Many thanks to Modculture.com for alerting us to the latest release in the 'Acid
Jazz - Rare Mod' series - the upcoming Riot
Squad and David Bowie EP from 1967.
to pre-order now in 7-inch vinyl, it’s officially listed as The Riot Squad 'The
Toy Soldier' EP (AJX329S), featuring the band’s recordings when David Bowie was
a member of the band in 1967. The band rehearsed at The Swan in Tottenham, with
Bowie on vocals, and played live together for approximately nine weeks. There
were also six recording sessions, at which Bowie recorded the four titles
Waiting For My Man, (the Lou Reed song, released before the Velvet Underground)
4) Silver Treetop School For Boys
release has been produced from the ‘faintest audio imprint of an antiquated
reel to reel tape’ and never been officially released before.
want one, Acid Jazz is doing pre-orders via eBay for the vinyl, which will then
ship in June. It sells for £5.99 + £1.50 p&p.
Whitsun weekend is the TIMEBOX WEEKENDER which
incorporates the BUCKINGHAM PALACE SCOOTER RUN that started life in the early
eighties by Tony Class and the Phoenix Society and was resurrected a few years
ago by the New Untouchables and Bar Italia Scooter Club. The meeting place is
the iconic London landmark Carnaby Street where by early Saturday afternoon the
whole street is full of Lambrettas and Vespas.
The route takes us through many of the Capitols tourist
hot spots and iconic shopping streets turning heads and filling the air with
two stroke fumes as we go. The final destination is the home of TIMEBOX CLUB;
The Strongrooms in the Shoreditch district, with its huge car park with ample
parking for 300 scooters it’s the perfect venue to host the alldayer.
From 3pm-3am entertainment includes live bands, DJs,
scooter competition accompanied by sumptuous food from the BBQ all yes all for
The bank holiday Sunday we return to an old Mod venue the
Phoenix in Cavendish Square behind Oxford Circus for a Northern Soul night from
9pm-3am. This Soul cellar with wooden dancefloor, air conditioning and great DJ
line-up is the perfect way to round off a great weekend in the Capitol.
27 May 2013, John Wilson returns with a new series of Mastertapes, in which he
talks to leading performers and songwriters about the album that made them or
changed them. Recorded in front of a live audience at the BBC's iconic Maida
Vale Studios, each edition includes two episodes, with John initially quizzing
the artist about the album in question, and then, in the B-side, the audience
puts the questions. Both editions feature exclusive live performances.
beginning of 2013 Wilko Johnson announced a series of farewell UK concerts in
March. The guitarist and founding member of Dr. Feelgood has been diagnosed
with terminal cancer and he has chosen not to undergo chemotherapy. But before
these final live appearances and before going into the studio to complete a new
album, he came to the BBC Maida Vale studios to discuss the making of his very
first one: Dr. Feelgood's debut album, "Down By The Jetty".
in January 1975 and including 'Roxette', 'She Does It Right' and 'All Through
the City', the album has been cited as a major influence by the likes of Paul
Weller, the Clash, Blondie and the Ramones.
versions of the songs performed in the programme (and others) can be heard on
the 'Mastertapes' pages on the Radio 4 website, where the programmes can also
be downloaded and other musical goodies accessed.
Karla Milton Collective, who have the excellent ‘Jack is Back’ single out on
Heavy Soul Records right now, have announced that they are playing at The MET
Studio at Stafford Gatehouse on Saturday 6th July 2013.
Gatehouse website says, “Karla Milton is a musical tour-de-force with
unmistakeable star quality and talent. Fusing natural charm and charisma with
dynamic stage presence and stunning vocals, Karla has captivated and delighted
audiences across the UK and Europe with her soulful, funky, cool and
sophisticated blend of Acid Jazz and 60's groove.”
Studio is a unique 120 capacity studio space equipped with the latest sound,
lighting and back-up equipment. The seating is completely adaptable and can be
assembled in a variety of ways to suit any requirements – end stage, in the
round or cinema style. It can also be used as a recording studio.
documentary, which sheds light on the changing face of youth culture in London
from the 1950s to the present day, will be screened for free in the capital
later this month.
Out - Then and Now, directed by Lorna Holder and Yvonne Deutschman and produced
by Tuareg Productions Ltd, takes viewers from "flower power fashion to
designer brand obsession, from telephone box to mobile phone, from café and
club culture to social online networking".
documentary, which will be shown at the British Film Institute on May 22, also
aims to show the changing face of music and the club scene of the 1960s and how
they both played a vital part in bringing black and white young people
Out founder Lorna Holder told The Voice: “One thing hasn’t changed over the
years and that is the passionate energy young people bring to anti-war protests
and social changes. Highlights include former MP Tony Benn and Kurt Barling
(BBC correspondent) in discussion with young people around the issues of
protest. Hanging Out will be a fantastic watch especially for young people in
sixth form and university.”
added: "Audiences will be able to watch the Mods and Rockers reveal how
the press paid them a fiver to fight on the beaches of Brighton, hear about
legendary boxer Muhammad Ali’s first visit to Brixton and the story of Michael
Jackson buying a safari hat, which went onto inspire his hit album Off The Wall."
Hanging Out project, by Full Spectrum Productions, was funded by The Heritage
Fund and in partnership with the British Film Institute, Museum of London,
Victoria & Albert Museum and Imperial War Museum.
private screening of Hanging Out – Then and Now will take place on May 22 at
NFTI, British Film Institute, Belvedere Road, London SE1 starting at 2.30pm.
For more information visit: www.hangingout.org.uk
So: The Specials on stage in Leicester, after all these
years. What to do? Push down the front and leap around like an electrocuted
fish? Or lurk at the back, and drink it all in, gulping down a lump in the
throat and battling an occasionally wobbly lower lip? Let’s stay at the back.
Well, it seems marginally safer. After all, there are loads of skinheads up the
front. Oh, hang on, they’re here, too. Everywhere you look there are
middle-aged versions of the kids who used to chase Tucker and co on Grange Hill.
If you were wondering where that hard bloke from your local got to last night,
there’s a good chance he was at the De Mont. With his even harder mates.
But though the testosterone-heavy air crackles like a
night match on the terraces for a derby game, they’re a good-natured crowd. To
prove the point, before the lights go down, a bloke on the balcony rips off his
top, twirls it in the air as The Liquidator spills from the speakers, then
finishes with a moonie. It gets a full-throated roar of appreciation. The hall
reverberates with cries of “ruuuuuuude boys”. This, it’s clear, is going to be
a night like no other.
The Specials rush the stage like a pitch invasion, and
launch into rabble-rousing openers Concrete Jungle and Do The Dog, with its
roll call of lost tribes: punks, teds, mods, rockers and skinheads ...
But any lingering fears this is an empty nostalgia trip –
a late Seventies take on those golden-oldies Sixties shows – are immediately
dispelled. The Specials sound urgent and fresh. Relevant, even.
By the time they hit Gangsters, and the man on the mixing
desk has tamed the initial wall of sound, De Montfort Hall is a writhing mass
of skanking bodies. The treasures keep on coming: A muscular Monkey Man, to the
floor-shuddering stomp of countless Doc Martens; a rumbling Man at C&A;
hoarse singalongs to Nite Klub, Do Nothing and Rat Race.
The band, embellished by their Leicester horn section,
are tighter than a submarine’s screws – and driven by the rock-solid drumming
of John Bradbury, whose snare is tuned to the point where it’s almost painful
to hear, then tuned up some more. A string section appears for a haunting,
shimmery version of Ghost Town, arguably the greatest-ever number one single.
(Disagree? Feel free take up the argument with that hard bloke in your local).
A Message To You, Rudy is a joyful, chugging noise,
peppered with firecracker offbeats. Too Much Too Young is bliss – and the
perfect soundtrack to escalating tension. Still. The only jolting reminder that
these are men in their fifties and sixties comes in Enjoy Yourself, in the
encore, with its timely line of “the years go by, as quickly as you wink”.
Throughout it all, frontman Terry Hall prowls the stage,
looking alternately morose and distracted, which is just as it should be. “Leicester!”
yelled guitarist Lynval Golding at one point. “Watford!” mumbled Hall, by way
of antagonistic reply.
Ray Manzarek, keyboard player and founder member of the
1960s band The Doors, has died aged 74. Manzarek, who had suffered from bile
duct cancer for many years, died in a clinic in Rosenheim, Germany, with his
wife and brothers at his bedside.
He formed the band with lead singer Jim Morrison in 1965
after a chance meeting in Venice Beach, Los Angeles. The Doors found fame in
the 1960s with hits such as ‘The End’, ‘Break on Through to the Other Side’ and
‘Hello I Love You’. They sold more than 100 million albums worldwide and
Manzarek became one of the best-known keyboardists of his era, his artistry
colouring tracks like ‘Riders on the Storm’ and ‘Light my Fire’.
The death of Morrison of heart failure in a bath in Paris
on 3 July 1971 effectively spelled the end for the band, although Chicago-born
Manzarek took on singing duty. The front man had moved to the city to write. A
doctor's report stated the cause of his death was heart failure aggravated by
In his later years, Manzarek played in other bands and,
in 1998, wrote a best-selling memoir, ‘Light My Fire: My Life with The Doors’.
against the backdrop of London’s West End in the sixties, its iconic clubs,
fashion and characters, Carnaby Street is the real musical story of a
packed with over 30 classic hits from the time, including Roll Over Beethoven,
Do Wah Diddy Diddy, Tired of Waiting For You, You Really Got Me, Keep on
Running, Sweets for my Sweet ... and many, many more.
Street tells the unique British story of every boy or girl’s dream – to become
a rock star!"
Thanks to the Lincoln Mods (specifically Adam), The Threads & The Risk were filmed performing at the National Mod Meeting in 1987 (a weekend that I was involved in organising).
I wasn't aware that this film existed until recently and have been told not to expect too much due to the mid-eighties technology etc.
However, Mod stalwart, Jason Taylor (yes, he of the red, white and green Union flag shirt that I am sure that you all remember well) has stepped into the breach and has transferred this ageing VHS recording onto DVD format.
He has said, via Facebook, that he will shortly have a few copies available for approx. £4 if anyone is interested. So anyone wishing to 'Step Back' almost 27 years in time, keep your eyes on Facebook for further details.
their recent European tour success, the new line-up of The Fay Hallam Trinity
play the Fiddler's Elbow, Malden Road, Camden, on Friday May 24th. The night
runs from 8pm-2am and support comes from The Provisos.
the night is their own tour DJ, the amazing Tom Crawford from Worthing (Northern
Soul, Hammond, Boogaloo, Pop-Psyche, Freakbeat, Lounge, Exotica, 60's/70's Film
& TV Themes plus much more).
Although Fay rarely plays live in the UK these days, this is all about to change with her new live band line-up. This is her first UK show in nearly a year, and this is the first in a planned series of live UK shows.
new line-up is: -
Hallam – Vocals/Hammond/Piano (ex-Makin' Time/Gift Horses/Phaze/ Prime Movers)
- Keyboards/ vocals
- Percussion/ vocals
Wilson - Bass
McAleer - Drums/ vocals (The Dilemmas who have a new single out on Acid Jazz)
The Modernist Society Blog, we have heard a rumour that Fay is also thought to
be writing a new double album for release later this year and featuring the new
line-up. More news to follow as it comes in.
Interdisciplinary Conference at Keele University
speakers include: -
Ken Gelder (author of Subcultures: Cultural Histories and Social Practices)
Scott Wilson (author of Great Satan's Rage: American negativity and rap/metal
in the age of super-capitalism)
by Shane Blackman, Alan Fletcher, Don Letts and Alex Wheatle.
legendary UK DJ John Peel has the words 'Teenage Dreams so hard to beat' carved
on his gravestone, the opening line of The Undertones' classic punk song
'Teenage Kicks'. Peel's love of the music, style, attitude and outlook of youth
subcultures encapsulates a general and ongoing fascination for writers,
filmmakers and critics alike. From Teddy Boys to Hoodies, subcultural groups
have formed the backdrop or basis for a series of imaginative works.
interdisciplinary and international conference aims to bring together
researchers, academics and practitioners working in the field of subcultural
studies, and in particular in their representation in fiction and film.
work has been done in sociology, criminology, cultural studies, cultural
history and musicology to map and analyse subcultural identity and issues
around youth, but comparatively little academic work has been done on the way
in which youth subcultures have been represented in fiction and film.
MacInnes’s Absolute Beginners set the trend for the subcultural novel in the
1950s, and by way of Nik Cohn’s I am Still the Greatest Says Johnny Angelo,
Richard Allen’s 1970s Skinhead novels, Jonathan Coe’s The Dwarves of Death and
Hanif Kureishi’s The Buddha of Suburbia in the 80s and 90s, to Gautum Malkani’s
Londonstani and novels by John King and Alex Wheatle in the 2000s, fiction has
provided a rich source of articulation and engagement with subcultural
positions and lifestyles.
in addition to the DIY fiction and fanzines that have accompanied subcultures
down the years. On screen, iconic works such as The Wild Ones,Performance, A Clockwork Orange, Blitzkrieg
Bop, Quadrophenia, Punk: the Movie, Trainspotting, The Filth and the Fury, 8
Mile, This is England and Ill Manors have mapped both the experience of
subcultural belonging and the various moral panics they have caused.”
Weller will be playing a couple of coastal town warm-up shows before his Hard
Rock Calling gig on June 29th as special guest of Kasabian which will be the
first show at London’s Queen Elizabeth Olympic Park
Paul at these much more intimate shows when he plays SOUTHAMPTON GUILDHALL on
Thursday June 27th followed by the BRIGHTON DOME on Friday 28th June.
presale will remain open until tickets go on general sale at 9am on Friday 3rd
May. They'll be available from the venue box offices, select ticket agents and
BookingsDirect.com or 24hr Ticket hotline 0844 338 0000.
comes from Canterbury 4-piece Syd Arthur who have been hand-picked by Paul to
play before him at these 2 shows.
is also performing at this year’s Isle Of Wight Festival on June 14th as
special guest of The Stone Roses.
pop music just wasn't for us. That whole manufactured thing doesn't do it for
us at all"
CAVAN ROCKERS THE STRYPES TAKING THE MUSIC WORLD BY STORM
Eddie Rowley with The Strypes
JOHN is in awe of their music knowledge, Dave Grohl describes their
performances as "unbelievable," and Paul Weller admits they made him
"up my game."
would be high praise, indeed, for any seasoned band. But they're all referring
to a group of Irish rockers with an average age of 16.
Strypes, who we featured in Shuffle last year, are a Cavan four-piece showing
the potential to become Ireland's next U2. "They have a knowledge of
R&B at 16 years that I've only amassed in my 65 years," Elton John
signed to Elton's Rocket Management, Ross Farrelly (15), Josh McClorey (17),
Evan Walsh (16) and Pete O'Hanlon (16), are taking all the fuss in their
it seems like they've been an overnight success, turning in jaw-dropping
performances on shows like’ Later With... Jools Holland’, the lads point out
that they've done a couple of hundred performances in the last 18 months.
them in the flesh, The Strypes display a maturity beyond their tender years.
"We're not looking to be rich and famous, we just always thought it would
be great to be in a band playing music for a living," says red-hot
be level-headed enough not to get carried away with celebrity. You can be as
normal as you want." Their taste in music is old-school and they reference
the likes of Dr. Feelgood, early Rolling Stones, The Yardbirds and The Animals.
This was the music they grew up listening to in the home of Evan Walsh, whose
dad, Niall, was once in a band called The Fireflys.
out in Evan's house growing up, we would have all digested Niall's record
collection," Josh says. "Through that we went back to the 1950s'
rockers and got into Chuck Berry, Bo Diddley, Howlin' Wolf, Muddy Waters and
all that sort of stuff. We'd have a comprehensive knowledge of rock'n’roll over
the last 50 years.'
were never dedicated followers of modern fashion - their 'look' has been influenced by The Jam and
the Stones - and nothing in the charts today excites them.
never paid attention to the charts" says Evan, who admits he doesn't even
possess a mobile phone or do social networking. "Main stream pop music
wasn't for us. That whole manufactured pop thing doesn't do it for us at
all," he adds.
they started the band there was no grand plan, according to Josh. "It was
just four mates playing around. You hope a decade down the line you get some
degree of success, but we never thought it would ever be like this."
summer of 2011, The Strypes started playing local events around Cavan and
Monaghan. By the end of the year they were in the clubs of Dublin, all thanks
to word of mouth. "We put out a four-track EP, designed the cover
ourselves, wrote a press release and sent it to Irish radio stations" Pete
says. "That sparked record company interest."
Modfather, Paul Weller, became an instant fan after seeing them on YouTube. "Last
October we got contacted by Weller's management saying he liked us and he'd be
interested in us supporting him in Abbey Road for a Channel Four series"
and his guitarist, Steve Cradock, were inspired by their performance. "We were watching them play
from the side of the stage and were blown away" The Modfather says. "They've
got so much energy they made us up our game."
hanging out with Elton John, The Strypes regarded him as one of the lads. "Because
people like that are so like-minded musically, you don't feel like you're
talking to Elton John" Evan points out.
wouldn't have had a lot of knowledge of Elton's music, but we respected him. He's
very up to date on music. Anything new that's released is sent to him. He's
more finger-on-the pulse than we are."
Elton knows he's on to a winner with The Strypes.
Strypes' new three-track EP, Blue Collar Jane, is out now.
celebrating the career of the Monkees, initially conceived as the American
answer to the Beatles. Charting the group's meteoric rise during the sixties,
the programme features new interviews with former members Micky Dolenz and
including rare footage of the late Davy Jones, the former Coronation Street
child star and only British member of the band. Other contributors include
songwriter Bobby Hart, and dancer Toni Basil, who reveals what it was like to
dance with Jones during the making of their cult feature film Head.
fans relive their memories of the heady days of Monkeemania. There is an
interview with Davy Jones's sisters, as well as the woman he married at the
height of his fame. Finally, the late singer's daughters talk about what it was
like to grow up with a pop star dad. .”
Here's yet another take on Mod from outside of the scene - read the 'About Show' notes, look at the show's poster, and come to your own conclusions (looks like the typical diluted 'Swinging Sixties' kind of thing to me though where the term 'Mod' is used as a cover-all phrase)!!!
nostalgic nod to London’s Swinging Sixties takes to the Dublin stage from
6th-11th May with the Irish première of Shout! The Mod Musical. Since the
original production – created by Phillip George and David Lowenstein – debuted
off-Broadway in the mid-noughties, this hip musical comedy revue has sold out
all over the US and UK; this Irish production, featuring an all-Irish cast,
finally lands in Dublin’s new brand new Powerscourt Theatre in the heart of the
musical follows five young female subscribers to a fictional magazine called
Shout! - "the magazine for the modern woman" - as they come of age
during the liberating 1960s that made England swing. From cover to cover,
Shout! unfolds like a musical magazine and travels in time through the decade,
chronicling the dawn of liberation of women. Just as Dusty Springfield, Petula
Clark, Cilla Black and Lulu were independent women with major careers, English
(and indeed Irish!) women were redefining themselves in the face of changing
attitudes about women. Shout! and its all-female cast reflects that change
through the unforgettable music of the era.
by a US newspaper as “a musical episode of Sex and the City”, Shout! contains
showstopping new arrangements of classic pop anthems of the decade, including,
“Downtown”, “Son of a Preacher Man”, “Goldfinger”, “I Only Wanna Be With You”,
“To Sir With Love” and of course, the titular “Shout!”. The songs, and each
girl's own unfolding story, are tied together by hilarious soundbytes from the
period - from 60s advertisements for anything and everything - to lonely hearts
letters answered by Shout! Magazine's advice columnist, who thinks each girl's
problem can be solved with a "fetching new hairstyle and a new shade of
the five girls is denoted by a colour rather than a name - Yellow (loud,
fun-loving and obsessed with Paul McCartney), Orange (married, with seemingly
the perfect life and husband), Blue (posh, wealthy but on a voyage of
self-discovery), Red (naive, geeky and totally lacking in confidence) and Green
(a good-time girl, in possession of questionable morals!).
Though Shout! wears its heart on its sleeve,
it also has its tongue firmly planted in its cheek. The groovy blend of
foot-stomping songs, eye-popping fashions, bouffant hairstyles, hilarious
stories and mod musings, will make you want to throw your head back.....and
The Mod Musical runs from Monday 6th to Saturday 11th May nightly at 7.30pm in
the Powerscourt Theatre, on the top floor of the Powerscourt Townhouse, 59
Clarendon Street, Dublin 2 and is presented by Dublin's Do R Die Productions as
part of the International Dublin Gay Theatre Festival and by kind permission of
Josef Weinberger Ltd.