Filed under: Uncategorized
The friend I run PROD with – Jared / Ouchmonkee – and I have spent the last couple of festival seasons playing early morning slots in the grand ole Pussy Parlure – playing quiet jazz, soul, country, gospel etc to the comedown kids. It’s a lovely way to start the day and some of my favourite DJing.
Anyway, having called it Lovely Mornings amongst other things, we’re kinda rebranding ourselves as Randy & Earl’s Old Record Club.
And I’ve got to thinking about whether it would actually work as a club proper. The basic idea would be to cover a wide spread of music you either don’t get to hear played out or is played at specialist clubs with a fairly narrow remit.
If we ran the club somewhere like Brixton (definitely South London anyway) maybe quarterly – not too often, definitely – and played this sort of thing:
- Motown and Stax Soul
- swing / R&B (both in the old sense – Louis Jordan, Louis Prima, Big Joe Turner, that sort of thing)
- Ska, rocksteady and early reggae
- country / country soul
- and a smattering of 60s groovy mod / beat / jazz / psych / garage stuff
and artists like
Elvis Presley, Hank Williams, The Dirty Dozen Brass Band, Aretha Franklin, Etta James, Cab Calloway, The Skatalites, Big Bad Voodoo Daddy, Charlie Feathers, The Staple Singers, The Three Louis’ – Armstrong, Prima & Jordan, Johnny Cash, Dr John, Lee Perry, Dean and Frank, Marsha Hunt, Sugar Pie Desanto, Sam Cooke, Alton Ellis, The Edwin Hawkins Singers, Hot Club of Cowtown, George Jones, Royal Crown Revue, James Carr, Bobby Gentry, Georgie Fame, Allen Toussaint, Prince Buster
I wonder if it would work? I mean, if a club was offering this kind of thing i’d definitely go along. There’s a few places – Coast To Coast (ska and soul) and some of the country clubs springs to mind – where you’ll get some of the same stuff, but never all of it. And I think it would be great.
It would have to be the right venue on the right night. Doesn’t have to be a big place with lots of people dancing, but a nice atmosphere and the potential for dancing as the night picked up (I can’t think of anything better than dancing to Arte Bella, Ode To Billie Joe, Jump Jive & Wail and Soul Finger all in a row. )
So I’m kind of canvassing opinion. Use the comments box, or email me (it’s dubversion and it’s a gmail address… ) and let me know your thoughts and suggestions, and if you know of somewhere you think it might work, even better. We’d also do one offs if you’re getting married or having a party or something!!
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John “Tiny” Eden comes out of his corner fighting, and on first listen it’s a pretty hefty assault. Not only is the mix – as Eden said in his pre-fight sledging – “all killer no filler” but he talks a good game.
Meanwhile, Paul “Steeltown” Meme is playing his cards close to his chest (i really have to work on these metaphor) but maybe he’s just letting Eden get comfortable before he takes him out with a southpaw straight to the soundboy head.
EDIT: Hot off the.. erm… web, here‘s Paul ‘Heinous Angel’ Meme’s offering
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This is turning into the most hotly contested internet faceoff since 2005’s ‘Who’s Better In Bed – Luke Skywalker or Silent Bob’ debacle.
Leading the way in the pre-clash hustings is Mr Beyond The Implode, with this well-researched and cautionary offering.
i think the REAL way to settle this would to somehow connect the crossfaders to the various genital piercings Meme and Eden had done by GPO that time in the back room of *that* shoe shop back in ‘the day’.
Meanwhile, doing their best to shut out all the hysteria and concentrate on the task at hand, Meme and Eden are getting in some serious practice on the ‘ones and twos’.
Filed under: Looking
after Dead Man’s Shoes – one of the upsetting films I’ve ever watched* – Shane Meadows has done it again. This Is England is just astonishing – the tone and mood is perfect, the performances – from the leads down to the minor characters – are without fail excellent, it’s just a brilliant brilliant film. The odd slightly heavy-handed moment is a minor price to pay for the rest.
I can only assume that the scripts are at least semi-improvised, I can’t think of many other films where the acting just seems so un-actorly, so natural. Certain scenes – for example between Combo and Lol – are utterly convincing. The young actor playing Sean, the main protagonist, doesn’t turn in a flawless performance – there are a couple of awkward moments – but it’s very very impressive nonetheless. There’s a flow to the banter and bickering that can look so forced when done badly and the cultural specifics are almost spot on throughout (being a little anal, it only takes one song or poster or tshirt out of place to mess up the ‘authenticity’ for me).
And when things go wrong, it’s plausible and complex – there are no easy answers in this film. The portrayal of people’s involvement in the Far Right is so much more satisfying (perhaps ‘satisfying’ isn’t the right word) than in something like American History X (although not having seen Tony Kaye’s original cut who knows what that film could have been like if Norton / the studio hadn’t hacked it).
I can’t think of another film that looks and feels exactly the way I remember that part of my life – my mid-teens. The specifics vary but the reference points and the bleakness are a good fit. If there is a flaw, it’s Meadow’s ongoing championing of the Clayhill / Gravenshurt guy on the soundtrack – this guy (who I believe Meadows’ manages or label-heads or some such role) is pretty underwhelming but nonetheless keeps cropping up in Meadows’ movies. Using a substandard version of a Smiths song at the film’s close didn’t work, and wouldn’t have worked even with the original version.
Sean is at least partly based on Shane Meadows’ own youth – I’m not sure to what degree – and he’s done the story justice. This is good enough for me to make it out to the Ritzy when it opens in April, despite having already seen it.
(* I first watched Dead Man’s Shoes in the midst of mourning a recently ended relationship. On a comedown. In an empty cinema. On a rainy Wednesday afternoon. At the end I felt more shellshocked and empty than after any other cinema experience. I guess we’re used to our ‘splatter’ movies featuring cookie cutter US college types and there’s absolute no ‘reality’ to it. The characters who get offed in Dead Man’s Shoes – I KNOW these people, I grew up with them. Small time nomark dealer arseholes. So this makes the vengeance meted out all the more plausible and all the more harrowing. And again – from the Pot Noodles to the conversation to the shit clothes – picture perfect in its detail).
rather than doing something sensible like, I dunno, having an allotment or recreating the battle of Helm’s Deep out of Gummi Bears, the Chuckle Brothers of the UK reggae scene are having a soundclash..
When the mixes are posted, I’ll let you know. Less Rodigan vs Bass Odyssey, more Big Mountain Vs Ace of Base, but bless ’em for trying!!!