THE SOUL SURVIVORS ISSUE 38 APR-MAY 2012

the info provider for the soul survivor

Interviews with

Gwen McCrae Peter Robinson David Nathan Sy Smith our tribute to Whitney Houston and regular features

Photo courtesy of www.siobhanbradshaw.co.uk

ISSUE 38 APR-MAY 2012

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Dear Fellow Soul Survivors

WHAT’S INSIDE? 2 MEMBERSHIP 4 Fitzroy talks to GWEN MCCRAE 8 DARRELL’S FUNK BOX Hello my fellow Soul Su rvivors and welcome to 10 Fitzroy chats to I hope reaches you at the Issue 38, which sam us for a great Summer ahead. e time as the sunshine, preparing PETER ROBINSON As always, we have som 14 COMPETITIONS along with some intervi e fantastic events being advertised, 16 JUMP START - WORDS McCrae, who will be ews that we think you will enjoy. Gwen per June, Peter Robinson, whforming at the Happy Days Festival in

by Ginger Tony Records, David Nathan, o is celebrating 20 years of Dome 18 DAVID NATHAN British/American Soul scewith his fascinating insight into the not least, Sy Smith, a rel ne right back to the 60’s, and last but talks to Fitzroy ative newcomer, who sha too. We had so many eve res her story 24 RECORD REVIEWS room for photos. (We’ll nt reviews, therefore we didn’t have com e up with a plan to add maybe on the website) ress that 27 BACK ISSUES entertained for a good . All in all, we think it will keep you few hours.

28 Fitzroy talks to There have been many SY SMITH would like to have givenpassings in the last few months which we tribute to 30 Soul Survivors tribute to always allow, however as David Nabut space and timing doesn’t than was able to supply of an early interview and part we had WHITNEY HOUSTON with our tribute to Whitney Houstthe space, we have included it on , wh o was un major influence to the lad 32 EVENT REVIEWS ies of Soul that have foll doubtedly a owed her.

We have a few compet 36 WHAT’S GOIN’ ON? itions for you and will hav weekly email over the com e more on our 39 SOUL RADIO you have a great chance ing weeks, and as long as you enter, of winning!

Lastly, please don’t forget to your door along with that if you would like this magazine sent to do is complete the forour ‘Members Only’ issue, all you have with your £25. Simple! m on the opposite page and send it in Thank you to all those who have contributed Maybe we will see you at the next event..... by sending in adverts, reviews, photos, Anna & Fitzroy articles, listings and The Soul Survivors emails; we can’t do this without you.

CUT OFF DATE FO R May Members Issue: 2/4/12 June/July Issue: 30 /4/12 The Soul Survivors

PO Box 377, West Malling, ME6 9DQ 01732 844246 PRINTED BY SCARBUTTS All adverts are placed in good faith and The Soul Survivors take no responsibility for any issues arising from the use of those who have advertised. All dates are correct at time of going to print - please check with venue or promoter if unsure.

All rights reserved 2008 Copyright The Soul Survivors Magazine

For adverts, events and reviews contact Anna anna@thesoulsurvivors.co.uk or 07939 248983 facebook.com/AnnaMarshallSoulSurvivors twitter.com/SoulSurvivors1 http://uk.linkedin.com/in/annamarshall1 Record reviews and interviews contact Fitzroy fitzroy@thesoulsurvivors.co.uk or 07956 312931 Facebook: Fitzroy Facey (Da Buzzboy) www.thesoulsurvivors.co.uk www.facebook.com/TheSoulSurvivors www.myspace.com/thesoulsurvivorsmag

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GWEN McCREA

SPEAKS TO FITZROY

Without question, one of the pioneering 60’s bold soul sisters with impassioned true grit vocals that vibrate through your spirit, is Gwen McCrae. Her songs on Cat Records include Rocking Chair, 90% Of Me Is You and All this Love I’m Giving, alongside her Atlantic catalogue Funky Sensation, Keep The Fire Burning and Doin It are universal folk law soul anthems.

Her journey has been as rough as it has smooth but her Pentecostal gospel roots have kept her grounded and she continues to multitask as a mother, a performer and a preacher. Always looking forward, I spoke with Gwen ahead of her appearance for the Happy Days festival in June 2012.

You’ve been making records from the year before I was born, as far back as 1963. How did you liaise with Betty Wright and the Stone Alston label in 1967 where you stayed for another 12 years till your 1979 departure?

It was a long time ago and I have vague memories of it as I tend to move on and concentrate on what I’ve achieved since I left. Betty Wright is like a sister to me, she was born on the 21st December 1953 and I was born on the 22nd December 1943, 10 years apart, so you can imagine the heat with us both being Sagittarius. It was hot between the vocals and the records, she was there before I was and I just came in to do what I had to do as did she, and we just moved on in our careers.

Your voice is one that is uniquely distinctive, yet similar to the female JB’s trio of Lyn Collins, Marva Whitney and Vicky Anderson. It retains the pain and emotion of what you sing.

How would you describe how you sing?

I take no credit for that as I owe it to god, as when he blessed me with the talent he put the anointing inside of the vocals so when I sing it’ll do what it did to you, so you can feel, touch and never forget it. With its longevity and blessing I’m glad that I can reach people like that and I enjoy singing to all my fans.

Although you said it’s a gift from god, was there anyone you admired that shaped your vocal style?

Not my vocals, but to sing secular music it was Aretha 04 www.thesoulsurvivors.co.uk

Franklin, James Cleveland, Elvis Presley, The OJays and my mother as she had me in church, and as a child I wanted to be a professional singer but I didn’t know how to do it but the lord guided me in the right direction so I could shine. It showed my talent to the world, so if he could do it for me he could do it for them too. It really wasn’t no big deal for me but I was blessed and fortunate enough to get out there.

Your first self titled 1974 Cat album and 2nd album Rocking Chair in 75 was released and it would be around 10-12 years later that 90% of Me Is You would reach a new discovering soul fan base here in the UK. At the height of our rare groove and underground warehouse arena your albums were going for big money. What’s the significance of those Miami sound and recording sessions with the talented Latimore, Betty Wright, Willie Beaver Hale,Timmy Thomas, HW Casey and Clarence Reid?

It was great and a stepping stone of things to come. It was joyful and had some sorrow but also happiness, but it was hard work for me getting where I had to go. I achieved more doing that than worrying and biting my finger nails wondering what was going on as I had that get up and go.

It was fun and Henry Stone who thought the world of me, allowed me to do what I do. I was the only female on his Cat label and Beaver came later. We were a family and had our sibling rivalries, not a lot though like some people who get too carried away. We respected each other’s talent with love and kept things strictly as a business.

The record that became an underground then overground anthem in the mid to late 80’s, again endured much more attention from it’s 1979 album release, Melody of Life, which is All This Love I’m Givin’. That record’s funk template and production does not sound typical of its era but to date it still creates a massive response. Do you have memories on what you thought after the recording session and that years later it would be so mammoth an anthem?

I really did like it and agree that it wasn’t a typical sound of the time. Betty Wright wanted to do an album on me and that was one she’d written for me. It did nothing in the States and I was surprised how it was received in Europe when I came for the first time. She wrote it especially just for me, Gwen McCrea, and it showed I was versatile and could change from one cloud to another like a red to a blue cloud to a green cloud. I have so many international colours in my vocals that I was anointed and blessed with and not everyone has that. That makes me very unique that I can change in the midst of a river or an ocean and they’ll know it’s still me.

How was the transition from moving from TK to Atlantic Records?

It was pretty smooth as I had my mind made up to move on and step into other waters as I’d done my time at TK. I gave Atlantic a call and they said yeah and opened the door as they heard me and knew I could deliver, so it was no problem. When I left TK I said adios amigo (lol) and I really do thank them for my time there but I had to go and spread my wings.

Funky Sensation was from your 1981 debut on Atlantic and became yet another anthem for you, with your familiar female JB grunts in tow. This became the backbone inspiration of the West End Classic Heartbeat by Taana Gardner where Dennis Weeden and Kenton Nix were involved in both productions.

I’ve always had the grunts since day one, Glady’s Knight picked that up from me and it’s the soul inside of me, it comes from within, like from the church, and when I feel it Uhhmmm ..it feels good ...whooooo...I can’t explain it. Last Sunday in church we had a communion and I sang this song oh my goodness “They hung him on the cross, I knew it was the blood” and the whole church was up on their feet for 20 minutes... praising the lord it was awesome (wicked). It was wicked baby it was sooo wicked ..you knew that Jesus and God was there... Oh My God... we were just elevating into heaven going amongst the clouds..they danced for 20 minutes Uhhmm!!

What was it like to work with the new musicians at Atlantic.

How was that transition?

That was awesome...that was fun...shoooo.... are you serious?..We worked like we’d been working forever, we were not strangers.

Your second and last Atlantic, the On My Way album, had your co-written Hang In, Keep The Fire Burning and my fave Doin’ It, both written by Motown’s Willie Hutch.

Yeah I like Doin’ It too and Willie wrote those especially for me. On the way to record that album I wrote Hang In on the plane to California. I’m not a writer but I know what I want and all the musicians, Nate on the bass, Webster Lewis and the singers helped me write it, and put it into perspective like a real writer can and deliver it that way. And I liked it... and I Doin’ It. I really loved that song.

That album featured Paulino D’Costa, Fred Wesley and Michael Wycoff giving it up. What was it like to work with them and both Webster Lewis and Willie Hutch who are sadly no longer with us?

It was a great experience and in this walk of my life I meet no strangers, but if people act unfriendly I break the ice as I come to do a job and I do it very well. I have no time to babysit people and they end up loving me anyway so it’s about using my vocals and doing what I do best.

What were you doing between the last 82 album and 1996 when you did Girlfriends Boyfriend?

I took a break as I had other things to do in life. I had to get off that cycle. I went to nursing school but did a few things over the years as they’d call me in Europe from time to time.

In 2006 Henry Stone decided to relive the famous TK/Cat era by asking you to sing some of its famous catalogue. You mastered every song covered, apart from your own, including Clean Up Woman, Jazz Freak, Party Down and Misty Blue like you did it originally. What was it like to relive some of those Miami classics with some of the original musicians as it sounds wonderful 20 years later?

It was cool and another point to prove I could do anything with the christ that lives within me. I live for good and to make things right and satisfy my people, because they love me and I sing because they’re crazy about me and I want them to remember and never forget me. I want them to think “Oh that Gwen McCrae, I loved her so much” as I love to be loved..I couldn't get it through man or woman, so I can get it through the world, you know what I mean?

It was good to see Latimore, Timmy Thomas and Clarence with his crazy self. We’re all doing good on the other side of our previous collaborations in the 70‘s. To sing with Latimore, I’d never think that would happen, so you never know what the future has in store for you. I try to tell young people to strive for the gusto and strive for perfection as god has a plan for you, whether you become the president, a singer, a writer or a dj and you’re great at it, god will create a space for you to make a living.

There were so many amazing singers in the 1960 & 70’s and you all had great careers. It was especially a great time for black female singers. Some would have experience, the racism and prejudice ..did you?

I didn’t experience that as I was on a different ladder. My thing was more of a white audience than black who loved me..don’t get me wrong blacks love me too, not like whites who loved that aura about me, that stage presence and the finesse. I have class and integrity when I perform, there are no nasty elements and they can bring their children to see me and know they’ll get a good show. I don't curse like some artists, even some of the women do it... but not me.

Simply because the spiritual part of me wouldn't allow it.

When I first started out I tried the “socking it to them 100 times lyrics” but my talent was good enough and I didn't need to do all of that.

Our mutual contact, Colin B, informs me that you are now a Pentecostal preacher having had a pentecostal upbringing.

How are you balancing your calling to god and your calling to music? www.thesoulsurvivors.co.uk

05

I’ve always been an evangelist and I’ll tell you how I balance it. I always wanted to do gospel but the lord had a plan for me all over the world. He made plans for me to witness things and to understand and tell people that they need to change their lives. My job is to tell them and what ever it takes, god will send me to them to speak the word.

I don’t get crazy and preach but just talk about what’s appropriate and they do listen.

How is it performing in the UK and Europe to America?

I know.. but I used to get upset and angry and had so much hurt. Not so much hate but it had to be hate, if it wasn't love and I didn't like what he had done. But I put it behind me and asked god to help me remove that. But some of this stuff that men and women are going through, it’s like cancer, it will eat you up and kill you and you will die. I say pray and give it up, as they are doing their own thing and not thinking about you and you still got a grudge..That’s just kinda dumb as I discovered. Let it go the lord said to me as I can’t bless you spiritually if you don’t let it go.

I don’t perform in USA anymore and that’s why I love the UK, it’s my home and I love it the most. I love my people more as they love me and never turn their back on me and lift me high. And you should never turn your back on people who show you that love.

May I say with your integrity I recognise your professionalism in how you performed that album, irrespective of what was going on at the time.

It’s known to me that you don’t like to speak of your relationship with George McCrea but before you parted company you both sang duets on the 1975 Together album co-written with some excellent titles I’ll Do The Rockin, Home Sick Love Sick, The Rub, Let Your Love Do The Talkin’ and a fave of mine, Mechanical Body on Cat records. How successful was that album?

What can we expect at the Happy Days event in June. Any new material?

It wasn't...not at all...No...ha ha... I don’t like talking about the past as you cannot continue to look back as you can’t get ahead.

Thank you so kindly. Keep looking up and remember god loves you.

I hear that but those who love and respect your work want to know about your history.

Thank you and Mechanical Body is a very nice song.

Oh I’m so excited to be working with Soul II Soul, Jocelyn Brown, that’s my girl, and Billy Ocean, D Train and Colonel Abrahams...Oh My Goodness. I’ll just be sticking with my guns and doing my classics because of the stage time.

Thanks for your time Gwen see ya in June.

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by Next. ‘OMG’, dropped it right NOW’. And he t to at her barbed commen t Star’. The crowd are loving it. this club if the DJ er if you have a sixth sense. Nompo and he selects ‘Brightesproaches the decks. ‘Have you You start to wond is cueing up and he drops the tesion’, A well dressed man ap ne?’. ‘This is Drizabone’ the DJ worry, the next DJ his set with the classic ’Body Fu h for got anything by Drizabo lexed. There is a pause as the tenfold by startinge ringing and before you can reac bby replies, somewhat perp and politely says ‘Well, not this you hear a phon e unmistakable sound of Booaks punter stares at the DJ your mobile th Could You Break My Heart’ cre you one, the other one’. afening as they n’t DJ’s head are de e Womack’s ‘How d system and you start to feel lik rves th in s ice vo m e hi that he does through the soun ’Groundhog Day’. If memory seical to Thream ‘Tell him to f**k off! Tell d the DJ resists the are on the set of ic being played is almost ident visit. sc ow what he’s talking about’ anroat and batter him kn ilst guy by the th you right, the musheard three months prior to this ge to grab the with the Soulpersona album whyou u ur yo n in tio e lec els se e ing th yth ad an is he th e ve th ha ’s nd to listen e so called DJ rough arou a ue 39. ‘take WTF! Don’t thes think. So you make your way th mime spitting be continued in iss to u u … yo ’ …

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-up change it up, an ht and the warm ginning of the nigThe club is filling out be e th to nd wi Re e end of his set. ready DJ is coming to thof an expected 500+ crowd al 0 26 th nicely wi 08 www.thesoulsurvivors.co.uk

PETER ROBINSON CELEBRATES 20 YEARS OF DOME RECORDS From his earlier teenage entrepreneur beginnings promoting charity gigs at his local Brighton Dome, Peter Robinson explored the media world via journalism and, like Chic, eventually became totally lost in music. He worked for 20 years for a few major record labels and then formed his own independent label Dome records who are now celebrating their own 20 years. This is an interesting insight, via Peter’s personal knowledge and experience, into the triumphs and struggles of how the music industry has changed since the 1970’s.

You listened regularly as a 60’s teenager to a European specialist show, saw Ray Charles at 14 and reviewed music for three local papers. With with your friend John Leigh, you co-promoted Georgie Fame, Julie Driscoll and Brian Auger concerts at the Brighton Dome. If ever there was a clue in your future destiny, it was a stones throw away and within that venue’s name (Peter chuckles). How do you recall that innocent oblivion now that you are head honcho of your own millennium Brighton influenced Dome?

You never have any idea when you’re young what path your career is gonna take. I always intended to be a journalist but got sidetracked quite early into promoting shows, which were primarily done for charities whom I used to write about. John and I were part of the charity committees so we decided to start doing the shows commercially, even though we both had full time jobs. I was doing journalism in Brighton and London and John ended up being UK head of National Car Rental and Alamo. Even though I had no aspirations of being in the music industry or to become a promoter, but enjoyed the thrill of booking an act, doing the advertising, promotions and seeing the people turn up and, of course, enjoying the show. I booked acts that I liked personally and wanted to see live. I worked in London for the first time on a music trade paper aimed at record shops and people in the music industry. Through meeting lots of people I met David Howells, head of A&R and Marketing at MCA who hired me to do press and PR for MCA. I thought about it long and hard before I accepted the post and felt it was the right thing to do, although I was sad not pursuing my 10 www.thesoulsurvivors.co.uk

journalist side. I did a stint on Radio 1‘s Scene and Heard, where every other week I’d interview or do a voice piece about some kind of music news. But it would have been a conflict of interest to do both, so I started with MCA in 1971.

To think that 20 years later I’d start my own company and now 40 years in the industry, half with majors and half as an independent label owner, it’s quite staggering, but I do still enjoy it.

How do you leap from a PR and press post at MCA to you clocking up air miles in the future with ABBA and KC & The Sunshine Band in the mid 1970’s?

I spent 6 years at MCA initially doing press, then became the marketing manager working on new releases. Then for 3 years MCA was hooked up with EMI and during that time I became the manger of a small office and started going to the States. I remember taking some journalists from NME and Melody Maker to Madison Square Gardens in 1972 to review Osibisa who were opening for Ike & Tina Turner. I then went to MCA’s Los Angeles office and was offered a job, but declined as I would have missed my cricket too much in the summer. In 1976 I was approached to go to CBS in an international role, which is where I learnt the bulk of what I know of the industry. It was a very well run company and the boss at the time taught me so much. I did a lot of travelling as my job consisted of convincing the foreign CBS companies to get behind and support British acts, like The Clash, Tina Charles, Shaking Stevens and The Nolans. But we were responsible for deciding which worldwide CBS recordings we would release in the UK.

I travelled to Japan, America and Australia and in Europe. I’d go to conventions where a lot of acts would perform for the staff. I saw some incredible shows in America where EWF, Boz Scaggs, Toto and Johnny Mathis would perform. I was fortunate to be at CBS when black music and the disco boom was at its height. As you well know there were things on Columbia, Epic, Philly International, Tabu And Prelude which I was personally involved in. We had some Salsoul and TK, where I met with Henry Stone and KC & The Sunshine Band and Bob James’s label Tappan Zee. Many of the great records were not particularly successful but I just loved them on a personal level, like Bobby Womack or Ned Doheny’s To Prove My Love.

One real thrill I had, but cannot claim all the credit for, was Harold Melvin & the Bluenotes Don’t Leave Me This Way. Me and another guy in the office managed to sneak it out just ahead of Thelma Houston’s cover on Motown. They didn’t realise we were gonna do that and we went head to head, both relaeses did well but I think we did better. It was originally on the Bluenotes album but wasn’t released as a single in the USA, so that was a nice moment. It was a really golden period and I remember going to conventions and hearing our rep play for the first time Too Much Too Little Too Late by Johnny Mathis and Denise Williams and knowing it was gonna be a monster. When I first heard Luther’s album I thought it was wonderful and liked every song. At the point I left CBS he hadn’t really hit big but over the next few years they re released it and it went big. I remember Ron Weissman, who was managing Michael Jackson in the late 70’s - early 80’s, and his partner Freddie Deman, who later managed Madonna. Ron asked me to LA to see the Jackson at the Forum in 1979 around the time of Shake Your Body Down To The Ground. The plan was for me to lay down some foundations for Michael’s Off The Wall album which no one knew about yet. Obviously I came back and enthused about the album and everyone’s jaws dropped. At the time we had Abba, who were the biggest selling act on CBS, on Epic but signed to different labels around the world, and everyone was used to selling thousands of their stock. One person in a meeting said you realise this MJ album could be as big as Abba and we were quite dubious as it was a very bold statement. It proved to be an understatement as it was overwhelming, a brilliant album and because people had been conditioned to having heard the Jacksons on CBS Epic since 1976, with the early 2 produced by Gamble & Huff and not setting the world on fire. They had a couple of hits, Show Me The Way To Go, Enjoy Yourself and Dreamer and Blame It On The Sunshine but Off The Wall took it to another level.

When did you leave CBS? I left in 1983. I was there for 7 years, then I went to RCA as Head Of UK A&R where I signed a lot of British acts. I did a bit at MCA where I did a little bit of UK A&R, including 2 albums for Tony Christie. I worked with a few variety acts at RCA, Klan Ad the Irish folk group, I took Chess, Tim Rice’s Abba themed musical which had Elaine Paige and Barbara Dickson’s number one hit to RCA. My three major successes were Five Star, Rick Astley and Fairground Attraction, who did Perfect.

By 1992 you decided to strike out on your own, creating a musical 12 www.thesoulsurvivors.co.uk

platform for your never decreasing love for black music... the Dome empire. Even though you had the experience of working within major labels, how scary was it to start an independent one?

Initially Dome’s first three years were funded by EMI and we had a partnership going so that phase wasn't that different. It was different in the sense that it was my label and my acts but the money we had to spend and the marketing was the same.

We had more chart success in those three years than we’ve had since then with Lulu, Sinclair and Richard Derbyshire. In 1994-95 when we split with EMI we went down the independent route and life changed. The availability of funds and my approach had to change to adapt to being a fully independent structure. We had a staff of about four people and in 1995 we worked heavily on Beverley Knight to make that project work, and what has helped us to stick around for our 20 years and build our good reputation, is how we manage our budgets and being careful in signing, promoting and making records. If we’d been overly ambitious we may have gone the way other independents have suffered, chasing after hits when the record doesn't perform as expected, with a lot of bills and overheads and you’re out of the game. One thing I had to do after 20 years of working with majors was to re-learn making a record for a particular figure to making it last a whole year’s budget. The scale had to come down but the principles of signing a quality artist of major label standard was always paramount.

The first signing was the legendary bonnie scots singer/actress Lulu, who recorded Al Johnson’s duet with Jean Carne, I’m Back For More, with an enthusiastic Bobby Womack. What was the reaction of both Bobby and Lulu when you made that suggestion?

Well Lulu understood my approach to the album as I loved the album she recorded at Muscle Shoals in 1969 for Atlantic and it was a very soulful album. I wanted to bring that soulfulness back out as she was doing a lot of middle of the road songs.

She was trying to perpetuate her career as an all round entertainer and I suggested making a soulful album. This eventually gave her the confidence a few years later to Lulu writing I Don’t Wanna Fight for Tina Turner. I chose the songs and reached out to get Bobby Womack, who questioned if it was the Lulu from the film To Sir With Love. British people don’t realise how big that song was in America and was at number one for 7 weeks. People of a certain age remember the teenage Lulu with Sidney Poitier in the film, as in Britain it was a B side. I wasn’t surprised at his reaction, he did his part in LA with the producer Errol Henry and Lulu did her’s here. We shot the video in LA with the two of them together.

How was Lulu’s reaction?

She was really pleased and for her it was a challenge and she went through a similar experience with Take That, singing the late Loletta Holloway’s part on Relight My Fire. Anyone in their right mind would not want to take that on but in her own way she carried it off. Lulu and Bobby gelled fine and it’s the only time Bobby Womack’s been in the top 30 ever, which is kinda sad from a British public buying point of view, considering the great material he’s done.

By 1994 you came across, incidentally via Sinclair doing a gig in the midlands, the west country’s up and coming answer to Mica Paris, Ms Beverley Knight MBE. Although she was studying at university you waited till she finished and helped launch her to become the recognised national treasure she’s become.

I know from our interview with Bev and your own admission, that towards the end legal issues complicated the relationship.

How important was the marriage in helping to put each other on the map?

I became aware of Beverley from 2 sources. I had a writer called Wesley Jones from Wolverhampton, who was great at sourcing good singers, and one was Beverley, who’d sung on some of his demo’s, which I heard and liked her voice. The other was when Sinclair did the Wolverhampton gig and he advised us of her. She came down and did an audition and I was impressed and we signed her in 1994 whilst she was still studying. She’d come down in her spare time and do writing sessions. Initially we did Flavour Of The Old School with Neville Tomlinson and 2B3 at Brixton with the ballad Promise You Forever as a contrasting track. I knew we had a hit with Flavour when I heard the demo as it was freshly put together and Bev’s delivery was great. What’s strangely bizarre is we were coming to the end of our distribution deal with EMI and we hadn't decided on any new distributers and on the street there was a lot of demand for Flavour Of The Old School.

Shops were phoning us up asking for 50 copies and it was mental but we had a quantity of white labels and managed to sell them. It took a while for that to be released and it wasn't until Beverley performed the song live for the first time in November at a Black Music Awards in Wembley, before the MOBO’s started, and it took till April the following year for it to be released. Bev was travelling regularly to France and it reached the top 40 after getting on Radio 1’s play list. We were still recording the album also and it was quite a hard year breaking that record as we spent 95% of the year making the exceptional B Funk album.

Similar to Ralph Tee’s Expansion label, you were slowly but surely building the Dome empire and cross pollinating well and unknown UK European and USA artists developments. With all your previous major label experience, what”s the contrast in dealing with some who’ve either cross the leaving or aspiring to be part of a major label?

Truthfully the first 10 years of Dome where largely about British artists and making records with them from scratch and releasing them around the world. The 2nd phase happened, not by design, when in 2000 we put out the Dennis Taylor album followed by Darwin Hobbs. To continue making dealing with UK artists and not look at the options of the licensing American artist’s albums to get a better balance was not the option. Many of the USA artists have had us as their first port of call, like Dennis Taylor, whom I first heard on Choice FM, then we did three albums with him. With Cooly’s Box on Purpose Records, we managed to land Angela Johnson, who’s now on her 5th Dome album later this year. Christian Urich ended up, also from Cooly’s Box, forming Tortured Soul and we have incorporated UK acts like Don E, Beverlei Brown, James Taylor, as well as Gordon Chambers, Eric Roberson and Conya Doss Stateside. We have Incognito on their 6th album also, but we do a lot more of American albums as we get many deal offers from there. I do cherry-pick, like I used to in my major days, as the standard has to be of quality. The ones I don’t sign probably end up on outlets like CD baby.

Do you have a personal dream signing?

My dream signing was Brenda Russell as I always liked her, I had a chance to sign her in the 90’s but her manager’s financial expectation was not within our budget. Her new manager contacted me after her Hidden Beach album and we had the idea of doing half the album over here, with some smooth jazz and ballad that she’s known for, with some soulful grooves that she’d had in her previous albums. Bluey, Victor from Hill St Soul and Simon Law worked on the Between The Sun And The Moon album and it was licensed to EMI in America. She was happy with it and it’s by no means her biggest selling album but it’s a fans favourite. We continue to use tracks from

the album for licensing and I’m glad that my dream of bringing her over later this year in April in our 20th year looks like it’s coming true. It was supposed to happen before when we did the album but with her multitasking, doing the Color Purple that took up a lot of time. In fact that did constrain us somewhat and we had to compromise slightly recording the album, and we didn't have the availability we hoped for due to the time commitments of the broadway show. She had a bout of illness and wasn't touring but I’m pleased she’s gonna be here live in concert in April and we are optimistic it will sell well.

Of all your signings, apart from Eric Roberson, Angela Johnson and a select few, probably the most consistently prolific and well travelled signing is Incognito. With his stable of talent, Bluey has cornered the market that seems to bring the revenue into Dome. I think they are more popular now from their Talking Loud background and they fill venues ...did you know the relationship would last this long?

No. As we were approached by Bluey’s manager in 2003 after Bluey had already made the Who Needs Love album and decided he would make records himself rather than sign to a label, and was looking for homes in different countries. We have increased since then releasing his albums in various countries for him. But he has deals all over, including in Japan, Canada and Germany but we have a close relationship, as the albums are recorded here in the UK. I’ve just been listening to rough demos of the new album which is being released around April and it sounds exciting with a different vocal line up. It features Maysa and debuting Natalie Williams and a new German vocalist, Mo Brandis, who’s young and in his 20’s. It has one 70’s cover and the rest is new material.

Being honest, I cannot claim to know and like all of Dome’s catalogue, but I will say this, it has a quality that if you don’t get it the first time, it certainly will grow on you. Your triple celebratory cd proves that. Another added dimension to Dome’s repertoire is the remixes and transformations of many tunes from Joey Negro, Reel People, and a favourite of mine, Yam Who’s remix of Incognito's Show Me Love. What kind of elimination process did you go through to select the final 50?

When I was going through the mastering process of doing this album and I listened to the first CD we ever did, it reminded me of how good the album was. I’d like to think where we cherry picked out of our catalogue that there is something for everyone. The 3rd CD has unreleased remixes and jingles from when we first started, from DJ’s like Kirk Anthony and Mike G on Choice who helped to promote us in the very early days.

Thank you for mentioning myself and Anna in your thanks list, it did please me greatly.

Your welcome. We had a nightmare doing it as it’s easy to forget people.

Thanks. Glad we finally did this in a year where we have three major things to celebrate.

Thanks Fitzroy

COMPETITIONS For a chance of winning 2 tickets for We Love Soul on Sunday the 6th May, answer this question: How many rooms does We Love Soul @ Hidden have - 2,3 or 4?

For a chance of winning 2 tickets to the Happy Days Festival where Gwen McCrae is appearing in June, answer this question: Which is not one of her songs? a) Funky Sensation b) Can You Handle It c) All This Love I'm Giving?

(Replies to be in by 30th April, via email, text or snail mail)

The Soul Survivors Radio Shows with Fitzroy da Buzzboy

Where you can find Fitzroy and a bundle of mags!

Every Thursday 6-9pm

Mondays 4-6pm

Sunday 5-7pm Bi-weekly

14 www.thesoulsurvivors.co.uk

8 April - We Love Soul @ Hidden SE11 21 April - Freeness meets Soul Network Reading Berkshire 28 April - Soul Network with Melba Moore @ Revolution EC3 29 April - Melba Moore @ Jazz Cafe NW1 6 May - We Love Soul @ Hidden SE11 10-18 May- Soul In The Algarve Alvor Portugal 19 May - Funky Sensation @ Ronnie Scotts, W1 20 May - Celebrate Life @ Ministry Of Sound, SE1 3 June - We Love Soul @ Hidden SE11 14 July - Mansion Party Bristol 18 July - Cameo @ Jazz Cafe NW1

t r ta S p m Ju

S D R O W with Ginger Tony

“Exciting or what...”

I’ve said it many a time, but there’s not much more excitement to be had than the arrival of a new album from Club Des Belugas. Their 6th studio album “Forward” is another outstanding collection of NuJazz, Electro-Swing and Downtempo Lounge Grooves. Featuring no less than 8 very talented vocalists (including “Jump Start” favourites Iain MacKenzie, Bajka, Jen Kearney and the ever-incredible Brenda Boykin) across 16 tracks, there’s no let up in quality and this sits very comfortably next to their previous outings. So if you loved those, then you’ll be needing this too!

Once again Monday Michiru is the cause of much anticipation in my home, with the news announced that her latest project “Soulception” is just around the corner. Completely acoustic and promising “a new direction”, the album is set for release on Adventure Music early summer. And for those lucky enough to be around, there’s a tour of Japan at the start of June.

This brings me nicely to what could have album of the year written all over it. “Look Around The Corner” brings together 2 of the most talented people you’re likely to come across. Musician/Producer DJ Quantic has teamed up with Tru Thoughts stable mate Singer/Songwriter Alice Russell to create an album that blends Soul & Blues with touches of Folk & Gospel and with The Combo Barbaro adding to the mix, this is one to keep an eye out for. If that’s whet your appetite, then check out the epic title track which is out now and already receiving airplay on BBC 6Music and many other radio stations.

towers.lol) include the latin-dancer “Mambosonic”

by Funkyloco. Hailing from Argentina, it’s a gloriously familiar sample over a rolling bassline and has summer written all over it. Check it out on the “Goin’ Down Like Mambo” EP on Maracuja Records.

Swamp Donkey’s “Hold On Me” has been causing random rhythmic movements wherever I’ve dropped it. Outrageously cool, loaded with funky guitar riffs and a vocal reminiscent of a block party rarity, it comes with the GT seal of approval! Without doubt one of my tracks of the year (already??? And yes I know it was made last year! Lol) is Maylee Todds’ “Heiroglyphics” on Do Right! Music. Almost Acid Jazz in style, it’s a genuine grower from a very talented lady. Check out the Youtube video recorded on what looks like a roof garden/patio, it showcases Maylee and her band doing what music should always be about – having fun.

“Thank you!”

Some of you may be aware of a certain compilation “Jump Start Music 3” that’s been out for a wee while.

I just wanted to say thanks to everyone who’s bought, played and enjoyed the latest in the “Jump Start” compilation series. As I write this we’re currently riding high in Solar’s “Sweet Rhythms Chart”, so thanks to you all and if you’re yet to pick up the new addition, then get yourself onto Amazon, Crazy Beat, Soul Brother and many others stockists of fine music.

Ciao for now.

GT x

Around about now “One Way:Remixes & Rarities” from Lack Of Afro should be in the shops. Brought to you by the ever-wonderful Freestyle Records, it’s a 2CD set featuring a mammoth 27 tracks including the never-before-released “Daddy Brings His Game”.

Essential is the word that springs to mind.

Asides from all the wonderful albums out now, there are some rather dapper singles floating about too.

Current faves on a Saturday morning (and at GT

'Jump Start' Saturdays 8 till 10am. www.solarradio.com Sky Digital channel 0129 www.soulfunkandjazz.com/playlist.html www.myspace.com/djgingertony 16 www.thesoulsurvivors.co.uk

FITZROY TALKS TO

DAVID NATHAN Passion, drive and dedication drove a young west London teenaged David Nathan to become one of the most recognised names in the soul world, even if you didn’t know what he looked like. David created a 1960’s fan’s appreciation society for a then relatively unknown 60’s icon, to running a pioneering record shop and working for the institutional Blues & Soul magazine in the early 1970’s. By 1975 he became the linchpin between the USA and the UK as he corresponded with the major black music champions as they were breaking their over and underground successes. Journalist, music authority, author and a charismatic soul fan, read on to see what makes David Nathan’s soul clock keep ticking.

You, like me, are married to music and ‘quote’ becoming enticed in your passion of black music after noticing the acknowledgments from the Beatles albums of whose songs they covered. How was that revelation when you heard the originals in their rough rugged and raw soul state?

You’re talking about songs like Please Mr Postman by The Marvelettes and You Really Got A Hold On Me by The Miracles that were covered, and I was struck by the difference, not taking anything away from The Beatles who did the best that they could in replicating their covers but the originals were pretty amazing.

What was your fascination with Nina Simone and how old were you when you started the appreciation fan club, reputedly the first Nina Simone one?

I first heard Nina Simone when I worked for pocket money in a record shop whilst attending Kilburn Grammar School. Dionne Warwick mentioned Nina in an interview as her favourite artist at the time, which was 1964. So through 18 www.thesoulsurvivors.co.uk

my curiosity I asked the record shop where I worked if we had any Nina Simone, whom I though was French, and we had one album, Nina Simone At Town Hall. As I listened in one of the booths my eyes started to well up as I felt this emotion in her voice, listening to Black Is The Colour Of My True Loves Hair. She then released Don’t Let Me Be Misunderstood, covered by Eric Burdon & The Animals and at the time a lot of the R&B fans belonged to fan clubs.

I joined Dionne Warwick’s club, my favourite singer, and met many fans of other artists. So to be part of the in crowd I wanted to have my own and decided upon an appreciation society for Nina Simone because of the kind of artist she was. I got information from her record company and wrote to her manager, who was her husband at the time. They were thrilled, as Nina hadn’t been over to the UK and loved the interest.

You just said you worked in a record shop in north west London, is that where you grew up?

I was born in Stoke Newington and moved to Kilburn till I was 15 and then to Fulham. The record shop, whose name escapes me, I worked in was in Edgware Road near Marble Arch. Around 1965 I worked at Music Land in Willesden Lane owned by a Jamaican called Lee Gunthorpe, which was around the corner from where I lived above a fish and chips shop, as my father was the manager of the shop. Lee Gunthorpe within the Jamaican history has some name value as it was the first record shop that I knew of that imported records from Jamaica and everyone came there as the area had a healthy West Indian population. He also imported the latest American imports which was fab for me.

I interestingly had to tune my ears to the West Indian accent in order to learn and understand what they were asking for as I wasn’t used to that (lol). That was my first exposure to imports and they had a another shop in Portobello Market, which I’d work in from time to time, and I was in heaven but much to my parents disdain, as I’d spend all my money on new imports.

How did you and the late inspiring Dave Godin manage to set up and finance running the reputed first R&B soul shop outside of The USA, Soul City, in sunny Deptford SE London?

That is accurate and true and I got to meet Dave Godin through him being head of the Motown Appreciation Society, which was the guru of R&B fans to be associated with. Dave was really involved in introducing Motown to Great Britain and I was very nervous meeting him, but we struck up a friendship with common music interest. At the time Motown was paying him to run the Appreciation Society but felt as Motown was now breaking through they didn’t need his services as much so he was now in limbo work wise. Meanwhile I’d left school and went to work full time for John Menzies in Cheapside (wow I remember their shops), a newsagents that had a record department downstairs in the basement alongside the greeting cards.

Anyway, Dave knew I had experience in ordering in records and I can still picture us sitting in his living room in 1966 talking and he suggested opening a record shop. I thought ok but had concerns about getting the money. Dave knew someone who could help finance us but we still needed more. So we did this naughty thing where Dave had a magazine called Rhythm & Soul USA and we put an ad in there listing all these American imports and told people to send their money in. What we planned was to use the money to help set up the shop and then get the records in and send them out. We didn’t want to keep people’s money and after a few months I ended up taking the calls for them requesting things like Major Lances greatest hits and I had to say we were waiting on the shipment. For the record, eventually when we got the shop in Deptford we did fulfil the orders and refunded to those who wanted their money back. Dave found the premises, as he lived in Bexleyheath and I’ve been back to the shop premises, 21 Deptford High Street, when I moved back from The USA and it’s now actually an African Hair Salon. (wow) When did it later relocate to Monmouth Street in the City?

We actually had a mysterious burglary and with the insurance money we moved, which was good for us as it was more central and made a big difference, being more accessible. Even though we sold UK releases we were known for our imports as we got our stock directly from Mr & Mrs Shapiro in Florida who sent R&B stuff and thrown in new things that weren't even in Billboard with our order. We’d get these bits and sell them quickly and had that reputation. Saturdays were like a madhouse with people coming

from Scotland and the north of England just to come to Soul City.

What inroads had you made that led to you starting the Soul City Label in 1968 and what tracks were you licensing and releasing?

It became a natural thing. We licensed Gene Chandler’s Nothing Can Stop Me from EMI and a certain DJ, whose name escapes me, loved it so much that the next thing we knew it was in the charts. We were really blown away as we aimed primarily to serve the immediate soul community. It wasn't massive but it helped establish the label. Back then licensing was done differently and it was Dave Godin who’d deal with companies directly in America, with Epic and other independent labels. The shop ran till about 1970 and the economy forced us to close but during that time period John Abbey started Home Of The Blues around 1967 which turned into Blues & Soul. We knew John, who used to come and help us out in the shop, and we’d also sell his magazines. When Soul City closed I ended up working for Blues & Soul on their mail order service but managed to do an interview with Aretha Franklin after chatting with her on a Top Of The Pops appearance. John didn’t have a feature on her so I recalled my conversation with her and got my first article printed in Blues & Soul in August 1970 and I was very proud.

As you were already working closely with Dave Godin, give us an incite into how Blues & Soul was set up and you joining the Contempo International, who had various tentacles with the shop in Hanway Street W1?

John developed Blues and Soul where he had an office, which didn’t start at Hanway Street but somewhere near Saville Row. I remember Bob Killbourne before he became the editor painting the floors of what became Contempo before we moved in. We developed the mail order service first and like Dave Godin, John recognised my record shop experience. So I was involved in obtaining the orders for records released in Britain for Contempo’s Record shop and make sure we didn’t run out of things. The mail order was growing but the imports built the shop’s reputation.

There were others doing similar things, like Record Corner in Balham, who were massive and we competed with them, but Saturdays for us were manic. I remember me and Jeff Bennet, John Abbey and his brother Garth, hauling records boxes upstairs on a Friday night for the next day’s mad rush. I remember particularly when we’d get in copies of James Brown, who had his People label and his affiliated artists Lyn Collins, The JB’s, Bobby Byrd, Vicky Anderson, Maceo & The Macks and Marva Whitney. There were these guys from West Africa who had to buy everything associated with James Brown, and every week there was a new James Brown record out. When Marvin's What’s Going On album and Stevie’s Talking Book came out we couldn't keep them in the shop. I had an incredible time working there and was privileged to see all the excitement and movements when these tracks came out.

Although B&S was not my musical bible, I realise for many people it truly was. How exciting was it to have something like that, especially when music was evolving in various new interesting genres, and be on the pulse of its heartbeat?

Once I went to America in 1975. It did help increase the content from America, even though John was making trips to America to do interviews prior to me moving and we had good content, but being based there took things to another level, as we got the latest news as it was happening.

It was definitely the golden period of Blues and Soul between 1975-1981 when you’d get interviews with Al Jarraeu, EWF, Randy Crawford and Phyllis Hyman. Phyllis lived near me in Manhattan and when we met, she could not get over the fact I was British and that there was a UK audience who knew her. She was so fascinated of an audience outside her doorstep.

You moved to New York in 1975 after apparently making further inroads on a vacation and became the B&S representative, interviewing major black entertainers, including MJ, Diana Ross, Quincy Jones, EWF, Chaka Khan, Al Green, Smokey Robinson & Curtis Mayfield. Whom of the aforementioned was the most memorable?

The one that stands out the most is with Maurice White, where the interview took place on a plane from Los Angeles to Seattle, after a week of trying to tie EWF down during their busy schedule. The record company said it was the sure fired way to have an uninterrupted time with the band.

The conversation had a profound effect on me because we spoke of the spiritual aspects of their musical messages in songs like Keep Your Heads To The Sky and Devotion. Within the context of the interview Maurice recommended some books, which I got, and they helped change my life's view.

On your travels you have formed long lasting relationships with many artists whom have sadly passed away in recent times..namely Luther Vandross,Teena Marie and the late Whitney Houston. Of Teena, you wrote how you both being Caucasians would often share your mutual kindred passion for black music and equally your open acceptance by its culture. I value your view on this, as throughout your career, both in the USA and the UK, how you reflect on the inverse or reverse of racism that was epidemic in the initial mid 1960’s-mid 1980’s period within the music industry?

It was difficult. I’m not under any pretension that what gave me access personally was my passion and my Britishness.

If I had been a white American with the same passion, the access wouldn't have been the same. Because of the American history being run by white men and not women within the music industry, recording artists and others were understandably suspicious of a Caucasian person being that deep into the music and their agenda. Being British I wasn’t tainted with the previous history and they were fascinated that white Britons were interested in the music as they were not as aware of Black Britons. I remember when Junior Giscombe got a deal in America before his UK one, which was partly due to the fact that when he spoke as this black man his British voice fascinated the Americans. With Teena, she grew up in the neighbourhood, so it gave her the access, but for white Americans it was difficult to earn the trust. I didn’t receive any inverse or reverse racism in the industry but in 2008 in Philadelphia I did experience looks and vibes at some clubs. I remember going to see Regina Bell at a black populated club and although they didn't say anything, I felt very uncomfortable being the only white person. I’d spent all these years in the USA giving praise and support to the music and didn’t need to put up with that.

How did you view what happened to the Black artists?

It didn't surprise me from what I knew of the industry, again traditionally being run by white men and not women.

Straight up, it’s sad to say that their kind of thinking was to get rich off the white and black recording artists, who were treated like indentured slaves. They gave you an advance and you owed them your life and you never got any more money, things were un recouped and with people not getting royalties. The deals for black artists were pitiful and I’m proud of my association with the Rhythm & Blues foundation which started via one of the Atlantic artists, the late Ruth Brown going to court with the advocacy of revising artists’ past contracts. I accepted reluctantly that in America that’s how it worked with American black artists as the history was prejudice and racist but its changed now in today’s climate and technology as a lot of artists own their own material with todays.

Amongst your many accolades you were the first recipient of the Journalists Awards from The International Association AfricanAmerican Music and have written several books The Soulful Diva’s a biog with your sister Sylvia Hampton on Nina Simone and in 1985 an illustrated biog of Lionel Ritchie. How exciting was that to be commissioned to do that?

The circumstances that led to where I was in 1983, hired by Dionne Warwick to research info re her planned autobiography for 3 months. I prepared all the work and took it round to publishers in the UK and came across Virgin Books in 1984. They liked it, thought she had profile and it was well written, but felt there was no gossip within it. They asked me would I be interested in writing a book about Lionel Ritchie. I was interested and once the fee was discussed I agreed. I’d left New York and came to London for a few months and decided to relocate to Los Angeles where Lionel lived and wrote the book. I asked his management for his input but he was happy for me to go ahead without it. The book came out in 1985 when Lionel was experiencing his massive solo success after All Night Long, Hello etc.

Did you get a seal of approval from Lionel?

Yes I did years later when I interviewed him and he said he was totally happy with it and had a few copies. It’s great to be a music journalist but the fact that I became an author took me to another level...so write a book Fitzroy (LOL) You launched saoulmusic.com collating your interviews, journalist compilations and musicologist skills under one umbrella in 2005 and have just relaunched it recently. What is your aim and goals for the future of soulmusic.com who are currently re issuing old classics with Cherry Red Records?

The true story is I didn’t set out for it to become what it is.

I was promoting a book, Soulful Divas, and like most authors realised I needed to promote it through a website.

I registered www.davidnathan.com and my web designer told me that soulmusic.com was available but it was gonna cost thousands to get it from its owner. So I ended after a hard task rustling up and borrowing money, buying the domain name with the view of it being for my retirement. To start the empty site off I put some of my interviews on and then a policeman from England called Barry Towler asked me to get hold of a Japanese import of an Isley or Dionne Warwick album. www.thesoulsurvivors.co.uk 21

So I made a call and was directed to a company called Phantom who said I didn't have to do a minimum order so I bought a few things, including Jermaine Jackson’s My Name Is Jermaine, GC Cameron & Syreeta Rich Love, Poor Love, Dionne’s Love At First Sight and The Isley’s Masterpiece, and put them on the website. This took off like a business with people ordering things and eventually I couldn’t cope as I was running this from my apartment in New York. So my best friend Michael, who worked in a record shop, was free and came to help me. We separated that aspect from soulmusic.com to just The Soul Music Store and it was like working back at Contempo. At the time we used to do campaigns for record companies who had money to spend, unlike now. But eventually because companies like Amazon were pricing us out of the market we stopped. When I came back to England we concentrated on the website and then I started releasing reissues, six in total, through Ralph Tee’s Expansion. Once I came back to England I realised we needed to do more and Ralph had commitments with various projects, so pursued a deal with Cherry Red and since 2010 we’ve done 50 releases.

Our 50th is Patrice Rushen’s Patrice album (That’s my fave) that comes out in April. Looking back I’m having the best time with this as it’s like going back to working in the record shop and giving people what they want through reissues. It’s come full circle and it’s an amazing feeling, and in April we are releasing two Teena albums, Robbery and Starchild, with bonus tracks. Because of my association with Teena, helping to get her over to Britain in 2010, it’s personal. We are also releasing Cissy Houston's first album, planned long before Whitney’s passing. It’s an obscure one called Presenting Cissy Houston with her

22 www.thesoulsurvivors.co.uk

original version of Midnight Train To Georgia before Glady’s Knight’s. When I first reissued it in 1995 for a different label in America, we went to Whitney Houston to get a quote about her mum. Unfortunately it has a different significance now. Doing this reissue project is so tangible and you get people contacting and thanking you via email or Facebook, a bit like your magazine when people read your interviews, it’s like your doing a service to people.

I can identify with what you are saying.

When I look back, I do pinch myself, thinking how did this happen, cause at the time you just do what you do and I’m amazed at the opportunities I’ve had. I often laugh and have since been back in London to the fish & chip shop where I used to open the window and play the music loud into the street. I was a teenager growing up in north west London who’s later interacted with many like Luther and even Nina Simone who was unknown back then. Now a day doesn't go by that you don’t hear her music on the radio or on TV commercials. Being around Nina as an artist and an activist was captivating as her morals were so high, she fought for freedom and she was not a conformist and that impacted on my life. I was blessed to cross paths with her and she was unlike anyone else.

Although many campaigned for civil rights she was there in the front line recording things like Mississippi Goddam and received death threats.

It’s been a great trip down memory lane.

Thanks David for this, it’s been a pleasure and very educational!

Record reviews Jump Start Music 3 (Ain’t All That Records) GT 3rd Jump Start instalment is a liquorice all sorts of tasty musical soundbites, including 70’s disco strings, big band jazz bossa, latin 60’s pop soul and various house beats. 45 feat Gizelle Smith has a catchy break beat 70’s disco stringed vocal pursued by the Baker Bro’s catchy and funky Snap Back. The 60’s pop soul is covered amiably by Kraak & Smaak’s Call Up To Heaven, Smooth & Turrells Ceelo styled Slow Down and a slow bossa Jazz groove Lay It On The Line from Nick Pride & The Pimptones. Check the vocal scat, crooning, sax and trumpet presence, on modern jazz dancer’s Light & Star, Warm Bath Eyes and Havana Jazz Dance. Circle Of Funk Missoles and Zano’s jazzy afro and 4 floor house conundrums end the album on an upbeat vibe.

Ramsey Lewis Funky Serenity & Salongo R2 Great to have this digitally remastered R2 Classic Series featuring Ramsey Lewis’s Funky Serenity and Salongo albums. Funky Serenity’s experimental electric jazz rock fusion with Cleveland Eaton’s upright bass expertise, Ramsey with Wurlitizer, Electric Piano and Fender Rhodes plays his own compositions and a few famous covers. Kufanya Mapenzi sets the futuristic tone as does the downtempo If Loving You Is Wrong, I Don’t Want To Be Right.

What It Is sounds like a cross between Wade On Water and JB’s Funky Drummer on a roll.

Covering Nights In White Satin with Ed Greens haunting violin skills, Betcha By Golly Wow and Where Is The Love all uniquely, you understand why Ramsey is still a well revered pianist.Worth checking is a space funked Dreams. Salongo’s opening jazz dance title Slick still excites me upon hearing it to this day.

Produced by Charles Stepney, EWF’s Maurice White and Jerry Peters with plenty of African influences, the albums funkiest vocoder cut Aufu Oodu later inspired the bad boy Funk Fusion Band’s Can You Feel It. Ramsey gets orchestral with the late Charles Stepney on Rubato and the slightly funkier Seventh Fold. Always loved the self titled funky jazz fusion souled Salongo and the sublime collaboration with Maurice White’ s much sampled Brazilica. An excellent two for one courtesy of R2 records!!

The HeadHunters Survival Of The Fittest & Straight from The Gate R2 Herbie Hancock’s Headhunters album is a groundbreaking piece of musical history and its intrinsic musicians, including Bernie Maupin, Mike Clark, Bill Summers, Paul Jackson, Blackbird McKnight and Harvey Mason went on to produce two monumental RCA albums. Survival Of The Fittest give us 6 tracks of experimental funk rock and jazz fusion.

Here and Now is the most uptempo jazz fusion track and Mugic the most Afrocentric off beat rhythm cut. Like most of the album, Daffy’s Dance is very journalistic and funky with Bernie Maupin’s walking talking sax intertwining at every opportunity. Very similar but with BV’s from The Pointer Sisters and Paul Jackson’s lead vocals, is the deep and meaningful God Made Me Funky. The ultimate chief funk rock air guitar soloing bullet is If You Got It,You’ll Get It..truly unexplainable! Totally diverse from the first album two years later, Straight From The Gate, minus Harvey Mason, has more song vocal presence on the title track, followed by a ferocious fusion called Mayonnaise. More vocals grace the downtempo Don’t Kill Your Feelings preluding the fast and furious intricate changes of Descending Azzizzuh and Pork Soda. Between those is a mellow funky soul vocal I Remember I Made You Crazy, half of which is totally infectiously instrumental. Finishing off, The Headhunters showcase their true jazz chops on Silhouette. A major scalp for R2 records, enjoy this double pack fusion warriors!!

Greg Porter - Be Good (Motema) Greg Porter wrote 9 out of the 12 performed songs with musicians to be commended highly for their quality and deliverance. Greg's metaphoric mind instills the imagery of a live club session on Painted On Canvas and Be Good (Lions Song) and in contrast On My Way To Harlem engages some scintillating alto/tenor sax and trumpet/flugelhorn solos. At times Bill Withers’ presence through Greg's storytelling is heard on Real Good Hands,The Way You Want To Live and When Did You Learn. The joyous lyrics of Mother’s Song is injected by an uplifting jazz arrangement that unfolds within the song’s 7 minute entirety. For the straight ahead connoisseurs, Bling Bling is the fastest and most devastating jam on here with some serious scatting and a runaway Coltrane alto sax solo from Yosuke Sato. To finish Greg covers Nat Adderley’s prison inmate ode Work Song and acappellas Billie Holiday’s compelling God Bless The Child. True class!!

Gwen McCrae - Sings TK (HSM) For nearly 50 years Gwen McCrae has been one of the soul stirring songstresses with the panache and class that allows her to still be an in demand vocalist. Over 25 years after departing her legendary Cat records association, she relives with some of its original TK all stars covering 13 of its most welcomed Miami sound hits. Gwen owns Rock Ya Baby, What We Won’t Do For Love, Jazz Freak and Clean Up Woman like she sung the originals. The music retains it’s original flavour on all covers including her own Rocking Chair and 90% Of Me Is You. Gwen duets with Latimore, Timmy Thomas, David Hudson and KC (Sunshine Band) and the album is produced by the TK founder Henry Stone. If you missed out on its release in 2006 you can obtain from various outlets on the 3 w’s. Worth it like Loreal!!

24 www.thesoulsurvivors.co.uk

Esperanza Spalding - Radio Music Society (Decca) This gifted singer/composer and bassist brings a Dianne Reeves/Patrice Rushen meets Linda Evans vibe to her classical jazz soul music. The sweet vocals and soul orchestration of Radio Song and Cinnamon Tree introduce us to this brilliantly fused album. Crowned & Kissed, a song about being royal and honourable with it’s offbeat rhythm, has some complimentary medieval horn arrangements preceding Black Gold, a fitting conscious song aimed at empowering men of colour. Esperanza’s sonics and precision arrangements draws you into her musical tapestry, interpreting meticulously the 8th Wonders MJ classic I Can’t Help It. Exploring laid back jazzier dimension with her upright bass on Hold On Me with versatility, she wickedly funks it up with original vocals on Wayne Shorter’s Endangered Species. Supported by some amazing musicians, the last three songs Let Her City Of Roses and Smile Like That are equally different, as they are incredible jazz influenced compositions. Must have album!!

Cecelia Stalin - Step Like A Giant (www.ceciliastalin.com) Inspired by John Coltrane’s legacy, Sweden’s Cecelia interprets these songs with some old classic jazz, rappers, hip hop and new school beats productions and the concept works wonders from track one.Worth checking is Afro Blue, a bumping broken beat with salacious jazz vocal and scats and a Janet Lawson “So High” calibre jazz dance version of John Coltrane’s Favourite Things. Slowing it down hear the dramatic productions Quinox and Cinematic Favourite, and then the infectiously funky moog and echo chambered inserts of Booty La La bv’s on Aisha. Cecelia hits a multitude of octaves on an Erykah Badu esq Shining Star and rides three varied uptempo broken beat rhythms on One, So Blue & Green and CPW. Definitely one to watch in the future. Cecelia wrote or arranged all songs as well as producing 5 of them!! Classic future bound sounds!!

Robert Glasper Experiment - Black Radio (Blue Note) The innovative language and spirit of Hip Hop is clearly a descendant of Jazz Be Bop and within that evolution, Blue Note Records prestigious label has embraced those musical genres, artistry and productions. Incorporating his acoustic piano skills with the assistance of Erykah Badu, Lalah Hathaway, Ledisi, Mos Def and Meshell Ndegeocello, Robert Glasper’s Black Radio album is one of plenty soul jazz and hip hopping quality. Stand out cuts include Afro Blue, Cherish The Day, Gonna Be Alright and Ah Yeah feat Musiq Soulchild & Chrisette Michele. With Robert’s captivating piano playing, the penultimate track personally is the awesome drumatic 8th Wonder vocal tinged Why Do We Try featuring Mint Conditions lead singer and percussionist Stokley Williams...totally inspirational!! The title track featuring the singing and rapping wordsmith Mos Def and Bilal’s commanding featured vocal on Letter To Hermoine cement the album’s successful artist diversity.

Experimental yet expressively essential listening!!

SEND IN YOUR REVIEWS OR TRACKS FOR REVIEW TO fitzroy@thesoulsurvivors.co.uk

The Soul Survivors PO Box 377 West Malling Kent ME6 9DQ 07956 312931 (Send in early....we only have so much space!!!)

Nicci Canada Twenty Twelve (Jevenity Music) This album is a mixture of jazz soul R&B and Gospel with a nu school twist. West Virginian Nicci Canada oozes the sensuality of many musical sirens who came before her. Sexily and tantalizingly she exercises her multifaceted vocal pitches on a very well produced album. The first three tracks Attraction, Boaz and the floating Butterfly are mere taste makers of what’s to come. Nicci flips it on a social messaged Change, evoking a Syleena Johnson type vocal and later brings more razzamtaz bonus track Free and the light fantastic Love. You can imagine Nicci working the stage live with raunch upon hearing the funktastic Rivertown. The titled Twenty Twelve is a jump’n’jive acappella and scat accompanied by harmonious bv’s and the album concludes with a latino piano ditty Welcome To My World. Fabtastic!!

Princess Freesia - The Hoxxxy Demo (Digisoul) Hallmarks of an early experimental Lady T resinates on these 2005 demos, kickstarted by a boogie adaptation of Barry White’s Never Gonna Give You Up. Sensual soul is definitely part of her mantra as heard on Sexy, the rock and soul fusion delivery of Inherently Stupid and the jazzy jam of Shooting Stars & Rockets. Princess is clearly making a statement of shedding her chameleon skins tackling the 4floor house genre on Love Mistake. Mascara’s G and the Love To Love You Baby imprint of Honey D Bunny T indulges in the sexual fantasy arena further with slightly explicit language, so radio jocks be warned. My favourite is the minimal enticing 80’s arrangement and vocabulary of a seductive Love followed by Fressia’s interluded interpolation of The Isley’s Between The Sheets! A funky drummer Square Biz boogie rap flavoured Taste The Boogie is certain to grab some deserved attention also! Full of sexual feeling and healing antidotes!!

Dome 20 Years 3 CD Special Edition Box Set (Dome) I imagine this was a mission impossible to choose just 50 tracks over three CD’s reflecting one of the UK’s most successful quality independent soul labels. With a comprehensive inner sleeve booklet CD 1 features a 1993-2004 selection via Lulu & Bobby Womack’s I’m Back For More, Sinclairs’ I Want You Back, Beverley Knight’s Moving On Up, Hil Street Soul’s Until You Come Back To Me and Incognito’s Can’t Get You Out Of My Head. CD 2 2004-2010 features Brenda Russell’s gorgeous Make You Smile, George Duke & Eric Benet’s version of Superwoman, Eric Roberson and Lalah Hathaways’ Dealing and James Taylor Quartet’s Marvin cover of Got To Give It Up. CD 3 has some remixes and special edition radio drops as well as more recent releases from Rahsaan Patterson’s Silk Hurleys mix of 6AM, Tortured Soul’s Home To You, Avery Sunshine's Ugly Part Of Me(Mike Dunn remix) and Anthony David’s Live UK radio session of Spitting Game. Simply a momentous mixture of soul jazz and funk keepsake’s for those whom love the Dome groove!

High Inergy - Lovin’ Fever The Best Of High Inergy (Expansion) As the Supremes final High Energy album cemented the end of their long reign as the first ladies of Motown, a new femme fatale act, High Inergy, emerged to claim that empty throne.

Amongst their varied tempo catalogue over 8 albums in 6 years, was a young lead vocalist Barbara “Never Had A Love Like This Before” Mitchell and this album shows how this fab four beautifully executed their voices. The sublime Lovin’ Fever, charismatic First Impressions and delectable Save It For A Rainy Day are within the first 7 of 20 tracks. Preluding a mellow Just A Touch Away with Smokey Robinson is the soul stirring Midnight Music Man and a crucial boogie cut Main Ingredient. Although this is missing a couple of my personal faves, thank god Hold On To My Love is on here. Check out their vocal harmonies on the subtle boogie gem All Of You..amazing!! Enjoy!!

Incognito Surreal (Dome) With a new vocal line up, Incognito deliver another quality album. Maysa returns with a universal The Less You Know whilst new boy Mo Brandis performs the album’s first single Goodbye To Yesterday. Natalie Williams, Ronnie Scotts leading house vocalist, caresses a very soulful Above The Night. Vanessa Haynes covers convincingly a Queen Yahna’s P&P boogie classic Aint It Time. Maysa and Mo return separately on Capricorn Sun’s and a classic soul arranged Don’t Wanna Know, closely followed by Natalie’s oozing and cruising sonics on Restless As We Are. Rivers On The Sun is an instrumental interpolating Roy Ayers’ Red, Black & Green alongside some militant drums and fabtab brass horns. Vanessa Haynes excels on a truly sweet and subtle disco boogie tinged To Be With You! The Way You Love sounds very Jones Girls esq and Thoughtful Fantasies concludes as an instrumental, an aptly titled surreal piece of quantum leaping musical menagerie.

Need this like the air you breath!

Sy Smith Fast & Curious (Psyko Records) Having seen this Sychodelic dynamic artist perform last year, this anticipated album sits nicely on my musical pallet. Produced by the experimentalist Mark De Clive Lowe, Sy’s varied and almost expedite vocals sings, improvises and raps her way through 11 moog, broken, afro, funky and futuristic tracks including three classic 80‘s covers from Billy Ocean, The Rah Band and Teena Marie. Every cut deserves merit, so check out Sy’s duets with Rahsaan Patterson on a boogie classic One Of Those Nights and then Lover Girl and Messages From The Stars, whose original versions I didn’t like. Find My Way and The Primacy Effect showcases Minnie Ripperton’s influence on Sy’s expandable vocal delivery and The Ooh To My Aah Prince’s atmospheric and sensual sultriness. Embracing and overcoming life's struggles with the hope of true love is Let The Rain Fall Down’s philosophical message. Syberspace is defo the right place, so get this!!

26 www.thesoulsurvivors.co.uk

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SY SMITH talks to Fitzroy This dynamite package of talent has worked with many, including Raashan Patterson, Zo, and the late greats Teena Marie and Michael Jackson. Her new album, Fast and Curious, firmly puts her amazing vocal octaves in the frame, to be recognised as a consummate performing artist. Inspired by the visual presence of live old school entertainers, Sy oozes that exuberance, as I witnessed last year in March at the Jazz Cafe appearing with the music maestro Zo! Firstly, I understand now why your creativeness got my attention as we share the same birthday, so being a musicaquarian, you were destined to end up backing Usher, Eric Benet, Meshell Ndegeocello and a year touring with Whitney Houston. I read that your primary musical influences was go go and funk and admire Minnie Ripperton, James Brown and Diana Ross and have a highlighted acting career, so how did that amalgamation unfold for you to create what we witness today?

Well I definitely drew from the funk and go go realm influences as I was really into horn players. I studied piano and watched old Diana Ross and James Brown footage so I could attain that command on stage, as it intrigued me.

I first discovered you on the flip side of Raphael Saadiq & Q Tips 1999 classic “Get Involved” covering the Intro sample to “Love Thang” which is Edie Brickell’s “What I Am” from the PJ’s soundtrack. How did that happen?

I was working with Ali Shaheed of Tribe Called Quest and I liked the song anyway and mentioned it to him and he said let’s do it. We put Herman Jackson on organ later in LA but we recorded it at Ali’s house in New Jersey and I was pleased to do it.

On my search for newfound soul, I picked up a 6 track “Syberspace Social” EP.This came in handy as I was warm-up DJ for a lot of the new school acts, Raphael Saadiq, Bilal, Eric Roberson, Raashan Patterson and Floetry featured at the Jazz Cafe live gig in London.

What was it like working with TCQ’s Ali Shaheed Mohammed on “Fa Sho” and “Part Of The Night?”

I wrote “Fa Sho” as an opener to my live shows, as it means for sure or for the show, with that double entendre. I added it after John Coltrane’s “Syeda Suite Blue” and I’d been performing it before I recorded it. So when I played it to Ali he said you gotta record it and it’s good cause he’s a really cool and peaceful dude. If you are tense once you’re around him you’re totally relaxed, he’s like some Hip Hop Yogi (LOL). “Part Of The Night” had Spanky playing guitar, who passed away recently, but worked with D’Angelo and Mighty Clouds Of Joy. He also played on “What I Am” and sung on “Part Of The Night”.

From the same EP my two faves were funk meets soulful “Time” and “Drop That” (Remix). We have a style developed here in the UK called Broken Beat and the drum pattern and rhythm of “Drop That” is similar to a track called “Loose Lips Sink Ships” by Seiji feat Lyrical L. Have you heard “Loose Lips” and what a transformation from the acoustic original. How did you respond when you first heard that?

I know that track and when I first heard it I loved it and it was done by Steve Cat & Zarro from the Modern Groove Assembly and he introduced us to that sound with Mark De Clive Lowe and Daz I Kue and I lost my mind as he totally re-harmonised the song. “Time” was produced by Printz Board, who now plays with Black Eye Peas, and he’s a dope musician and a friend and that song was one of my favourite tracks, so I’m glad that you like that.

Another innovative cut from that EP is “No Place Like Love” with it’s 80’s synth influences transforming into a four floor MAW house groove. How awkward is it to restrict the varied musical influences 28 www.thesoulsurvivors.co.uk

so they don’t overload the song, as sometimes you just wanna put everything in?

For me it’s not so much of overloading a song but overloading an album. Sometimes I try to reel it in but there’s a part of me that thinks I’m making this album for me and some people are gonna like it and some not.

How did the collaboration with Bilal Salaam on the atmospheric “Over Thought” happen?

Bilal’s parts were already on the song when it was sent to me.

I had to write around the whole thing and it took me months to figure out the structure and what he was talking about. It was strange because his parts weren’t separated, but once I did all that, it worked well and I like the way it turned out.

I interviewed Eric Roberson and he told me the providential tale of making “Celebrate” on his “Music Fan First” album with you. He was so envious of you having met and worked with MJ, as you shared that experience, and then whilst working on the song MJ passed.

How did that then make you approach performing that song and it’s final end result, which was amazing?

It was really eerie because I worked with Michael Jackson in May 2009 and he passed in the June. The song is about our friend Scotti B who had been killed and it was my first time in Scotti’s studio since he passed, so I was already an emotional wreck. It was sobering but we were actually celebrating whilst we recorded that song. The last thing you hear on the track is sincere as we were comforting each other whilst recording and I think it turned out beautiful.

I really like yours and MDCL’s version of Teena Marie’s “Lovergirl” moreso, as it wasn’t one of my Teena faves. I was fortunate to interview her twice. Obviously the news of her passing devastated many fans and I read your kind words about her universal influence. How did you personally prepare to cover that song so overwhelmingly in my opinion?

Wow thank you. Well I’d been on a cruise with Teena in October 2010 and that song was probably her biggest hit, but what struck me about that tune was how dope she is lyrically. So when Mark sent me that track I was already in Teena Marie nostalgic mode and I wanted to melodically switch it up and make the lyrics stand out more than anything. People will either like it or hate it but for me it’s about showcasing her being a lyricist as a lot of people were caught up in her being the soul singer, but I love Teena the lyricist.

How did ya meet with Zo and record “Crazy” and the incredible “Greatest Weapon Of All Time?”

I was introduced to Zo’s music by a brother named Dwayne Powell in Chicago in a record store. I was already into his work on the Freelance album so that was around 2006 when Dwayne introduced us. Zo and I said we got to go to work and that’s what happened. A few months after that we recorded “Crazy You” and “Greatest Weapon Of All Time”. I was super psyched that he asked me to do a tune originally sung by a man and its also one my favourite Prince songs.

A RS O V I V SUR L U O S TO E T U B TRI

Y E N T W HI N O T S U O H

I was djing at East Village when we heard the news that Whitney Houston had passed away. Luckily by the grace of god I had an edit I created over 10 years back of her acappella vocals alongside Chaka Khan’s on the original ‘I’m Every Woman 70’s mix. The response from the shocked and bereaving crowd reminded me of how significant Whitney was as an artist. Coming from a musical family dynasty, her path was already paved, with mum Cissy singing with the Sweet Inspirations as part of Elvis Presley’s late 60‘s comeback and her cousin being Dionne Warwick. Whitney had many accolades as she sang lead on Michael Zager’s Life’s A Party as a teenager in the late 70’s and the providential bv’s for Chaka’s original I’m Every Woman before her own 1992 cover. She was the first woman of colour to grace the front cover of the illustrious fashion magazine Seventeen and gave the most impassioned rendition of the Star Spangled Banner at the 1991 Superbowl. I knew her popular commercial songs but never owned or played them. But her R&B classics like If I Told You That, Your Love Is My Love, the bad boy tune Fine and Million Dollar Bill were always in my collection.

Whitney, without question, influenced the careers from 30 www.thesoulsurvivors.co.uk

Kylie to Toni Braxton, Beyonce and Leona Lewis and all in between. She was the Diana Ross of the 80’s in crossing over as an integral black female artist into the commercial mainstream in a way that Prince and MJ had as black males. She definitely suffered for her art in various guises but no one’s lips could quiver unequivocally like Whitney’s when she sang ‘I Will Always Love You’, which made Dolly Parton millions. Kevin Costner personally requested Whitney to star in the massive grossing chic flick The Bodyguard. Waiting to Exhale and The Preacher’s Wife with Denzil Washington showcased her acting prowess further. Like most entertainers she lived a dual god fearing and tempestuous life way before her documented relationship with Bobby Brown. Her star studded pre funeral celebration was on my 48th earthday, 18th Feb 2012, so I for one will never forget the prolific talent that was Whitney Houston.

I believe Whitney's in a better place now...thanks for the music and Rock the mic In Paradise (R.I.P) Fitzroy Da Buzzboy (Soul Survivors)

A PERSONAL TRIBUTE TO WHITNEY HOUSTON, 1963-2012 SOUL MUSIC.COM FOUNDER DAVID NATHAN REFLECTS....

I was watching Grammy Live at 2:00am on Sunday morning in London as Diana Ross received her long overdue Lifetime Achievement Award in Los Angeles and I paused for a moment as I saw the Twitter feed change. One moment people were expressing their happiness that Diana had finally received recognition from the Recording Academy and next the screen said "RIP Whitney Houston." I felt my stomach sink as I realised that the woman I'd met as a teenager circa 1977 was gone.

Over the years I interviewed Whitney several times. She graciously gave me a quote for a compilation of her mother's '70s recordings that I'd created for Ichiban Soul Classics in the mid-90s. Arista Records hired me to update her bio on a few occasions, including the 2002 Just Whitney album.

Here are some extracts from a 1991 interview we did together: DN: Your last album I’M YOUR BABY TONIGHT has done well but not as well as its two predecessors. How do you feel about that?

WH: I’m not bitching about that at all. I know people who would die to sell 105 copies. I’m not complaining: I have a career based on three albums and I’m truly satisfied with what God has blessed me with. I don’t take it personally and eight million copies worldwide [for this album] isn’t too bad!

The truth is that I had a lot of blessings before that by selling thirty-one million albums and people dream about what I’ve done over a twenty-five-year period, so I’m very thankful. I can’t say that my record company hasn’t done the best possible with this album: Arista supports me like nobody’s business.

I think what’s happened with this album is that the music business has gone on to other things: it’s always about what’s new, what’s the latest thing. But I recognise that no one’s going to be on top forever and frankly, I don’t want to be up there all the time!

DN: You worked with L.A. and Babyface on your last album. How was that for you?

WH: A lot of fun! They’re real, down to earth people and we like each other. I think it’s important that I get along with people I work with, so before we ever went into the studio, we had dinner and we sat around talking, getting to know each other. They both said the sessions we did were real easy for them and that we will work together again.

DN: What are some of your immediate plans?

WH: Well, after I’m back from Europe, I’m going to be tied up with making my first movie. It’s with Kevin Costner and it’s called “The Bodyguard.” It’s about a very successful rock/pop star who’s hunted by a killer and about the relationship between the star and her bodyguard, what they have to deal with.

I didn’t have to do any acting lessons because Kevin asked me to do the movie just based on me being me, although if he’d asked me to take lessons, I would have. I’m real excited about it and I’m eager, anxious and nervous!

Yes, we will have some romantic scenes but, hey, that’s acting: when the scene’s over, it’s over. But I do look on this as another avenue for me, an important career move, something I can do besides music, especially when the music industry is going through whatever strange changes it might go through.

DN: You’ve had tremendous success over the last six years. Do you think about what impact that success has had on you?

WH: I think about it every now and then. I guess when the last album peaked and started going down the charts, that’s when I thought about it a little more. But initially after the first album came out, I didn’t have time to reflect on what was going on in my career. After the second album came out and I’d toured, I took about eighteen months off and that gave me time to stop and scope out what was happening. While the records were doing so well, people were talking about history being made but all I knew was that I loved what I was doing.

I didn’t worry about the No. 1’s and the money and all that stuff. But now that I’ve had some time to think I remember what my mother told me a long time ago about this business being fickle and that everything comes and goes.

[My cousin] Dionne [Warwick] and I were talking today and she was saying, ‘I can’t explain what’s happening but if you look at the charts, you’ll see what people want to hear.’ In other words, this industry is always changing which is why I thank God that I have a foundation, a base. Knowing that, I’m fortunate to have an audience who buy my records and come and see my shows, that’s what keeps me going because sometimes it is difficult dealing with this business.

DN: Whitney, people have commented on you ‘selling out’, becoming a pop singer. What are your thoughts on that?

WH: I think it’s funny. Instead of looking at my accomplishments, it’s about whether I sing pop or whether my music isn’t soulful anymore. Yes, I did have big pop success and it took off very fast. I was singing real pop music, songs that were melodic and very catchy but I was singing the you-know-what out of them! Was I supposed to be on just one level, one avenue? Dionne told me a while back that what’s important is building a career with songs that can become legendary and I’ve been fortunate because some of the songs I’ve done became associated with me right away.

That’s what creates longevity and that’s the kind of career I want. I grew up with all kinds of music, but the root of my singing is gospel and it always has been and you’re a fool if you don’t hear that in my music!

Event reviews/letters Streetsoul @ Henrys Bar, Aveley, Essex.

This was, in all honesty, my first night out in the County of Essex. I really only went to this night on the back of the TOWIE series! I was intrigued by the nature of the characters in the programme and wanted to sample it for myself. A look at the flyer and the DJ’s on it and I was sold. I spent the week practising “shaaat up” in the mirror like Robert De Niro’s ‘you talking to me’ scene from Taxi Driver and I felt I was good to go.

From where I live, this venue is a two hour drive so I was a little perturbed to hear that it was a nice venue but no-one goes there because it’s out of the way. I got there at 11:15 and bloody hell, if this is a venue that people don’t go to, I’d hate to go there when they do. It was rammed! I couldn’t get on the dance floor all night and the bar was proving as hard a task to navigate to. The mass of people there made the atmosphere in the venue absolutely amazing. Musically you heard everything from new soulful R’n’B to nu jazz and, in the last hour, a fantastic connoisseurs soul session. The crowd were extremely friendly and were up for a wicked party. I’m happy to say that nobody said “shaaat up” to me but a little disappointed that I didn’t get to see any vajazzle! Hat’s off to the ever youthful Andy Davies for putting together a brilliant night and to the DJ’s for their choonage. I believe the next one is in June. Keep ‘em peeled because you do not want to miss it. Darrell S VYBE The North West soul family gathered at the Leyland hotel to celebrate the 3rd Instalment of VYBE. The promoters Janet Crowe and Colin Curtis have the knack on putting on a excellent soul and jazz night for their punters The outstanding sets in the Soul room for me were the sets played by Paul Goldsmith (Starpoint radio/Soul Underground) and the Soul Kandi brothers who spun quality mid tempo choons.

The Soulful house and Jazz room for me rocked all night through with outstanding sets from Dave Humles (Midlands DJ), Mark Goddard ( Soul Purpose) and the 2 JAZZ Freestylin residents TEE CEE and Colin Curtis, who closed the Jazz session in his usual quality style..

VYBE for many is a kind of mini version of the excellent Blackpool weekender. The soul room, similar to the Lounge and the Soulful house and Jazz room, similar to the Queens room in Blackpool. The moment that sums up the night for me was when at the end the Soul Kandi Brothers set, they spun “I really love you” to a very appreciative soul crowd.

Big respect to Janet and Colin who put a lot of thought into the room layout and decorations, which added to the vibe. They also have plans in the pipeline to hold an afternoon session on the Saturday between 2pm and 6pm, given the success of the impromptu session during the Saturday afternoon at the most recent event. Watch this space for forthcoming Vybe presentations.

I must give as special mention to the ever growing Liverpool Soul posse who support VYBE, Freestylin and Soul Kandi nights across the North West.

Raph Parkinson, North West Soul Survivor.

32 www.thesoulsurvivors.co.uk

Back to the Timepiece Saturday 10th February was the date for the 4th instalment of the Timepiece reunion. The Timepiece was a Soul and Funk club in Liverpool during the Mid to late 70s. It was mainly a Black club with a minority of white attendees. In my view it was the premier FUNK club in the North West during that period.

The music policy was heavy funk, p funk and soul and a touch of lovers rock.

DJ Les Spain spun the choons every Friday and Saturday night, which also included a monthly all nighter. It was the only club in the North West during that decade which held FUNK all nighters.

At the reunion the floor was full to sounds from James Brown, JBs, Fatback, Ohio Players, Slave, Funkerdelic and Parliament on the Funk side. Millie Jackson, Al Green, Major Harris and Teddy P, to name but a few on the soul side. The TP was popular for various dance crazes in the 70s. The Bump, Wicky Wacky, Electric Slide, Cha Cha and the Bus Stop. Originally introduced by the American GIs who visted the club.

A film documentary has been produced on dvd covering interviews with Les Spain and Greg Wilson and the history of this iconic club.

Raph Parkinson, North West Soul Survivor Seductive Soul - 15 October 2011 An era ended at Seductive last Saturday when Chris Priestley hung up his headphones for the last time at this venue after 7 years.

He went out in style with a marvellous set of new and classic mellow groves, followed by Jim Hargreaves - excellent as always (who will still host future events here) and finally Darrell S completed the evening with modern tunz in his own unique style, which filled the floor.

A thoroughly enjoyable evening and an excellent turnout at this jewel of the North West. Chris’s enthusiastic input will be sadly missed. Good luck for the future Chris.

Russell Ashton - Soul Survivor Soul Network @The Alchemist 25th Feb 2012 This was the first Soul Network gig of 2012 and it was very well attended considering there was so much on. Pattrickson warmed up the set nicely with a mixture of classic and underground soul, followed by an on point R&B soul mix set from Mark Williams. Da Buzzboy took the tempo and temperature up slightly mixing disco and soulful house bit and his own unique edit of Chaka Khan and late Whitney Houston both singing on the original I’m Every Woman. Scott James dropped some much appreciated funk bits including Ripples I Don’t Know What It Is and the vibe mistress Vivy B ended the night with a mixture of R&B and rare groove classic and Bob Marley’s majestic One Drop. Great atmosphere with a well dressed crowd till 4am. Next stop before the Algarve 28th April at an amazing new venue Revolution EC3. Carol B - W5

Clubbing Gateway proudly present SOUL 100 The Master J celebrates 10 years of Soul AM broadcast @ The Alibi Room, from 9pm till late Invitation only!!

For info listen to soul am on sundays between 10am-12 or find us at clubbinggateway.com

Mansion Party Bristol 28th Jan 2012 After the first one last year this winter warmer was much anticipated. Over 700 people in attendance, all three rooms were rocking till 4am. After the dinner was served the revellers poured in steadily like champagne from a bottle . Many travelled from around the UK dressed to the nines and ready to rock & soul. I did pop into the main R&B and soul classic room where Mark Williams,Vivy B and Tony Rodriguez were pumping the tunes to a room full of smiling faces. Scott James was playing tunes like Open Up Your Heart by the Bar Kays, which sounded sweet in the Rare Groove and Reggae Revival room. I spent most of the night in the Jazz Funk & Soul room which was on fire with Bristol’s Soul Train resident doing a wicked set alongside Darrell S and myself. July 14th is the next instalment so I’d hurray like a murray and book ya tickets to avoid disappointment!! Fitzroy

The Beat Players @ East Village Shoreditch 11 Feb 2012 I was invited to play on the upstairs floor of what I love best, some disco, jazz funk and bad boy boogie, for this well attended and previously unknown to me event. Downstairs was packed from very early on as Luis Radio, Neil Pierce and Sy Sez played the most varied soulful house sets. Sean Samuels and DJ Soulprovyder played some nice disco edits and classics till 1am. I took over till 3am and enjoyed entertaining a packed floor in the mix with my bag of tricks. This was a different mixture of young and mature appreciators of the good groove who definitely had an eclectic ear. I was on the decks when Whitney Houston’s passing was announced and luckily I had my own special edit of Whitney and Chaka singing I’m Every Woman, which was very graciously received. Wikid night thanks to Shaun and the crew..next one 14th April with Dezzie D and Colin Scott!! Fitzroy

We Love Soul June 25 Feb 2012 @ Hidden SE11 I always try to make this ever popular event as it never disappoints. It has a unique atmosphere and with three rooms of music with some of the best dj's the country, it's always guaranteed to be a good evening, which becomes morning as the party finishes at seven in the morning.

Joyce Sims @ Jazz Cafe NW1 26th February 2012 Like Eric B & Rakim of the same era, it’s been a long time since Joyce Sims was here and people came out in force for the London date after her successful dates north of the south.

Joyce was welcomed with open arms as she went through some old classics and new material with a live band. All N All and Lifetime Love sounded as close to the original with the live ensemble and she sang a melody of songs that inspired her, including the J5’s I Want You Back. But the one we were all waiting for was Come Into My Life, which was sung twice, and it clearly brought back many memories as we all became her backing singers. Joyce was clearly overwhelmed at the adulation and stayed to sign autographs and LP and cd covers. Well done Simon Precilla, next gig coup is Melba Moore Sunday 29th April!! Fitzroy

Playing tonight among many DJ's, I heard sets from Paul Trouble Anderson, Gordon Mac, Colin Scott and Jerry Bascombe. I managed to hear from a distance a live PA from David Joseph. The room was packed to the rafters and it was impossible to get in, but could hear songs from his days in Hi Tension and his solo career. If you have never tried this event, then make a date in your diary for Easter Sunday 8th April, I guarantee you will be as hooked as I am!

June AKA Miss Sparkle

Soul On The Road - March @ The Greyhound, Streatham Tonight was the grand finale of a five night tour encompassing Margate, Glasgow, Stockport, Newcastle and the final destination - London. Soul on the Road are a collaboration of artists from all over the world providing some of the best music from modern soul.

Tom Glide and The Luv All Stars, who hail from France, were the first to perform, with vocals provided by US based Tim Owens, and has a long and established career. Tim is a brilliant vocalist and is very comfortable performing live and really impressed the audience with songs including 'Get it Off' and 'Come To Me', a great way to start off proceedings.

Soul Talk were next. Lead singer Gary Poole, who is a long standing accomplished musician and songwriter and independent recording artist, got the audience involved, asking us to sing along and dance. Gary's vocals sounded pure and flawless and included songs from the debut album 'Soul Talk', 'It's your Life' and 'I Want it' and their recent release, 'Is it me you're Thinking of' and 'Let Your Soul Talk'.

The final act was Westcoast Soul Stars, which are the combined vocal talents of Eli Thompson and Janine Johnson. Performing covers of classic soul songs, 'Back Together Again' and 'Aint Nobody', this duo know how to please the crowd and performed their own songs, 'Show Me Love' and 'Heaven'.

Unfortunately Cool Million did not perform tonight, and we did not hear the closing song, 'Soul on the Road', which was especially written for the tour, but nevertheless this was an excellent evening and we hope this musical showcase will be back by popular demand as 'Soul on the Road II'. June Furlong Avery Sunshine @ London Union Chapel London N1 Due to rushing from my Colourful radio show, I missed a few songs of Avery’s set but walked in on a mesmerised congregation avidly listening to her performance. Avery brings a ray of sunshine to her gospel music with such presence you feel the ambience instantly. The venue was full as Avery and her guitarist and drumming trio performed well know faves from her album including the happy ‘I Got Sunshine’. Avery got the audience to partake and support her vocally in a menagerie mix of two songs at the same time, Luther’s ‘Never Too Much’ and MJ’s ‘Rock With You’, which sounds wrong but worked so rightly ...you had to be there. Working on a new album so I hear, so watch this space...Another great concert from Avery! Fitzroy Bambus City Strut @ Mau Mau W11. Sat 11th Feb 2012 When I saw first saw Bambus City Strut promoting themselves on Myspace I clicked play, and there they were. Unsigned? I wondered why…. there was something about them……and checked them out on the web so many times - I felt like a lunatic-stalker! I downloaded ‘Won’t you save me’ and played it that many times I just couldn’t go without seeing them live to check to see if this band were for real. They were like an itch I couldn’t scratch!

I headed down to The Mau Mau bar and had a feeling in my bones it was going to be a fantastic night, the kind you just know you’ll remember for a long time. Bambus City Strut arrived!

Confident, chilled, happy and lot funkier in the flesh than I ever could have imagined.

The first tune off their EP was ‘Where were you’ which blew me away. I took one look at the crowd, nuff said - everybody on their feet dancing, and attentive, to say the least; the bar was filling up fast. Bambus City Strut went on to play ‘Infatuated love’.

They had it all: Funk, Soul and Jazz with those strokes of Latin and reggae. I was glued, both ears and eyes, from bassline to vocals. They’d truly crafted it!

Bambus ended with ‘Won’t you save me’, which left the whole room buzzing once again. I could tell by the look on everyone’s faces they wanted more. Bambus City Strut kept that earthy continuity going, right till the very end of the night. I left the Mau Mau, after being excited, numb, and bloody impressed! These were and are, in my opinion, a god given talent and needless to say ‘scratched my itch’. If you want to see an 11 piece Soul and Funk band who stop you blinking, funkier in the flesh, and who give your ears a thorough workout, take my advice and go see Bambus City Strutting their stuff! Bambus City Strut’s live studio EP is available to download from Amazon, watch out 2012 their second is in the making; watch this space! Mand Smith “Dance to Donate” - raising funds for the Chailey Heritage School Gussy Haven’s charity Soul All Dayer fund raiser took place on the 11th February at The Squires, Romford, Essex from 14:00 until 2am.

The only music policy was to play whatever music they wanted so long as everyone was kept dancing until closing time, which meant rare grooves to “afro beats” with a sneak preview of Jump Start Music 3 prior to the 14th February release date.

It was great to have djs who not only donated their time but also stayed on and danced until the event finished. Our thanks to Sue, landlady of The Squires, who allowed us to rearrange the venue layout and getting her locals to donate and join in, regardless of their original plans! Special thanks to “Blue Fan Lady” and Nicky Hyde who provided a warm and friendly welcome on the doors. Richie Brown and “Romford Ricky” who set up the equipment, in addition to playing their sets.

For those you heard but weren’t sure …. Ginger Tony for revealing his hidden auctioneering skills and getting large cash donations for “Jump Start Music 1, 2 and 3” and a bouquet of donated flowers. GT managed to please two ladies at once – Sue, who donated the flowers, and the lucky recipient!

Thanks to the support of everyone who was unable to join us on the day but donated via http://www.justgiving.com/chs/donate, on the day auctions, cash donations, cash offers for homemade cakes and cds, the grand sum of £1,125.94 was raised. We still encourage anyone wanting to make a donation to contact the Chailey Heritage School on www.justgiving.com/chs/donate Gussy (Goosy) Haven Soul Fine @ The Tereza Joanne Boat - Sat 11 Feb 2012 Driving through a large industrial area and then under a small bridge to an unmade road, seemed a strange place to be going on a Saturday night, but we were pleasantly suprised to get easy parking right next to the venue, a well hidden boat! We received a lovely welcome and made our way into the smart and open venue. Very soon the dance floor was full and people were enjoying the soul sounds. We then heard the announcement that Junior Giscombe was due on stage, and followed by raptuous applause, on came Junior. He performed a really great reggae verson of ‘Mama Used To Say’ followed by my favourite Junior track, ‘Morning Has Come’, and a couple of his new tracks which sounded great. Soul Fine promotor was also selling a CD on the night with proceeds to charity. All in all, great organisation, great music and vibe and well done to DJ Enyaw for putting on a first class night. Next event 14/4. Anna

We would love to hear your reviews of the events you have been to.

Please do forward your review and photos and we will publish. anna@thesoulsurvivors.co.uk 34 www.thesoulsurvivors.co.uk

www.thesoulsurvivors.co.uk

35

What’s goin’ on?

MONDAY 26 MARCH - 20 APRIL

FRIDAY 13 APRIL

Ghetto Heaven @ The Slaughtered Lamb, 34-35 Great Sutton St, London EC1V 0DX Club Soul @ Holiday Inn, Bexley, Kent

Baltic Soul Weekender #6 @ Weissenhaeuser Strand Resort, Northern Germany

SUNDAY 1 APRIL

SATURDAY 14 APRIL

SATURDAY 28 APRIL

Exhibition by Siobhan Bradshaw Feel Flows @ Bayeux, 78 Newman Street, London W1 3EP (See Ad)

Leee John’s Imagination @ Hoochie Coochie, 54 Pilgrim Street, Newcastle NE1 6SF £20 hoochiecoochie.co.uk (See Ad)

WEDNESDAY 4 APRIL

Lee Fields & The Expressions @ The Wardrobe, 6 Saint Peter’s Square, Leeds LS9 8AH Larry Graham & Graham Central Station live @ The Grand St. John's Hill, Clapham, SW11

FRIDAY 6 APRIL

The Right Track Soulclub @ The Parkway Club, Maskew Ave, Peterborough PE1 2AS

SATURDAY 7 APRIL

Soul on the Harbour @ Jacksons Wharf, York St, Ramsgate Kent CT11 9DS Free, 8 till 1 with East Kent Soul Connection DJs. (See Ad) Move On Up @ The Greyhound Bar & Club, 151 Greyhound Lane, SW16 5NJ Los Charlys Orchestra @ Floridita, 100 Wardour St, London W1

SUNDAY 8 APRIL

We Love Soul @ Hidden Club, 100 Tinworth St, SE11 5EQ 10pm-7am. 3 Rooms of the best Soul, 80s classics, party anthems, funk, boogie, disco and soulful house. PA from Rose Windross welovesoul.com (See Ad) Soul Train @ Motion, Bristol, BS2 0PX 9pm-4am 5 Rooms of the best in Soul, RnB, Reggae, Funk, Soulful House www.soultrain.co.uk (See Ad) Northern Soul Alldayer @ Hoochie Choochie, 54 Pilgrim Street, Newcastle, NE1 6SF. FREE 12 hour event. 1pm - 1am hoochiecoochie.co.uk (See Ad) Soul Cruisin’ @ The Golden Flame, Temple Pier, WC2R 2PN Filthy Soul Alldayer @ Hobgoblin Pub, 73,White Lion St, N1 9PF. Essex Funksters @ Harlow Town FC

WEDNESDAY 11 APRIL

Smoove & Turrell @ Hoochie Coochie, 54 Pilgrim Street, Newcastle NE1 6SF £20 www.hoochiecoochie.co.uk (See Ad) Chick Corea and Gary Burton Live @ The Barbican, Barbican Centre Silk Street, London EC2Y 8DS Mica Paris @ Floridita, 100 Wardour St, W1

THURSDAY 12-14 APRIL

Benny King @ Jazz Cafe,Camden, NW1

36 www.thesoulsurvivors.co.uk

Brenda Russell @ Union Chapel, Compton Avenue, N1 2XD Soul Fine @ The Tereza Joanne Boat King George V Dock, Woowhich Manor Way E16 2QY Treacle Soul @ Queens Head, Hemel Hempstead, Herts.

JazzFunkSoul @ Charlie Wrights, 45 Pitfield St, London, N1 6DA Kent Soul Sessions @ Bar 59, High Street, Gravesend, Kent DA11 0BQ Los Charlys Orchestra @ Floridita, 100 Wardour St, London W1

SUNDAY 15 APRIL

The Filthy Six @ Hoochie Coochie, 54 Pilgrim Street, Newcastle NE1 6SF £20 www.hoochiecoochie.co.uk (See Ad)

TUESDAY 17 APRIL

THE IMPELLERS @ Floridita, 100 Wardour St, London W1

THURSDAY 19 APRIL

Patti Austin @ Islington Assembly Hall, Upper St, N1 2UD

SATURDAY 21-22 APRIL

FRIDAY 27-29 APRIL

Candi Staton @ Hoochie Coochie, 54 Pilgrim Street, Newcastle NE1 6SF £20 www.hoochiecoochie.co.uk (See Ad) Soul 100 @ The Alibi Room, 9 Park Walk, Chelsea, London SW10 0NJ 9pm-late (See Ad) Soul Network @ Revolution, 1 America Square, Tower Hill, EC3N 2LS Tickets available from Soul Survivors ThrowBaak @ Babalou, St Matthews Church, Brixton, London SW2 1JF Feel The Love @ Cambridge Snooker Club, Coldhams Lane, Cambridge.

Sheffield Jazz Funk @ The Ecclesall Pub, Ecclesall Rd, Sheffield, S11 8NX Los Charlys Orchestra @ Floridita, 100 Wardour St, London W1

SUNDAY 29 APRIL

Haggis Horns @ Hoochie Coochie, 54 Pilgrim Street, Newcastle NE1 6SF £20 www.hoochiecoochie.co.uk (See Ad) Melba Moore with band @ Jazz Cafe, 5 Parkway, Camden Town, NW1 7PG Tickets £19.50 www.soulgigs.com (See Ad) KTF' UKSoulJam 'NuJazz Special' @ Ronnie Scotts, Frith St, W1

You Haven’t Seen Nothing Yet @ The Broadway Theatre, Catford Broadway, London SE6 4RU Musical comedy stage play (See Ad)

WEDNESDAY 2 MAY

SATURDAY 21 APRIL

Candi Staton @ Islington Assembly Hall, Upper St, N1 2UD

Soul Shack @ The Abbey, 30-33 The Minories, London EC3 Suite Soul @ The Foxbar Hotel, London Road Kilmarnock, Scotland Los Charlys Orchestra @ Floridita, 100 Wardour St, London W1

SUNDAY 22 APRIL

Marc Evans @ Hoochie Coochie, 54 Pilgrim Street, Newcastle NE1 6SF £20 www.hoochiecoochie.co.uk (See Ad)

TUESDAY 24 APRIL

Skip ‘Little Axe’ McDonald @ Floridita, 100 Wardour St, London W1

THURSDAY 26 APRIL

Melba Moore with band @ Manchester Mint Lounge, Tickets £19.50 soulgigs.com (See Ad)

FRIDAY 27 APRIL

Melba Moore with band @ Birmingham Drum, Tkts £19.50 soulgigs.com (See Ad) Soul Brew Karaoke @ Queen of Hoxton, 1-5 Curtain Road, London EC2A 3JX

Candi Staton @ Manchester RNCM

FRIDAY 4 MAY

SATURDAY 5 MAY

Move On Up @ The Greyhound Bar & Club, 151 Greyhound Lane, SW16 5NJ

SUNDAY 6 MAY

We Love Soul @ Hidden Club, 100 Tinworth St, London SE11 5EQ 10pm-7am.

3 Rooms of the best Soul, 80s classics, party anthems, funk, boogie, disco and soulful house. PA from Kenny Thomas www.welovesoul.com (See Ad) Soul Train @ Motion, Bristol, BS2 0PX 9pm-4am 5 Rooms of the best in Soul, RnB, Reggae, Funk, Soulful House www.soultrain.co.uk (See Ad) James Taylor Quartet @ Hoochie Coochie, 54 Pilgrim Street, Newcastle NE1 6SF £20 www.hoochiecoochie.co.uk (See Ad)

THURSDAY 10-17 MAY

Soul In The Algarve @ Portugal.

Tickets available from Soul Survivors

FRIDAY 11 MAY

Janet Kay & Carroll Thompson @ Islington Assembly Hall, Upper St, N1 2UD Northern Soul Club @ Newhampton Arts Centre, Dunkley St, Whitmore Reans, Wolverhampton.

FRIDAY 11-13 MAY

Southport Weekender 48 @ Minehead.

25th Anniversary SOLD OUT!!

SATURDAY 12 MAY

Soul on the Harbour @ Jacksons Wharf, York St, Ramsgate Kent CT11 9DS Free, 8 till 1 with East Kent Soul Connection DJs. (See Ad) Treacle Soul @ Queens Head, Hemel Hempstead,Herts JazzFunkSoul @ Charlie Wrights, 45 Pitfield St, N1 6DA Kent Soul Sessions @ Bar 59, High Street, Gravesend, Kent DA11 0BQ Soulful Dance @ The Langdales, 318-328 Clifton Drive North, St Annes On Sea, FY8 2PB

SATURDAY 19 MAY

Soul Shack @ The Abbey, 30-33 The Minories, London EC3

SUNDAY 20 MAY

Celebrate Life, Paul ‘Trouble’ Anderson’s Allstar Macmillan Fundraiser @ Ministry of Soul, 103 Gaunt St, London SE1 6DP £10 tickets in advance £12 on the door. 9pm3am. Too many artists/DJs to mention so please see Ad

FRIDAY 25 MAY

Incognito Live with guest Mario Biondi @ Islington Assembly Hall, N1 (See Ad) Anthony David with band @ Birmingham Drum www.soulgigs.com (See Ad) Soul Brew Karaoke @ Queen of Hoxton,15 Curtain Road, London EC2A 3JX

SATURDAY 26 MAY

Anthony David with band @ Manchester Blah Blah Club soulgigs.com (See Ad) ThrowBaak @ Babalou, St Matthews Church, Brixton, London SW2 1JF Sheffield Jazz Funk @ The Ecclesall Pub, Ecclesall Rd, Sheffield, S11 8NX

SUNDAY 27 MAY

Anthony David and UK support from Nathan Adams with band @ Jazz Cafe, 5

Parkway, Camden Town, NW1 7PG Tickets £19 www.soulgigs.com (See Ad)

Soul Network Mansion Party @ Bristol Tickets available from Soul Survivors

SATURDAY 2 JUNE

MONDAY 16-19 JULY

Soul Train @ Motion, Bristol, BS2 0PX 9pm-4am 5 Rooms of the best in Soul, RnB, Reggae, Funk, Soulful House. VIP Special guest to be announced. www.soultrain.co.uk (See Ad) Soul on the Harbour Weekend Special @ Jacksons Wharf, York St, Ramsgate Kent CT11 9DS Free, 1pm till 1am with East Kent Soul Connection DJs. (See Ad) Move On Up @ The Greyhound Bar & Club, 151 Greyhound Lane, SW16 5NJ

SUNDAY 3 JUNE

We Love Soul @ Hidden Club, 100 Tinworth St, London SE11 5EQ 10pm-7am.

3 Rooms of the best Soul, 80s classics, party anthems, funk, boogie, disco and soulful house. (See Ad)

FRIDAY 15 - 18 JUNE

The Yorkshire Soul Weekender @ Sand Le Mere Holiday Village Tickets available from Soul Survivors

SATURDAY 29 JUNE

Soul Brew Karaoke @ Queen of Hoxton, 1-5 Curtain Road, London EC2A 3JX

SATURDAY 30 JUNE

Summer Soulstice 6 @ Old Elizabethans Memorial Playing Fields, Gypsy Corner, Mays Lane, Barnet EN5 2AG. Kenny Thomas, Phil Fearon, Westcoast Soulstars, Helen Rogers on stage with 30 Djs in 3 arenas of music. www.summersoulstice.co.uk (See Ad)

MONDAY 2 JULY

Fred Wesley in concert Summer @ 229 Great Portland St, London W1W 5PN

SATURDAY 7 JULY

Soul on the Harbour @ Jacksons Wharf, York St, Ramsgate Kent CT11 9DS Free, 8 till 1 with East Kent Soul Connection DJs. (See Ad)

SATURDAY 14 JULY

We Love Soul @ Hidden Club, 100 Tinworth St, London SE11 5EQ 10pm-7am.

3 Rooms of the best Soul, 80s classics, party anthems, funk, boogie, disco and soulful house. (See Ad)

Cameo in concert @ The Jazz Cafe, Camden, NW1

THURSDAY 6-11 SEPTEMBER Salou Soul Weekender 4 @ Costa Dorada, Spain

WEDNESDAY 10-20 OCTOBER Mediterranean Soul @ Turkey Tickets available from Soul Survivors

WEDNESDAY 17-31 OCTOBER Soul in the Caribbean @ Barbados Tickets available from Soul Survivors

FRIDAY 26-28 OCTOBER

Bournemouth Soul Weekender @ Carrington House Hotel, Bournemouth

WEEKLY EVENTS EVERY TUESDAY

Riding High @ The Vibe Bar, Brick Lane, E1

WEDNESDAY & FRIDAY

Funk & Soul @ Anise, 9 Devonshire Square, London EC2M 4YL DJ Sugaray & Guests.

1st Wed/Fri Soul, Funk, Boogie & Disco 2nd Wed/Fri All things Funky.

3rd Wed/Fri Classic R&B, Hip Hop

EVERY THURSDAY

Live Jazz @ Hoochie Coochie, 54 Pilgrim Street, Newcastle NE1 6SF (See Ad)

EVERY FRIDAY

Soul Uprising @ Rendezvouz Bar & Grill, 1149 Hi Rd, Chadwell Heath, Romford, RM6 4AT Love Fridays @ The Brickyard, 222 South Street, Romford, RM1 2AD.

EVERY SATURDAY

Funky Sensation @ Upstairs at Ronnie Scotts.

Night at the Jazz Rooms @ The Jazz Place, 10 Ship St, Brighton.

IF YOU WOULD LIKE YOUR EVENTS LISTED HERE FREE OF CHARGE, PLEASE EMAIL anna@thesoulsurvivors.co.uk or 01732 844246 FULL DETAILS ARE ON OUR WEBSITE WWW.THESOULSURVIVORS.CO.UK WE EMAIL EVENT REMINDERS OUT ONCE A WEEK INCLUDING COMPETITIONS TO WIN TICKETS! SEND YOUR DETAILS IN TO RECEIVE UPDATES. Events can be subject to change so please check with promoter if unsure.

10-1pm Robbie Vincent www.jazzfm.com 10-Midday The Sunday Soul Affair with Curly CJ starpointradio.com Jazz Funk & Soul 10-Midday Soul A.M with the Master J on tongueandgrooveradio.com & soulam.co.uk 10-12am The SSS Show Shaun Evans and 10pm-Midnight Whistle & White Socks MONDAYS Marcus Bell on www.secklowsounds.org 6-8pm Darrell’s Funk Box with Jazz Funk & Brigade with Simon Ford on zeroradio.co.uk 11am-1pm Marky Mark Soul Motive show Soul on soulpower-radio.com FRIDAYS on www.back2backfm.net 6-8pm Strictly Vinyl Sessions with Carl 9-11pm Sammy Sam with Disco, Boogie, 12-3pm Soul Syndicate with Peter P Dennie on solarradio.com Soul/Rare grooves Soul & Jazz Funk starpointradio.com centreforcesessions.com 107.5fm time fm 6-8pm Souled Out with Colsie on Midnight-3am The Jazz House with Paul 12-2pm DJ Enyaw on dejavufm.com with www.tongueandgrooveradio.com Ruiz on www.jazzfm.com The Sunday Soul Selection 6-8pm Vibe Tribe Pt2 with Matt & Andy P SATURDAYS 1-3pm Mucho Soul with Ket & DJ AKA on on www.soulconnexion.com 8-10am Jump Start with Ginger Tony on www.back2backfm.net 7-9pm Clive Ashford Soul Show. Soul, disco, solarradio.com From nu-jazz to funk & jazz 2pm-4pm Original Mastercuts with Ian & jazz funk on www.nationalsoulradio.com 8-10am Sunshineman on 89.8 FM London Dewhirst & Alan Champ starpointradio.com 7-9pm Ian Henry with Soul, Jazz Fusion & station898fm.net Jazz, Funk & Soul 2-4pm Russ Dewbury with Jazz Rooms funk on generationradio.co.uk 9-11am Saturday Soul Bowl with Sean P Sunday SocialBrighton’s Juice 107.2 7-10pm Rod Allsworth Classic Soul Show on Hot96.co.uk 3-6pm Soul Syndicate with Bonnie DJ on on Fyldefm.com 9-11am Saturday Fry Up with Mark, Ricky centreforcesessions.com Time 107.5FM 8-10pm Souled Out with Mark K on & Trevor on starpointradio.com Soul & Funk 10-Midday The Sunday Morning Affair www.tongueandgrooveradio.com 10am -12pm Soulful Saturdays with Ian with Sly Bang 103.6fm 9-11pm The Hot Box with Gary Turner on Dee pointblank.fm 90.2fm Ldn. 3-6pm Stumpi-Inspiration Show Soul on Zeroradio.co.uk Soul-jazz, nu-jazz & latin beat 10am-Midday The Early Bird Catching diversefm.com 102.8fm Herts, Beds & Bucks.

10pm - Midnight Insatiable Soul with Roni The Worm Show House FM with DJ Birdy 3-6pm Soul360 with Aitch B on O’Brien on Solar Radio 11am The Starpoint Radio UK Soul www.colourfulradio.com & DAB London TUESDAYS Chart on starpointradio.com.

4-6pm Neo Soul Agenda with Simon 6-8pm June Furlong on Solarradio.com 11am-1pm 6MS SESSIONS Disco, soul, Precilla on www.dejavufm.com 6-8pm Soul Connection with Mark Blee on house, funk boogie on stompradio.com 4-6pm The Soul Cellar with Al B in Bristol. banburyinternetradio.com Soul, jazz & Funk Midday-3pm Soul Syndicate on Time www.passionradiobristol.com 9pm-Midnight Stretch Taylor with the classy 107.5fm centreforcesessions.com Chris Phillips 4-7pm Ralph Tee on www.jazzfm.com side of urban on Colourfulradio.com & DAB Midday-2pm Groove Control Show with 6-9pm Sunday Night Soul with Keith Fletcher Ash Selector on solarradio.com 9-11pm Jazz Movement with Sean P on on BBC Radio Lancashire Motown/Northern Hot96.co.uk 1-4pm Saturday Soulmine with Jonny 10pm-Mid Mellow A on soulradiouk.com 9-Midnight Inside America Michael Speaks Layton & Mr Messy on zeroradio.co.uk Da Costa on thesouloflondonradio.com Midnight-3am DJ Afroogroove on 91.6FM 3-6pm Soul Syndicate with DJ Phillo or www.genesisradio.co.uk/afrogroove centreforcesessions.com 107.5fm time fm WEDNESDAYS 1.6FM From 12 midnight to 3am featuring 1-3pm Ian Henry with Soul, Jazz Fusion and 2-4pm Turn the Music up with James funk on www.generationradio.co.uk Anthony on solarradio.com Classic ‘n’ current the best in jazz, fusion, latin, soul, afrobeats & spoken word.

8-10pm Soul Syndicate with Peter P on 2-4pm Dancefloor Grooves with Jamie JL’s Groove can be listened to on demand time1075.com Taylor on www.banburyinternetradio.com on www.celticradio.com 8-10pm The Triple SSS Show with Shaun 3-6pm Peter Young on Jazz FM. A mixture of Evans & Marcus Bell on www.radiomk.co.uk old & new soul with ‘The Soul Cellar’ at 5pm Weekly podcasts on dazlingsoul.com 9-11pm Steve O'Mahoney playing Soul, 6-9pm Superior Rhythm Soul Show from live365.com/station/atomicdog65 24/7 webstream Soul, Jazz & Neo Soul Jazz & Funk www.radio789.net.ms Spain with Dean Freeman on exitefm.com If in Costa del Sol, check out global.fm Jeff 10pm-Midnight Good Groove Show with 4-6pm Jazz Funk Soul with Neville on Thomas Mon-Fri 2-5pm, Sun 9-Midday Ruth Fisher on solarradio.com or Sky 0129 solarradio.com 2nd Saturday of month Podcast soulpower08.mypodcast.com THURSDAYS 5-7pm The Morpheus Soul Show 6-9pm Soul Survivors Show with Fitzroy da www.playvybz.com DJ Johnny Rebel Tony Poole on TKO Gold 106 Wks-9pm Buzzboy on colourfulradio.com 96.7 & 87.7 FM in Spain or tkogold.com 5-9pm Club Classics Chris Brown on Star 6-8pm GMT Nu Soul Central with Tony 107.9/1 FM in Cambridge. Soul & Motown Marky Mark of Soul Motive with soul Rodriguez on solarradio.com funk.ssradiouk.com/category/shows/soul-motive/ 6-8pm Soul Inspired with David Bishop on 7-9pm Ride da Rhythm with Hilary John @ www.zeroradio.co.uk Classic 60’s–80’s Soul The Groove with Suzy Chase podcast www.station898fm.co.uk & 89.8fm London 7-10pm Craig Charles Funk & Soul Show shows on www.thegrooveradio.com 7-9pm Infiniti with Andy Jackson on 107.5 on www.bbc.co.uk/6music/shows/funk_soul/ VibeRide Podcast/radio Shows at Tulip Radio Modern Soul Radio VibeRide.org.uk 7-9pm Skippys Soul on NevisRadio.co.uk 7-9pm Angie D’s Diva Got Soul Show on Dez Parkes, Marc Mac with an eclectic 10-1am A Touch of Soul with Devon BBC www.urbanjazzradio.net Derby 104.5fm, Notts 103.8fm & Lincs. 94.9fm mix of black music via podcast on www.newwaveradio.co.uk 8-10pm Soulpower with Shaun Gallagher 12-2am Back to tha o’l skool on 90.8FM on www.soulpower-radio.com We don’t have very much room Strictly 80’s soul & Rap lightningfm.co.uk 8-10pm Nick Gunn’s Soul Armoury on for radio listings but are always SUNDAYS zeroradio.co.uk. Jazz, Funk, Soul & Boogie happy to add where possible.

12 Mid-4am Colin Faver on solarradio.com 9pm-12 Sy Sez on colourfulradio.com with A soulful mix of upfront & classic house/Beats Please inform us of any guest Marcia Carr the last Thursday changes or deletions.

9-11am Sandra C on stompradio.com 9.30-10.30pm Hidden Gems 60’s to new 9-11sm Sunday Service with Brian Kelly on Thank you Soul on www.fcumradio.co.uk zeroradio.co.uk Jazz funk and soul anna@thesoulsurvivors.co.uk

Soul Radio