Issue 57 Jan/Feb 2015 Edited by The Soul Survivors Magazine

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ISSUE 57 JAN-FEB 2015

TONY BLACKBURN JUNIOR LEE MURTHWAITE SPEECH OF ARRESTED DEVELOPMENT ELAINE CONSTANTINE JO HARMAN and regular features

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WHAT’S INSIDE? 2 4 12 14

MEMBERSHIP Fitzroy talks to TONY BLACKBURN DARRELL’S FUNK BOX Fitzroy’s talks to JUNIOR GISCOMBE & LEE MURTHWAITE RECORD REVIEWS BACK ISSUES Fitzroy talks to SPEECH of

Dear Fellow Soul Survivors

Happy New Year and we lcome to Issue 57 alread y! We have a real mixture of interviews for you in this issue representing all sides of the ‘soul’ music industry. Fitz to the much loved or sne roy speaks are d at Tony Blackburn wh 21 o tells us about his passion for bla ck music. Junior opens his hea 24 the lid off a potential can of worms! Speech from Arr rt and ested Development updates us 26 prior to the UK tour in Feb ruary. After Fitzroy’s controversial rev iew of the film Northern Soul, he actually got to speak to the ARRESTED DEVELOPMENT film maker herself, Elaine Constantine and last but not least he speaks to newcom 30 CROSSWORD Harman who is causing er Jo quite a stir. 32 Fitzroy talks to As with most businesses at this time of year, we hav ELAINE CONSTANTINE think about the yea e had a good r ahead and are set to ma ke some changes. We are looking for contrib 36 Fitzroy talks to utors in various formats, so if you have a bit of spare time on JO HARMAN your hands and want to contribute, please do get in touch. 40 EVENT REVIEWS Thanks to Dan Roberts for hooking us up with Tony 44 WHAT’S GOIN’ ON? Blackburn, Mike Mullis, Yolanda Th omas, Zac Peters & Adria n Gibson for Speech, Radical PR for Ela 46 SOUL RADIO ine Constantine and Ma rk Ede for setting up the Jo Harman interview. Have a great start to the year and we’ll be back aga in in March. Thank you to all those Anna (& Fitzroy) x who have contributed Th e Soul Survivors by sending in adverts, CUT OFF DATE FO reviews, photos, R articles, listings and MARCH/APRIL 2015 emails; we can’t do Monday 9 February this without you.

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Record reviews and interviews contact Fitzroy fitzroy@thesoulsurvivors.co.uk or 07956 312931 Facebook: Fitzroy Facey (Da Buzzboy)

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TONY BLACKBURN talks to Fitzroy

It may surprise some of you to know that over the nearly 9 years since we started the Soul Survivors Magazine, many people have nominated or requested an interview with Mr Sensational, I’m A Celebrity, Mr Poptastic and pioneering Dj personality Tony Blackburn. Tony shares his determination in becoming an entertainer and his long time love affair and contribution to championing black music like Malcolm X by any means necessary. Tony has his doubters and haters but he doesn't take himself too seriously as you’ll discover... Tony B is an intelligent creative person who has been a deep soul music lover for 50 years. What inspired an ambitious public school and college educated Tony Blackburn to aspire in the world of music to become a singer and a dj? I’ve loved music since I can remember;it has always been my passion. I was probably sent to pubic school to get some examinations before I tapped into the music business. I’ve enjoyed, in particular, black soul music, since I heard Jackie Wilson, The Drifters and people like that which was also the love of my father. Funnily enough there was not so much around when he was a youngster but he loved it. How did you become eligible to be part of Radio Caroline?

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I’ve actually got a diploma in business studies from Bournemouth college and whilst studying, I was a singing guitarist in a band performing at the Pavilion in the evenings. I used to send demo tapes to Decca Records and was continually being turned down as I originally wanted to be a singer. Thinking it was a good way to get into singing I saw an advertisement in the New Musical Express that Radio Caroline were looking for DJs and sent a tape off. I got a reply back asking me to audition at Caroline House on the Friday and was broadcasting by the Wednesday. I got the feeling when I posted the tape off to Eddie Cameron that my luck was in. I haven't stopped talking rubbish ever since and that was 1964.

That was the year I was born. How did you being associated with a pirate station sit with your parents? They weren’t bothered by it at all. I came from a medical family as my mother and father respectively were in the nurse and doctor profession and my aunt was a physio therapist. On the other side my family’s business was stationery (loose leaf binding) in Croydon so they always knew that I didn’t want to go into that. I guess they thought I’d get doing what I wanted out of my system but when I got the job at Radio Caroline they were thrilled about it. My father was in Poole, Dorset and couldn’t hear Radio Caroline very well so he strung up a massive mast in the garden to listen in. What were the wages like? I think it was £15 a week and in those days when I moved up to London I had a bed sit in Earls Court which was £5 a week. We were on the ship two weeks at a time and then we had a week off. When we lived on the ship there were no expenses so effectively I was making £10 a week and to be honest I wasn't bothered about the money it was more the enjoyment and that’s still the case today How did you develop that more American style of presenting as opposed to the traditional British one? Well I was the youngest on the air at the time, being 21 years old. If you listened to the BBC they were much older, so it was more like a revolution working with people of my own age group. I was also a lover of commercial American radio and in fact after 6 months of being at Radio Caroline I went to New York spending a couple of days in a hotel listening to stations and people like Dan Ingram of WABC radio who did a top 40 show. I thought we should have this in England and when Radio London came around with the high powered jingles, which I still use to this day on Pick Of The Pops on Radio 2, I thought they were fabulous and as great as the music. People don’t understand how powerful they were so when I started Pick Of The Pops I re-introduced them. They have been resung but on the original backing tracks I had on the North Sea. Jingles are a very important part of it and I loved the American style. The big L Radio London was the best station we’ve ever had in this country. Radio Caroline was alright but not as professional or have the format that Radio London had. Now everything on radio is based on Radio London’s template.

Who else were some of the pioneering djs? Kenny Everett, Simon D (the first on Radio Caroline) Dave Lee Travis, Dave Cash, and Johnny Walker came much later, and after that many of us went to the BBC when it was termed illegal. It wasn’t illegal during my period because we were broadcasting in territorial waters sailing out of the country and I still maintain we were not in Great Britain. Where were you broadcasting from? Radio Caroline, Radio London and Radio England were all three and a half miles off the coast of Frinton in Essex. Within three miles you were in Great Britain therefore under the jurisdiction of Britain but outside that three and a half mile limit we flew under the flag of Panama. It’s technical but quite interesting and although we were pirate we went out of the country with passports as though we were going to Holland but we never got there. So it must have been some secret squirrel operation to set that up and find out the legalities? Yes it was a guy called Alan Crawford and Brendan O‘Carroll who started that and we had a little boat that came out with food and new records. A guy in Frinton would contact us by two way radio to communicate and he was actually a police officer! How much black soul music were you playing? A moderate amount in the early days but when I went to Big L Radio London for two years till about 1966 I did the very first soul show in Great Britain, which was two hours of Motown and Stax early Sunday morning. There was Marvin Gaye and Diana Ross being introduced into the system. At Radio One I was amazed at the lack of black and soul music in the playlists but I used to choose the music for the breakfast show so I was quite lucky with Motown and James Brown because I thought it was great music, remembering it’s predominantly a pop station. I spoke with Greg Edwards who was working at CBS Records whilst he took over from Emperor Rosko at Radio One briefly before he joined Capital Radio in the early 1970’s. He had a lot of problems there and got hauled into the executive offices because of what he was playing on the show. He said it was really hard to break into black music on Radio One at the time.

READ THE FULL INTERVIEWS, REVIEWS AND MUCH MORE IN ISSUE 57

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JUNIOR Fitzroy talks to

Norman Giscombe, aka Junior, shares his fascinating story of soul survival. He was determined to make the music he wanted despite the restraints of individuals and collectives in the music and media industry. He has made history several times over yet we do not see much overt publicity about this, which is a testament to why Junior continues to strive forward as a pioneering universal souljah who is now part of a super group, The British Collective championing British soul music. Ahead of The Soul UK charity gig in April 2015 I spoke with the son who listened to what his Mama Used To Say Junior and Lee Leroy Murthwaite; it was an education in how you maintain dignity when the odds are against you. Born June 1957 what was it like growing up as a first generation black British youth of Jamaican ancestry in the UK and how did it form your musical mind before you became part of the group Atlantis as a teenager? As a kid growing up I listened to Radio Caroline and Luxembourg and my sister married an American airbase man, so at 6 I was going to the airbases listening to American R&B artists of the early 1960’s. My parents got a Bluespot radiogram and I remember Radio 1 was bang in the middle but having to go to the right hand side of the dial to listen to black music. You had to spend time manoeuvring to catch the sound because the signal was much weaker; it’s crazy when you think about that really. I was getting a mixture of music with reggae which was coming from Jamaica and my sister sent me, from America, my first ever single Money Won’t Change It by James Brown on King Records. Aged 10 in 1967 I got this feeling that I could be involved in music. I had no formal training, apart from play-

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ing violin for 4 years at school, which I gave up but had learnt to write music. During this time my sister Verna and my two older brothers frequented The Roaring 20’s night. Fester and Lloydy Coxson would allow me to play on the set with Dudley Thomas doing the 12-1 slot then Festus and Junior would come on after. The Roaring 20 was like an American pimp and ho’s club of the time and I’d just started secondary school aged 12-13. I was also going to Whiskey & Gogo in Soho to listen to this music. In those days a sound system didn’t play a soul record unless it was a killer, so you’d only hear the very best tunes. People like Chris Hill came along after with the Essex thing and he was more of a showman’s form of entertainment. South London was a reggae town until Bally High came along and changed things to a more acceptable level and there was also the Venue in Victoria. When I was 16-17 things started changing and Showstopper would put on gigs where I started to see 3000 mixed black, white and Chinese kids together for the first time.

I particularly liked Thom Bell who was one of the greatest writers and producers who worked with The Stylistics. I watched how he constructed songs with the 8 bar verses bridges and 16 bar chorus’s. I also liked the Beatles’ songs but realised they borrowed from the blues genre and funnily enough my uncle played percussion and worked with Mick Jagger when I was much younger. Mick and Paul came to our house to ask my mum if my uncle Carlton could join the The Rolling Stones and he said “No sis ah rubbish group dat, yuh nah go hear nuttun bout dem again, a pure rubbish as none of dem cyan play” That was my uncle’s assessment of The Rolling Stones. I remember a band, The Pyramids, with Eddy Grant who did the All Change On The Bakerloo Line and Toots And The Maytals Monkey Man. Toots was friendly with my brothers and used to rehearse at our house. Cymande used to come round as Paul the percussionist used to go out with my sister Verna before she got married so musically I was getting it as a natural progression from all angles. I would say that my most formative years in music were between 5 and 11 years of age. I was the youngest of 7 and got away with murder so by the time I was a teenager I formed a band that you mentioned and used to rehearse at Tony Fairweather’s house. The people that came out of that unit were Paul Gemil who played for Modern Romance, George Anderson who played bass for Shakatak, Cornell is part of McKoy, Anton became a jazz singer and guitarist and Steve Weeks became an important reggae writer and producer. At the time everyone was doing jazz funk which I thought was too simple as Bob James and Grover Washington were already doing it and better. I wanted to incorporate something different like the Englishness of what I’d experienced mixed with my culture so we formed a three piece band with bass, drum and guitar playing funk rock. We did our own songs because I hated covers and played primarily to reggae audiences for 30 minute sets. We’d have to walk through the audience to get to the stage and I remember the first time we played in Birmingham. We had a tune called “Who Let The Cat Out The Bag” and after our 30 minute set we walked off the stage, not one person clapped or booed. As we walked through the crowd the first person we walked past said “Man you are brave, you are a brave brave brave man”. Another man piped up and said “Bwoy that lickle music, it alright you know”. Now I’m still walking because I’m in Birmingham and don’t know what to say or know anybody. All of these men not women are hardcore reggae and giving us props. Another one said “yeah man me like dat second tune you did play”. They were not into the music but we touched them and we did that touring for three years before we got into Ronnie Scotts London. Back then George Anderson played straight bass and could slap it like Larry Graham. One night Mark King of Level 42 came to our changing room asking

George to teach him to play bass. This was about 1978-79. He learnt to play from both George and Paul Tubbs Williams but he never credits them. I wanted to learn about making music in the studio so my friend Junior Douglas was making an album on a label called Pressure Records. They wouldn't give him the money to finish an instrumental album, so he asked me to write a song to his backing track which I took home to do. My nephew is Richard Blackwood the comedian and Nadine Marshall who was very young at the time were at my house running up and down singing “Everybody Get Up And Dance” repeatedly. I liked it and wrote a song based around the lyrics and gave it to Junior who in turn gave it to Pressure Records. The record got released and was a massive number one in France. We finished off the album that never came out and Everybody Get Up And Dance then became huge in America. This is when you and Cornell McKoy went to America? Yes me and Cornell went to America and we went into Firesign Records who wanted to sign us up as this was the number one break out tune on billboard on the street from a UK kid that no one knew called Norman Washington Giscombe Junior. Roger Ames from the UK’s London Records flew out to America, found me and asked me to sign and do what I want but he wants Bob Carter involved who worked with jazz funk unit Linx. Roger wanted to take the tune from Fireside records but I wanted to record something different. I must say Get Up And Dance is a wicked tune sir. Thank you. I wanted to do something else and Get Up And Dance was just to prove I could do that kind of music. But what I really wanted was the funk, a mixture of reggae, R&B and raw British rock music and now I was given the chance to do what I wanted. I wrote two songs Mama Used To Say and In Words that I cut with Bob Carter. Bob made the arrangements, some of which I didn't like, but now I was working with an accomplished arranger who taught me plenty. He asked me to allow him to put out Mama Used To Say and show me how people can follow like sheep in the industry, which no one had ever said to me before. I had stopped reading newspapers from an early age so I had no idea of what peoples’ perception was. The original of Mama Used To Say was cut at Good Earth a rock studio in the UK and was very rock orientated. I wanted an unperfected English edge because to me American music was too perfect. Roger whose white said that the mix is too white and wanted to send it to Tee Scott in America who was the hottest thing on this new remixing trend and works with DJ Frankie Crocker. When the mix came back my whole body went cold. I was jumping up and down dancing and saying this is the sound we gotta do. Tee Scott doesn’t know what he did to me that day; it was what I wanted rock, funk, guitar and old school keyboards all in the right places so it had a distinctive British edge.

READ THE FULL INTERVIEWS, REVIEWS AND MUCH MORE IN ISSUE 57

Lee, this evening of UK Soul is aimed at helping the young homeless; will they be involved in the organisation of the event? Yes and the whole purpose is to showcase UK talent. I’ve been a UK fan of black music with artists like Loose Ends and Omar all my life. I’ve been listening to Electro, the funk thing and that all came from my dad who was a mod and his choice of music is what stuck with me, so my history is written right back to the 50’s and 60‘s. I’ve been a Loose Ends fan since In The Sky and I’ve never shook Carl McIntosh’s hand but I’m gonna do it one day. I wanted to do something with the UK as a starring piece and not a feature, like we often see with someone like USA act SOS Band. This does quite wind me up in this country that we’ve got our artists featured with the Americans, who just take the money and go away. My partner Sadie Odeogberin works at Centrepoint so I had this idea and went to the Centrepoint’s chief executive to do this as a vehicle and link to a charity, to our music and to use the people from that charity to have an opportunity to be on stage up there with the artists. We’ve got a lot of talent that have come through their programs like a guy called Trezor who was in a shelter from West London. He comes from Nigeria and had an

LEE ‘LEEROY’ MURTHWAITE

awful upbringing, lived on the street and once he got into Centrepoint, Prince William visited the shelter and saw him singing. 2 years later Trezor is signed by Roundhouse Records so there is a success story. This is gonna be more like a mix tape concept and the only breaks in the performance is for the Centrepoint acts to either rap, do readings, vocals or acoustic pieces. In regards to the design of the stage I’ve asked the chief executive of Centrepoint to get his young staff that have come through the program to get involved designing T shirts and to apply their other talents and the actual design of the stage is coming through some street artists from Centrepoint. Although our male and female stars are on stage it will be underpinned by the Centrepoint organisation who are backing it. We are going to have talent scouts to pick up on the talent and I’ve been driven to do this. All the people involved are not established but are good at what they do in terms of them being a photographer, web designer or doing the promotions but who have not previously been able to make a full time living. So here’s an opportunity to bring their talents to match what Centrepoint is about with our music brand; it’s a London UK thing hence the name SO - UK. I like the sound of that Lee.

http://www.so-uk.co

http://www.centrepointroom.org.uk

Record reviews

Keeping it simple this pinch punch first Soul Survivors of 2015 issue for the January and February months, features some Japanese funk, two varied Brazilian compositions, a classic Jazz Funk anthem collection and a version excursion single. A unique collectors box set, two classic jazz fused albums re issues and an annual triple cd comp. Happy New Year as you browse through after the festive cheer!!

Osaka Monaurail - Performs Riptide (Kudos) From the far east here is an unleashed beast of a funk soul album from Japanese finest Osaka Monaurail. Full of noticeable influences, the band are not ashamed of highlighting their adulation for the soul and funk fathers that came before them. They demonstrate this with instrumental and vocal cuts like The Drunk, She’s A Riptide, Fruit Basket, Solar Eclipse very much in the JB’s mode. The Horse is an instrumental ode to Willie Mitchell’s Soul Serenade and Calinga with its Roy Ayers vibe connotations sit well from the Blaxploitation soundtrack library. Liberty is a social commentary song with some real 70’s throwback melodies featuring the vocal of front man Ryo Nakata. To finish check out the instrumental Ball Of Fire which, like others on the album, showcase the fusion of these Jap jazz funkers delivered like their native Karate chop!!

Joyce Moreno - Raiz (Far Out) Celebrating half a century as one of Brazil’s vocal linguistics is Joyce with an album full of latin, samba and south American soul. Joyce is respected in her artistry like Flora Purim for her tones and ease in riding a Brazilian rhyme and this is evident listening to Copacabana, Meu Piao and the hip swiveling Tamba. Despite not speaking the South American tongue voices like Joyce totally seduce me whilst listening to the sultry Desafinado and a deceptive O Morro Nao Tem Vez which starts off like an old fashioned push and pull train into a high speed express train. Varied in tempo, other stand out cuts include Ceu E Mar and a quite haunting Canto De Yansan. It’s easy listening and worthy of having to acknowledge some Brazilian wonderment from Joyce.

Street Sounds Presents Jazz Funk Classics 1 (Universal) This triple CD is easy as the Jackson’s ABC 123 to review. It’s a definitive selection of some of 30 staple classics you’ll hear at the average old school revival night from some of the most celebrated and respected artists. Hand picked by Morgan Khan wrap your ears around some predominantly vocal led Donald Byrd, George Duke, Lonnie Liston Smith, Ned Doheny, Ronnie Laws cuts, plus a 7 minutes 43 seconds extended mix of Deodato’s Whistle Bump on CD 1. CD 2‘s more instrumental choice hosts MFSB, Mass Production, Webster Lewis and Al Di Meola. CD3 is more of a mish mash with Wilton Felder and Bobby Womack, The Blackbyrds, Roy Ayers, Kleeer and a twist on George Benson’s Breezing featuring Al Jarreau. This will become an essential DJ and listeners saviour for those who no longer have turntables.

Steve Salvari - Golden Lady I do not often review singles as often there is only so much you can write about...but ex Central Line sings Stevie Wonders’s Inner Visions classic Golden Lady reminiscently in a Louie Armstrong ‘Satchmo’ style on a hip hop jazz groove..Go figure!! Insanely mad as that concoction sounds it works brilliantly. I was pleasantly surprised with Steve’s soft and graveled vocals riding a Ronnie Jordan So What kinda groove. The muted trumpet, melodic background vocals and trickling keyboards really make this a delightful recording and a pleasure to have in the armory. Can we have more of this please.....? Out end of January 2015.

Holland Dozier Holland - Rare & Unreleased 7 Inch Collection Here is a special edition box set of previously rare, acetate and unreleased 7 inch collections from Holland Dozier Holland’s Invictus, Hot Wax and Music Merchant label championed by Harmless Records. This features artists like Chairman Of The Board’s Where There Is Faith There Is Hope, Eloise Laws’ ballad Don’t Burn The Bridge and a previously unreleased version of Honey Cones If I Can’t Fly. There are 10 double sided singles packaged with hardback sleeves in the true cinematic analogue sound. In addition check out three 7’s with extended vocal remixes and instrumental versions courtesy of remixing knight of the sound table Tom Moulton. Out of those including two Chairman Of The Board classics, I’m elated to have and treasure the JVC Force Strong Island’s hip hop classic sample Freda Payne’s band of gold plated monster Unhooked Generation. Celebrating 45 years this box set is a must!! www.thesoulsurvivors.co.uk 18

Pancada Motor Manifesto Da Festa (Far Out) Produced by Mad Professor, Dr Das and DJ Tudo, recorded and edited in some of the various everyday and social habitats within the Sao Paulo vicinity of Brazil. It embraces the cultural and ethnic sounds of Africa, the Middle East and Jamaica mixing Afro esoteric rhythms and chants with some dubwise rhythms full of culture. With some nice metallic hip hop and drum and bass beats and Afro horns on occasion it is an acquired taste of experimentation. Highlighted tracks include E Hoje, Traveller with it trumpet solo, Minha Querida Maezinha, Nico’s Dream, Jaco’s Comb and the abstract trombone and afro reggae fuelled Party’s Jam. A musical tale of the unexpected!!

Luxury Soul 2015 - Various Artists (Expansion) The Luxury Soul 2015 comp is out and about like Mr Beadle with 35 tracks on 3 CD’s. Always eclectic check out the multitude of sounds from Calvin Richardson, Shirley Jones, Glen Goldsmith, Incognito, Tom Glide and Jarrod Lawson. I was sent a sneak preview of five tracks before the final listing was published so first up is a version of Mystic Merlins’ jazz soul classic Just Can’t Give You Up with Sagittarian Noel McKoy twisting up the lead vocals unlike the original and breathing some new life into a DJ Spen production. Next up Shirley Jones with a Man At Peace With Woman meets That’s The Way Love Goes semblance on a well suited Because You Love Me and Chris Balling gets romantic on Games We Play. More uptempo structure chords come courtesy of Solutions with a very inspired and uplifting Philly Line amiably supported by Soul Talks funky and soulful You. Glen Goldsmith is destined to appeal to the midtempo modern soul fraternity with Don’t Delay, as is Calvin Richardson with his smooth and seductive Home In A Minute. There is definitely a sense that the more live recordings are making an impact ahead of 2015 music with cuts like Ed Motta Dondi a timeless piece of retro jazzy soul similar to Jarrod Lawson’s stylish Think About Why. Further examples of this slightly mellower grooves come in the guise of Guida De Palma feat Incognito’s Bluey’s Abraco Da Bossa and Butch & Rhonda Coleman, Here I Go Again. Sounding pristine for 2015 check this out during your January sales!!

Noel Pointer - Feel It (Soulmusic.com) I’m slipping this one in for the posterity to acknowledge a unique talent who passed 20 years ago. Noel Pointer, above and beyond Michael White for me personally, was one of the unique and pioneering violinists who made the orchestral manoeuvre in making the electric violin sound so right in a disco and jazz funk track. Released in 2012 as a cd this album features the talents of The Jones Girls, Richard Tee, Patrice Rushen, the late Gwen Guthrie and Jon Lucien. My matrix track is an instrumental Captain Jarvis which is followed by a melodious and bumping bass line from Will Lee titled Feel It. Noel has quite an exceptional tenor meets falsetto vocal quality as heard on There’s A Feeling. I love the running order of this 5 track album especially when For You (A Disco Concerto) kicks in as its a sublime piece of jazz disco soul. Awesome!!

Sarah Vaughan - A Time Into My Life (Boplicity Records) One of the most celebrated jazz vocalists with a river deep mountain high voice Sarah Vaughan with a few musical greats Joe Pass and George Bohannon covers classics from different opposing genres. Sarah’s voice alone at this point with 30 years experience as an accomplished jazz exponent is unbelievably soulful maturing like fine wine in the vintage year of 1971. She covers John Lennon’s Imagine, Brian Auger’s On Thinking It Over and totally transforms Marvin Gaye’s Inner City Blues as one of the best covers I possess. Her swing jazz interpretation of Sweet Ginger Bread Man is surprisingly infectious and even Bob Dylan’s If Not For You doesn’t escape a funked up makeover. Sounding like it would make a good hip hop sample Magical Connection is a deceptive but intriguing lil dance number that Sarah slithers on with snake like proportions. From the class of 1971 check out Sarah Vaughan singing just brilliantly and just for fun.

Reintroduction of Mumu Fresh - Maimouna Youssef aka Mumu Fresh Barry King, an undisputed music talent scout, introduced me to a young nubian talent Mumu Fresh; a dancing rapping, spoken, word singer songwriter and lyricist who cross pollinates her artistry. Comprised like a mix tape this is a mental, spiritual, social, racial and economical collage of Maimouna Youssef ’s thoughts as a proud African descent alpha female. With skits and accolades many songs like Tell My Story, I Choose You, Get Your Mind Right and Stardust, evoke the torture we got through as humans everyday but with eloquent poetic license. Using funk, soul and hip hop templates some of Mumu’s poignant messages shine brightly like on her hair raising flipped scripted take of Pharell’s Happy called Nappy. The often ignored history of a new love interest in Who Do You Believe In and the metaphoric semblance of expressing our tortures is painted via the memory of 1980’s art expressionist Jean Michael Basquiat in Basquiat The Concrete. Mind blowing like Smooth for the intelligent ones!

D’Angelo - Black Messiah (RCA) 20 years after his debut in 1995 and a 14 year hiatus since Voodoo, D'Angelo returns with his along awaited album featuring the contributions of Questlove, Q Tip and Pino Palladino. The Black Messiah's 3rd coming is a plethora of rock and soul, funk, jazz, boogie woogie, rhythm and blues psychedelia. Memories of Prince, early Funkadelic, Zapp, Outkast, P Funk's horny horn players and southern gospel roots are evoked upon listening. It's also laced with topical social commentary highlighted with a Farrakhan speech intro on 1000 Deaths and exerts of Lords Prayer within Prayer. The funkiest bomb is Daddy's Place and elements of traditional D’Angelo within Back To The Future part one. Both are very much reminiscent of his previous trademarked layered vocal arrangements, which are sometimes on certain tracks, phased in a little too deep in the final mix. His voice is still as captivating although some may be disillusioned with some of this clearly experimental left of the right progression D'Angelo has chosen.

Sarah Weller - Stormy Sarah Weller and her jazz quintet bring a freshness to the be bop, bossa and jazz fusion audience like her idol Janet Lawson 34 years back. Vocally she is faultless and on point riding various tempo’s and rhythms with her synergy band of players. Inspired upon hearing Flora Purim’s version Sarah tackles an improvised rendition of Stormy. There’s plenty of instrumental showcasing halfway through Bobby Hutchinson’s Little Bee’s Poem and some cross pollination between the acoustic guitar, drummer and hammond organist on Slow Hot Wind. I’m quite partial to the funky Jeff Lorber style fusion of Sugar showcasing Sarah’s vocal interpretation and variety. It’s an easy listening and foot shuffling album with 10 tracks sounding very crystalized in production which you can like one of the song titles surely Love Dance to. Look out for Sarah’s live session at Ronnie Scotts 2nd & 3rd of March 2015.

SEND IN YOUR REVIEWS OR TRACKS FOR REVIEW TO: fitzroy@thesoulsurvivors.co.uk

The Soul Survivors PO Box 377, West Malling, Kent ME6 9DQ 07956 312931 (Send in early....we only have so much space!!!)

To be released 2nd March 2015

CD will be available from: www.cdbaby.com www.sarahweller.com

Back Issues

If you have missed out on any of these interviews, we have a selection of back issues here waiting for you! Issue 2

Issue 9 Leroy Burgess Joy Denalane

Issue 16 Gwen Dickey Tommy Stewart Tribute to Froggy

Issue 23 Smokey Robinson Larry Graham Mint Condition Angela Johnson

Issue 3

Issue 10 Jean Carne April Hill Omar pt2

Issue 17 Larry Blackmon Barbara Roy

Issue 24 Shaun Escoffery N’Dambi Greg Wilson Rob Hardt

Issue 4 Tributes to James Brown

Issue 11 Dez Parkes Will Downing

Issue 25 Nile Rodgers Philip Bailey Keni Burke

Issue 5 Jocelyn Brown

Issue 12 Chris Hill Jeffrey Daniel

Issue 18 Bluey Leon Ware Lenny Williams Hi St Soul Eric Benet Issue 19 Mica Paris Noel McKoy Erik Rico

Issue 26 Randy Muller Leroy Hutson Gordon Mac

Issue 6 Tashan Beggar & Co

Issue 13 Melba Moore George Power

Issue 20 Thelma Houston Eric Roberson Paul ‘Trouble’ Anderson

Issue 27 Michael Henderson Teena Marie pt2 Richard Searling Ralph Tee

Issue 21 Teena Marie Chaka Khan Steve Arrington Maxwell John Morales

Issue 28 Tributes to Teena Marie Gary Dennis Conya Doss Heston

Issue 7 Dr Bob Jones

Issue 14 Frankie Beverly Ronald Khalis Bell Amp Fiddler

Issue 8 Omar MBE

Issue 15 Brand New Heavies Colin Curtis John Legend

Issue 22 Mary Davis Teddy Riley Chauncey Black Freddie Lee

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Tribute to Dick Griffey

Issue 29 Eddie Amoo Alex Lowes Les Spaine

Back issues all available at £1.50 each or full set available (excl 1) with annual membership for £75 Issue 30 Patrice Rushen Morgan Khan Adriana Evans

Issue 37 Wayne Henderson Mario Bondi Greg Edwards pt2

Issue 31 Charlie Wilson Rahsaan Patterson Harvey Mason Kindred

Issue 38 Issue 45 Gwen McCrae Lonnie Liston Peter Robinson ONLYSmith S R E David Nathan MEMB Lester Batchelor Sy Smith of Atmosfear Tribute to Whitney

Issue 32 Robbie Vincent Y L ON Beverley Knight S ER MBE MB ME Louie Vega Issue 33 Shalamar Eric Roberson George Duke Josh Milan Issue 34 Bob James NLYThe Impressions O Al McKay ERS MB ME

Issue 39 Tom Moulton Al Hudson & Dave Roberson Ashanti Munir

Issue 44 Bobby Womack Floyd Miller Kenny Bobien Richard Searling

Issue 46 Phil Thomas Fonda Rae Martha High Bluey

Issue 40 Gamble & Huff NLYJames of Ju Taun O ERS MB ME

Issue 47 Trevor Nelson Sugarhill Gang Rose Royce

Issue 41 Caron Wheeler Omar MBE Rob Hardt

Issue 48 The McKoys Don-E Steve Arrington pt2 Personal Life

Issue 35 Greg Edwards Mark de Clive-Lowe ColinCurtis pt2

Issue 42 Issue 49 Howard Johnson Anane LY Mic Murphy ON Josh Milan S Larry Graham Gene Perez BER Ollie Rosenblatt MEM

Issue 36 Brenda Russell Pattie Austin Neil Rushton Joyce Sims Syleena Johnson

Issue 43 Bill Curtis Sharon Bryant Anthony David

Issue 51 Roy Ayers Linda Clifford Ralph Johnson Natasha Watts Gregory Porter

Issue 52 Norman Connors Michael Henderson Lisa Stansfield Eric Roberson

Issue 53 Chaka Khan Archie Bell Robert Cray Bashiyra Sandra St Victor Alex Lowes Issue 54 Eddie Levert Norman Jay MBE Vladimir Cetkar

Issue 55 Marlon McClain Wayne Henderson Angela Johnson Shaun Escoffery Eric Roberson Issue 56 Candi Staton Alicia Myers Mica Paris Vivy B Bob Jeffries

Issue 50 Leee John Andrew Roachford Carleen Anderson Fred Wesley D VJ & L Wesker

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SPEECH

The front man of a pioneering singing, dancing, rapping and socially conscious performing outfit Arrested Development, Speech is making a return to the UK after a long hiatus in February 2015. From his deep southern American roots, Milwaukee, famed for the 1950’s cult rock & roll sit com Happy Days, Speech grew up experiencing life with open eyes and being very conscious of his cultures’ importance in how it was depicted and portrayed in a less than sometime positive way. The band Arrested Development became household names universally and have been through some team changes but with a “United Front” has made some incredible and digestible musical platters for over 20 years, embraced by many ‘Everyday People" who subscribed to their musical "Revolution". What musically and politically influenced you growing up before you and DJ Headline formed a gangsta rap outfit The Disciples Of Lyrical Rebellion upon meeting at the Arts Institute Of Atlanta and ultimately disowning that persona to form Arrested Development? There's so many influences as a very young boy, from the Jackson 5 to KISS and Queen. I listened to a lot of rock music because I was raised (in the late sixties and early seventies) in a middle class suburb, where all my friends were white kids. In my teen years my dad started running a disco. In those years I fell in love with soul and funk music. Groups like: ConFunkshun, Lakeside, Commodores, Earth Wind & Fire, and Raydio to name a few. At the time of college and Disciples of a Lyrical Rebellion, we were deeply influenced by Public Enemy. Apart from the obvious formula of combining spiritual, Africanism, soul, jazz, hip hop, R&B and a musically connecting line with the ancestors, why the name Arrested

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Development? Headliner and I were in an age of expansion, we were learning about Farrakhan, Huey Newton, Malcolm X, the Move organisation but also African kingdoms like Kush & Meroe and powerful African nomads like the Moor's. All this knowledge made us want to expand what black is. Who we are. We went from seeing us as monolithic to seeing us as panoptic! Egypt and Ethiopia had the most influence on today's philosophy through the fact that ancient Greek scholars all studied under us in NorthEast Africa! Fast forward to the early nineties and blacks were being relegated to thugs, absentee parents, drug dealers, gang bangers, school dropouts, pimps and such, it was a clear case of ARRESTED DEVELOPMENT. That stunted progress became the only thing we wanted to bring attention to. How did you meet and recruit Dionne Farris and dancer’s Aerle Taree and Montsho Eshe, percussionist Rasa Don and the spiritual Baba Oje, the latter you met as stu-

dents at the University of Wisconsin Milwaukee and how important were their individual roles within the group? The nineties was the age of concept groups again. When hiphop first started out on records, rappers dressed in costume like: Africa Bambaataa and the Soul Sonic force, Run-DMC or later on The Jungle Brothers, A Tribe called Quest or even Public Enemy, they all had a image and a conceptual slant. I wanted that too. I wanted us to be about more than just rhyming. I knew we had to connect it back to our origin. To our glory days of intellect, spirituality and worldview. Meeting each member was part of that journey. Dionne Farris was engaged to Rasa Don, I met them both at a show Arrested Development was doing. Ras had the longest dreads I had seen up to that point, I really wanted him simply for the image of strength and culture. I didn't know he actually had crazy talent as a painter, drummer, dancer and chant artist.

Dionne was introduced to me by Bart Phillips, who now produces the Soul Train music awards. So, Dionne and Ras sorta came as a package deal. Aerle was like a cousin to me, our parents were tight with each other. Eshe was brought to us by Ian Burke, one of the most important connectors in Atlanta. He founded TLC and Xscape also. In fact, Headliner was dating the original "C" of TLC before Chili got in the group. Baba Oje was the final connection I wanted to bring the group to the proper visuals. Baba was a banker, but he was well-travelled in Africa and studied under the Ausar - Auset society. So, at many AD shows we'd have the queen of Ausar come backstage to hang with us, it was powerful. I see and hear influences of De La Soul and Sly And The Family Stone musically and in that kind of hippy flower powered multicultural and universal message vein. I can imagine, as an act, a record label would not know how to market you.The first album was named after how long it took to get a record deal, so what did it take to convince Chrysalis Records to take a risk on the group? The label really liked our song, Mr. Wendal. They really weren't big on album deals with rap groups at that time, it was a single driven market and they didn't wanna miss out on that rap money other labels like Profile and Def Jam were making. We didn't get an album deal until months later, and we were about to get dropped by the label until they saw the music video for Tennessee which was the very last song written for that album. At what point did you notice the gap to implement the balanced interchange between rapping, spoken word and singing as it clearly became a successful formula for you and the group’s future success? The rapping and singing mix started with "Raining Revolution". I initially wrote it as a

rap, but the meaning of the words didn't reach their full potential until I melodically sang it. Then it became emotional. After that song, I tried it again with Tennessee and then it stuck as a permanent part of our sound. Tennessee was a huge tune and a favourite at my regular Jazz Cafe residencies. How, as I’ve read, was this inspired by the death of your brother and grandmother? Tennessee was the very last place my brother and grandmother were together. My grandma was extremely important to my development and when she died, my family went to her funeral in Tennessee. My brother died of a unexpected asthma attack that same week and it was overwhelming. We (AD) had finished the 3 years album, but I insisted that I write a song dedicated to them and that it be the first single. That song will forever be my favourite, because of who inspired it, and it being our first contribution to the music world.

I liked the use of Steely Dans’s Peg and Earth Wind & Fires Sunshine on Natural, both very narrative about African American issues on the first album. Natural was hard to write because I knew I wanted to do a song about our natural beauty, but how to fit it into three 16 bar verses is tough. How to write any song about the politics of our beauty, the pain of accepting it, the scars from rejecting it, the pride when we embrace it, it's a very deep subject. To put all of that into a

short song was a task, the strings and subtle groove do more justice to the cause than my lyrics do, nonetheless, I feel I did my best. People Everyday was inspired, in part, lyrically by Sly Stones’ Everyday People which went top ten with a memorable video. It’s seems to have been embraced universally with its poignant lyrics, more so after the Metamorphosis mix sampling Bob James’s Tappan Zee. Was there any apprehension on your or the records company’s part in releasing such an emotive subject? Not at all. In fact, the record company's A&R, Lindsey Williams, insisted on that song as our second single. He believed the chorus would do well at radio. I hadn't made the metamorphosis mix yet though, I felt deeply that with the success of Tennessee and my melodic rap style, we should continue that. So I did the remix that would prove to be a wise choice! The subject matter, even today, is met with some mixed reactions. Many blacks still aren't comfortable calling out our flaws in public, because whites historically have magnified them so much. We confuse our need for unity with the need to carte blanche accept all of our behaviours (even if negative). I'm of the belief that we must call out negative behaviours, because we are the controllers of our own destiny. I'm in favor of correcting and even rebuking the things that hold us back. That's really what the song addresses. And of course, it rests with the fact that a man can only take but so much before he has to get violent. How thrilled were you and the group in winning The Rolling Stones band of the year and Grammys for Best Rap album by a duo or group and best new artist awards? All of that was part of a roller coaster ride that was a blur at the time, (as we were getting so many accolades at once) it's very humbling now though.

READ THE FULL INTERVIEWS, REVIEWS AND MUCH MORE IN ISSUE 57

WORD UP 6! Answers will be placed on the Soul Survivor’s Facebook page next month.

by Soul Survivor David Moran

Across 1 The Dramatics use these to go by (5,2,4,4) 7 Get Ur Freak On Missy! (6) 8 Couple seeking Intruders sang we'll be this (6) 10 Gladys' lover couldn't last all day (4-4) 13 AWB smash: “Queen _ _ _ _ Soul” (2,2) 15 MFSB orchestrated “Love _ _ The Message” (2) 16 Ambient Jazz giant Christophe sounds like he's leaving (4) 18 A melancholy yet cute sleeper smash from these British soulsters (3,5,7) 21 Tear it off the sucker! (4) 23 Stevie classic (2) 24 Joyce Sims' wish: “Come _ _ _ _ My Life” (4) 26 This loving Minnie invited us to adventures in paradise (8) 28 Cheryl Lynn wanted to give one of these as the love was so good! (6) 29 Don't do this to Wigan favourite Joanne Sommers (4,2) 30 S-Tone Inc had a sort of colour that was Miles inspired (4,4,2,5)

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Down 1 C:Real's insomnia problems (9,6) 2 Lamont Dozier has no more tears left (3,5,3) 3 Isleys' roaring hit (5) 4 Roberta and Donny subscribing to Carole King's mutual statement of fellowship perhaps (5,3,1,6) 5/17 Edwin Starr's contact was this (3,2,3) 6 Click ones's digits perhaps in the 60's for gospel Joe Henderson (4,4,7) 9 This Foxx-y lady was walking a tightrope (4) 11 Mr Monk, supreme jazz drummer initially (1,1) 12 Where these Detroit jewels want you to feel the need (2,2) 14 This is how a song was given by Keni Burke and his Stairsteps (4,2,2,3) 17 See 5 19 Hostile sounding group wonders why we can't be friends (3) 20 Chess giant Billy Stewart sang “_ _ _ _ What You Sow” (4) 22 These players were riding a Rollercoaster (4) 23 Artists & repertoire for short (1&1) 25 Roger Troutman wanted more bounce to this (5) 27 Rakim's influential DJ/MC combo buddy (4,1)

It’s no secret that I have a Marmite view when it comes to the subject and genre of Northern Soul so this, pending Lancashire vs London meeting, supposed to be an interesting end of year fixture. In the last issue I noted some fundamental unanswered questions after watching Elaine's film which documented the music phenomenon. My review was deemed controversial by some and accurate by others but it gave me an opportunity to give renowned photographer, and now film director Elaine Constantine, her say in the surroundings of her home, sitting in front of the luxurious settings of a log fire..a very first for me. Elaine is a passionate and creative Northern Soul diehard who has a dedication I can only admire and respect in pursuing an expensive labour of love in making this film. I think it’s fair to say that between us, against all odds on favourites, we have narrowed the gap of the north and south divide as we discovered that the prejudices, discrimination and nepotism elements that exist within our individual and collective music genres are rife. It ended up being a satisfactory one all score draw so read the match report....

ELAINE CONSTANTINE TALKS TO FITZROY

You were born in 1965 in Bury Lancashire, so what was it like growing up as a teenager and how did you come across the whole Northern Soul thing? As a kid it was always Top Of The Pops and the kind of chart music that everyone expects to hear and buy. I came from a big Catholic family who were immigrants from Ireland and as kids we were out all the time. At the youth club everyone would be dancing quite rigidly with side to side steps looking self conscious. I’d heard of Motown and this Diana Ross stuff and liked it as my sister was playing it in her bedroom which gave me an idea of what soul was. It must have resinated with me because when I went to secondary school I went to this massive town hall youth club with my cousins where every secondary school would descend upon. Every Thursday night with 3000 kids attending I remember going through the motions and then this record came on which cleared the floor. I didn’t know what it was but the songs sounded echoey and exotic and it had this deep melancholy and underline but euphoric feeling, although I couldn’t articulate that back then. I thought fucking hell what’s this as it 32 www.thesoulsurvivors.co.uk

was different from what I’d heard in the charts and then these cool and older lads just came out and started dancing, spinning fast and doing these high kicks. My brother, who was six years older than me, had got into Bruce Lee’s Enter The Dragon and he’d constantly be putting his foot in my face imitating the moves and these lads were doing similar things but more athletic and leaping into the air doing split kicks. At the time high waist trousers were in fashion and every one was skinny as fuck; it was an amazing spectacle. I noticed a few girls came and danced too and I asked my cousin what this music was. She told me it was Northern Soul which I’d heard of and for the next 6 months I learned how to dance and then within a year I was doing kicks, backdrops and everything. It was my release because I was doing shit at school and in the dunce class. I couldn't work out why I was thick but I’d go to a youth club in Littleborough that played Motown all night and simultaneously The Who’s Quadraphinia thing started. Suddenly it made sense as we were into Motown and soul and the fashion led us to dress like mods.

So this was around 1979? Yes my youth club was around 1976 and by the time Quadrophinia came out we had an identity and got scooters which drove my parents mad. At 16 I attended all nighters and discovered amphetamines because that’s what you do as a working class kid like getting drunk on cider. At these all nighters everyone dressed sharp, drank soft drinks but took half or a quarter gram of whizz, which kept us dancing all night. You’d come out of the club at 8am feeling great but it would catch you up during the week - and that was our culture. So when did you go to Wigan? I didn’t as I was way too young so when my youth club turned my head, Wigan was at it’s most raging stage with thousands of kids travelling from around the country on coaches and when Fran Franklin was coming from Scotland. It wasn’t just a northern thing as my best friend Jill whom I met at 18 in Leighton Buzzard came from London and I met my husband Marco at a 100 Club all nighter in Oxford Street. I’ve been all over the country from Scotland to Suffolk listening to this music that came from the 1960’s era where the hang over generation from the mods attended the all nighters in Soho London. This eventually spread around the country so in the eye of the storm - Northern Soul’s most popular period 1969 to 1974. It took a stronghold in Lancashire because one or two promoters found big unlicensed venues that were really cheap. The venues would serve alcohol from say 8pm till 12 midnight, probably full of rockers, and then the promoters would take over needing no license because everyone was off their face on whizz. When I read your review referring to the denial of the origin of Northern Soul, there was no denial but the confusion happened during the mid 1970’s when some fuckers thought there was loads of money to be made. Certain shady promoters were only in it for the money and they put a white band together to make a record that sounded like an American black band and called them Wigan Ovation. Listening to Wigan Ovation sounded less credible against the authentic Salvadors and Marvin Gaye’s tracks of that genre. They made it on Top Of The Pops but didn’t go anywhere because the diehards were into the real stuff. I know why it’s called Northern Soul and that sound was coming out of the north of America Detroit but the whole phenomenon was based on the north of the UK. I’ve had quite a few people contact me because of the review I wrote and one guy Wayne who’s 53 actually went to Wigan and admitted that he questioned at the time the lack of black kids in the venue, considering black music was being played. He used to play cricket and was one of two caucasians in the team, as opposed to the remaining 9 who were black. Now the two things that kids were into were sport and music so in his mind it didn’t quite compute. In black working class communities like Birmingham would they not have had their own thing going on?

I think that this is a worship to black music and the black kids that came were the ones who hung with white kids as they were geographically placed in a predominately white area, as was Fran. I personally haven’t heard anyone, like promoters or dj’s, say they didn’t want blacks in the clubs. My point is that there never seems to be any explanation of why it is like that when you look at it from the outside. Your film is like a Northern cult version of Quadraphina (Elaine happily agrees) and people will see these things but they don’t say anything. I think its good to question issues though and that is why the Fran character is in the film. I got contacted by a great black journalist, Paul MacKenzie, who asked what’s wrong with my dance classes and why are black kids not being trained up. I told him my policy was to train anyone who came and they would be in the film. I advised him that one of the lead characters was mixed raced to explain that the scene never has been full of black kids but predominantly white. The West Indians in Hume and Moss Side were into reggae; just walk down the Arndale in Manchester on a Saturday and all the kids had dreads and were dressed in red gold and green - it was fascinating. So when are we talking here? 1981. So after 1974 the term Modern comes to the fore because of the musical split but the Northern Soul influence was still being discovered in the 1980’s by the up and coming teenagers like yourself. It’s the older period that gets documented and clearly reflects the racial differences much more than the latter period and that is what feeds the ambiguity and gets regurgitated time and time again. Now it makes sense to me that the film comes from your personal experience from the new generation as portrayed by the main character Josh. Do you listen to any form of music other than Northern. Yes I listen to classical, rap, folk and all genres of music.

JO HARMAN talks to Fitzroy This young lady has in three years managed to achieve something that takes many three times as long. Ahead of her Jazz Cafe dates in January, many critics are anticipating her to have a promising future. Destined to make her dream become a reality to a wide audience, Jo shares her influences of the many soul greats that has shaped her soulful, blues and gospel prowes. Tell us about what part of the UK you represent, learning to play the guitar and how the influences of artists, including Aretha Franklin, Bobby Womack, other soul illuminates and other country folk and rock contemporaries influenced your rock and soul musical semblance? I was brought up in Devon listening to my Dad’s Beatles, Cat Stephens, and other very ‘song based’ records. In my teens I discovered black American music through the artists you mention, plus the likes of Lauren Hill and Jill Scott too. There's been no looking back, really. I was, as a kid, a classical bassoon player, of all things. I’ve always played some piano too and I taught myself guitar when I went travelling to India in my early twenties. I’ve never really felt too constrained to adopt any one particular style or genre of music but soul (and blues and gospel - all very inter related of course) are all very much at the heart of things. Not least in terms of my voice and vocal approach. I said to Mark Ede, who contacted me about you, that you remind me of when Joss Stone first made an initial impact, so what would you say is your innate gift because many will always liken you to some of the afore mentioned influences but there must be something raw and within to start with if that makes sense?

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Yes the Joss comparison has come up before and at some level I have to be flattered because Joss has done wonderfully well but the reality is she’s not an artist whose music I know particularly well or am particularly influenced by. I just do my own thing (as I’m sure Joss does) but we probably share similar influences and love of ‘old school’ black American music. Our voices are our voices - you are either born with those tones or you aren’t, I guess!

It’s interesting that your rock and soul influence is currently working for you because that is an old school legacy that has been left by the Benetton team of female trial blazers like Joni Mitchell, Carly Simon, Carole King, Joan Armatrading and Tracy Chapman. In this issue, speaking with Junior Giscombe and also in a previous issue with Andrew Roachford, both it must be said as black UK British male artists, had problems being accepted for their rock and soul sounds crossing over into the UK mainstream initially. It’s a combination of old school corporate racism and not being the predictable image of potential rock stars. So it led me to ask a woman and a British soul singer cross pollinating the soul blues and rock market what hurdles if any have you faced thus far ?

It may possibly be easier for a white female artist to tread a wider path than, say, a black artist who might somehow be expected to sing a certain genre ridiculous as that may be. So I can understand if black artists faced problems of that nature. I’ve never analysed my own style, never chased any particular market and never made music for anyone but myself so I just do my thing and people can either embrace it or not as they choose. So far people, and certainly the critics, have been very kind and no one has ever encouraged me to be anything but myself. Although I’ve never knowingly sung a 12 bar in my life, I’ve also enjoyed great support from the blues community - they really helped put me on the map and, at the end of the day, good music is good music and, if it’s good enough, genres become irrelevant. You don’t listen to ‘Bridge Over Troubled Water’ and say ‘wow, what a great singer-songwriter album’, you simply say ‘wow, what a great album’. Being a female artist has it’s negatives but it also has it’s positives. I just try to stay on the good foot, let my music do the talking and try and avoid the musical politics and pettiness wherever I can. That said, I do try and stand up for things I believe in, whatever that might be, be that feminist issues, civil rights and whatever. For example, I’ve recently been asked to act as an ambassador for Amnesty International ‘my body, my rights’ campaign. That’s big picture stuff, my career is one thing, but there are issues which are far more important. How is it you were only discovered about three years ago at an open mic session at the age of 27 and then manage without any financial backing to sell £40,000’s worth of sales directly from your website as an unknown independent artist? Because I had people interested in me and my music from the very start; I didn’t know any different. In my naivety I assumed all artists sold £50k or whatever of revenue direct from their website each year but I’m repeatedly told, not least by industry people, that they don’t! I don’t know is the real answer, it just happened! I do feel very blessed that I have attracted an incredibly loyal fan base right from the start and people seem genuinely interested in what I’m doing and feel engaged with my career and my music. Recently one supporter even delivered a £20k vintage Steinway Grand Piano to my house so I could ‘hurry up and write my next album’ - the support and goodwill people give me is incredible. The challenge now is to upscale that interest and I sense major labels - who are knocking at our door in increasing numbers - sense the opportunities and the trick now for me is to keep doing what I do, on my own terms, and find partners who can upscale things without changing the direction of the train, or the ethos of what we do, if you get my meaning. As to my age, I was a session singer (‘voice of choice for Grammy winning producers’ as my manager puts it…rather over egging it, may I say!) but when my father died I just found the balls to follow my dream to be an original artist telling my own story without compromise or commercial considerations.

Fortunately it seems to be working out. I’m earning a living and the project has been self sufficient from the start. I have a great team around me, people who genuinely care and ‘get it’, and we just run it as a visible small (but growing) viable business, by and large, ignoring industry ‘wisdom’ and just making it work by dint of a fantastically loyal fan base. How have you managed in such a short time to achieve Female vocalist of the year, being awarded £15,000 to export your music to the USA and doing a live album at the Royal Albert Hall? You tell me. I think I’m sincere and people pick up on that. I think my music touches people, it must do to attract that kind of loyalty. Not everyone is going to like it of course - no artist is ever going to be universally admired, but I’ve had so much validation from so many quarters that I’m confident to just keep doing what I do, without thinking too much about it. I’ve never done anything that hasn’t felt natural to do and so to over analyse isn’t necessarily a great thing for me to do. I just know I feel blessed, I feel empowered and I feel supported which, in this industry, is probably not too common. I’ve listened to your albums and although much of it is not anything I can personally play on my radio shows I do like and recognise the soulful, blues and gospel overtones of Ain’t Love and Sweet Man Moses primarily as it reminds me of a southern soul sound Millie Jackson and Aretha Franklin have played with. I do hear some Stax, Willie Mitchell and Robert Cray in Underneath The River and an amalgamation of funk, rock, fusion on Better Woman. What kind of age group is the audience you are attracting? I attract a wide range really. If you come to the Jazz Cafe (29th January) you’ll see a wide cross section of people from girls my own age, fellow musicians, and an older demographic into ‘timeless music’ perhaps. When will you be making an album that reflects a purer and most quintessential element of classic soul to catch the specialist soul audience? Never I hope! Not that I don’t love classic soul that’s my favourite genre - but I don’t want to ever chase a market or do something that has been done before. Of course I wear all my influences on my sleeve and classic American soul music runs through it like a golden thread but I always just want to make a ‘Jo Harman’ record, not a genre led album. Just in case they read this issue and many of the soul icons do..which artists would you like to collaborate with in the future? Not sure, I’m open to new musical experiences and adventures and the best ones happen naturally, because there is a genuine artistic connection. I just recorded a duet with Tower of Power/Average White Band vocalist Brent Carter, woah, that cat can sing! I’d like to meet (gospel singer) Kim Burrell and I’d like to try writing a song with Bill Simms of the Heritage Blues Orchestra one day.

Basically, I’m on an artistic, rather than commercial, journey so I’ll let the river flow where it flows. I would have said Bobby Womack. Imagine writing a song over a Womack groove but sadly that chance has gone forever. How much of a thrill is it gonna be to perform at the Jazz Cafe Camden and what can those who attend expect to hear amongst your rock and soul repertoire? Yeah, to play that stage where heroes like Womack, Chaka Khan, Bettye Lavette etc. have performed, of course it’s a huge thrill. In terms of our show, not so much rock but we probably are going in a more soul direction, naturally, anyway. I don’t see rock and soul as that different live anyway. Sly Stone, Womack, Joplin all bridged the gap quite effectively, after all. I hope to do some new tunes plus the old favourites like our take on Citizen Cope’s ‘Sideways’ plus a couple of pin drop ballads too. We like to have quite a few colours in our rainbow and, luckily, I have a great band who can paint all the shades! :) You have tackled in your own innovative style, live version excursions of three renowned soul classics. The more familiar take by the Isley Bros of the folk pop Seals & Croft classic Summer Breeze, Ann Peebles’s I Can’t Stand The Rain and an actual radio studio broadcast recording in the Netherlands of Pharrell’s Happy which is on You Tube. That version is the most different I’ve heard and I’ve heard it in reggae, hip hop, Jungle and ambient house. I like your take of it greatly because it’s quite earthy and gritty vocally surrounded by those haunting

classic church Hammond organ chords, and the clip clearly shows the spirit coming out from within you. I’m sure, like most, whatever you perform you become “lost in music” like Sister Sledge, but I sense a different ambience when you are covering the afore mentioned songs so what kind of euphoric emotion comes into play? We play those songs because they work well live and in the early days we were a bit short of original material so we would include them when we were contracted to play longish sets. I still play them out live as I love them and people shout out for them. 'Happy' came about when we were asked to cover a top 50 tune when appearing live on Netherlands biggest radio show - it's part of their show format. Terry - our guitarist - just came up with the idea of slowing it down and the arrangement is totally organic but it works! My band have played for some soul greats - people like Leon Ware, Jean Carne, Ben E King, etc - so playing in a more soulful style is second nature for them..me too of course. I've also worked with members of Average White Band and funk and soul is a huge part of what I do, and possibly will be more so, going forward. Here’s a song I wrote with Fred Vigdor of AWB and Mo Pleasure (former MD of EW&F, Maxwell, Roberta Flack etc. and also member of Michael Jacksons, Ray Charles etc band). Thanks Jo; we look forward to seeing you at Jazz Cafe on th 29th.

Event reviews/letters RTT at Mansion Dulwich Nov 7th I took my first trip down Remember The Times lane, even though it’s been going for 3 years at it’s new home in Dulwich. On arrival around 11.20pm both rooms were very extremely busy considering it was going on till 3am. Definitely one that’s attracting a multicultural and in all areas of London and the surrounding counties audience. It’s clear Mickey P and his crew have been constantly thrashing out some vintage throwback sounds. Although I didn’t stay till the bitter end people were still arriving and getting down to the sounds of Pete Mello, Boogie D and Mickey P. Good seeing some old school faces like Steve Jervier and Camilla as well as the more familiar and fresh faces. Definitely an Aleem “Get Down Friday Night” session to check out. Fitzroy Osaka Monaurail - Great Portland Street Nov 14th I checked out an outfit who’ve been going for 22 years who relentlessly and unreservedly pay homage to the element of funk and soul with a touch of jazz. They are the equivalent as a Japanese JB’s troupe like Yellow M a g i c Orchestra was to their unique brand of electro and disco funk. Their front man Ryo Nakata embodies everything possible in his personification of his idol and mentor James Brown. He’s diminutive in his height, dresses, walks on stage and dances like him side splits and all. I was impressed with the bands energy and coverage of some Thom Bell, Willie Mitchell, Stevie Wonder and JB’s repertoire and the homage paid to Stax artists Otis Redding, Wilson Picket, Aretha Franklin and Sam & Dave. They performed their new material from the new album reviewed in our record review, like Fruit Basket and showed good comradeship and professionalism on stage. Well done Adrian Gibson for bringing the Jap funk without the fusion to London!! Fitzroy Throwbaak POW Brixton Nov 8th I was invited to spin at DJ 279’s old school relic night Throwbaak, a night that attracts a mixed appreciation

32 www.thesoulsurvivors.co.uk

society of the retro classics from yesteryear. It was very busy and alternating with DJ 279 and Chuks. The party atmosphere was happening from the word go. Something I’ve not seen done in a club to my knowledge

was the Throwbaak Soul Train where couples were Dancing In The Aisle like Silver Convention as DJ 279 mixed classic funk and original funky hip hop with the turntablist skills he is known for. Worked a treat and is clearly a feature that expands the mutual musical interaction between the crowd and the dj. Worth checking out this once a month gig!! Fitzroy Jazz Funk Soul Reunion at The Pheonix Nov 23rd Back at it’s spiritual home and attracting many of the original diehards who kept this gig going for over 10 years Jazz Funk Soul’s reunion was emotional. The atmosphere was quite breathtaking as many rekindled their love for the music and the people who they danced and pranced like Candido. It was also slightly melancholy when you saw the slide projections that included faces of those who have sadly passed and those who didn't make it down that night. Colin and Neville the original line up plus new kid in the block Stevie Day played the JFS classic but the tune of the night goes to Neville’s choice of Funky Till I Die as the last tune..Killer. Next one is the last at Charlie Wrights before it gets demolished Friday 23rd January 2015, go like Aleem Get Down (that) Friday Night you read right not Saturday!! Fitzroy

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The Soul Survivors Radio Shows with Fitzroy da Buzzboy Tuesday 6-8pm Musicology Saturday 6-8pm Soul Survivors Show

Where you can find Fitzroy in Jan/Feb 2015

23 Jan - Jazz Funk Soul Reunion @ Charlie Wrights N1 31 Jan - Essential Grooves @ Dickens World Chatham Kent 30/31 Jan - Alice Russell @ Jazz Cafe 7 Feb - Yolanda Brown @ Jazz Cafe 14 Feb - Essential Grooves @ Dickens World Kent 15 Feb - Soul Boat Temple Pier London 20-22 Feb - Reggae, Rare Groove Weekend, Hayling Island

Shalamar @ Indig02 6th December Shalamar’s residency at Indigo this time of year was well attended by their loyal fans were destined to make this a ‘Night To Remember”. Jeffrey Daniel, Howard Hewitt,“Baby Girl Iron Princess” Carolyn Griffey and the super tight band have a great sense of chemistry on stage as they sing dance and interact with their dedicated followers. They did all the usual standard hits take That To The Bank, Friends, Second Time Around, Make That Move, There It Is, I Can Make You feel Good, Sweeter As The Day Goes By and I Owe You One as well as delivering their new single with DJ Skip Don’t go fro the first time in the UK. Jeffrey did his thing and a tribute to MJ with his Pop A Long Kid routine and Howard did a version of a forthcoming single. The DJ for the after party was on point musically as the audience kept the dance floor busy solidly. I believe they are back in April 2105 with some surprises so “keep ‘em peeled” like Shaun Taylor of Police 5. Fitzroy

Soulboat 7th December Temple Pier In less than two years Neville has managed to practically sell his every now and again Soul Boat excursions weeks before it’s due to “ Sail On” down the line like The Commodores. This festive one was packed and bringing the yuletide musical pressie’s was myself Tony Rodriguez and Neville. Everyone was in the party spirit and rocking the boat to tunes as diverse as Kurtis Blow’s Christmas Rapping, Al Hudson’s Music and Tania Maria MAW mix of Come With Me Now. The food was tasty tasty very very tasty and some were seasonally dressed in they red and white attire. The next one to look out for is 15th February 2015 so if ya looking for love like Fat Larry and missed the boat so to speak the night before, you may find some extended Michael Henderson Valentine’s Love on the Soul Boat..cue the Love Boat theme song!! Fitzroy

Marsha Ambrosius @ Clapham Grand Clapham When The OJay's sang "I Love Music"..sometimes I think they write that song for me personally It was a truly proud moment if you're a "Maybe It's Because I'm A Londoner" to see Marsha Ambrosuis on stage in Sarf London playing at a mid week at home fixture to a packed audience. My self and the host with the most gift of the gab patter Fab Five Fat Freddie M had the pleasure of spinning some 'Nice & Soft" like Wish and "Rough Rugged & Raw" like EPMD soul, jazz funk hip hp and Nu soul beats to an audience that flooded in as soon as the

doors opened at 7pm. That sea of people gave Marsha a good ol Peter's & Lee "Welcome Home" and she delivered with the panache that Royal Mail and Federal Express could only wish for as a service. Natalie, Marsha’s Floetic partner in rhyme as a bonus joined the stage to rapturous applause at the end of a brilliant evening. Eon Irving was dropping it like Snoop's hot for the after party and props to Chenai Louise who totally captivated the audience with her serene voice warming up..A talent to look out for! Fitzroy

More than a touch of double-billed soul was bought to Under The Bridge in Chelsea in November. Dome Records generously giving the UK another opportunity to experience sunlight on another level with Avery Sunshine and a long awaited live performance (and much anticipated comeback) of one of the UK finest soul voices, Shaun Escoffery. Dubbed the “Sun Goddess” Avery’s strong presence on stage and her usual humorous style had the crowd immediately gripped. In the delivery of her powerful vocal, talented keyboard and percussion skills and her beautiful cheerful demeanor, some were left wondering how they had missed seeing her live before. "I Got Sunshine” had the crowd participating and “Call My Name” had them mesmerised. Amongst other accolades, that particular track has since reached No 1 on the Billboard Adult Urban chart, after 28 weeks, so I guess now the word is finally getting out there that the “Sunroom” is hitting the spot with music lovers all over the world.

Shaun then energetically graced the stage, as if he had never left it, displaying the strengths of his extraordinary vocal range. Singing cuts from his new hallmark album the Red Room, “People, "Nobody Knows" and the poignant message of "Natures Call”. He mixed it up with versions of "Space Rider", "Days Like This" and a stunning cover of Ray Charles “A Song For You” bringing some of the females in the audience to tears! Shaun certainly left his mark and a desire for us not to have to wait so long to see him perform live again. We didn’t get the duet we expected but witnessing two phenomenal artists showing yet again the genuine talent from this side of the pond to the other was enough. Their fabulous contribution to the industry is one that every music fan deserves to hear. Anna Benton – Sound Fusion Radio

What’s goin’ on? REGULAR EVENTS

A Hard Days Night @ Vibe Bar, 92 Brick Lane, E1 6QL. Original and northern soul 45s from 7pm

EVERY THURSDAY

Jazz on the Park Upstairs @ The County Arms. Hale End Road E4 9PB. The Phil Capone Trio ft vocalist Shelley. 8:30-11pm Food avail. £5

1st THURSDAY

Soulfunky @ Belair House, Gallery Rd, Dulwich, SE21 7AB

1st FRIDAY

Funky Nation @ Upstairs at Ronnie Scotts, Frith St, W1 8-3am (From 24/1/15) Essential Grooves @ Dickens World, Leviathan Way, Chatham Maritime, Kent ME4 4LL (See Ad)

EVERY SATURDAY

JANUARY 2015

FRIDAY 2-4 JANUARY

Luxury Soul Weekend @ Hilton, Blackpool with One Way including Al Hudson & Alicia Myers also PA by Tracy Hamlin.

FRIDAY 2 JAN 2015

The Doggett Brothers @ Jazz Cafe, Camden, NW1 (See Ad)

SATURDAY 3 JAN

Lillo Thomas @ Jazz Cafe, NW1 Robbie Vincent @ Banks Bar, Maidstone, Kent. Along side Jeff Young. Move On Up Thank You! @ Brixton Jamm, London

THURSDAY 8 JAN

The Dustaphonics @ Jazz Cafe (See Ad)

FRIDAY 9 JAN

Soulgood @ Club Amber, Cheshunt.

SATURDAY 10 JAN

Frank McComb @ Jazz Cafe, (See Ad)

THURSDAY 15-17 JAN

Roy Ayers @ Jazz Cafe (See Ad)

FRIDAY 16 JAN

Horse Meat Disco @ Hoochie Coochie, Newcastle. The queer party for everyone!

SATURDAY 17 JAN Soul

Shack

Britannia, 20

36 www.thesoulsurvivors.co.uk

Monument St, London EC3R 8AJ. DJs Ash Selector & James Anthony 10pm-3am

SUNDAY 18 JAN

Session 58 @ Jazz Cafe (See Ad)

WEDNESDAY 21 JAN

Anthony David @ Jazz Cafe (See Ad)

THURSDAY 22 JAN

Akua Naru @ Jazz Cafe (See Ad)

FRIDAY 23 JAN

Los Charly’s Orchestra @ Hoochie Coochie, Newcastle. Boogaloo Disco Kings. (See Ad) Soul Box & Back2Back @ Maze Inn, 7 Chase Side, Southgate, London N14 5BP. FREE before 10pm £5 after. (See Ad) Timothy Bloom @ Jazz Cafe (See Ad) Jazz Funk Soul (The Reunion) @ Charlie Wrights, 45 Pitfield Street, London N1 6DA 10-4am

SATURDAY 24 JAN

Drizabone Soul Family @ Jazz Cafe (See Ad) Essential Grooves Launch @ Dickens World, Leviathan Way, Chatham Maritime, Kent ME4 4LL. (See Ad)

SUNDAY 25 JAN

Record & CD Fair @ Abney Public Hall, 73a Stoke Newington Church Street, London N16 0AS (See Ad)

TUESDAY 27 JAN

Smoke Dza @ Jazz Cafe (See Ad)

WEDNESDAY 28 JAN

Ledrra Chapman @ Jazz Cafe (See Ad)

THURSDAY 29 JAN

Remember The Times @ Electric Social, 40 Acre Lane, SW2 5SP. 9-2am.

SATURDAY 7 FEB

Soul Night 60s 70s 80s Disco Soul Motown @ York Road Club, York Road, Farnborough. GU14 6NG. 8-12pm Free Entry Soul Night @ The Fox Pub, Keston, BR2 6BQ. 8-Midnight Soul & Disco. Free entry

FRIDAY 13 FEBRUARY

Norman Jay @ Hoochie Coochie, Newcastle.

Essential Grooves Burlesque Party @ Dickens World, Leviathan Way, Chatham Maritime, Kent ME4 4LL. (See Ad)

SATURDAY 14 FEB

Soulboat @ Temple Pier, 2-7pm

SUNDAY 15 FEB

Arrested Development @ Club Academy, Manchester. (See Ad)

TUESDAY 17 FEB

Arrested Development @ University Stylus, Leeds. (See Ad)

WEDNESDAY 18 FEB Arrested Development Junction, Cambridge (See Ad)

THURSDAY 19 FEB

Reggae, Rare Groove & Independent Soul Weekender @ Hayling Island with Maxi Priest, Janet Kay, Carroll Thompson & Aysha Loren. (See Ad)

FRIDAY 20-22 FEB

Arrested Development @ Assembly, Leamington Spa. (See Ad)

FRIDAY 20 FEB

Jo Harman & Company @ Jazz Cafe, Camden, NW1. From 7pm Tickets £12.50 adv. (See Ad) At Your Mercy EP, Joe Taylor and EP Launch party @ The Dublin Castle, Camden, 94 Parkway, NW1 7AN

Arrested Development @ The Britannia Theatre, Chatham (See Ad) Soul Shack @ Britannia, 20 Monument St, London EC3R 8AJ. DJs Ash Selector & James Anthony 10pm-3am

SATURDAY 31 JAN

MONDAY 23 FEB

FRIDAY 30-31 JAN

Alice Russell @ Jazz Cafe (See Ad)

The Crown @ Venue 360, Luton with Mick Foster & guest Stretch Taylor. Tickets crownalldayer.com Soul Network @ The Drift, Heron Tower.

FEBRUARY

FRIDAY 6 FEBRUARY

Soulfunky @ Belair House, Gallery Rd, Dulwich, SE21 7AB 8-2am

SATURDAY 21 FEB

Arrested Development @ Koko, Camden (See Ad)

SUNDAY 22 FEB

Arrested Development Concorde 2, Brighton (See Ad)

Arrested Development @ Marble Factory, Bristol (See Ad)

TUESDAY 24 FEB

SATURDAY 28 FEB

The Crown @ Venue 360, Luton with Mick Foster and guest DJ Bigger. Tickets from www.crownalldayer.com

STOMP NOW A T-SHIRTS VAILA BLE!

MARCH

SUNDAY 1 MARCH

Soul Cruise @ Temple Pier. 3-8pm Tickets £20

Reverend P @ Hoochie Coochie, Newcastle. French Edit Specialist.

FRIDAY 6 MARCH

Bashiyra ‘the Voice’ @ Pizza Express, 32 Earl Street, Maidstone, Kent ME14 1PS 7pm Tickets £15 0845 6027 017

SATURDAY 14 MARCH

The Groove Association @ Jazz Cafe, Camden, NW1

THURSDAY 23 APRIL Incognito @ Hoochie Coochie, Newcastle.

FRIDAY 24 APRIL

Jocelyn Brown @ Hoochie Coochie, Newcastle.

THURSDAY 7-8 MAY

HOLIDAYS/

SATURDAY 21 MARCH

WEEKENDERS 2015

Kenny Thomas @ Hoochie Coochie, Newcastle

Reggae, Rare Groove & Independent Soul Weekender @ Hayling Island with Maxi Priest, Janet Kay, Carroll Thompson & Aysha Loren. (See Ad)

Soul Shack @ Britannia, 20 Monument St, London EC3R 8AJ. DJs Ash Selector & James Anthony 10pm-3am

FRIDAY 27 MARCH

Shalamar @ Colston Hall, Bristol (See Ad)

THURSDAY 2 APRIL

Shalamar @ ST Davids Hall, Cardiff (See Ad)

FRIDAY 3 APRIL

SO-UK and Centrepoint Sessions @ Indigo2. 7.30-3am An evening of sublime UK Soul. (See Ad)

FRIDAY 17 APRIL

FRIDAY 20-22 FEB

FRIDAY 5-8 MARCH

Prestatyn Weekender @ North Wales.

FRIDAY 20-22 MARCH

NSN Portugal Weekender @ Praia Du Luz. Special guest performances and DJs. Luxurious apartments & exclusive venue.

FRIDAY 1-4 MAY

Caister Soul Weekender @ Great Yarmouth

THURSDAY 7-14 MAY

Soul In The Algarve @ Portugal

FRIDAY 8-10 MAY

Southport Weekender 52 @ Butlins Holiday Resort, Minehead.

SUNDAY 17-24 MAY

The Ibiza Soul Week @ Club Punta Arabi, Ibiza

WED 24 JUNE-1 JULY

3 The Soul @ Cyprus. DJs Bigger, Ronnie Herel, Vivy B, Brian Jay, Mike Stephens, Chris Box, Brian Norman and Live PA Natasha Watts.

FRIDAY 3-5 JULY

Hayling Island 3 @ Hayling Island!

WEDNESDAY 22-29 JULY

SunceBeat 6 @ The Garden Tisno, Croatia.

THURSDAY 3-9 SEPT

Salou Woul Weekender 7 @ Spain

IF YOU WOULD LIKE YOUR EVENTS LISTED HERE FREE OF CHARGE, PLEASE EMAIL anna@thesoulsurvivors.co.uk or 01732 844246 FULL DETAILS OF EVENTS ARE ON OUR WEBSITE CALENDAR http://www.thesoulsurvivors.co.uk/whats-going-on/ WE EMAIL EVENT REMINDERS OUT ONCE A WEEK INCLUDING COMPETITIONS TO WIN TICKETS! SEND YOUR DETAILS IN TO RECEIVE UPDATES. Events can be subject to change so please check with promoter if unsure.

Soul Radio 7-10am Breakfast Show on soundfusionradio.net 8-10am 7 days a week! Marcus Hayes Soul Show on cruisefm.co.uk 1-3pm Mon-Fri The Dave Brown Show on starpointradio.com 5-7am Mon-Fri Supa Fine Sessions with DJ Speedy on www.tsolradio.com

DAILY

1-3pm DJ Hal presents FUNK Beyond da Call of Duty on streetfm.net (94.) 3-5pm Marcia DaVinyl MC MiXedBag show on mi-soul.com Soul Jazz tinted

MONDAYS

38 www.thesoulsurvivors.co.uk

kaleidoscope of black music - old & futuristic. plus guests. 5-7pm UK Soul Chart with Kevin J on cruisefm.co.uk 8-7pm Dave VJ presents Grown & Sexy Show on misoul.com 6-8pm Strictly Vinyl Sessions with Carl Dennie on solarradio.com Soul/Rare grooves 6-8pm Souled Out with Colsie on www.tongueandgrooveradio.com 7-10pm Soul360 with Aitch B on www.colourfulradio.com & DAB London 8-10pm Souled Out with Mark K on www.tongueandgrooveradio.com

PLEASE EMAIL ANY NEW SHOWS, DELETIONS OR AMENDMENTS TO anna@thesoulsurvivors.co.uk

8-10pm The Rod Allsworth Classic Soul on Fylde Coast Radio & Deeside 8-11pm Ian Jons The Monday Mission on www.zeroradio.co.uk 9pm-Midnight The Big R&B show with Ronnie Herel on mi-soul.com 9-11pm Ian Henry with Soul, Jazz Fusion & funk on generationradio.co.uk 9pm-Midnight Soul Crackers George Power on 103.3fm London and crackersradio.com 10pm - Midnight Insatiable Soul with Roni O’Brien on Solar Radio 11-12 Midnight Bushbaby on cruisefm.co.uk

TUESDAYS

4-6pm DJ Len’s Selection box on jfsr.co.uk 6-8pm Fitzroy’s Musicology Show on SoundFusionRadio.net 6-8pm June Furlong on Solarradio.com 9-Midnight Inside America Michael Speaks Da Costa on thesouloflondonradio.com 9-11pm Suite Soul with Bob Jeffries on starpointradio.com 10-1pm Cyber Soul with Johnny Reckless on colourfulradio.com 10-Midnight Tony Rodriguez & Stevie Dundee with Move On Up Show solarradio.com 10-Midnight DJ Andy Richards with Timeless Soul on cruisefm.co.uk

6-8pm The Feel It Show with Wayne B & Angie D on urbanjazzradio.net 7-9pm Mike Vitti’s Funky Nation with Jazz Funk, Soul and Boogie on mi-soul.com 9-11pm Backatcha with Sammy Sam on starpointradio.com Disco Boogie Soul & Funk 10-12am Evolution with DJ Mease on radio2funky.co.uk

12-2am Back to tha o’l skool on 90.8FM Strictly 80’s soul & Rap lightningfm.co.uk

SUNDAYS

12 Mid-4am Colin Faver on solarradio.com A soulful mix of upfront & classic house/Beats 9-11am Sandra C on stompradio.com 9-11am Sunday Service with Brian Kelly on zeroradio.co.uk Jazz funk and soul 9-12 Midday Soul On Sunday with Mick SATURDAYS Foster on Diverse FM 102.8 diversefm.com 8-10am Jump Start with Ginger Tony on 10-2pm with Jeff Young on Jazzfm.com solarradio.com From nu-jazz to funk & jazz 10-1pm The Sunday Lunchtime Connection 8-10am Sunshineman on 89.8 FM London stationfm.ning.com 89.9fm Jazz, Funk & Soul Bang Radio 103.6fm www.wearebang.com 10-Midday The Sunday Soul Affair with 9-11am Saturday Fry Up with Mark, Ricky & Trevor on starpointradio.com Soul & Funk Curly CJ starpointradio.com Jazz Funk & Soul 9-Midday Soul Fusion Show with DJ Gloss 10-Midday Soul A.M with the Master J on WEDNESDAYS tongueandgrooveradio.com & soulam.co.uk on soundfusionradio.net with soul and funk 1-3pm Ian Henry with Soul, Jazz Fusion and 10am -Midday Soulful Saturdays with Ian 4-7pm Soul & Reggae Sundays with Sly on funk on www.generationradio.co.uk colourfulradio.com Dee pointblank.fm 90.2fm Ldn. 7-10pm Jazzi Q on colourfulradio.com 12-2pm DJ Enyaw on dejavufm.com with 10am-Midday The Early Bird Catching 8-10pm The Triple SSS Show with Shaun The Worm Show House FM with DJ Birdy The Sunday Soul Selection Evans & Marcus Bell on www.radiomk.co.uk 10am-12pm Kev Roberts on Solarradio.com 1-3pm Mucho Soul with Ket & DJ AKA on 8-10pm DJ Marky P with the Paradise www.back2backfm.net 11am-1pm 6MS SESSIONS Disco, soul, Sessions on cruisefm.co.uk 2-4pm Russ Dewbury with Jazz Rooms house, funk boogie on stompradio.com 9-10 Les Knott Jazz Funk Soul on redzfm.com Sunday SocialBrighton’s Juice 107.2 Midday-2pm Groove Control Show with 9-11pm Steve O'Mahoney playing Soul, 3-6pm Stumpi-Inspiration Show Soul on Ash Selector on solarradio.com Jazz & Funk www.radio789.net.ms diversefm.com 102.8fm Herts, Beds & Bucks. Midday-2pm Saturday Soulmine with 9-11pm Jason Anderson - Soul Ascension 4-6pm Soul Source with Richard Searling on Jonny Layton on zeroradio.co.uk on http://mixlr.com/soul-ascension/ 1-4pm Paul Sams’ Modern Soul Sessions solarradio.com 10pm-Midnight Notes & Tones with Ruth 4-Midnight The Soul Train team in Bristol on Stompradio.com Fisher on solarradio.com or Sky 0129 bring you soultrainradio.co.uk 2-4pm Turn the Music up with James 10-Midnight Les Knott on Zeroradio.co.uk Anthony on solarradio.com Classic ‘n’ current 4-6pm Randy Peterson Playing a soulful mix of house music on www.housefm.net 11pm-Midnight Trevor Nelson’s Soul 2-4pm Dancefloor Grooves with Jamie Show on BBC Radio 2 6-8pm Soul Discovery with Mick O’Donnell Taylor on banburyinternetradio.com on solarradio.com 11pm-1am Perry Louis on Diverse FM 2-5pm The Bushbaby Flava on 7-9pm Essex Funkers with Les Knot on cruisefm.co.uk THURSDAYS 2-6pm Peter Young on Jazz FM. A mixture of www.cruisefm.co.uk Midday-3pm Sizzlin Wit Soul with Alan old & new soul with ‘The Soul Cellar’ at 5pm 7-10pm Soulful Sundays with Keith Martin Gray on fyldecoastradio.co.uk 60s/70s Soul on magic1152.co.uk 4-6pm Seaside Vibes with Paul Clark on 3-4pm Hidden Gems 60’s to new Soul on 8-10pm Soul Therapy with DJ Annelle on Zeroradio.co.uk www.fcumradio.co.uk 4-6pm Collins & Mason on back2backfm.net soulradiouk.com 4-6pm Modern Soul Sessions with Paul 9-10pm DJ Pressure’s Classic Material Sams on jfsr.co.uk 5-6pm CJ Carlos in the mix cruisefm.co.uk Rap Show on cruisefm.co.uk 7-9pm Ride da Rhythm with Hilary John @ 6-8pm Fitzroy’s Musicology Show on 10-Mid Sunday Night Soul with Keith Fletcher www.station898fm.co.uk & 89.8fm London SoundFusionRadio.net on BBC Radio Lancashire Motown/Northern 7-9pm Infiniti with Andy Jackson on 107.5 6-8pm Marky Mark with Soul Motive on Midnight-3am DJ Afroogroove on 91.6FM Tulip Radio Modern Soul Radio back2backfm.net or www.genesisradio.co.uk/afrogroove 7-10pm Back in The Day with Doug Forbes 6-8pm Movin’ On! with Mark Blee on 1.6FM From 12 midnight to 3am featuring on Calon105FM www.calonfm.com soulpower-radio.com the best in jazz, fusion, latin, soul, afrobeats & 8-10pm Soulpower with Shaun Gallagher 6-8pm DJ Allans Funk Sessions on spoken word. on www.soulpower-radio.com soulradiouk.com JL’s Groove can be listened to on demand 8-11pm Soul Therapy Show DJ Mike T on 6-9pm Superior Rhythm Soul Show from on www.celticradio.com tongueandgrooveradio.com or tngr.co.uk Spain with Dean Freeman on exitefm.com Weekly podcasts on dazlingsoul.com 8-10pm Whistle & White Socks Brigade 5-7pm The Morpheus Soul Show live365.com/station/atomicdog65 24/7 with Simon Ford on zeroradio.co.uk www.playvybz.com DJ Johnny Rebel webstream Soul, Jazz & Neo Soul 8-10pm Boogie Wonderlandwith Nick Davies 5-9pm Club Classics Chris Brown on Star If in Costa del Sol, check out global.fm Jeff Winchcombe 107.1fm radiowinchcome.co.uk 107.9/1 FM in Cambridge. Soul & Motown Thomas Mon-Fri 2-5pm, Sun 9-Midday 9-11pm Scott Savill with Soul From The Shed 6-8pm Soul Inspired with David Bishop on Podcast soulpower08.mypodcast.com on cruisefm.co.uk www.zeroradio.co.uk Classic 60’s–80’s Soul Tony Poole on TKO Gold 106 Wks-9pm 10-Midnight Nick Gunn’s Soul Armoury 6-8pm Craig Charles Funk & Soul Show 96.7 & 87.7 FM in Spain or tkogold.com on zeroradio.co.uk. Jazz, Funk, Soul & Boogie on www.bbc.co.uk/6music/shows/funk_soul/ Marky Mark of Soul Motive with soul 10-12Midnight The Big Hook-up Funksy on 7-9pm Skippys Soul on NevisRadio.co.uk funk.ssradiouk.com/category/shows/soul-motive/ 103.3FM London and crackersradio.com 8-10pm Mellow A on soulradiouk.com The Groove with Suzy Chase podcast FRIDAYS 8-10pm The Soulful Session with DJ Chris shows on www.thegrooveradio.com 2-4pm Mellow A on jfsr.co.uk Old Skool Soul Philps on zeroradio.com VibeRide Podcast/radio Shows at 5-7pm Ian Jons Friday Funk Sensation 10-1am A Touch of Soul with Devon BBC VibeRide.org.uk from on www.zeroradio.co.uk Derby 104.5fm, Notts 103.8fm & Lincs. 94.9fm