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the info provider for the soul survivor ISSUE 27 27 ISSUE Dec 10/Jan 10/Jan 2011 2011 Dec

Saturday 5th Februar y 2011

interviews with with interviews

MICHAEL HENDERSON TEENA MARIE PT2 RICHARD SEARLING RALPH TEE Tribute to Dick Griffey and regular regular features features and

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Dear Fellow Soul Survivors

WHAT’S INSIDE? 4 Fitzroy talks to MICHAEL HENDERSON 8 TRIBUTE - Dick Griffey Welcome to Issue 27 10 DARRELL’S FUNK BOX and the beginning of that brings us to the end of another eventful year what I hope is a happy, healthy and prosperous New Year for us all. I wo 12 Part 2 - Fitzroy talks to uld like to take this opp ortunity to thank Darre Marcia and Tony for the ll, ir time and consistency TEENA MARIE in putting some excelle articles together for our nt readers, the interviewe es that have given their 16 JUMP START - WORDS valuable time to share their memories and experiences with us, obviously the advertiser s and those distributing Soul Sur by Ginger Tony the country. A special tha vivors around nk you has to go though to those who give up their time to send in the 20 SS MERCHANDISE ir reviews, photos, listings , information and those who put their hands in their pockets to show the 20 RECORD REVIEWS ir belief and support by becoming members - you are true Soul Survivors . 26 OUT OF THE BOX We hope you enjoy this issue which I think has som e of our most per sonal interviews along wit with Marcia Carr h tributes to the late Dic Records. Ralph Tee’s is k Griffey of SOLAR especially interesting to 28 Fitzroy talks to me as he is one of the very few that understan d the difficulties of runnin g a printed publication. RICHARD SEARLING We are workin g on lots of exciting thin gs at the moment includ website so bring on 201 30 Fitzroy talks to ing a new 1; we are ready for ano ther Soul Survivor year! All that remains for me RALPH TEE to say is relax, read thro ugh your Soul Survivors and work out which of the fantastic events adv 33 PHOTOS ertised you are going to, (there has never been so much choice for New Yea r’s Eve or Soul holidays abroad) and then have 34 EVENT REVIEWS a safe and enjoyable fest ive season. Happy New Year; we’ll be back in Feb ruary. 36 WHAT’S GOIN’ ON? 39 SOUL RADIO Anna : The Soul Survi vors

Thank you to all those who have contributed by sending in adverts, reviews, photos, articles, listings and emails; we can’t do this without you.

PS We didn’t have room for competitions in the mag. so they will be on the weekly email.x

CUT OFF DATE FO R THE February/March 20 11 issue is 10th Januar y 2011 The Soul Survivors

PRINTED BY SCARBUTTS All adverts are placed in good faith and The Soul Survivors take no responsibility for any issues arising from the use of those who have advertised. All dates are correct at time of going to print - please check with venue or promoter if unsure. All rights reserved 2008 Copyright The Soul Survivors Magazine

PO Box 377, West Malling, ME6 9DQ 01732 844246 For adverts, events and reviews contact Anna or 07939 248983 Record reviews and interviews contact Fitzroy or 07956 312931 You can also find our group on Facebook!

Fitzroy talks to

Photo Courtesy of Onyx

MICHEAL HENDERSON At what age did you start playing bass and what was the name of the band that featured yourself, Ray Parker Jnr and Hamilton Bohannon that backed groups like Gladys Knight and The Temptations in a well known Detroit venue? I started playing bass around 12/13 in local bars and clubs. The first group I was employed by was the Detroit Emeralds. After working with JJ Barnes, The Fantastic 4 and Edwin Starr at Golden World & Ric Tic records, I then joined The Hamilton Bohannon Orchestra. Hamilton was the Motown Band leader for live shows and Ray Parker joined much later. How fortunate were you at 14 years old, earning your first professional wage, to be liaising with Billy Preston, The J5 and playing on The Man In Love by The Fantastic Four and eventually ending the 60’s for a few years with Stevie Wonder? At that time I was very blessed and fortunate to work with Stevie Wonder as aged 12/13 I’d just caught the bus and went to the first MotorTown Revue. I promised myself I’d be on the stage and I hadn’t even studied playing an instrument. In Detroit within a mile radius there was someone famous, like the Four Tops, Stevie, Arethea Franklyn and Marvin Gaye. 04

It is reputed that alongside your primary influence of James Jamerson and Bob Babbit you were one of the top three, and probably the youngest great Motown bassist and you joined Miles in 1970 aged 18, maybe 19 years old. Were you influenced at all by Larry Graham, as many quote him as the matrix master of the thumping and plucking style you also adapted? Larry was in Betty Davis’s Band whilst Sly was still on the radio around 64-65 and not taking anything away from Larry who definitely came up with that style which many emulated, but James Jamerson was my main influence. By 76-77 all bass players, including me, were lending from everybody like Larry & Chuck Rainey as people wanted to know how versatile you could be. Though I remained true to my style that’s really based off James Jamerson. I understand Miles Davis nabbed you after hearing you at the Copacabana whilst you were touring with the 8th wonder Stevie in 1970, and you ended up working with him till 1976, the same year as your Solid debut on Buddah. You played the bass on the amazing funk fusion On The Corner album, how can you describe that period of working with such an innovator as Miles Davis?

During that time we knew we were doing something new and special because Leonard Feather (jazz critic) hated it. He quoted it as the worst jazz album ever but it wasn’t intended to be a jazz album. In 1971-72 no one but the population in Detroit knew about the Funk Brothers. I was known as a Motown funk player who knows nothing about jazz but in Detroit Michigan you have to know about everything. The Miles and Stevie Wonder Cococobana and Apollo Theatre scenario brings Betty Davis into the frame. She was a big freak and had Larry Graham in her band and was seeing and working with Jimmy Hendrix at the time. She brought Miles down to see a bass player, who was me, and Mick Jagger. The Temptations were there in attendance to see Stevie who was everybody’s favourite. Miles came up to the dressing room at the Copacabana and to the basement at the Apollo theatre whilst I was playing and everybody mouths in the orchestra pit dropped open as he bellowed “Where’s Michael”. It’s true he pursued me whilst I was with with Stevie. I did Stevie’s Live Talk of The Town album in London and Mick Jagger was there who later that night took me in his white Rolls Royce over to Eric Clapton’s and recorded a session with Dr John the same night. We recorded the Sun Moon and Earth album with Eric Clapton and Ray Draper the same night I recorded Sign Sealed Delivered with Stevie at the Talk At The Town before the record even came out, I was 18 years old. Miles was like a father to me; we had a great understanding and he taught me many life and music teachings. He was great and fantastic for me and I recorded 15-20 studio albums with him. Working with Miles for so long, how did you multitask playing bass on Marvin Gaye’s Your The Man, The Dramatic’s What You See Is What You Get and I Miss You by The Dells? A lot of the stuff was recorded at Detroit’s United Sounds recording studios. We did Marvin Gaye with Ray Parker, Hamilton Bohannon, Leroy Emanual, The Counts and Wah Wah Wah... AKA The Funk Brother’s at the same time as On The Corner with Miles and Whatcha See Is Whatcha Get by The Dramatics was in the charts at the same time. I play all kinds of music and not stuck on one note. On the back of your Solid album it states you worked with The Rolling Stones, Aretha and Doctor John. Clearly that diversity was embraced with whom you worked, but why do you think you in particular, when there were so many up and coming bass players? I had a different style from everyone else, I used to see Stanley Clarke, Jaco Pastoirius and Verdine White in the audience when I was with Miles and who were supportive of Miles and myself. I was a road warrior in the 1960’s having played with everyone on the road and without sounding pompous I was already on the road before Stanley and Jaco arrived. Incidentally all four of us were born in the same year in 1951 with Verdine Stanley and myself within days of each other, how do you like that one? (Wow!). What amazes me is that it was quite a young age for that to happen - still a child at school. What did your parents think?

It really happened at the 20 Grand in Detroit where meeting Hamilton Bohannon and the Motown Band commenced. The light man at the 20 Grand Vernon Bullock wrote “What Does It Take To Win Your Love” by Junior Walker, a gigantic 20 million dollar monster hit record. Now James Jamerson walks in and wants to sit in on a session and of course whose gonna argue. He plays my bass and I play that is not the done thing to play James Jamerson’s bass but I did and people were calling me James Jamerson’s young understudy around Detroit. I basically got all the gigs that he and Bobby Babbit didn’t get or couldn’t do. My parents loved it and supported me totally. They bought me my first bass, a Cresswood, and I had cello music lessons and dance lessons but always loved the bass. Jamerson was such an influence and I, when asked, could play the Jamerson style. How old was James Jamerson then? He was in his 30’s when I first met him. What is it about Norman Connors, who has an uncanny alliance with so many session artists, that they eventually go on to have successful solo careers? Norman has the same innate ability as Quincy Jones when hearing and seeing talent then packaging and selling the concept. Luckily I had a few tracks already written when I met him. You wrote and co sung the duet that supposedly introduced us to the late Phyllis Hyman “We Both Need Each Other” as well as the enterprising and galactic orgasmic ballad “You Are My Starship” from Norman’s 1976 self titled Buddah album. How did you come to write about that kind of intimacy so subtly and metaphorically?


Michael laughs re We Both Need Each Other. Norman was working with Phyllis and wanted some songs and approached me so I flew into New York to meet him and Phyllis. I walk into the Electric Lady Land studio and see this tall beautiful lady and I said Wow I hope she can sing. She sang and I said to Norman if she’s not on the record I’m not doing it. That was We Both Need Each Other which was the first single off the Starship album. The record company got nervous of losing Starship as a song, so pulled We Both Need Each Other to release Starship quickly. They were right but could have had a big hit with both. Starship’s inspired by UFO’s of which I’m a firm believer. I’ve seen them in Detroit near my mother’s house and all around the world. One night I was with my girlfriend at the time out on Belle Island and I said to her, watch this and pointed out a shiny star which I signaled to and the star came down towards me and went back up and she witnessed it. We carried on as teenagers do, being romantic, and that experience made me write that song. I leave it to everybody’s interpretation but it’s a love song that came from my heart. (Wow) The impact of that tune includes it being sampled in 1995 by En Vogue’s Terri Ellis’s What Did I Do To You covered by Rick James and Kenny Lattimore and had a 2002 uptempo revamp by the Dazz Band on Steve Wren’s Urbanstar label and is a most requested anthem in the UK and beyond. Have you heard it and what did you think, as I don’t think many people equate your original version with the latter? They did a great version. Some people are only hearing the Rick James, Kenny Lattimore, Peabo Bryson, Adina Howard or Dazz version for the first time. Mobb Deep’s sample or LL Cool J’ & Tamia’s “Don’t Come Too Late, Don’t Come Too Soon provide different interpretations as it’s that type of a song and can be envisaged in many ways as it’s powerful. Being honest my introduction to you was as a singer in the 80’s until a fellow dj friend introduced me to your Solid album with the supremo latin number “Let Love Enter”, an alternative version of “My Valentine” and “Treat Me Like A Man”. Later I discovered “Going Places” with “I Can’t Help You”, “At The Concert” feat Roberta Flack and “Let Me Love You” sampled by Queen Pen for “Set Up The”. You are like a hidden diamond in the ruff like George Benson with a distinctive jazz soul guitar style and charismatic smooth voice in fact multifaceted as a musician songwriter and singer. When did this amalgamated talent become apparent to you as a successful formula? Well I’m still doing and growing into it. If you notice every one of the songs you mention are all different from each other, no two songs are the same. Even over the 8-9 albums I made and as an artist the history of the recording industry formular is, that you must cut something that sounds like the other hits. I’m still on the verge of great things, like what I’m currently doing now. I felt like I was experimenting before but now it’s time to give the people what they want as I feel musically really good right now as we’re in a different time in life. 06

Your in demand session work continued as you featured on Johnny Taylor’s Rated Extraordinaire album and LJ Reynold’s sister Jeannie’s Cherries Banana's & Other Fines Things album, writing and playing on I’ve Still Got Pride, Hit and Run and Look What Love Has Done to Me Me. You share bass playing skills with L J Reynolds, Gary Snider and Bootsy Collins as well as producing. How did you manage this as it seems like there wasn’t enough hours, days and months to do it all in? When you love something and doing what you do it’s not work. I came from a period of time and from a city that had monster talent in Detroit Michigan. Even the C-E rate musicians were brilliant, everybody could sing and play everything, often in families like D’Barge and the J5. You had to have your A game always or you got left behind so you had to excel in Detroit cause everyone had talent and you had to have something special. What can we expect at Blackpool, apart from Starship and My Valentine? Any new material as well as the classics and what have you been up to in recent times? I’m looking forward to doing all the classic songs and it’s actually the first time I’ve come to England to do a Michael Henderson set as previously I featured as guest with Norman Connors. This time the focus is on doing exciting arrangements as this is long overdue as for many decades people didn’t know who sang the songs. This time they hear Michael Henderson’s songs by Michael Henderson. I just had a starship bass made in England by Jim Fleeting called the Michael Henderson Starship. It’s the first starship bass and he built it for me as my first ever signature bass, and I’m taking my new baby on tour with me. I’ll be doing some new material with the old and a bit of funk fusion, ballads and mid tempos in the Michael Henderson show. I’d like to thank Ralph Tee and Richard Stealing for bringing me to the UK to showcase my music and artistry. Thanks Michael again for sharing your historical music career with us and the rest of the soul survivors. Thanks Fitzroy. I’ll see you in January 2011.

DICK GRIFFEY of SOLAR Records 1943-2010

Here is an insight into the magnificence of SOLAR Record’s main catalyst Dick Griffey who changed the black music hit making machinery in the 1970’s like his predecessor Berry Gordy did with Motown in the 1960’s. Prior to this Dick made his mark as an independent promoter showcasing acts like, Stevie Wonder, The Jackson 5 and The O’Jays and later set up Soul Train Records with DJ and Soul Train TV presenter Don Cornelious. His legacy was introducing the world to the Sound Of Los Angeles Records, systematic soul stars The Whispers, Carrie Lucas, Lakeside, Shalamar, Dynasty, Midnight Star, Deele, Klymmax, Baby Face, Collage, Jon Gibson, Bill Wolfer and Leon Sylvers. The rest is history. Thank you and R.I.P Dick Griffey.

“Through my Africanness, I always had a vision that Africans and African Americans should come together and benefit one another. We are the only people that are from nowhere. Caesar Chavez is a Mexican American, Robert Kennedy is an Irish American, George Deukmejian is an Armenian American, Jesse Jackson is a Black American. Where do Blacks come from? I always understood that we were Africans. Not understanding that is what makes it difficult for us in this world. Until we make that connection, it will remain difficult.” Dick Griffey Professionally, I could not talk about my life without there being a chapter on how Dick Griffey, as a promoter, helped to build my career.  Personally, if there was a story about dear and special people in my life, his name would have to be with a smiling face beside it Dick Griffey, my friend. “There's a place called heaven and I bet my life he's going there too, 'cause he's gotta be one of the nicest someones I knew." Steveland Morris aka Stevie Wonder, Grammy-award winning singer, songwriter, producer, humanitarian. In an interview I had with Jeffrey Daniel April 2010 I asked: What do you remember of how the Soul Train Label, set up by Don Cornelius and Dick Griffey in 1975, dissolved and re-emerged to becoming Solar in 1977 and it’s impact in pushing the new disco funk & boogie through the monumental Soul Train TV show? Jeffrey: The transition from Soul Train to Solar Records was so seamless we didn’t even notice it, the only difference was that Don Cornelius was no longer involved. But for me personally what was good about Soul Train records was the company and the acts were new and both Don & Dick were hands on in the studio, and they are both like my prodigal fathers. I danced on Soul Train through Don and through music via Dick. Whatever was between Don & Dick didn’t affect us as I was still part of Soul Train as I was Solar Records. Dick Griffey’s vision went beyond and took Solar Records to be one of the most reputable in the industry. The way he worked our promotion tours was from the bottom unlike today’s standards where millions can see you at a glance on video and you sell a lot of records. We went in at the lowest level promotional touring, shaking hands with radio stations, retailers and club people and steadily built a strong foundation that really paid off when we got to our 2nd album. So it wasn’t like bam Shalamar is here, we took it step by step to build the name and the franchise and the hits which stand the test of time still today. We owe that to Dick Griffey and our producer Leon Sylvers.” 08

Lawyer, Kenny “Babyface” Edmonds, Michael Jackson, Antonio “LA” Reid and Dick Griffey

Richard Griffey had an eye for talent, an ear for music and a leadership ability to create one of the most successful, money making record companies of the 1980's. But one of the most important things that impacted my relationship and career as a record producer, was how we almost effortlessly got along. Through disagreements as well as agreements, we handled situations as friends 1st and business colleagues, 2nd. And that is how I will always remember Richard Griffey.  You will be sorely missed my friend.  My extreme condolences to the family. Leon F, Sylvers III, and family, Grammy winning producer

Dick Griffey “a man we called friend” The Whispers have had the good fortune of knowing Richard “Dick” Griffey since 1974. Although it is well documented that we didn't always agree over the years, we have always had great love and respect for the blessing that God permitted us to be to each other, in our business, professional and personal lives. His eminent intellect and robust physical stature was equalled only by his unique sense of humour, bewitching bad boy smile and his God-given visionary attributes, qualities that can not be taught, bought, borrowed or stolen.  Our greatest regret is that Father Time was not kind as to give us the opportunity to tell Dick just how much we learned from him and just how thankful we will always be that our lives touched his, there will be a vacancy in the hearts of each member of the Whispers.  God loves you and so do we. The Whispers, recording artists/producers

Dick’s Aunt Princess, Aunt Lillian and his dear Mother Nita (Juanita Hines of the Hines label) At the Solar Building in Hollywood....

Carolyn & Dick

Thank you to Carolyn for sharing some of her personal memories, quotes and family photos.

Lucas Griffey, Dick and Carrie Lucas

Carrie Lucas, Carolyn, Bishop Desmond Tu Tu, Lucas and Dick Griffey.

Dick Griffey was one of the great pioneering executives in the music business, whose fingerprints were on some of the biggest R&B hits of the eighties. Although Dick stepped away from the music industry many years ago, his presence will forever be felt through the artists that he worked with and shepherded over his time in the business. Quincy Jones, music legend

My father to me is one of History's most unsung heroes of our time..   Because of his work ethic and desire to stay away from media, I believe that he has never been recognized for all of the careers that he launched, doors he opened, paths he's paved and lives he's enriched, through the sharing of his hard work ethic, entrepreneurial mind, passion and love for quenching the thirst of those who are eager to learn.  There are so many things that he accomplished in one lifetime that when I've talked to people that don't know who I or my family is, have often thought that I was telling a tale or that I was crazy.  His vision wasn't a craft, it was an anointment that was a God given gift.  Though he was known as a stern businessman, most missed out on his humanitarian side unless you were closely linked to him.  He had a passion for family, his people education and especially Africa.  Most people don't know that he was the first to bring Jesse Jackson to Africa.  That he was the one who coined the phrase "African American" amongst so many other things. Being that the world knows him mostly through Solar Records, we are in the process of negotiating book and movie deals to allow the world to know fully who Richard "Dick" Griffey really was.  There is far too much to share in a short summary.  We pray that everyone will celebrate his life, passions and his blood sweat and tears with us and embrace the story from the lives that lived it......... Carolyn Griffey, daughter and female vocalist of Shalamar

s ’ l l e r r a D funk box Awards 2010

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been successful in show business? I’d have been a journalist for sure. When I last spoke with you about Portuguese Love I told you us jazz dancers waited ¾’s of the song to starting “bustin’ out” like Rick James to the fast Latin break. A few of my female friends want an answer to a burning question and I’d get shot if I didn’t ask the origins of how that was made, and was is about anyone in particular as it’s such a deep song? Yes. I’m Portuguese first and I was dating a Cape Veridian guy and he was African mixed with Portuguese so I wrote that about him. Rick always used to say I 2 wrote it about him, he used to tell people “yeah it realt r y ly happened in Pittsburgh but she couldn’t just write Pa r i e h F i t z r o Pittsburgh Love cause that doesn’t sound good. (We a M wit both chuckle as Teena imitates Rick). My great great na Grandfather was a very famous Portuguese horse jockTee ey so that was intertwined also. How did you and SoulllSoul’s Jazzie B end up remixing This interview was held face to face at Teena’s hotel in Since Day One and you giving them a name check in the London 2 days before the January 2010 concert. track saying SoulllSoul in the remix? On Congo Square, like you have over various albums (i.e. I came here to work on a song with him as I liked the John Lennon on the It Must Be Magic album) continued to SoulllSoul vibe and what he did with Caron Wheeler. In pay testament to various historical influences including the fact you just made me realise I’ve been here four times music of New Orleans and Coretta King, how was it amaland I thought it was just three. gamated and was it easy to get George Duke, Faith Evans, Richard Rudolph wrote Now That I Have You for his late Howard Hewitt and MC Lyte? wife Minnie Ripperton and when she passed you eventualThis album’s a conglomeration of roots and heritage ly sung that song and you dedicated that Lady T album to that I wanted to do with other people, like in the bible it her. In our interview Leon Ware describes her as his sister says “when two or more come together in my name it and a gift to the world and humanity, as an influence on you; makes the thought more powerful”. The original condid you get to meet or work with Minnie? cept stemmed from the great jazz and the slavery times No she died a few months before I had the chance to; in Congo Square, the place that would allow the slaves I’m very close to Richard and their children. I’m actualto go and sing on Sundays for a few hours. The majorly the very first artist he worked with after she passed ity of the New Orleans slaves were from the West but I felt that her spirit and her presence was definitely Indies. I thought it must have been an amazing sound there around me. to hear people chanting for a few hours to escape from their bondage. Then I thought about Louis Armstrong, I remember seeing you amongst the background vocal the father of jazz, and people like Billie Holiday who credits on the Motown Sounds Space Dance album, so panned her whole style and phrasing on how he played what other Motown tracks did you do Bv’s for before the his horn. We all pull from different things and from Wild and Peaceful debut? those who we love. I love Smokey Robinson more than I may have sung on Tata Vega’s As Long As I Have You anything in the whole world and Aretha Franklyn. I can which I wrote, or something on Stevie’s songs; I wasn’t identify with Smokey as we kinda have the same range a background singer but I just ended up in there. I sung and he wrote love songs. I thought about all the on a lot of Rick’s earlier stuff, as did he on mine too famous people who came through New Orleans musilater. cally, like the blues artists. Led Zeppelin’s whole style Having interviewed Gwen Dickey, she shared how she was comes from artists like John Lee Hooker and the guy missing her ex boyfriend when she sang Wishing On A Star. on the corner, playing his songs that no one worldwide I discovered your version and it completely blew me away. will hear but all the locals will know, as he has someWhat led you to cover it and how did that end up on the thing profound to say too. Younger artists like Jill Scott soundtrack to New York Undercover TV soundtrack? and Ereka Badu still love to make great music. So I took every song on the album and dedicated it to someReally? I like it too but not as much as I love the origithing I loved as I was coming up as an artist. nal Rose Royce version; theirs is so much nicer. I was in New York Undercover and they always have the artist George Duke, Faith Evans, Howard Hewitt and MC Lyte record a classic song. They gave me a list of what I have all been there and are all my friends, so working could record, that was on there and it happens to be with people that I really love made the statement more one of my favourite songs and I thought I could sing it powerful. Mainly because it’s supposed to be our good. address of all the artists who came through. What would have been your alternative career had you not 12

Gonna Have My Cake And Eat It Too reminds me of a turning point I had in 1983, where the dilemma it describes, is the place where my girlfriend at the time was at. That record defined what she was unable to convey to me verbally. How often do your fans share a similar story with you? All the time. People are always telling when I wrote certain songs they were going through things and that I’m the soundtrack to their lives. Basically like most people we all just wanna be loved, so I just have the amazing gift from God to put words to a song. Earlier you mention him and I was blessed to have spoken with Smokey Robinson a couple days back and you recorded Don’t You Look Back on the Wild & Peaceful album. What did he think of your version? He wrote that for the Temptations, whose version is much better than mine, it’s a slower and more mid tempo version with Paul Williams on lead vocal. Rick made it more like a dance record. Smokey and I had a conversation back in 1979, I think he did like it. We all loved each other at Motown and I recorded a few Smokey Robinson songs but that’s the only one that ever came out. Last night I wrote about how much I love him and a song called When Smokey Sings and it’s gonna be on my next album. What inspired the Latin percussive monster Behind The Groove collaborated with Richard Rudolph? The track was done. I made the music and I had some of the melody but I didn’t have a concept. I was sitting with Richard and he started talking about “getting inside or behind the music”. Hence “Behind The Groove” there’s different sides in all of us, there’s another side inside of you.” When is Teena gonna give us another, I’m Just A Sucker, Behind The Groove, I Need Your Loving or Square Biz? Ah probably not ever again. With this last album The Pressure is probably the last thing I’ve done like that. The next album is gonna be almost all ballads. That’s a shame as some of us love the variety of the jazz the blues, Latin and disco… I’d like to do something over here in the UK though it would be great to do and produce a record with someone else or something like that here. Ok Omar and Noel & Mica Paris would be great to collaborate with and we’ve interviewed them all for Soul Survivors. Ok Yeah that’d be great; maybe we could exchange some numbers? Yeah they would love to get involved. You produced and featured on 4 tracks for Ozone’s Send It album Over & Over, a slow ballad with a fast Latin break like Portuguese Love, We Bad, Keep On Dancing and Gigolette which starts like Square Biz and QT Hush’s QT Hush album singing on Soul Mates. How was that experience producing someone other than yourself? I didn’t wanna do that fast break on Over & Over; my drummer from Portuguese Love Paul Hines was in Ozone. He wanted to do it to showcase his drumming 14

and I like the song better without it, but I said ok and Alan McGrier had already co written Square Biz with me. It’s wonderful producing someone else coz you get to hear what someone else sounds like on your songs. I know what I’m gonna sound like but someone else brings a whole different energy and fire to it. I read that you relate to Faith Evans and her relationship and career with and without Notorious BIG to yours with Rick James? Yeah Faith had a career with Biggy and her own and I had a career with Rick and my own. She’s like a younger me, we both do R&B and love soul music and had careers that were very profound. I see a similarity between the rebellious, creativeness and artistic charisma with Rick James who was more blatant and Marvin Gaye more subtle, both for whom you wrote songs about; did you get to sing with Marvin? I recorded my first album in Marvin’s studio and Marvin’s daughter is my godchild. Nona the actress? Wow! This part of the interview was two days after the concert just before Teena was flying back to the USA. Hi Teena you clearly came out to an audience that showed you love beyond Portugal, it was amazing, what was it like walking out on stage? It was so wonderful. The audience were singing all the words to the song and it was very exciting having not been here in 18 years. It was wonderful to come back and have them respond like that. I did 5 encores and sung for over two hours, in fact I could have sung for longer cause they were standing up in the balcony and wouldn’t sit down. I got to say the young man, your nephew…my gosh at first I didn’t see him on the stage and when you first broke into I’m Just A Sucker For Your Love I thought it was Rick James’s acappella voice on top of a your band’s live backing track. He sounded so much like Rick it was scary. Ah that’s so nice and I’ll tell him that. I told him on the fast songs the best thing would be to capture the essence of Rick and the character of the song. Was there a special highlight that was more overwhelming than anything on the night? Probably on Casanova Brown…just being out there…me and my piano player….that was very special. Ok, so you’re gonna come back I hear? I think so. We’re trying to work that out for next year so I’ll see ya then. For sure - thanks Teena.

Soul Survivor’s first interview with Teena Marie can be read in Issue 21. Teena Marie will be in concert at the Indigo2 on 25/26th February 2011.

t r ta S p m u J

S D R O W with Ginger Tony

Seeing as it’s about that time of year (you know, reflecting and stuff...) I thought I’d throw in my tuppence worth.

from Eddie Roberts & Freckles ‘Move’ on One Note and Maestro Garofalo’s ‘Coffee Connection’ on Irma Records.

It doesn’t seem too long ago that I was banging on about how great I thought 2010 was going to be and it didn’t disappoint. The year got off to a flyer with Tape Five’s ‘Tonight Josephine’, an excellent collection of Electro Swing cuts, with many highpoints including the return of the Brenda Boykin. We also had early hints of the 2nd album from The Bahama Soul Club. It took a wee while to surface, but ‘Bossa Nova Just Smells Funky’ was well worth the wait.

If you’re looking for something more dancefloor orientated, then The Muthafunkaz debut album ‘Muthalode’ on Code Red Records is a guaranteed crowd-pleaser! Playing like a greatest hits collection, it opens with latest single ‘A Reason To Love’, closes with the forgotten classic ‘Always’ and everything inbetween is pretty much on the money.

“Australia's greatest modern Funk & Soul band” The Bamboos, returned with their 4th album – ‘4’ and with Kylie Auldist’s vocals in place, the soul just shone through. It was about this time (February-ish) that the Jump Start came across the now legendary ‘Let’s Get It Started’ from Healer Selecta on Freestyle Records. A record so raw, so funky, we felt obliged to give out health warnings before playing it! Summer swept in on a wave of jazz filled goodness (sorry, I was carried away for a with new albums from Diesler (‘Tie Breakers’ on Social Beats/Unique) and the man from Milan, Gerardo Frisina with ‘Join The Dance’ on Schema. And by the time September had arrived, the Black Lillies delivered one of the best albums of the year, complete with the glorious ‘Between The Lines’. I won’t go on too much about my highlights from the year, but there’s 7 albums that every home should have acquired throughout 2010. And if you’re looking for an 8th, can I be cheeky and remind you of the ‘Jump Start Music’ compilation...? :-))) “Dear Santa...” Never mind all that chestnuts on open fires business, once again it’s time for me to help make your Chrimbo go with a soulful, jazzy and housey bang with a few must-haves for the stocking! The latest album from The Jazzinvaders ‘3’ is as good as we’ve come to expect from Dutch nu-jazz outfit. With the already established gems ‘Reverse’ and ‘Make It Work’ alongside future favourites ‘The Sunchaser’ and ‘Why I?’ this should scratch many a jazzy itch. Also on the jazz tip is the latest album

Martin Denev’s ‘Stolen Blessings’ has brought a huge smile to my Saturday mornings, slightly leftfield, this will satisfy anyone who demands something extra from their music, nothing obvious, just a very rewarding album that deserves to be heard! One last essential is ‘The Shakedown’ from Speedometer on Freestyle. With Natasha Watts providing vocals on the rousing opening track ‘Again And Again’ and Ria Currie’s outstanding return on ‘You’ve Made Me So Very Happy’ (one of the finest songs ever written) I can’t recommend this album enough! “Big smiles...” As I’m writing this (typing really, and in a Hartley Hare fashion), the photos are still appearing on Facebook from what was for me the event of 2010. The Bournemouth Soul Weekender excelled in all departments and asides from saying “Hi” to everyone that was there, I thought I’d mention that we’ll be doing it all over again on Halloween weekend 2011. Tickets will be on sale very soon and I’m not messing about when I say you need to be there! ;-) “The Cheque’s In The Post...” Before I toddle off into 2011 I wanted to say thanks to Anna & Fitz for allowing me to waffle on here in ‘Soul Survivors’ for another year and to all of you the readers who’ve not yet grassed me up for not making sense half the time (lol). Finally a huge thank you goes out to everyone who still insist on getting up too early on a Saturday morning to listen to the ‘Jump Start’ Solar Radio. Love to you and yours, have a very soulful Christmas and I’ll see you next year. Ciao for now. GT X

'Jump Start' Saturdays 8 till 10am. Sky Digital channel 0129


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REMINDER ils onto our website to re h a few competitions. Log your detaevents and news along wit An update of

4 Dec - Gary Parker, Mike Vitti, Roni O’Brien 11 Dec - Gavin Kendrick, Gary Parker, Luke Richardson 18 Dec - Steve Cole, Fitzroy da Buzzboy

8 Jan - Gavin Kendrick, Gary Parker, John Stevenson 15 Jan - Gary Parker, Mike Vitti, Fitzroy da Buzzboy 22 Jan - Pru Fiddy, Joey Negro, Mike Vitti 29 Jan - Ralph Tee, Chris Philips

11 Dec - (Band on the Wall) Manchester Mike Vitti & guests Colin Curtis and Richard Earnshaw performing

Every Saturday night Funky Sensation features in the bar upstairs at Ronnie Scott’s. Music starts at 8pm, closes at 3am. £7.50 before 10pm and £10 after 10pm. £7.50 all night if you’re on the guestlist. To be on the guestlist email ‘’ Venue: Scott’s: 37 Frith Street, Soho, London, W1D 4HT

Richard Earnshaw - ‘In Time’

The most unique live music nights in London on a Saturday night, every week at the Roof Gardens featuring the very best in nu-soul, groove and funk from some of the most exciting artists on the scene at the moment. 1st of January - Artist TBC, 8th Jan - Artist TBC 15th Jan - Natalie Williams, 22nd Jan - Leslie Phillips Soul Trip 29th Jan - JazzProof For tickets go to: virginclubs and or go to The Roof Gardens, 99 High Street Kensington, London, W8 5SA. Music starts at Doors open at 8pm, music starts at 8.30pm-11pm. (ticket to the live music also gets you into the club night afterwards)

with guest DJ Jimmy Napes. In Time is a glorious tapestry of soulful grooves encompassing jazz, soul, funk, and house rhythms. This debut album features legends such as Roy Ayers, Carleen Anderson, Kenny Thomas and Jocelyn Brown. Metro 4/5 stars – ‘In Time’ is an uplifting slice of nostalgia - This deliciously uplifting LP should make summer hearts soar’ Thursday December the 16th The Hoxton Bar and Grill, 2-4 Hoxton Square, London, N1 6NU Doors open at 7.30pm, music starts at 8.30pm For tickets go to or call 07702 958 980

Record reviews Christmas At SedSoul (Sed Soul) Soul Survivor winning double act Rob Hardt & Frank Ryle (aka Cool Million) have put together a yuletide comp with bells and miSOULtoe’s on in abundance. Eugene Wilde takes it home with I Love Christmas whilst Ann Sexton gives Santa Claus Coming To Town a Motown twist. McKoy reunited like Peaches and Herbs for This Ones For You and Cool Million bring some pizzazz jazz scat soul on Let The Christmas Spirit In with Lene Riebau. Robert Walker amiably tackles Donny Hathaway’s This Christmas with a Marvin Sexual Healing drum beat production but it works. Natasha Watts delivers punctually like Santa on You & Me This Christmas and Jeniqua with Cool Million recites eloquently What Christmas Means to Me. Robert Walker is clearly a future talent to watch so check out On This Day. Pleasant for a Yuletide comp this one works!! Jumpin’ - Various Artists (Harmless) This Double CD of 24 Tracks unusually combines underground and commercial classics from around 1977-1986 of the disco boogie and electro 80‘s production genres. More familiar are Salsoul Orchestra’s Runaway, Barbara Mason’s Another Man, Gap Bands Big Fun and Loletta Holloway’s Love Sensation. Patrick Adams, Greg Carmichael and Leroy Burgess have their marvellous slightly underground productions showcased via Donna McGhee on Mr Blindman, Logg, I Know You Will, Rainbow Brown, Till You Surrender, Take Some Time Out For Love Salsoul Orchestra and Over Like A Fat Rat, Fonda Rae. The Nobel’s Jealousy is more obscure as an inclusion of the 77-81 selection. Switch’s Keeping Secrets and Terri Well’s I’ll Be Around were house party and club favourites in the mid 80’s as were Yarborough & Peoples Don’t Waste Your Time and Penny Ford’s Dangerous on different circuits. A Strange, weird and wonderful compilation with no apparent reason but nuff rhymes from Ian Dewhirst. Chris Rob - Mental Notes I like it when a young blood is mature enough to recognise the balance needed in their approach in making good music and not limiting it to just their generations audience. Chris Rob respects what has come before him and utilises it effectively on these recordings. This multi instrumentalist’s tale in Sex, Money & Drugs is improvised amazingly by Curtis’s Freddie’s Dead. He sings in another falsetto key on Waiting On You with a Marvin I Want You album approach again successfully as well as Check Out Dat Body as a jazz soul twinkling but 2 minute beautiful interlude. Take Time is something D’Angelo or Maxwell could have recorded it’s so spacey in it’s production, hence the brilliance of Chris Rob’s foresight in his writing. Everyday is again another twist on a Peven Everett’s meets Eric Roberson trip with it’s minimal 4 floor skippy production. My fave of the reviews fusing old influences with new technology...Splendid and big thanks to Matthew Daniel!! Timmy Regisford - At The Club (Tribe Records) This 21st century album is like one of a 20th century template with it’s simplistic yet unique diversity. There are earth tremors of the many influences of house music history that’s been huge in the UK, Ibiza and the USA on the 14 track cd. It is as musical as it is minimal with some deliberate off key changes like Loose Joints It’s All Over My Face, can sound wrong but also so right. Stand out tracks include the gospel fueled Old Landmark featuring Keni Bobien, Soul Size Love, Sorrow Tears & Blood feat Fela Kuti, the instrumental Game, Masterpiece feat Arnold Jarvis and the proposed single the sexy and sultry At The Club feat Lynn Lockamy. This comes from a man who since the mid 80’s has been influential in many ways in the progression of club culture, so with interest watch out for this. Chris Jasper - Everything I Do (Gold City Records) With a mixture of retro 80’s electro soul, R&B Swing, Herbie meets Zapp talk box vocal influences, Chris Jasper’s 40 plus years with the original Cincinnati kids The Isley Bro’s, is showcased, performed, produced and written by himself. Simplistic and melodic and easy listening you can seek out many influences including EWF harmonies on the funky Earthquake funky and hints of The Isley’s Between The Sheets album on tracks like He’s The Judge dedicated to the creator. The bookies favourite has to be Don’t Take Your Love Away which captures the essence of the Isley-Jasper-Isley classic Caravan Of Love. Nice easy listening cd from the one man bandit Chris Jasper from his at home studios. 22

Funk N Stein - Funky Mission (Soul Unsigned) I think the term smooth funk describes this album best with it’s clean and crystal clear production. Very eclectic in musical styles, the musicians have drawn from the wealth of the diverse changes of the 1970’s Black music phenomenon retaining that memorable essence. Though there are vocal songs the musicians are more instrumentalists whose glue like bonding would put Bostik out of business. The P Funk-ish horny horns and spoken word vocals are explored on Funky Mission and Choose Your Way. Blue Nights and I Want Your Love typify the album’s smooth soulfulness with the only instrumental and a favourite of mine If 6 Was 8 showcasing it’s jazz elements. Lush strings and fusion rock is amplified on the longest and most beautifully complex rhythm track The Morning Rush. Another virgin territory broken nicely coming via Soul Unsigned’s Phil Driver. Rena Scott - Take Me Away (Amor Records) Many of you will appreciate the maturity and soulfulness of Rena Scott’s voice and her musicality. Representing Detroit like her fellow native emerald friend Michael Henderson in this issue, Rena effortlessly put’s her own stamp firmly on three classic covers, the much covered Don’t Ask My Neighbour, Maze’s Joy & Pain and Aretha Franklyn’s Dr Feelgood. Nepotism is unselfishly upheld with Rena sharing lead vocals with her daughter Nina on Thank God For You, whilst extracting her native Detroit’s favourite son’s Smokey Robinson Motown vibe on Take Me Away. Rena gets versatile and housed up on I Don’t Wanna Wait and hits the funk spot with In This Life a universal awareness message concluding a well packaged soothing soul CD that flowers every time your ears water it.

Masterpiece - Fabio & Grooverider (Ministry Of Sound) I remember a slim young man with a David Ruffin like image busting moves and dance sparring with him in the mid 80‘s, frequenting regularly my first club DJ residency with me fellow Buzzboy’s in 1986. His name too was Fitzroy but went on to become part of Drum and Bass history as his alter ego Fabio. From a triple cd compiled with his compadre Grooverider with a separate drum and bass and house mixture, Fabio’s 12 tracked Influence and Inspiration CD is worth the purchase alone. Enjoy Gary Bartz’s incredible Mizell Bros produced Music Is My Sanctuary, Deodato’s instrumental Whistle Bump, Fazeo’s dreamy Riding High, The Jackson’s underrated Your Ways, Convertion’s Let’s Do It, Steve Arrington’s thumping Way Out and Maze’s bad boy Twighlight. Grooverider’s classic 80’s house mix features Mr Fingers Can You Feel It, Orbital’s orchestral Chimes, Soft House Co’s What You Need and Strings Of Life’s classic Rhythm Is Rhythm. Worth a gamble!!

SEND IN YOUR REVIEWS OR TRACKS FOR REVIEW TO The Soul Survivors PO Box 377 West Malling Kent ME6 9DQ 07956 312931

Gregory Porter - Water (Motema) I’m very fussy about male jazz vocalists as the delivery of the diction is essential, hence some of my favourites being Leslie Hutchinson, Nat King Cole, Eddie Jefferson, Grady Tate, Andy Bey and Al Jarreau. I now understand why Tunji singled out the talent of George Porter and sent this to me post haste. Chandeliers, grand piano and an enchanted audience set the mood for this cd, but in your own comfort zone. With the soul and compassion of a Bill Withers/Donny Hathaway essence, his story telling is compelling. As well as covering Nina Simone’s Feeling Good, he expresses social consciousness within the historical Motor city fuelled scenario and Martin Luther King’s assassination on 1960 What? and on Black Nile. His vocal richness is smothered over his connection with Water and the sensitive synopsis and romantic But Beautiful. Uncompromising and tantalising a great purchase for Xmas. Tom Glide And The Luv All Stars - In The Name Of Luv (Expansions) From the first track Get It Off you hear what an influence EWF had on the world, only to then find out that their grand wizard keyboardist Larry Dunn and ex Pheonix Horns maestro Rahmlee are all over this album like bees around sweet honey. With fellow legends James Gadson and Byron Miller on board, Tom Glide’s composing, musician and production skills travel first class like boarding a Concorde plane. The album’s flight captains vocally are Tim Owens and Orlando Johnson who are superb vocally as heard on What’s Your Fantasy, Can You Feel It, Kool Party, Love Is Coming Up and the boogielicious Come To Me. The EWF ethos is echoed via the positive lyrics within the equally soulful ballads and mellow tracks. It’s no Krypton Factor task to guess this is a highly recommended album picked up by Ralph Tee’s Expansion’s label. JD73 Pure Gold (Z Records) From where the legendary baked pudding and the iconic 70’s Peter Lorimer, Billy Bremner and Norman Hunter footballing era derives,Yorkshire’s latest export, multitasking instrumentalist Dan Goldman aka JD73, provides a 4 track music EP on Dave Lee’s Z Records label. Happy high mid falsetto vocals and feel good factor is the strategy when you listen to an MJ/Rod Temperton/Johnny Wilder tinged Fantasy and Step By Step. There’s more of an 80’s electro soul dub feel on the catchy and lyrical Love Will Save The Day. Completing the EP’s quartet is probably my fave of the package, the practically instrumental Into The Night with its moog bass, probing piano and brass stabs and eerie strings. Going by this the album should become popular. Linda Clifford - Runaway Love Carl Denny & Ben Jones Remix This classic is revamped by Strictly Vinyl’s Carl Denny & Ben Jones. Slightly faster with a fazed intro and outro and simulated First Choice’s Love Thang bongo break and extra drum kicks, this one should be flying high like Freeez with Linda Clifford’s personal approval stamped on it. It’s a case of less is more in the production and sounded wicked when played on my Soul Survivor show. The word from my reliable source is that this may be released on a comp so watch this space. Ashanti Munir-Soul Of A Woman(Grooveallegiance) This lady singing the blues has been buzzing around during the past few years with a mature, distinctive and great quality voice. From her “Soul Of A Woman” cd. “It Should Be You” is a soul jazz ballad about being supportive during the trials and tribulations of everyday life. “Easy Way About You” is an uptempo feel good foot tapper lyrically and musically, with a simple yet clean production. “So Smooth” is an 80’s moog bass and drum programmed classic throwback venture, with some sexy sax interludes, where Ashanti shows much appreciation for her man. In fact all three songs retain that message that the lady is all about good loving. Currently riding high in the Starpoint Radio charts, watch out for the album. Josh Milan feat Chinah Blac - Til You Go Home (Honeycomb Music)  This is totally orgasmic OMG!! The sweetest female vocal delivery on an equally honeysuckle musical rhythm with harmonious backing vocals. Blaze’s Josh Milan evokes memories of Lachandra’s We Just Started from the late 80’s with lush strings and things on the most soulful house boogie cut I’ve heard this year period, it’s that captivating. Real live 4 floor music with fantastic unexpected key changes and melodious melodies, I can’t praise this enough it is truly spell bounding!! Many thanks to Sy Sez for playing and turning me on to this piece of soul heaven!! All reviews carried out by Fitzroy 24

Out The Box

......its not all four to the floor you know! Words DJ Marcia Carr Autumn and winter this year have been good so far. It’s been a blessing in many ways and gigs at the William IV, Channel Four TV, East Village, Plastic People and elsewhere that have been great successes are presently some of my highlights of 2010. For this NYE you will find me with my LadyBugz crew DJ’ing, alongside Norman Jay MBE and his buddy Gilles Peterson from BBC R1 and Worldwide fame + Cratediggers over at the Garage in north London. We are more than a little excited about the opportunity and hope you will share in our good news by joining us. Be sure to grab yourself Early Bird tickets from If you’re not accustomed to what we LadyBugz play, find on the airwaves at Ministry of Sound radio every Saturday; 6pm-8pm log on to Let us know what you think. There are certainly going to be an excessive amount of parties going on across the Christmas holiday and run up to New Year’s Eve. However you choose to celebrate, I hope you have a good time with family and friends – thank God for another year! There’s room enough to highlight a few singles that have been working in my sets and worthy of your attention, so please continue to support the music: buy it, play it and treasure it! For more than two decades producer & DJ Phil Asher has become as important within the realms of Underground dance music – representing many sides for UK styles as much as rhythm is essential to the blues. Not one to shy away from using his combined influences, his latest project the Restless Soul Fun Band (an LP is due around April 2011) is set to bring back fun into funk, soul, disco and Latin. To that end, check out the full bounce of expression of pure party vibes that run rife on ‘It’s Hard’ - one the impressive tracks as featured on Reel People Present Golden Lady long-player (due Feb 2011 on Reel People records). Centred round a formidable brass break by Cameo the loop drives the captivating voices of rising star Shea Soul and Light Particle, with a simplicity of soulful beats and gentle snares this is sure to be a favourite in many DJ boxes – fling foot funk and fierce. With a whole lot of fiery essence; raucous rhythm, tribal drum beats and in many cases powerful laid on lyrical statements on some tracks are just too irresistible – like every Mukatsuku release. Stepping up to honour the label this time round Japan’s Root Soul (Kenichi Ikeda), a bass player (for Kyoto Jazz Massive) provides this punchy update of ‘Fuselage’ – originally, a 2007 rock-funk jazz release (on Village Again Records). Along with fellow musician Shuya Okino ands RS stays closer to traditional elements of Hi Life sound on the B side – a fetching African guitar leads the Root Soul Afro Remix. And, if for you Afrobeat is all about Fela (Kuti) the GUYNAMUKAT homage remix is sure to be an aural delight. My pick is the Afro Disco Boogie mix which does all that its description says. Magnificent! Just in time for a pre Christmas release Joey Negro presents Kola Kube is a grand cover of Carly Simon’s pop classic ‘Why’ (on Surround Sounds). His Blockparty Mix thrusts ahead with SOS band style effects, while phasing and drop effects allows the mix to soar. The Hot Toddy mixes delve into 80’s funk synths, thickly layered bass lines, bells and sweeps, basic house beats and electro effects which sit nicely over Diane Charlemamgne’s luscious vocals - lovely soulful house that’s hard to beat. Although, the Boogiefied Mix is a trendy low slung, downtempo groove, a little pitching can soon remedy that – imaginative DJ’s should cease the opportunity to work it within their sets. Dutch producer Remco Muis aka MoWz is not a producer I am familiar with but that could all change after hearing his fresh jazz house epic ‘The Grooveman’ for the Italian Gotta Keep Faith label. With an Original instrumental score that is more jazz than house it has something of an 80’s Herbie Hancock slightly electro meets disco feel about it. Midway breaks of electric piano by Tico Pierhagen act like an interlude while superb saxophone from Remco Smid injects a smooth swing into the arrangement. For primetime floors a tech house essence found in the Kenquo Remix of stuttered beats and squelching sub bass synth is brilliant, as is the tribal Fruzzy Saxy Dub with a smoother deeper house Edmund Remix which makes this a classic and worthwhile investment, you need this. For all the latest info on gigs and more with me and LadyBugZ check TMP: - - LADYBUGZ: Send 12”s and CDs for review consideration to: TALKING MUSIC PRODUCTIONS c/o 22 Eton Close, London SW18 4UD DJ booking/enquires: +44 (0) 7949 769 379


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Fitzroy talks to

Richard Searling Like most I’ve spoken to, give us an insight into how and when you discovered your love for black music and championed various aspects of it djing over a 40 year period? I first got into the music via Judith, my wife, back in 1970 when we first met. She was a collector of acts like The Dells, Lorraine Ellison and James Carr and I liked what I heard. What was your involvement, memories and experience of the Wigan Casino phenomenon? I worked the venue from January 1974 to August 1981 - a great experience playing to 800-1000 people every Saturday for 7 years. I think I only missed a handful of allnighters in that time. I’m proud of the records I discovered there and for my part in putting the "soul" back in Northern with tracks like Jackey Beavers and The Carstairs. It got my name out there and enabled me to play gigs all around the UK at the time. Like another North West legend, Colin Curtis, you moved from the Northern soul arena to the more progressive and cutting edge black music. From your perspective, what was that transition like and how successful was the Angels in Burnley, a night that is mentioned alongside Rafter’s in the late 70’s for its jazz funk following? In the mid 70s I started seriously collecting demo 12"s via Soul Bowl and sort of got into Jazz Funk that way. Angels was a very progressive club at that time, probably better than most in any big city - being in Burnley was cool as that is one real hotbed of soul and the manager there, Paul Simon was determined we would lead the way with a midweek scene.....I was nowhere near as upfront or knowledgeable as Colin and John Grant over at Rafters but I was under no pressure to be so, as Northern was considered my special talent! What sort of cuts were you playing, as I read somewhere that you bought your music from John Anderson’s Soul Bowl and it was slightly more commercial than a heavy Colin Curtis night and was there, would you say, friendly rivalry between you and he? No rivalry that I was aware of, no. Yes, it would be true to say we were more commercial, we had to be, but we still had some tasty exclusive remixes and we made sure Disco tunes were featured to balance the Jazz Funk. At the time I was also working for RCA so contacts there gave me slates from time to time, "Dear Limmertz" by Azymuth being one world exclusive that I remember! How did you land the gig at RCA and who did you meet and what did you achieve throughout your duration? A lucky break! I already knew their promo man in the North and he asked me to compile an album of 20 RCA Northern Soul sold well, they were about to open a regional office to service radio and I got the gig.  I owe my


dear departed friend Derek Brandwood an everlasting debt of gratitude for giving me that opportunity. What was your experience of the South’s club scene, especially in London, and was there much of a noticeable difference in the crowd’s racial integration than that in the North? I remember going to see Graham Gold up in the West End once - they were playing much the same as we were up North really....James Hamilton was always a great source of inspiration at the time as were Greg Edwards and Robbie Vincent with their radio work. Pete Tong and Geoff Young were great ambassadors also and I felt we all got on well. Chris Hill working with us in Dundee also sticks out - one of the funniest guys I’ve ever met, he had us all in stitches.. It would appear that you are regarded as a soul god in the North and considering there are quite a few who are bestowed in the same way, how do you feel about the acknowledgement? I’m flattered you should infer that - but I need to constantly ensure I live up to people’s expectations. You’ve compiled a few compilations outside of the Expansion camp in your career, which ones are you most proud of? Probably the title "Get Involved" (EMI) and "Modern Soul Connoisseurs” (Universal), plus of course on our Expansion label, "Richard Searling's Music From My Soul". Who as a singer, musician, dj, promoter, dancer or any affiliation with the Black Music circuit has been either a mentor or an inspiration or icon to you and why? Singer - Dee Dee Sharp, Musician/arranger/producer Kenny Gamble, promotor Alex Lowes, industry person Derek Everett, journalist - Dave Godin. What were you doing between the late 70‘s - 1989 before you joined forces with Ralph Tee and united the rumored north & south divide to set up the established Expansion records? After Wigan I started radio shows for Hallam in Sheffield (80-85), Red Rose in Preston (83-89) and Sunset Radio, Manchester (89-92) ...I also helped John Anderson run Expansion Records retail in Manchester (87-92) and set up the Expansion record label in 1985, before Ralph joined us a couple of years later. I ran promotions at the Halfway House, The Trafalgar and Parkers in Manchester. We have our next Parkers ReUnion at the Band on the Wall in Manchester on Monday December 27th. Running the Luxury Soul Weekenders alongside Expansions I guess works hand in glove for you as the music and the crowd intertwine harmoniously. With Caister and Southport weekenders already established over 20 plus years, you kind of found the balance between the two offering a variety of music with quality old and new acts. Again established and accomplished Dj’s grace the wheels of steel, so how much has the gamble paid off as it could have gone horribly wrong?

It almost has, several times! With any event so big and where you are bringing artists over from America there is so much pressure, especially as we are independent promotors using our own money. The radio station pulled out some years ago but Ralph and myself could not bear to let it die - it’s the sort of event we had always dreamed of running. Hilton are also extremely supportive which makes all the difference. Your radio career includes Radio Hallam, Jazz and Smooth FM, which do you get the most satisfaction from, radio or club and why? Both a club situation with a crowd, say at the Hilton Lounge, it doesn’t get any better.......on radio too, with strong feedback from the audience it gives you the confidence to stay fresh and play what you hope everyone will love just as much as you do! As well as Expansions voted best record label, Luxury Soul was voted the 3rd best weekender in the Soul Survivors Awards and I’m fortunate to make my debut Djing in January 2011. How does that feel knowing the readers voted that way and with Michael Henderson, Cool Million and the “Queen Of The Philly Soul Scene” Jean Carn performing, what can we expect in Blackpool January 2011? That’s great news on both fronts - we are gearing up very well for January, it’s our 15th event and the sales are up on last year, which in the current economic environment and with so much new competition, we are delighted. I’d like to thank the readers of your excellent magazine for placing the label and the event so high in the ratings - both Ralph and myself really appreciate the loyal support we get. Thanks Richard. Richard Searling has a blog up and running so check out


chats to Fitzroy

What was your musical inroad on the club circuit, where did you go and who did you follow before becoming a dj and starting the 10p Groove Weekly magazine in 1980? I began DJ’ing at school in 1975. Loved the pop soul of the day and then the ‘upfront’ sounds as played by Robbie Vincent and Greg Edwards on the radio. A school friend Clifford Rennie and I brought jazz funk and soul to the sixth form common room as ‘Ralph & Rennie’. Heard Greg Edwards DJ at an under 18s night at Kingham Hall in Watford before being old enough to venture to The Royalty In Southgate and ultimately the Caister Soul Weekenders of the late 70s. Saturday Night Fever cost me my Alevels. I was unaware of the magazine’s existence, so what was it’s template formula, and if it involved interviews, who was featured and who that you met or interviewed was the most memorable? Clifford and I had a good DJ following among our age group, but those who got their A levels went to University. I kept in touch with those closest to me by sending out a weekly update sheet of news, record reviews and a personal chart. This expanded to include columns, interviews, concert reviews, special features, letters pages etc. that was given away free at first. Then Groove Records in Soho asked if they could stock it, then other shops wanted it, then I started selling it at Caister, soul venues and took subscriptions. It launched in May 1980, and probably my most memorable interview was with Herbie Hancock who asked me if I could lend him a grand. I also interviewed Tom Browne over lunch at the Tara Hotel in Kensington at the invitation of Arista. I had a three course meal but Tom only wanted a sorbet. Co running a magazine I can relate to the pressures of what you must have been under in the early 80’s as you quote that it nearly killed you. I totally understand that there is an immense enthusiasm from potential customers and music lovers when there is a forum catering for the precious thing they love. Yet the financial worth of it’s content is often overlooked or not fully supported in the same way as say a football fan buying and supporting the club’s magazine. It must have tested your relationships beyond breaking point, so how did you eventually overcome that and not give up? I ran Groove Weekly for just over 2 years. The magazine grew and cost more to print but the advertisers were slow paying and I was having to take weeks off just to chase debts. Had to give up for health reasons as I had a physical breakdown and was bed ridden for a period. I thought that that was the time to give it a rest. I was also DJ’ing more and working late nights to pay print bills. Was fun while it lasted though and people around me both enjoyed the benefits and got extremely upset with me. No change today. You went on to work as assistant editor for Blues & Soul and editor of Mix Mag, how did you find those roles without the pressure of having previously owned a magazine and what lessons had been learnt from your prior publication experience to prepare you for these roles? Situations were very different. Neither of those magazines were weekly so had a luxurious amount of time to do a fraction of the work I was doing before. The Blues & Soul years were great for me creatively and in terms of meeting and speaking to my heroes, Mix Mag was a fantastic opportunity to develop skills in a more executive role. Soon Morgan Khan would take me to be Editor of “Street Scene” which was back to being weekly and ahead of it’s time as a soul/hip hop/dance/rare groove/lifestyle magazine. 30

I first saw your name on the sleeve notes of the Street Sounds Jean Carn double album compilation and Phyllis Hyman comp in the mid/late 80‘s. A little later you worked on the Roy Ayers Rare series. How did the compilation doors open for you once you got your foot in the door at Arista in the late 80’s? As Editor of Morgan Khan’s “Street Scene” magazine I was in the same building as StreetSounds and Morgan Khan asked me to do compilations for him. First was The Jones Girls, then Keni Burke, Archie Bell and ultimately The Philadelphia Story 14 LP box set, all before the CD was invented. Earlier at Blues & Soul, Caister DJ Chris Brown had done some 4 track EPs called ‘Arista Funksters’ and during a meeting with the press folks at the label one week I suggested we did some for “Street Scene” too. They hooked me up a meeting with the A&R department and the first re-issues I did for them were on Phyllis, Don Blackman, Bobby Womack and Breakwater. Richard Searling said you joined Expansion in the late 80’s a few years after it started; what was it that you brought to the table that helped make the label run alongside Richard’s experience still over 20 years later? I was very envious of the label. All through my early DJ’ing and magazine days I always wanted to work for a record label. After free-lancing at Arista and gaining some label manager experience with Ian Levine for Motorcity Records I started my own labels Risin’ Records (yes, after ‘Risin’ To The Top’) signing a Cool Notes track, and Respect Records and did a project with Rockie Robbins, but Expansion was THE label for quality independent soul. An opportunity to be part of it came when their distributors PRT closed and I came on board to handle sales and licensing. Ultimately John Anderson sold out to Richard and I, who own it through to this day. As well as compiling and releasing new material from known and unknown worldwide artists you re-release a lot of jazz funk & soul classic albums from various major labels. In this climate, how easy or difficult is it to make these cost effective as the older target audience has shrunk from the glory years when they were made, compared to the younger mass market of teenage buyers, or so we are led to believe? Quality will always sell – new artist or old artist. Re-issues are easier as they are established releases that people are constantly discovering or replacing. Newer artists are more of a challenge but Expansion is fortunate in that we have a great international reputation so audiences are already interested in what we’re putting out before they’ve even heard the music. But Richard and I both have other ventures outside of the label to allow us the luxury of not having to compromise the brand. You have acquired some elusive and exclusive gems over the years and more recently started teasing enthusiasts or connoisseur collectors with samples of the unreleased Johnny Mathis album produced by CHIC, in particular the amazing I Love My Lady. Assuming the other elite collectors, dj’s and journalists all scramble for the same promo’s, how satisfying is it still to have such gems and be of the elite to expose it as and when? Tricky question. As a DJ we all want the latest releases and exclusives but hopefully not at the expense of harming the actual releases. I was amazed to find out I had the only copy of the unissued Johnny Mathis album. Even the Chic fan club thought there must be a mistake! Often music comes along in the most unexpected way. Previously unissued projects by Ali Woodson and Evelyn Champagne King, for example, came along through being in totally unrelated situations, and of course it’s very exciting when this happens. Jean Carn relates to you as my friend Ralph Tee and I guess you’ve struck a relationship with many other icons, but who managed to overwhelm or impress you the most? Jean is lovely, I have known her since 1986 and Keni Burke, Leon Ware, and Howard Hewett are among those I feel privileged to know and call friends. Not everybody gets where I’m coming from, and for every friend I have made there is someone out there who can’t stand to hear my name and thinks I am the devil personified. It goes with the territory, but I know ‘the truth’ about who I am so have no problem sleeping at night. As as a teenager, like most of us, you embraced the jazz funk Stateside and UK, in fact I heard a rumour that you at some point played keyboards for Touchdown whose massive hit was Ease Your Mind. Is that true and if so how long were you with them and what live gigs and bills were you on?

My fanzine “Groove Weekly” was stocked by Record Shack in Soho and owner Jeff Weston was looking for both a keyboard player and drummer to replace the original members of Touchdown. ‘Ralph & Rennie’ to the rescue and with myself on keyboards and Clifford on drums, we rehearsed every week in Luton to perform a nice showcase in Hemel Hempstead. It included what was going to be the follow up single, but Jeff hated it and the band split up. Founder member Stevie V went off and had a solo hit with “Dirty Cash”. I bought the Illustrated Encyclopedia of Black Music from Foyles in Tottenham Court Road in 1982, a comprehensive read of artists from the 40’s to the early 80’s. What period does Your Who’s Who of Soul book cover and how intense was the research to finalise and put it out? I was lucky in that I was commissioned to write both my books, “Who’s Who In Soul” and “The Story Of Soul”. The Who’s Who was supposed to take two years, but three years later I was still begging the publishers for more time, having used up every evening, weekend, and Christmas Day. I had to proof read it on a plane to New York and it still had mistakes and James Hamilton at Record Mirror gave it a rotten review. The book covers the music I liked from the 60s to 1991. It is not definitive, just my knowledge up to the time it came out and of course if it was published today it would have tons more stuff from those earlier years - I found out after the event! With Southport and Caister already monopolising the weekender arena, what tempted yourself and Richard to start the Luxury Weekenders? You’ve answered your own question, lol, the ‘luxury’. Love Southport and Caister but at a certain age people like a nice four star hotel and hospitality. No walking in the freezing cold or pouring rain between one function room and another. Oh and a luxury dining experience. You recently celebrated the half century at the Jazz Cafe in Camden with a sell out Keni Burke gig, did you enjoy it and are you looking to venture promoting smaller live concerts as well as the Luxury Soul Weekenders at Brum and Blackpool? I loved it. The event summed up who I am, far happier organising and promoting behind the scenes but where you have artists the stature of Keni Burke and a scale of show with nine people on stage, it’s expensive. Everyone pulled together to make it work for my birthday and there was an element of treating myself to some bells and whistles, but I wonder if otherwise people would pay a more realistic ticket price to see these artists the way I’d like to present them, and of course hear them myself. As with everything like this, the finances are challenging but otherwise I’d love to do more in London You seemed completely humbled and overwhelmed when you won Best Record Label at the Soul Survivors Awards voted by the readers and stated, if I’m correct, that you’d not previously won an award? Being acknowledged in this game for what you do is often overlooked by many as a few always tend to get the credit because their profile is high. What plans can you reveal about the future prospects of Expansions and it’s subsidiary associations? Yes, I was shocked as it was really unexpected, but Richard and I really appreciated it. To be honest we had been voted No.1 in the Blues & Soul label poll before, but that never went as far as being a presentation and taking home an actual physical award. Personally I was also delighted to see my Jazz FM show voted the No.3 choice in your radio category. That really meant a lot to me, considering the number of people presenting quality shows every day on so many great stations these days. The only plan really is to just keep going. Apart from Jazz FM over the years, what pirate or legal stations did you work on and how did your informative knowledge and style help you to progress? Won’t this get me into trouble?? I was an original DJ on radio Invicta alongside Gilles Peterson, and then LWR (owner Johnny Haywood later became Programme Director at Jazz FM, which is how I first got to stand in for Robbie Vincent in 1996), and then Solar Radio. I think I have been lucky and feel privileged to have the Jazz FM show today. I also worked on LBC for a while doing a weekly gossip spot as part of a talk show, something that came out of doing something similar in Dunstable on Chiltern Radio with Martin Collins in the 80s. Most hilarious radio moment was for Kiss FM in Budapest (during the 90s) where I had been invited on as a guest to talk about house music in London. I knew a thing or two at the time as I had a Saturday club residency at “Heaven”, but during the interview the host had to dash off to deal with an emergency and left me on my own in the studio broadcasting for 2 hours before someone else came to relieve me. I resisted a Power Ballad Break. Thank you Fitzroy


Soul in The Caribbean - Barbados Mr & Mrs Collison

The McKoy Family

Change - Randy Muller & Keni Burke - Randy Muller Noel McKoy


Rahiem La Blanc


Keni Burke

Keni Burke & Delroy

If you send them in we’ll try and put them in. email to

Nile Rogers & Westcoast Soul Stars

Event reviews/letters Clubgrooves @ Drayton Golf Club, Abingdon, Oxfordshire The 9th of October saw Oxfordshire’s biggest Soul Night return to its sumptuous surroundings of Drayton Golf Club. It’s a fantastic venue where 300+ heads can strut their stuff to Soul and R’n’B from the 80’s through to the new millennium, in a plush location. Promoter Steve Fathers holds several of these events a year and each one is a well attended affair. It’s a musically free flowing night and one that is definitely for the party heads. The next one is December 18th and it comes highly recommended! Darrell S Port Soul 5 - October 2nd First things first - a huge congratulatory slap on the back should be given to Port Soul Promoters Gail, Teee and Clive for putting together a fantastic bash in one of the country’s most scenic venues; Port House @ Marina Keep in Port Solent. This was number 5 in this series of alldayers and was probably one of the best so far. A host of DJ’s including myself, Ginger Tony, Shay, Lin Taylor and Rob Allen, plus the promoters, kept the dance floor moving for the whole of this 11 hour extravaganza. Musically, this event caters for all types of quality Black Music and is one of the few affairs that are right on the cutting edge as far as new music is concerned. Keep your eyes peeled for number 6, which I believe will happen in June 2011 and it’s going to be MASSIVE! Darrell S SoulFusion, @ The Hockley, Birmingham, 2 October Twas my first time in the centre of Birmingham and bang in the heart of the jewellery quarter I found The Hockley. This vibrant venue is all white brick and glass. Its clientele were happy and welcoming and ready for the long haul, as this event goes on til 7am! This was SoulFusion’s First Birthday at its regular location. Two rooms, one soulful afro house and one 80s/90s soul and funk = double bubble. Of course, we were there to support the Joyous Joanna Law, who treated us to a live performance of her 90s hit “First Time Ever”, that pure voice sure don’t need a mic! The Soul Lounge was hosted by Groove on with David Powell and Javid, along with Southport Weekender’s Devon Daley and in the House Basement a lil PA by The Sunburst Band’s Pete Simpson. It is not just for local peeps – there were people there from Blackpool to London. Park with ease, there are cabs galore and a covered heated area outside. Veronica (AKA Penelope Pitstop) MedSoul 2010 Well, after noticing some Facebook adverts about Medsoul 2010, I decided to have a look! I booked and agreed with the two organisers, Rainham Dave and Viky, that I would play a few sets. We arrived in Spain after meeting another DJ at Liverpool airport. Chris Box who plays on the respectable Starpoint Radio became our guide and good friend. He knew all the regulars and put us at ease that this was going to be a fab experience. We were one of the first to arrive and the few of us that were there walked down to the beach bar where all the beach parties took place. Wow, 28C, sun, aqua blue sea and the biggest cocktails in the world! We were happily settled when the main guests arrived on the Saturday and we were soon adopted into the Medsoul family. People of all ages, sizes and backgrounds seemed to be joined by the love of Soul music. The pool party was well underway on Saturday afternoon with some of finest Philly, Modern and 70's/80's Soul I'd ever heard. The DJ's at Medsoul weren't there for the money or the fame, they were there 34

as well informed professionals. I knew as a fellow soul DJ, I had a lot to live up to. My set lasted a couple of hours and the Medsoul clan were gracing the new found dance floor which was at the side of and in the pool itself. Medsoul offered a fabulous night spot exclusively to the guests, a place called Bumpers nightclub. Reasonable drink prices, TOP quality music. 30 DJ's and happy people made this an enjoyable experience from the outset. So just to give you an overview, Beach or Pool party by day, Nightclub with live acts by night and a boat party thrown in for good measure. Sean Escoffrey was one of the guests along with Jeff Hendrick and Marilyn Ashford Brown, who all proved to be a perfect addition to a great value for money holiday. I will be returning, every year! GAVIN PEARSON. Nov 5th is fireworks night, but Avery Sunshine arrived 24 hours early, armed with her keyboard, to set Camden alight with a devastating arsenal of soul music, performed with so much fire that nobody will ever forget the first time they saw Ms. Sunshine – the new Aretha Franklin. Headliner Anthony David (Obama’s favourite singer) had his work cut out to win us back but patiently he managed it, and by the time he busked the soulful epic “Backstreets” (from new album “As Above, So Below”), he had us all breathing between rhymes. Remember Remember the 4th of Nov 2010. Outstanding. Soul Jones ‘Club Embo’ is born! After a successful run at the Embassy Suite, re-creating the scene and sounds of the 70’s and 80’s, it was time to move the Colchester Soul Scene into the 21st Century. Sky Rooms, High Street is a superb location, right at the heat of Cochester’s nightlife. We moved the event to a Saturday, so no excuses about having to get up for work - no need for chinese food either, so that meant lower ticket prices too! Our Embassy DJs still performed though - I started off with some old choons - (Cameo and Roy Ayres) to set the mood and some new choons (Cool Million and Jonathan Butler) to move it forward. Jimmi Dixon was up next with some classics (Commodores) to get the dancefloor jumping and then Liam Chaz came next with some really new stuff (Haggis Horns and Gayle Adams) which really got the crowd moving. We ended the night with a combination of anthems as we were two DJs down, so thanks to the lads for some sterling work! Club Embo is now going from strength to strength, so see you there. Andy Richards The London Jazz festival kicked off with their 3rd year of hosting Jazz voice celebrating a century of song at the Barbican and paying homage to the writers, composers, arrangers and singers from yester year. All put together by trumpeter and arranger Guy Barker with a 45 piece orchestra this was set to be a thrilling occasion the singers on the night were China Moses (Daughter of DD BridgeWater), Charlie Wood and his wife Jacqui Dankworth, the veteran Georgie Fame, and from the US jazz siren Gretchen Parlato, The Average White band leader Hamish Stewart, The Godfather of British soul Noel Mckoy and the sultry stylish Paloma Faith and the new sensation from canada 16 year old Nikki Yanofsky all put there twist on some of the worlds best compositions. The night was recorded by Radio 3 and can be listened to on iplayer.

Keni Burke @ The Jazz Cafe Saturday 9th October Playing to a full capacity crowd, Keni Burke was to perform his first concert in the UK for two decades. It was a special night in many ways as his close friend Ralph Tee was celebrating his 50th birthday. Keni started the show with "Let Somebody Love You" from his 1981 album "You're the Best", a naturally upbeat and feelgood song, which certainly put the appreciative crowd in the mood. "All Night", the classic "Hang Tight" were performed as if Keni had never been away and being part of the audience made me feel privileged to see a legendary artist whom I have listened to for many years perform live. Slowing the pace down "One Minute More", "Never Stop Loving Me" and a personal favourite "I Gotta Find a Way Back in Your Heart" showcased Keni's pure and smooth voice that’s reminiscent of Curtis Mayfield and Ronald Isley. "Paintings of Love" and the classic "Keep on Singing", from Keni's self titled first album, led to "Rising to the top", a classic anthem which had the audience singing along to every word. Keni’s finale was the classic "Love is the Answer", Keni's guitar solo was just sublime and something I will remember for a long time. Keni could have played for longer but gauged it exactly right and left us wanting just a little more, which hopefully won't be for another twenty years. June (AKA Miss Sparkle) Noel McKoy At Jazz Cafe London October 14th Noel McKoy has been a long established name on the UK soul scene and was tonight primarily promoting his new album "Brighter Day" which also co-incided with the album being released on line digitally as well. This is Noel's fifth solo album and represents his longevity and talent in the music industry. Noel has a natural ease with his audience and likes to talk and interact with them and feel part of the show. "I Gotta Feeling", "Love the Life", which had the same bassline as the Whispers "The Beat Goes On" had the crowd singing along. He reminisced with McKoy's "Fight", "Great Big Gap", and then performed Stevie Wonder's "If You Really Love Me" and in a Motown vein "Motown Babe". Performing the title from the upcoming cd "Brighter Day" Noel's voice sounded smooth and soulful on "Old Skool" and a cover of Leroy Hutson's "Lucky Fellow" followed, which was a hit for Noel too. "Jealousy" was performed from the new album too and his voice reminded me of Bobby Womack. The encore was the infamous "Family" as McKoy, comprised of real life family members, and in fact the family were back together tonight performing this song from their debut album "Full Circle". It was a totally apt title for Mr McKoy tonight with friends and family in the audience and on stage, you could certainly tell this was one "Family" that was united and standing strong together. June (AKA Miss Sparkle) GQ, Change & Randy Muller of Brass Construction Indig02 This line up’s albums individually and collectively contain an endless supply of anthemic gems, hence the great anticipation of this Ultimate Boogie Tonight concert. Rahiem Le Blanc GQ’s and prior pseudonym Rhythm Makers lead vocal and rhythm guitarist was a great start to the evening showcasing his fantastic larynx and finger licking good guitar skills. Standing Ovation, Make My Dream A Reality and Disco Nights sounded just like the vintage original Arista recordings as Rahiem rolled off those famous and distinctive rippling guitar riffs we know and love, he was a true showman. Change performed a few immortal gems like Holiday, Heaven Of My Life, Paradise, Warm, as well as the anthems Searching, Glow Of Love and Change Of Heart. However, front man Rick Brennan was majorly disappointing by mostly performing in the wrong key and used his overplayed showmanship to ad

lib through most of the songs. The lead female vocalist struggled also with unforeseen technical issues as well as forgetting the lyrics. This unfortunately was the general feeling amongst most I spoke to during and after the concert, although I must applaud the musicians and the backing vocalists who remained professional and held things together. Randy Muller, a charismatic gentleman and respected music scholar, seemed overwhelmed and humbled at the love for his artistry as he pummelled through a catalogue of What’s On Your Mind, Changing, Movin On, Party Line, Walking The Line and Music Make You Feel Like Dancing. His keyboard solos were mesmerising as they intermingled with the brass and string arrangements he composed nearly 40 years back. It was a great crowd with Keni Burke in the audience, who endured the two out of three ain’t bad scenario and stayed till late for the after party. Fitzroy Soul In The Caribbean 20th October-3rd November 2010 Having been involved in Soul In The Algarve preparations I have an idea of the amount of planning and negotiation it takes to put on such a magnanimous event, so when Myself, Viv and Jerry Bascombe descended upon the Bajan soil on 17 October, we frequented the venues and locations to make sure all was well for the 20 October arrivals. The weather was hot hot hot like Arrow, the beach picturesque, the sea aqua blue and the unified mixed crowd that travelled from as far and wide as Manchester and Liverpool, were ready to Party Hard like Donaeo and dreading going back home to cold Blighty. The locals got a taste of how we do it at Bump & Grind in Bridgetown and at the Boat Yard, an all day event with kick arse music and one of the events broadcasted live to the world on TSOL that received envious emails and responses on various social forums. Viv’s hard work and preparation was commended by many customers within the first few days and the theme nights Pirates Of The Caribbean, White Night & Halloween were dressed up and attended enthusiastically. We laughed, danced, sunbathed and drank rum punches with hours of torrential and torrid sunshine with the Atlantic/Caribbean zephyr cooling us down. The whole experience was enhanced historically, more so due to the unprecedented one day of Hurricane Tomas and the passing of Barbados’s beloved Prime Minister David Thompson. One of the memorable nights was when we had to relocate and hijack Jor’s Bar opposite the hotel and play off a lap top and computer without any mixer decks, cdj’s or seratos almost back to basics like the old school one deck gig. The catermaran boat trip was amazing with a sudden 10 minute heavy shower graced by the onslaught of hot sun giving all an instant drip dry. The music, drink, food, gorgeous sea and deep sea snorkling was definitely a highlight. On the free days there were excursions around the island and visits to Bridgetown and Ostins for the food festival extravaganza. The locals were enthralled and welcomed the UK’s soul children with open arms enjoying their native Caribbean customs. The finale night was stupendous with Jerry Bascome doing a marathon 4 hour eclectic set. The sunsets are like nothing I’d previously seen and on occasion we’d be singing in the rain like Gene Kelly followed by an incredible sunburst. Darrell's Masquerade quiz night was a great success with Marciux Patrickson miming his way through some clues. Music came courtesy of Tony Rodrigues, Darrell S, Dave VJ, Jerry Bascome, Vivy B, Da Buzzboy, Jon Jon & Mark Quinton. Tears and chaining to the bedposts were some of the emotions expressed when the Virgin and British Airways flights dawned for the return home and many booked to come back in 2011 before leaving the island. All in all the forces of nature fail to disrupt the Vibe Mistress in her mission to entertain the Soul Network family wherever she takes them. Well Done Viv and like JB, Bring It On for 2011. Fitzroy 35

What’s goin’ on?


Brand New Heavies in concert @ Indigo2

PP Arnold Live @ Pizza Express, Soho, W1 Feel Good Film Club Christmas get down! Black Dynamite movie @ Quad, Mkt Place, Derby - 8pm then AfroDigital Soul Soiree after party @ Mango Tang bar / restaurant, Bold Lane, Derby - 10pm til late with guest Dj's - DP n J (Soul Fusion - Birm), Devon Daley and Sharp EE (Adm £6.50 Movie/£3.50 Soul Soiree)

SATURDAY 4 DECEMBER Jazz FM Funky Sensation @ Upstairs at Ronnie Scott’s, 37 Frith St, W1. (See Ad)

Beyond Soul @ Black Sheep, 60 Camberwell New Rd, Camberwell, London SE5 0RS 10-late £5 B4 11 £10 after. Djs Dezzie D & guests Solar Radio & Move on Up @ The Greyhound, 151 Greyhound Lane, Streatham, SW16 5NJ 2 floors, £8 OTD 9pm-3am Saturday Soul @ Roberts Live Lounge, Vineyard St, Colchester. DJ's Barry Stockwell, Nick Gunn & guests 9-2am, Free B4 11, £5 after East Kent Soul Connection @ Jackson’s Wharf, Ramsgate. 8-1am Soul & Jazz/Funk


UK Soul Jam ft CK Gospal Choir @ Jazz Cafe, Camden, NW1 7pm-1am London Soul Cruise @ Temple Pier, London; DJ's Jamie McGreal, Luke McCarty, Mark Hobbs, Darrell S, Jamie Taylor 2-7pm Sold out!


Qdos Christmas Dinner & Dance @ Thurrock Civic Hall. £37.50 pp


Jazz FM Funky Sensation @ Upstairs at Ronnie Scott’s, 37 Frith St, W1. (See Ad) Jazz FM Funky Sensation @ Band on the Wall, Manchester (See Ad) Soulmas @ Club Embo, Sky Rooms, High St, Colchester. £5 in Adv/£10 OTD Treacle Soul @ Queens Head, Hemel Hempstead, Herts. DJ's: Marcus Bell, Dave Blow, Keith Long & Guests Stravros & Danny C Soul Network Xmas Party @ Parker McMillan, 47 Chiswell Street, 9pm - 4am. DJ's Vivy B, Tony Rodriguez, Fitzroy 'da' Buzzboy, Darrell S. Jazz Funk Soul Xmas Party @Charlie Wrights, 45 Pitfield St, London N1 10-4am £5 B4 11, £10 after. Djs Neville, Colin and Stevie Solar Radio Pre Xmas Barbi @ The White Hart Hotel, 125 Dunstable St, Ampthill, Bedfordshire £8 Adv or £10 OTD 6pm-2am


THURSDAY 16 DECEMBER Richard Ernshaw @ The Hoxton Bar, 2-4 Hoxton Square, N1 (See Ad)

MONDAY 27 DECEMBER We Love Soul @ Hidden Club, 100 Tinworth St, London SE11 5EQ. 10pm-7am (See Ad)

FRIDAY 17 DECEMBER Ultimate Boogie Christmas Party @ Indigo2. Tom Browne, Evelyn Champagne King, Sugarhill Gang and afterparty.

Nathan Watson with Funk Attack @ Pizza Express, Maidstone, Kent

SATURDAY 18 DECEMBER Jazz FM Funky Sensation @ Upstairs at Ronnie Scott’s, 37 Frith St, W1. (See Ad)

Feel Soul @ The Edge Bar & Nightclub, 82-84 Market Place, Romford, Essex. House 2 rooms from 9pm till 3am. DJs Ginger Tony, Chris Alexander, Freaky Reidy & guest DJ Greg Edwards with optional 70s fancy dress. Soul Shack Xmas Party @ Stonehorse, 128140 Bishopsgate EC2 10-3am £10 OTD DJs Ash Selector & James Anthony Clubgrooves Christmas Party @ Drayton Golf Club, Drayton nr Abingdon, Oxfordshire, 8-2am. DJ's Steve Fathers, Andy Ward, Darrell S & more. Tickets £10 (including buffet) 07921 164 782 Pure Boogie Christmas Special @ The Gallery, Silver St, Bedford. 10-3am £5 All Souled Up @ The Old Salt Quay, 163 Rotherhithe St, London SE16 5AQ. Tkts £8 adv or £10 OTD. 9pm-2am (In aid of Stepping Up)


The Surgery XMAS Bash @ East Village, 89 Great Eastern St. London EC2A 3PD Free 2-11pm Djs Dr Bob Jones & Mark Webster & guests

Just Filthy Soul @ Hobgoblin, 73 White Lion St, London N1 9PF Parkers Reunion 2 @ The Band on the Wall, Manchester. Tkts £10


Soul Purpose Xmas All Dayer @ Sketchley Grange Hotel, Hinkley Leics. LE20 3HU DJ's Jose Carretas, Mike Stephens & Andy Davies plus guests TBC and residents Mark Randle, Sam Evans & Mark Goddard.

FRIDAY 31 DECEMBER Soul Train NYE Party & Breakfast @ Ashton Court Mansion, Bristol (See Ad)

Soul Network NYE Dinner & Dance @ Agenda, 3 Mincing Court, London EC3 (See Ad) Tickets on SS weekly email

Strictly Vinyl NYE Party @ 33 Caledonian Rd, N1 (See Ad) Tickets on SS weekly email


Bluenotes, Bass & Boogie @ Mau Mau Bar, 265 Portobello Road, Notting Hill, W11, £ Free before 7.30pm, £5 after KTF Xmas Party Funk Attack @ The Pheasantry, 152-154 Kings Rd, London SW3 4UT

Swansongfour NYE Party @ The Olde Swan, 27 Windsor St, Chertsey, Surrey. (See Ad)


Something Blue Boxing Day Ding-Dong @ Russell's Wine Bar, 44 High Street, Wanstead, London. E11 2RJ. DJs Ginger Tony & Shep Kennedy spinning House & Jazz gems from 8pm till late and all with FREE ENTRY!!!

Groove Lineage NYE Party @ Hobgoblin, London N1, 8pm-4am Free B4 9pm. £5 after. Shades of Soul NYE Party @ The Pheasantry, 152-154 Kings Rd, SW3 4UT New Year's Eve Soul Party @ Roberts Live Lounge, Vineyard St, Colchester, with DJ's Barry Stockwell & Nick Gunn. Tickets £5 from Club.

The Soul Survivors Radio Shows with Fitzroy da Buzzboy Every Thursday 6-9pm

Sunday 9-11pm December 5th, 19th and 26th January 9th and 23rd

Where you can find Fitzroy Dec 11 Soul Network Xmas party Dec 18 Funk Sensation upstairs @ Ronnie Scotts Dec 27 We Love Soul @ Hidden Dec 31 Soul Network NYE Jan 1,14,21 William 1V Harrow Rd NW10 (9-2am) Jan 7,8,9 Blackpool Luxury Soul Weekender Jan 11 SUMO @ Peaches Kenton Road,Harrow Jan 15 Funk Sensation upstairs @ Ronnie Scotts Jan 29 Soul Network

For additional information go to

SATURDAY 1 JANUARY2011 Jazz FM Live @ The Roof Gardens, 99 High St Kensington, W8. (See Ad)

Soul Survivors @ William IV, Harrow Rd, NW10 9-2am with Fitzroy da Buzzboy Free entry


SUMO @ Peaches, Kenton Road, Harrow, Middlesex with guest DJ Fitzroy da Buzzboy 8-1am £5 all night.


Luxury Soul Weekender @ Hilton Hotel, North Promenade, Blackpool

SATURDAY 8 JANUARY Jazz FM Funky Sensation @ Upstairs at Ronnie Scott’s, 37 Frith St, W1. (See Ad)

Jazz FM Live @ The Roof Gardens, 99 High St Kensington, W8. (See Ad) Treacle Soul @ Queens Head, Hemel Hempstead, Herts. DJ's: Marcus Bell, Dave Blow, Keith Long & Guests. 8-late. Saturday Soul @ Roberts Live Lounge, Vineyard St, Colchester. DJ's Barry Stockwell, Nick Gunn & guests 9-2am, Free B4 11, £5 after


Soul Survivors @ William IV, Harrow Rd, NW10 9-2am with Fitzroy da Buzzboy Free entry Soul Kandi @ Jasmine Cafe Bar, 25-29 Station Rd, Urmston, Manchester, M41 9JG, 8 2am. DJ's Geoff Allman, Soul Bros, Roger William and guest Darrell S. Entry £5 OTD


Soul Survivors @ William IV, Harrow Rd, NW10 9-2am with Fitzroy da Buzzboy Free entry

Giants of Rare Groove @ Indigo2 (See Ad)


Jazz FM Funky Sensation @ Upstairs at Ronnie Scott’s, 37 Frith St, W1. (See Ad) Jazz FM Live @ The Roof Gardens, 99 High St Kensington, W8. (See Ad) Soul @ The Ship, Leigh on Sea, Essex 9-1am DJs Gary Turner & Tom Toher Jazz Funk Soul @Charlie Wrights, 45 Pitfield St, London N1 10-4am £5 B4 11, £10 after. Djs Neville, Colin and Stevie, Guest DJ Sammy J


Jazz FM Funky Sensation @ Upstairs at Ronnie Scott’s, 37 Frith St, W1. (See Ad) Jazz FM Live @ The Roof Gardens, 99 High St Kensington, W8. (See Ad) Soul Network @ Venue tba.

SATURDAY 5 FEBRUARY 30 Years of Brit Funk @ Indigo2 London (See Ad)


Modern Soul @ Prestatyn 10 Anniversary Weekender (See Ad)


Soul in the Algarve @ Alvor, Portugal. Quote Soul Survivors when making your booking!

FRIDAY 6 - 8 MAY 2011 Southport Weekender


Grown & Sexy in Antiqua (See Ad)


Egyptian Soul @ 7* Spa Resort in Sharm El Sheikh, 15+ dj's £50 deposit, 24 hr all inclusive £395 p.p + flight.

FRIDAY 25-26 FEBRUARY Teena Marie @ Indigo2 London (See Ad)


Essex Soul Weekender @ The Garden Suite, The Thurrock Hotel, Ship Lane, Purfleet, Essex, RM19 1YN



Jazz FM Funky Sensation @ Upstairs at Ronnie Scott’s, 37 Frith St, W1. (See Ad) Jazz FM Live @ The Roof Gardens, 99 High St Kensington, W8. (See Ad) Soul In The City @ The Lane Bar, 12 Osborn St, London E1 6TE 8pm-3am £10 Dj's Tony Fernandez, Chris Box plus Guests Soul Shack @ Stonehorse, 128-140 Bishopsgate EC2 10-3am £10 OTD DJs Ash Selector & James Anthony



Friday 25th & Saturday 26th February 2011




Soul In One @ Sunbury Golf Centre, 7-1am £10 OTD. 2 floors of Soul & Jazz - 100% Vinyl

Med Soul @ 4* Spa Resort, 4 Live Concerts, 15+ Dj's £50 deposit £240 p.p + Flight Quote The Soul Survivors



Groove Lineage Friday Soul @ The Hobgoblin, 73 White Lion St, Islington, London N1 9PF 9pm-2am Free Entry (Neosoul at Groove Lineage 3rd Friday

We are constantly sent events on Facebook and general email but if we are not specifically asked and we don’t like to assume that everyone wants to be included in our listings we don’t put them in. However, we would love to and all we ask is that you please forward the details requesting to be included in the FREE event or radio listings. As this information is sent out on our weekly email, please also forward changes/cancellations to us here at The Soul Survivors - We are limited for space here to put full information in but will include all info. on our website calendar. if you forward before the cut off date which is 10th January 2011. 38

Soul Radio


8-10am Barry Jameson on Solar 1-4pm Dave Brown on Solar


6-8pm Mike Howard on 7-9pm Clive Ashford Soul Show on Soul, disco, jazz funk through the decades from the 70’s onwards 7-9pm Ian Henry with Soul, Jazz Fusion & funk on 7-9pm Birdy's Menagerie on Zero Radio 7-10pm Rod Allsworth Classic Soul Show on 8-10pm Vibe Tribe Pt2 with Matt & Andy P on 9-11pm The Hot Box with Gary Turner on Soul-jazz, nu-jazz & latin beat 10pm - Midnight Insatiable Soul with Roni O’Brien on Solar Radio

9-11pm Sammy Sam with Disco, Boogie, Soul & Jazz Funk 11pm-1am Just Good Music with Dez Parkes on


8-10am Jump Start with Ginger Tony on Solar Radio. From nu-jazz & broken beats to funk & jazz classics 8-10am Sunshineman on 89.8 FM London Jazz, Funk & Soul 9-11am MK Show on with Mark, Ricky & Trevor. Soul, Funk, Rare 10am-Midday Ian Henry Soul, Jazz Fusion & funk on 10am -12pm Soulful Saturdays with Ian Dee 90.2fm Ldn. 10am-Midday The Early Bird Catching The Worm Show House FM with DJ Birdy 11am JL hosts the The Starpoint Radio UK Soul Chart on The TUESDAYS definitive soul chart for soulful groovers. 7-10pm Soul & Motown Show with Kelly 11am-1pm 6MS SESSIONS Disco, soul, DJ on or 89.1 house, funk boogie on 8-10pm The Soul Affair with Chris Beggs Midday-3pm Soul Sessions on Time 107.5fm with Chris Phillips 8-10pm The Groove Collection with John Midday-3pm Soul Expression with Akin on Douglas on 9pm-Midnight Stretch Taylor with the classy Midday-2pm Groove Control Show with side of urban on & DAB Ash Selector on Solar Radio WEDNESDAYS 2-4pm Jazz Funk Soul with Neville 2nd Sat 1-3pm Ian Henry with Soul, Jazz Fusion and of Month on Solar funk on 2-4pm Dancefloor Grooves with Jamie 8-10pm Strictly Vinyl Sessions with Carl Taylor on Dennie on the best in soul, 3-6pm Peter Young on Jazz FM. A mixture of club classics, rare groove & soulful house. old and new soul and jazz for the first 2 hours, 8pm-12am Steve O'Mahoney playing Soul, followed at 5.00pm by ‘The Soul Cellar’. Jazz & Funk 3-7pm Superior Rhythm Soul Show from 9-11pm Des Locke Soul show. New & classic Spain with Dean Freeman on soul 4-6pm Mike Howard on 10pm-Midnight Good Groove Show with Interviewing Soul Legends on the Funk phone Ruth Fisher on or Sky 0129 4-6pm JJ’s Boogie Bunker with James THURSDAYS Williams on 4-6pm Soul Connection with Mark Blee on 5-7pm The Morpheus Soul Show Soul, jazz & Funk DJ Johnny Rebel 6-9pm Soul Survivors Show with Fitzroy da 5-9pm Club Classics with Chris Brown on Buzzboy on Star 107.9/1 FM in Cambridge. Soul, Motown & Dance 6-8pm GMT Nu Soul Central with Tony Rodriguez on Solar Radio 6-8pm Soul Inspired with David Bishop on 7-9pm Ride da Rhythm with Hilary John @ Classic 60’s–80’s Soul & 89.8fm London 6-8pm Turn the Music up on Solar James Anthony. Classic ‘n’ current Soul, Jazzfunk & 8-10pm Soulpower with Shaun Gallagher Boogie on 6-9pm The Soul Testaments (1st Sat of 8-10pm Nick Gunn’s Soul Armoury on month) Gospel, dance, funk with Marcia Carr Jazz, Funk, Soul & Boogie on 10pm-Midnight Whistle & White Socks Brigade with Simon Ford on 7-10pm Craig Charles Funk & Soul Show on Midnight-2am Soul Mix Show with Alan 7-9pm Skippys Soul on Powell on Solar 10-Midnight A Touch of Soul with Devon on FRIDAYS BBC Derby 104.5fm, Notts 103.8fm, Leics. Midnight-3am GMT Radical PR on 104.9fm & Lincs. 94.9fm SUNDAYS 7-10pm Rob Goodman on Key56 12 Midnight-3am Colin Faver on Solar A soulful mix of upfront & classic house/Beats

3-6am Calvin Francis on 96.9 FM Sky Digital 0114, R’n’B, hip hop, smooth neo soul & more 9-11am Sandra C on 10am Robbie Vincent 10am-Midday Ian Henry Soul, Jazz Fusion & funk on 10-Midday The Sunday Soul Affair with Curly CJ Jazz Funk & Soul 10am-Midday Soul Intimacy with PF & Mister Dee on New Style Radio 98.7 FM West Midlands or 12-2pm The Sunday Lunchtime Affair with Paul Stenning on Solar 12-2pm Soul Syndicate with Peter P 107.5fm time fm 12-3pm The Soul Lounge with Andy H on playing soul & jazz/funk 2-4pm Bonnie DJ Soul, Funk, Boogie on Time 107.5FM 2pm-4pm Original Mastercuts on Ian "Mastercuts" Dewhirst & Alan Champ. 3-6pm The Sunday Afternoon Affair with Sly Bang 103.6fm 3-6pm Stumpi-Inspiration Show Soulful Funky House on 102.8fm Herts, Beds and Bucks. 3-6pm Soul360 with Aitch B on & DAB London 4-6pm The Soul Cellar with Al B in Bristol. 4-7pm Sunday T with Glen T. Soul ballads & rare groove classics on 4-7pm Ralph Tee on 4-6pm True Soul.CO.UK Show on Solar with Kenny Mac (1st Sunday) 7-9pm Up Klose & Personal with Brother PJ on Jazz Funk & Soul 8-10pm Jazzpower with Shaun Gallagher on 10-Midnight Mellow-a on JL’s Groove can be listened to on demand on Weekly podcasts on 24/7 webstream Soul, Jazz & Neo Soul If in Costa del Sol, check out Jeff Thomas Mon-Fri 2-5pm, Sun 9-Midday 70’s, 80’s Soul, Jazz Funk for old gits!! Podcast show on Tony Poole on TKO Gold 106 Weekends9pm 96.7 & 87.7 FM in Spain’s Costa Blanca or Marky Mark of Soul Motive with a mix of disco,funk & soulful dance grooves s/soul-motive/ The Groove with Suzy Chase podcast shows on


Friday 25th & Saturday 26th February 2011



Soul Survivors Issue 27  

Bi-monthly Soul Music pulbication full of interviews, reviews and events to go to.

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