is despite all the chronological mistakes and continuity gaffs in the film.

It was the class of ’79 made good, when you consider the careers of the actors involved with it.

13. What did you think of punk?

I thought it was just fantastic. Although I was a tad too old to be actually involved in the scene I followed it quite closely….there are so many analogies to be drawn between Mod and Punk. In essence Punk captured that same spirit of inventiveness that drove Mod forward in the 60s but with the attitude levels ratcheted up a lot more.

The beautiful Punk priestess in a black bin liner was living a life parallel to the cool Mod diva dancing in a long leather coat.

I thought it was a real breath of fresh air after the excesses of Glam Rock in the early 70s…in much the same way as the new British “R and B” and beat groups blew away the sanitised pop of the late 50s and early 60s.

I was able to pitch in my two penn’worth about Punk in “The Learning Curve” – the second book in the trilogy. In fact I have been criticised for not putting enough about the new wave of Mod in the “Curve” ……

14. As an original sixties Mod, the 1979 Mod Revival, stemming from both punk and Quadrophenia, must have an interesting development. What was your take on it?

I overheard a conversation in a pub shortly after “Quadrophenia” came out in which this guy was saying that the Mod revival movement was engineered by all the Army and Navy type stores to sell more fishtail parkas!! I don’t subscribe to that view !!!

The Jam, when they first came out, were almost note for note Who but they evolved and made it happen for a new generation faith keepers.

I know many people of my generation can get so “sniffy” about the new wave of Mod…. but it’s all a matter of what gets you through your life. Some of the pseud journalists who have written so vitriolically about bands like Secret Affair and the rest of the tribe have probably never experienced their breast bones being vibrated by the notes in a buzzing bass guitar riff.

When it came around again it was…had to be…. different from the experience in the 60s…times had changed social attitudes had altered. The landscape was different. At the end of the day it was a group of young musicians telling the story of their generation’s life…..this is a time honoured tradition from the medieval troubadours through to Cold Play.

15. For many who weren’t there in the sixties, the Britpop phenomenon appeared to contain definite Mod elements. Would you agree?

Yes undoubtedly. Again it was a peculiarly British thing …a mirror to the working class credentials of Mod in the 60s.

The Blur / Oasis axis springs to mind. The Britpop scene was again reflecting the times…you keep coming back to Peter Meaden’s epithet…”trying to live cleanly under difficult circumstances.”

Oasis, and their association with Weller, were probably the most closely allied with the spirit of Mod in whatever decade….although the notion of the Gallaghers as Mod fashion icons is not something I’m too comfortable with… I like their music though.

16. The Mod influence appears to have continued to this day. Bands like The Small Fakers, The Carnaby’s from Leicester, and Nottingham’s own Censored - to name but three - are flying the flag. Are there any current bands you would mention?

Now this is where I do sound like a really boring old fart and so out of touch with the culture of youth as it is these days……I don’t have much knowledge of current Mod bands… I have performed on stage with Paul Hooper- Keeley’s “Threads” a few times , including a gig at The Small Faces Convention at The Ruskin Arms in Manor Park and I’ve appeared on the same “bill” as Mark Joseph…..apart from that you could write all I know about the current Mod music scene on my bus pass……
but who knows….. all that could change in the not too distant future?

17. What does the future hold - are you planning more writing?

The show is taking up quite a bit of time at the moment…the script is completed and the couple of “read throughs” so far have confirmed its on the pulse of the period….although when you start rehearsing then you really start writing !!

There will be a couple of exhibitions to tie in with the Musical next year…one at
Newark Millgate Folk Museum and the other in the foyer of Nottingham Central Library on Angel Row. The Newark exhibition will have more space so we are aiming to make this a rather quirky and eclectic showing of Mod…not just throwing in a couple of scooters and mannequins decked out in Mod gear…..
and it won’t just be 60s Mod.

I have enough material to make the Trilogy in a quartet …and the time is right to look back on the ‘90s - which is the period in which the main part of the fourth book would be set (again flashing back to August 1965).

There are a couple of other things in my head. One of them is a “time slip” story set in Italy and revolving around Mod. However whether any of these ideas will materialise is in the lap of the Gods……..

James Capper

2008-09-27T05:20:00.000-07:00

He’s a singer/songwriter from Derbyshire and is writing some tunes about daily living that come straight from the heart. So what does the cocktail consist of? To these ears, there’s maybe a hint of The Smiths and The Jam, mixed up with a Billy Bragg style social commentary and romantic essence. And brought up to date with touches of the likes of The Arctic Monkeys.

But by far the most poignant ingredient is originality. James Capper (guitar and vocals) and Alex Kelly (drums) deliver a selection of tunes that describe the sights and sounds of contemporary Britain, with all its eccentricity. Of the songs online we would strongly recommend “Replica” and “Romance Ain’t Dead”. You can hear him on his My Space page http://www.myspace.com/capperrockandroll and his website jamescapper.net.

And you can see him at a variety of places around Derby.

We thought it time to talk to this young soul rebel. So Rob Massey put some questions to him.

Where do you hail from?

Well theres me (James) from Belper in Derby, just a small town on the fringes of Derby and the drummer Alex is actually from Derby itself, so we can class ourselves as a Derby band!

What inspired you to launch your career?

I know a lot of bands always use this clichéd line but it really all did happen by chance really. I was in desperate need for some cash when I was at uni and I knew I could play guitar and sing, just like everyone can! I already had been writing a few tunes here and there just, well for no reason really. And I had done a few gigs off the cuff to help out a few of my mates in bands, and I started off with a set of covers and my own tracks, just playing in pubs in my home town and it seemed to catch on, loads of people were turning up, more than I knew that lived in my town! Then someone asked me to play at their wedding for a bit of cash, so I jumped at the chance. That’s where I met the Manager Harry. He took me on and we started making a go of it because a lot of people were asking him when I was playing next, so we started to build our following. Then when I came back from uni, I was offered my first gig in derby with a touring artist called Frank Hamilton, so we played it, I was first on and the following came down and we rocked it man! Everyone left after I’d played really, bar a few who stayed! Anyway this went down well with Ian of IME promotions and he got me a few more gigs through my manager and the following just started to happen, playing the complete stone roses and eventually getting my headlining gig at the Old Bell Derby, which nearly sold out!!! Then we decided my tunes needed a fuller sound, but I wasn’t too keen on the sound of a full band cos very band is like that, so one of my mates Sam Harrison told me about his mates Brother, I spoke to Alex a few times and we eventually jammed and really connected and started writing songs together and making a new direction for ourselves. We did our first gig together at the Venue, Derby after jut two weeks of practicing, and then got a crazy reception and got offered loads more gigs, with bigger bands like The Little Ones! And were really enjoying it now and having lots of fun! Alex goes down really well with the crowd and the following that just keeps on growing and growing!

Have you been in bands before - which ones?

Not in an outfit like this before, I had been in bands ages ago when I was at school but not really anything to write home about, was in a band when I was 16 called The Universal, we did a few gigs in Derby and made a horrid Demo! I sang in an American accent, which is cringe worthy when I look back now! Alex been in a few at school, just jamming bands really. He has done some stuff with his drum tutor in a covers band. But to be fair he has loads of awards for his drumming!!

Which artists would you say influenced your direction?

A lot of bands tend to say old bands or obscure bands or the really obvious ones like Oasis and The Smiths. But me and Aex are all about new music, that’s good and gets your feet going on the dancefloor.We like the The Courteeners because there tunes are really catchy and they are bringing back attitude in indie music. We also like the Arctic Monkeys, just because there band ethos is ace, they just have fun and make great tunes. Our direction just comes from whatever is out really at the time, we obviously fall well into the indie bracket, but theres so many sub genres within that, we don’t want to be like all that electro-indie shit, we just want to make good indie guitar music, with catchy choruses!

Where were the songs recorded?

Originally I used to record them in my bedroom on my computer, just one microphone, but they were shoddy, cant even believe I sold them!! But now we enlisted the help of some of our friends to help with the recording! We just did one day off the cuff at a band practice for our demo ‘Loose cannon with paper and pen’ at The Music Shed in Derby, who were really hospitable and sorted us out with everything we needed, for a price! Our acoustic CD was done in my mates bedroom with microphones and some computer program! Our sound is really live on the CD’s because were not a polished band, our sound is raw but not shockingly raw! The quality is better than a garage recording, but no where near the quality of a professional recording, which is good, it sounds like a demo and that’s what it is!

I love “Replica”. Tell me a bit about that tune.

Its got a few meanings really. Its about me trying to find a replica from a previous girl! And about how I’m a singer in another band from Derby. And how I’m saying I’m nothing special but she is to me! And I just want a replica of her if I cant have the real one. The chorus is about her friends being into the music but she never comes, and I wouldn’t want her to come now!

Which other tunes should we especially be listening for?

“Eye of the storm” usually goes down well at gigs, its catchy, we recently did a gig for a charity do in Belper and every one was singing it back!We’ve wrote a new one called ‘stalker’ which is really good and we cant wait to reveal this one!! “Romance aint dead“, is a little different to any other songs that bands make really! A total love song!“The crowd“…that’s a bit different!

Where have you played live recently? Any gigs that stand out?

Yeah were always playing live, mainly in Derby! We try to get as many as possible as we can, because there is no point being in a band if you cant do gigs all the time! Thats useless!Ones that stand our are our one at the white swan in Belper, that’s was mental! The place was rammed with old faces and new ones, everyone knew all the words and was jumping about like mad’ns! We’ve got a few coming up in Derby, headliners in Nottingham! And one were most looking forward to is our headliner at Dry Bar Manchester for in the city festival! Were going to smash that one!

Are there any books or films that you would mention as influencing you?

Cool Runnings man! It’s a true story about how to come over adversity! It shows you to never give up and believe in yourself!!! Book wise, not really into books. If I liked books I’d be an author! Top selling one as well!

If you had to choose any life changing record, what would it be?

James - Arctic monkeys – view from the afternoon! It’s a cracker depicts my weekends all the time! Would of loved to of wrote a song like that, Turner is a genius!Alex – The Police – Every Breath You Take. It’s the first song he ever played live!

What are your plans for the future?

Just keep on gigging and having fun spreading the word and upstaging bands that give it the big one really. Write more tunes and get more things recorded and meet some cool people along the way and just get better and better!

“The Mumper” - Mark Baxter and Paulo Hewitt

2008-09-19T10:55:00.000-07:00

A bunch of fellas in a south London pub in the mid eighties. Comprising three generations of collective memory - the Cable Street riots, the Blitz, Georgie Fame at The Scene to give three examples - and indulging in mercilless banter every Sunday in the same watering hole. And then someone walks through the door and says the immortal words “Hello chaps, ever thought about owning a racehorse”.

“The Mumper” is a new novel from Mark Baxter and Paolo Hewitt. Hilarious and tragic in equal measure, littered with cockney rhyming slang (complete with a glossary at the back for those who need it), it takes us back to 1985 and all that entails. There’s changing industrial relations, a preoccupation with quality clothing, the workings of “The Print”. Against it all is the sadness of loss.

Along the way you will find out the explanation of what a pile of ceiling tiles outside a Brighton hotel room might mean, what Maggie Thatcher really meant by “harmony” when she was elected and how to shorten a telephone cable. All in all it’s a “very unique journey”, one that us recommended strongly. I short, I suggest you get down to you local bookshop and order a copy. Its worth doing.

To whet your appetite, here’s the trailer

Rob Massey

A Chat with the Master

2008-09-18T14:48:00.000-07:00

As frontman in seminal eighties indie mod band The Moment, Adrian Holder was responsible for delivering anthemic tunes such as “Ready To Fall“ and “Sticks And Stones“. Described by the NME's Paul Moody as “English pop music's greatest ever secret”, the band released one album - “The Work Gets Done” - plus a fistful of top tunes and were one of the few beacons of genuine inspiration in that decade. Their best of compilation “Mod Gods” was a fitting testimony.
But thats only part of the story, he has turned into a master Tune's man.

We chated to The Master on the old un Improved Sohostrut site, so with the relase of 'The Whistle Blower' now in the Cd buying public pocket , we again chat to the Man From Haverhill about what he thinks of the New Album..Tony Clark

Eli “Paperboy“ Reed and The Trueloves

2008-09-17T15:38:00.000-07:00

Is it Sam Cooke? Is it James Brown? You’d be wrong on both counts. This is brand new music from a singer/songwriter with the memorable name of Eli “Paperboy” Reed and his band The Trueloves. They’re from Allston, Massachusetts and have an album out right now - “Roll With You” - which is available from all record stores of taste.

Its soul food for the mind and body, red beans and rice mixed with a sizable quota of green onions. Foot tapping gems like “Doin’ The Boom Boom”, wonderfully crafted tunes such as “Am I Wasting My Time” and plaintive ballads like “Its Easier” makes this album one which soothes the parts other records don’t reach.

For a taste of what Eli Reed is about, check his My Space http://www.myspace.com/elipaperboyreed or website http://www.elipaperboyreed.com/. You can also have a look on You Tube. For a memorable first impression, you could do worse than watch the video “Lavomatik Session” on the My Space. Imagine walking in your local launderette and being greeted by this - it could make rinsing your threads a whole lot of fun!

Rob Massey

Sound Of Summer.Retro Fit of the best mannnnnnnn

2008-09-14T01:56:00.000-07:00

The Sound Of Summer ?

1985 or was it 1965, what was that comig from my Solid State Radio whilst sitting on the beach watching the surf "Surfers Are Back Won't Go away"

What if The Jam never listened to The Who and instead cashed in their Mod gear for surfboards and Jan & Dean records? The result would have probally sounded like this band.In what was dark times FUN wise for music in the UK, punk was fading, the depression of England looming it was a re freshing sound that was being generated.

So After some fine singles

Without a doubt the bigest and most remembered tune 'Summer Fun' laden filled with harmonies and the spoof advert at the start it was stamped BIG hit from the off.The band produce some fine tunes between 1979 & 1984.So after some fine singles a couple of blistering long players the band called it a day, they have reformed along the way for one-offs and the likes and EMI released a speacial version of , 'Drop Out' the bands debut Album. If your new to the band 'Drop Out' is a good starting point, if you remember the band 'Drop Out' is a fine way to rediscover that Summer Fun.Tony Clark

Censored

2008-09-13T12:16:00.000-07:00

Its been an eventful year so far in Censoredville. A single release, line up change and Club SOS, to take just three obvious examples. And there is more to come. Following the success of “Play The Game” during the Summer, Censored release their second single on Electric Toaster later in the year. It is a double A side and features live favourites “Lonesome Town” and “Presence Of The Lord“. The production is again by Tristan Ivemy (Babyshambles/The Holloways/Towers of London).

“ Lonesome Town” is a full on anthem about small town living and has a ska edge. “Presence Of The Lord” has a bluesy feel, putting you in mind of early Humble Pie. You can hear samples of the songs here www.myspace.com/censoredville. Listen to that chorus on “Lonesome Town” - you will be singing it all day.

We thought the moment right for a new interview. So Rob Massey put some questions to Matt Henshaw.

1. "Play The Game" seems to have gone down well, with plenty of radio airplay. Tell me a bit about that.

It's a funny one, a strange choice for a debut single don't you think? It wasn't ours anyways, but I think it's sort of done a job. Sold out and that, got me a bit of royalty money and a few decent commendations from here and there. It's by no means the best thing we've got and by no means the best thing we'll release but it's made us darlings in Nottingham. And if 'Love Me Do' was the best thing the Beatles did music would be very different today!!

2. You had a line up change at the beginning of the year. The transition seems seamless?

I never stopped writing, and me and Chris G are battlers, even at the ripe age of 20 we've been through quite a bit together, losing a friend with 4 strings wasn't going to rock the boat.

3. You played an open air gig a few months back in Nottingham's Old Market Square. How did that go down?

It was grand. Very nice. It was my first show after a long weekend in hospital so it was good to get back in the swing proper, as long as we do things like that every now and then it gives me a reason not to chop off my hands.

4. You created a major success in your monthly club night - Club SOS. What's your take on all that?

We set up a club night so bands wouldn't have to come to Nottingham and get treated like shit like they do, we do and you do everywhere else, and also we found it difficult getting gigs anywhere else when no-one knew us so in blind ignorance and with sheer belief we put it together. And true to our word we've been looking after bands with beer, crisps and Haribos ever since, and we bought some peanuts for Twisted Wheel.

5. Why are you finishing Club SOS?

We're not playing anymore because we think we're the biggest thing in Nottingham since the Great Cheese Riots of the late 18th century (actual piece of history, look it up!) . Well, no, I hope that's not how people see it. But we are doing a big Christmas show at Rescue Rooms. SOS isn't finishing, we're just not playing it, we'll be running it and putting on bands we like, getting very drunk and spinning some tunes, my Northern Soul collection is still growing. Last Saturday of the month, see you there.

6. I hear that some Censored tunes have been played preceding football matches at Midlands grounds. Which ones?

Meadow Lane, it gets a mention in 'Play The Game'. Absolute darlings of Nottingham County. Told yer! And Pride Park, Derby, has been spinning our next single, 'Lonesome Town'. And we've been in the programme, 'the Ram'.
Next stop Soccer Am, there's a box to be ticked!!

7. You have a headline gig lined up at Nottingham's Rescue Rooms - when is that? And what's the background.

Friday 19th December. Get your tickets and come and join us, or I WILL cut off my hands. We want to do something big in our city and make sure the rest of the country starts taking notice. Theyv'e got to!!

8. "Lonesome Town" is a live favourite. Tell us a little about the tune.

It was a reggae jam, we were playing Brianstorm and thought it would be funny to drop into some reggae. I wrote the lyrics at a gig where I was working on the door, I can't rememberany of the bands but that's probably a good thing because I'd have no qualms in telling you they were all shit!! So I wrote a tune that pretty much summed up my boredom, frustration and disappointment, not just of that night but probably the last 10 years of my life maybe. I think it turned out alright. Next single.

9. Any new tunes you would mention in particular?

I've had a right load of shit come my way this summer but I think i've still been quite prolific with the song-writing, for what it's worth I reckon I've written about 4 songs better than anything Jon Bon Jovi has ever written and he's in the Rock'n'Roll Hall Of Fame!! 'Deemons' is one of the most important things I've ever written, the double E is no mistake. And they're all cathartic songs really. I could tell you so much about what I've thought and felt this summer but I'd hate to bore and depress. 'Forgive U' I like, it's a follow on from 'In The Presence Of The Lord', very different but the narrative is there. This one is like the conversation you'd had with God, Buddha, Allah or whoever after you've stood there infront of his gates with your guitar in hand. You'd ask for forgiveness for anything you may have done wrong even if you didn't know you had, and I'd say "surely that's the least you could do for all the shit that you bring!" I've actually had this conversation with God I'll have you know, then I woke up in a tube in Derby listening to Steve Wright's Sunday Love Songs on BBC Radio 2. Honestly I wish I'd stayed dead.

10. You're playing at the annual Small Faces convention in September. What can we expect?

Just me and an acosutic guitar, and my voice that's a shadow compared to the great Steve Marriott. I'll play a few songs written by the second greatest songwriting pair of the 60s, no eefects, no special guests or badly played keyboards, just the songs. It goes Lennon/McCartney, Marriott/Lane then Jagger/Richards by the way. Then Ray Davies was on his own, what a dude!!

11. Are you still influenced by the whole mod thing? Any new influences you would mention?

Yes. Only literary. Every decision I make is governed by three things, the ones I love (they know who they are), the band and thus how it would affect and my Mod ethics. And probably the best thing about going into hospital and losing some weight meant that I could fit into my favourite pair of trousers again!! Handsome. Oh, and I watched Quadrophenia again the other night on tele funnily enough. I like to think the film ends when the line "legs wrapped round your face" comes into it. Everything that happens after that I don't like to admit. All the fighting, being lost in love and then consequently sinking into dementia. You're meant to see the warning signs I think is the point but sometimes I would watch it on video and turn it off halfway throguh for want of not seeing how he turns out!!

12. What is the next single - and when is that likely to be?

If you're reading this interview and got this far I congratulate you. And I'll give you a free copy of our next single when it comes out, and may autograph it, but I'd hate to affect it's value. Self-deprecation is the cornerstone of English wit and humour right? Ask Hancock. The next single . . . double a-side . . . Lonesome Town / In The Presence Of The Lord . . . October . . . fingers crossed!!
Ha Ha Ha!
Always look on the brightside of life, du du dud dudu . . . . Peace & Love!!!

Songs From The Blue House..Fear The Reaper Review

2008-09-11T09:16:00.000-07:00

Suffolk hey ?

Home of the mighty Ipswich Town Football Club..Home of 'Fuzzface' the indie wonders and home to 'Songs From The Blue House', well kinda as they are from Essex & Suffolk .Rock Tunes that stick with you sometimes for ever, tunes that make the hair on the neck stand up, I like those and 'Blue Oyster Cult' gave us 'Fear The Reaper' I have loved that for years that Haunting Guitar..Can't be bettered can it ? Nah..Well hang on I was tuning into Radio Suffolk for Football News and I heard a strange rendition of that Guitar Line coming at me out of the speakers in the form a Banjo Yeah it that works and then burst out a heart warming Cover of the said song from Said band.

Is it any good ?

Well Covers either work or fall Flat on their face right ? Well you'll be as glad as me that this one really works, it borrows from the original and takes its own turns and twist to make a cracking harmony laden 3 or so mins pop tune.James Partridge - Vocals/Guitar can sure sing, he works this well and it really is a sharp sounding tune.'Songs From The Blue House' are a Big band about 8 of them I think, each one pulling this in the right direction.

I know that on the whole they are more a folky type band, and from what I heard 'Fear The Reaper' may well be one of the few in your face tunes, I have since been invited to one of their gigs to hear more 'in my face tunes' so..... Tony Clark

Shaughnessy.Big Wide World Review

2008-09-08T00:05:00.000-07:00

You would be sound deaf if you did not hear the Weller influence battering your ears on this CD, however to say that Terry is more or less ripping Weller would be to far over the top.There is no doubt that a lot of time and effort has been put into this, both in money and craft work.But people will take notice of this and he is starting to find the reference more and more.

One Hell Of a Catchy Tune

Its well produced, it hits all the right buttons in that department.There are some fine moments here, it may well become somewhat of a classic in time, maybe a lost classic, but a classic.The Hard hitting 'Can You Believe it' really is one hell of a catchy tune, the Guitar cuts away and the backline's in and out stance is excellent. But for me it's the opening track, why that opening reminds me of the Glam Rock era even I'm not sure, but that's soon forgotten as 'Shine On' slips through the speakers, yeah this is good honest British Pop, here any reference to any one above fades, Terry Comes fully into his own, it cuts and thrusts and his fine voice makes a stand.

Britpop Newbie
So what we have is more than a 'Britpop newbie, more than a New Weller, more than a Mod Revivalist, we have a fine songwriter, a fine player and an album full of quality pop, if this make's the grade and sells well and we see another release I'm sure it will be a stormer, and Terry you have set your own bar very high on this release indeed..
Tony Clark

Rinaldi Sings

2008-09-07T16:35:00.000-07:00

One of the highlights of Summer 2008 has been the release of the new album from Rinaldi Sings. It can’t have been easy producing a follow up to 2005’ s excellent “What’s It All About”, but the result - “Bingo” - marks a new high point for the band.

The album contains eleven tunes of seemingly effortless and extremely infectious power pop. Steve Rinaldi is a natural singer and songwriter of growing stature. Songs such as “You Take Me There” - complete with hilarious, spoken introduction - and “End Of An Error” have a depth and quality that stand out a mile. All have that sixties feel that the band do so well. In fact, if anyone decided to make a new, authentic, version of “Absolute Beginners”, this would be the perfect soundtrack.

If you want to get your soul shoes on, look no further than the title track, a solid Hammond workout with a hint of a 2 Tone edge. Then there’s the northern soul-inspired “Come As You Are, You’re A Star”, the Beatle-esque “She Don’t Know” and the irresistibly catchy “Goodbye Steve McQueen”. But the highlight has to be “Where Did It All Go Wrong Mr Best”, a tribute to the legend, complete with inspirational guitar from Dave Cairns of Secret Affair.

You hear their tunes at their site RinaldiSings.com and My Space http://www.myspace.com/rinaldisings.

But you can find out all about that below. Because Rob Massey caught up with Steve Rinaldi and asked him some questions about the album and the world according to Rinaldi Sings.

These have been significant couple of years for Rinaldi Sings. What have been the highlights?

“Well, the most recent highlight is easy. Getting ‘Bingo’ back from the pressing plant after two years of really hard work on it was very pleasing. Although I’ve heard the tracks hundreds of times during the recording, mixing and mastering process, that first play on a ‘proper’ CD is such a great moment. I think that’s the reason why I do it!

“Other things that I’ve really enjoyed recently have included contributing to Mark Joseph’s next album. I organised the brass section, played trombone and was involved in recording the strings, not just on Mark’s album but also on an album that he is producing for a fantastic singer/songwriter called Katy Buckhaven. It was a real pleasure to work with Mark in the studio. Both albums are sounding great and I’m sure they will both be a huge success. We’re also hoping to work more closely together on something else in the future.

“I’ve also recently been rehearsing as a member of the new line up of the reformed Secret Affair for some gigs coming up this year – playing trombone, of course. The band were a huge influence on me when I was younger and even though I’ve played with both Ian Page and Dave Cairns separately before, I still can’t quite believe that I’ll be on stage playing with them both together, and with Dave Winthrop too. I can’t wait!”

It must have been excellent to play The Cavern at the IPO Festival in May.

“It was, although I’ve actually played there several times before with Rinaldi Sings and I’ve also played there with Ian Page and The Affair. Since I started the band, I think I’ve played almost twice as many gigs in Liverpool as I have in London. But there is always something special about walking down that spiral staircase and getting ready to play a gig. I know it’s a reconstruction of its former self, but just imagining I’m Paul McCartney for a few seconds at least is always a thrill.”

When did you write the songs on the new album, ‘Bingo’?

“I started writing them as soon as ‘What’s It All About?’ was released in 2005. I find it relatively easy to write the music but lyrics always take me a while to finish, so the writing took me the best part of a year. We started recording in Soup Studios in London’s East End about two years ago. It’s a great little basement studio under a Ukulele shop called the Duke Of Uke – and I’m really pleased with the finished recording!”

Who produced this album?

“It was a much more complicated this time and although it was either myself or Paul Bultitude that ended up with the credit for much of the album, a great many people were involved in the process, including our usual producer Ian Shaw, who mixed the album this time, and the engineer Simon Trought, who recorded most of it. Bob Kelly also made a significant contribution to the arrangement of the album too. As for Paul Bultitude, it was a pleasure working with again, as he was the producer the very first time I went into the studio with The Moment to record ‘Poor Mr Diamond’.”

Which musicians played on the album?

“My live rhythm section Trevor Smith and Tim Charlton are the backbone of the recording band and many of the musicians who contributed to the first album were once again present. I was also lucky to get a few additional guest musicians on this recording. Bob Kelly of Kelly’s Heels was very involved in most of the recording, singing all the harmonies and bring his authentic Sixties guitar sound to the album. Jel Lee from the Affair played on a couple of tracks. We also had some fantastic honky tonk piano from a guy called James Halliwell, who is Ronan Keating keyboard player. What he made of us I don’t know, but he came down as a favour to Paul Bultitude and he really was good.

“I was also delighted that Dave Cairns put a hold to his Secret Affair scheming for one night and played on a couple of songs, including some tremendous guitar work on the album’s closing track, ‘Where Did It All Go Wrong Mr Best?’. In fact, his guitar playing was so good – and so loud – that we ended up disrupting the ukulele evening class upstairs. We had to walk past 12 stony-faced ukulele strummers to get out, but instead of keeping his head down, Cairns decided to attempt a conversation about the tuning on a ukulele. It didn’t go down well.”

Who speaks at the beginning of ‘You Take Me There’. The male voice sounds like Jools Holland?

“That’s a bizarre oddity from the vinyl collection of Chris Hunt! According to Time Out, I make ‘cockernee-toned pop’, so we really had to kick the album off with some tongue-in-cheek cockney reference. I’m pleased we did and it still makes me smile every time I hear it.”

Are any of the songs that you would pick out as particularly special to you?

“All of them are special to me – I spent so much of my career in other people’s bands, playing other people’s songs, I still can’t believe that there are so many people out there interested in hearing my own compositions. I am particularly proud of ‘You Take Me There’, which sounds to me like a great radio pop hit. I also love ‘End Of An Error’, ‘The Only Show In Town’, ‘Bingo’ and ‘Goodbye Steve McQueen’.”

Are any of the new songs autobiographical?

“Yes, but if you know which ones, send your answers on a postcard! All songwriting is autobiographical to one degree or another, even if it’s not apparent.”

‘Bingo’ is a true Hammond Organ stormer. How has it gone down live?

“We’ve only done three gigs so far with the new songs and ‘Bingo’ has only been played once, but it did go down an absolute storm. I’ve been playing keyboards on half the set recently, but I think attempting ‘Bingo’ live would be a bit ambitious for me. It’s tough to play the Hammond with one hand and the trombone with the other! The once we played it live was last year, when I did some gigs with the guys from The Affair in my backing band. On one of the gigs we decided to try out some keyboard and they brought in a friend, who turned out to be BBC Five Live’s tennis correspondent Jonathan Overend. I’d heard him do his sports reports on the radio, but nothing prepared me for this madman in charge of a keyboard. He was fantastic – and turned ‘Bingo’ into three minutes of groovy mayhem.”

There seems to be a harder feel on some songs in this album compared with ‘What’s It All About?’. Is that deliberate?

“Not particularly. I started out wanting to make an album that sounded a bit like Belle and Sebastian but once again I ended up wandering off down Carnaby Street circa 1967! With this being my second album, I’ve become a lot more experienced in the studio and maybe I was more confident as a result. Most of the album was recorded in a different studio and the drums and bass were recorded to tape first, the old fashioned way, before being transferred to the computer – and I think that gives the sound a certain something.

“Also, with people like Dave Cairns and Bob Kelly playing the guitars there was only going to be one result! On the first album, we deliberately tried to keep guitars out of the studio as much as possible, because we didn’t want to constantly fall back on power pop, as we wanted to experiment with so many other orchestral instruments. On this album we definitely had many more guitars – and guitarists – so that probably added a touch more aggression to sound. But using a word like ‘aggression’ in terms of Rinaldi Sings isn’t quite right. My music is about as aggressive as Lance Percival!”

There are a couple of songs about celebrities on the album. The concluding tune is ‘Where Did It All Go Wrong Mr Best?’. Tell me a little about it.

“I was walking to a football match with Chris Hunt and we got talking about the legendary tales of George Best. Of course, the best story by far is of the night when a waiter, who was delivering champagne to his hotel room, saw George lying on his bed with thousands of pounds of casino winnings and the current Miss World. Suitably shocked, the waiter muttered the immortal line, ‘Where did it all go wrong Mr Best?’

“Chris said that would make a great song and that stuck in my mind. After getting home from the match, I sat down and wrote it more or less straight away. It was one of the easiest lyrics I’ve ever written – and it’s one of the few things I’ve ever got out of being a football fan, as we don’t win much at Cambridge United!”

The guitar on that tune is one of the highlights of the album.

“When we came to recording the song, it was Chris who said that he thought the end of the song should be dominated by a guitar part that should in some way represent the inner turmoil of the tortured genius that was George Best. I don’t know about that, but if there’s one man who you’d bank on to deliver the inner turmoil of a tortured genius, then it’s Dave Cairns – so we had to get him to come and play on the track.

“Dave played the solo at the end three times, with the idea being that we would compile one track from the best bits of the three, but when we listened to them they all sounded so good that we decided to have all three playing together at the same time! The guitars went down quite quickly and then we had time to sit down and listen to some of Dave’s great rock’n’roll stories, while the engineer, Simon Trought, sat drooling over Dave’s 1968 Telecaster.”

And ‘Goodbye Steve McQueen’?

“This was Chris Hunt’s first foray into the world of lyric writing – although he did used to sit down and work on the odd song with Adrian Holder, when he was manager of The Moment. Chris and Adrian would be known to sit up all night knocking ideas about. On one song, ‘Brave New World’, they ended up writing the words together, but when Chris listened back to the song the next day, Adrian had taken all of his words out and replaced them with much better ones – so he never got his first songwriting credit back then!

“I had the basic musical idea for ‘Goodbye Steve McQueen’ but I was having trouble with the lyrics – it was even going to be ‘Goodbye Pearl And Dean’ in its earliest form. I remember sending it to Edward Ball, who at one point was going to be producing the album, and he thought the lyrics were a bit confused and directionless. I was discussing the song with Chris and he had lots of ideas for it. To be honest, anything to stop me going into the studio without a fully formed lyric, which I have been known to do. Chris hates wasting studio time. To prevent me doing that, he just came up with his own lyric as a backup. I liked what I heard, refined it a bit, and it became a song that many people have named as their favourite on the album, which isn’t bad for a first-timer. I’ve got him working on the lyrics for a Christmas song at the moment!”

More generally, which singers/songwriters have influenced your song writing?

“The usual suspects, plus one other geezer! Paul McCartney always, Brian Wilson forever, and in from left field, the truly amazing Teddy Randazzo.”

What next?

“I’ve already started writing the next album. I’m toying with the idea of making a concept album called ‘Paul And His Magic Trumpet’, but that might change! I’d like to start gigging again with Rinaldi Sings and I think there are some big gigs ahead with Secret Affair, one so big that it’ll have Paul Weller queuing round the block to get in!”

All New Sohostrut Forum

2008-09-07T10:39:00.000-07:00

http://sohostrut.freeforums.org/

That's right thought we'd give you a place of your own, to talk about what we have said the reviews and features we have done.Or simply to post Music Chat-talk about bands you have seen etc etc.

Daptone Records

2008-09-07T05:15:00.000-07:00

You know instinctively when you’ve found something of quality. This label is an example - Daptone records from Brooklyn - http://www.myspace.com/daptonerecords. One of the leading labels of the new soul movement, with a range of artists on their rosta.

Daptone was founded by Gabriel Roth and Neal Sugarman. The house band is The Dap Kings - the roots behind the label, warranting comparisons with Booker T and The Mgs at Stax and The Funk Brothers at Motown. They also backed Amy Winehouse on “Back To Black”. Recording is undertaken on analogue tape, rather than digitally, one of the factors behind their rich, warm, powerful sound.

Leading the output are Sharon Jones & The Dap Kings, followed closely by the likes of Naomi Shelton & The Gospel Queens, Bob & Gene and Sugarman 3 (plus many more). The full range of music is here http://store.daptonerecords.com/. You can also see some videos on Daptones’ You Tube page http://www.youtube.com/user/DaptoneRecords.

Head over to the My Space page and soak up the tunes. I would particularly mention the Ticklah re-mix of Sharon Jones’ “How Long”, complete with a total reggae vibe. You won’t be able to keep your feet still.

Daptone is promoting real funk and soul that is right up to date for now, whilst retaining the solid production values and qualities that make it unmistakeably a part of that lineage encompassing Motown, Stax and beyond. If the releases to date are anything to go by, it’s a label well worth keeping a look out for.

Rob Massey

The Jet Boys

2008-09-05T16:34:00.000-07:00

Friday night and its rammed. You’re sitting at the table in the corner, the Red Stripes lined up, ice cold, waiting to be consumed. The music’s blasting out of the speakers, some Tamla Motown you selected not two minutes ago and its infectious groove is getting inside you. Lifting you up. Higher and higher. There’s banter flying around, tales of filthy nights, reminiscences of rhythm and soul dreams. Messy moments in the midnight hour.

Tonight will be no different. Its promises shout loud and clear. Everyone’s on form, heroes to a man. You check them out, the assorted multitude. Living the moment, knowing the mood, all the young dudes. Someone tells you to neck the lager. You’re moving on. The night is young and you feel even younger and you’re through the door, on the street, up to the venue.

Pay the boy and into the place. Its rammed in here. The band’s on stage and it pulls you in. Its one of those moments . One of those special moments. Its happened before all too rarely. Sometimes, somewhere, there comes along a band who sum up the first time you got into the music, for whom its all bright and new. Who know instinctively that what matters in life is the crash of a guitar, a roll of a drum and a throbbing bass. And attitude. Of course, that uncompromising attitude. And the sartorial brilliance and hedonistic outlook to go with it. And they’re up there. On stage right now. Meet The Jet Boys.

Think the look of The Small Faces meets the sound of CBGBs and you won’t go far wrong. They’re four hip young gunslingers from Nottingham and the surrounding area. They’re young enough and bright enough and brave enough to create something wild and new. They love Johnny Thunders. Iggy Pop. Syd Barrett. And they aim to create a version of it all that will become their own.

The band is:
Alex Strongman - Rhythm Guitar/Vocals

Matthew Beech - Lead Guitar

Adam Crooks - Bass Guitar/Backing Vocals

Robert Brighton - Drums/Percussion

You can hear them on their My Space http://www.myspace.com/thejetboys1. They’ve got a brand new ep out right now called “BAD” and the title track’s up there. Its one of the most instantly infectious slices of unadulterated adrenalin to come out of your speakers for some considerable time. On the pulse vocals, in your face guitars, blistering drums. With a hook that gets inside you. And there’s plenty more where that came from. Watch out for the Strongman/Crooks song writing partnership.

You should be able to catch them at gigs around Nottingham and further afield. Worth a visit - and a Red Stripe or two - from where we’re sitting.

Rob Massey

The Small Fakers

2008-09-04T16:41:00.000-07:00

Ever found yourself want to go and see The Small Faces? Like it was The Marquee in 65? Check out this lot. Four geezers who transcend the genre of tribute band by delivering both the sound and the sartorial panache of the capital’s very own Fab Four. This band is probably the closest that you’re going to get. Singer, Matt Bond, has been described as “Steve Mariott reborn”.

The pedigree of the praise they have received is second to none, including support from Kenney Jones himself, Toby and Mollie Marriott, Ronnie Lane’s brother - Stan Lane, biographer John Hellier, and Val Weedon from The Small Faces Fan Club. From evidence I’ve seen, the comments are more than justified.

The band is:
Matt Bond - Vocal and Guitar.
Jon Gray - Hammond and Piano.
Dan Taylor - Drums.
Neil Runalis - Bass.

You can hear them on their website smallfakers.co.uk or their My Space http://www.myspace.com/smallfakers

They played a memorable set at the unveiling of the plaque to their mentors and inspiration in Carnaby Street last year. If you search hard, you should be able to find clips of this, and other shows, on You Tube.

Rob put some questions to them.

Where does the band hail from?

Matt: Me, Jon and Dan hail from Maidenhead, Berks & Neil from Portsmouth!

How long have you been playing those Small Faces covers?

Matt: We've been playing the tunes in the Worlds first SF tribute band for a year now - I've been strumming some since i was 15!

How did you get together?

Matt: The idea came together after I played at the SF Convention 2006. We then sourced the best soundy/looky likes we could get our mitts on.

Neil: I knew Dan Taylor (Fakers drummer) from being in a Northern Soul band with him a few years previously. When this started coming together I got a call. That was December 2006. We had our first rehearsal Jan 07, first gig March 07.

When did you start to get into The Small Faces - were you all fans before you got together?

Matt: I've been a fan since I was about 15. I got into the Beatles/Stones years before and started looking into other bands... found the Small Faces and seemed to connect with their style and sound more than i did with any other group.

Neil: My mate used to always play their records and lend them to me, so I picked up on it from there really. Although I knew all of the songs, it's only recently that I've been getting hold of my own copies.

Of all the Small Faces back catalogue, are there any particular tunes that mean something special to you?

Matt: Personally i love em' all, but my favourite to perform is possibly Rollin' over - 2 and a half minutes of ballsy power!

Neil: Tin soldier because of it's mix of quiet and loud bits with a big ending does it for me every time.

Which Small Faces period to you prefer? The early R&B influences, or the later psychedelic direction?

Matt: Early or late SF sound? Er... good question! Like which child to take to the slaughter!! I love it all but if i had to choose I'd go for the latter period (Ogdens is one of my favourite albums of all time)

Neil: I'll take the psychedelic stuff, I like that kind of music usually no matter who it's by.

Have you any preferences from the post-Small Faces careers of the band members - Humble Pie, Faces etc?

Matt: Well into both Humble Pie & the Faces. But Humble has the voice of Mr. Marriott so would have to go with them. Like Ronnie Lanes solo stuff. The Album he did with Pete Townsend (Rough Mix) is in my CD player now.

The footage of your performance at the unveiling of the plaque in Carnaby Street last year was inspirational. That must have been a memorable day?

Matt: Er yeah... To be asked to do the Plaque gig in Carnaby St. was an honour but to say yes and do it was another thing! It really put us on the map. Got to meet Kenney Jones, which was an added bonus and he gave us a nice quote (see our website http://www.msplinks.com/MDFodHRwOi8vd3d3LnNtYWxsZmFrZXJzLmNvLnVr)

Neil: To be honest I thought it was a wind up when I first heard about us being asked to do it. Stan Lane introducing our second set was the highlight for me.

Are there any other gigs that you would pick out as being particularly special?

Matt: Special gigs: The SF Convention 2007, Which was the day after the Carnaby St. do - So all in all a great weekend. Also playing the Hipshaker lounge at the Isle Of Wight Festival 2007. (Back there again this year) Oh and i have to say our first Butlins gig - being brought up going to Holiday Camps this was one of my childhood dreams coming true!

Neil: Last years IOW Festival was great, to be up against the Rolling Stones on the big stage and still pull in a crowd is some achievement! But apart from one or two, they've really all been good fun. You’re clearly influenced (as many of us are!) by the whole sixties/swinging London thing.

Are there any books or films from that era that you would mention as influencing you?

Matt: For me it was me Dad's taste in music that turned me on to the 60's scene. Then i followed it up and found i liked the fashions and general style of the period as well as the music. Oh and Quadrophenia got me into scooters!

Neil: It wasn't books or films for me, the clothes came first. My first proper band had all the clobber, if not the tunes! Then, because you look a certain way, you get lent cool records, and it snowballed from there.

Are there any other artists/bands who have been an influence on you?

Matt: There's loads of other bands I'm into: Kinks, Who, The Move, Beatles, Creedence Clearwater Revival, Most Mowtown... Not just 60's though: T-Rex, Humble pie, Led Zep, Supergrass, Dodgy... And more recently: The Fratellis, 1990s (check them out, great band)

Neil: I guess the music I used to love as I was growing up - David Bowie, Slade, Led Zep, Madness. My first album, when I was 10, was Led Zep 2 which is a great place for any kid to start. More recently Jellyfish (remember them?) and Super Furry Animals.

If you had to choose any non-Small Faces record as of particular importance, what would it be?

Matt: I could give you a list as long as me arm (probably longer) of songs of particular importance. But I'll give you a few that send shivers down my spine: She Loves You - Beatles, Signed Sealed Delivered - Stevie Wonder, I Can Hear Music - Beach Boys, Stay With Me - Faces.

Neil: I was gonna include The Beach Boys too, but I better not. So, 7" - This Town Ain't Big Enough For Both Of Us by Sparks. Absolutely mental, but still catchy as hell. Album - Parallelograms by Linda Perhacs. Amazing melodies that still sounds fresh and original today and it's nearly 40 years old.

What are your plans for the future?

Matt: Plans for the future are to bag more gigs and get you (the reader) to come and see 'em!

Neil: What he said.