Saturday, 28 February 2015

Soldier On to release 'Between The Bricks' EP this Monday 2nd March

Soldier On release their second EP, "Between The Bricks", worldwide this Monday 2nd March. Pre order your copy now.


Download: -

Ray Davies reveals plans for opera about The Kinks

The Who BBC Sessions - featured now at u-Discover

Mary Wilson of The Supremes Talks 'Motown 25' TV Special (INTERVIEW)

Ray Davies to appear at Glastonbury Abbey Extravaganza 2015

Saturday 8th August 2015, 5pm
Glastonbury Festival is delighted to present the 19th Glastonbury Abbey Extravaganza starring the legendary Ray Davies.

Brum Beat on Saturday 11th July has been cancelled

"Had to cancel my first do of the year pencilled in for July 11th as didn't want to clash with another night that is happening in Birmingham on the same night. 

Big thank you to the events manager at The Hare & Hounds for being so understanding. 

Will put another night on if and when I can get another date sorted."

More Paul Weller tickets released for Scunthorpe Baths Hall show reports the Scunthorpe Telegraph

Bosses at the Baths Hall confirmed a "small number of tickets" for the show on Tuesday, March 17 are now on sale. 

Tickets for the Modfather sold out within three hours when they went on sale on December 5 and pre-sale tickets sold out within 10 minutes. 

The tour sees Paul play a more varied selection of towns across the UK than the usual run of arenas and the show at The Baths Hall is the only show he is doing in the Humber region on this 14-date tour. 

Tickets for the show are priced £38 (booking fee may apply).

Working out The Kinks at World Mag Mobile

Shoot in 60s Safari style with this limited-edition Leica at Classic Driver Magazine

Thursday, 26 February 2015

Fred Perry detail all of the March Of The Mods dates and venues


Dennis & Mark from Nine Below Zero on BBC Radio 4 Loose Ends show this weekend

Dennis and Mark appearing on Loose Ends this weekend
Performing two songs from their Duo album.
Check it out!

Stax Museum, B.B. King among recipients of 2015 Tennessee Governor's Arts Awards

Win The Jam 'Setting Sons' Reissue courtesy of Fred Perry Subculture

‘Ring Ring’ is the debut single from British soul artist Harris Adams and is scheduled for release by Sponge Records on 28th April

The team behind the single includes Grammy Award Winning producer Steve Sidwell, recording engineer Haydn Bendall (Van Morrison, Kate Bush), guitarist Adam Goldsmith (Rod Stewart, Mick Hucknall) and pianist Pete Murray (John Legend, Joss Stone). The track also features a smoking-hot horn section led by Paul Spong (whose punchy trumpet can be heard, among many other hits, on Mark Ronson’s “Uptown Funk”) 

It was recorded at the world famous Air Studios, London, with vocal sessions at the iconic Strongroom Studios in Shoreditch and mixed by Ben Lamdin at the Fish Factory. 

Listen to ‘Ring Ring’ now via the following URL: - 

Wednesday, 25 February 2015

The Who’s 20 best songs, chosen by Roger Daltrey for Uncut

Pete Townshend plans extensive reissue programme

Pete Townshend has announced details of a major reissue campaign. 

11 of his solo albums will be remastered ahead of a digital release on February 23. They will then be released on CD in stages throughout the rest of 2015 and into 2016. 

The 11 digital album releases cover Who Came First, Rough Mix – his collaboration with The Faces’ Ronnie Lane – as well as his albums Empty Glass, All The Best Cowboys Have Chinese Eyes and the live album Deep End Live, featuring David Gilmour. 

The albums will all be released on UMC/Universal Music are:- 

Who Came First 

Rough Mix 

Empty Glass

All The Best Cowboys Have Chinese Eyes 

White City 

Iron Man: The Musical 



Another Scoop 

Scoop 3 

Deep End Live 

News of the reissues arrives soon after The Who confirmed plans to release a 7″ singles and all studio albums on vinyl. 

Meanwhile, later this year, Townshend will premier a new orchestral version of Quadrophenia at London’s Royal Albert Hall. 

The Who are also due to play London’s Hyde Park on June 26, 2015.

'For The Love of Mod Tokyo' by Emma-Rosa Dias - Out Now!

Or download from Vimeo:

Dennis' Kingskerswell church hall debut - and a great excuse to visit his mum!

DENNIS Greaves is going to church — and Mark 'The Harp' is going with him. But the tunes will be secular rather than sacred when two of the nation's top blues musicians take to the stage. 

Promoters World Unlimited are behind An Acoustic Evening with Nine Below Zero's frontmen Dennis Greaves and Mark 'The Harp' Feltham at Kingskerswell Parish Church. The gig takes place on March 14. 

And for Dennis it's a chance to combine a date of his current live tour with a trip home to see mum, who lives in Torbay. He said: "I have never played a gig in a village church before. I'm really looking forward to it!" 

Dennis and Mark were founder members of rhythm and blues outfit Nine Below Zero in the late 1970s, gigging in London's pubs and clubs and sharing bills with bands such as The Who and Dr Feelgood. 

Plenty of TV exposure around that time included a starring role in the first episode of The Young Ones, where they played Eleven Plus Eleven in the lounge of the flat where the sitcom's main action took place. 

Their first album, 1980's maximum-energy Live At The Marquee, consistently makes the higher reaches of charts of the best-loved live albums of all time. 

More than 20 albums later, the band are being name-checked by a new generation of rockers, with media favourites The Strypes the latest to acknowledge their influence. 

Now Dennis and Mark, whose harmonica playing has seen him work with artists as diverse as Robbie Williams, Oasis and Ocean Colour Scene, are going back to their blues roots for a series of intimate, acoustic concerts as a duo. 

These will be the first 'old style' blues shows the pair will have performed in the 35 years they have been working together. 

Covering songs by blues legends such as Sonny Terry and Brownie McGhee, Jimmy Reed, Slim Harpo and Leadbelly, they will also play unplugged versions of well-known Nine Below Zero material. 

Dennis said: "We will continue to play the bigger venues with the whole band, but Mark and I are looking forward to getting up close with audiences who, like us, are fans of the blues. 

"As well as playing the songs, it will also be nice to talk about the artists who inspired so many of the great British Blues Bands of the 1960s, who in turn went on to inspire us." 

The love of the blues began at an early age for both of them. Two of Dennis' uncles were big fans, and both had big collections of blues albums. 

It was listening to these records that encouraged Dennis to first pick up the guitar. 

Mark had an uncle in the merchant navy, who used to bring him back harmonicas from his travels overseas. 

The pair first met in the late 1970s, during punk, when Dennis decided to form a blues band and harmonica player Mark was recommended to him. 

By an amazing coincidence, it turned out they were not only living on the same estate in South London, but also just 14 houses apart. 

Dennis said: "The rehearsals for the duo shows have been brilliant, some of the best ever. 

"We are looking forward to playing this music live. 

"We will be playing all sorts of things we heard as children, real American folk blues from the likes of Hank Williams and Sonny Terry. 

"It's the first time we've really had the guts or the confidence to go out and play these songs this way. 

"It's a tall order too, because that stuff is very difficult to do well. 

"To see Mark perform in this environment is truly a master-class and it's a little daunting for me, to be playing acoustic guitar. 

"There's no hiding behind the Marshall amp!" 

But even if the performance can be a little stressful, there's always a relaxing side to a trip to South Devon for Dennis. 

"I'm looking forward to catching up with my mum!" he said. "It's a lovely part of the world, and I'm looking forward to getting down there for a few days." 


The Who Are You Package

Package includes a ticket for The Who Hits 50 show at The O2 on 23rd March AND a priority entry ticket, for the price of a GA ticket, to see The Who at Barclaycard presents British Summer Time Hyde Park on 26th June. All booking fees included – combined fees cheaper than booking separately.

The O2:
• Price level 2 seated ticket

Barclaycard presents British Summer Time Hyde Park:
•Dedicated entrance for Priority Entry customers
•Entry to the event up to one hour before the gates open to General Admission customers
•Access to an extensive range of bars, food traders and toilets in the main arena
•Opportunity to stand directly in front of the Great Oak Stage if you are early enough

As Paul Weller brings his tour to Halifax, The Huddersfield Examiner asks: “Which Weller was the best Weller?”

Jam frontman, Style Council singer and solo star Paul Weller will visit Halifax on his March tour. 

The Modfather will perform at the Victoria Theatre on Wednesday March 18 as part of his 14-date spring tour. 

The live tour comes just months before the release of Weller's new album, Saturn's Pattern.  

Tickets cost £38 and can be booked online or by calling 0844 338 0000. 

In honour of Paul's visit to Halifax, we've decided to find out which Weller era was the best. 

Was it his breakout days with punk-rockers band The Jam in the late seventies and early eighties? 

Or do you prefer Weller's days in soulful band The Style Council? 

Perhaps your favourite tracks come from Paul Weller's solo days. 

Vote in our poll for your favourite Weller sound. 

The Jam years (1976-82) 

Style: Punk rock, 1960s rock, R&B, Mod movement. 

Successes: 18 consecutive top 40 hits and four number ones. 

Fun fact: The only band other than the Beatles to play two songs on one edition of Top of the Pops. 

The Style Council era (1983-89) 

Style: Soul, funk, pop, R&B. 

Successes: Number one album, seven top ten singles. 

Fun fact: Paul Weller appeared on Band Aid's Do They Know It's Christmas in 1984 — and mimed Bono's line for the Top of the Pops performance. 

Solo career (1996 (PHK: ???) -present)

Style: Britpop, jazz, folk, pop. 

Successes: Four number one albums, five top ten singles. 

Fun fact: Weller was listed as one of the 50 best-dressed over 50s by the Guardian in March 2013. 

Which Weller era was your favourite?

Monday, 23 February 2015

"This Is What London Fashion Shows Looked Like In The '60s" reports Stephanie Sporn of Refinery 29

Between spontaneous make-out sessions, front-row meltdowns, and of course, Kanye, Fashion Week and awards season always make midwinter 100 times more exciting. In the spirit of the Oscars this Sunday, we thought we’d turn our attention to a more humble time for awards shows: the early 1960s. On British Pathé, a newsreel archive, we came across this video of the first-ever Sunday Times International Fashion Awards. The event took place in 1963, and boasts all the shift dresses and thigh-high boots one could possibly desire.   

Leggy models don Twiggy-esque eyeliner and strike poses in designs by Pierre Cardin and Emilio Pucci. It's designer Mary Quant, however, who takes home the biggest honor, the Sunday Times International Fashion Award for Britain. Her models strut it out in buffalo-check apron dresses, prim pantsuits, and gold stockings. 

Watching this makes us wish every awards show came complete with trumpeters and a Duchess presenter (paging Kate Middleton). Check out the video via the URL below to marvel at Quant’s creations and see how these designers ignited the iconic mod movement: - 

Gateway To The Blues Museum Now Open

'Legend of Lead Belly' on the Smithsonian Channel

96.4 Eagle reports, “The Jam release charity single in aid of Woking & Sam Beare Hospices.”

A limited edition charity single is being released on 20th February to raise money for Woking & Sam Beare Hospices. 

The song titled 'Left, Right & Centre' was written by two members of punk rock band the Jam. Paul Weller and Steve Brookes wrote it when they were 15 years old. 

Victor Falsetta is behind the fundraising project. He tells us what they have planned: "We have got an after show party upstairs with a band called Coco La Funk. "They're friends with Chris Cook who died last year in the (RideLondon-Surrey) cycle ride. "It's going to be very emotional the whole evening, but raising money for Woking & Same Beare Hospices is something we all like doing." 

Victor tells us he is pleased he managed to persuade his old school friend, Paul, to do it: "It was a surprise for me, and a relief when he said yes. "It was something we put a lot of work in to beforehand to get the contacts." 

The song was recorded by James Stone at his studio in Kent (Dusty Attic) and has been mixed at Paul's own studio by his engineer Charles Rees. The release has already attracted the attention of dedicated fans all over the UK. 

Victor adds: "Paul wanted us to use an unsigned local band to record his song so The Special Guest was the perfect choice, and Steve Brooks had just finished of his new single so it all came together nicely." 

The single will be released in three editions; 200 on black vinyl; 50 on clear vinyl also containing a copy of the handwritten lyrics on the cover; and 50 Deluxe copies, which in addition to the lyrics will also include a CD with the acoustic and live version of the Weller track. 

Community Fundraiser Wendy Denty said: "It's a brilliant project and Vic is so relentless in his Fundraising for our Hospice at no gain to himself and for that we are really grateful. "We simply can't thank him enough." 

All editions can be ordered from Woking Hospices' Fundraising Department on 01483 881752 or by emailing  

Prices range from £15 to £30 and all proceeds will go directly to Woking Hospice. 

The release will take place in the 100 Club in London and will be followed by a concert at the HG Wells suit in Woking on the 21 February, featuring The Special Guest, The Transmitters, The Lost Boys and many more.

Jail for fraudster who swindled £170k out of historic Woking music club used by The Jam

The former secretary of a historic Woking music venue has been jailed for masterminding a £170,000 fraud which coincided with the club's closure. 

Woking Liberal Club, formerly the Working Men's Club, was where founding members of The Jam, Paul Weller and Steve Brookes, gave some of their earliest performances. 

Read the full story at: - 

Shed Seven & Inspiral Carpets UK Tour set for December 2015 - tickets on sale 27 February

Rhythm skills taught to budding drummers in masterclass from Paul Weller's sticksman Steve White reports the Gloucester Citizen

Stylish drumming skills were taught to budding rhythm kings in Gloucester. Drummer Steve White, who was Paul Weller’s sticksman for 25 years, first with the Style Council, and was the youngest performer at Live Aid in 1985, dropped in for a masterclass organised by city drum tutor Graham Twist. 

Graham said: “The event was an incredible success with a full house of 100 eager drummers and their families in attendance. Steve kept everyone entertained with his dazzling playing, anecdotes and quips about the music business, and help and advice for not only us drummers but musicians in general. A particularly great moment was when he invited one of my students Poppy Blake, aged nine, up on to his drum kit to play a groove from one of her favourite Michael Jackson songs. She received the biggest cheer of the night!” 

Steve also played with Oasis, The Who, Sir Paul McCartney and many others in rock royalty.

Sunday, 22 February 2015

'I was a zombie. I was completely out of my mind': Ray Davies on punch-ups, pills and how The Kinks nearly killed him by Johnny Rogan

Punch-ups with his brother. Hitting his wife with a phone. Running six miles across London to thump his agent. And the day he tried to kill himself on stage. With unprecedented access to his family, friends and rivals, Johnny Rogan delves deep into the dark psyche of Ray Davies, the very controlling king of The Kinks at: -

Big Bob & Dave Edwards to DJ at 'I Like It Like That!' on 28th February in SE17

The aristo and the spiv: the true story of the men behind the Who by The Guardian

Pop impresarios are often the hidden power behind the biggest acts, now two films turn spotlight on Kit Lambert and Chris Stamp. 

In the telling of rock’n’roll history, managers rarely claim centre stage. That is about to change with a documentary about the relationship between Kit Lambert, the aristocratic, homosexual son of the classical composer Constant Lambert, and Chris Stamp, the son of a tugboat captain, as played out through the creation and management of the Who. 

The band has never shied away from crediting the pair – described by singer Roger Daltrey as “the shell of the egg” – but their role in guiding the group from their early days as guitar-smashing mods to their peak of 70s rock indulgence has never been examined so clearly. 

The documentary, called Lambert & Stamp, is a reminder of the energy of social upheaval that found expression in pop music. “We were both marginalised, him in gayness and me in my class,” Stamp, who died in 2012, tells the film’s director, James D Cooper. “It was a powerful bond defined creatively in the Who.” 

Described by his brother, the actor Terence Stamp, as “a rough, tough fighting spiv”, Stamp and the Oxford-educated Lambert had sought careers in film. Lambert had already been a cameraman on an expedition to the Amazon during which the party had been ambushed by natives and one of their number killed. 

The pair resolved to make a film about a band in the documentary style of the French New Wave. What they found in the Who – “four complicated, difficult guys”, Stamp recalled – met their needs. They filmed several concerts, but later abandoned the film and became the band’s managers. Stamp says: “We didn’t know what we wanted, but we knew what we didn’t want. It was really about us – some mad concoction of stuff that looked like us.” 

While Lambert encouraged the band’s destructive antics, he also provided them with intellectual cover. Sections of Lambert & Stamp are taken from their would-be documentary and Lambert is filmed philosophising about the era’s “beautiful and powerful” youth. 

“Nobody knows for sure where they are going. In 20 years, these young revolutionaries could be arch-conservatives. But not me,” he says. 

As Andrew Motion noted in his biography The Lamberts, Kit fashioned the Who so that they would speak for their audiences’ own sexual feelings. 

Lambert later said: “They have to have a direct sexual impact. They ask a question: do you want to or don’t you? And they don’t give their public a chance of saying no.” 

The cost of the band’s routine destruction of their equipment – encouraged by Lambert – necessitated new streams of income. They turned to recording and established Track Records, the label that signed Jimi Hendrix and the Crazy World of Arthur Brown to its roster. 

Lambert fostered Pete Townshend to become the band’s resident composer, instilling him with confidence to reach for grander goals, among them the rock operas Tommy and Quadrophenia. Townshend says it was Lambert who understood the band’s audience. “You don’t give them what they want – you allow them to be,” the guitarist says. “You don’t try to change them – you affirm them.” 

Lambert & Stamp is not the only project looking at the role of managers at the time when the rock’n’roll business was still forming. Mojo magazine editor Pat Gilbert, and Orian Williams, producer of the Joy Division biopic Control, are working on a feature film of Lambert’s life that is expected to start filming later this year. “Rock management was a new profession, and an interesting thing for forward-thinking people to get into,” Gilbert said. 

Robert Fearnley-Whittingstall, a contemporary of Lambert’s in national service and university, recalls that Lambert was interested in the Who from a creative point of view. It was Lambert who suggested Daltrey’s stutter on My Generation to mimic young fans on amphetamines. “He was a bit self-conscious standing there in a suit, but I think he found there wasn’t such a gap between them.” 

While managers such as Elvis Presley’s Colonel Parker, the Sex Pistols’ Malcolm McLaren or Led Zeppelin’s Peter Grant became well-known, their influence is not always clearly acknowledged. Among the forthcoming studies is Barney Hoskyns’s Smalltown Talk, a portrait of Albert Grossman’s creation of the Woodstock music scene in the 60s. 

Groups tend to be a reflection of their managers, Yardbirds, T-Rex and Wham! manager Simon Napier-Bell acknowledged to the NME in 1984: “The Beatles were really Brian Epstein’s brushed-up, middle-class gay presentation of some pretty rough boys, and Jagger was so fascinated by [Andrew Loog] Oldham’s campness that he started adopting his mannerisms. The Who were of course an extension of Kit Lambert’s manic attitude to life.” 

Lambert’s life rose and disintegrated chasing these visions. His wayward lifestyle contributed to both him and Stamp being sidelined by the band in the mid-70s. His London home burnt down; and his palazzo in Venice was also damaged by fire. Clearly unfit to manage his own affairs, he was made a ward of court to escape a prison sentence after being arrested for drug offences. 

“Life was not good,” recalled Fearnley-Whittingstall. “Everyone said he was bankrupt. He said he was owed a lot of money from publishing. After his death [in 1981] that was found to be so.” 

Lambert and Stamp may now begin to acquire equal standing with Epstein and the other behind-the-scenes architects of rock and roll. 

Writer Mat Snow, currently penning a new illustrated book on the Who, said Lambert’s self-implosion contributed to his being written out of the narrative. “The Who were never as big as the Beatles or Stones, nor, unlike Oldham or Napier-Bell, did Lambert write his memoirs,” he said. “Still, Townshend does not stint in stressing how important he was as an artistic and cultural mentor, and visionary for the group.”

TOR Records to release lost 'Spell' acetate from 1968 as 7" single


Boogaloo Film, 'We Like It Like That', Salutes the Sound That 'Saved Latin Music in New York' by Judy Cantor-Navas at Billboard

For We Like It Like That, a new documentary premiering at SXSW that vividly tells the story of the rise and fall of boogaloo, director Mathew Ramirez Warren uses vintage footage, album covers and concert posters to create a film that brings the New York barrio in the early '60s alive. 

The film centers on interviews with Johnny Colon, Joe Bataan and other artists now considered music legends, but who were pushed out of the spotlight after their short and euphoric success by the coming of salsa. 

Like other current boogaloo fans, Warren, who is 32, discovered the music while digging through flea-market crates. 

"Here were these songs that were half in English, they had the funky backbeat, kind a of a soul R&B thing," says Warren, a native New Yorker and first-time director whose background is in journalism. He supported the production of the film with a successful Kickstarter campaign, as well as several grants. "Growing up, to me, Latin music was kind of something foreign, from somewhere else. Boogaloo particularly reflected for me this idea of New York influencing the music." 

The documentary details boogaloo's rise from the streets to the clubs and the charts, described by artists and fans in the film as a grassroots phenomenon that gave voice to the children of Puerto Rican immigrants in East Harlem. 

"In a way boogaloo saved Latin music in New York," Warren says. "You had these kids who were becoming more and more Americanized, who were assimilating, because they were born and raised in New York. And at that time, in the early '60s, most of them thought of [Latin music] as their parents' music and kind of corny. So it took this fusion of soul music into the Latin sound to get them to perk up their ears." 

The grooving freestyle songs performed by largely self-taught musicians with wild hair and tight pants challenged the reign of the more buttoned-up mambo orchestras in New York, who were identified with an elegant social elite that seemed out of place as the youth revolution began. 

"You have to understand the cultural times which played a role," Warren notes. "You had the Black Power movement and the Latino Power movement going on." The boogaloo was the perfect vibe as sex and drugs became part of the scene; it was great music for dancing stoned. 

"They were young kids charging a lot less but who seemed to be getting top billing over people like Tito Puente," says Warren. "Prior to that there was a process of how you would make your way as a musician, particularly in the Latin music industry. You would become a player in a big band first, and maybe in your 30s you could start your own band. [The boogaloo musicians] were entirely breaking the mold." 

The movie title We Like It Like That riffs on Pete Rodriguez's "I Like it Like That," the most enduring boogaloo track together with Joe Cuba's "Bang, Bang." But as the film shows, many did not like it. 

"I think there was a natural resentment once they started to have success from certain people in the industry," Warren explains. "They were like, 'You're bastardizing our sound, you're making it black.'" As the film explains, by the '70s, boogaloo had been effectively obliterated by salsa, the new sound that was heavily promoted by Fania Records, which took control of New York's Latin music scene. 

"There's no denying how important salsa is and what a huge mark that's left across the world," Warren says. "But boogaloo helped create a space for that. Boogaloo was almost so succesful that it caused its own demise. It got these kids listening to Latin music, and it got them to a place where they say, 'I want to listen to music in Spanish now, I want to be truer to my roots.'" 

Warren's search for the boogaloo stars found that some, no longer able to make a living, had left music altogether. Johnny Colon started a music school where salsa star Marc Anthony, like other kids from the projects, studied as a child. 

"It was hard for [the artists] to appreciate what they'd done [with boogaloo]," Warren says. "Because there was this sense in the '70s of, 'Don't do your music in English. If you're a real Latino you're going to do salsa music now.'" 

Trips back to the old neighborhood with Joe Bataan and Colon bring emotion as well as historical value to the film. A postscript documenting a recent boogaloo revival is less compelling, but odds are that after watching this movie you'll be putting on some of those old boogaloo songs yourself. And dancing. 

We Like It Like That debuts Wednesday, March 18, at the Stateside Theater in Austin. You can view a trailer at: - 

Sharon Jones and the Dap-Kings bring soul power to the Merriam

Sharon Jones is a dynamo. The 58-year-old soul singer danced nonstop during her 90-minute set at the Merriam Theater Friday night, commanding the stage from the first aggressive moments of "Retreat" to the last moments of a funked-up version of Woody Guthrie's "This Land is Your Land." Her energy is all the more remarkable because she's a cancer survivor: In May 2013, about to release her fifth album, Give the People What They Want, Jones was diagnosed with pancreatic cancer, and she spent half of 2013 undergoing chemo treatments.  

She returned to performing late in the year, and the delayed Give the People finally came out in January 2014. It received a Grammy nomination for best R&B album (losing to Toni Braxton & Babyface). "I may not have won a Grammy," she said Friday night, "but I got me some Philly love." 

When Jones testified about her cancer fight late in Friday's show, she came across as a grateful hero, triumphant but humbled by the opportunity to be back on stage before an audience that loves her. The former prison corrections officer remains a fighter: In January, she had a tumor on her liver removed. Friday night's performance, however, showed no lasting effects of her health struggles. Jones was all boundless energy, ear-to-ear smiles, and earnest good humor.  

She fronted the Dap-Kings - the same group, helmed by bass player Gabriel Roth and guitarist Binky Griptite, that backed Amy Winehouse on Back to Black. The five-piece band, plus three horns and two backing vocalists, moved through an encyclopedic range of classic soul from the late '60s and early '70s. Nostalgia is part of the thrill, and Jones paid tribute to Tina Turner, Gladys Knight, James Brown, and even Shirley Bassey (with a snippet of "Goldfinger"). During one segment, she demonstrated a catalogue of mid-'60s dance moves - the Pony, the Swim, the Mashed Potato, the Boogaloo, the Twist, and many others.  

Although songs like "You've Been Lonely," "Making Up and Breaking Up," and "People Don't Get What They Deserve" are anchored in the past, Jones and the Dap-Kings make them fully alive in the present. Jones brought up audience members to dance with her, directed the band with a cock of her hip or a flip of her arm, and danced and grinned constantly. 

"I'm so happy I'm alive and in Philly," she proclaimed, and that happiness was infectious.

'Nothing Could ‘Stop!’ The Supremes' - latest uDiscover feature

Dug Out Soul Club - last Friday of the month at Mascara Bar, Stamford Hill, London

Deep Joy presents 'A Night Of Groovy Sounds' in Shirley, Birmingham, on 21st March

Saturday, 21 February 2015

Steve Cradock DJ'ing at the Pretty Green store in Birmingham today from 2-3pm!

The Pretty Things: Bouquets From A Cloudy Sky - Classic Rock celebrates their 50 years of R&B

Historic music site where the Rolling Stones formed could be torn down by developers

Campaigners are desperate to save The Ealing Club which they see as being the birth place of British rhythm and blues and a missed opportunity for music tourism. 

The club where the Rolling Stones "cut their teeth" will be torn down to make way for a pedestrian route, if the plans submitted by a developer are approved. 

Campaigners are desperate to save The Ealing Club, which they see as being the birth place of British rhythm and blues and a missed opportunity for music tourism. 

It was at the Ealing Club that Keith Richards and Mick Jagger met Brian Jones, giving birth to the Rolling Stones. 

However, developers Benson Elliot and their development managers Londonewcastle have released plans - currently out for consultation - which show that The Ealing Club will be demolished and turned into a walkway. 

A spokeswoman for Ealing Council said: “I can confirm that the Red Room doesn’t have any listed or protected status. As you know, a blue plaque does not confer any protected status.” 

Alistair Young, Secretary For The Ealing Club Community Interest Company, said: “This is the only venue in the UK which can claim to match Liverpool’s Cavern Club in terms of its importance to the history of British music. Today the site of this historic venue is threatened by property developers. 

“Throughout 1962 the Rolling Stones ‘cut their teeth’ at the Ealing Blues Club, eventually forming the legendary line-up of Mick, Keith, Brian, Bill, Ian and Charlie and playing here together for the first time in January 1963. 

“It was the home of Alexis Korner’s Blues Incorporated and Eric Burdon (The Animals), Manfred Mann, Rod Stewart, and The Who all played at The Ealing Club.” 

Cultural significance 

Keith Richards is quoted as saying: “Cyril Davies and Alexis Korner got a club going, the weekly spot at the Ealing Jazz Club, where Rhythm and Blues freaks could conglomerate. Without them there might have been nothing.” 

James Ketchell, Chief Executive and Founder of Music Heritage UK, said: “The fact that the building is not listed, nor has been given any protected status, is exactly the point! If the local council and its elected representatives are not promoting the area’s heritage and preserving locations of cultural significance, then who will? 

"There is a huge opportunity to be grabbed in terms of developing music heritage tourism if the council can see beyond the promise of a quick return from a property developer.” 

A spokesman from Londonewcastle said: “We recognise that the borough has a significant musical heritage and the original Ealing Club venue on Haven Place was an important part of that. We have met the Ealing Club community group to discuss their proposals for the site and there is an ongoing dialogue, out of which we hope to arrive at a way to recognise what the current blue plaque, placed there by fans, represents. 

“The new accessible and welcoming town centre pedestrian route we are proposing between the station and The Broadway means it is not possible to keep the current building that houses the Red Room club in its basement.” 

Property investors Benson and Elliot bought a large swathe of Ealing town centre in 2012 and have since completed the transformation of the former Arcadia Shopping Centre into 1-8 The Broadway. 

Information about the consultation can be requested via or freephone 0800 881 5430. All consultation materials will be published on from January 29. A planning application will be submitted in the Spring.