Issue 62 The Soul Survivors Magazine For Feb-March 2016

The Quintessential info provider for the Soul Survivor

st st ISSUE ISSUE 62 62 -- 1 1st Feb Feb 2016 2016 -- 31 31st Mar Mar 2016 2016

THE BRITISH HUSTLE EDITION

News, Reviews & Interviews FEATURING: HAMMISH SEECLOCHAN (PASADENAS) PAUL CLARK, PAUL ALEXANDER, IAN DEWHIRST AND STEVE CAESAR (WIGAN DANCE CHAMPION 1974)

Tribute to David Bowie The Young Soul Rebel Rebel Page 26 thesoulsurvivorsmagazine.co.uk 8th January 1947, Brixton,- 10th January, 2016, Manhattan,

WHAT’S INSIDE? 3 HAMMISH SEECLOCHAN speaks to Fitzroy 8 DARRELL’S FUNK BOX

Greetings, Soul Survivors

Greetings and belated Happy New Year 2016 to “all for one and one for all” of my sickateers. I sincerely wish eve ryone a prosperous year with the intent of which Soul Survivors Magazine is aim ing to enjoy. Our publication is entering it’s 10th year in July 201 16 Roll Call of Fame 6 growing from its humble acorn beginnings as a 16 pag NATALIE COLE &

e fanzine pamphlet, to becoming a fully fledged 48 paged growing tree of a magazine. It has been an NICHOLAS CALDWELL incredible journey in the Donny Hathaway “Trying Times” and age of digital technology, and reac hing that milestone 18 PAUL ALEXANDER has been somewhat sacrificial but thus far worthwhile. As Sam Coo ke stated “A Change Is Gon speaks to Fitzroy na Come” for The Soul Sur vivors Magazine as we introduce some new thin gs, including a revamped inte 22 RECORD REVIEWS ractive website and some lifestyle advertising from new customers. This issue is aptly dubbed a Hi Tension ”British Hustle” Edition due to the fact 26 Roll Call of Fame that all the interviewees are from different parts of the UK, and have in some shape DAVID BOWIE of form, been part of and con tributed to it’s soul surviving musical history. I’m always amazed to discover how man 30 IAN DEWHIRST

y I interview that have no musical family connection yet speaks to Fitzroy they seem to stumble across or become encapsulated with a passion for music in thei r own unique way. This month 36 MIRA PARKES

s TS. Monk “Candidate For Love” of music include London singer and dancer Hammish See Soul Survivors Balkan & oter Pau lochan of The Pasadenas, DJ prom l “Brighton” Clarke, DJ, compile r and musicologist Ian Dewhirs Worldwide correspondent Casino dance champion Steve t, Wigan Caesar (both from Yorkshire), and Bristolian DJ promoter Paul Alexander. Our Soul Sur 38 STEVE CAESAR

vivors Roll Call Of Fame showca ses three major influences of the varied kind who passed speaks to Fitzroy recently since the end of last year, namely Natalie Cole, Nicholas Caldwell of The Whispe rs and The “Young American” 42 CROSSWORD

plastic soul “Rebel Rebel” icon from Brixton, David Bow ie. We have some exciting thin Word Up 11 gs planned to celebrate both 10 years in July of The Soul Survivors Magazine and my 30th year officially Dj-ing in 44 EVENT REVIEWS clubs. From my humble start with my fellow Buzzboyz Inc. circa June 1986 at Oxfords in Oxf ord Stre et, “when I was a yoot and used 46 WHAT’S GOING ON? to bun cally weed in a rizzla” Gad “Hard Times” lyric lol. I like Pablo hope you enjoy this issue ano ther proud production as they always are so I’d like to thank the following in their assistan ce to make this happen.

12 PAUL CLARK speaks to Fitzroy

fellow Mu

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 - 2016 Copyright The Soul Survivors Magazine It is essential to note that all artwork, adverts and listings must be confirmed and sent in to fitzroy@thesoulsurvivorsmagazine. co.uk before Thursday 3rd March 2016 in order to meet the graphic designer and print 3 week preparation. This will ensure that the magazine for April and May is ready and out on the street ahead of 1st April 2016.

Thanks in advance.

The Soul Survivors Magazine Page 2 - Issue 61 Team!

Fitzroy

Thanks to those who contributed in one sha pe or form towards the content of this issue.

All the interviewees for taki ng the time out to share you stories, Mira Parkes our new Official Soul Survivors Balkan Correspondent, Kush and Men doza for the alternative lifestyle features and adverts in this issue. Rita Taylor for the pho tographs for the Kush piece, www.ritataylorimages.com www.ritataylorphotography.w ebs.com. Scarbutts Printers Ayshea (graphic & web designe , r), Laura Finch (image retouch er), KFP Enterprise, Darrell S (Funkbox) David Moran (Wo rd Up Crossword) Ronniee (Ha nd2Hand) Jason and Ian Soulprovyder (Flyer pack dist ributors) all the advertisers and Anna B for proofreading.

The Soul Survivors Suite 013, 986 Garratt Lane , Tooting Broadway, London SW1 7 0ND Mobile: 07956 312931 Ema il: oy@thesoulsurvivorsmag azine.co.uk C fitzroy.facey C Fitzroytheofitzr riginalsoulsurvivor C TheS oulSurvivors MSoulSurvivors1 www.thesou lsurvivorsmagazin

e.co.uk

Upstairs at Ronnie Scott’s Maze was a little more confined but these clubs would see The Walker Brothers and Oily dancing there. At the time Adam Ant had his “Prince Charming” video out and some of these dancers were in it, so you are in awe being amongst them.

HAMMISH SEECLOCHAN

of The Pasadenas speaks withthesoulsurvivorsmagazine.co.uk Fitzroy

This is a piece of history that is synonymous with my own story. I first saw and met Hammish back in the late 1970’s in our west London humble beginnings looking to live the what was then a teenagers dream. With passion dedication and an unmastered plan to perform in the arts of music and dance, Hammish’s hard work, patience and jovial personality, caught the attention of a group of established dancers who were seeking taking things to the next level. My fellow west London bad boy went on to living the dream I once had to “Boogie To The Top” like Idris Mohammed. Like the myth of the fifth Beatle, I could have in my head been the sixth Pasadena, because we all came from albeit the “NEWS” north, east, west or south of London, the same school of fashion and passion. Still “Riding On A Train” doing what he loves Hammish Seelochan reminisces with moi!!

How was family life growing up in London and what influenced you in those tender early musical sponged years?

I was born in Clapham south London and we moved aged two to west London, settling in Acton. My mum is Portuguese Guyanese and my father is Indian Trinidadian. I have an older brother Dave and two sisters so I am the youngest. Musically like everybody else I grew up around the 45 7 inch singles played on the typical West Indian stereogram and radio. I listened to anything from the 1950’s and 60’s Elvis, Motown, The Beatles etc. (Fitzroy: “Did you have the Jim Reeves in there?”) Yeah he was in there but my parents were more into calypso or in particular my mum was into the showbiz and big band sounds like Frank Sinatra.

When did the dancing kick in?

Growing up to 1950’s music I remember, at primary school, seeing kids dancing to rock & roll which many probably won’t admit to. The American R&B was also in the same package of what you heard from that era, so you’d hear Bill Haley next to Sam Cooke for example. The rock & roll and “doo wop” influences were all intertwined when we were young. One of the 45’s my parents had by Neil Sedaka “Oh Carol” was something as a child I played hundreds of times on the gram, if I had a chance and dance to it. There was a community hall gig for kids and this is where I’d see kids and teddy boys older than me dancing to rock & roll and it looked good back then. If I think back to those days, it didn’t matter what the music was, I was fascinated by movement which is the dancing.

What were the first clubs you went to and when did people realise you had a certain style?

Ok I must mention that my brother David was three years older than me and he was caught up in the Saturday Night Fever era, going to Hammersmith Palais and places like that. He was working and bought a record player and records, so he would come home and dance in front of me, so that was kind of my first encounter.

When his friends came round I would observe how they danced and try and do my thing or version of that. I’d go local community events for kids like to the Ealing Town Hall gigs. (Fitzroy: “What about Oscar’s?) Oscars came after and that was actually the first time I went to a club as a youth aged around 15 amongst my peers and by then I knew I could dance.

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Who in the west London did you realise were the bad boy dancers?

I never got the opportunity to actually see them dance at first because they were older and I was too young to get into the clubs.

But locally there was Richard Butler. Do you know him? (Fitzroy: “Of course.”) Well I never saw him dance but he lived two or three streets away from me and used to go out on his own. So I’d wait for him to walk past my window at night and ask about the latest tunes and dance moves. There were people local like Steve Redman who had a reputation and Michael Baugh from Ealing. Michael and his older brother Donald were on a different tip from my brother David, and I was also aware of Dave Nichols, Kenton Kerr and Tony Candel, who attended dance classes and they could really dance. But on a Saturday night because I couldn’t get into the clubs we’d find the house parties and witness the new moves. Michael Baugh always knew the latest dance moves from his brother Donald. So I would always try to be around him to observe because Michael Baugh could dance, and we’d spend time just dancing together. (Fitzroy: “Yeah Micheal was bad I used to watch him messing around at our Ealing Green school and he was a year younger than me.”) It’s much broader than that but locally they were some of the characters and that was part of something much larger that was going through my head at the time. The very first place I went to with my brother because he knew I was into dancing, was Maddox in Ealing (Fitzroy: “The club down the alley opposite Ealing Broadway station?”) Yeah the same one and my brother knew the doorman because he came from our area. I was just a kid about 14 and I remember my dad was away at the time but it was what I called a big mans club, and I was able to dance amongst the elder’s. I saw Peter Francis dancing in there for the first time but it was a big thing for me to just be able to just dance contently.

I first saw you at Oscars in Greenford on a school night dancing to Light Of The World’s “Midnight Grooving” and Hudson People’s “Take A Trip To Your Mind” in 1979. You used to wear your ‘beeny’ hat and you were in the dance circle with Dennis Bell, Rob Marks and Michael Baugh.

What records do you remember dancing to?

I was into all of that music, buying the vinyl and having a hi-fi. I remember “Space Bass” because it was quite unique at the time. I heard it at Hanwell Community Centre or Ealing Town Hall and it blew my mind. There was so many records coming out of America thick and fast but “Space Bass” was unbelievable.

I heard that one Tuesday night at Oscar’s 8.30am the next morning the 7-inch was in my hand for something like 70p from WH Smiths in Ealing Broadway. Did you manage to catch any of the west end Crackers and 100 Club afternoon sessions?

I didn’t go to Crackers because you had to bunk off school to go and I didn’t have the resources to do that. I went to 100 Club with Micheal Baugh and Dean Ricketts on a hot summers day and then I saw everyone from all around London in the same place, from young kids to the bigger men. Anyone who wanted to dance was there and that’s where I first saw John Riley. I’m now finding out who’s who as we all searched for an identity at that age. To see someone or similar kids who are a similar age, and doing similar things to you, with the same passion it was excellent. I was cool with everybody so I never got involved in the territorial problems that others may have, as I just loved the whole aspect of dancing. I had problems though getting into clubs because I looked too young and couldn’t pass for 18 and it was a hindrance. Others were going to “Cheeky Pete’s” in Richmond and although we‘re all the same age, I had no chance of getting in. Even when I got to 18 I had to take my ID. Nah man I big had problems getting in, so I missed out for a couple of years and during that time I threw myself into work doing labouring and earning money.

We all started as a west London collective started going to Electric Ballroom in 1982, which providentially is where I first saw the guys from Finesse before they became The Pasadena’s. Some of the older dancers like Kelvin Tambala and John Barker were still tearing up the floor, with the new generation like Finesse (Micheal and David Millner, Jeff Brown, Andrew Banfield, and Justin), Jerry Barry, yourself and Lesley Michel from Unknown Kwantity making noise.

Yeah it was a new era and I was really into clubbing and was serious about practicing at every moment. I had my 9-5 job too but I didn’t care now because dancing was my thing and I was seriously trying to work out how I can make it into the entertainment field. I was in this culture deep now so that was at the forefront of my mind, but I didn’t know how I’d achieve it.

Tell me about going to Spats on a Sunday in the early 1980’s.

I was a regular there. Everybody from every manor in London who was a dancer of a certain level like Dave and Micheal Millner, Andrew Banfield, Paul Anderson, Torso dancers and people from up north who were serious about dancing, would frequent that club.

One side of the club had a wall of mirrors and it was mainly men in there as this was about serious dancing. Trevor Shakes and Dez Parkes were Dj-ing as well as dancing and those guys and others could really move and just show out (express themselves). Upstairs at Ronnie Scott’s Maze was a little more confined but these clubs would see The Walker Brothers and Oily dancing there. At the time Adam Ant had his “Prince Charming” video out and some of these dancers were in it, so you are in awe being amongst them.

How did you become part of the Pasadenas?

I wanted to dance so much, so I approached Finesse and we exchanged telephone numbers. One day Micheal Millner from

Finesse called asking me to join the group because one of the dancers was going to university, and would I fill the gap. Remember this is my home phone in 1985 no mobiles back then, so this is a specific call, as the group was now evolving into a singing dancing group. I went to a couple of shows as the transition from Finesse to The Pasadenas was happening, but I was not part of the Finesse era. So now beyond my wildest dreams of just dancing I was now going to be singing too. I was really impressed with their historical knowledge and experience of song and dance. Although I knew a lot, they knew much more and how to do this as a living.

How long a gap between Finesse and The Pasadena’s?

About a year I’d say and between then Jeff Brown was going out on his own doing his own thing with his own style and he was a bit younger than his brothers. Jeff was making a name for himself doing the Geoff Stern photos and dancing for Barrie K Sharpe’s band. I was still working hard doing both the training and my day job. But the guys taught me everything it was like an apprenticeship in how to become professional. This includes dancing singing, rehearsing vocals and routines, so I had to work so hard to achieve this, because they were already established. All praises to them because they took me to a different level.

I so remember July 29th 1987 when The Pasadenas were performing at Busby’s in Tottenham Court Road. I came down on my own because word had got round that you were in this band that had a record deal.

The pride I felt seeing you up there… (Hammish: “Thank you very much.”) No seriously. The only other person I knew from our manor and generation who actually made it professionally dancing, was Kenton Kerr, who was my local Perivale school chum who’d gone to Ballet Rambert. Most people were at the time either Dj’s including myself, or promoters and no one had really gone into the avenues of the arts.

At Busby’s I was saying to people I knew .“That’s my boy up there you know, we used to fling foot together and he’s west London” (Hammish and Fitzroy both laugh). It was a great night. Did you feel with the song Tribute “Right On”, the record deal and all the media attention that you had finally arrived?

The Busby’s gig was part of a few that we did but it was the best one because all the record company A&R companies knew about us. My life was drastically changing as I had been earning good money as a 9-5 glazer, then leaving to go straight to rehearsals. I was starting to take days off knowing this would compromise my job, but I needed to make the transition. So for me it never stopped and I never had time to reflect on things because it was all nonstop work. You work hard to get signed but once you’re signed, the workload trebles tenfold. There’s TV, video’s recording, and travelling involved, and after a while you don’t really know who you are anymore and it doesn’t stop. It’s hectic and like a kaleidoscope, with so many different angles and all I really wanted to do was just dance, but it went unbelievably different. I remember when Femi Williams brought Vicky Anderson and Bobby Byrd to perform at Town & Country club in Kentish Town. Jeff Brown and myself were already signed to The Pasadenas and we were asked to do what would be my last ever freestyle routine for that gig. Keeping up with Jeff freestyle is impossible because he has about nine million moves, honestly he is an amazing dancer. (Fitzroy: “I used to watch thesoulsurvivorsmagazine.co.uk

Jeff Michael

David

Hammish

Andrew

Page 6 - Issue 62

The

Jeff when we both frequented The Wag Club in Wardour Street 1983-86 and loved watching him. I’ve never seen someone look like they enjoyed dancing so much as him.”) Jeff had the opportunity of learning from everybody and making it his own. He practices meticulously and will not execute something unless he does it right. For freestyle, if I were to give anyone a crown, from my early school days to when I got signed to the group, for being the best club dancer ever, it would be him. Not because I worked with him but because of what he did and how. With most dancers you can suss out where they are coming from. Jeff took it somewhere else as he was very flexible and was like a contortionist. He could easily do saddle splits and his whole movement is indescribable. It’s very important for me to say this, I didn’t want to be the best dancer ever in a club, I just wanted to dance and watch people dance as it’s a release. Especially after you’ve spent so much time practicing at home in front of the mirror and are showing out and not getting paid for it.

Soul Survivors Magazine

HEbecause they move very fast over there, and speaking with TThat’s people similar ages to us about who inspired us, they didn’t know

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who were were referring to. (Fitzroy: “I hear you and I neglected to mention Soul II Soul earlier and they totally change things when they broke America”.) For sure I was out there Fitz when they did, because our music was being promoted simultaneously and they completely changed the culture. Sade was a huge household name out there before hand because of how she phrases and approaches things in her own way. America is poised on asking what do you have to offer and do they cater for that already, if you have it, then you’re onto a winner. You must be able to do your own thing.

What are you doing now?

THE

SOUL SOUL SURVIVORS SURVIVORS

I still play “Right On (Tribute)” and people lose it on the dance floor because it was a great moment in time and I guess part of their musical lifetime soundtrack. You made a few albums along the way and I think you guys were quite a unique concept back in 1987. Five good looking black guys, as a young man band, and not a boy band although it could be argued you were pioneers of that genre. With the nostalgia of the old school at a time where music was changing in America how were your visual shows received?

MAGAZINE

I work with two other guys Mo and Andy Watson as a production company called Q_Bridge Productions, which is us, putting music out and getting people to sing on it. Its aimed at the commercial market. We are called Quantum Quarter and both are things that I wanted to do.

MAGAZINE

Always very good because we were entertaining as a singing and dance act and they love that in America. Although we were known in America the demand was far greater in Europe. To break it to the American public, we would have had to stay in the USA for at least a year to break it properly. Remember we were the support for Wet Wet Wet and they were high in the national chart. Our record was out at the same time and did well chart wise also, so had we concentrated on America, we would have lost out on Europe. It was a time when R&B music was struggling to get into the major charts in the USA, however we did do some great shows. America is much more demanding and you automatically go into the R&B charts because the American music culture works very differently to how it does here in the UK. If you can sing like the Americans and sound like them then you are in. The alternative is to offer something they do not already have, and you must be melodic whatever that is. For example Led Zepplin and The Who tore up America and Seal could sing with his soulful English dialect like they couldn’t, that’s why they loved him so much. We met everybody we wanted to meet and once you are doing the shows and making TV appearances you inevitably do meet everyone. But we did keep ourselves to ourselves because we respected what we did as a singing-dancing package.

to pursue a dream?

Do you have any memories of having a proper tear up on the dance floor with someone?

No I never did that although I loved watching it. The real reason is because I don’t like losing and that’s been from a young age. (Hammish laughs.)

It’s been so nice going down memory lane and I love what you said about the industry and how this was all once just a dream. Some people train hard to get that and some get there and can’t actually sustain it. What advice would you give to anyone who wants

I’ve met a lot of people along the way and heard their stories but philosophically if you over plan the dream, you’ll kill it because things can change. But you must believe and keep your sight on the goal. I still to this day cannot comprehend how I had a goal, but the goal I was reaching for was far beyond what i imagined.

So in football terms you were walking up to take a penalty because the goal is that near to you, the chances are that you’ll score. But you may have well taken the kick from the halfway line and still hit the back of the net. That’s wicked man. (Hammish: “Yeah when you put like that.”)

30 years down the road and I still don’t get it but if you want to do something you must put the time and hard work in and stay focused. I missed out on a lot of things when I joined the band, with mates getting married and having families, although I didn’t miss my youth, but those things you can’t get back. By the time I came back 20 years later I didn’t have the same connection as I sacrificed getting my dream. I couldn’t’t hold down a serious relationship, because how can you truly do that in my position as a travelling and working artist? It’s so difficult. I do have my daughter Pheonix thank god whose going on 13.

For more information

To be honest that 1987 -1990 period for UK acts was fruitful with The Brand New Heavies, Barrie K Sharpe’s Diana Brown And The Brothers, Femi and The Young Disciples, Galliano, Push and Omar. They kept that old school R&B essence moreso than the Americans did at the time, as they were being more progressive making hip-hop, house and swing.

please call Fitroy on 07956 312931

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When you look at the evolution of the UK boy bands status like One Direction, BoyzOwn, Take That, Westlife and E 17, I’m struggling to think of anyone prior doing the slick dressed panache Bob Fosse singing dancing thing. So I’d say you were pioneers and let’s not forget the later American boy bands of the 1990’s Intro, Silk, Boyz II Men and Jodeci, we could go on but who else was up there with you?

There was a big gap between The Temps (Temptations), the Dramatics and the Four Tops. (Fitzroy: Apart from of course The Jackson Five and The Osmonds, but that was also a family set up). Yeah and we were trying to keep with that tradition of the old R&B acts.

Before I got there the rest of the band had their own ideas and I brought what I could to the table, so all we could do was be the best that we could be. And prior to that it was the Jacksons with them being black also. Going back who did I used to watch and study intently? It was Michael Jackson from ABC to Thriller and beyond, and if you want to learn about how to do it in the music business, his history can teach you. No one can hit that bar like Michael did.

(Fitzroy: “I think we can throw James Brown in there.”) Yes you can, but they both have different platforms as I’d talk about James Brown in a completely different way. Micheal Jackson shows you how to make music, a lifestyle and how much hard work it takes.

Michael came right up to the modern era before he passed away and he rebelled in a different way quite cleverly.

Yeah I hear you, Micheal as I’ve said many a time he was my first iconic hero from day one.

Before I forget who came up the name of The Pasadena’s

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It was Jeff Brown as we wanted to keep that American “doo wop” kind of feel like The Floaters and he was watching The Pasadena’s Bowl American football and the rest is history.

It’s been a great trip down West London memory lane.

I meant to ask you something Fitz do you remember Steven Gunning.

Of course he was a Perivale boy, he died as a teenager.

He went to my school and yes he died from a train accident. Every now and again over the years I think about him, because he was someone who was always happy and very funny and people loved him because he knew everybody. Although he died in that train accident he was known as a nice guy loved his music, loved his clothes… but he lived his life.

Yeah he used to hang with Steven Hawkins Jimmy House, Kenton Kerr, Hugh Hackett and all those loveable rouges of Perivale that the girls loved.

That’s what I mean you have to enjoy what you do and leave a mark or you will not be happy and I feel that I’ve fulfilled that.

Bless you Hammish Take care mate.

Year. I want to kick off this year by Well here we are, 2016. Happy New and hopefully pointing you in the telling you about the end of last year ts. even and c musi direction of some great

were backed by the house band, destined for big things. All the acts and are as funky as ****! But for ds erlan Neth Tristan who hail from the g lady who took to the stage youn a me the highlight of the night was was Jennah Bell. I was absolutely and did an acoustic set, her name sang, with such great authority, she and e rang l captivated by her voca Forbid’ and ‘Candied Daylight’.

‘John two tracks that stood out for me, Check her out on YouTube. take to the River Thames for the One week later and it was time to Cruise. An event that has been winter instalment of The London Soul use the summer one used to be beca d calle so is it running for 25 years, -affable Jamie McGreal, this ever the by held on the South coast. Hosted I up serves the best in Black Music. two-floored event has consistently sold three times be y easil can ts ticke and it on DJ was lucky enough to is a testament to the promoters over. The sound system that is used And he does. desire to deliver the best that he can. sure of in this scene, it is that you If there is one thing that you can be that simply takes your breath can quite easily come across someone in East London on the 12th held , party ons Eam d away. At my frien DaPaul do a couple of numbers. His December, he had a singer named now and I checked out his album latest single ‘London Town’ is out right copy straight away. Talented and a ht boug I and nice ‘Soulful Spirit’. It’s t? wan British. What more could you

ing with Another Sunday Afternoon November was particularly busy start is a straight up Jazz bash and I this Now .

At Dingwalls on the 22nd Jazz, you must give this event a like t would say that even if you don’ not a Jazz man by any stretch of try at least once in your lifetime. I’m e of this genre has come from ledg know my all ly the imagination. Near Jones, Kevin Beadle, and the Bob Dr of DJ compilations from the likes limited, my grasp for the music has Messin’ Around series. So, although e de la creme. Back to Dingwalls, crem the from me been well drilled into kicks off at 12.30 and carries day The this is an extraordinary day. not unusual for it to still be going through to 7ish. And it’s a big ISH! It’s duo of Patrick Forge and Giles e som awe the are DJ’s strong at 9pm! The they play that they always prop Peterson who are so humble in the way ing from, up on the front of ’re play the sleeve cover, of the album they le search going. the decks so that you can get your Goog ething not to be missed. Make som is t All in all, this twice yearly even friend on Facebook for ticket and a lady called Janine Dingwalls your event news. way up the M40 to Birmingham Four days later and I am crawling my My destination is the Hare & s!). hour 3 g takin ey (a 70 minute journ ited performance from tiny awa rly eage an Hounds in King Heath for I have never been able to that t dynamo Leela James. This is one artis is, in my opinion, one of this like e venu a at her see to catch live, so room and your extremely the of size The for. the best that I could hope ate encounter. I would intim an for close proximity to the stage makes and ing late missing her first two run through her playlist but due to arriv say that when she returns to to ce Suffi live. to songs I was losing the will my ticket darn quick. ng getti be will one for I es shor e thes to the Hare & Hounds for a night The 30th November saw me return outfit and their Soul City Tour. Live hosted by the excellent MusicConnex class acts. Nia Simmons took to the for my very own pleasure were four rmed four cuts from her wicked perfo and ause stage to rapturous appl bly the brilliant track ‘Oceans nota ey’, neo-Soul album ‘A Songbirds Journ sed one of my favourite albums of Vibe’. Next up was a lady that relea Ngozi. It made my night that she ilayo Funm by d’ the year, ‘Unconstraine ’ and ‘Where You Are’. Next brate ‘Cele sang, with style, two dancers in all Kend Duff y, ‘Make You Smile’ up was Kenya, who did a duet with along with 4 other songs from Me’ ‘Let sive mas the performed and -alsoIssue Page 10 62 sophistication and a woman utter of act her album ‘My Own Skin’. An

E. On the 17th December I popped I’ll tell you what, a man Called Don release of his latest album ‘Future the for ert along to his showcase conc that was new to me, the intimate Rares 2’. Taking place in a venue the main man was accompanied on, Lond t Wes in s Blue Nells Jazz & night he was joined on stage the g Durin . by a who’s who of UK Soul suggestive Terri Walker and quite

by HanLei, Elisha Laverne, Omar, the in Birmingham is offered Tour City Soul the like This, s.

Natasha Watt t. Don E is easily one of resis to hard is that up at such a cheap price and did the tracks on live and rded my favourite performers both reco t have purchase and mus justice. A his new album more than enough and MusicConnex for ul MiSo of JM DJ to t shou a must see artist. A big putting this on.

NYE bash in Oxford alongside my I ended the Year at my very own a fitting way to end the year. mucker Sidney Gabbidon and it was al self in the next issue, until I’ll be back to my normal nonsensic and a smile x bang take care and start 2016 with a

then

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I used to feed Pete Tong music when we Dj’d together like Siviuca “Ain’t No Sunshine”, something I picked up going through junk shops looking for another track. Both Pete Tong and Chris Hill know I gave them that tune with an old geezer on the front that looked like a Hillbilly.

PAUL CLARK When we think of seaside towns or cities in the UK having a soulful connection it’s sometimes hard to imagine life outside of fish and chips, seagulls and fun fairs. In this example Brighton was known for it’s infamous fighting battles between the mods and rockers. But a young Paul Clarke would in the 1970’s become the in demand Dj who loved what most of his fellow male piers didn’t, and that was soul music. He was undeniably Brighton’s favourite son pre dating FatBoy Slim aka Norman Cook as the No 1 Dj by almost a decade and is still relevant today. Travelling as a clubber and a Dj around the country “Clarky” relives his soul surviving days of yesteryear.

Are you Brighton born and breed? (Paul Clark: “Yes”.) At what age did you become indoctrinated in discovering jazz funk and soul music?

I was about 14. I grew up on a council estate like most people growing up in poverty with my mum. To tell you the truth I was a bit worried about my sexuality because I was into what the girls were musically, which was Motown and Philly. All the other boys were into Slade, Sweet, Mud and glam rock groups like that, and the nearest I got to that was David Bowie. At 14 me and my friend, who has sadly passed away now, started doing the school disco, and whilst everyone wanted to hear Abba and The Sweet, we continued to play The Jackson Five, Smokey Robinson and Marvin Gaye. We got things lobbed at us and were being called gay and everything. One of my first friends Deano was a coloured boy, which is not a term you’d use now. He was the only mix raced child in the school and he was my best pal. We went through the stages of racism, being called names and stuff and this led to us being in plenty of trouble being kids, because of my leaning towards black music. Once we left school we continued with the school discos, but I used to frequent The Lacy Lady, Global Village, Crackers in Wardour Street on a Sunday and Sutton’s Scamps on a Tuesday. In Page 12 - Issue 62

fact we discovered the whole London scene during the week even though we had Papillon and The Inn Place in Brighton. We had now discovered this new world with the top dancers from The Lacy and all the clubs, and we loved it and had to go every night. To have a girlfriend in Brighton was a liability, because every girlfriend I had, I finished with as it wasn’t fair on her with me partying 6 nights a week in London, listening to this new music. Walking into the Lacy it was the most incredible thing as I remember Chris Hill and Tom Holland would be Dj-ing and right next to them was a top 20 of tunes that were brand new. I used to copy all these charts and record them in a book having memorised the songs, and I’ve still every single chart from 1975-1980. Chris Hill has borrowed them from me in the past when he done the revival nights. To walk into a club and hear Freddie Hubbard “Windjammer” and Bob James’s “Westchester Lady” and to see 400 people dancing ballet moves was amazing. A couple of years later I’m Dj-ing with Chris Hill.

How did you start Dj-ing?

There was a local boy Kenny who started a night up in Brighton playing jazz funk and soul imports but people would boo him and

not dance when he played. He asked what do the people want and they shouted “Get Clarky up there”. I was reluctant to do it but they pushed me up to the decks, and as soon as I put a record on everyone started dancing. By the end of the night the Dj asked me to play every week, as the crowd clearly want me there, and that’s how I ended up doing the night. Despite what the other Dj did they still wouldn’t dance no matter what he played and I ended up getting all the money.

So what was he playing then?

Brighton they got into fights or if we went to Crawley we got beaten up, things were that territorial back then. I see Chris all the time now and he was one of those black guys who’d have a flash of red going through his hair, and all you could see was this flash of red spinning round and round when he danced. I didn’t enjoy Crackers as much as I did Scamps and Lacy’s though. Sutton Scamps was strange because they would play rock and pop, and when Elvis died in 1977 every record was an Elvis one and it emptied the floor. No disrespect but it was a soul crowd and the Dj’s name was Mark Damon with long wavy hair like a lions mane.

The exact same records as me Fitz, there was no difference except in who was playing them. He would play Musique “In The Bush” no one would move, if I played the same record everyone would rush the floor.

You have to forgive me for my ignorance but I was, until you updated me, going to say, that my music and fashion image of Brighton goes back to the infamous good old fashion rucks, between the mods and the rockers. I can’t imagine it being very multicultural either?

So he was the resident Dj?

It wasn’t and I knew every person of colour in town and there would 5 or 6. If new ones showed up we would befriend them as we knew they were not local and probably come from London, Croydon or somewhere outside Brighton. Paul McKee who runs the Soul Boys and Soul Girls Facebook page, sent me a message saying he always remembers me, because I was lovely to him and his crew from Reading, introducing them to loads of clubs.

Our clubs finished at 11pm and we used to go to the gay clubs after that played some of what we liked. We’d hear things like Ripple “The Beat Goes On” next to Donna Summer and eventually became regulars in there.

The older gays hated us but the younger ones loved us. However it became problem bringing the girls in with us, and some gays were hitting on us so we left there. It was the same in London like Bang in Tottenham Court Road that was half and half, that had men kissing each other and girls dancing amongst them. They would play things like Patrick Juvet and Vicky Sue Robinson and loads of stuff on the Casablanca label.

No he was one of our lot who used to club with us and he had a mobile disco. He just wanted to start up a night at the 7 Stars and we supported him. I felt sorry for him and see him now and again as he works on a local building site, but I think he likes to forget about those days. He did three weeks and then walked out which was a shame, because he started something different to what was happening at the time. We used tell the resident DJ at the Inn Place what the big tunes were when we came back from London like Lalo Schifrin “Jaws”, Undisputed Truth, and Miroslav Vitous “New York City”. He said he’d never play those tunes but when he did everyone went nuts on the dance floor. So in 1976 he told me he was leaving and that he wanted me to take over and it was paying £7 a night. I thought he was joking but he said you get £42 a week and they pay for all the records. I insisted I’d buy my own but the management put their foot down, however I still brought my own records and played them too. I was a hairdresser at the time so couldn’t do the full week but I used to do the two jobs at once right up till 2000. It became a rat race in Brighton as I would get calls increasing my money up to play at their venues. They were of the opinion that it’s the club that pulls and not the Dj, but people followed me wherever I was playing. When Mick Clark took over the reigns of Papillon, he‘d pay me £50 a night and pack the place out. Then the club got national recognition and Jeff Young came to play there plus I was Dj-ing for all the live band like Heatwave and Hi Tension and it was all good fun.

Who do remember being the reputable kings and queens of the dance floor back then?

I still speak with some of them now, Tommy Mac, Clive Clarke, Jabba, Trevor Shakes, Red Dwarf’s Danny Jon Jules and Peter Francis who were in the film “Scum”, and they used to come town to Brighton. There were some good dancers from Crawley, Donovan and Chris Dwyer who came from a big family, but when they danced in London they got wiped of the floor. Every time they came to

Were you driving?

I didn’t pass my test till I was 26 as I was used to getting lifts. On the day of the Royal Wedding in 1981 I was supposed to do a gig in Kent, but everyone got smashed on drink and were unable to drive.

I never turned up and I never got booked there again, although I rang and apologised. I had relied on my mates for so long, which I was grateful for, but I had to take charge. I was then doing Bognor every Friday with Sean French and Busby’s locally so I could get a cab. I drive everywhere now.

You Dj’d at Caister in 1982.

Yeah it was my greatest accolade playing to 4000 people at Caister 10 and I got £400 which was a lot back then, you sometimes struggle to get that now. I thought I’d arrived as I done the Brighton Beach party 3 and Johnny Morris one of the Showstoppers pulled me over wanting to have a word. I said to my girlfriend ‘Oh God” as though I was going to get the sack and she said I went completely thesoulsurvivorsmagazine.co.uk

white. When I came back and told her I was asked to do Caister 10 she was so happy for me. After that I get dropped for the 11th one, but I got pulled back at number 18 until no 24 when the Caister camp split into two fractions.

Fatboy Slim aka Norman Cook said in an interview with Greg Wilson that he was more of an electro fan and I guess rebelled against the jazz funk and soul. However he specifically mentioned you as championing that domain. What are your memories of him coming through?

We used to do a club called The Brighton Bell on a Monday, which had a 75% black crowd, which people from London and all around would travel to. Norman Cook and Dj Quentin used to Dj a student night on a Tuesday. He used to chat to me on a Monday and chat about music but he was like a quiet schoolboy who’d rack my brains about the Prelude and Sugar Hill labels tracks that were happening.

He used to work in a record shop and I used to buy music from him, now we still talk and watch football together and he sorts my girls out with gig tickets. It’s good what he does but it’s not my cup of tea. Norman’s a bit of a god now and a showman and I guess I’ve borrowed some his style with a big fuck off shirt and my hands in the air.

How did you meet Bob Masters?

I met him when I was 17 but it was when I did Caister 10 we met again at Jacksons in Staines on a Thursday night. I used to be quite close with Sean French staying at his house in Woodley Berkshire the night before going to Caister. Bob and I were both billed on Caister 18 and did radio and club sets together. We became mates, share the same birthday, we were at each others weddings and we talk everyday remaining good friends.

asked him about the Billy Griffith which he said was dog shit and no ones bought it. I had a listen despite his advice that it was a pile of shit, and discovered the track. Dave admitted they missed out on that and I played it on the Saturday. Chris Hill heard it (Paul does a great impression of Chris Hill) and exclaimed, “What the fucking hell is this?” I replied “Billy Griffith “Hold Me Tighter In The Rain”.

Chris surprisingly said “What the bloke from The Miracles, where did you get that from?” I said “City Sounds”. He phoned up City Sounds and went mental at them saying they were supposed to be looking after him as he paid them good money to find the records for him.

The shop advised that I spent time looking through the music and found it and that if he wanted to do that he was welcome to. The only person who gave me credit for it was Ralph Tee when he did free tapes for his Soul On Sound magazine. He’d done an interview with Billy Griffith and thanked Chris Hill for breaking the track but credited me for finding it and I still got the tape somewhere.

(Fitzroy: “Wicked.”)

How was your meeting with Gilles Peterson?

Gilles and me did the Special Branch abroad gigs and he was my roommate. I used to take Gilles to Wimbledon to see Arsenal, as he’s a Gunner’s fan. I introduced him to all the Crazy Gang like Vinnie Jones and John Fashinou. They all used to come and have a drink at the Do In The Zoo gigs. I saw Gilles for the first time in about 15 years at Bournemouth a couple of years ago when he played. He did a good set, even though he’s not on that scene anymore. It must be hard coming back, as I well know, because after I took a break for 10 years and came back I did a jazz funk set to a packed floor. I played Idris Mohammed “Could Heaven Ever be Like This?” and the whole 240 people left the floor. I played Taste Of Honey “Boogie Oogie Oogie” and they rushed back, but I would have thought coming from the same era they would both work. Thinking about it if you played Francine McGhee “Delirium” some people would be carted off having a heart attack in an ambulance trying to dance to that. But if you make the girls dance then the dance floor will be busy and Bob Jones used to say that every third record should be a familiar one.

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What’s the background working with Danny Rampling Nicky Holloway, Gilles Peterson, Special Branch and Shoom?

I knew Danny Rampling from years ago and he was Nicky Holloway’s best mate. I had to sink or swim when the acid came in, and I had Danny and Paul Rutherford, Rock & Diesel Andy Weatherall and Dean Thatcher play at a gig down here in Brighton. I bank rolled the gig and we had 900 people, it was fantastic. I split the money with Danny Rampling. I later picked up a CD comp he’d done and he gave me a shout in the credits, which was really nice and is humbling when people you worked with remember you. I used to feed Pete Tong music when we Dj’d together like Siviuca “Ain’t No Sunshine”, something I picked up going through junk shops looking for another track. Both Pete Tong and Chris Hill know I gave them that tune with an old geezer on the front that looked like a Hillbilly. When I gave it to Chris he said “Fucking hell you didn’t get that from City Sounds did ya?” I said “Nah in a junk shop”. Then they found loads of copies of the album and Pete Tong signed it on FFRR didn’t he?

(Fitzroy: “Yeah”.) Another record I know I can claim the rights to is Billy Griffith “Hold Me Tighter In the Rain” and Dave at City Sounds can vouch for that. I used to go into City Sounds and if I couldn’t spend £100-120 on records I used to get the hump. One day I asked what new tunes were about and Dave said there’s nothing in till Thursday which was not good for me. He told me to go behind the deck and go through the vinyl myself whilst he served people. I Page 14 - Issue 62

What were you doing in your 10-year hiatus?

I got married and had kids. I made a decision that if this started to become a job I’d stop. Also when my daughter was born 21 years ago I was Dj-ing a lot up north getting paid £400 a gig and doing three in a weekend. I was in Nottingham on a Thursday, Leicester on a Friday and Stoke on Saturday, so it was an easy £1200 in my pocket and free hotels, but I wasn’t seeing my daughter. I split up with her mum and used to come back on Sunday lunchtime knackered from Dj-ing. So I had to make a choice of either being a consistent father or earning big money. I also had the residency at Escape in Brighton on a Saturday night but I had someone else fill in for me 3 weeks out of the four. The owner was not happy and gave me an ultimatum so I decided to stay in Brighton and be near my daughter and take less money. After 11 years he dropped me and then I tried to get back in touch with the northern promoters, but things had changed and some wanted me to send tapes and cut my money down, offering warm ups for £50. I was starting not to enjoy it. There were different people in the clubs and I knew none

of them. None of my mates were there, they’d moved on and got married, and by then Dj-ing started to become a job. I got married and had another baby and started going to gigs with solicitors and estate agents so I eventually left the scene. I did not miss it at the time until five years later when people started requesting a Papillon reunion and with Facebook exploding around 2009 the revival was rife. Bob Masters got in contact and started doing Richard’s gig in Yarmouth and Bob wanted to start up Bournemouth again.

It sounded like a good idea because it always used to sell out so it went ahead in 2009-2010. I started getting asked to gigs again with the interaction of Facebook and then the Ibiza gig becomes such an incredible experience. I joked with Bob Masters about getting the 3-4am slots in the morning being a bit graveyard. But how wrong was I as many still in the mid 50’s are going for it till it finishes. Next year Ibiza is going to be special with 8-900 people going.

You’ve had a record shop but now sell music on line as well as tickets for events.

Yeah I sold the shop in 2009 because everything was going online so now I work from a unit. I sell tickets for Bob Masters events and have sold in the past for Summer Soulstice and Camp Soul.

So tell us about you Easter jam in 2016.

I wanted to put on an all dayer with a few Dj’s and booked an old ballroom venue via top rank. A couple of weeks before the event after having previously agreed a £200 fee and a refund if the bar was good, it suddenly went up to £1000 so I told them where to go. I put the feelers out and Dave Joyce whom I’ve known since

my Portsmouth Dj days runs Prism that holds 3000 in Brighton.

I checked out the various rooms and chose the New York Disco room that has flashing lights and mirrors everywhere. My thoughts initially were it’s either going to be awful or brilliant. The event went ahead in 2013 and it was sold out with 400 people, most of who were from London. I sold out last years one and I’ve already sold 50 tickets for April 2016 which is good at this early stage. I’d like to get some new blood on there like yourself at some stage alongside Jeff Young, Bob Masters, Bob Jones, Stretch Taylor and Chris Brown who are on this Easter bill. Bill Griffin, Grumpy Brown and David Lyn are doing the early soulful sets till 6 pm when everyone goes and gets something to eat and come back 7-8pm where it goes off.

The locals have started to come down now last minute.com and think because they are local they can just turn up when it’s a pre-paid ticket gig. It’s like Neville boats they sell out well in advance. I am doing something else the night before with Brian Jay because so many people travel down the night before, and want somewhere to go. So if 80 people come down I may as well accommodate them with something.

How long have you been Dj-ing?

40 years. I started in 1975 as I don’t include the school discos that I was doing back in 1974. I started doing clubs at 17.

Thanks for doing this Paul, it’s good to put Brighton on the soul surviving map.

Thanks its been good Fitz. Take care.

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Soul Survivors

Roll Call of Fame

Natalie Cole (6th Feb 1950 - 31st December 2016) “Sophisticated Lady”

When you are born into musical royally with a father like the charismatic black crooner Nat King Cole and Mary Hawkins who sang as a jazz singer with Duke Ellington and Count Basie, it would be slightly “Unpredictable” to assume with those genes that Natalie would be anything else other than a gifted singer. Born an Aquarian on the 6th February 1950 Natalie performed as young as 6 years old on her fathers Christmas album and later began performing aged 11 Natalie worked various club circuits performing classic soul and rock standards.She eventually met in 1973, producers Chuck Jackson and Marvin Yancy, the latter whom she later married.

Her debut album “Inseparable” was recorded in Curtis Mayfield’s Curtom studios in Chicago and landed her a deal with her late fathers label Capitol. The albums major hit and universally recognised anthem “This Will Be” was a swing beat jazz soul arrangement that would pre date by two years, later similar productions of Lenny Williams’s “Shoo Doo Fufu Ooh” and Paulette Reeves “Jazz Freak”. That vocal performance gained her a top ten hit and a Grammy as the best newcomer. Natalie was being likened to the “Queen Of Soul” Aretha Franklin who actually NATALIE COLE revealed that she was offered a selection of songs including “This Will Be” and “I Can’t Say No” but only decided to record “You”. Natalie recorded “You” on her debut so at a guess the similarities have some merit. Natalie’s second album “Natalie” from 1976 featured the funktastic favourite of mine “Sophisticated Lady”, but it’s probably her third “Thankful” album that resonates quite highly and was especially sort after here in the UK in the mid 1980’s. Apart from the beautiful and atmospheric “La Costa” featuring Linda Williams of “Elevate Our Mind“ fame on piano, also covered by Ahmed Jamal on his “Jamalca” album, it was the social school of hard knocks message in “Annie Mae” that showcased Natalie as a vocal goddess. Her 1977 “Unpredictable” album’s “I Can’t Break Away” was sampled brilliantly by Sunshine Anderson’s early 2000 RNB classic “Heard It All Before”.

Natalie had her own TV special and was awarded a star on the Hollywood Walk Of Fame by the time we get to 1979. Natalie worked on duet projects with Peabo Bryson and Johnny Mathis in the early 1980’s but also had to deal with some personal challenges that threatened her career. Still recording albums Natalie bounced back with a pop dance cover of Bruce Springsteen’s “Pink Cadillac”, which helped her 1987 “Everlasting” album sell one million records. Natalie also has acting credits to her name appearing in “I’ll Fly Away” “Touched By An Angel” and “Law & Order Special Victim’s Unit”. Natalie also made several appearances in feature films, Cole Porter biopic “De Lovely”, several made for TV movies, most notably as the lead in “Lily In Winter” .In 2001 she starred as herself in “Livin’ For Love The Natalie Cole Story” and received the NAACP image Award for outstanding actress in a Television Movie Mini Series or Dramatic Special. In 2008 Natalie made an album “Still Unforgettable” performing with technology “Walking My Baby Back Home” with her late father and she’s also done a version with her father of his classic “When I Fall In Love”. I managed to see Natalie two years ago live at Blue Fest at the Royal Albert Hall for the first time. The image projected of her father Nat King on a huge screen so they could duet was somewhat surreal and enchanting to watch in real time. She opened with “Annie Mae” to my delight a song that a dear friend of mine Michele Hutchins loved so much she named her daughter after that song. Natalie also sung “La Costa” and naturally “This Will Be” also covered by lovers rock artist, Jean Adebamo so I’ve been blessed to see her. Born and Aquarian and her passover was during the Richard Evans “Capricorn Rising” period sadly on 31st December 2015. She’d have been 67 on the 6th February but will always be remembered as the “Sophisticated Lady”. We’ll be eternally “Thankful” for your music RIP with ya late great father Nat King.. Natalie Cole!!

ab Nicholas Caldwell was born April 5th 1994 in San Francisco. He was a co founder member of Solar Records most successful and consistent male vocal group The Whispers, who originally formed as a vocal quintet before a name change in 1964. Nicholas was a harmonising baritone singer of the group and also the main choreographer. His first performance was for Sly Stone then a Dj in San Francisco and despite passing the audition he declined to join The Temptations. Nicholas penned and arranged quite a few of the groups songs including “Lady”, “Small Talkin’“, “For Romancin’”, “Chocolate Girl”, “Say You (Would Love For Me Too)” and “Give It To Me” as well as for other acts and artist. He wrote, produced and arranged for Collage’s “Do You Like Our Music? / “Get In Touch With Me” albums and Leroy Hutson’s “Nice And Easy”. Nick survived a triple by pass in 2000 but unfortunately passed 5th January 2016. RIP Nicholas Caldwell Page 16 - Issue 62

NICHOLAS CALDWELL

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Smith & Mighty and Fresh Four were big and they both can still pull a big crowd.

Fresh Four celebrated 25 years recently and Bristol also have Portishead and Roni Size. Believe it or not Pigbag who did “Papa’s Got A Brand New Pig Bag” are from Bristol.

PAUL ALEXANDER

ALEXANDER

Apart from the rival and neighbouring Rovers and City football teams Bristol is famed musically for crossover pop acts Massive Attack and Portishead. Their other major homegrown import is Soul Train and one of it’s head honcho’s Paul Alexander has been part of the musical fabric Dj-ing in the mid 1970’s with a decade hiatus, only to return and watch an acorn growing into a sprouting musical tree. Soul Train have evolved and are soon to be celebrating 25 years with a following that many struggle to get half of at their venues. Giving a historical background to how Bristolians rock and soul we had a long overdue chat to put the Bristol soul surviving scene on the map.

Give me a background on growing up in Bristol and how you got into soul music.

Well I’m an ‘Original 1970’s Soul Boy’ born 1954. Believe it or not the first record I bought was Timmy Thomas “Why Can’t We Live Together”, then I started getting into Philly in the 1970’s.

Everybody else was into pop music. A good friend of mine Jeremy and I were soul boys. We went to a venue in Bristol called the Top Rank where they used to play Motown, so we naturally progressed from Motown to early disco and then to funk. My good friends Steve and Adrian, who I regard as movers and shakers were importing American soul records and compiling charts, as well as running a popular Saturday lunchtime club at the Guildhall Tavern. There was also a fashion statement being made, stay press trousers, Ben Sherman shirts and Doctor Martens which was more of a skinhead style than a mod style. Steve and Adrian had the place rocking.

It’s there that Massive Attack quote as their early influence of the Bristol sound. Steve and Adrian are my partners in Soul Train and whilst they were holding court at Guildhall Tavern, I was holding a residency at a near by venue called the Assize Courts. We couldn’t get into the big nightclubs because they were playing pop music like Abba and other rubbish. So we played what we wanted to hear at pubs then we hired out venues like the Mayfair Suite, after using the pubs as a feeder to get people interested. Although we enjoyed those days, that period was short lived as by the 1980’s, we were Page 18 - Issue 62

pursuing careers and having families. We still liked the music but tunes like Brass Construction “Movin’” and “Changin’” to me were game changers and some of the pinnacle tracks of that era. The jazz funk was big but it seemed to get bigger in the 1980’s. There was a healthy scene in Bristol and there certainly were some good clubs in the St Paul area.

So with that hiatus, when did you get back into Dj-ing for the now phenomenal Soul Train?

Around 1992 there was a buzz from some of the older crowd that used to frequent our gigs about doing a reunion. We went round to some of the old crowds houses and asked their parents who still lived local, of the whereabouts of their kids, as we hadn’t seen them for 15-20 years. We managed to pack the club out by 11pm with the old crowd and many of the original Djs and its just gone from there really.

Who were some of the other Djs? Myself, Steve & Adrian, Jason (who used to play at the Top Rank in the 1970’s that I mentioned earlier) John Stallard and Steve Phillips. We did invite other Djs from that era and it was chaos, because there were about 15 Djs trying to get some decent playing time at that reunion. There is a dance troop out of Bristol called

The Floor Technicians who are very well known who danced and performed at our reunion, and they are still performing today. Mark Hopkinson one of the dancers made a statement on Facebook recently saying that Soul Train has been going half of his life and he is still there with Oscar and Patrick.

There were two or three like RCA in Picton Street, St Pauls where they had the latest imports. There was Revolver Records in the triangle also, but Steve and Adrian were importing from the United States of America via mail order and picking up bits like Oliver Sain “Bus Stop” and used to supply charts which people often used to try and track down the records. RCA and Revolver only had a few copies of titles in so you had to get to the shop pronto to pick up the good stuff before they vanished.

You said earlier the first record you bought was “Timmy Thomas Why Can’t We Live Together ” which was 1974 and you’d have been 20, so what was your musical direction prior to that?

At the time when you were playing in the 1970’s what was the racial quota of the audience?

Good question. The Motown was fuelling my quest for soul music and from there I got into TK Records with Timmy Thomas “Why Can’t We Live Together”, “Party Freaks” by Miami and also Maceo Parker’s Soul Power 74. I took my Dj name back then from that latter track as Maceo. Back then my top three Assize Court residency tracks were Maceo Parker “Soul Power 74”, “Party Freaks” Miami and Donald Byrd “Change (Make You Wanna Hustle)”. Back then we were different in our musical tastes with me being more into the soul and the jazz funk and Steve & Adrian being more into the funk like Parliament and Johnny Guitar Watson.

How did you decide upon the name Soul Train?

The one off reunion brought the Djs together and amongst a list of names, we chose Soul Train. Jason came up with the design of the train for the logo. In the ten to fifteen year hiatus of us not Dj-ing, people had moved out of Bristol, started careers or were having families. Dj-ing was an additional hobby to our day jobs when we were younger and not a profession, so the reunion being so successful prompted people to ask for the next one. We started doing the bank holidays because of the circumstances of our generation having the kind of commitments that restrict them going out regularly. We started doing five events a year and the Christmas one was always the special one in case any one missed the bank holiday ones.

I have cousins Dave (Bagz), Jackie and Michael Graham in St Pauls Bristol. From memory St Pauls was a heavily populated black area and as you mentioned earlier, Massive Attack are one of Bristol’s greatest homegrown exports. Were there other characters, who frequented some of the earlier Bristol club gigs or the Soul Train events, who have gone on to make music history?

Smith & Mighty and Fresh Four were big and they both can still pull a big crowd. Fresh Four celebrated 25 years recently and Bristol also have Portishead and Roni Size. Believe it or not Pigbag who did “Papa’s Got A Brand New Pig Bag” are from Bristol and the St Pauls carnival sound system is well respected also. The big venues like The Bamboo Club and The Western Domino Club were hugely popular and The Blue Lagoon is a significant one with Dj Seymour playing things lil Cleveland Eaton’s “Bama Boogie Woogie” in the 1980’s.

The club scene has changed now and caters more for students.

What record shop were you going to?

Interesting, actually today we are 60% white and 40% black but back then it was 90% white. So Soul Train have attracted a black audience and we have a reputation for bringing people from all walks of life, areas and races and we have no trouble.

Tell me about being approached to do Glastonbury in 2004.

We knew one of the organisers and they decided to do a soul and funk tent asking us for suggestions. We suggested The Fatback Band and on the day we had about 10 Dj slots in between the performing bands, including the Fatback Band. We’ve since done it 5 times and last year we did it when Lionel Richie was on the main stage. It has now grown out of recognition as what was a 10,000 audience in the dance tent, has now grown to 20,000. Mike Vitti and Conroy represented us last year and we’ve been booked for the next one in 2016. If things go to plan we are pitching for Brass Construction, BT Express and New York Skyy for the 25th Anniversary of Soul Train at Glastonbury.

Well, Soul Train has grown with doing Glastonbury and winning the Soul Survivor Awards as the best club outside of London.

Yeah we were so surprised and didn’t know anything about it. It’s probably fuelled us to get recognised and go on to greater things because we were previously pretty parochial as Bristol boys spinning locally as Djs to our Bristol audience. I used to go shopping for music in London. Speaking with people it turned out we were getting larger numbers in Bristol than some venues in London. It was probably after getting the Soul Survivor Award that we became aware that people were travelling to us as opposed to just getting locals. When we were doing Ashton Court Mansions we’d see people in the car park getting changed from their casual clothes to smart ones. We asked them why they came to Bristol and they said they didn’t have any Mansion events in London. We lost that venue because of some complaints from local residents to Bristol City Council about the sound travelling. Before Ashton Court Mansions we were p u l l i n g in 1800 people at Motions, a music venue that is really suited for festivals. We had Loose Ends and filled the place out. We used to put on parties at Ashton Court Mansions and one new years eve we spent £17k putting on an event. This included putting up a massive marquee with electrics, dance floor, toilets, building a bar and security, the list was endless. thesoulsurvivorsmagazine.co.uk

To be honest we did it for love of the music at first, especially when we bought Fatback Band and Light Of The World to Bristol, as the audience hadn’t seen them. Since Ashton Court we couldn’t find another main venue until the SXW event on Boxing Day 2015 that we packed out with 1200 people.

based shows. Our Soul Train partner Al B has worked tirelessly to establish the radio station over last 2 years. We want to be the go to place for soul music in Bristol.

To read full Paul Alexander interview subscribe via www.thesoulsurvivorsmagazine.co.uk

You mention Ashton Court. This is where you and I met and worked together when Vivy B did her successful Soul Network parties there. How did you guys become involved in that?

I rang Vivy with a tongue in cheek approach saying you’re on our patch and we need to be involved. I sold 200 tickets for Vivy on her first one and similarly if anyone came on our patch delivering a quality event I’d want to have a chat with them.

They were good parties playing with Conroy.

Conroy is very versatile as is Mike Vitti and were our main residents and a safe pair of hands at our events. They were both gob smacked when they played at the 2015 Glastonbury, which has changed, with artists like Roy Ayers and George Clinton performing, when I remember it being groups like Jethro Tull.

You now have a radio station as your new venture.

Yeah we were on Star FM in Bristol four or five years ago and it got taken over by a bunch of rockers. So we did a few community based radio stations but we got fed up being stuck between various ethnic community shows, and there was no support in promoting the soul music shows. Our Internet radio station was born out of frustration of not having enough soul music broadcasting in Bristol, as that is our target audience. The Soul Train radio station goes out worldwide because it’s on the Internet and our last figures returned 93,000 listeners in 60 countries. We have shows on every evening 6-8 and 8-10 and we have five shows on a Sunday. We have our own studio which is all kitted out and we are looking at a DAB licence, as there is a huge shortage of soul based shows amongst the many language Page 20 - Issue 62

So with all these new attributes under your belt what is forthcoming for Soul Train?

My main Soul Train partner is Ricky 2 Tuff who is our man about town and a working Dj in the clubs. Unfortunately we lost the very influential Steve Ashby aged 62 who was with us since the first reunion in 1992. We have an event on the Good Friday 2016 in March because the venue already booked the Bank Holiday Sunday.

We are confident that those who came to the Xmas event will come regardless and the normal Bank Holiday Sunday events will be resumed for the rest of the year. Now we have secured the venue that has a capacity of 1800, with people travelling from all over the country, we’ll have one of the largest soul events in the country from all over London, Liverpool and Nottingham. Bristol has been voted the number one location by The Sunday Times Newspaper so lots of people are coming to stay and make a weekend of visiting the city.

In 2015 it was a big year having Shalamar perform at our concert and Jeffrey Daniel personally thanked Soul Train on stage. We also had Blackstreet and Keith Sweat concerts and will continue to move forward with our forthcoming events.

Well I think you’ve certainly put Bristol on the Soul Survivors map as a reputable soul town and I’m glad we’ve managed to do this Paul.

Thanks for speaking with me and we would not have thought that from a 1992 one off reunion that we’d still be doing this now.

We started off doing 1970’s but we’ve had to reinvent ourselves to capture the new audiences incorporating the 1980’s 90’s and 2000’s music, as ultimately the mature audience drops off.

Thanks for your time Paul It’s been my pleasure Fitzroy.

Record Reviews This issues selection is liquorice all sort mixture of tasty musical morsels. There are four vintage reissues on CD, five freedom jazz dance encounters of the varied kind and a psychedelic jazz rock fusion album. There’s a classic anthology and an annual 3 CD comp from Expansions on offer plus a novel old meets new school independent album with a twist. Last but not least we review two singles from a quintet of UK pioneers and single remixed by some remixers to look out for. Enjoy Fitzroy

Sean Khan-Muriel (Far Out Records) Saxophonist and composer Steve Khan delivers quite an exceptional album to the discerning un policed jazz ears. It features the vocal gifts of Sabrina Malheiros, Diana Martinez and Omar as well as the remix skills of Henry Wu, Ben Hauke and the reinforced steel template of 4hero. Sean’s eloquent style echoes the tradition set by UK sax exponents Courtney Pine and Steve Williamson and USA predecessors John Coltrane, Gary Bartz or the late George Howard. Sean’s inquisitiveness and passion for all things jazz take on many tentacles as showcased in jazz soul fusion “Things To Say” and my preferred album version of “Samba Para Florence”. Elements of ‘trad jazz’ are emphasised on “Dance For Little Emily”, “Tranes Shadow” Two excellent live drum and bass productions on thought provoking spoken worded “What Has Jazz Become?” and the album take of “Don’t Let The Sun Go Down” all makes for a strongly recommended purchase!!

Larry Young Fuel (Arista) I eventually purchased this on vinyl randomly in the summer of 1986 for £2.50, after a previously unsuccessful 5-year pilgrimage. My musical formular and radio show from 1987 “Hustle Jam & Boogie” was inspired by the albums moognificent (H+J+B). So in my 30th year of Dj-ing receiving this as a festive 2015 present it deserves an honorary role call. Larry Young’s “Fuel” is a weird wonderment of soul fused funk and jazz experimentation. Laura ‘Tequila’ Logan’s extenuated and accompanying vocals to Larry’s nimble fingered prowess bellow loud and proudly on “Fuel For The Fire”, “People Do Be Funny” and the sexy and salacious “Turn Off The Lights”. Larry does do a vocal street jive duet intertwine with Laura on a simulated Miles Davis “On The Corner” grooved “New York Electric Street Music”. Instrumentals “I Ching”, “Floating” have unique acidic complexities but the most exceptional one is “Hustle + Jam= Bread”. Awesome!!

Gilles Peterson Presents Sun Ra And His Arkestra (Strut) Acknowledged as the catalyst for the experimental, spiritual and esoteric freestyle jazz from the beginning of the 1950’s, Sun Ra and his Arkestra inspired any a musician, Dj and music collector universally. His influence is secreted in recordings from John Coltrane, Pharaoh Sanders, through to Lonnie Liston Smith and Kamasi Washington. Renowned jazz aficionado Gilles Peterson has chosen 34 tracks spread over two CD’s, dating back to the post 20th Century 1950’s swing, doo wop, rhumba, cha cha cha genres to the current millennium with previously unreleased live recordings. It’s an eclectic compilation for those with an open mind for musical close encounters of the third eye kind and mind. Sun Ra experiments with electric keyboards, instruments and eerie organ sounds on “Sun Song” circa 1957. Vocal contributions like “Dreaming” from 1955 evoke latter memories of Dr Buzzards Savannah Band successful formula 20 years later. Songs titles like “India” and “Space Loneliness” are typically very atmospheric in an acoustic vein with orchestration but without strings. With Sun Ra’s obvious connection to the astral world and various interplanetary platforms, his crystallised productions were so advanced, that some of his late 1950-1960s recordings stand the test of time in the late 1970’s and early 1980’s. His catalogue is so diverse with an Art Blakey “Cuban Chant” simulated “Brazilian Sun” to a vocal harmony laced “Black Sky And Blue Moon” and a varied change of tempo and musicianship via “Watusa”. With June Tyson vocally chanting Sun Ra plays the clavinet like a lead guitar on a late 1960’s “The World Of Africa”. I’m absolutely certain that the popular BBC 1970’s children TV animation series ‘The Clangers’ was inspired by the mid 1960’s composition “Cluster Of Galaxies” with its sun harp, thunder drums and spiral percussion antidotes. Amongst the highlights are live recordings some previously unreleased from France and Zurich that conjure up the vision of imagining the live dance routines that would have been performed. With his spiritually gifted Arkestral Manoeuvred musicians Sun Ra was a pioneer in painting the dark and light colour shades of music so I urge those with open minds to check out his “Space Is The Place” music.

Page 22 - Issue 62

Change Reach For The Sky Anthology (Groove Line Records) Jacques Fred Petrous, Mauro Malavasi and David Romani emulated the forumlar of USA musicians and production team Chic, with the Italian American studio band Change in the late 1970’s and the rest is history. This comp features 28 songs from their 6 albums circa 1980-1985 that hosted lead vocals from Jocelyn Brown, James Robinson, Diva Gray and the late Luther Vandross. CD 1’s first 14 has an excellent selection including “Lover’s Holiday” the extended “Glow Of Love”, “Angel In My Pocket” and “Paradise”. James Robinson’s vocals dominate on most of the following classics and truly was the most consistent lead vocalist albeit a ballad or an up-tempo boogie bullet. “Miracles”, “Heaven Of My Life”, “The Very Best In You” an alternative mix of “Keep On It” and a sensual “Promise Your Love” showcase shows why he reigned supreme up until the 3rd 1982 “Sharing Your Love” album. CD 2 sees James with an evolving 1983 production sounding glorious on “This Is Your Time”, “Don’t Wait Another Night” and a lush two stepping “You’ll Never Realise”. Percussionist Rick Brennan fills the gap taking over the lead vocal reigns on the moog bass influenced “Got To Get Up” until we see the Minneapolis production team of Jam & Lewis’s not so hostile takeover, on the Change Of Heart album, introducing the serene and welcomed female vocals of Deborah Cooper.

“Change Of Heart” and “You Are My Melody” the massive club classics had to be on here but I melted like hot cheese in an oven every time when I hear her dulcet tones on the other dynamic duo’s “Warm” and “Lets Go Together”. Deborah continues to hold court on the mesmerising “Mutual Attraction” and Paul Hardcastle’s remix of “Oh What A Feeling” until this comp finishes with Mike Maurro’s remix of “It’s A Girl’s Affair” featuring vocal goddess Jocelyn Brown. Great comp from Wayne Dickson my only gripe is how could you leave off the Burgess cut “You Are My Number One”?

Lonnie Liston Smith & The Cosmic Echoes-Reflections Of A Golden Dream (BGP) This is the final album Lonnie Liston did on Flying Dutchman and the first time we hear his vocal as well as his nimble fingered prowess. “Get Down Everybody” is the pinnacle fling foot shuffling dance cut with the hallmarks and keyboard interchanges of “Expansion’s” prelude legacy featuring Lonnie sounding good linguistically. Lonnie has a habit of following a tranquil and very lucid slow jazz template on each album with “Quite Dawn” exemplifying that exquisitely. He maintains that with slightly more upbeat Sunbeams in an almost glockenspiel sounding “Meditations”. Donald Smith duets with his brother Lonnie on a short but so sweet reggae tinged “Peace & Love” accompanied by a Patti Austin, Maeretha Stewart and Vivian Cherry chorus. Donald solo’s on an enchanting “Beautiful Woman” the second up-tempo serving of the album and finally on a down-tempo “Inner Beauty’” Lonnie completes his vocal hat trick on “Golden Dreams” and ends with a Sun Ra influenced “Journey Into Space”. Superb!!

Ed Motta-Perpetual Gateways The Brazilian skills of Ed Motta individually as a talented modern day jazz soul vocalist sees him swimming in the same pool as Gregory Porter, Mario Biondi and Jarrod Lawson. Featuring an A list cast of musicianship from keyboardists Patrice Rushen, Greg Phillinganes, flautist Hubert Laws, and drummer Marvin ‘Smitty’ Smith, the album is top quality. Ed’s voice evokes memories of the late Louie Armstrong and Eddie Jefferson smooth gruffness, with a touch of Al Jarraue’s panache. “Captain’s Refusal” harbours hallmarks of Steely Dan’s jazzy soulfulness leading various elements of cocktail lounge and big band jazz that are evident as the album reaches it’s halfway stage. The truly infectious cuts are “Heritage De Ja Vu”, “The Owner”, “A Towns In Flames” and a killer jazz dance killer “I Remember Julie”. There’s a touch of the old soft shoe shuffle slow jazz treatment on “Forgotten Nickname” and elements of a late 1960’s Dave Mackay and Vicky Hamilton vocal influence on “Overblown Overweight”. There is an appreciated synergy with the break of vocal and instrumentation allowing both elements to flourish on this classy and “Slick” like Ramsey Lewis album.

Jarrod Lawson Spiritual Eyes Young Pulse and ATN (Dome) Remixed and revitalised Jarrod Lawson’s “Spiritual Eyes” gets a moog boogie treatment from the new school soul doctors Young Pulse and ATN. The main mix is 9 minutes long with a nice clean punctuated four-floor kick drum and electro moog production. It’s reminiscent of the late 80’s mid tempo house grooves, with stripped breakdowns, ad-libs, instrumentation and build-ups, allowing Dj’s to experiment with this in the mix. In parts I’m reminded of Stevie Wonder’s “Blackman” with the moog keys and bass arrangement and it’s the last two-minute outro breakdown, that massively impressed me, as I imagine dancing to this in my youth 35 years back. Very different to the album mix and useful as an alternative depending on what audience is listening.

Ashford & Simpson-A Musical Affair (BBR) From one of the 20th centuries most prolific singing song writing teams comes one of a few from the Cherry Red stables. The late Nickolas Ashford and his soul mate Valerie Simpson’s “A Musical Affair” arrives with 3 extra bonus tracks including the single and a previously unreleased long and welcomed version of the album’s anthem “Love Don’t Alway’s Make It Right”.

After a very seductive “Rushing To” my personal favourite is “I Ain’t Asking For Your Love”. With an uplifting feel good factor message and harmonious vocal delivery “Make It To The Sky” and “We’ll Meet Again” share the orchestral strains and crescendos that always sounded epic on 70’s disco recordings. Don’t be fooled by the mellow beginning of “You Never Left Me Alone” as it does build up nicely before it reaches its 3-minute 50 mark. As well as the longer album version as a bonus check out the single edit of the power ballad “Happy Endings”. With other album titles “Send It” and “Come As You Are”, catch up the brilliance of Ashford & Simpson.

Esperanza Spalding Emily’s D + Evolution (Concord Records) After seeing Esperanza’s impressive live showcase of this album at Shepherds Bush Empire late last year, for those who love he soul and jazz catalogue, this embraces more of a rock, jazz, fusion influence. It’s certainly abstract and an acquired taste, very reminiscent of the 1970’s era, which is attributed to groups like Santana and The John Mahavishnu Orchestra. The first four songs “Good Lava”, “Unconditional Love”, “Judas” and “Earth To Heaven” see’s Esperanza transform into a Kate Bush ‘Wuthering Height’s’ vocal octave of eerie and mysterious proportions. “Rest In Pleasure”, the albums second longest track reminds me in parts of Art Of Noise’s “Moments In Love”. It’s more of an experimental listening album that other than a short and sweet acapella bass funk “Farewell Dolly”, does provide more R&B melodic cut. “Funk The Fear” has chants and the complicated rhythm changes funk fusion is renowned for, with a touch of Carlos Santana rock and soul lead guitar.

The British Collective This creme de la creme quintet of soul surviving talent with at least 150 years of musical history between them share a few common denominators. Like Caron Wheeler they are all ‘UK Black’ with West Indian roots and have had successful solo careers, however they join forces to be known as The British Collective. Featuring Don E, Noel McKoy, Omar, Leee John and Junior Giscombe, This has been leaked to me by their Lady Di Dunkley. These Enid Blyton Famous Five are our own homegrown UK’s version of the USA’s BMU (Black Men United) but with something a little extra. They trade places delivering alternative lead vocals and provide great harmonies if you initially check out “Stay” featuring Junior on lead vocal, and Leee John on an almost Imagination sounding 4 floor up-tempo “Higher Love”. They explore different tempos and genres as Noel takes the lead on a lovers rock laced “Tek Her”, and they borrow an interpolation of Junior Giscombe’s “Mama Used To Say” on a poignant fatherly messaged “Papa”. Typical UK rugged ragga funk bass line runs riot through “It Can Only Get Better” and they bless with more than ample justice soulidifying Trevor Walter’s classic lovers rock anthem and first album single release “Love Me Tonight”. Leeee John takes lead on the slow jam “Tell Her” accompanied by a powerful crying in the wilderness ad lib from monsieur Noel McKoy. “Sign Of The Times” is a very catchy two step piece of memorabilia with a very melodic and quite infectious up-tempo “Flow” make this debut album one worth waiting for. Watch this space…

Resolution 88 - Synthatheisia Records I came across this group of unassuming student looking musicians who warmed up for the Blackbyrds at Under The Bridge. They truly are a gifted collective paying homage to jazz fusion of the early Headhunters, Jeff Lorber Fusion and Chick Corea kind. Between them Tom O’Grady and his band of merry men Tiago Coimbra, Afrika Green, Ric Elsworth, Alex Hitchcock and George Cowley, have either studied music have played with, Don Blackmon, Herbie Hancock and Deodato. Surrounding the short interludes “Cosmic Cascade” and In “The Rhodes of Ecstacy” are some authentic productions and unexpected key changes. Varied in tempo their fusion of jazz soul and funk is highly exampled on “Collidoscope”, “Pursuit Of The Jetson Mobile” and a Herbie Butterfly esq slow jazz jam “Sejuicing My Squeeze”. The unpredictable and journalistic matrix cut is “UnRavelling” with its unassuming false mid tempo start that converts to a bass rumbling ferocious HeadHunters Sly simulation bullet. Truly impressive album and must get if you missed the January sales

Page 24 - Issue 62

Karlito’s Way 12 Recordings I picked this up on Mike Stephens’s music stall at Luxury Soul Weekend Jan 2016 as I was attracted to the cover and the title, a twist of one of my favourite Al Pacino films Carlito’s Way. I was further drawn to the classic titles that include Earth Wind & Fire, Billy Griffin, Chaka Khan, Aretha, Teena Marie and The Crusaders so I thought I’d “Take A Chance” on it like Abba. I can only describe my delight upon hearing the fantastic music production mixed with spoken word and positive street rap as being a “Happy” one like Pharrell. Featuring amazing and the so perfect contributions from some of the UK’s finest The Floacist Natalie, Junior Giscombe, Paul Johnson, Don-E, Omar, Chris Balling Mark Harrison and Benjamin Ad, Karlito does all the instrumentation. He has additional support from The Hot City Horns, Pete Whitefield on violins. Trust me you need to get this!!

Ginger Johnson and his African Messengers (Freestyle) Freestyle Records have had a bit of a scoop here releasing the unofficially dubbed grandfather of Afrobeat, the legendary Ginger Johnson. With the aid of Ginger’s son Dennis Dee Mac Johnson this album gets an official reissue from its humble 1967 beginnings. “The African Party” incorporates African, Brazilian and Latin percussive rhythms with freestyle horns, drums and subtle bass interaction, that are quite hypnotic and spiritual calling. “Witchdoctor” and “Ire” conjure up various tribes ritual dancing imagery with its repetitive chants. “Talking Drum” carries much of the indigenous Afro elements embraced by Fela and Manu Dibango in the 1970’s, and has been given a respectful up to date remix that’s separately available soon outside this album mix. “Lord Morocco” reminds me of latin cuts I have from Eddie Palmieri. “A You Momma”, “Alege” and “Hi Life” are certain to cause a few hip replacement candidates queuing up after being consumed by they entrancing pulsating rhythms. Original Afro drum and bass in ya face. Essential!!

Luxury Soul 2016 Expansions I’ll do my best two do an overview of 34 tracks spread over 3 cd’s and pick the highlights from the package. The production levels of this track vary somewhat in the difference between live music and studio input. So to open with a very musical and classic melodic “HeartBreaking - The Sound Principle” featuring the very accomplished vocals of Richard Anthony Roberts of When you Need My Lovin’ from 1997 is a good start. Daniel March’s “Falling” is sung on a very rhythmic drum, high hat dominating and percussive cow bell groove that’s very noticeable. Antwyn’s falsetto sung “Still” has hallmarks of Eric Roberson’s Right Back To You 70’s vibe and this is followed a few tracks later by The Sun Orchestra’s bump and hustle grooved “Can’t Deny It”. CD 2’s selection starts with a very Chic influenced “Call On Me” by The R&R Soul Orchestra which works effectively as does Tom Glide’s very smooth and architect built horns and keyboard dance mix of a great vocal from Candace Wooten’s “Free”. One of two well produced acoustic productions showcases Tony Momrelle and Tony Remy on a Spanish guitar vibe. Different Street and fellow Inconito vocalist and UK answer to Lady T, Katie Leone slithers smoothly on a very cool jazz soul tinged “Yellow Fever”. The most stand out tracks on the whole album, is Nigel Lowis’s superb Philly Salsoul essences remix of The Sensationelle “Crystal Clear to Me”. The vocal and musical synergy make this a very individual retro but contemporary piece of soul in my humble estimation. I commend Marc Staggers on his very true to the original cover of Luther’s “So Amazing” which fortunately didn’t go horribly wrong.

CD 3’s “Funky Mahoraja” feat Xantone Black is subltley funky with some retro deep background vocals that make a difference. Carmicheal Musiclover provides the steppers R&B lick with an all seasoned “Unconditional” and the better of two Ian Martin feat Jill Zadeh tracks included “One To One” evokes that 1990’s Total meets Davina old school vibe. I must say the last five wind down tracks from Aaron Parnell, Tracy Hamlin, Tyrone Lee are very infectious, calming and sensual. Dunn Street 1986 “Even A Fool” sounds so right amongst this contemporary selection accompanied by the live version of Kashif’s classic “Help Yourself to My Love” that concludes another eclectic Luxury Soul comp so it’s make ya mind up time like Hughie Green.

Natural by Nicola Conti & Stefania Dipierro Far Out Records This is an album of excellence coming straight outta Brazil via Italy and the UK. Although like her collaborator Nicola Conti, Stefania Dipierro is Italian, she sings sensually both in English and a Brazilian dialect in the vein of Astrud Gilberto and Flora Purim. Full of bossa, samba and other latin influences, there is a touch of spiritualism resonating through the album which is quite a scoop for Far Out Records. It’s very classy with two nice and diverse version excursions of Gilberto Gil and Astrud Gilberto’s respective “Maracata Atomico” and “A Gira (Old Black Magic)”. The arrangements and production of this album is of a very high standard. It’s varied in tempo with hints of funk and soul within “I Feel The Sun” and “Natural” and some undeniably infectious dance tracks like “Open The Door”, “Ainda Mais”, “The Meaning Of Life” and “A Menina Danca”. Excellent purchase guaranteed!!

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Soul Survivors

Roll Call of Fame

Tribute to David Bowie The Young Soul Rebel Rebel

Regressing like Benjamin Button to the “Golden Years” circa 1973-1974 I recall a specific memory of my pre-teenage youth at the height, birth and merge of glam rock and disco. One day my school chum Kevin “Ted” Goodchild who was naturally ginger haired walked in to our classroom and I and everybody either gasped or had been subliminally living the Tremelo’s “Silence Is Golden” experience. Kev was bravely sporting the David Bowie Aladdin Sane persona hairstyle and I’m certain Kev’s sudden popularity with the girls made him “Top Of The Pops” that day. He looked so cool like Fonzie and I admired him, because not even the older kids could touch that kind of bravado. Only last year December 2015 after I reminded him of this on his earthday via Facebook, he managed to find the photo of that momentous hair cut. Within a month his iconic “Hero” singer songwriter, musician, actor, artist and ‘The Man Who Sold The World’ millions of records, The Star man, Ziggy Stardust, Aladdin Sane, and “Young American” ‘blue eyed soul boy’ David Bowie, passed away two days after his 69th earthday on the 8th January 2016.

DAVID BOWIE Straight Outta Brixton south London born as David Robert Jones, he would become the ultimate and iconic “Rebel Rebel” reinventing himself with the many “Changes” of popular music. David Bowie was south London’s musical rock star like Michael Caine was to the movie industry, and was quite an anomaly as an individual. With his unusual androgynous features, different coloured eye pupils and eccentric fashion attire, David was a bit of a silent ninja who appears to be shy but could be profoundly articulate and quite well spoken when challenged especially in TV interviews. He had a unique, unorthodox soulful coolness to his voice and one of his songs up there for me personally with Queens “Bohemian Rhapsody” is his “Space Oddity” themed “Life On Mars”. If you were to check Bowie roots into R&B, listen to his intelligently constructed novelty single from 1967 “The Laughing Gnome”, as it is based on that Motown back beat that has become synonymous with what is refereed to as the Northern Soul sound.

Although he had dabbled with elements of more funkier rock and soul cuts like “1984” from the 1974 “Diamond Dogs” album, it was in 1975 when David, looking for a new musical direction went to Philadelphia’s famous Sigma Studios, and records his soul surviving album “Young American” that cements him in R&B musical history. Reputedly regarded by Bowie as his ‘plastic soul’ album it hosted the talents of percussionists, the late Ralph McDonald and Larry Washington, saxophonist David Sanborn, bassist Willy Weeks’s, backing vocalist Ava Cherry and an in demand velvet voiced Luther Vandross. The title track “Young American” showcases the harmonious tones of a young Luther, who co wrote Bowie’s funkiest soul track “Fascination”. “Fascination” was covered in 1977 by Fat Larry’s Band, and Luther Vandross revised the lyrics and recorded his own incredible version called “Funky Music” on his debut Luther album in Cotillion 1975.

What created history is David Bowie being one of the first British caucasian artists, second to Elton John to appear on Don Cornilious’s “Soul Train” TV soul show. On Nov 4th 1975 he appeared performing to a black audience, renditioning his funky penned “Fame” with the late John Lennon. The then dubbed super heavy minister of funk James Brown was influenced by the track simulating blatantly elements for “Hot (I Wanna Be Loved)”.

I guess now both James and David can have a spiritual copyright and royalties discussion whilst they are they “Breakin’ Bread” like Fred Wesley & The New JB’s, around the creator’s dinner table. I personally loved Bowie’s ‘blue eyed soul’ era when he continued later with “Stay” and “Sound And Vision” his fusion of moog funk and pre sub bass menagerie of the “Golden Years”. “Golden Years” would later be covered by a Luther Vandross affiliated outfit Mascara in 1979 and by Loose Ends in 1985. When both Chic’s Nile Rodgers and David Bowie were looking to resurrect their careers, they providentially collaborated on Bowie’s “Lets Dance” album, the title track reminding me of Saturday nights dancing amongst electro and Nu Romantic appreciators at the old Camden Palace Camden circa 1983.

14 years later the late Notorious BIG and Puff Daddy would use that sample for Biggy’s “Been Around The World”. No stranger to being sampled in hip-hop Public Enemy and Jay Z sought his catalogue as well as Vanilla Ice for “Ice Ice Baby” utilising David Bowie and Queen’s “Under Pressure”.

Bowies “Black Tie, White Noise” feature Al B sure as a response to the LA Riots in 1993 filmed with powerful video. Despite some alleged earlier association with fascism in the mid 1970’s when he was going through a turbulent rehabilitation period for which he since apologised for, Bowie seemed to have quite an affinity with black music from a very early age. In a 1983 interview with MTV, Bowie flipped the script and raised the issue of the lack of black music video’s on the predominantly rock TV channel. The interviewer was clearly unprepared for Bowie’s intrusive questions and was left feeling suitably uncomfortable answering David’s questions. David later married black world famous super model Iman with whom he had a child, Alexandria Lexi Jones. Bowie’s previous wife was model Angie Bowie, and they had a son filmmaker Duncan Jones previously known as Zowie Bowie.

So now we hear the cry for ground control to Major Tom for the expected return to “Space Oddity” from “The Man Who Fell To Earth”. Bowie was part of the soundtrack to my life. I liked much of his music but not all of it. He certainly had a distinctive style like his song “Fashion”, that is similar to fellow universally known entertainers, James Brown, Michael Jackson and Prince that made him instantly recognisable on a track. I like many other music lovers recognise the artistry of David Bowie and was taken aback at the announcement of his passing. The gathering in Brixton singing the funky soul folk pop classic “Star-man” says it all. It seems poignant and scarily prophetic that his 1980 classic title “Ashes To Ashes” is somewhat relevant now. But it’s mentioned in a universal and positive way of spiritual spreading his musical ashes to all who loved him. Rock the mic In Paradise PageDavid 26 -Robert Issue 62 universally known as Ziggy Stardust, Aladdin Sane aka David Bowie.

(RIP) Jones

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presents PANTHERS premier at Regent Street Cinema 17th Nov 2015 Marlon Palmer from Kush invited many various media and members of the public to the premier of the anticipated documentary depicting the rise and fall of The Black Panthers. It was a come as you dare affair with the emphasis of bringing it black to the future in a desired Panther attire dress code. The turn out was good with many Nina Simone “Young Gifted And Black” as well as the mature community making the effort in their black leather jackets, dark glasses, berets, afro’s and afro pick on this November 17th “ce soir noir” of historical celebration.

Mi Soul Radio’s Ronnie Herel provided the 70’s Blaxploitation soundtrack with a plethora of social and conscious messages.

The cinema auditorium audience were introduced to the evenings entertainment initially via Mikel’s rap video “Remember Me” showcasing iconic images of Malcom X, Marcus Garvey, Mohamed Ali and Stephen Lawrence.

The film directed by Stanley Nelson is a collage of archived and latter day interviews, video clips and imagery from the 1960’s up to the present day with FBI agents and former Panther affiliates, and many of the main protagonists and survivors of the movement.

Others may have approached documenting the Panthers meteoric rise and demise differently, as this could appear to undermine their true nationwide social and political status objectives. Was this saga one of just being a conflicting feud between modern day cowboys and indians, or a cops and robbers shoot out but on the real life Quinn Martin production “Streets Of San Francisco”?

The synergy and sometimes conflicting Jekyll and Hyde kaleidoscope angles are shown between some of the Panthers Self Defense’s Party’s stronger and leading characters. Huey P Newton describes the parties ethos like that of their muscular black feline cat’s animalistic emblem’s nature, of only striking back when it’s attacked. Huey is shown as the more aggressive eternal fire that lights the Panther flame, having studied the law and observing how the police carried out their duties. With his friend, the generally more passive, cool calm and collected Bobby Searle, they both galvanised the revolution for young blacks to represent America’s north. The BPP sought to be an alternative to the American South’s Civil Rights Movement and protect their local black community like War’s “LA Sunshine”.

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The film shows how both Huey P Newton’s and Bobby Searle’s separate sentences of imprisonment impacted on the momentum of the Panthers efforts and also the rise and demise of a gifted, articulate and militant minister of information Eldridge Cleaver.

Eldridge on one hand is shown as an integrally dangerous and very literate asset, but on the other he proved to be unpredictable and ultimately a liability to the focus of the BPP. Katherine Cleaver, Eldridge’s wife speaks in the film of how the Panthers had swagger with their ethos, passion and fashion, and this impact instilled pride within the Californian community.

There was a clear disparity amongst the ranks between Huey Newton and Eldridge Cleaver in how to achieve their goal. Despite both being proud militants, Cleaver tended to be more trigger happy in his approach especially in the aftermath of Martin Luther King’s assassination. Bobby Sutton’s surviving brother speaks on how he regrets giving his young teenage brother a gun to follow Cleaver’s revenge attack, which resulted in Bobby’s execution style death.

The film emphasises that the BPP were as serious as a heart attack in their mission, so much so that J Edgar Hoover’s FBI declared gorilla warfare, carrying out in the ironic words of a nemesis Malcolm X, “by any means necessary”, to neutralise the Panthers in a meticulous undercover covert operation. We know how the story ends, but “Vanguard Of The Revolution” positively with a hint of sunken sadness evokes the splendour of some empowering imagery of “Blessed Blackness” like the Fred Wesley JB’s classic. As a personal observation it impacted on me more so when I saw the photogenic shots and stills of the young ebony sister who became very prevalent within the core of the movement.

The film shows how some of the high profile caucasian celebrities like Marlon Brando and Jane Fonda rallied to raise the awareness.

It depicts how Bobby Searle fought for his freedom of speech and represented himself in court, whilst a young and inspiring activist Fred Hampton made an impact outside the courtroom. With anyone from a hillbilly, porto rican, blacks or a caucasian persuasion uniting for the BPP, this conundrum caused a very frightened FBI agency, led by the ruthless J Edgar to intensify his enforcement. The BPP was bestowed upon with raids on their various headquarters as J Edgar escalated the potential BPP threat to be the number one threat to the USA way of life, imagine that! Details of covertly

designed terrorist plots from the FBI saw 21 Panthers in New York charged with various trumped up misdemeanours and seeking an unimaginable 100,000 dollar bail bonds, facing 360 years of incarceration.

Although there were acquittals, these disruptive measures played a major part in neutralising the BPP. Evidence is pieced together to show how the FBI managed to infiltrate Fred Hampton’s body guard William O’Neal into becoming an informant. Ultimately this betrayal resulted in a much feared and revered Fred Hampton being politically assassinated from a flurrying hail of bullets, like you were watching a Grand Theft Auto shoot em up PSP game. This film gives a real insight to the plight the Black Panthers faced with all this FBI bureaucracy sanctioned with the newly elected President Nixon’s seal of approval.

The FBI publicly denied this but privately boasted of their achievement. Testaments are recalled of the unimaginable but real major firearm stand-off between the Panthers and an LA swat team, where a massive spray of firepower onslaught killed several Panther members. The actual survivors speak of the ordeal but with an undisturbed pride because they were “Ready To Die” for the cause like Notorious BIG’s 1997 album title. Remember this is the late 1960’s and early 1970’s and it highlights what a mammoth threat some educated and young blood African Americans posed to white America in their plight to preserve the life and liberty of their black community. This truly is a must see film.

After the rapturous applause there was a Q&A with some of the younger audience explaining how the film impacted on them. Well done Marlon and Kush for instilling some James Brown “Say It Loud I’m Black And I’m Proud” facts to an audience of future Panther educated cats. To close imagine, I have written a one thousand plus words review on a two-hour film that documents three plus years of a pivotal African Diaspora reality. Now imagine living through that every second of every minute of everyday of every week and month for almost four years, the struggle for many still continues!!

Thanks to Marlon and The KUSH Team and to Rita Taylor for the amazing photographs (www.ritataylorimages.com and www. ritataylorphotography.web.com).

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Same thing with Dez. No one knew the “Rare-Groove� scene better than Dez, so the best guy got the gig. I gave them both a basic criteria and left them to it. With Dez, when I went to his house I saw he was a music collecting nut like me, so he was perfect for the job.

Originally from a down south sea side manor this Native New Yorkshire champion of musical knowledge has achieved so much at such a young age, that he could have retired with a very successful career in his early 30’s. Ian Dewhirst has dabbled as a record collector, seller, Dj, promoter, complier, A&R and selflessly introducing artists and music to the right channels who ultimately gain commercial success. It all seems to have happened almost accidentally on purpose with bizarre results and lots of adventures. Arise Sir Ian Of Dewhirston an original Yorkshire Knight Of The Sound Table!!

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I guess, let’s start with your early life growing up. At what age did you get into soul music?

I was born in Brighton and moved up north to just outside Leeds in 1960 when I was 5. It was a bit of a culture shock because there was lots of smog and strange industrial like smells, so it was really like going into the industrial north! I ended up in Roundhay, a nice part of Leeds and after doing my 11 plus we moved to Mirfield, so I did move around a bit. Roundhay was quite a wealthy area and people spoke very well, unlike Mirfield where everybody spoke with a thick northern dialect. I was ostracised because I was deemed to speak the Queen’s English. As you know kids can be cruel and after a couple of years of learning the lingo like ‘put wood in’t ole”, which means put wood in the hole or otherwise ‘shut the door’, I started getting used to these different phrases. Being an only child I used to be sent off to bed at 10pm on a school night but I’d listen to Radio Luxembourg in bed with earplugs on a small transistor radio. I was beginning to pick up on Motown and hearing lots of things I liked.

I’d go to the youth clubs and see the girls, who were all huge Diana Ross fans, dancing to the Motown sound, this would have been around 1967-68. I started to buy records around this time including the pop stuff but predominantly Motown stuff like Martha And The Vandella’s “Third Finger, Left Hand” and Barbara Randolph “I Got A Feeling” etc. I progressed to what was the beginning of the Northern Soul era but it didn’t have a name then. It was dominated by Mods at the time and I’d hear lots of records at the youth clubs. Eventually I started working in a menswear shop around 1970 and one of the managers knew I collected records, he had previously been a DJ and ended up selling me his 4-500 strong collection for £25. There were records I’d never seen or heard before, including “Freedom Train”

by James Carr, “The Champ” by The Mohawks and loads of Stax, Atlantic and Tamla Motown records. I spent 3 months listening to all the A & B sides which included some key northern soul bits and rare records like Art Freeman “Slipping Around” on UK Atlantic which was, and still is, a very tough record to find.

seen a copy and they thought I was bullshitting. So I took it to “The Central” and everyone just freaked seeing it for the first time. I also told them I had other records like The Charades “Key To My Happiness” on MGM and various stuff on Verve Records. I’d bring stuff down trying to persuade Banksy to play it and it had now become evident that I had different records than him. It also became apparent that everyone in the club would be in a panic if I didn’t turn up with my records! This was evident when one week I didn’t turn up and then the next week they asked me to do a warm up slot!

I was now ‘in like Flynn’ playing at an established northern soul club, meeting collectors and then I naturally ended-up getting other gigs. Under the alias ‘DJ Frank’, I was aged 17 and now one of the main DJ’s in Yorkshire. The scene used to revolve around various venues in different areas in Yorkshire like “Wakefield Intercom” on Saturday’s, Leeds “Central” on Friday’s, and a miner’s club in Castleford on a Thursday. Banksy eventually left “The Central” and I ended up doing the night with fellow DJ Twink, who had his own set of records and between us, we had a dynamite record selection.

We created a buzz and ended up doing Sheffield “Samantha’s” allnighter and then “Wigan Casino” just after it opened in September 1972, I believe. In fact we did three gigs every Friday “The Central”, then 1.00-2.00am slot at “The Starlight” in Huddersfield and then drive over the Pennines to Sheffield doing a couple of slots at “Samantha’s” until 8.00am. I’d often then go to Soul Bowl to see John Anderton in Kings Lynn in Nolfolk and buy music. That was pretty much my life and sometime I wonder if I hadn’t been in Leeds if I would have gone down the same road. I think I would have done because I discovered the music by myself as the only way you found records was through fanzines and the radio.

So I’m guessing this lead to becoming a collector, going to clubs and eventually DJ-ing?

Yep because by now I had 6-700 records and I’m hearing about these various soul nights. I went to one in Cleckheaton and noticed these guys who were older than me with Golden Torch badges on their jackets. We got talking and they told me it was an all-nighter in Stoke-On-Trent. That then led to us talking about various tracks.

They were surprised about what I knew, because to them I looked like a young wally, but I was invited to play at the Bradford Polish club and I turned up with the cream of my records. People started looking through my record box and immediately jumped on the Art Freeman record asking me if I want to sell it. They offered me swaps but I wouldn’t let it go. So, after that, my confidence grew and I started to integrate more into the northern soul scene. I’d go down to “The Central”, a cellar club in Leeds which held about 200 people, and see Tony Banks, who was the main DJ at the club at the time. I was also picking up 40 records a week from Bradford Market and finding unbelievably rare records, although I didn’t realise that at the time. One that I found was Earl Wright “Thumb A Ride” and there was apparently only one other copy in the country and DJ Martin Ellis at “The Torch” in Stoke had it. No one had ever

So Colin Curtis and Ian Levine were simultaneously doing the Mecca at Blackpool at this time?

Yeah and we used to go because it was the most influential Soul music club in the UK right then. Mainly because Ian Levine, at an early age, was able to go and find records in the USA when he went on holiday with his parents who had a place in Miami. Wigan Casino was the biggest venue and a dancers stomping ground, but the Mecca was more of a sophisticated audience who liked a contemporary edge. The collectors went to the Mecca which was thesoulsurvivorsmagazine.co.uk

the number one place in the world for the whole range of soul and dance music at the time, although other places were always chasing that crown!

What happened when the music started changing from northern to modern and the camp splits and how did you handle it because DJ’s like Colin Curtis took a bit of a beating for a while?

Well, both Levine and Curtis took beatings (Ian laughs). Levine’s taste was untouchable and I have a lot of respect for him because what he had was better produced and more contemporary sounding records than most northern soul tunes at that time. From 1972-1975 the modern soul scene was at it’s height before Ian Levine really got into the gay disco scene via going to “The Anvil” and “The Saint” in New York on a couple of trips. He’s hearing this up-tempo disco stuff and starts to break tunes like “My Ship”, “It Only Takes A Minute” and eventually “Heaven Must Be Missing An Angel” by Tavares.

He’d played more commercially accessible cuts like Esther Phillips “What A Difference A Day Makes” 6 times a night, but the challenge was gone now, because these records were freely available and sometimes even charting. So in 1976 I decided to go to the United States and buy records. I sold off my northern collection as an auction list to raise money to get to Los Angeles. I still have the list and when I read it, I weep as there are some unbelievably rare records in there valued at £150,000 these days and I wish I had them now. (Ian sobs) Ok before we talk about LA, it’s obvious that the “northern soul” in certain demographic areas north of the south were predominantly Caucasian. But there were areas where people of colour were excluded from what we see as the young working class white kids ‘ducking and diving’ a similar throwback of 20 years prior when ‘Rock & Roll’ was the in thing. It’s no secret that I questioned the lack of black presence, when you see less than 10 black kids in the clubs or on the footage. What was refreshing for me was your input about a renowned black dancer and friend of yours Steve Caesar. It was quite a revelation because I’ve known the same Steve since 1983 from our Woodhouse menswear rag trade days. How and when did you meet Steve?

The way Leeds was laid out is like this: “The Central” is where the Page 32 - Issue 62

northern soul fans went. Literally across the shopping precinct was a pub 2-300 yards away that we used to go into beforehand called “The Precinct”. It was basically a black club with a white DJ called Stuart, a weird looking 6 foot 6 smartly dressed tall guy.

Caucasian to the max but somehow he fit in. (Ian laughs). A DJ friend, Paul Schofield, also used to do funk nights in Leeds. Paul DJ’d at “Primo’s” which was 80% black and because of the racism, many of the white crowd would stay away because they would be intimidated by so many black people. But the more adventurous ones, like me, would feel comfortable there because I was there for the music, plus I knew a lot of the guys from “The Precinct”.

But these were edgy times with the National Front having a very heavy presence in Leeds. Even the supposedly ‘safe’ David Bowie fans with their Bowie haircuts were very fascist and Far Right and were aligned with the National Front (Fitzroy: “Wasn’t that around the time he was doing his Young American Blue Eyed Soul album?”).

Yep this was theoretically the time when Bowie was recording in Philadelphia with Luther Vandross! (Fitzroy: Exactly!) It was weird and you could be frowned upon. People wanting to have a pop at you for mixing with black people. I actually had a black girlfriend quite early on called Del, when I was 17 and my best mate at school, Al Horsford, was the only black kid at school. By kind fate, his Dad owned the Reggae Club in Huddersfield, so I integrated with black people exactly the same way as everyone else. Which is the way it should be. Although I’ve been in a few dangerous situations, I always came out alright. I met Steve Caesar at “The Precinct” which was always rocking by 8pm alongside Ocky, Glen Cambell and The Black Cats. The Black Cats were all 3rd Dan Karate fanatics and the top fighters in Leeds. There was Mick Caesar a loveable nutcase, Chalky White and Eustace. You really wouldn’t want to mess with any of them. If any of them had any bother you’d wish you never lived as it would go off, and your arse would be grass. I got to know them after speaking with Stuart the DJ who played funk stuff like “7654321” by The Rimshots and “Blow Your Funky Horn” by KC And The Sunshine Band, “Shack Up” Barrabas, “Do It ‘Til You’re Satisfied”, BT Express, “Hypertension” Calendar and “Do It Fluid” Blackbyrds, so we’re talking around 1974-75 ish.

As a dancer, what was it about Steve that resonated with you?

Black guys take their dancing very seriously and they could take the northern soul moves and execute them differently. My mate Al, when we were around 15, would watch the white dancers who danced to James Brown’s “There Was A Time” in the local clubs as it was fast enough. Al would practice and execute the moves more fluently but he was very fit and athletically built. If we get into genetics, although the white dancers were athletic in build, Al had little flourishes with an extra curve in it for good measure. Steve was a serious dancer and would be covered in sweat dancing in a basement club with condensation coming off the ceiling. When he got into the northern thing he found it challenging and proved a point by winning the dance championship at Wigan in 1974, dancing to “Double Cooking” by the Checkerboard Squares.

So let’s move on to you moving to LA. Yeah my mother told me to stay at the YMCA in New York. What a mistake that was! She said “Don’t go spending your money in

those fancy hotels in Manhattan. Go to the Young Mens Christian Association because it’s cheap and safe”. This was before the Village People came out. I was a 21-year-old good-looking, tall lanky kid from England. I got in the lift at the YMCA and all of a sudden 10 macho men appeared from nowhere, jumped in the lift and started eyeing me up! It was like going to a gay brothel and I barricaded my door with the furniture. Thanks Mum! So the next day I went to LA and met up with Simon Soussan, a French Morrocan Bootlegger who was a northern soul fanatic. He was the main northern soul man in USA who was selling the music abroad and he was an incredible but dodgy character, but he was the only contact I had. He was well known for all the wrong reasons but he knew everyone in Hollywood. On my first night in LA he took me to a club called the Candy Box in Beverly Hills. The very first person he introduces me to is Soul Train TV host Don Cornelious and I’m wearing my Oxford Bags trousers and a patch jumper, standard northern soul fashion attire. Everyone in LA thought I looked ridiculous, so I had to try and blend in more with some slim fitting jeans with flares, although men were also wearing cat suits back then.

Is this where you have alluded to me in previous conversations about your connection with the group Shalamar kicks in?

Yes. We went to club called “Chez Nous” where I heard The Richie Family’s “Best Disco In Town”, a disco medley, which led me to suggest to Simon about doing a Motown melody to a Disco beat, which would probably sell well in the UK. I could see the pound and dollar signs starting to go ‘Kaaaaching’ in Simon’s eyes. Simon dabbled around in studios, so he was able to organise us getting access to one in less than 24 hours. He wanted to do a northern soul melody but I said it would only sell to the fans and we needed something more universal and that at the time, the best-known label in the world was Motown. We figured out the songs and went to Don Hockett, an arranger for the Four Tops, to do the score. Laurin Rinder and Mike Lewis from El Coco did the drums and keyboards and Jack Ashford is on percussion. All this was recorded at Ike Turner’s studio, Bolic Sound. I coined the name Shalamar because of the perfume that was popular in the USA at the time and there was a northern soul outfit called The Shalimars, so we combined the two.

Motown were very interested but A&R Suzanne De Passe reluctantly declined because it was likely to piss artists like Diana Ross off even though they knew it was a sure-fire hit. Don Cornelius’s Soul Train Record label signed it and “Uptown Festival” was the label’s one and only million selling dance record and top 20 US Pop hit. Soul Train paid an advance but because I was on a visitor’s visa, this became the excuse to pay it directly to Simon. Now, I was in business with Neil Rushton from the UK who was to be the conduit when I bought the records in LA to distribute them throughout the UK. So we paid $5000 for the studio time and the record cost $10,000 to make. I should have been listed as co-producer but Simon exploited the fact that I was on a visa to his advantage. We eventually got some advance money from the record company, but Simon then got ripped off by Don Cornelious and that debut Shalamar album proved to be the last significant release for the label. Soul Train Records made their money and closed the company down and out of those ashes came Solar Records and the rest is history. I got booted out of the USA because my visa ran out and came back to the UK around December 1976 and bumped into my old DJ friend Paul

Schofield. He had just left “Primo’s” after some racial door policy with the new management and after concluding that there was nothing else happening at the time, we approached “The Central” and started Friday jazz-funk nights there. It was the first in the North of England playing new released soul, funk and disco at its infancy. This was a cellar club with 300 people in a 180 capacity venue with people travelling on coaches from everywhere. Tracks like Chic “Dance Dance Dance” and even Michael Zager’s “Let All Chant” (on import) were mixed with the Roy Ayers and jazz-funk stuff. It was a hot steamy club and the place to be for best part of 3 years.

From the early 1980’s you had a good stint DJ-ing, working for various record companies as well as moving to London to work for corporate record companies and establishments. How did you get into the compilations market including the Mastercuts and the multitude of Harmless Records series?

After “The Central” I had a residency in the early 1980’s at a brand new club called “The Warehouse” in Leeds, an American style disco with an American sound system and the first in the UK that was designed by Richard Long who did Paradise Garage. The manager of “The Warehouse” came down and saw what we were doing at “The Central” which was on its last legs by that point, and I moved to “The Warehouse” taking over from the DJ Greg James. I’d really stepped bang into the 1980’s with the Prelude and Salsoul labels catalogue and SOS Bands “Just Be Good To Me” being the perfect sounds for “The Warehouse”. After 3 years at the club and living like a typical good-time DJ, I moved from Leeds to London and started working in promotions at EMI for about 3-4 years. Leaving EMI I went to work with Mahesh Baja in the late 1980’s who ran Serious Records. (Fitzroy: I remember them because they had a unit round the corner from my house in Wadsworth Road Perivale, and they put out the 12 inch mix of Voices Of East Harlem “Wanted Dead or Alive”).

Yeah, his dad had a factory down stairs and the record business upstairs. It was a curious combination of me, a 6ft plus white guy, Mahesh, a small Indian dude and Tosca, a black guy with dreads.

We were living in the fast lane for a couple of years going to clubs and travelling everywhere at the height of House music exploding.

We were traveling to Chicago every other week by Concorde, licensing from all the independents like Select and Sleeping Bag Records and generally running around doing deals. As soon as we got to New York the drugs were delivered and we were lined up to go to “The Tunnel”, “Nells” or “Save The Robots” clubs with an already mapped out night schedule. It was crazy. Once we had to go to B Boy Records in the Bronx where Scott La Rock and KRS1 were based. We couldn’t get a cab for love nor money except for one guy who said he’d only take us to the door if I (the white guy) crouched down in the back of the cab. This was a time where each territory was governed by juvenile kids aged 12-14 guarding the streets. If anything happened they, as kids, couldn’t get jailed for having guns so it was scary stuff. When we got to B Boy Records it was a steel door with decorated graffiti plus all the albums that came out had covers with Uzie machine guns and grenades and stuff. Same in Chicago, we would get taken to these clubs full of women and drugs, but we were getting lots of deals and coming back to the UK putting the albums together. Things got really messy and it all took its toll, too much drugs, some gangsters got involved and things got out of

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hand so I got out. I did do another stint following 9 months running Fourth & Broadway in 1987 but by 1990 I was ready to move on.

perfect for the p-funk one. All of my compilers got £1000 for a track listing and sleeve notes. Those were the good old days. (Ian laughs)

Interestingly the first time I met you was in 1993 as I had travelled down from Ingatestone Essex to deep back water Shepperton Surrey by various over ground trains, to get a copy of the “Rare Groove Mastercuts” compilation put together by Dez Parkes. Although I had most of the album cuts I was desperate for Rome Jeffries “Good Love”. I remember phoning you up because I wanted to play it at a gig I was doing that day at the Jazz Cafe. I think Mastercuts are the third generation of compilations that revolutionized compilations after Street Sounds and Dez Parkes’ “Rare” series (Ian: Yes definitely and have you seen how much his albums go for now?) Yeah, what led you after the jazz funk ones to contact Dez for the “Rare” volume?

You’ve done various things since Mastercuts like “Deep Beats” for Castle, Suss Record P&P and Salsoul projects and a very successful five year stint that finished in 2015 at Harmless Records. How did your next current chapter of BolSoul unfold with Carl Webster of Starpoint Radio?

The first album I ever compiled was “Stax Northern Disco Sounds” in 1974 through Dave Godin (Fitzroy: I see it has your alias DJ Frank (Fitzroy laughs). Moving forward I knew that the comps I wanted to do were pretty easy, but the ethos was to explore different genres and different people’s tastes. Although I like to think I know quite a bit, I didn’t want it to be all about me so I chose people who clearly lived the era of those other genres. I’d always like other people’s compilation concepts so I wanted the right people for the right albums. I wanted to democratize the process, as it would have been very convenient to use the usual suspects at the time, which tends to happen a lot, especially these days. I was quite evangelical about black music so when we got to funk, I wanted the same sensibility from someone who lived in London and knew what was happening at the time. This is why I approached Lloyd Bradley for the funk series, someone that had been to all the early funk clubs in the South and who was writing about music and who had walked the walk. He was stunned and asked why I chose him, but it was nobrainer from my point of view. Same thing with Dez. No one knew the “Rare-Groove” scene better than Dez, so the best guy got the gig. I gave them both a basic criteria and left them to it. With Dez, when I went to his house I saw he was a music collecting nut like me, so he was perfect for the job. Jasper The Vinyl Junkie was also

That was through my wife Diane and myself going to Croatia on holiday. We did some maths and found Croatia a nice cheap package with a four star hotel with half board and cheap flights. We got to the hotel complex and looked at the concert hall, the terrace bar, the pool area and the beach venue and just imagined bringing some UK music lovers over for a week which would be much cheaper than a weekend in, say, Skegness or somewhere. Carl and I had done a couple of events at the Holiday Inn in Bexley a few years ago and this was an expansion of that really. It looked like it was doable and it was! We were lucky to get Jarrod Lawson, Tracy Hamlin and Rose Vincent on the live side and lucky to get a fantastic DJ line-up.

It was really good for the first one and we feel we’ve established something to build on for the future. Cool Million and Carmichael Music Lover are on board for 2016 and we already have as many confirmed bookings as 2015 but still with 10 months to go. This year Bolsoul will be huge! See ya there!

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Page 34 - Issue 62

Well Carl and I have known each other for 30 plus years via mutual friends and acquaintances and then I did a show on Starpoint in the 2000s, so we ended-up knocking around together. He shares my sense of humour which is kinda lucky.

So now you’ve got your venture Bolsoul.

Starpoint’s head honcho Carl Webster and his mate Ian Dewhirst with little time to promote it managed to pull 100 people to the Balkan island of Croatia in October 2015. The weather considering the time of year was hot and sunbathing weather for at least half the weeks stay. The accommodation hotel was very luxurious with its own in house nightclub, jacuzzi, sauna and gym facilities. The rooms were very nice, and the dinning room, kitchen and hotel staff where very friendly and accommodating. The pool sets were very inspiring with Jester, Mick Farrer, Ash Selector and Greg Edwards giving a master class in eclectic musical entertainment. Mike Stephens, Macca and the Manchester crew were there to represent the north on the decks as well as part of the revellers alongside some lovely soul survivors I met from Portsmouth, Essex and west London, too many to mention. Part of the attraction was the appearance of Jarrod Lawson, Tahirah Memory and Tracy Hamlin who all performed out of their skins both in the hotel foyer and the nightclub downstairs. There were no “Ego’s Tripping” like Marvin Gaye here as Jarrod, Tahirah and Tracy joined in and danced the night away amongst us all as well as sign autographs and take photos and selfies. Starpoint Radio was broadcasting live with the aid and tireless work of Andrea Robertson, her hubby Steve and Markus Kater from Germany. The local town is 10 minutes walk down the picturesque path from the hotel and the sight seeing excursion to the island was great according to those who went on the boat excursion. This year Bolsoul brings Cool Million and Music Carmicheal over so make sure you book a.s.a.p. for October 2016. It all system go for the Isle Of Brac so let’s have some of it!! thesoulsurvivorsmagazine.co.uk

Mira Parkes

The Official Soul Survivors Balkan and Worldwide Correspondent.

Mira Parkes is an unassuming fountain of knowledge with a passion for the historical value of black music in the Balkan Peninsula and it’s home ground talent, events and forthcoming attractions. In this opening article Mira speaks with the proprietors of Leila venue that has hosted some of the UK’s finest in the capital of her native Serbia’s Belgrade. An advocate for all things connected with the arts Mira is the one stop shop and oracle of Balkan and worldwide informations.

What was the concept at the very beginning of LEILA? LEILA was initially opened as a vinyl record shop, art gallery and the place for various cultural events. The bar came later as a complement to the original concept. The idea was the result from hobbies and interests of the owner and the fact that in Belgrade, as a big city, there is no similar place. The whole project and the space, with its appearance and the mission are important. It is brand-new and a unique contribution to the cultural and tourist life of Belgrade. We emphasize support of Belgrade Cultural Centre and the Tourist Organization of Belgrade (http://www.tob.rs/it/news. php?id=250) to our project. Thanks to its excellent location and unique concept LEILA has become one of the main hotspots where many foreign tourists like to revisit. They’re mainly interested in the music of all rare genres from the former Yugoslavia - on vinyl of course.

You have different types of programs for all generations. What has been the response of audience to the concept?

LEILA also functions as a place of presentation of interesting cultural and sub-cultural creations on Belgrade / Serbian scene and there were over 100 successful promotions of new musical and literary publications and exhibitions of young authors. Frequent guests are DJs, both domestic and foreign. Guests are already accustomed to that, almost every night and can expect some interesting content.

It seems that LEILA has good connection with London?

LEILA has a good connection with London. During these past three years is profiled as a “must visit” place in Belgrade. Many UK Page 36 - Issue 62

musicians and DJs have played here or just stop in for casual hang out and “vinyl digging.”

Patrick Forge, Dez Parkes, Paul Murphy are just some of the famous names of world DJs who performed in LEILA. What does the future hold for LEILA? In the future we expect a lot of original and high-quality events, cooperation with domestic and foreign artists who will justify the epithet that LEILA is a “cultural oasis in the city centre”. And of course, the launch of our own record label.

Thank you LEILA.

Serbia, the land of history, mystery and culture.

Here are just a few of the many interesting places that you should not miss to see: 1. EXIT festival http://www.exitfest.org/en 2. Nikola Tesla museum http://www.tesla-museum.org/ meni_en.htm 3. Pyramid in Serbia http://rtanjpyramid.blogspot.se/p/briefintroduction-to-rtanj-pyramid-and.html 4. The Skull Tower http://www.atlasobscura.com/places/skulltower-nis 5. Devil’s Town http://voiceofserbia.org/serbia/node/97 6. African Museum http://www.museumofafricanart.org/en/

thesoulsurvivorsmagazine.co.uk

R A S E A C E STEV

BY FITZROY FACEY

less was hat e r e an w c c a ic th mus rcial ththe Me n e h i T me at com played allroomferred B e s r a o w carn was oul’ in d e Lo , and wn S c oi n s o Leed s “Upt it was Dave to a before oul by later.

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This interview was quite an unprecedented and unexpected but poignant one to cover in my quest to find out more about the celebrated Northern Soul scene that so many are still passionate about. Via a conversation with Ian Dewhirst about the lack of celebrated black presence on that scene, he mentioned a friend of his who won the Wigan Casino in the early 1970’s who was black.

I was taken aback as this isn’t a widely known fact.

It turns out I knew of this gent for 30 years from our rag trade dwellings. Steve Caesar was a bit of an individual anomaly in his west Indian community in Leed’s Chapel Town, and became a respected dancer in the northern and modern dance circles. His relationship with Ian Dewhirst spans 40 plus years and was very humbled that I approached him to tell his story.

Page 38 - Issue 62

How was life growing up family wise and how were things culturally in Leeds up until your teenage years?

I was born in St Kitts, The West Indies in 1955 and my father left to come to England before I was born. My mother followed with my two eldest brothers in 1964. It’s the familiar story of many Caribbean families, where the father goes away, works and sends money to bring his family over. My parents were based in Leeds and me the last of four brothers and my eldest brother came over to the UK on December 31st 1968. I remember it was a freezing cold day in London and I’d never seen snow before. It was when British Airways used to organise a bus that went from Heathrow to a terminal in Victoria and then went on to Leeds. In 1969 although there were schools local to us in Chapel Town, which had a large concentration of black pupils, my brother and I were sent to Cold Coates Secondary Modern in Gipton that was two bus rides away.

I believe we were part of some kind of social experiment, and that a decision was taken to disperse us to further outlying schools. So in an all white school my brother and I were the first black kids.

It was a shock playing sports and congregating in the playground in the cold and wet winter weather. I didn’t really have any bad experiences and I remember a guy called Richard King who came originally from Tottenham, London, whose father worked for the Star Bingo Halls. We seemed to bond as outsiders, me being black and him being white, but from the south. He was really into reggae and ska and he had all the stuff on labels like Trojan, Palmer and Blue Beat. He lived near me and we used to go to the local youth club, which was around 1970-71, and at the time the fashion was skinheads, Crombie’s overcoats, stay press trousers and Dr Marten boots. Funnily we used to carry the polishing cloth in our bags because we didn’t want anyone to step on our Dr Marten boots. Richard moved to Bradford and I used to visit him. On one visit he’d grown his hair and was into David Bowie’s “Spiders From Mars” album, so our paths eventually diverted. At school I got in with crowd of young mod kids who took me to a club called “ The Spinning Disc” in Leeds on a Saturday morning. To us it was the small mecca club playing pop soul and Motown like “Breaking Down The Walls Of Heartache” Johnny Johnson & The Band Wagon, Smokey Robinson & The Miracles “Going To The Gogo” and Stevie Wonder “Uptight”. The big mecca for us was the Locarno Ballroom and the DJ there was Hunter Smith. There were two nights, Mondays for grown ups and Tuesday for the youngsters, but we went on both nights. The music played there included Limmie & The Family Cooking “You Can Do Magic”, Millie Jackson “My Mans A Sweet Man”, Newby & Johnson “Sweet Happiness”, Norman Johnson & The Showman “It Will Stand” / “Our Love Will Grow”, and some current reggae releases that shaped my musical knowledge. There was a tiny record shop called Jumbo Records also owned by Hunter Smith located on a balcony in one of the Victorian Arcades. I bought my Blues & Soul magazines and 7-inch records there, and that is where I first encountered other like-minded soul boys. They were much more into the underground soul scene, later to become known as the Northern soul scene. They introduced me to Friday nights at The Central where the DJ was Tony Banks and even though I was the only black guy there, I loved the music and slotted in with the crowd.

The music there was less commercial than what was played at the

Mecca Locarno Ballroom in Leeds, and was referred to as “Uptown Soul’ in 1971, before it was coined Northern Soul by Dave Godin a few years later. I didn’t really experience any racism, touch wood I was lucky, I guess. I first visited Blackpool Mecca with two guys from Bradford to the Blackpool Mecca and saw a few black guys and girls dressed really smart who came from Preston or Bolton. The dancing was more elegant than what you see today. Motown drags you in but at The Central the music was less commercial with things on J Boy Records like Jimmy Caldwell “Secret Ashes”. Many soul releases were deleted 3 or 4 weeks because they weren’t selling but later became valuable collectors items.

Who was Dj-ing when you went to Blackpool Mecca?

I wasn’t into the DJ culture but I think it was Colin Curtis and another DJ Tony Jebb.

When you went and saw other blacks in the Blackpool Mecca what was the percentage?

Maybe 5%. Going back to when I arrived in 1969 the community was very small compared to now with people from Jamaica, St Kitts, Nevis and other Caribbean islands staying within the community and having house parties. My brother, who was 18 months older and I moved up beyond that boundary unlike the others who remained within it, and that’s the difference. A lot of the black kids wouldn’t go into town like us which is a ten-minute bus ride from Chapel Town into Leeds centre.

Why do you think that was Steve?

It’s safety in a way but I wasn’t fazed about exploring outside the community. I’m not saying I was a trailblazer, but unlike the other black kids, I used to go to places on my own like Harrogate. I used to bunk the train and go to Wakefield, Keithly, The Mecca in York, and often with no clue of how I was getting back. I just wanted to go out and explore this world of Northern Soul. It’s where I met a friend of mine Simon, and we are still friends today. So I had moved beyond the boundary and I wasn’t afraid, It’s just me. (Fitzroy: “That’s commendable and honest especially at a time when certain racial things were going on.”) Absolutely there was a very brutal murder of a guy called David Olowale, whose body was thrown in the river by the police and racism was everywhere around the UK. The Central was a very accepting atmosphere and area because everyone was there for the music. People from York, Selby, and Bradford would travel in but in my personal experience I didn’t suffer any prejudice and was never attacked for being black.

Ian referred to meeting you at The Precinct a very black populated pub with a white DJ. He mentioned meeting you, and other characters Glen Campbell, Ocky and The Black Cats. (Steve: “Yes they were dancers.”).

He did say that you guys would also congregate at Jumbo’s Record shop? (Steve: “Yeah that’s right.”)

I met Ian at the Central when he played Northern Soul. We used to go to Samantha’s then buy music in Kings Lynn and sometimes we’d go to Cleethorpes when he DJ’d. I applauded him when he went to LA thesoulsurvivorsmagazine.co.uk

and did the Shalamar thing, going to the warehouses and meeting up with Simon Soussant, who was very dodgy. Simon Soussant originally came from Leeds actually and loved 60’s soul and headed off to the USA. He had access to the music and eventually started bootlegging. We had our crew which was Ocky and Glen both mixed race, Simon and Ian Dewhirst both white and me being black. Ocky is mentioned in Snowboy’s book as am I briefly, but we forged a reputation as dancers a bit later. I used to go to the all nighters at The Central in Leeds in 1973. When The Torch closed in 1972, there was an inbetween stage with all nighters at Va Va’s in Bolton and The Pendulum in Manchester. I got dressed to go to the one in Leeds but didn’t have the courage to ask my mum if I could stay out all night, but when the next once came at The Central, she surprisingly let me go. I remember seeing guys in three button suits with Torch badges on their jackets with the black fist taking the influence from Tommy Smith’s Black Panther salute. I remember when Richard Searling arrived the people parted to let him walk through. The atmosphere was wonderful. The club used to be a dance school so it had low ceilings but had the perfect wooden floors to dance on. Wigan Casino opened in the September of 1973 but the all nighters carried on. I used to go to football as I was a Leeds United fan and one day I worked out that Wigan is in Lancashire, and that Leeds were playing Burnley, so I thought I would take my bag and somehow take a bus to Wigan later. As it happened I bumped into my friend Andy Wilson who invited me back to Harrogate. Andy lived in a pub. In an airing cupboard he harboured a tin of Quality Street that had loads of drug capsules.

It was the first time I came across drugs, and they start dividing up the drugs to sell. Now I’m seeing this as a young innocent black guy, in the back of a car full of white youths. Drugs has always been an intricate part of any sub culture, and these guys had green and clears, black and white, chalky’s and bombers. So we’re on our way to Wigan, Snowy was driving, I’m in the back and they give me some pills which I took, and I had the night of my life just dancing. The others went off to an all dayer but I managed to get a lift back from a couple of girls. Again my colour didn’t seem to be an issue and I kept going every week, although I took some time out for a short while between 1973-74. Eventually this led to me entering the competition, getting into the final and winning and it was great. I won £50 and afterwards went to Tiffanys in Burnley and arrived home at 6pm the next evening. I told my mum I’d won and she opened up an account for me at Nationwide that I’ve still got. (Steve laughs) The best years of Wigan were 1973-1975, after 1975 they had the coaches turning up, the Wigan’s ‘chosen few’, and Pye Records released Wally Cox. There seemed to be a bit of a spotlight on Wigan and for me it spoilt things. The Blackpool Mecca was still going and people gravitated towards there with Ian Levine and Colin Curtis, who were moving in a more progressive musical direction. Wigan went a bit poppy which was Russ Winstanton’s style, but Richard Searling was more soulful. The Mecca was more stylised where you had to be smart and initially wear a tie to get in, but Wigan was more of a jeans, vest and loose fitting clothing.

Things were changing and there started to be all dayers at The Ritz in Manchester which played both Northern and modern. (Fitzroy: “Isn’t that where they had the stand offs on the dance floor?”)

Yeah and I specifically remember my mate Simon came down to London and had heard Rose Royce’s “Car Wash” so he asked the DJ to drop it, which he kind of did reluctantly. The next all dayer straight after Soul Sam’s Northern set, Ian Levine started with “Car Wash” and the Northern kids cleared the floor, but the Mecca kids rushed it. If they could have ab-sailed from the balconies they would have done so to the dance floor. So we became more into that and jazz funk like Lonnie Liston Smith and Johnny Hammond. There was a real good underground mix of soul and disco things with that crossover Northern at the Mecca, like Diane Jenkins “Tow Away Zone”, and this was around 1976-77.

Things were happening at Rafters with John Grant and Colin Curtis and people I hung with from Keithly, Tim and Dino progressing from the Northern, were now dancing to Philly tracks like Teddy Pendergrass and “Lets Clean Up The Ghetto”.

What do you think it was that made you stand out?

I never really analyse it as dancing to Northern, disco or jazz funk, your body is like another instrument. (Fitzroy: “Ok what do you think made you the winner at Wigan?) I wasn’t into all that back dropping and flipping craze as that came in much later. The dance floor at Wigan was quite packed so there wasn’t room initially to do that. I think I was quite long, thin and languid. I’m not sure really you’d have to ask someone else. (Fitzroy: “Ok Ian gives an interesting analogy on the genetics between black and white dancers.”) I was never into the spins.

To read full Steve Caesar’s interview subscribe via www.thesoulsurvivorsmagazine.co.uk

Page 40 - Issue 62

Well that makes my point of asking the question more interesting. So the thing that distinguished you from the others to win the competition in 1974 was because of the flair and adventurous moves that you did that were not considered to be standard Northern Soul dancing traits…. How did you find the scene in London compared to up north?

I remember going to Kings Road in Chelsea, London and frequenting Boy and this was at the height of Punk fashion. I remember Don Letts DJ-ing in the shop and we used to go to Beaufort Market and seeing things we could pay a pound for in Leeds, for a fiver in London. I went to Global Village which became Heaven that had a mixture of punks and soul boys listening to funk and alternatives like The Clash. We used to go to the Brighton and Purley all dayers again being the travelling crowd with Ocky, Simon and Glen Cambell. I used to go to a club called Angels in Burnley where disco was big and Richard Searling who worked for RCA Records at the time DJ’d.

They held the Disco regional championship there and I actually got to the final but didn’t win but I did meet Bootsy Collins who was on the panel. I danced to Lorraine Johnson’s “Feed The Flame” and still love that tune. I also used to go clubbing in Newcastle and that’s how I got to know Alex Lowes.

What about the girl you used to dance with that Ian Dewhirst mentioned to me?

That was Carol a nurse from Blackpool. We were romantically involved and as a good dancing couple we used to cut up a few rugs.

We danced to things like “Native New Yorker” by Oddesey and “Lets Get It Together” by El Coco.

When did your DJ-ing come in?

I started with Paul Schofield at Primo’s as a warm up. I have a photo of me holding up a Bootsy Collins album back then and I did a few local gigs.

When did you move to London?

I came to London in 1981 and landed a job in Woodhouse Menswear for 10 years, with a short break, working for Katharine Hamnett. I didn’t realise Woodhouse was such an esteemed high fashion shop initially amongst an elite collective of outlets like Browns, Le Da Zebra and Jones. (Fitzroy: “Yes and Joseph, Reiss and Quincy. It was around 1985 when I met and worked with Derek Boland at Woodhouse on the Kings Road.”) I do remember Trevor Shakes and Leon Herbert, the actor coming in often to buy clothes at our Tottenham Court Road end of Oxford Street shop.

Where were you now clubbing?

I used to go to the Wag, Raw under the YMCA at Tottenham Court Road, La Beatroute, The Blitz, and Barracudas. (Fitzroy: “When we were in the rag trade, we used to go to Crazy Larry’s on Kings Road, Corks Wine Bar on Binney Street, near Bond Street and The Roof Gardens Kensington.”) Yeah I forgot about those.

To subscribe for £25 membership 31stfromMarch 2016 goto betohonest I knewbefore Dave Browning the Northern scene and from my days in Jumbo’s, I wanted to work in a record shop. I became the manager of the Time Is Right in Shepherds Bush and www.thesoulsurvivorsmagazine.co.uk Tell me about working in record shops, Time Is Right on Chapel Market and Spin City on Edgware Road?

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that shop had an enormous back catalogue of music finding music in America, and I was there for three years. Then I worked at Spin City for 9 years. (Fitzroy: “Yeah that was 1998 when I walked passed randomly after doing a community radio show and saw you in the shop but didn’t realise you were there for 9 years.”)

Who did you admire dancer wise on the Northern scene?

There was a guy called Bupa who was bulky and spun a lot at the Torch, but Andy Simpson was the best dancer for me and he used to go to Mecca. He moved well and wasn’t into the back drops and flips and his style was what I warmed to. On the girls slide there were some from Preston and Carol Bastcock my ex dancing partner was very good.

How did you end up on the cover of the albums?

Ady Crossdale who ran a night at the 100 Club in the 1980’s contacted me and we shot it somewhere like Hemel Hempstead.

Back in my dancing days I was only known by my last name, no one ever called me Steve, just Caesar.

Did they shout hail Caesar when you hit the dance floor? Thanks Steve it’s been educational.

Thanks for letting me tell my story.

thesoulsurvivorsmagazine.co.uk

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ACROSS 1 Iconic defunct venue for the fleet footed famously remembered for 3 before 8 (5,6) 6 Brass Construction chanted this twice after ‘Ha’ (3) 8 This means the Delfonics Love You (2,2) 9 Chante Moore asked “Baby Can _ _ _ _ _ _ _ _ _ _Body” (1,5,4) 11 Just me and Bill, the two of _ _ (2) 12 Teena Marie’s classic wizardry (2,4,2,5) 14 Who did the Velvelettes say was really saying something? (2) 15 Minnie Riperton’s old group of jewels (4) 16 Solar Radio’s Jump Start DJ (6,4) 22 Teenie Marie’s Iberian love (10) 25 Def Jammer Jeffrey Atkins is better know as Ja ...... (4) 27 Levi Stubbs boasted “Ain’t _ _ Woman” (2) 28 This band is “always” going round in “circles” (8,5) 29 25 Across rapped about his Pimp’n _ _ (2) 30 This alias group just gotta have Grace (3,4,1,1,1) 32 Phyllis Nelson’s son and original member of Boyz II Men (4) 33 “It _ _ _ Be Winter Outside” but their love is unlimited. (3) 34 “Your _ _ _ _ _ _ _ _ _ _ _ _ My Weakness”, Barry admitted. (9,2)

DOWN 1 The Blackbyrds were just moving in sound, humming to the music and trying to move on. (7,2,6) 2 Canvey Island venue a source of wealth as the UK’s “birthplace for Jazz, Funk and Soul” (8) 3 Norfolk venue that brings the family back twice a year (7) 4 Mr. Dynamite was “_ _ _ _ _ _ _ The Bone” (5,2) 5 Teenie Marie had three of 8 across with this, it’s the way that you feel when you know it’s real (3) 6 These people’s mindset is that party is a groovy thing (6) 7 Manchester venue sounds like home to Maceo and the Macks (6,3,6) 10 The Invitations say the girl is this. She must be mad! (5) 11 Terry Raymond IV sounds like he will show you to your cinema seat? Yeah! (5) 13 Archie confessed “Here _ _ _ Again” Oh, baby baby babe! (1,2) 17 Number Marvin & Tammi need for a party (3) 18 Martha sang Forget Me What Boy? (3) 19 Lil Wayne boasted “_ _ _ _ _ Hard” (1,2,2) 20 Solar Radio’s Dancefloor Classics DJ (3,5) 21 “_ _ _ Me Down Easy” sang a disappointed Bettye Lavette (3) 22 The Intruders loved their “_ _ _ _ _ Ol’ Fashioned Girl” (5) 23 The Righteous Brothers Band were often heard trying to get ahead at 1 Across (3,4) 24 Do this to Joe Cocker’s heart (7) 26 Stevie’s hopes his premonition misses ‘cause this time could mean goodbye! (6) 31 Salsoul record fans dance this off! (3) Page 42 - Issue 62

Answers will be posted on The Soul Survivor’s Facebook page

thesoulsurvivorsmagazine.co.uk

MADNESS VS THE HOUSE THAT JACK BUILT 7th November 2015, Halfway House, Essex

This was undoubtedly one of the highlight gigs for me of 2015. Bob Masters as the orchestrating linchpin Bamber Gascoigne set up a musical university challenge for his roster of Dj’s to dig deep into their crates for a night of people voting with their feet and their scoring cards. This was Madness V’s House That Jack Built an all dayer with flexing between old school house and hip-hop vs disco and soul. This was a remember remember the 7th of November with some inspiring sets upon my arrival around 6pm from Tony Fenandez and Brian Jay till 8pm. This was packed event and I relished enjoying my set dropping “ voodoo Ray”, “ Flipjack”,”Blacker” and “ Salsa House” between 8-9pm. Both debuton’s Brandon Block and Ronnie Herel tore the roof off with their cheeky sublimely mixed disco house sets 9-11pm and caught Paul Clarks dropping Kariya” Let Me Love You For Tonight” before catching the last train back to London. Great crowd who were loving it like MacDonald’s. 11 out of 10 Choons.

GREAT VOICES OF SOUL 15th November 2015, London.

Gwen Dickey: Nothing “dicky” about Gwen – she delivered all our favourites from a wheelchair!

Meli’sa Morgan: Mis”s”ed her set? Then you really are “… living in a Fool’s Paradise …” - silver (her dress code) but with liquid gold oozing from her mouth!

Soul II Soul: “The Meaning of Life”? No need for a Thesaurus for this group as the lesson came across loud and clear!

Loose Ends: Nothing loose about their ends … neatly packaged and everything tucked in nicely!!

The S.O.S Band: Rescue needed for this group? Their set had us on dry land and viewing an oasis of sheer delight!

The Whispers: The decibels were off the Richter scale when they performed – no whispering here as their thunderous set put paid to that!

Patti LaBelle: Sassy, soulful, VERY LOUD and, most definitely, blew away the youngsters before her! 71 years of age but, without a doubt, one of THE greatest and powerful voices of any woman (or man!) I know!!

For those who missed this experience, all I can say is that you would have been brought back in time – a time when life really was all it should have been … happy, soulful and absolutely AMAZING!!Luciana Moschetti

MACEO PARKER

OMAR

16th - 17th November 2015, Under The Bridge, Chelsea

20th - 21st November 2015, Jazz Cafe

Event Reviews

It was nice to get a second bite of the cherry and play for the second year running for Mr Soul Power Maceo Parker, the man with the funky horn and former saxophonist of the late James Brown. Both nights were packed with a mixed aged audience and Maceo was on form with his ensue of humour.

He was joined again by Martha High another from the James Brown revue of yesteryear amongst his ‘all the kings men’ musicians. Maceo still skilfully does a mixture of hip-hop jazz and his own versions of James Brown penned classics like “Soul Power” and “Doing It To Death”. His drummer is the femme de fatal Queen Cora Dunham known for her notorious ill skills working with Beyonce and Prince. Boy she battered them drums like George Foreman on a heavy boxing bag but with the speed of a Mohammed Ali shuffle. Brilliant two nights and hopefully see y’all if Maceo comes back this year.

Returning to my long-standing residency of 24 years at Jazz Cafe is always a joy especially when for the umpteenth time I work with “Soul Don Of South London” Omar. Packed both nights Omar changed up his set and showcased a wide variation of his long and almost 30-year career. “Feeling You”, “It’s So” “Fuck War, Make Love” and “When We Touch” were flung into the mix to an always appreciative dedicated fan based crowd. With his faithfuls Lex on keyboards, Chris Balling on vocals, Omar includes “This Is Not A Love Song”, “Be Thankful For What You’ve Got” and introduced on alternative nights Don E singing on “Be Thankful” and Kele Le Roc on their funky duet “Come On”.

Naturally he does “There’s Nothing Like This” and always includes a bit of his cheeky chappy sense of humour. Good to see some old faces from my past like Sharon Stanley and Lisa Missah Warden (massive Omar fan).

Motown & Soul Christmas Spectacular 28th November 2015 - Troxy In support of a cause that is close to everyone’s heart, I attended the Motown & Soul Christmas Spectacular late November at the Troxy in Limehouse. Walking into the arena I noticed a very sizeable crowd who were obviously gearing up for a party! The London Soul Choir were in full swing directed by Abi Gilchrist and being much appreciated by the crowd for their talented vocals. Followed by a lively performance by former Drifter, Patrick Alan and his Motown Live Revue with Matthew Allen, Zalon Thompson, Alex Charles and Ade Omotayo. It was refreshing to hear many of the big Motown classics that we all know and love with an excellent band in a live environment. With female vocals from Denise Pearson, Kele LeRoc, Jennifer Phillips and the iconic Jocelyn Brown belting out “Somebody Else’s Guy” it was certainly an evening oozing with talent.

Britain’s Got Talent’s ‘Old Men Grooving’ delighted the audience by bustin’ some seriously extravagant moves in their Christmas jumpers… Never mind the dancing that must have been no mean feat under those lights… lol Not quite as dynamic as Diversity but my goodness they are fun to watch.

We then moved onto the after party with Fitzroy smashing out the tunes. He certainly kept the audience lively and dancin’ until they all practically collapsed exhausted at 2am. All in all a great night, for organisers Nathan and Gareth who pulled off a real Christmas Cracker for Cancer Research UK. Well done guys!

Page 44 - Issue 62

TOWER OF POWER 29th November 2015, KOKO Camden

I’ve seen packed events at this venue since I used to frequent it in 1983 when it was known as Camden Palace both as a paying punter and as a working DJ. However I’d never seen it packed to the rafters on a Sunday with all 5 or 6 tiers to capacity. The Tower Of Power ensemble with original members Emillio Castillo and Stephen “Doc” Kupka fronted vocally by the truly incredible vocals of Ray Greene were breathtakingly amazing. The mixed aged audience knew every single word to each song and totally showed their appreciation for probably the funkiest band still performing from the San Francisco Bay Area. I was happy because although he’s not Lenny Williams, Ray Greene who actually plays as part of the horn section also, sang my favourite “So Very Hard To Go”. As musicians TOP were faultless and synchronised more than a Timex watch. I really was impressed what I saw and was fortunate to represent with some old school funk and break beats that seemed to be appreciated. Next time they are here you must catch them.

BLACKBYRDS AND RESOLUTION 88 28th November 2015, Under The Bridge, Chelsea

Adrain Gibson asked me to play for The Blackbyrds once again like he did back in the late 90’s when we worked together at The Jazz Cafe. With original members Keith Killgoe on drums, Orville Saunders lead guitar, Allan C Barnes sax and flute and Joe Hall on bass it could only be one conclusion. 100% pure “Do It Fluid”. Another packed night of old school jazz funk and soul die hards witness musical splendour as the band performed some Donald Byrd classics “Think Twice” (sounded so glorious), “Dominoes” and “Blackbyrd” alongside some of their own musical brilliance. They touched “Walking In Rhythm”, “Happy Music”, an unbelievable version of “Do It Fluid” and a 10-minute version of “Rock Creek Park”. The keyboard replacement for the original Kevin Toney was on par and their new lead vocalist fits in nicely in this current line up. Absolutely one of my fave gigs with huge soul surviving love and thanks to those kind words who came from those who stayed for the after performance session and didn’t want to leave before the 11.30pm curfew.

Ultimate Christmas Party with Cheryl Lynn and Evelyn “Champagne” King 19th December 2015, Indigo 2 Greenwich, London

This was a long awaited gig featuring two powerhouse 1970’s and 80 powerful vocal bold soul sisters. Cheryl Lynn after 20 year hiatus to the UK and doing her first historical gig as the headline act, doubled up with Evelyn Champagne King and support act Chanel with the intent to “Shake It Up” and “Get Loose” with some retro classics. It was very busy and I was on call with Victor Anderson to warm the audience before a demure Chanel performed eloquently “My Life” and a couple of her repertoire with strong conviction. Evelyn who is no stranger to The UK or Indig0 in recent years strutted her stuff and belting out with a smile her catalogue of hits including “Shame”, “I’m In Love”, “Love Come Down”, “Betcha She Don’t Love You and to my delight “I Don’t Know If It’s Right”. Cheryl Lynn opened with a melody of “ Sweet Kind Of Life” from “Sharks Tale” and was feeling the groove with some quirky shoulder moves on stage. Naturally she sang “ Got To Be Real”, “Shake It Up” and “Encore” her massive hits. Cheryl’s voice is stlll very powerful and it was good to hear her live for the first time. Calvin Francis Stretch Taylor, Scott James and Peter P spun the jazz funk and soul classic till 2am. Hats off to Orlando and Scott James who were both serenaded by the ladies on stage, it was a nice start to the festive season!!

LUXURY SOUL WEEKENDER 8th - 10th January 2016, Hilton Hotel, Blackpool

There are usually only two reasons to rush out and thrust yourself into the bitter cold winter weather this time of year. Huge applause to Richard Sealing, Ralph Tee and the undercover brutha’s who make the weekender work. So in brief here’s my John Craven News Round highlights of another enjoyable weekend. Vivy B’s 10-11pm Friday night Lounge slot was well received especially when she threw Leon Timba’s “You’re My Darling” into her mix, so well done that girl. Loved the Saturday afternoon Noleen & Crossley “Salsa Boogie” Strictly Come Modern Romance “Everybody Salsa” Dancing session with Clinton Cambridge and Hughie with such energy!! Straight after 2-6pm from the Lorraine Chase manor of Lute (Luton) Airport, Perry Louie took an “Endless Flight” for an hour as a special guest for the Freestyle crew at the infamous 4-hour jazz session. Many including myself were cutting shapes to yesteryear classics like Yellow Jackets “The Hornet” and Judy Roberts “The Other World”. Perry had me shiftless shuffling to Ramsey Lewis’s “Slick” like I was back at the Lyceum Alldayers circa 1981. Later the well dressed to impress night owls came out in full force with excitement to see Kashif live on stage. Kashif went through some of his vast catalogue. He opened with “Gotta Have You”, “Stoned Love” and the Slave tinged “Help Yourself To My Love”. Tracy Hamlin and Hazel took turns in lead vocals with “I’m In Love” and “Love Come Down”. Loved Tracy Hamlin’s powerful glass shattering and make a grown man cry rendition of Whitney’s love ballad “You Give Good Love”. Kashif encouraged a Soul Train dance on stage to his former BT Express’s groups “Do It Till Your Satisfied” and covered his own-penned Howard Johnson classic “So Fine”. Thanks for those who had kind words to say about my four sets, in particular the Thelma Houston “Saturday Night Sunday Morning” 3 -4.30am set. For me the most inspirational set of the weekend was from my west London Zhane “Hey Mr DJ” Norman Halley. His first 45 minutes following me straight after 4.30-6am was an uplifting up-tempo boogie fest full of Maysa’s “The Bottle “, Sunlightsquare’s “All Around The World” Ron Hall’s Philly mixed “The Way You Love Me” and Teddy P’s sublime “Badluck”. On the Chaka “Any Old Sunday” session Bigger certainly had that Lounge room “Groovin” on a Janet Lawson “Sunday Afternoon”, with his trademark familiar and a few surprises set. Later in the evening session Ralph Tee dropped a mixture of musical bombs including Sara Devine “Take Me Home” Big Bubba “I Like Your Style” and an edit of Jean Carne’s “Lucky Stars” that made me and Jon Jules rush the decks. Nice to see fellow soul survivors from the corners and crevices of the UK come together and celebrate life in the dance lane. “Good Times” like Chic.

thesoulsurvivorsmagazine.co.uk

What's going on?

JANUARY Friday January 29th

and last Friday every month A FAMILY AFFAIR With OBJ’s spinning jazz-funk, soul, latin & boogie + DJ Pepper Sleeves and DJ Bugsy Wan playing their mix of soul & funk.

The Rocket, 11 Churchfield Road, Acton, W3 6BD 6:30 pm ‘til 12:30—FREE ENTRY Venue has full wine & dine menu.

Friday February 5th

STREATHAM SOUL CLUB @ White Lion Streatham High Road SW16 Fitzroy (Soul Survivors) & Lindsay Wesker (Mi Soul) 7pm-1am mixing up the 1970’s to 2016 A-Z and Soul Surviving music Free entry Saturday February 6th

FATBACK BAND @ Nells Jazz & Blues 3 North End Crescent, London w14 8TG Tickets £38 www.seetickets.com Fitzroy Soul Survivors Dj-ing door open @ 7pm February 13th & 14th Feb

ALEXANDER O’NEAL at Jazz Cafe, Parkway, Camden, doors open 7pm DJ Fitzroy Soul Survivors February 19th -21st Feb

THE COTSWOLD PARK WEEKENDER, Cotswold Water Park Hotel, Lake 6, Spine Road East, South Cerney, Gloucestershire, GL7 5F. DJ’s Chris Brown, Sean French, Vivy Bee, Shaun Gallagher, Darrell S and more plus Jean Carne live

FEBRUARY

MARCH

Friday February 26th

March 3rd

and last Friday every month A FAMILY AFFAIR With OBJ’s spinning jazz-funk, soul, latin & boogie + DJ Pepper Sleeves and DJ Bugsy Wan playing their mix of soul & funk.

The Rocket, 11 Churchfield Road, Acton, W3 6BD 6:30 pm ‘til 12:30—FREE ENTRY Venue has full wine & dine menu.

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THE THREE DEGREES @ Jazz Cafe Parkway Camden doors open 7pm DJ Fitzroy Soul Survivors Saturday March 5th

FUNKY NATION AT RONNIE SCOTTS, Frith Street, Soho, London 8pm-3am Thursday March 24th SOULNATION PRESENTS EASTER SOUL EGGSTRAVAGANZA BANK HOLIDAY 9-2am @ Lakeside Country Club Wharf Road, Frimley

GU16 6PT. DJ’s Ash Selector, Fitzroy (Soul Survivors), Jon Jules, Bigger and Victor P. Soul R&B, jazz funk disco and boogie Saturday March 12th

SOUL FUSION House & Disco, Classic Funk and Soul. Room.

Bobby & Steve, Sean McCabe Dave Stewart.

8pm - 3am Kingsmeadow, Kingston-UponThames KT1 3PB. Online tickets £12 www. wegottickets.com Friday March 25th

and last Friday every month A FAMILY AFFAIR With OBJ’s spinning jazz-funk, soul, latin & boogie + DJ Pepper Sleeves and DJ Bugsy Wan playing their mix of soul & funk.

The Rocket, 11 Churchfield Road, Acton, W3 6BD 6:30 pm ‘til 12:30—FREE ENTRY Venue has full wine & dine menu.

Friday March 25th

SOULTRAIN @ SWX 15 Nelson Street BS1 2 JY 3 arena’s 9-4am www.soultrainradio.co.uk Saturday March 26th

FUNKY NATION AT RONNIE SCOTTS, Frith Street, Soho, London 8pm-3am Fitzroy (Soul Survivors) Sunday March 27th

BRIGHTON BEACH PARTY 4 ALLDAYER Sunday @ PRYZM West Street, Brighton, BN1 2RE Dj’s Bob Masters, Jeff Young, Paul Clark, Terry Jones contact 01273 413800

APRIL

Wharf, Poole, BH15 1 HX 2 rooms of music 2pm till midnight tickets £15

Saturday April 9th

Saturday May 28th - 29th

FUNKY NATION AT RONNIE SCOTTS Frith Street, Soho, London 8pm-3am Fitzroy Soul Survivors Saturday April 30th

SOUL FUSION House & Disco, Classic Funk and Soul. Room.

Joey Negro Dave Stewart. 8pm - 3am Kingsmeadow, Kingston-Upon-Thames KT1 3PB. Online tickets www.wegottickets.com SHALAMAR GREATEST HITS UK TOUR April 8th Brighton Concorde 2, 10th Ipswich Corn Exchange, 12th Sheffield, City Hall, 13th Norwich, The Halls, 15th London 02 Forum, 16th St Albans Civic Center, 17th Minehead Arena, 2nd Dartford Orchard Theatre, 23 Skegness, Embassy Theatre, 29th Liverpool Philharmonic, 30th Manchester the Ritz.

MAY Sunday May 1st

SOUL POWER RADIO ALLAYER TWINS Sail

HAPPY DAYS Legendary live soul acts & 80s Pop bands performing all day. DJs Greg Edwards and Dave Stewart. Imber Court, Esher, Surrey.

Online tickets www.wegottickets.com

JUNE Friday June 17th-19th

THE BLACKPOOL INTERNATIONAL SOUL FESTIVAL @ Winter Gardens Blackpool, 6 rooms of soul music with Bettye Lavette, Bobby Hutton, and Dee Dee Sharpe advance tickets £40 call 0844 856 1111

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