The Pyramids aka Symarip are a Ska and Reggae band from the United Kingdom, originating in the early 1960s, when Frank Pitter and Michael Thomas founded the band as The Bees. The band’s name was originally spelled Simaryp, which is an approximate reversal of the word pyramids. Consisting of members of West Indian Jamaican immigrants to London, Simaryp is widely marked as the first skinhead reggae bands, to target skinheads as an audience, after playing backing band with Laurel Aitkin started to witness a growing Skinhead following. Their hits included “Skinhead Girl”, “Skinhead Jamboree” and “Skinhead Moonstomp”, the latter
of which was based on the Derrick Morgan song, “Moon Hop”. After the release of Skinhead Moonstomp album in 1970 and a sell out gig at wembley marred with teenage violence. Reggae was deemed too dangerous for the Conservative Britain of the time, so the band were sent to Europe to spread the Ska and Reggae music on the mainland. The band officially split in 1985 after releasing the album Drunk & Disorderly as The Pyramids. In April 2008, they headlined the Ska Splash Festival in Lincolnshire as Symarip, and later performed at the Endorse-It and Fordham Festivals. Since 2019 they are back and playing as The Pyramids Symarip across the world to mark 50+ years of Trojan records. Appearing at The Great Skinhead Reunion Brighton, Stone Valley, Skabour
The first Fred Perry Shirt was worn in 1952 – an all-white shirt with a Laurel Wreath on the left side. A simple shirt with a lot of meaning. In a matter of years, the shirt had become a uniform for British youth and a highly treasured piece of clothing. “A heritage British style. Smart, but functional. If someone is wearing one you know they’ve spent a bit of money on themselves.” (Peyvand Sadeghian).
SKINHEAD REUNION BRIGHTON GIRLS BANNER
Fred Perry 70 years old
Fred Perry 70 years old
The first Fred Perry Shirt was worn in 1952 – an all-white shirt with a Laurel Wreath on the left side. A simple shirt with a lot of meaning. In a matter of years, the shirt had become a uniform for British youth and a highly treasured piece of clothing. “A heritage British style. Smart, but functional. If someone is wearing one you know they’ve spent a bit of money on themselves.” (Peyvand Sadeghian). For many, getting their first shirt was a moment to remember. Some had to wait and save weekend after weekend of pocket money for a shirt […]
The Pyramids aka Symarip are a Ska and Reggae band from the United Kingdom, originating in the early 1960s, when Frank Pitter and Michael Thomas founded the band as The Bees. The band’s name was originally spelled Simaryp, which is an approximate reversal of the word pyramids. Consisting of members of West Indian Jamaican immigrants to London, Simaryp is widely marked as the first skinhead reggae bands, to target skinheads as an audience, after playing backing band with Laurel Aitkin started to witness a growing Skinhead following. Their hits included “Skinhead Girl”, “Skinhead Jamboree” and “Skinhead Moonstomp”, the latter of […]
For many, getting their first shirt was a moment to remember. Some had to wait and save weekend after weekend of pocket money for a shirt that would become a closet staple, “It wasn’t until I was about 21 I think. I got bought one for my birthday and we made a thing of it by going to the Covent Garden shop to pick one out. To be honest it was the first and only one I had for a long time!” (Peyvand Sadeghian).
The pilgrimage to a central London shop or market with the freshest stock is as memorable for many as trying on the shirt for the first time. “I bought my first Fred Perry polo shirt in 1978, from a sports clothing store in Oxford street. At the time relatively exclusive and difficult to obtain, and a treasured item of clothing.” (Ed Silvester).
That first shirt would be worn over and over, an effortless cool ready to take on anything and look good while doing it. “I wore my Fred Perry’s until they were so worn that I pulled the entire collar off while taking it off the last time I wore it. It was only then that I really understood how much it had meant and what it had done for me. What adventures we had been on.” (Barrymore George)
Over a decade on from the original white shirt Fred Perry introduced ‘Twin Tipping’ around the collar along with new colourways. These additions allowed for more self-expression across scenes and ages. “During the mod revival years we religiously wore different coloured Fred Perry polo shirts and V-neck jumpers. I still love wearing Fred Perry polo shirts to this day, updating them every few years.” (Ed Silvester)
“Wearing my Fred Perry lifted me everytime I put them on. Like a cloth coat of armour they gave me security and a sense of belonging. They felt close and snug and warm and safe.” (Barrymore George)
Mods, Skinheads, Rude Boys and Ravers had their differences, but all were connected by being made up of working-class youths. Fashion has always been a presentation of our class place in society and the kids of the later 20th century were ready to rebel against classical ideas of clothing through subverting classic shirts like the smart polo to their own more rough and ready styles. “It’s a uniform that unites the working class and music scenes of these periods. It’s sharp and comfortable at the same time. It’s also the opposite of fast fashion and fads. It embodies strong and traditional values that are here to stay. It’s legendary.” (Catherine Laz)
Youth culture fashion has become synonymous with ripping clothes up, bleach splatters and patches, matching all of this with a crisp and clean shirt makes a statement about how deliberate your choices are, that you know you can be smart or scruffy and you know how to demand attention either way. “We used to wear them with Sta-press trousers and thin braces and DMs. Bleached jeans were fashionable at one point with skinheads, where you bleached patches on your jeans yourself. We would also wear them with pencil skirts and a jacket, with fishnet tights and brogues.” (Catherine Laz)
A Fred Perry Shirt is an iconic piece of British clothing and heritage. It has a cultural significance that young people have found fitting to represent their own journeys for status and respect, while finding unionship in those that wear it. “Fred Perry represents a long standing British and much-loved subculture clothing brand, being a constant thread winding its way through my sporting and cultural life.” (Ed Silvester).
Barrymore George
I got my first Fred Perry in 1980. In fact, I got two that day along with my first set of nice Sta Press trousers in navy blue and a red Harington jacket. One shirt was black with a yellow trim and the other was burgundy with blue trim – both had three buttons.
I got home and immediately changed into everything and the 12-year-old me set off and glided proudly up my estate road to see my mates all kicking ball in a dusty grassless field.
The game stopped for a tiny second while they gazed open mouthed and said ‘wow.’ It was just for a second but that was enough, it truly was, because my boys never ever interrupted a game of football but for me that day they did. I never looked or felt the same again.
Catherine Laz
It was the summer of 1982 on the balcony of our bedsit in Swiss Cottage. My sister is on the left and I am on the right, wearing a blue Fred Perry shirt with sky blue stripes. I had the classic bleached blond crop hair and feathers skinhead girls used to have.
We spent our days hanging around Carnaby Street and Leicester Square, the King’s Road on Saturdays, shopping at The Last Resort on Sundays (where the polo was from), and our nights going to punk/mod/skinhead gigs all over London.
We had a great time because we believed we were the centre of the world. And that is what wearing a Fred Perry shirt meant, people instantly knew you were an important part of youth culture.
Peyvand Sadeghian
This was taken in Archway, North London, at I think a Punk/Oi all dayer upstairs at the Boston Arms in the early 2000s. I can’t remember what bands were playing that day.
The photo was snapped on a lil digital camera by Chris Low who I didn’t actually know at the time although we crossed paths again years later and became mates. In trying to figure out if we’d met before he realised he had this photo!
Ed Silvester
This photo was taken in the summer of 1979, in my friend Alan Smith’s bedroom in Epping. We used to hang out there, to catch up, listen to music and talk about the next bands to see.
The Pyramids aka Symarip are a ska and reggae band from the United Kingdom, originating in the early 1960s, when Frank Pitter and Michael Thomas founded the band as The Bees. The band’s name was originally spelled Simaryp, which is an approximate reversal of the word pyramids. Consisting of members of West Indian Jamaican immigrants to London, Simaryp is widely marked as the first skinhead reggae bands, to target skinheads as an audience, after playing backing band with Laurel Aitkin started to witness a growing Skinhead following. Their hits included “Skinhead Girl”, “Skinhead Jamboree” and “Skinhead Moonstomp”, the latter of which was based on the Derrick Morgan song, “Moon Hop”. After the release of Skinhead Moonstomp album in 1970 and a sell out gig at wembley marred with teenage violence. Reggae was deemed too dangerous for the Conservative Britain of the time, so the band were sent to Europe to spread the Ska and Reggae music on the mainland. The band officially split in 1985 after releasing the album Drunk & Disorderly as The Pyramids. In April 2008, they headlined the Ska Splash Festival in Lincolnshire as Symarip, and later performed at the Endorse-It and Fordham Festivals. Since 2019 they are back and playing as The Pyramids across the world to mark 50+ years of Trojan records.
This event is to raise money for some of our girls trapped in Ukraine as the city came under attack. A few of the girls have escaped with just a bag of clothing, kids and a baby. Now homeless in mainland Europe, with an ever changing situation, we will be taking a van out to Europe directly after the event with much needed aid, size 8 girls clothes and meduim plus children and other essentials, please come to this event, have fun and do something, £10 tickets plus any donations you can do. This is very genuine i spoke to the girls as they were making their way to Romania with children and babies, they abandoned anything they couldnt carry and went by foot over the border to escape war. , bring along any donations of clothes, she asked for size 8 and medium, but all sizes will be donated to other girls. medical stuff, womens sanitary and animal supplies, everything is needed
when i spoke to Samira last week she was being bombed as she was trying to escape Kyiv with some other girls, children and babies. for four days the girls struggled to make their way to the Romainian border. Some of the girls are still missing. We have arranged accomodation in Germany for the girls temporarily and hope to get them to UK. We at Subcultz were asked to be the agent for the previous Ska band the girls had formed, but had broken up prior to the war outbreak, we now plan to work with Samira to persue her singing career with UK musicians
IF YOU WISH TO DONATE MONEY YOU CAN USE FRIENDS AND FAMILY OPTION ON PAYPAL TO SUBCULTZ@GMAIL.COM (PLEASE PUT A NOTE -(UKRAINIAN CRISIS FUND). BANK TRANSFER PLEASE EMAIL US FOR DETAILS. IF YOU WISH TO DONATE CLOTHING MEDICAL, WOMENS AND BABIES PRODUCTS, ANIMAL FOOD PLEASE EMAIL SUBCULTZ@GMAIL.COM AND WE WILL LET YOU KNOW A COLLECTION DELIVERY POINT. ONCE THE VAN IS FULL WE LEAVE. PLEASE DROP PARCELS TO 131 VALLEY ROAD , PORTSLADE BN412TN IF YOU ARE IN UK. EUROPEAN PICK UP POINTS TO BE CONFIRMED
The girls and children sheltering under a road bridge from Russian bombers during the invasion of Kyiv
Some of the girls are still missing in Ukraine
This is the items badly needed, having spoken the Red Cross
Canned food – Pot noodles – Powder soup – Baby food – Nappies – Sanitary Products – Soap, toothbrushes and toothpaste – Power Banks and batteries – Small compact sleeping bags – PPE (overall, goggles, gloves, etc) – First Aid Kits. Women and childrens clothing, small toys, sweets, pushchairs, shampoos.
Please bring any of these items to our fundraising event or post/deliver to
Angie Larter 131 Valley Road, Portslade, Brighton, BN41 2TN
Symarip (also known at various stages of their career as The Bees, The Pyramids, Seven Letters and Zubaba) were a British ska and reggaeband, originating in the late 1960s, when Frank Pitter and Michael Thomas founded the band as The Bees. The band’s name was originally spelled Simaryp, which is an approximate reversal of the word pyramids. Consisting of members from West Indies , Home of the legends of Jamaican Reggae Simaryp is widely marked as one of the first skinhead reggae bands, being one of the first to target skinheads as an audience. Their hits included “Skinhead Girl”, “Skinhead Jamboree” and “Skinhead Moonstomp“, the latter based on the Derrick Morgan song, “Moon Hop“.[2]
Symarip Pyramid Ltd edition 7″ Vinyl released on Subcultz Records
Landing as young immigrants into London from Jamaica in 1962 joining into the growing South London Reggae culture, spearheading the blending of black migrant and white London youth. Mods being the subculture of the time who followed RnB American Modern Jazz before the Skinheads replaced them towards the late 60’s, the band formed as the Bees to back leading singers Prince Buster and Laural Aitkin
Releasing the first and only pure Skinhead Reggae concept album Skinhead Moonstomp in 1970 with Trojan records
Skinhead Moonstomp Released on Trojan Records 1970.
They moved to Germany in 1971, performing reggae and Afro-rock under the name Zubaba. In 1980, the single “Skinhead Moonstomp” was re-issued in the wake of the 2 Tone craze, hitting No. 54 on the UK Singles Chart. The band officially split in 1985 after releasing the album Drunk & Disorderly as The Pyramids. The album was released by Ariola Records and was produced by Stevie B.
Pitter and Ellis moved back to England, where Ellis continued performing as a solo artist, sometimes using the stage name ‘Mr. Symarip’. Mike Thomas met a Finnish woman while living in Switzerland and relocated to Finland doing the groundwork for the Finnish reggae culture through his band ‘Mike T. Saganor’. Monty Neysmith moved to the United States, where he toured as a solo artist.
In 2004, Trojan Records released a best of album including a new single by Neysmith and Ellis, “Back From the Moon”. In 2005, Neysmith and Ellis performed together at Club Ska in England, and a recording of the concert was released on Moon Ska Records as Symarip – Live at Club Ska. In April 2008, they headlined the Ska Splash Festival in Lincolnshire as Symarip, and later performed at the Endorse-It and Fordham Festivals. Pitter and Thomas now perform in a different band as Symarip Pyramid. Their Back From The Moon Tour 2008–2009 was with The Pioneers. In 2009, to celebrate the rebirth of the band and the reunion of the two original members, Trojan Records released a compilation album, Ultimate Collection. Pitter holds all copyright and trademark rights for the name ‘Symarip Pyramid’.
To book the band and any further information subcultz@gmail.com
Skinheads streaming out of Camden Town underground tonight look hard and they know it. The crop is the style, but it can also be the weapon: it’ll nut you if you look too long or you don’t step out of the way, if you’re wearing the wrong uniform or follow the wrong team. Outside the Electric Ballroom four Special Patrol Group men stand staring at the line of skinheads waiting to pay £3.00 to see UB40, staring at the anti-fashion parade.
The smart look is sta-press trousers, Ben Sherman shirts and polished Dr Martens. The tougher look is a short-sleeved shirt displaying the tattoos, bleached Levis with the braces hanging loose round the legs. The real hard cases have tattoos on their faces. One has a small cross on each cheek. Most of the girl skins look really young, about 13, and are dressed like the boys in shirts, jeans and boots. But some wear short skirts, like one black skinhead girl who’s got brown monkey boots over black fishnet tights.
The police point and giggle at all the girls in mini-skirts. Now and again they try to show who the real tough guys are by frogmarching the odd skinhead to the back of the queue.
Skins: the image is white convict, the music is black. (Remember Norman Mailer’s article on the cult of hip, ‘The white Negro’?) Groups like UB40 – the name comes from the DHSS code for the unemployed – are now called two-tone because they put black and white musicians together to play ska, an early form of reggae coming out of Jamaica, and popular with the first wave of British skinheads in the 1960s.
It is not just skinheads who are into two-tone. Punks, Rastas, rude boys (skins in mohair suits), and a few long-hairs, are here too. But inside the Electric Ballroom, this huge and airless hall, it’s the skinheads who make the atmosphere charged . . . . There’s a loud crack and heads turn. But it’s just a skin who’s finished his can of Coke and smashed it on the floor.
A skinhead tries to make an art form out of machismo. He walks chin out military style, with a duck-splayed swagger. He sucks hard on his cigarette, chews his gum with a vengeance. He doesn’t smile too much, unless he’s with his mates at the bar. The only time a skin looks somehow vulnerable is when he’s dancing – never with a girl, always either alone or with other skins – with his eyes half-closed, dipping his shoulders rhythmically. Skinheads are great dancers.
‘It’s just fashion, innit?’ says a 16-year-old from South London, watching his mate zap the Space Invaders in the bar, rocking gently to the reggae of Reality, the warm-up band. Two girls – one has MINI-SKIN N4 DODGER painted on the back of her army-green jacket – run full-tilt through the bar; scant regard for drink or bodies. Skin girls aim to be as street-tough as the boys. They strut to the front of the queue at the women’s toilets. No one complains.
Although skin boys don’t hang out with the skin girls, every now and again a boy will just waltz up to a girl, kiss her violently for a couple of minutes, before moving off wordlessly. Girls are okay for kissing and fucking, but you don’t talk to them, not in public anyhow. These boys, with their POW haircuts and markings, their enamel Union Jack badges, their polished boots – these boys don’t get too upset if they’re taken for fascists. Fascism is a laugh.
A boy in a red Fred Perry tennis shirt greets his friend with a Nazi salute, grinning. Another skinhead wandering round the bar has WHITE POWER written in blue on his T-shirt. A black roadie for UB40 stops and scowls at him, but the white supremacist ignores the challenge, walks on by.
At 10.30, UB40 come on stage and there’s a rush from the bars as the skins make for the front of the hall. Two Rastafarians and six whites in this band. ‘This is one of our Rock Against Thatcher numbers,’ says the frontman. A few half-hearted cheers. ‘Are there only 50 people here into Rock Against Thatcher?’ He gets a bigger cheer. A drunk skinhead staggers through the packed dance floor, trying to kick the guy running away from him, before giving up the chase and collapsing on the floor. Everyone ignores him. Be cool.
The final encore over, the lights come on, and the plastic pint pots are ceremoniously crunched. West Ham skins sing ‘Wembley’ (pronounced Wemballee) on their way out, throwing down the gauntlet to the Arsenal.
It’s not picked up. It’s been a quiet night, after all. Police are back on duty outside as the dancers spill out, dripping with sweat this warm night, and traipse down the street for the underground train home. Home to their parents, most of them, though there is one last pleasure to be squeezed out the night: to chant and sing and look tough on the tube. Scaring the straights is half the fun.
It always has been. Seat-slashing Teds, mass-rioting mods and rockers, football thugs, skinheads, drug-taking hippies, foul-mouthed punks . . . Sub-editors write headlines, politicians fire moralism from the hip, youth movements come and go.
Skinhead first arrived in the late 1960s. It was a sort of male working-class backlash against mods grown too narcissistic, effeminate and arty. Football fans discovered a style. I remember 4,000 Manchester United skinheads on the terraces at Elland Road, Leeds, in 1968. They all wore bleached Levis, Dr Martens, a short scarf tied cravat-style, cropped hair. They looked like an army and, after the game, went into action like one.
Skinheads never really disappeared from the football terraces. But the clothes, like skinhead music (soul, ska, home-grown rabble-rousers like Slade), went out of fashion, until the punk movement turned style inside out, starting in late 1976. A new generation of skins started following the band called Sham ’69. ‘If punks are about anarchy, then skinheads are the most anarchist going,’ Jimmy Pursey, the band’s frontman, once told me in his Hersham flat, above a bookie’s. ‘They fight, run riot, don’t give a fuck about anything.’ Pursey withdrew from the Rock Against Racism carnival in Brixton later that year because he feared that his supporters might smash the whole thing up. Sham ’69 folded the next year.
Mark Dumsday never liked Sham ’69 anyway. He has been a skinhead for two years, he is 18, and moved to London a years ago after working on a fairground in Southend, his home town. He now lives in a short-life ex-council flat in King’s Cross. He gets £23 a week from social security.
It’s five in the afternoon. We’re sitting in front of a black and white portable TV, here in the living room of this fourth-floor flat in Midhope House. Mark says he usually gets up around two, watches television, then goes out for a drink, or to a gig, or whatever. His father is a welder. His mother works for Avon cosmetics.
‘When I was at home,’ he says, ‘I didn’t get on very well with them. Now it’s sweet. All right now. They don’t mind me being a skin. They quite like it, like the haircut, think it’s tidy.’ He’s looking at the TV. Shots of bikini-clad women on Caribbean beaches. The Eversun commercial.
Why did Mark first get his crop? ‘I dunno. I used to hang around with bikers, the Southend Hell’s Angels. In August ’78, when I came off the fair, I had a crop. It was something different at the time. At Southend there was only about ten of us. Now there’s loads of ’em.’
The tattoo on his right arm is a caricature of a skinhead. ‘Most skins have got this one,’ he says, pointing to it. ‘Or a lot of the BM [British Movement] skins have got the phoenix bird.’ Pictures of Debbie Harry and Olivia Newton-John on one wall, and of the West Indian reggae artist, Peter Tosh, smoking a joint on another. ‘Yeah, I like a blow. I don’t know any skinheads who don’t.’
He left school at 16 without taking any exams. ‘I was hardly ever there. Used to bunk off all the time.’ He’s thought about getting a job as a despatch rider, but he’s happy enough on the dole. He has no girl friend. ‘I don’t bother going out with them,’ he grins. I ask him why it is that skinheads always hang out in all-male groups. Is it that they don’t know how to talk to girls? ‘That’s rubbish,’ he says. ‘Anyone can pick up a bird. Anybody.’ But Mark has never picked up a skin girl. ‘I think a girl with a crop looks silly.’
Skinhead isn’t fashion, he says; but he’s not sure what it is at all. What does he get out of it? ‘Not a lot.’ Two young Glaswegian women, both with dyed blonde hair and one of them tattooed, arrive with shopping bags. ‘They’re just staying here,’ says Mark. ‘Ain’t got nowhere else to go . . . ‘ No, the only thing that’s kept skinheads going is it’s not commercial, like punk was and mods are. I want to stay one till I’m 21.’ Why? ‘Dunno. Stuck it out two years. Might as well make it five. If I quit, I’ll probably turn biker.’
A lot of the skins who used to live on this estate are now inside, but Mark has stayed pretty clean. ‘I only have one offence against me. For possession.’ Of drugs, that is – ‘speed’, amphetamines. ‘I’ll have it occasionally, not very often. A lot of skins are into glue, but I’ve never done that. If you can’t afford the right stuff, don’t do that.’ The television picture distorts. Mark gets up, fiddles around with the aerial, which is stuck in the grille of a gas fire. One of the Glaswegians notices a mark on the back of his head. She asks him what it is. ‘Scar,’ he says. A woman on the box, now in focus, reckons the boa constrictors are very popular pets now. Mark sits down again.
Life here, the way he tells it, is one long struggle against the law. ‘The Old Bill were up here the other night. Took me curtains away to analyse them. Went right through the place. They went downstairs and asked this geezer, “Is that bloke upstairs a nutter?”
A prostitute who lived on this estate was murdered. Most of her body was found in Epping Forest; police expected to find the rest here, in Midhope House. ‘The cop was saying, “You did it, didn’t you? I think you done it.” I just laughed.’ Mark says he did know the prostitute. ‘Didn’t like her either.’ A sudden strong smell of varnish as the two women start painting their nails.
‘Yeah,’ Mark continues. ‘You do get a lot of aggravation from the Old Bill. In Southend I’ve been nicked twice for things I never done. My mate kicked in a rockabilly and I got put in a cell for 24 hours for that . . . and here they just stop you on the street, RO you. Give it all out on the radio. See if they’ve got warrants out for your arrest.
‘I’ve been beaten up the Old Bill. There was me and another guy, me mate, he ran away. They took me home, found a starting pistol. Then they got me in the back of the car. Twisting my neck and punching my mouth. Bastards they are . . . and you get a lot of DS [drug squad] at gigs. Round here the DS are easy to spot, just old geezers. But at gigs some of ’em are really young. I was at Dingwalls [also in Camden Town] the other night and suddenly the DS was all around us.’
Mark, the letters of his name tattooed on his four fingers, flicks a hand over his crop, asks me if I want a cup of tea? Skinhead crops come in four categories, from grade one to grade four. Mark’s is grade one, the shortest. He has to get it cut every three weeks.
Over the tea Mark says he has no time for mods (‘just a load of wimps’), Teds, rockabillies or Asians. Why Asians? ‘I don’t like Pakis and I don’t know any skinheads who do. Pakis just don’t mix. You’ll see one of them,’ he points to the Peter Tosh poster, ‘with a white man. Never see a Paki with one. Paki-bashing is all part of the cult anyway.’
There is an Asian band in south London called Alien Kulture who take gangs of Asian youth with them wherever they play. Mark had said he thought ‘niggers are okay, I like the music.’ But he just shakes his head about Alien Kulture: ‘I don’t think they’ll last. I don’t think they’ll last five minutes. A Paki band? I never heard of such a thing.’
Tonight Mark is going to see Madness, the all-white ska band, at the Lyceum. Madness are darlings of the British Movement and National Front skins: somebody’s going to get hurt tonight. Mark himself says he isn’t into fascism, and he isn’t into violence. ‘I don’t fight unless someone provokes me.’ But what is it then that provokes skins to punch, kick, nut and razor? ‘It’s just the cult. Skins are trouble, aggro, Paki-bashing, the lot. The cult is trouble.’
Choose your own cult and live inside it. Skinhead is trouble. The cult is big in London, Birmingham, Liverpool, Manchester. In Glasgow and Belfast, punk is still the biggest youth movement. In the country as a whole, the ‘heavy metal’ revival is in the ascendant (loud rock from the likes of Saxon, Iron Maiden, Def Leppard). No one is really too sure what is happening in the youth culture. Fascist skins, left-wing skins, and yet more skins who just like the clothes and the music? A psychedelia revivial, a rhythm-and-blues revival? Black skins and white rude boys? Asian rock bands?
I take a train up to Bradford. Bad Manners are playing at the university. Bad Manners are from Stoke Newington. All white apart from the drummer, they say they got to know ska sounds hanging out in the local black clubs. The lead singer, Doug, has been a skinhead since the first time round, in 1968. ‘I’m the leader,’ he says, elongating the vowels to fake dumbness. ‘I’m the one who encourages all the violence at the gigs. I think you haven’t had a good gig unless you’ve had a good punch-up’. He smacks his ample fist into his palm and laughs.
The accent, like the clothing, is constructed from the cartoon worker, the Jak navvie. Skinhead style takes the bourgeois caricature of its class (dumb and violent) and makes it yet more extreme. Shave off the hair to emphasise brainlessness and criminality, make the head ugly and lumpen. Wear boots to emphasise drudgery and violence. A donkey jacket, like the one that Doug wear on stage, completes the look.
Active in a housing co-op in Stoke Newington, Doug is smart all right, he knows all about the parody and he has no time for racist gig-wreckers, but what can he do except make jokes about it? Trapped by his chosen style, the farthest he can go is to say, ‘Well, anyone who votes NF, they’re not too clever.’
The band are changing and tuning up in a lecture room. The tables are littered with empty bottles of Stella Artois, the remains of pasties. ‘I’m tough, I’m rough’, shouts out one of the band, sub-Clint Eastwood. ‘I’m mean, I’m clean’, screams someone else.
The boys from Stoke Newington, living on £25 a week and touring the country, are having a good time. After an American football-style huddle they rush out to play. No violence, of course, at a college gig. Bradford seems a lot further than 200 miles from London where, the next day, I have an appointment with the National Front.
I ring the bell and the front door is opened cagily by a fat man with greased back hair and an army-surplus jumper. Joe Pearce, the organiser for the Young National Front, and editor of their magazine, Bulldog, shows up. He looks every inch like a college boy, which he was till he was forced to abandon his course on polymer technology at the South Bank poly. His medium-length brown hair is well groomed. He wears a green car-coat and beige flares. He says he’s told the NF skins to meet us down at the pub. We live Excalibur House, the National Front’s Shoreditch headquarters.
Proud of the Front’s impact in the youth culture, Joe Pearce boasts of widespread support among heavy metal fans and mods, as well as skins. ‘Like the mod movement in the East End is NF. There’s a link between the glory boys and the NF, the gang that used to follow Secret Affair and now follows the Cockney Rejects. They’re the ones that have mod tattooed in the inside if their lip.’
The first skin to arrive is Gary Munford from Ealing YNF. He was first a skinhead in 1970, when he was twelve. Since then, he’s been a suedehead and a soul-boy. ‘I used to go down the discos, wear pegs and American bowling shirts. It was such a posy scene. I was spending about £30 a week on clothes. And then there was all the niggers at the discos and white slags hanging about with them.’
The few black people in this bar start finishing off their drinks. Another crophead sits down at the table. He’s wearing an army-camouflage flying jacket. I ask him what he does for a living? ‘Demolition,’ he says, with a mechanical chuckle. His name is Alex Barbour.
The recent National Front march in Lewisham was 80 per cent skinhead. What’s happened to the older support? ‘More important you have the young support. Look at the police running away, like they did at Bristol. Older people aren’t prepared to take that violence. Young people have got the bottle to go out there and . . . ‘ Gary Munford clenches his fist, adorned with punching rings.
‘If there’s going to be a ruck, skins’ll be the first ones in, they’ll steam in. Except I do disagree with them going down to Brighton and Southend and beating the shit out of each other, when they could be beating shit out of more constructive people, mentioning no names.’ His friends laugh.
Tony Duck and Rita Hope, from Haringey YNF branch, finally turns up. He is an unemployed electrician, and she works at Swan and Edgar on Piccadilly. He thinks a lot of recent skin converts are ‘just a bunch of wallies who’ve learnt how to chant Sieg Geil at gigs. They’re the sort of people who’ll grow their hair and start going round with blacks again.’ Tony says that, in his branch, there are two full paid-up black members. ‘It’s because they really want to go home.’
Gary Munford says his girl friend is in the Front. ‘She;s been on marches with me. But a lot of the time the blokes tell the birds not to come. There’s gonna be a riot.’
‘Half of us can look after ourselves just as good as you lot anyway,’ says Rita Hope. Even here, in the backwoods of the NF, some cracked reflection of a women’s movement: a woman’s right to ruck.
Jeering at this notion of physical equality, Gary Munford recalls a time he arrived at a march with 14 skins, to find 200 Anti-Nazis blocking their path: ‘We got all the girls behind us, said keep walking, then just ran at them shouting, “White youth unite.” They all just turned and ran. Whatever anyone says, our blokes have got more bottle.’
‘The birds of the reds are worst,’ says Rita Hope.
There is a vicious feel to those East End streets, where all the white boys are skins, which is absent in Somers Town: the small triangle between St Pancras, Euston and Camden. There is no reason to go through Somers Town, unless you happen to live in one of those blocks of council flats that comprise the neighbourhood. At around a quarter to four, boys are pouring out of the local school, Sir William Collins, an all-boy comprehensive. The blacks walk home with the blacks, the whites with the whites. Two white skins, Andy Sophocleous and Steve Rawlinson, both 13, say that out of 165 boys in their year, about 70 are skins. They reckon the school is all right: ‘Same as all schools really. Some parts you like, and some you don’t.’ What is it they don’t? ‘Some of the teachers. Some of ’em are grumpy. Don’t let you have any fun in class. Kids work best if you can have a laugh, too.’
The Great Skinhead Reunion annual event in Brighton
Andy is carrying a school-supplied acoustic guitar. ‘I want to be in a band when I’m a bit older.’ I ask him what his parents said about him becoming a skin? ‘Well,’ he pauses. ‘I walked in after my first crop. and my Dad goes, “Oh, what? You think you’re a trouble-maker now?” And our teacher, Mr Malinson, he sort of goes to me and him,’ pointing to Steve, “‘If I saw you two on the street, if I was a cop, I’d pick you up before two normal kids.” For sus, like. People can get the wrong idea because of the hair.’
‘My mum don’t like it,’ Steve says. ‘Thinks you’re going out just for trouble . . . Best ti be normal if you think about it. Then you don’t get beaten up by no one.’ Steve and Andy aim to keep out of trouble. That’s why they don’t go to gigs. ‘There’s trouble on the train. They won’t let you on ‘cos they think you’ll vandalise everything. On buses they can make you sit downstairs.’
Moved on, stopped, questioned, denied entrance – skinheads these boys reckon, have a lot to put up with. ‘Yeah, they get a hard time, especially from the police, and quite a few teachers. One teacher suspended a skin. He had a swastika shaved into his head. I think that’s bad as well,’ Andy says. ‘I think he should have gone home. He would have got into a lot of trouble with the coloured kids, anyway. He would’ve got beaten up. The school’s roughly half and half, a few more whites . . . ‘
They’re getting a bit fidgety. It’s 4.20 and the football is on, live from Rome, at 4.30.
Down through Somers Town, over the Euston Road (a territorial divide for the gangs round here), and again on into King’s Cross. Just down the road from the Midhope House, where Mark Dumsday lives, is a youth club called the Tonbridge Club. Open 6 to 10, six days a week, it’s the hang-out for local kids too young or too poor to go drinking and dancing. They come here to play table tennis, snooker and pinball, listen to records. Most of the boys here, too, are skinheads. One of them, Michael, tells me he’s up in court next week for not going to school. He’s 15. Why did he get a crop? ‘Dunno. Just like the music, reggae and ska. And I’m into me own band, play bass. Get the name of the band down. It’s called Youth Cult.’
Another skin, Eric McQueen, takes Bob Marley off the turntable and puts on the Sex Pistols single, Anarchy in the UK. Eric is living in a hostel for juvenile delinquents in Westbourne Grove. ‘Well, it started at primary school, see,’ he says. ‘I used to fight all the time. I went to a hostel in Chapel Market and then they put me in Stratford House, a remand home, for six months. From there I went to a community house. Spent a year there, and then I got a job. I’ve had seven jobs since I left school, in shops, factories, decorating, everything.’
And what’s the idea of this place he’s in now? ‘Sort your life out,’ he smiles. ‘It’s all right. Ain’t got many rules, except you got to be in by 12 on Saturdays.’ Eric is 18. He has only had his crop, which is dyed blond, for two months.
Eric tells a couple of young girls who’ve sidled up that he gets about £8 a day from his social worker. They look impressed. I ask him how he got the scar on his left ear? ‘Some nutter.’
Hugh Byrne, who’s also 18, has a crop which is starting to grow out. He’s out of work. ‘He’s a good artist,’ says one of the girls standing by a bar which sells Kit-Kats and Coke. ‘Skinhead is just the thing round this area,’ High says, with the air of someone bored with the whole idea. ‘Used to be a lot of mods round here too, ‘cos the star of Quadrophenia, Philip Daniels, used to live round here. Half the skins round here used to be punks or mods.’
One local skin gang, about 40 strong, have recently given it all up, Hugh says.’They’ve all changed to normal ‘cos they were always getting picked on and that. I used to get picked up by the Old Bill a lot.’ Is that why he’s letting his hair grow? ‘No. Not really. It’s only been two months. I can’t be bothered to get it cut.’
Post-skins. like Hugh, and his friend, Tony French, all describe themselves as having gone ‘normal’ once they’ve let their grow out. Tony French, who now looks like a King’s Road smoothie, used to be involved in all the gang feuds round here. ‘No reason,’ he says. ‘Something to do.’
Reasons? Anyone interested in reasons (for skins, for punks, for Rastas) should take a walk through the meaner city streets, then turn on the TV. ‘We want a riot.’ You must have heard the skinhead chants. ‘We are evil.’ The straight world, the Rastas call it Babylon, is threatened with style: a sneer, a strut, a beat that has soul . . .
The teenagers at the Tonbridge Club start drifting off home at around nine. Youth Cult are playing London Calling down in the basement.
Event promoter, band manager and actor banned from facebook.
Since yesterday morning 8/6/2020 a mass of Facebook profiles have been taken down. This seems to be based on the keyword, as it has nothing to do with any personal views on the current protest movements, as this includes Jamaican musicians within the Skinhead subculture, a young mother living in Brazil Favela, event promoters in UK, Germany, band members, tattooists, people of all ages and backgrounds right across the world.
Facebook has no customer service number or ways to contact them, but have all our personal data stored. Many people have become reliant on the platform for their businesses, personal diaries, addressbook and many more things. This is a serious infringement by the corporation
Among those names pulled down are Jamaican legend Monty Neysmith. 2tone artist of the Specials Neville Staple. Skinhead Reunion promoter and ex manager of Xray SpexSymond Lawes.
Isabelle Pradel Skinhead Girl, Sao Paulo Brazil banned from Facebook
Instagram is awash with people banned from Facebook
Instagram is full of people talking about losing their facebook profiles
Skinhead subculture started out as the first youth culture to bring jamaican youth and white British youth together in the mid 1960’s The favourite music of the time being ska reggae. In 1979 2tone then blended punk and reggae together to create the biggest boom of skinheads. Since then right wing groups have tried and failed to recruit. as the years have progressed the skinhead subculture is overwhelmingly a multi racial subculture spread as far away as South America and Indonesia which brings people of all backgrounds together. An example is the Sao Paulo scooter scene
Skinheads in Sao Paulo Brazil
15/06/20 Update. Although most accounts were restored within a few days, some are still banned. Symond Lawes has another full month ban for no apparent reason, he shared a BBC published photo of a protest, which included no hate speech
ONCE AGAIN AMERICAN MEDIA AND CORPORATIONS TAR US ALL WITH THE SAME BRUSH Hundreds of anti-racist skinheads are reporting that Facebook has purged their accounts for allegedly violating its community standards. This week, members of ska, reggae, and SHARP (Skinheads Against Racial Prejudice) communities that oppose white supremacy are accusing the platform of wrongfully targeting them. Many believe that.
Facebook has mistakenly conflated their subculture with neo-Nazi groups because of the term “skinhead.” The suspensions occurred days after Facebook removed 200 accounts connected to white supremacist groups and as Mark Zuckerberg continues to be scrutinized for his selective moderation of hate speech. “We apologize to those affected by this issue,” a Facebook spokesperson told OneZero following the publication of our report. “These accounts were removed in error and have been reinstated. We are reviewing what happened in this case and are taking steps to ensure it doesn’t happen again.” It’s unclear exactly how many accounts and Pages were disabled. British journalist Garry Bushell, who is also a musician and former manager of the punk band Cockney Rejects, tweeted on Monday that hundreds of Facebook profiles in the United Kingdom were taken down. On Reddit, members of the punk subreddit complained of a “Facebook Skinhead/Punk/Oi Mega-Ban,” theorizing that simply liking or following SHARP and other non-racist skinhead Facebook pages caused people to be locked out of their accounts. On Twitter, dozens if not hundreds of people reported the same — from users in the U.K., United States, Canada, Brazil, Chile, and Costa Rica. Since the subculture intersects with various music scenes, bands and musicians were affected as well. That includes Neville Staple, Jamaica-born frontman of the well-known ska band The Specials. Staple has been referred to as the “original rude boy,” and is known for his legacy in the 2-tone ska community — a diverse musical genre with roots in Jamaica. “Please look into things before doing a general cull,” Staple tweeted on Tuesday. Staple regularly performs live music sets on Facebook, according to The Sun. (Facebook told OneZero on Wednesday that it has restored access to Staple’s personal account.) Skinhead subculture emerged in 1960s working-class London, and has witnessed numerous waves and movements. There is no doubt that whiteness, racism, and fascism are associated with skinheads, and it is a fact that heinous acts of violence and murder have been committed by racists who associate with the subculture. At the same time, the Southern Poverty Law Center notes that “skinhead style first emerged as part of a non-racist and multiracial scene” and shares its DNA with ska, dancehall, and reggae — a heritage to which bands like The Specials are a testimony. Skinheads owe their heritage to Jamaican music traditions, and the subculture’s later adoption by white supremacists is viewed as antithetical to its origins. As such, there are two distinct skinhead subcultures alive today. The account of Clara Byrne, singer of Brighton hard reggae band Dakka Skanks and a musician of color, was also temporarily disabled. Byrne’s most recent Facebook posts support Black Lives Matter and the uprisings against police brutality. “The irony of banning [individuals such as Staple] on the grounds of suspected right-wing or racist promotion or support is particularly galling, and shows a complete lack of knowledge (and understanding) of British music in general, especially the multicultural 2-Tone movement,” said Guy Shankland, a British journalist at music magazine Vive Le Rock whose Facebook account was also disabled for 24 hours on Tuesday. Facebook notified people that their accounts were disabled in a vague message, which OneZero reviewed. “You can’t use Facebook because your account, or activity on it, doesn’t follow our Community Standards,” it said. Several people told OneZero that Facebook asked them to confirm their identities. In a separate message, Facebook said, “To help us check that this account belongs to you, we need a photo of your official ID.” In May, the company announced that it would begin checking the identities of accounts suspected of “inauthentic behavior,” which encompasses a host of violations such as harassment, using a fake account, and artificially promoting content. “They wanted to see my ID before they would give me my account back,” said James of Brighton, England. “I refused — I don’t want Facebook having my driving license on file — and I consider myself apolitical within the skinhead scene, but overall I’m avidly anti-racist and so are my friends.” However, some users report their accounts were reinstated without such verification. Andy Laidlaw, a member of Edinburgh ska bandBig Fat Panda said his account was disabled on Monday and subsequently reinstated without him providing identification. (Though he did receive Facebook’s prompt to submit a form of ID.) “I’ve always been a fan of Facebook, but if there is no explanation I will definitely use it less,” Laidlaw said. “I still think [the ban] is to do with the term ‘skinhead.’ But not all skinheads are racist. Quite the opposite for the majority.” Some of those impacted said they were relatively unbothered by the suspensions. “As far as I’m concerned, it was a mild inconvenience and most people I know took it in stride and were joking about it after,” said Montreal musician Karl St-Pierre, who recently began fundraising for the DESTA Black Youth Network. “Compared to all of the events unfolding in North America and beyond right now, let’s just say having your Facebook disabled by mistake is of much less importance, y’know?” Still, the suspensions speak to the fraught moment Facebook now finds itself in. Last Friday, the company removed 200 accounts reportedly linked to the Proud Boys and American Guard, which are white supremacy groups. Facebook said these accounts intended to ambush protests against the police murder of George Floyd. Earlier in the week, Facebook also removed “a handful” of accounts affiliated with Identity Evropa, another white supremacy group, for creating fake Antifa Twitter accounts. The company’s content moderation system is notoriously porous, so it’s unclear whether, in an effort to scrub bad actors, it failed to distinguish the subcultures. “I’m in skinhead Facebook groups because I share a love of Jamaican ska, reggae, and 2-tone music, however, the admin are pretty quick on stopping political conversations or anyone being hateful from what I’ve seen,” an individual whose account was removed by Facebook, and who requested to remain anonymous, told OneZero. “I think what Facebook has done is try to get rid of racists (which I absolutely agree with), but gotten rid of good people because we like similar music.” This person also noted that, in recent days, they had posted support for Black Lives Matter on Facebook. Black Facebook users have previously accused the platform of deleting posts that discuss racism and locking their accounts what it incorrectly deems hate speech. On Tuesday, a private skinhead Facebook Group with nearly 11,000 members changed its name to no longer contain the term “skinhead.” An admin of the group said in a post that the change is temporary, and is a response to Facebook’s mass suspension of accounts. Even Facebook users who do not identify as anti-racist skinheads, but are affiliated with the music scene, say they were affected. “It does seem that the ones who were disabled were all fans of the 2-tone/ska movement and on skinhead pages,” said Andy Davarias of Sutton, Surrey. “I myself am not a skinhead but I do love the culture and the music.” Civil liberties groups like Southern Poverty Law Center define “racist skinheads” as a “frequently violent and criminal subculture… typically imbued with neo-Nazi beliefs.” They are separate, however, from the SHARP community or anti-racist skinheads who staunchly disavow white supremacist beliefs. “If you look deep enough, you will find Facebook sites dedicated to [neo-Nazi] bands such as Skrewdriver, and some right-wing supporters still follow the 2-Tone, punk, and Trojan [Records] bands across social media, and still attend gigs,” said Shankland. “The ironic double standards of loving Jamaican ska while hating the very people who gave it to us still makes my skull spin.” “We consider ourselves to have a different approach to what we term ‘Boneheads’ who seem to love extremist right-wing views,” said Essex DJ Pete Lacey, who is part of the SHARP community. “Racism is abhorrent to the skinhead culture.”
One of the biggest skinhead scenes now is in Bogota Colombia
The 47-year-old director – who previously helmed the 2006 film and its TV spin-offs – has revealed he’s eager to return to the series with a new instalment, set around the turn of the millennium.
Speaking to Andrew Shim – who played Milky in the series – in his Shimmy’s Corona Diaries YouTube series, Meadows shared: “I don’t know when but I’ve got This Is England ’00 in my head, the millennium one, because I sort of thought it would be nice, because when did we shoot the last one? Was it 2015, 2016?
“So, you’re obviously five years away and I don’t massively want to copy the film ideas, but if I went back I’d love to do a millennium one.”
Meanwhile, Stephen Graham – who famously played the fearsome Combo in the franchise – has turned his hand to comedy in new Sky One sitcom Code 404, but admitted he wasn’t sure if he could pull it off.
Speaking during a special junket from lockdown he revealed: “At first, I was quite nervous, actually.
“I said to Danny [Mays], ‘I can’t do this mate, I don’t really know what to do here’. And he was great with me because he’s such a generous actor anyway and a lovely fella. He was like, just do what you do, play it normally… just find the truth in it. I was like, ‘Okay’. And then that’s when I kind of found my place in it.”
Stephen Graham also recently took part in an interview with The Chris Moyles Show and let Pippa show off her best Scouse accent:Pippa shows Stephen Graham her questionable scouse accent!Watch Pippa in action here.Share
It is a massive pleasure & honour to feature an interview with English actor, director, producer and musician Gary Shail on “Mods Of Your generation”. Best known for his role as “Spider” in the iconic cult movie Quadrophenia that many of us still admire and talk about today. This year (2019) marks the 40th anniversary of the film which is a massive milestone for everyone involved. The fact that its still talked about today makes it even all the more great. Gary is a great guy who has attended a lot of events over the years in aid to raise money for charity. We asked Gary about his own event coming up called QUAD 40 and about his career and experiences filming Quadrophenia & Jack the Ripper. We also discussed his book “ I think I’m on the guest list” published in 2015 and his Christmas song “ Modding up my Christmas list ” (2017) and more. Gary has done a variety of interviews throughout the years so it was difficult to ask him questions that he hadn’t been asked before, however I hope you enjoy the interview as much as we enjoyed asking the questions. Make sure not to miss out on the anniversary celebration of the movie on Brighton Pier August 25th 2019 for more information go to www.quad40.co.uk#ModsOfYourGeneration
(1) I have heard you are a huge fan of the Regents a four-piece band based in Essex heavily influenced by the original mod spirt of 1964. Are there any other new bands influenced by the mod scene who you are also a fan of? Yes I’m a big fan of ‘The Regents.’ I’ve known Sea Jays the lead singer since he was 16yrs old and he definitely has the right attitude. Mind you, he has always had the right attitude! Another young band I am really impressed with are ‘The Lapels’ who I saw play in Derby at a MOTM event the year before last. They completely blew the roof off the place, and nobody wanted to go on after them! The drummer was only 14yrs old at the time I think, and I watched them play with his mum! (2) You were just 18 when you were cast to play spider in Quadrophenia. I am sure you have been asked this many times before but did you think Quadrophenia would become the phenomenon it is today at the time of filming. Of course I didn’t know that I’d still be being asked questions about a film I was in 40yrs ago, but, I think we all knew at the time that it was definitely something special (3) On Christmas 2017 you released a song called “Modding up your Christmas list” to become number one. Have you any plans to do this again in the future. “Very catchy tune by the way LOVED IT” HAHAHAHA..My Mod Xmas Song? Well, I actually got a hell of a lot of flak for doing that by certain people who shall remain permanently nameless. But it was great fun to do, and a lot of people loved it, especially the kids. I had people sending me videos of their children doing dance routines in their living rooms, which was brilliant! But no, I don’t think I’ll be the next Cliff Richard.
Modding Up My Christmas List- 2017 (Official Video) (4) You have been involved in many MOD and Quadrophenia events over the years. Is this something you enjoy being part of and do you have any memorable moments from any of the events that stand out. Yes I do enjoy all the events I get asked to. Over the years I must have met thousands of people who love Quadrophenia, and it’s always a great feeling when my presence can actually help to raise money for a worthy cause. Some of the funniest memories I have are probably un-printable, but trying to get a kebab in Stoke at three in the morning with Alan May (The Glory Boy Radio Show) doing Withnail & I impersonations sticks firmly in my memory! (5) Your character in Quadrophenia had many memorable quotes in the film. What is the one that fans mention the most? Always the one about getting a gun! (6) Your book “I think I’m on the guest list” published by New Haven publishing LTD in 2015 was highly regarded and recommended. I found the book to be a very funny memoir of your life and the extraordinary people you have worked with and met throughout your career. Can your briefly describe the book to someone who has not yet read it. The book was actually written because of Gary Holton (The Rocker who beats Spider up) Gary and I became really good mates after Quadrophenia, and actually formed a band together called ‘The Actors.’ But when Gary sadly died in 1985 I never spoke to the press or anyone else for that matter about it. Then I was contacted 30yrs later by someone who was writing a book about him and wanted a contribution from me. I wanted to put the record straight about a few things, so I agreed. The publishers of the book loved what I’d written, so I was offered a publishing deal for my own story. I thought I’d better do it myself before I was dead and some other twat was ‘putting things straight’ about me! It’s certainly not your average autobiography I think, and later on this year I will be doing an Audio Version with a soundtrack, which will be totally different to anything you’ve ever heard I hope.
(7) Many fans of Quadrophenia have expressed an interest in a follow up to the film. Is this something that you would support? or like myself do you feel it is best left alone. There has always been talk of a “follow up” But I can’t see that ever happening. It’s always interesting to hear some of the Ideas of what our characters would have been doing in later life though. I think Spider would’ve become a hit-man for Ferdy’s drugs cartel!
(8) You are a huge fan of Trojan records, what is your favourite track, album or artist under the Trojan label. Yes I grew up with the Trojan record label, and one of the first artists I remember driving my parents mad with was Desmond Dekker. But I’ve always loved reggae and had a very respectable collection of Jamaican Pre- Releases by the tender age of 13. Last November, I was proudly invited by Neville and Christine Staple to their 50th Trojan Anniversary weekend at ‘Skamouth’ In Great Yarmouth where I actually met ‘The Pioneers’ who were about 100yrs old. They could still cut it though! (9) This year (2019) marks the 40th anniversary of Quadrophenia (film). To celebrate this, you have organised, and event called Quad 40 in Brighton on the 25th of August 2019. Tell us a little bit about what to expect from the event and where fans can buy tickets. It’s actually on the 25th August Johnny! Yes I have hired Horatios Bar on Brighton Pier from 12 noon ‘till midnight on Sunday the 25th August. And I can tell you now that I never thought I had this much bottle to actually try and pull something like this off. It’s a logistical fu**ing nightmare, but I’m actually really enjoying it. I’ve spoken to almost all of the other cast members of Quad who have all promised to attend (work permitting) but trying to get us all in the same country together is hard enough, let alone on a bleedin’ pier! On that morning before the actual party, Quadrophenia is being honoured with ‘The Brighton Music Walk Of Fame Plaque’ to be unveiled at the pier entrance, so it would be great if there were a few mods about. Tickets and details available at www.quad40.co.uk
(10) A question received by Jimmy Hemstead follower of Mods of Your Generation and Blogger at MOD TV UK “HI Gary in your younger days was you ever a mod and did you ever own a scooter, can you tell me when and how you got into acting and why please?” Hi Jimmy, love all your art-work by the way!No, I was far too young to be a mod; I was born in 1959, so I was only 5yrs old in 64 and the only scooter I owned was made by ‘Chad Valley.’I never had any ambitions to become a professional actor at all when I was a youngster, but somehow found my way into drama school at the age of 12, thanks to my parents and a couple of Comprehensive High School Teachers who probably just wanted me just out of the way!Quadrophenia was my first professional job when I left. (11) Do you have any plans to release more music, Books etc or what are you doing now that we can look forward to in the future? Yes, I will definitely be writing another book I think, but not part 2 of my autobiography, that would just be a bloody diary. It will probably be about my time working in the advertising industry in the 1990s. You think actors and musicians are crazy? They’ve got nothing on advertising people! Musically though, I never really stop. I had a solo album out last year called ‘Daze Like This’ (see below) which a lot of people liked, and I guested on ‘The Transmitters’ debut album which was great, although I hear that they have now split up. I’ve also recorded a couple of tracks with Steve ‘Smiley’ Barnard which are on his ‘Smiley’s Friends’ albums, and I’m back in the studio in a couple of months with ‘The Regents’ for their new album. I’m always writing though, and will hopefully record some of my own stuff probably next year now.
Title track from the album “Daze Like This” (12) Do you keep in touch with any of the main characters of Quadrophenia 40 years on? Yes, I see quite a lot of Trevor Laird (Ferdy) and I’ve recently been working with Toyah. Hopefully I’ll be seeing the others soon
(13) What do you regard as your biggest achievement in your career or what are you most proud of? I actually don’t think like that. Everything that keeps me off of the unemployed statistics is an achievement these days! I am extremely proud of my family though, and very recently became a granddad to a beautiful baby girl called Ellie May. I’m very proud about that! (14) In 1988 you appeared as the tough pimp “Billy White” in the tv series of “Jack the Ripper”. Sir Michael Caine also appeared in the series as Chief Inspector Frederick. Caine was a huge influence on British Culture in the 1960’s and referred to by many as a style icon.What was it like working with such an influential person in British pop culture? Making ‘Jack The Ripper’ in 1988 was like a dream come true, and working on a film with Sir Michael Caine was an experience I shall never forget. He was so interesting to watch, whilst he was working on camera, and I learnt a great deal from him. Everywhere you looked on that set there was something extraordinary going on in the acting stakes. Lewis Collins, Armand Assante, Susan George, Jane Seymour, Lysette Anthony, Ray McAnally, Hugh Fraser, Ken Bones etc etc.They were all giving it their all. I was just glad I gave it mine!
(15) Finally, How would you like to be remembered? Just to be remembered at all would be nice! Again it was a massive privilege to interview Gary shail and a big thank you to followers of “Mods Of Your Generation”, Please continue to show your support. Please like & share the “Mods Of Your Generation” Facebook Page https://www.facebook.com/modsofyourgeneration/ interview conducted by Johnny Bradley for “Mods Of Your Generation”interview (C) 2019 to Johnny Bradley & “Mods of your Generation”
Established in 2011 The Great Skinhead Reunion Brighton was designed to bring Skinhead back home to where it was born in the 1960´s When the Mods and Rockers came to Brighton and hit the headlines, establishing their own youth culture. From those early Mods came the Skinheads, who embraced the new music coming in from Jamaica known as Ska. The Jamaican immigrants to the UK mixing with British working class kids with style and attitude, to form a new youth culture.
The second wave of Skinhead began to build in the mid 70´s with the birth of Punk Rock in 76, this time musically the Skinheads adopting the Punk rock sound and aggro of the football terraces, Working class bands forming and putting out their own angry antisocial messages in music, frightening the media into a frenzy of misinformation, who promoted the image of hyper violent bootboys and girls on the loose. This was a time of major political unrest in the UK and extremist groups tried to recruit within working class culture, often targeting Skinheads and football supporters, in the hope of win one, win them all pack mentality.
By 79 The skinheads were on the fightback and in London with bands like Madness and Badmanners, linked with British Midlands such as Coventry bands The Specials. The Selector and The Beat and created the 2tone label, which firmly mixed black and white youth together against this media onslaught.
In 1981 came the next wave. Oi! music was unleashed by Sounds magazine, bringing back the angry streetpunk energy and protest into the Skinhead subculture, once again giving the media and movie makers something to chew on.
Over the years the pendulum swung back and forth, but against all the odds Skinhead in its genuine form found its way across the world, connecting the Working class of Britain with mainland Europe, during the cold war even into communist Eastern block, then across to USA, South America, and in modern times, Indonesia to pretty much every westernised nation.
At the Great Skinhead Reunion Brighton you will find the most genuine, real and very friendly welcoming event in Skinhead history. Real people who have lived the life, mixing with new faces just coming in. We actively search for new acts to showcase and tour. We reunite old bands and give them a stage to play, we encourage scene DJ´s from across the worldwide scene, to play and network. Together all of us taking the scene forward, learning from previous mistakes, without selling out our principals of a true Working class subculture. The reunion invites everyone to attend, be you a skinhead or just someone wanting to be part of the event, interested and wanting a great fun weekend. We also actively support charities every year.
FULL 3 DAYS EVENT, YOUR WRISTBAND IS VALID THROUGH OUT, YOU CAN USE IT FOR AS LITTLE, OR AS MUCH AS YOU WANT. THE EVENT WILL SELL OUT.
WRISTBANDS GIVE YOU FULL ACCESS TO ALL THE EVENT, THREE FULL DAYS AND NIGHTS OF ENTERTAINMENT, 12 BANDS, 10 DJ’S PLUS A SPECIAL PRE PARTY BEACH BBQ ON THURSDAY PRE PARTY
The line-up maybe subject to change, as so many band members and dj’s are involved, alcohol, world wars and famine can be unforeseen, but the Great Skinhead Reunion, is more about coming to Brighton to see all your friends and making some more, for 3 full days of mayhem.
SKINHEAD ONLY HOTELS .
Add to your experience, by getting a room in our Skinhead only hotels. Conveniently located, with a short walk to the venue, and no moaning neighbours to worry about. The rooms vary in size and cost, to fit your needs. all within an easy walk to the skinhead reunion venue. We have hotels exclusive to the Great Skinhead Reunion guests and bands. Party party !! please email subcultz@gmail.com with your requirements, to be booked into the Skinhead Hotels
For those on a low budget, its worth checking Hostels and campsites, but my advice, is to get in the reserved hotels, for a nice stress free, clean and comfortable holiday in Brighton.
TRAVEL INFORMATION
Brighton is situated on the south coast of England, approximately one hour from London. London Gatwick is the nearest airport. There are regular direct trains and National Express buses. The next nearest is Heathrow, We Strongly advise NOT to fly to Stansted or Luton as this is a long way and expensive UK public transport, but if you have no choice then use National Express buses from those airports, which you need to book in advance to get cheaper rates, and you risk losing valuable drinking time
The nearest ferry port serving mainland Europe is Newhaven -Dieppe . Newhaven is about 20 min drive to Brighton. Dover is about 2 hours to Brighton
PARKING ZONES – one of the worst aspects of Brighton, is a lack of affordable parking. my advice is to use street parking on the suburbs of Brighton, its a reasonably safe place. a good bus service will take you into brighton centre (churchill square) and a short walk from there to the sea front. worth allowing the extra hours work, to save yourself serious parking charges. Wilson Avenue is about the nearest free street parking to the venue, jump on a local bus back into town.
All Event Enquiries email Symond at subcultz@gmail.com. phone (uk) 07733096571
Brighton can lay claim to being a big part of the birth of Skinheads. During the Mods and Rockers battles of the 1960’s when London lads would descend on the South Coast for bank holidays to Peacock and cause ‘Bovver’ the term Skinhead was born, to describe the short haired Mods.
Becoming probably the biggest and longest standing of all the youth fashion subcultures, Skinhead has matured and now become a worldwide community. Distinctly recognized by almost military shaven head, boots and braces. The real skinhead is a working class product of the British council estate ‘salt of the earth character’ fiercely proud of his identity,with an obsession for clothing, style and music, equaled only with his love of beer.
On the first weekend of every June, since 2011, Brighton has seen an ever increasing number of Skinheads and their lovely Skinhead Girls invade Brighton. Boots, Braces, pristine clothing and a cheeky smile. Attracting scene members from right across the globe, to Madeira Drive, overlooking the beach. A full three days of Skinhead related entertainment is laid on. DJ’s playing hyper rare vinyl, from the early days of Jamaican Ska, through to modern day Street Punk and Oi. Live bands hit the stage of the Volks bar each night. With various aftershows happening until the early hours, to keep the party buzzing.
SubCulture are three youthful, passionate, energetic cool teenage lads reigning from Nottingham. They are a mod inspired band which is reflected in their sound and image. Their performance is energy fuelled with a know nonsense approach to putting on an incredible performance. They remind many fans of a revamped, young band we all know and love called The Jam. They stand out amongst other bands on the scene as they favour a sharper look that makes them stand out and in turn defines who they are.They perform a variety of covers however they have released much of their own material which is superbly written and executed. Recently the band released their new single ‘The Kids don’t Dance’ which is brilliant and actually something anyone can dance to. They are taking the East Midlands by storm, I have know doubt these three lads will go onto have a successful career. I wish them all the best in all there future endeavours and i am sure they wont disappoint as they continue to gig and release more music. These lads are definitely ones to keep an eye on so make sure to follow them on their social media platforms and keep up to date with future gigs as they may be performing near you soon. Band MembersOliver Orton-Guitarist/Vocalist Lewis smith-Bassist Declan Mills-Drummer
(1) You all went to the same school together, What bought you together as friends? I’ve known Declan since we were in primary school. From about the age of 4. Long before any of us could even play an instrument. With Lewis, I met him in my 3rd year of secondary school. He had guitar lessons with the same teacher I had at the time and his lesson would always be scheduled for after mine, so we would talk for a bit before going back to lesson. One thing led to another and we became friends through those guitar lessons really. (2) Can you tell me something that people may not know about you as a band? One of our first proper gigs was at a micro pub in Nottingham and it consisted of us playing about 15 or so covers songs.
(3) How did you then go onto to form the band? Both Me and Dec took music in school and as a requirement you had to play an instrument. I already had been playing guitar for years, but Declan decided to give the drums a go… And that’s how that started. With lewis, like I mentioned, he used to have guitar lessons so he knew how to play the guitar, which came in handy one lunchtime, as we had decided to mess around in one of the practice rooms since we were bored. The result of that was Me on guitar, Dec on the drums, and lewis on the bass….
(4) Who are your musical inspirations as a band and as a musician? Our musical inspirations and band inspirations are out of the same mould. With bands such as, The Jam, The Who, Small Faces and Secret Affair, to Sex Pistols, The Clash, to Madness etc.
(5) The band is heavily influenced by the mod scene in regards to your sound and fashion. How did each of you get into the scene and who or what influenced you? My parents grew up with the music, and I discovered it when I was around 14, and since then it’s just been like a snowball effect. In regards to Lewis & Dec, I think the whole thing fell naturally after deciding back in the school this is what we will do with the band.
(6) You have released your new EP ‘The Kids don’t dance’ where can fans buy the EP and how would you describe it? The Kids Don’t Dance to me is something you could dance to. Even given the name. It’s not strictly 60’s, Motown or soul, but it’s most definitely got those influences injected into it. The single is available to buy online as a 7″ vinyl record from www.heavysoul45s.co.uk
SubCulture The Kids Don’t Dance (Official Video) (7) Who writes the bands material? All the songs are written by me. It always starts out sat with an acoustic guitar at home.
(8) What would you like to achieve it as a band and how do you wish to Achieve it? If at any point we could make this our sustainable living, it would be great. It’s what we love to do after all. As for how, well we’d like to keep progressing and moving with it. We don’t want to put the brakes on. We’ve got something and we want to run with it.
(9) Since the band formed in 2016, What has people’s reactions been to your sound and energetic performances on stage? We’ve had some smashing reviews and met some great people from gigging. The way they’ve have taken to us really is fantastic. We’ve had people say they want us to do well, and it’s cool to have a backing from what was a few minutes previous, a complete stranger.
(10) If you could be in any band in history which band would it be? Now this could be the million dollar question. Literally. It’s a tough one. Maybe a band that have a Christmas hit so we could live off of the royalties all year round….How about Slade? But in all seriousness, we model ourselves off of the mod scene and I think The Who would be a wise choice. It seems like it would quite good fun. (11) Can we expect more singles to be released in future or an album?Yes! We try to release as much of our own music as we can. In fact, a new single isn’t too far on the horizon…
SubCulture – Young (12) Where can fans purchase your music and keep up to date with latest gigs? All our music is available on the usual digital platforms such as Spotify, iTunes, Amazon, Google and the rest, as well as on vinyl from Heavysoul45s.co.uk. All our gigs are posted on our Facebook page, along with regular updates, photos, videos etc. (13) You perform a variety of covers. What is your favourite to perform and why? We don’t really have a favourite cover song to play, however we would say there’s definitely certain songs that go down a storm at gigs. To name just a few would be Sha la la la lee, My Generation, Town Called Malice, Too much too young. (14) What message would you like to give all your fans and supporters? Just to thank them for the continued support they give us and for the faith they have in us. It’s that kind of thing that spurs us on.
(15) Where would you like to be in 5 years from now and what can we we all look forward to? Well wherever we are, we’d like to be able to look back at the past 5 years and say that they meant something. Interview by Johnny Bradley for Mods Of Your GenerationInterview Credit – Mods Of Your Generationphoto & Video credit to SubCulture
I came across ‘Stinger’ after seeing a post on Facebook an illustrated book based on Quadrophenia. Intrigued by the beautifully painted images I wanted to find out more. I discovered that it was a kickstarter project and Immediately wanted to show my support and pledge. I then discovered Tina Freeman the lady behind the idea to find out more about her and the wonderful book. I asked her if she would like to feature in an interview to help promote it. We spoke on the phone and instantly hit it off as if we had known one another for years. We discussed Nicky Weller’s involvement as collaborator of the book and many of our common interests such as music and fashion. It was so exciting to hear all about the characters in the book and who they were based on. Tina described them to me with absolute passion & love for the project.As a father of three young children I am often asked ‘Dad what is Quadrophenia about?’ as it has been referenced many times at home. My children are not old enough to watch the film, therefore I was immediately excited to share this book with them. I felt extremely privileged to receive a soft back copy of the book from Tina. I sat with my children and read the book pointing out the many references to Quadrophenia and the mod scene as they eagerly listened to find out what adventures awaited ‘Stinger The Bell Bee’I highly recommended this book to anyone with a passion for the 60’s and Quadrophenia. This book is a great way to share your experiences and love for music & fashion with your children or grandchildren and inspiring the next generation. I hope you enjoy reading the interview as much as i did asking the questions.
1) Where did you grow up and how old were you when you discovered the mod scene? I grew up on a very 60s Housing Estate in Birmingham, lots of Flats, Maisonettes and lots of concrete ‘the planners dream gone wrong.’ There were a few cool Mod lads wandering around after the 79 Revival which intrigued me. I became a little Mod girl at the young impressionable age of 13. I got my first scooter, a Lambretta LD 150 before I was even old enough to drive it.
2) At what age did you discover you had a talent for drawing? Very young really, I used to copy all the Disney characters from my “Now I Know” comics from the age of three. 3) Who are your favourite bands or artists and the most influential to you as a teenager growing up? I had an infant school teacher who loved The Beatles, so I think my interest and love of the 60’s came from this. The first Mod band I listened to was The Jam. I loved the energy and passion, still do.Then I went through a blinkered phase of only listening to original R&B and soul. I think the bands most influential to me as an artist have to be The Small Faces and The Who.
4) What bands or music do you listen to now? I have much wider tastes these days. I think we are incredibly lucky under the “umbrella of Mod” to have so much to choose from. I think I would have got bored and moved away from the scene if we didn’t have that ever evolving attitude.Even if you just take Wellers’ life body of music, there are enough songs here to suit your ever changing moods, see what I did there?I paint to music; I really think it adds the magic to the process.At the moment I have True Meanings on my turntable, by Paul Weller. I am like a teenager again, playing it over and over, absolutely love it. I seem to be playing The Beatles a lot too, perhaps that is just because of my “A Bee Road” painting in my book.I also have a CD player (I know! how very modern of me) to listen to ‘Georgie the brightest star’ by The Electric Stars. It is a beautiful hymn about George Best who features in one of my future stories. 5) In the 90’s you shared an art Studio on King Street in Manchester and worked as a freelance illustrator. You also worked as a portrait artist for Manchester United. Tell us a little bit about your art studio and some of the footballers you did portraits of? I relocated to Manchester after working in North Wales. The studio was seriously cool, with a lovely old balcony overlooking King Street. I worked for some great Ad agencies and The Royal Mail as well as Man United. Along with other merchandise I did limited edition portraits of Ryan Giggs, Eric Cantona and Peter Schmeichel.
6) When did you draw the initial illustrations for the book and what inspired you to come up with the concept basing it on the mod scene and Quadrophenia? As a freelance illustrator I had worked on The Red Devil mascot character and Billy the Butlins Bear. I started thinking of a cool Wasp character to drive around on a Vespa.I had already produced a Who Collection of paintings and screen prints and had a few meetings with Trinifold Management. It was a bit of a light bulb moment for me when I realised, I could call the character ‘Sting’ and tie it into my love of Quadrophenia.I had two versions which I explained to Robert Rosenberg, one of a generic Wasp character tootling his way around Britain in The Sixties, the other very much based on Quad, using iconic scenes from the film which ultimately if animated should be very music driven.
7) Many of the characters in the book are based on members of your favourite bands & the Quadrophenia cast. Can you tell us a little bit about each character and who they are based on? Without wanting to give too much away, you can meet characters from Ace Mod Dog bands “The Whoof” and “The Cool Faces” with Ste Merrimutt. When I showed my portfolio of original paintings to Pete Townshend I was quite nervous. Luckily he liked his character “Pete Houndshend” and has been really encouraging. I am yet to meet Roger, although this is very much part of my wish list.
8) You showed Franc Roddam the director of Quadrophenia the illustrations and your idea to base the book on Quadrophenia. What were his thoughts and was he supportive of your plans? This was about 5 years ago, a very important piece in the jigsaw. I met Franc down in Brighton where he was doing a Q&A. He had mentioned that he had a two year old, and it would be a long time before he would get to know of Quadrophenia. I told him it might be sooner if he liked my story and showed him the first few watercolour paintings. I asked Franc if I could dedicate the book to his son, which he agreed.The story line and character evolved over the next few years, changing the name from Sting to Stinger to avoid copyright issues. I then made the decision to change him from a wasp into a much more lovable Bee Character. It felt right then, with him coming from Manchester, and having much more heart.
I met up with Franc again at The Teenage Cancer Trust event this January, where he introduced me to Sting, who just so happened to be sat at our table. It is very rare for him to attend a Quadrophenia event, so I was incredibly lucky. Sting loved the character and gave the book his full blessing, which was fantastic.
9) You met Nicky Weller at the Cunard Building in Liverpool, in the first few days of the Jam exhibition ‘About The Young Idea’. Can you explain how this led to collaborating with her to publish ‘Stinger’? I went along to The Jam exhibition as a fan and ended up being invited in to sell my ‘Quadrotina’ artwork in the shop. The next day was my birthday, and I had a surreal experience eating cupcakes with Nicky and Ann Weller. My “Quadwoofenia” collection of Dogs on Scooters sold really well, so I introduced a Bruce Foxtail, and Rick Boxer to the set. We had such a laugh over the 14 weeks coming up with new names and characters.It was at their literary event that I mentioned that I had a children’s book based on Quadrophenia. I sat down with Nicky and Den Davis who ‘got it’ completely, especially the concept of having it animated as a kids’ TV series or feature film.
10) Nicky introduced you to her brother Paul Weller. What were his thoughts on your artwork and your ideas and what other things did you discuss? The first time I met Paul he came into the shop at The Jam exhibition, for a cup of tea. Nicky showed him my “Paw Weller” Quadwoof pic. It was hilarious, not at all how I imagined it would be if I ever got to meet him. I met him recently at his studio with Nicky. He asked how the book was going on Kickstarter. In fact the night before we had smashed the target of over ten thousand pounds pledged. It was lovely to tell him the news; he seemed genuinely really chuffed for us. I told him how much I had enjoyed the walk through Delamere Forest for his gig the previous week. We chatted about the success of his latest tour, and the wonderful supporting Stone Foundation. He asked about my kids which meant the world to me.
11) What is the vision for Stinger? As I believe this book is the start of a series of books based around the 60’s and the mod scene. Stinger is the first of this series. I have this idea where different characters from Quadrophenia are developed and will have their own spin off adventures. I have had such fun with this concept, including what we know has happened to the actors after Quad. I would love different cast members to narrate the books, in the same way Phil Daniels recorded Stinger. To me Pete Townshend’s’ musical score is what really drives Quadrophenia. We are brilliant in this country at animation; just imagine combining a series with fantastic music and how much more it would connect with kids, hopefully watching with their parents and grandparents.I often find myself trying to explain what “a Mod is” to young children. It was easier for me to illustrate the concept of being ‘the best that you can be’ through Stinger. You never know, we might have a new little revival on our hands.
12) What was it like for you meeting Phil Daniels and the cast of Quadrophenia? Firstly can I say what an honour it is to know, and now work with some of the cast. Quadrophenia was my coming of age Teenage film, and certainly helped shape me as a young Mod, scooterist and artist. My friend and I would hire the video out most weekends and knew it word for word. Imagine how that feels now for me to be not only talking to but sharing my ideas creatively with my heroes.
I met Phil Daniels first, with Garry Cooper (aka Fenton) and Trevor Laird (Ferdy) at a brilliant Quad event in Widnes where I was invited by Rob Wright to sell my artwork. I showed them the initial ideas for Stinger and asked if they would consider doing the voice over’s playing their characters if I got it as far as an animated project.
I kept in touch with Trevor, who has been so kind and generous with his time, helping me to meet other actors such as Lesley Ash, Toyah, Gary Shail and Mark Wingett to move forwards with this dream.
13) When will the book be available to purchase and where can people get hold of it? Now we have reached our target, we have to get the hard backed collector’s edition version printed and have the record pressed with Stinger narrated by Phil Daniels.Those wonderful people who pledged to get the book printed will be the first to receive their copies. After that we will be holding a few special events such as an official launch with readings and signings.
14) What message would you like to give to those who have supported the book and to those who have pledged? Nicky Weller, our close knit team of designers Anthony Mulryan , Phil Dias and I am so very grateful to each and every person that pledged, shared our posts, and supported us through our first experience of Kickstarter.I always knew that I would have to come at this project from a different angle. A children’s book on Mods would be seen to have a very limited audience in the eyes of a publisher. I have been amazed how many normal (“Wot is normal then?”) fans the book has, of people of all ages and walks of life. I initially wrote it for Mods to enjoy with their kids and grandchildren, but found it has a much wider appeal.I think anything really written from the heart will find that connection with people, whether it be a shared love of music, scooters or just the pretty pictures.
The big picture: punks and skins in harmony against Racism, a point very rarely spoken about, especially when the name skinhead gets involved
The big picturePhotography The photographer who captured the spirit of punk has released a book of her most arresting portraits
Punks and Skins on the Steps, taken in Coventry in 1980. Photograph: Janette Beckman
If they weren’t a band, they should have been. Janette Beckman, who chronicled the early years of punk in the UK, took this photograph in Coventry in 1980. She had by then made her name on Melody Maker, with pictures of the Clash on tour and the Sex Pistols in a skip; she caught the moment when Paul Weller first met Pete Townshend, one modfather to another; she made the Police’s first album cover; she assembled the Specials on Southend pier.
Beckman, who grew up in north London, had left London College of Printing and walked into Sounds magazine one afternoon in 1977 with her student portfolio. She was immediately dispatched to photograph Siouxsie and the Banshees and never looked back.
She was as likely to turn her camera on the audience and the streets as on the stage and the tour bus. In those years the boundaries between music and art and style seemed unusually porous. Punk was above all an “irrepressible attitude” she has suggested of that moment. “It was about change, the idea that people should question authority and do it for themselves.”
The four lads in this picture capture that spirit. They have put thought into how they look but are not striking poses. The picture is included in a short monograph of Beckman’s work of that time, which also includes images of Sid Vicious’s funeral procession and the Saturday afternoon punks of King’s Road, Chelsea. In 1982, after the edge of that attitude had given way to the posturing of the new romantics, Beckman moved to New York, where she took similarly iconic pictures of pioneer hip-hop artists and their followers. “People were really happy to be photographed back then,” she says. “As it didn’t happen very often.”
Janette Beckman’s Raw Punk Streets UK 1979-1982(Café Royal Books, £6) is available atcaferoyalbooks.com
Lydia Lunch: ‘If it’s for the money, you’re not doing art. You’re doing commerce’
The no wave legend has worked with Sonic Youth and Nick Cave, written books and created art. At 56, she still rages against the commercialisation of pop culture
Lydia Lunch: ‘Just call me Lady Gaza.’ Photograph: Ulf Andersen/Getty Images
Lydia Lunch takes the stage in Berlin. Gazing behind her black bangs into the front crowd at Urban Spree’s DYS Festival, she points her red nails through the dry ice, screaming: “Narcotics and psychotropics, ecstasy slips through my hands. I’m still searching for the drug – I need a year in a sexual coma to take care of my problems – I tried crack five times, I couldn’t get high.”
Even at 56, Lunch remains the voice of New York’s underground, from which she emerged in the late 70s as part of the no wave movement. A singer, poet, actor, visual artist and spoken word performer, she has no manager or PR agent – she’s even been homeless at points in her career.
“If you’re doing it for the money, you’re not doing art. You’re doing commerce,” she said. She says that being an artist is not a career choice, but a necessity “if your blood boils”. Even if spoken word performance is dying, it doesn’t stop her from being what she calls “the last war whore left”.
After 37 years on stage, Lunch – who got her name because she used to steal food for her friends, American punks the Dead Boys – is in discussion with various American universities and institutions to place her colossal archives of over 1,500 books, posters and diaries, unseen live footage, unpublished photos and fan mail, for public view.
“It’s everything I’ve ever done,” says Lunch over a glass of white wine in Berlin’s Michelberger Hotel. “I’ve been taking photos since 1990, each one needs to be scanned. I have letters from guys I don’t know – letters with bodily fluids. Thirty-seven years is a lot of time for creating. I want it all available.”
Lunch is now hosting a writing workshop with former Sonic Youth frontman Thurston Moore at the Jack Kerouac School of Disembodied Poetics, a Buddhist writing institute in Boulder, Colorado. She plays San Francisco’s DNA on 29 July and at Los Angeles’ Teagram Ballroom on 31 July. That same night, Lunch opens an exhibition of her photos in a two-woman show with Jasmine Hirst called Beautiful Wrecks at Los Angeles’s Lethal Amounts Gallery, where her black-and-white photographs of adolescent boys, All My Heroes are Killers, are on view. She then heads to Melbourne for the Supersense arts festival. Bloodworks, an anthology of her poetry, is slotted for release next year in France.
After Melbourne, Lunch will return to Woodstock to write her next book, a tome about sex which she says will stand in stark contrast to her previous work. “I’m into pleasure rebellion,” she says, lighting a cigarette. “I’ve shared all my misery and tragedy but in my personal life I’m a cheerleader, an optimist. That aspect of myself is not shared. Once you are free from trauma, you are going to luxuriate in pleasure and happiness – personal pleasure. A divine gluttony, I should say.”
For this book, she’s done “a lot of research with one person”, whom she declines to name. “It took me this long to find someone who is going to inspire what I think is going to be a great work of art and needs to enter literature. Sex is often portrayed so badly, 50 shades of what? It’s insulting, so shallow.”
Lunch fled New York in 2004 when Bush won a second term: “I couldn’t take it.” Based in Barcelona, she travels frequently to writer’s residencies and arts festivals and tours with her band Retrovirus. This nomadic lifestyle, she says, is why she is looking for a permanent place for her archives. Upbeat and garrulous, she has always taken a stance against mainstream pop culture and doesn’t hold back her opinions on corporate America.
“The celebrity of riches and being famous for doing nothing is a cycle and I hope one day there will be a cultural rebellion,” she said. “People will be sick of vacant, culturally bankrupt bullshit based on how much you paid for your dress or surgery. Will there be a generational rebellion? We can hope the next cycle will be anticorporate. Corporations have won – your worth is based on what you make, not what you do or what you say.
“Madonna and Lady Gaga have stylists who are cultural vampires who steal the ideas from the underground then elevate transgression to a mainstream,” she adds. “Complete fraudulence on every front. These are my enemies. That’s why I say: ‘You can call me Lady Gaza.’”
However, there are some musicians she does admire. Electronic musician Nicolas Jaar contacted Lunch as a fan, asking if he could remix a track from her 1990 spoken word album Conspiracy of Women (COW), which he reissued on his label, Other People. “He is doing something to support people,” she said. “He is the beginning of the cultural revolution of people his age. That’s where my hope doesn’t ever die.”
Born in Rochester, New York, in the 70s Lunch moved to New York City, where she founded Teenage Jesus and the Jerks. Along with bands like James Chance and the Contortions and Mars, the band were an integral part of the no wave scene – a raw, noisy and arty alternative to the more commercial new wave movement of the time, typified by bands like Talking Heads and Blondie.
As well as Sonic Youth, Lunch has worked with Nick Cave and Henry Rollins, with whom she co-starred in a short film called Kiss Napoleon Goodbye. She curated and starred in the work of artist Richard Kern. “A lot of the people I worked with were no more famous than I was, they just became more famous,” she says. “They did the same record 100 times, I did not.”
The new Retrovirus album Urge to Kill was released in May on her own label, Widowspeak, its nine tracks filled with meandering, scratchy vocals and wailing guitars. Lock Your Door is a vengeful breakup anthem, while Dead Me You Beside is infested with fuzz guitar. “I’m just a writer, I just use music as a machine gun to get the words across,” she said.
Despite her illustrious body of work, Lunch still feels like she’s had no cultural impact. “I always say ‘Don’t blame me for Courtney Love, she’s a trainwreck crash into a bank’. I know I’ve impacted individuals and that’s what’s important but I see no culture reflecting back the impact I’ve had.”
Nevertheless, she battles on and encourages others to do the same. Lunch has created a workshop called From the Page to the Stage, which helps writers perform. “Women should write stories, even if it’s for the exorcism of their own demons.
“People have always been afraid, I don’t know why. This is why I feel like I haven’t had a cultural impact otherwise women would be ranting on street corners and shouting and whispering. After 37 years, one can learn to master it.”
Singer with band found dead at his home in Essex on Monday
True Punk Energy and creativity Keith Flint of the Prodigy
Originally a dancer with the group, Flint performed the vocals on The Prodigy’s No 1 hit singles, Firestarter and Breathe. Photograph: Andy Sheppard/Redferns
Keith Flint, vocalist with the Prodigy, has died at the age of 49, after being found at his home in Essex on Monday.
The Prodigy released a statement confirming the news, saying: “It is with deepest shock and sadness that we can confirm the death of our brother and best friend Keith Flint. A true pioneer, innovator and legend. He will be forever missed. We thank you for respecting the privacy of all concerned at this time.”
Liam Howlett, who formed the group in 1990, confirmed his death was a suicide. “The news is true, I can’t believe I’m saying this but our brother Keith took his own life over the weekend,” he wrote on Instagram. “I’m shell shocked, fuckin angry, confused and heart broken ….. r.i.p brother Liam”.
An Essex police spokesman confirmed that a 49-year-old man had died. “We were called to concerns for the welfare of a man at an address in Brook Hill, North End, just after 8.10am on Monday,” he said.
“We attended and, sadly, a 49-year-old man was pronounced dead at the scene. His next of kin have been informed. The death is not being treated as suspicious and a file will be prepared for the coroner.”
With his punk aesthetic of piercings, spiked hair and intense stare, Flint became one of the UK’s most iconic musical figures in the 1990s. He joined the Prodigy as a dancer, later becoming a frontman alongside rapper Maxim. Aside from their 1992 debut, all of the group’s seven albums have reached No 1 in the UK, the most recent being No Tourists, released in November 2018.
Flint performed the vocals on the Prodigy’s best known singles, Firestarter and Breathe, which both went to No 1 in 1996 – the former became their biggest US hit, and the group are often credited with helping to break dance music into the mainstream in the country.
Firestarter’s black and white video, featuring a headbanging, gurning Flint, was banned by the BBC after it was screened on Top of the Pops, with parents complaining that it frightened children. The self-lacerating lyrics – “I’m the bitch you hated / filth infatuated” – were the first Flint had written for the band. “The lyrics were about being onstage: this is what I am. Some of it is a bit deeper than it seems,” Flint told Q magazine in 2008. The track sold over 600,000 copies in the UK, with
Speaking to the Guardian in 2015, Flint lamented the state of modern pop music. “We were dangerous and exciting! But now no one’s there who wants to be dangerous. And that’s why people are getting force-fed commercial, generic records that are just safe, safe, safe.”
Tributes have been made from his musical peers, including Ed Simons of dance duo the Chemical Brothers, who called him a “great man”. Beverley Knight said the Prodigy were one of “the most innovative, fearless, ballsy bands to grace a stage and Keith was perfection up front. We have lost a Titan.” Sleaford Mods, whose frontman Jason Williamson collaborated with the Prodigy on 2015 track Ibiza, tweeted: “Very sorry to hear of the passing of Keith Flint. Good night mate. Take it easy,” while drum’n’bass producer Friction said “I wouldn’t do what I do without him and the Prodigy in my life.”
Shadow education secretary Angela Rayner also paid tribute, saying “R.I.P. Keith, you leave so many great memories behind”.
As well as his success with the Prodigy, Flint also founded the successful motorcycle racing outfit Team Traction Control, which made its debut in 2014, and went on to win multiple Supersport TT titles.
Really terrible news, such a legend of British music, a cross over from Punk Rock into dance music, This band defined a time of the raves of 89-90. I first saw them in a tent at an illegal rave, then worked with them while with the Mean Fiddler in the 90’s. My kids would run round the room shouting ‘Smash my picture’
Raw energy and talent
The Punk connection was very apparent with the inclusion of Gizz Butt of English Dogs on guitar
I am completely gutted over this. when the raves broke out in 88-89 it was the tail end of the skinhead days for me. violence was escalating to such crazy levels that we were just banned from everywhere. My mob had started drinking in the estate pub as we couldn’t go many other places, i broke up with my first real love live in girlfriend, i had gone on a crazy one around town and attacked 5 -6 people for no reason, i had been badly bottled, blood rolling down my face, but my girlfriend had betrayed me. Police were chasing me, i was having to hide, but because of the blood, no one would take me in, they made me go to the hospital to get stitched up. i was arrested for violent affray. The following week i was called by some mates for a big kick off, as one of our skinhead girls had been raped by a guy from an opposing mob. tooled up we went on the war path…. things were getting out of hand, chains, batons and one bloke had a gun.. i knew it couldn’t go on, but where was i going, how was i going to change direction, my mob, the wycombe skinheads were my blood, i was never going to back away, never abandon them, it was all or nothing… then as i stood at the local pub a week later waiting to see if anyone was coming up for another round of violence, it was like a siege mentality. but 12 years of being in the crew had lead us from those fun days of 2tone, through Oi! past the skinhead fashion, into a mob, crew, firm…
Then a camper van pulled up, some of the skinheads had been asked to go help at a rave, back up against drug dealers, so fuck it, why not, i got in the van and we headed to Slough Centre. The older lads, of The Woobo and the The Xtraverts crew were running the Rave, they greeted us with warmth, told us what was happening, and if we could be back up if it came on top. As i walked through a tunnel of white sheeting i found myself in this big warehouse, music i had not heard before called Acid House, lazers and dry ice filling the room, packed full of sweaty bodies and a repetitive electronic music thumping. Something completely different than i had ever seen.
Out of the haze came the most beautiful girl i have ever known Lizzy Mitchell wearing a bikini, her long blond hair to her waste. she came and kissed me on the lips, hugged me, and put her tongue in my mouth, and pushed a pill down my throat, 20 minutes later life would never be the same again, my days of violence were over, as the love rush just sent me higher than any cloud i could ever imagine.
At that Rave were all the local Punks, all the Rastas, Soul boys, Casuals, and above that the same mob we had been smashing fuck out of eachother for the last few months, one came up to me a black bloke called B he spoke in my ear, ‘So good to see you here mate, you know you lot are an army and we know we were never going to beat you’, I looked at him and could feel no anger, no aggression. I said in return ‘Well you lot are all cousins, we had no chance either’, to that we both laughed, he was clearly flying as well. That was the summer of 89.
For the rest of that year we were on the magic roundabout, raving round the fields of the M25, then off to Ibiza in 1990. i saw this band back then in the small tents at the raves, in the middle of some crazy days. and watched them grow into becoming a huge part of British music when i was backstage management team for The Mean Fiddler at Leeds Festival, Glastonbury etc. The Prodigy really were the band that spoke to me, like many of us early ravers, we came out of the crazy violence and punk rock of the 80’s to a new era, a new time, but more punk than punk, this was fucking the system off in a way that had never been done before 20,000 people illegally in a field loved up and jumping about to huge sound systems waking the entire home counties up. When my kids were little they were obsessed with the Prodigy, running round the house shouting ‘smash my picture’ they found out years later it was ‘Smack my bitch up’, RIP to a man, a music and a time 🙂 xx
Symond Lawes Subcultz
Keith Flint death: The Prodigy frontman died by hanging, coroner hears
The Prodigy’s Keith Flint performs in 2015 ( EPA )
The Prodigy frontman Keith Flint died as the result of hanging, an inquest has heard.
The 49-year-old was found dead at his home in the Essex hamlet of North End on March 4.
Coroner’s officer Lynsey Chaffe told a two-minute hearing in Chelmsford on Monday that Flint’s provisional medical cause of death is hanging.
She said: “Police attended, all protocols were followed and his death was confirmed as not suspicious.”
A post-mortem examination was carried out at Broomfield Hospital on March 7 and the provisional medical cause of death was recorded as hanging.
Ms Chaffe said this remains under investigation while toxicology reports are awaited.
Senior coroner for Essex Caroline Beasley-Murray opened and adjourned the inquest until July 23 for a full hearing.
For confidential support, call the Samaritans on 116123, visit a local Samaritans branch or go to samaritans.org
• In the UK, Samaritans can be contacted on 116 123 or emailjo@samaritans.org. In the US, the National Suicide Prevention Lifeline is1-800-273-8255. In Australia, the crisis support service Lifeline is 13 11 14. Other international suicide helplines can be found at www.befrienders.org. Topics
On the eve of their first album in decades, 2 Tone’s finest talk to Miranda Sawyer and, further down, answer questions from readers, and famous fans including Richard Curtis and
1
The Specials (left to right, Lynval Golding, Terry Hall and Horace Panter). Photograph: Suki Dhanda/Observer
In an east London photographer’s studio, one man is dancing and two men are not. Beres Hammond is playing over the speakers and the dancer – Lynval Golding, guitarist – freeze-frames for the camera shutter, but otherwise is in constant motion. Bassist Horace Panter, determinedly non-dancey, stands dead still, chin jutting, as though he’s ready to punch you if you get too cheeky. And in between them is singer Terry Hall, who doesn’t move much. Hall’s face, though, is always changing, flicking between exasperation, resignation, wry amusement and a withering teenage side-eye. His left hand sticks out. It looks as though there’s a gap for a cigarette in between your fingers, I say, and Hall says “You’re right”, and goes outside to smoke.
These three men are the Specials, 2019. The Specials started in Coventry in the late 1970s, a mixed-race ensemble playing a thrilling mixture of ska, reggae and punk, with pointed, politically sharp lyrics. Originally, there were seven members – the three here today, plus band founder/songwriter/keyboardist Jerry Dammers (creator of the 2 Tone record label, to which the Specials were signed), as well as singer Neville Staple, guitarist Roddy Radiation and drummer John “Brad” Bradbury. Much of the Specials’ impact back then was collective: a group of street-tough individuals, the band as gang. Their gigs were raucous, confrontational affairs, occasionally marred by far-right elements wanting to cause trouble with a group that had both black and white members.
In 1981, after their scorching single Ghost Town went to No 1, Hall, Golding and Staple left to form the Fun Boy Three. The remaining Specials added more members and continued as the Special AKA, before splitting in 1984 (though Dammers was held in a record company contract until 1987). Since then, there have been various Specials reincarnations. People have been in and out (30 members since 1979: Wikipedia has resorted to a graph). Panter was an art teacher for special needs children for a while, Golding moved to Seattle. He and Hall didn’t speak for more than a decade. Neither Dammers nor Hall rejoined for years. Hall was focused on his solo career. Dammers – who started the group and owned their name – tried to restart the Specials in the late 00s on the condition that they play new material. They got as far as two rehearsals before everyone fell out again.
The most common question from the Observer readers concerns whether Dammers will ever rejoin: when I ask it today, Hall, Golding and Panter give answers that are noticeably varied. Is the door open for him or not? Dammers himself, when I speak to him later, says that he was served with a legal letter and forced out of the band.Advertisement
“There was never a long-term plan,” says Panter. “But once we got ourselves established, the obvious thing to do would be to make a new album. It was just getting the right consensus between the individuals.”
As you can imagine, embroiled as they were in legal battles, this consensus took time. From 2009 on, the Specials, sans Dammers, toured, and then toured, and then toured again. According to Panter, it wasn’t until 2012-13 that there was a settled membership: but then, in 2013, Staple left, due to ill health, followed by Radiation in 2014. This left Hall, Golding and Panter, plus Brad, the drummer. But then Brad died, in 2015, and, once more, things were put on hold. Until last year. “We were in California playing with Neil Young and the Pretenders,” says Hall, “and I remember thinking: ‘Well, they’re writing new stuff, why don’t we?’”
Now, much-loved reggae and jazz drummer Kenrick Rowe has joined them to play live; Steve Cradock (Ocean Colour Scene, Paul Weller) is on guitar; Nikolaj Torp Larson plays keyboards and, along with Hall, Golding and Panter, wrote and produced the new album, Encore. And it’s the release of new material that changes everything. “All this,” says Panter, gesturing around the studio. He means photoshoots and interviews. “You forget, that’s what albums do.”
Encore is strong, musically, with an unexpectedly broader palette that takes in disco, funk and oompah as well as reggae. For original fans, there are callbacks. The lead single, Vote for Me, opens up with ascending Ghost Town-style chords, and there’s three covers: of the Equals’ 1970 track, Black Skin Blue Eyed Boys, of Blam Blam Fever (Gunfever) by the Valentines (1967) and of the Fun Boy Three’s The Lunatics Have Taken Over the Asylum. Prince Buster, a huge influence on the band (Gangsters, their first single, was a reworking of Buster’s Al Capone), is referenced in 10 Commandments, featuring the words and vocals of activist Saffiyah Khan. It’s a clap-back to Buster’s 1966 track that, for the benefit of any Buster-fancying woman, listed his 10 jokily chauvinistic lady friend requirements. (Prince Buster also made Princess Buster’s original 1967 answer track.)Advertisement
Lyrics take on the personal and the political, the US and the UK, though more ambiguously than the Specials’ original precision attacks. On BLM (Black Lives Matter), Golding talks us through three racist experiences from his past. And then there’s Vote for Me. Golding points out that the Specials’ (as opposed to the Special AKA) last release was Ghost Town, so it seems right that the next release, 38 years later, is Vote for Me. Hall agrees: “With Ghost Town we didn’t say, ‘This is the right way, this is the wrong way’, we just said, ‘Things are pretty shit, really’. And we’re saying the same with Vote for Me. I find it difficult to vote on anything, really. Whereas before, we were staunch Labour. Now, I feel like I don’t trust you, I don’t like your face. On a personal thing with Corbyn, I definitely can’t do it any more. But what are the alternatives?”
It must be strange to make a comeback now, to return in your middle age at a time when Britain itself appears to be determined to return to the more depressing parts of the early 80s.
“Well,” says Hall, “if we’d released a record at any point in the last eight years it would have been relevant. Because not a great deal has changed. There’s different names for it, like Brexit, which sounds nuanced, but isn’t far from the one called ‘unemployment’ and the one called ‘racism’. Look, we didn’t plan it. We didn’t say: ‘Let’s get a mix done quick, because Brexit’s out at the end of January.’”
There are non-political songs on the album. The penultimate track, The Life and Times, addresses Hall’s depression. Though his unsmiling demeanour has always been part of Hall’s appeal – “God, people saying, ‘Cheer up’ and ‘Why don’t you smile?’… I get fed up with saying, ‘Fuck off’” – a resting bitch face is far removed from the actual terror of depression.
The Specials on stage, June 1980 (l-r): Lynval Golding, Neville Staple, Roddy Radiation, Terry Hall, Jerry Dammers, John Bradbury. Photograph: Ray Stevenson / Rex Features
“With every record I’ve done, I’ve made reference to it,” says Hall, “but this is out-and-out. I was diagnosed with manic depression and schizophrenia about 11 years ago and that diagnosis made a big difference, because then I started taking medication. And the change in me, to be able to function… I couldn’t have done this 12 years ago. People used to say to me, ‘Why don’t you try yoga? Or St John’s wort?’ But there’s a massive difference when you’re in a deep depression and feeling shitty with the world, and the stage that I got to, where you want to give yourself a lobotomy, it’s that bad.”
Medication – “lithium, hardcore drugs” – has really helped. Hall knows that his episodes are cyclical and he can feel when a depression is coming on. “And before, I used to have to give in to it and people would say, ‘You’ve been in bed for three weeks’, and I thought it was 10 minutes. But now I can feel it coming and I can also feel the medication, it blocking it. It’s brilliant. Recognising you’re blocking it is amazing. It’s really weird. It’s like looking at a bruise develop on your leg.”
The album’s final track, We Sell Hope, is uplifting musically and lyrically, a contrast to all the excoriation that comes before.
“Well, in the end,” says Hall, “if you’re talking about each other, all you can offer is love. To respect people, and be kind to people, and hope that they give it back. They sometimes don’t but they sometimes do. But there’s that sense of hope. What else have we got?”
The photo session is done. The dancing and non-dancing are over. Hall has another cigarette and then we gather around a table to answer questions from Observer readers and famous admirers. There are more than usual. “Hmm,” says Hall. “I bet you say that every time.” (There are; I don’t.) “Fire away…”
Encore by the Specials is out now on UMC
Questions from famous fans
Photograph: Taylor Jewell/Invision/AP
Gurinder Chadha
Film director
What moment from your height of fame are you most proud of, the moment that provides the legacy of the Specials in years to come? Horace:Ghost Town getting to No 1. Terry: Yes, I’d go with that. It was an unbelievably brilliant finale to what we’d done for a few years, and every band should fold after Ghost Town really, because what else are you going to do?!
Photograph: Mike Lawrence/Getty Images for Gates Archive
Richard Curtis
Film director
I remember going to see you in concert and you getting about 10 seconds into Ghost Town and stopping dead and pointing at some guy in the crowd, and saying: ‘If we don’t get those Nazis out of here we’re not going on with this song.’ And then waiting until they were removed. Am I imagining this? Did I dream it? Terry: It used to happen every night, didn’t it? Horace: It wasn’t that much of an occurrence but it did happen, I remember a couple or three times where we’d stop a show because of the NF. Terry: They would be sieg heiling during the show. That doesn’t really happen any more. The closest thing to that was in Nottingham [2014] where somebody threw a bottle at Brad and I couldn’t do anything until he’d been taken out. It’s important to stop stuff [like that] if you see it.
Joe Talbot
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Lead singer, Idles
Is pop much worse now than the early 80s or am I blinded with nostalgia? Now it seems really dull when we glance at the mainstream… Terry: I’m actually going to see Joe in a couple of weeks, his band. I don’t know. We get asked that a lot. “What are you listening to now?” And what I’m listening to now is a Grateful Dead album, because I never heard it first time round… Horace: I’m sure there are some things that are great out there but I don’t know where to look for them. I haven’t got the time to spend a fruitless three hours ploughing through YouTube. Terry: The last thing that I saw that I really, really liked was the Fat White Family. They were funny and everything you wanted. Bit druggy, funny, they look really good. Lynval: There’s one band that I like. Easy Life. They’re a young band from Leicester, I saw them on Jools Holland, they’re really, really good. If I could have a vote for a band to be with us on any bill, it would be that little band. The kid’s got the right attitude. He’s a star.
Photograph: Dean Chalkley/BBC
Lauren Laverne
6 Music presenter
When are you happiest? Horace: Most of the time. Lynval: With me, when we made the album, to get up and get on a train and go to work every day, come to the studio, that was really weird – but when we finished the record, I was completely lost. I didn’t know what to do with myself. We had so much fun doing this record. We’d take it in turns to sleep on the couch. Wake up, “Oh, that’s nice, yes,” and go back to sleep. Terry: Probably happiest when I’m watching football. Even through all the shitty times, five minutes before kick-off you think: “This is great.” But in the last week or two do you know what’s made me happiest? In our bathroom, on the floor there’s mosaic tiles and one was lost. It’s white so I tried putting Polyfilla in, but I couldn’t get the grouting to look good. Then I thought: “Well, why don’t I look in the vac bag?” So I got the bag out and put my hand in and I found the tile. Honestly, that made me really happy. A great moment.
Photograph: Jason Alden/Rex
Richard Russell
XL Recordings boss
For Terry. You’re one of my favourite lyricists of all time. Who are yours? Terry: Joe Dolce [who wrote Shaddap You Face]! No, obviously people like Leonard Cohen, and bits of Jeff Buckley, and almost all Daniel Johnson and the Roches.
Photograph: David M Benett/Getty
Ady Suleiman
SingerAdvertisement
What are your best memories of 2 Tone? Horace: The Bilzen rock festival in Belgium in summer 1979. We’d just signed our record deal with Chrysalis, we were unknown, and we still had all this equipment that we’d begged, borrowed and stolen. We were on a bill with the Cure, the Pretenders, the Police and AC/DC. Nobody had heard of us, and we went on stage and just destroyed the place. There was a big fence, 12 foot in front of the stage and during the performance it got ripped down and everyone surged to the front of the stage. For me, that was the most amazing experience ever, that music could do that was incredible. Terry: Because of bands like UB40 and the Beat too, we were doing something that wasn’t in London. It was a sense of pride in where we were and wanted to make some sort of change. Lyrically, I think what we were doing was all very similar. We were all in the Midlands, and the only band I remembered from the Midlands was Jigsaw, who blew it all sky high [chuckles]. Lynval: Lieutenant Pigeon. Terry: Frank Ifield. All of a sudden, something was happening. Kids were connecting with us and it just felt really important.
Photograph: Linda Nylind/Guardian
Diane Morgan
Actor
You wrote a song about a Ghost Town, but have any of you actually seen a ghost? Lynval: I was born in Saint Catherine, Jamaica… Terry: And he’s off… Lynval: This man was crippled and he sat in front of this house in the village, where I come from, this brownstone house, on a mat. He died and I went down to the river with my sink pan on my head to fetch the water. It was broad daylight. I’ve got the water, I’m walking, then suddenly there he was, sitting in front of his house on his little mat. My mind just went, “Wooah, wooah,” and the sink pan of water has gone off my head. I just run. And often now, I don’t believe that I saw him, but I saw him. I still can’t grasp it. Terry: Weed’s a funny thing, isn’t it? I definitely haven’t seen a ghost, no.
Photograph: Richard Saker/Observer
Jason Williamson
Singer, Sleaford Mods
One thing I find with accomplishment is that it can feel so insignificant overall, but I know that’s something to do with bouts of depression. Do you feel this sometimes about what you’ve done and still do as musicians? Terry: It does matter, really, and even when it doesn’t matter, it still matters. People see success as getting to No 1 and being platinum. I don’t see that at all, I never have. I think the success is getting something inside, out, and getting someone to listen to it. That is success. For the first 20 years of my life, nobody would listen to me. Nobody. At school, jobcentres, they just didn’t listen, they were never bothered. But then you say something and somebody says, “I agree, I disagree”, and so wow, somebody’s listened. That’s success.
Questions from readers
Left to right: Lynval Golding, Terry Hall, Horace Panter. Photograph: Suki Dhanda/Observer
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In my opinion you’re the best band to grace this world. Which song do you still love banging out the most? Lee Griffiths, via email Lynval: I like Nite Klub. It’s a bit of a naughty one: “I won’t dance in a club like this/ All the girls are slags/ And the beer tastes just like piss.” It’s what we guys, when we get together, we talk about. We don’t shout it out loud to people. I quite enjoy that. Horace: Yes, I’ll go Nite Klub too. There’s a version of it on the deluxe edition of the album and it’s fantastic, I love it. Terry: I quite like stuff from the second album. International Jet Set and Stereotype. Just because I’ve always had this thing about people seeing us as a ska band. We don’t play ska music, and if you look at International Jet Set, you couldn’t be more removed from ska. On the second album, I couldn’t pick one song, but I could say with that album: “Wow, something good is happening here.” And then we split up!
I remember hearing Gangsters for the first time in 1979 when I was in an amusement arcade on my school holidays. The energy of that song stopped me in my tracks and the Specials have been my band ever since. What’s your music moment that’s stayed with you? Angelina Jones, via email Terry: I’d go with Gangsters. When we did it on Saturday Night Live in New York. Because it felt so alien to the people on the show, the ones working there and the audience, and that was the first time I thought: “Something good’s happening here.” We took off the shackles when we did it, people were just roaming on and off stage. And it felt really like the right song at the right time. I remember doing photo sessions and people thinking we were like, a gay choir, because we all had short hair. Either ex-marines or a gay choir. Lynval: Remember when we did it in Chicago? When they got the audience to throw these fake dollar bills on the stage? Because… gangster, yes? Terry: Al Capone.
Miranda Sawyer: But can you think of a song that isn’t yours where you thought: this changes everything? Horace: I was delivering car spares to a store in Birmingham. This was about 1990. And this song came on the radio, and I was standing there with this box, and this bloke was going, “Come on, give me the box,” and I go, “Shh.” And it was Smells Like Teen Spirit by Nirvana. It was the first time I heard it, and I thought, “Flippin’ heck. That’s good.” Lynval: “Get up, stand up. Stand up for your rights” by Bob Marley, because it was around the time when we started having our own identity. We started getting away from the colonial ways that were forced on to us. And that’s when the Rasta theme started coming up, something we can call our own, you know? That really hit me. Miranda: How about you, Terry? Is there a song you can think of that changed things for you? Terry: I will come back to Shaddap You Face again… No, Anarchy in the UK. It was like everybody was waiting for something like that. It was a turning point.Advertisement
If someone had told me 40 years ago that a bloke like [pro-Brexit ‘yellow vest’ protester] James Goddard and his mates would be close to the profile they have today, I would’ve found it hard to believe. You played a leadership role then. What do you think needs to happen now? How do we reverse the division that people like Goddard look to exploit? Steve E, Vancouver Lynval: Back when we started, it was a small minority of skinheads that was pulling the wrong way. I remember one guy I met, a real National Front supporter, you know? And after I finished talking to him, we shook hands and we looked at each other, and he said he hadn’t talked to a black guy before. He wouldn’t do it. But once we talked and had a discussion… Horace: Those people always were out there. They feel more of a licence to speak now, because we all have our platform, don’t we? This division is a knock-on effect of Instagram and Twitter and whatever. Everyone has a voice now. But there’s no filter on it. Back in our day, you would voice your discontent down the pub to your mates. Whereas now you can voice your discontent to millions of people from the privacy of your own downstairs toilet. Terry: I think politicians love the division. It’s a great thing for them. They thrive on it. I don’t think they want everyone to be together. Brexit has conjured up so much stuff, and all these personalities are appearing, like Jacob Rees-Mogg. They like the division and I can see it getting a lot worse.
Do you feel mellowed with age or do you still get intensely wound up by current political events? Stephen Bennett, Dublin Lynval: I switch on CNN and wonder: “What am I watching all this for?” People calling the police because a little kid is selling water, just because the kid is black [#PermitPatty]… The one thing which I think is good with social media is, when we say: “You’ll never understand what it’s like to be black.” I think the images that come in now, but you see it and maybe understand more. You know, you walk in a shop and you know that all eyes are on you. Because you appear like a guy who’s going to come in and shoplift. Because you’re black… No, I’m not mellowed with age. Horace: I think age has filtered a few things. The only thing I watch on television is the news, really. Terry: I’ve definitely mellowed. But I’m at that age. I’m going to be 60 in a month, and there’s loads of shit going on, but then I look up at night and see the moon, and I just think: “Whoa.” Do you know what I mean? You see a tree that’s been there a few hundred years, and you think: “Fucking hell. This is brilliant.” Miranda: Is that age? Terry: No, it’s medication. When you have kids of your own and with their mates, that’s where you can be political, and that’s what I’ve tended to do, especially with my older boys when they were teenagers. Watching them go through stuff, and hopefully guiding them. My house used to be a real open house, like a youth club. Their mates always used to come round because I was like a bit “right on”, and they could smoke weed or whatever. And that’s where you try and influence so that there’s not so much anger. It’s not being mellow, you’re doing something, but you’re doing it at home, you know? Rather than just blasting it out all the time. Horace: Micro as opposed to macro.
What are your thoughts on Coventry becoming a UK city of culture in 2021? Have you been approached to do something? Liam Nagle, Coventry Horace: I’m the only participating member of the Specials who still lives in Coventry and no, I haven’t been approached to do something. I would like to see money put by to provide for music lessons for children in schools, a proper legacy. I’m more interested in that than “Here’s a couple of boutique hotels”, and who needs another wine bar for goodness sake? Terry: I get really bugged by this City of Culture thing. If you have to really search for the culture, you’re making it up. The landmark for me in Coventry is the cathedral.
I’m a Cov kid, who grew up as all the industry collapsed around us in the 80s and 90s, losing perhaps 100,000 jobs in that time from Jaguar, Triumph, Dunlop, Rover, Rolls-Royce, Morris, Alvis, Massey Ferguson. I wonder how you see the city today with so many of those jobs replaced by call centres? People who had repetitive production line jobs at least had the pride of being part of making something that was known, in some cases, worldwide. Now they just get shouted at by irate customers on the phone. FlightGuileAndPies, online Lynval: You used to have Courtaulds. They were everywhere. Massey Ferguson that does the tractors. And in Canley, Matrix Churchill, one of the last pieces of work they were doing was [making parts for arms] for the Iraq war. Obviously that war game didn’t work out for them, because war brings employment for them! It’s all gone now. Even the smell of the city is not there any more. You could smell the engineering. Back then, Coventry was thriving, an industrial city. Now it’s a student city. Horace: Loads of barbers. Lynval: And chicken shop takeaways. It’s all revolving around students. Working class, labour people – once the industry goes away, then all the traditional pubs, they die. The working men’s clubs, they die. Like what my father used to go to, Rowley’s Green Working Men’s Club. They’re not there any more. Horace: There’s still manufacturing in Coventry. Lynval: You’ve got Triumph motorbikes. Horace: London taxis are made in Coventry. Terry: All my family worked in factories. My mum worked for Chrysler, my dad worked for Rolls- Royce. Aunt. Everybody worked in the car factories, and there was a real sense of community. Everybody felt on an equal level, all getting cash every week. I didn’t really notice the decline, really, until it had happened, but then it was massive. It’s difficult with Coventry because I moved away for specific reasons. I couldn’t fucking stand it.
What was it like touring with the Clash? Peter Milne, Norwich Lynval: It was absolutely an eye-opener. Joe Strummer was a wonderful, wonderful human being, and being in that group of people at that time, there was so much excitement. Because we did our little pub thing, but this was like the next level up. It was just a wonderful vibe. Like one big party. Horace: We learned how to present a show while on tour with the Clash. You would see how they go on stage and it was just like, Bang. We learned to give 100%. Not just shamble on stage and “If you don’t mind, we’d like to play a few songs.” We were totally different after that tour. I always say that we started that tour as civilians but ended it as a group. Terry: And after the Clash thing, that’s when we cut our hair, because we discovered what we should look like by doing that tour. And then you end up in Crawley with about 1,000 skinheads gobbing at you. Horace: That was scary. Terry: Yes, that was really scary. But it was great because Suicide were on that tour as well. And Sham did stuff. [Jimmy] Pursey was there. For me, it was like, “How do you react to an audience?” The fans tell you the songs they like. They like Monkey Man, definitely. And A Message to You, around the world.
Saffiyah Khan, in a Specials T-shirt, staring down English Defence League protester Ian Crossland in Birmingham, April 2017. Photograph: Joe Giddens/PA
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I heard activist Saffiyah Khan has sung on the album. How did this come about? Barry Mingard, Welwyn Garden City Terry:We saw Saffiyah in that photo. She had a Specials T-shirt on, and she was standing up to a member of the EDL, who was screaming at her, and she just smiled back. A fantastic reaction, because it made him look stupid. So we got in touch with her and said: “Come to our gig in Birmingham.” Then when it came to recording the album, we were thinking about people who might like to be on it, and she was definitely in my head as somebody who could have something to say. And at the same time I was listening to Prince Buster, Ten Commandments of Man, and I couldn’t believe… Miranda: How rampantly sexist it is? Terry: It goes back to Dave Lee Travis, like hand-on-the-arse times. So then the idea came like: “Wouldn’t it be nice to do an answer to that?” But obviously from a woman. Saffiyah was the obvious choice, and we just said to her: “Here’s the Prince Buster song. Do you want to try to reply to it?” And she got on with it.
Bloody hell, I don’t think I’ve seen such effortlessly cool looking gentlemen ever. Please give me a clothing tip. Tenement Funster, online Horace: Smart casual. And wear your T-shirt outside your jeans. Lynval: Horace is stepping up now, he’s the man. Me, I love that sort of stuff from the 70s, like reggae style, you know? Gregory Isaacs. Terry: It’s simple. Avoid horizontal stripes. Didn’t work when you were 18 mate, and now you’re middle aged.
Terry, as a lifelong Man United fan, what do you think Ole Gunnar Solskjærhas to do to get the manager’s job full time? Thehumblegent, online Terry: No idea what he has to do. I mean, he just wins at the moment. He’s such a lovable bloke and a real legend, but whether he’ll keep the job, who knows? Lynval: He’s a real Man U guy, he spent half his life there, it’s in his blood, and it’s got to be in your blood to be able to manage a club like that. I think they should hold on to him, and give him the job full time. It could be another Fergie in the making. Terry: I think realistically, for me, Ferguson is managing the club again. He’s using Solskjær as his mouthpiece. Ferguson is smiling way too much. Lynval: It’s brilliant. The next legend manager.
Now you’re doing new material like Jerry wanted to do when you reformed, isn’t it time to let him back into the fold? Bloodydoorsoff, online Horace: (Quietly but decisively) No. Next question. Lynval: I think having Nikolaj Torp Larsen, we’re really fortunate to have a kid like that who’s so talented. I was one of the last ones to work with Jerry, I enjoyed working with him. If you’re going to make music, you want to make music with people that you respect as musicians. I do respect him a lot. Terry: The whole Jerry thing, it’s like, from day one, I’m not sure why he isn’t in the band. I honestly don’t know, because we all started rehearsing together [for the 2009 reunion] and he sort of dropped out. I don’t know what happened there. I don’t know why he isn’t in the band, do you know what I mean? He just, dropped out. It’s his stuff really, it’s not our stuff. He chose not to be in the band, for whatever reasons. Miranda: What about if he said: “Oh, can I come back?” Terry: I’d just tell him to fuck off. [laughter] No, I wouldn’t. No, I wouldn’t. I’d get management to tell him. He can come back, it’s up to him what he’s going to do.
Why aren’t Neville, Roddy and Jerry back in the band? Diesel Estate, online Horace: They left. Lynval: They left. It’s as simple as that. Roddy left the band, Neville left the band. Jerry didn’t fully join the band back. There’s nothing we can do about it. Terry: Roddy and Neville feel comfortable where they’re at. They play pubs and small clubs, and I think if you lack that much charisma then that’s probably a wise thing. They enjoy small intimate venues with very few people there. That’s where they feel most comfortable.
For Terry and Horace. What does painting do for you that making music doesn’t? Sam McNichols, London Terry: When I was at my ill-est, it triggered something in my brain that wouldn’t allow me to talk or walk for three weeks. Because I couldn’t say anything, I had to write everything down. And a doctor said to me: “Paint.” And actually painting was something that was coming out of my head that I could show to people. For them, in Horace’s case, to despise. [laughter from all] Miranda: It’s a reaction. Terry: I’ve got a fixation on the Jackson 5, so I painted the Jackson 5 for six months, and then it was pointed out to me that I’d painted six. Six Jacksons, so I renamed the extra one Phil Jackson. It’s all getting it out, and who cares whether it’s right or wrong, I don’t give a shit. Horace: Music for me is a collaborative process, I’m a bass player. I have to work with a drummer, a singer, a keyboard player, I’m a cog in a machine. The art is kind of my solo album.
In the spring of 1977 I walked into a swap meet in Anaheim, California, with eight other Hells Angels. We were on guard right away as we realized we were in a sea of Mongols, a smaller, newer club in Southern California that had taken in Chester Green, a former Hells Angel from the Bay Area. Chester had left us in disgrace and, for months leading up to the swap meet, had been quietly filling the Mongols with ideas that the Hells Angels were vulnerable.
I was walking next to Kid Glenn, a six-foot-two, 230-pound Hells Angel from San Bernardino. Like the rest of us, he was wondering what we had walked into. Kid had a linebacker’s frame, muscular with no belly. He was quick with a bright smile and was smart for a biker, but had a reputation for toughness. It was the first time we had met. Like everyone else, he knew a bad scene when he was in one.
“What the fuck is going on with all these Mongols? Do we have a problem with them? Why are all these assholes here?” At a glance it looked like we were outnumbered at least five-to-one; law enforcement would later put their numbers at anywhere from forty to a hundred, to our nine.
“I don’t know, Kid,” I answered.
He turned to the other Angels. “We got to stay together, man. If the shit happens, we just hold our ground back-to-back.”
Everyone nodded and closed ranks. “Yeah, man.” Except for the one person who wasn’t hearing him, a Los Angeles Hells Angel.
A clot of Mongols walked toward us, the crowd parting as they came through. But we were Hells Angels. We gave way to nobody. Green was right in the middle of the Mongols. He and the L.A. Hells Angel locked eyes. No words, just a look. Then without so much as a “How do you do,” the Angel swung on him and connected. It was on.
Brawls are faster and messier than anything staged in a movie or on TV. Everyone was immediately pumped with adrenaline and just reacting, not thinking. It was absolute chaos. Fortunately, being outmanned in a close-quarters fight isn’t necessarily the worst thing in the world. Only so many guys can get to you at one time. If you can keep your cool, you can maneuver opponents so that they’re in one another’s way and don’t have a clear shot at you. In a place like a swap meet, there is also a lot of stuff lying around that you can use to your advantage. Tables and carts can slow enemies down and create a defensive barrier. Mostly, though, there are weapons everywhere. The first thing most of the Angels did was grab something lethal. Prospect Cliff Mowery – a confidential informant, as we would later find out – grabbed a beefy kickstand and started swinging it. Another Angel grabbed a piston-and-rod, which made for a deadly club.
Jesse, a stocky, sandy-haired young Angel, was beside me when he was bull-rushed by a Mongol tank. This guy was a barrel-chested monster of a man but not a smart fighter. Rather than grab ahold of Jesse or land a haymaker, he rammed Jesse in the chest and knocked him backward. I watched out of the corner of my eye as Jesse flew and landed across a vendor table. The table collapsed, and Jesse wound up on the floor surrounded by heavy, forged-iron sprockets. It was a lucky break. He grabbed the largest gear within reach, jumped up, and started swinging for all he was worth. I’ve never seen anything like it, before or since.
The teeth of a machined motorcycle gear have sharp edges. A gear is heavy as hell. The big Mongol was the first to learn how much Jesse loved to fight, as the gear cut open a savage gash in the big man’s face, eyebrow to chin. Jesse gave other Mongols more of the same. Chunks of flesh and trails of blood were flying everywhere as he took full swings at attacker after attacker. The Mongols around him were screaming, holding gruesome wounds, divots taken out of their faces.
The fight, like most, ended as fast as it started. The nine Hells Angels held their ground as the Mongols broke and ran, but in the end we were really the losers. We did look vulnerable; although we held our ground when hugely outnumbered, the Mongols had fought us in a public forum and had not only lived to tell their tale but were holding their ground in the aftermath.
* * *
Over the next few months the Mongols continued to test us. Our new leader, Ray, a heavy meth-user with a greasy ponytail and aspirations in the porn industry, not only didn’t know how to lead, he was a terrible negotiator. A few months after the fight, the Mongols decided they were ready to challenge us. Their leader informed us they too would soon be wearing the California state rocker – the patch we wore to show our preeminence in the state. The outlaw world is all about respect and territory; this was clearly a challenge that would have to be addressed.
After a long hot, quiet summer, on Labor Day weekend 1977 the Hells Angels broke their silence. A pack of Mongols displaying their bold new California rockers rode along one of Southern California’s winding freeways. In a hail of machine gun fire, they got their response.
Two people were killed, and the murders got everybody’s attention. If the Mongols mistook Ray’s poor leadership as a sign that the club wasn’t serious, they now knew otherwise. Local and federal law enforcement took notice as well. Those weren’t the kind of headlines police chiefs and federal agents liked to read. The killings got big play in the news. The public and every biker in the country were aware of them.
Those in the know expected Mongol retaliation, but the Hells Angels were just getting started.
Two days later, the bodies of Redbeard and Jingles, the two Mongols we killed during the Labor Day shooting, were on view at the Lemon Grove Mortuary. A member of our San Diego chapter, whose identity remains a point of debate to this day, drove up in a white Rambler and parked next to the building. He walked in and dropped a bouquet of red and white carnations on Jingles’ casket. The Hells Angels’ colors would have been obvious to anyone in the room. I’m guessing that the Mongols either thought it was a peace gesture or were too stunned at the ballsy move to react. The guy simply walked away untouched and unidentified. A couple minutes later, he remotely detonated a bomb concealed in the Rambler. He had parked the car in the wrong place; otherwise, the damage would have been much worse. Still, the explosion injured three people.
Christie as a new full-patch Hells Angel.
Bombs were a favorite weapon among outlaw bikers. It was easy to get your hands on explosives, it didn’t take a genius to wire a crude bomb, and they created real damage, and fear. Outlaw clubs also had plenty of military veterans among their members, guys with lots of experience wiring explosives. But I hated bombs. They were messy and cruel. People got maimed as often as they got killed. More than that, I hated the idea of civilian casualties. It seemed stupid to bring that much attention to the club and potentially hurt people who had nothing to do with the beef. Not to mention, you could blow yourself up with a single mistake. Explosives were just way too unpredictable for my tastes.
My opinion wasn’t popular. The bomb at the Mongols memorial had sent a message that everybody wanted sent: “We’re not done with you yet.” To most of the club, another bomb seemed like a really good idea. I walked into the clubhouse a couple days after the memorial bombing to find Ray meeting with a few other members and some of the guys from San Diego. It took me about thirty seconds to realize that they were talking about blowing more Mongols up.
“You guys ever hear of collateral damage?” I asked. “You keep setting up these bombs, this shit’s going to go wrong in a big way.”
I saw the looks I got. The easiest thing in the club was to make accusations: “Oh, this guy doesn’t want a bomb to go off in downtown Los Angeles? He must be an informant. Or a cop. Or he’s just fucking weak.”
I know that they were thinking all that and calling me a coward behind my back. But it was getting out of hand. I left before I heard any more. Days later, word went around the clubhouse that they had put a bomb down a roof vent in a Highland Park motorcycle shop called the Frame-Up. The shop was owned by two Mongols. Something went wrong with the detonator or the bomb. The bomb didn’t go off. Old Man John, a former Hells Angels leader and the man who brought me into the club, took me aside and told me I had to retrieve it.
“Are you kidding? Why not just leave it there?”
“George, you have to do this,” he said, the wrinkles on his seventy-year-old face like roadmaps. “People need to know that you’re going to take care of business no matter what you think about it. The club has to come first. There’s guys saying things right now, and you’ve got to prove them wrong. I already know what you’re about. Now you got to convince them.”
Belonging to the Hells Angels means doing dangerous things. Your participation becomes your credentials. Waver in any way and you become suspect. A lot of times in the outlaw culture, saying no just isn’t an option. This was one of them.
“Okay, John, I’ll get it done.”
“Take Jesse, get that thing out of the roof vent, and take it over to the garage. That’s all you got to do. One of the other guys will take it apart,” he said.
That’s all I had to do.
Jesse and I were coming up through the ranks together, both in our twenties with a lot left to prove to the established members. I knew that, in his own way, John was looking out for me. He wanted to show everyone that I was the stand-up guy he saw, that I would get the job done no matter what. It was important to make sure everyone understood who could hold their mud and who couldn’t.
A young Christie, right, with his mother, father and Cheryl at boot camp on visiting day.
So at ten that night, Jesse and I headed over to the Frame-Up. The shop was in a neighborhood of auto body repair places, metalworking shops, and junkyards. We backed Jesse’s oversized sedan down the alley alongside the building and checked that there were no guard dogs or people around. A pull-down roof ladder was attached to the back wall, and Jesse boosted me up so I could grab it and climb up. I found the vent hood easily enough, and the rope holding the bomb had been tied off to a rooftop vent pipe. I untied it and slowly begin pulling the bomb up. It was impossible to do without the bomb swinging side to side. It was like a game of Operation, and every time the bomb clanged into the sheet-metal vent wall I thought it would go off.
I got it out and carried it carefully to the roof edge, right above where Jesse was standing. I started to lower it by playing out the rope. When it was inches within his reach, the bomb started swinging, bumping into the wall.
“Jesus, George!”
“I know, I know.”
We were both freaked out. But I finally got the bomb down into Jesse’s hands. I climbed down and we carried it to the car.
“Where do you want to put it?”
It was a good question. I looked at Jesse and shook my head. I hadn’t thought beyond just getting the bomb down off the roof. We still had to take it for a thirty-minute drive.
“Shit, I don’t know. The trunk?”
“The trunk’s right over the gas tank, man,” he said. “It goes and we’re going to blow like the Fourth of July.”
“So where? The backseat?”
“I think it’s the best place.”
We found a blanket and nestled the bomb on it, as if that would somehow stop the thing from blowing up. We both straightened up and looked at this bundle of dynamite sticks held together with duct tape. It looked cartoonish, like a bad movie prop. We burst out laughing. The absurdity of the situation, along with sheer tension, had built up to the point that laughing was the only way to deal with it. It was hysterical, crazy laughter. We were bent over, tears running down our faces. We calmed down long enough to get settled in the car. I fired it up and moved out and down the street. A block later we went over a set of railroad tracks that was a much bigger double-bump than we expected. It really rattled the car. We looked over at each other and burst out laughing again. It took us the rest of the trip to stop.
We drove the bomb back to the garage and then dropped the car off at the clubhouse, where I picked up my black 1942 Harley Davidson flathead. When I finally pulled into my driveway, I took a moment to just breathe.
* * *
Give the club credit for persistence. Just three weeks after the Mongols’ memorial, Thomas Heath, a twenty-something, short, stubby career criminal and Hells Angel prospect, walked a flat motorcycle tire into the Frame-Up. Brett Eaton had rigged a bomb inside the tire, so that it would detonate when the tire valve was unscrewed. After an hour, Heath called the shop and asked if the tire was done. He talked to Mongol Henry Jimenez. They had a heated exchange, Heath pressing for the tire to be fixed so he could get it on his bike before nightfall. Jimenez finally told him he would get it done. Jimenez wasn’t alone. Raymond Hernandez, the fifteen-year-old brother of another Mongol, was hanging out in the shop.
Christie poses with friend and fellow rider Mickey Rourke.
A fifteen-year-old kid hasn’t even starting shaving yet. He was hanging out with this guy he must have looked up to. He was changing oil or helping out as best he could. Learning. Thinking about how, soon, he would have his own bike. This kid knew exactly what type of Harley he was going to have. Maybe a beat-up bobber he could trick out right there. Like every other teenage boy with a biker brother or father, he knew exactly how his own bike was going to look, and how cool he was going to look riding it.
But he never got a chance to build or ride a motorcycle. He would never even own a driver’s license. Henry Jimenez held the tire steady and began unscrewing the valve. The bomb contacts came together, and Mongol and teenager were instantly killed in a blast that blew the windows out of the buildings on either side of the shop. Heath called again, an hour later. Someone else answered. The sounds of sirens and chaos filled the background.
“Yeah, your tire’s ready, motherfucker. Come down and get it.”
Heath hung up and laughed. It was a joke to him. For days, he went on about the explosion: “You should have heard that fucking guy. I bet his ears were ringing.” He was almost doubled over with laughter as he said it. John finally had to tell him to shut up about it.
Justice would be served decades later when Heath was sentenced to 35-to-life for a domestic dispute beef that bought him a “third strike” conviction.
But to most of the club, it didn’t matter. War was war and collateral damage was to be expected. Days later, the president of the San Fernando Valley Mongol charter, Luis Gutierrez, went out to his driveway to get in his van. It blew up as he opened the door. He was luckier than the fifteen- year-old; he escaped with his life and his body intact.
The violence drew even more attention. Law enforcement doesn’t care when bikers kill bikers, but they don’t like innocent kids getting blown up. From that point on, you couldn’t wear your colors on a paved road in Southern California without getting pulled over and jacked up. Those of us who rode regularly were not having a lot of fun, and I couldn’t get that fifteen-year-old out of my head.
A few nights later, I got home before the kids were in bed. I had been gone for two days and they were overjoyed to see me. We had a little ritual. My place in the living room was a big old black easy chair with gigantic, rounded, thickly padded arms. I would sit one kid on each side and wrap my arms around them. Six-year-old Moriya had just taken a bath and she pressed in on me, reading a picture book, humming to herself. Her hair smelled sweetly of kids’ shampoo. I held the baby, Georgie, close on the other side as he played with a toy car. The TV was on but I wasn’t paying attention. I was just so glad to be home.
The moment was sanctuary. My wife, Cheryl, wasn’t giving me a hard time. Nobody was asking me to juggle dynamite or shoot someone or cover up a felony. There were no psychotic drug dealers here. I had always held a romantic view of the outlaw as hero, but that view was being put to the test. Sooner or later any reasonable person will ask himself what he’s gotten into, how it works with everything else in his life. It all started with the idea of having a simple good time. Partying with brothers, hanging out, building and riding bikes, and living our own version of the American dream. The club seemed to have gone a long way from that in the blink of an eye.
I sat in my little four-foot-by-four-foot square of contentment and wondered how I missed getting shipped out to Vietnam only to wind up at home in the middle of a war. I thought about a fifteen-year-old boy who had probably never enjoyed a stiff drink, a drag race, or sex – and never would. Eventually, I had to ask myself, “How long will I last?” I told myself to cherish the moment. A month and I could be in prison. I could be dead. Cheryl could come to the end of her rope and kick me out. I squeezed the kids closer. Georgie squirmed in my grasp.
Story by George Christie · Photos courtesy George Christie · 9.30.16
The Pyramids = Symarip: Establish Skinhead Reggae in The UK and Influence A Generation
Symarip Skinhead Reggae 1969
As The Bees this band are recognised as the first ever UK based Ska band, backing legendarty Singers as Prince Buster and Laural Aitkin. Changing their name several times during the 1960’s. The Pyramids were formed in the mid-sixties by six young British-based Jamaican musicians. The band were also known at various stages of their career from The Bees, The Pyramids, Seven Letters and Zubaba. In the mold of The Equals, they began their career as a straight “pop” group, consisting of founders Frank Pitter, Michael Thomas, Josh Roberts, Ray Knight, Monty Naismith and vocalist Roy Ellis and were signed to President Records.
In 1968, President bagged their first Number 1 with “Baby Come Back” by The Equals, featuring a teenage Eddy Grant on lead vocals. At the request of his label, Grant had also been working with the Pyramids, who had backed Prince Buster on a recent U.K. tour. Besides composing songs for the band (and one for Prince Buster himself, the rude classic “Rough Rider” which was later covered by The Beat), Grant also produced several tracks for The Pyramids in 1969 including the band’s debut single and sole hit, “Train to Rainbow City” which appeared on their self-titled LP.Here is a video of the song “Train To Rainbow City” written by Eddy Grant for The Pyramids:
According to sleeve notes from a best-of collection released by Trojan Records, The band’s relationship with President soured when their record ‘Mexican Moonlight’ was a hit in Germany, but the label neglected to tell them about it. As a result, the band decided to rename themselves so that they could record elsewhere without President Records knowledge. Organist Monty Neysmith came up with a plan: ‘I came up with the idea of turning Pyramids around and you leave out the ‘d’. So originally it was spelt Simaryp. I don’t know how it came to be spelt Symarip!’ So in 1969, safe in the knowledge that Presidnet Records would never unravel the secret of their true identity, Simaryp/Symaripprepared to record for their new label, Graeme Goodall’s Treasure Isle – whose chief label was ironically called Pyramid!
Skinhead Moonstomp front cover featuring London Skinheads 1970. Trojan Records
While working as his backing band Laurel Aitkin suggested to the boys that they should write an album for the emerging Skinhead subculture that had started to develop from the Mod culture in England, firmly picking up the Jamaican Ska sound brought into the dancehalls by the new immigrants from the colonies.
The band then recorded their first album as Symparip in 1970 and immediately became the face of “Skinhead Reggae” with songs like “Skinhead Girl”, “Skinhead Jamboree” and “Skinhead Moonstomp”, which is based on the Derrick Morgan song, “Moon Hop”. According to Neysmith, the band noticed a new element coming to their live shows: Skinheads. ‘A lot of skinheads started coming to our shows, and Roy and I said, it would be good to write a song for skinheads. We remembered a song [‘I Thank You’ by Sam & Dave] where they said, ‘I want everybody to get on their feet, and this and that, and give me some of that old soul music’. I thought, let’s change the words and put, ‘I want all you skinheads to get on your feet, put your braces together and your boots on your feet, and give me some of that old moonstomping’.In 1980, the album Skinhead Moonstomp was re-issued in the wake of the 2 Tone craze, hitting the UK pop charts for the first time and a whole new generation of fans were introduced to their sound. The Specials further expanded their name and popularity of Symarip by recording a live cover version of “Skinhead Moonstomp” as part of a medley of 60’s reggae songs on the B-side of their “Specials Live EP” which hit number one in the UK charts.
Laurel Aitkin smoking weed backstage at Acklam Hall Ladbroke Grove , West london
Here is a brief video of Symarip performing in Horace Ove’s documentary “Reggae” recorded at Wembley in 1970 before a crowd of 14,000. The tune is a Rupie Edwards tune called “Pop Hi”. Don’t miss Roy Ellis’s back-flip at the start of the clip: Amazingly Ellis and Neysmith have reformed the band and plan to perform around the UK in 2008-09. They will perform a show on Friday October 31st at The Hootananny in Brixton, London. You can get ticket information here. There must be something in the water in the UK that’s causing all these bands to reform.
Here is the track list and a download to their 1969 LP “Skinhead Moonstomp” that was reissued in 1980 during the height of 2-Tone”
1-Skinhead Moonstop 2-Phoenix City 3-Skinhead Girl 4-Try Me Best 5-Skinhead Jamboree 6-Chicken Merry 7-These Boots Are Made For Stomping 8-Must Catch a Train 9-Skin Flint 10-Stay With Him 11-Fung Shu 12-You’re Mine 13-Bam Bam Baji 14-Hold Him Joe 15-Tomorrow at Sunrise 16-Parsons Corner 17-Redeem 18-La Bella Jig 19-Holidays By The Sea 20-Feel AllrightSymarip – Skinhead Moonstomp
Brixton in the ’80s was home to a group of radical lesbians who mixed sexual politics with squat culture. Meet the group calling themselves the ‘Rebel Dykes’
In the early 1980s, young gay women, many still teenagers, gravitated to London, attracted by its diversity and experimentation. A lesbian subculture grew up around the squats of Brixton and Hackney. ‘You could tell which houses were squats by the painted doors and blankets in the windows,’ Siobhan Fahey remembers. ‘I wanted to live in Brixton, so all I did was walk around the streets asking if I could move in.’
Fahey had come to London from Liverpool as a teenager. At the time being gay could be dangerous. It had only just become legal for gay men to have sex, and in 1988 Margaret Thatcher brought in Section 28, legislation which outlawed the promotion of homosexuality as ‘a pretend family relationship’. The capital’s empty buildings offered safe spaces for sexual openness, creativity and activism, and so the Rebel Dykes – as Fahey later christened them – were born. Dressed in biker jackets and chains, their hair sculpted, shaved and rainbow-coloured, the Rebel Dykes were the antithesis of ’80s conservatism. They helped establish women-only squats across the city and opened London’s first lesbian fetish club.
‘There have been no books or articles. It’s like it never happened’ – Siobhan Fahey
Now, though, these pioneering women feel like they’ve been written out of history. ‘There have been no books or articles. It’s like it never happened,’ Fahey says, explaining that their ‘punky intersectional feminism’ was attributed to ’90s movements like Riot Grrrl, while stories about 1980s squat culture often focused on men. Eventually, she set up a Facebook group to find former Rebel Dykes and nearly 200 people joined. Now she’s producing a documentary to tell their story.
The roots of the Rebel Dykes can be chased back to the Greenham Common Women’s Peace Camp, the female-only protest which campaigned against US nuclear weapons being sited at an RAF base in Berkshire. It was a feminist hub and, according to many of the women I spoke to, a hot spot for coming out and hooking up.
Lesbian Fetish Punk London
‘ I was young, I was cute – why not?’ – Karen Fischer
Rebel Dyke Karen Fischer, known as Fisch, explains that, for many lesbian women, heading to Greenham was liberating. ‘It was like being alone on a desert island, then suddenly there were loads of you,’ she says. ‘It was like being a kid in a candy store. I was young, I was cute – why not?’
There was more at stake, though. ‘If people found out you were gay, you could lose your job, you could get your kids taken away,’ says Fisch. ‘Our lives were made political by the lifestyles we had.’ One Rebel Dyke told me how a Lesbian Strength March was followed by neo-fascists.
Lesbian Punk girls kissing London
Pink Paper
Two women kiss at Pride (from Pink Paper)
A major component of the Rebel Dykes’ ‘political lives’ was London’s squat culture. Squatting became a criminal offence in 2012, but in the ’80s it was a basic lifestyle option for struggling young people. More than 30,000 people were reported to be living in squats in London at the start of the decade. With 3 million Brits out of work, a scene of artists, activists and musicians grew in our city’s squats. As women from Greenham drifted to London, a radical group formed among them.
Fahey ended up living – ironically – in a disused housing benefits office as well as sharing a room at a well-known house on Brailsford Road. ‘We lived in one street that was full of squats where we all took turns cooking at each other’s houses,’ she says, describing how there was a band practice room downstairs .‘There were lots of people in open relationships,’ says Fahey. ‘We had parties that would go on for days.’ It wasn’t all fun, though: drugs, Aids and homelessness affected the community.
The back page of ’80s squatters’ zine Crowbar
The Rebel Dykes were known for their liberal attitude towards sex . They launched London’s first lesbian fetish club, Chain Reactions, which caused uproar among other lesbian groups who were more conservative. Fahey says that the complaints only fuelled the night’s success. It was always packed out, with a different ‘sex cabaret’ each week. ‘Groups of women would come together to put it on and fall in and out of love while making it,’ she laughs. ‘We had pickets outside from other lesbians who thought that lesbians shouldn’t be doing this thing as it “wasn’t quite right”.’
Another popular night was Systematic at Brixton’s Women’s Centre, run by promoter Yvonne Taylor. ‘It was different to other club nights at the time,’ she says. ‘Because it brought in a whole range of different types of women: black, white, young, old, butch and femme.’ Taylor still hosts a monthly night – Supersonic – and says she’s enjoyed watching London’s nightlife become more inclusive in recent years. She’s not the only Rebel Dyke still involved with London’s LGBT+ nightlife, Fisch still performs as drag king Frankie Sinatra.
‘I would climb into first-storey windows, take parts of security doors off and change locks’ – Atalanta Kernick
Beyond clubbing the Rebel Dykes’ lives were centred on punk bands and protests. They took part in anti-apartheid, Stop the Bomb and Support the Miners demos as well as early Pride marches. ‘I’ve got a photo of me carrying a banner that reads: “Brixton Dykes Demand Wages for Bashing Bailiffs”,’ says Rebel Dyke Atalanta Kernick. ‘It’s a play on a campaign for women demanding wages for housework. Another was made out of pink mesh and had cats embroidered on it. It said: “Brixton Dykes Make Pussies Purr”.’
Lesbians are fucking everywhere. London Punks
T-shirt made to promote fetish night Chain Reactions
As a teenager with an acid-green mohican, Kernick moved into her first squat in 1985 with a woman she met at Greenham Common. ‘I would climb into first-storey windows, take parts of security doors off and change locks,’ she says. ‘I did a building maintenance course, then carpentry, electrics and plumbing.’ She was one of a number of women who used the skills they learned squatting to take cash-in-hand trade jobs.
Rebel Dykes now: Kernick, Fisch (left), Fahey, Taylor (right)
Eventually Kernick left London, but the era remains a key part of who she is. After living up north for 15 years, she returned to the city after reconnecting with another Rebel Dyke. ‘We used to flirt in the squats when we were 18,’ Kernick smiles. ‘We’ve been together five years now.’
For Fahey, the Rebel Dyke years are still relevant. She sees her film as a way to connect with today’s queer activists. ‘Sometimes young people look at us like: “You’re so brave”,’ she says. ‘But we had the dole, squats and no CCTV. I look at them in awe.’
The Cockney Rejects’ 1980 performance at Birmingham’s Cedar Club remains unnoted in the annals of rock history. It warrants no mention when music journalists compile the 100 Most Shocking Moments in Rock, nor the 100 Craziest Gigs Ever, which seems like a terrible oversight. In fairness, no one is ever going to rank the show by the East End quartet – then enjoying chart success with a punk take on the West Ham terrace anthem I’m Forever Blowing Bubbles – alongside Jimi Hendrix at Monterey in terms of musical brilliance. Still, it has its own claim to historical import: by all accounts, it was the most violent gig in British history.
“I’d seen quite a bit on the terraces or outside football grounds, but this was carnage,” says Jeff Turner, today an immensely amiable decorator, then “Stinky” Turner, the Cockney Rejects’ teenage frontman, cursed with what his former manager Garry Bushell tactfully describes as “a bit of a temper”. Turner continues: “There was a lot of people cut and hurt, I got cut, my brother [Rejects’ guitarist Micky Geggus] really got done bad, with an ashtray, the gear was decimated, there was people lying around on the floor. Carnage.”
The problem was football-related. “Most of the punk bands at the time, they had their ideals – the Clash, Career Opportunities, political stuff, fair play,” says Turner. “When I was a kid, my thought for punk rock was that it could put West Ham on the front pages.” To this end, the band – affiliated to the club’s hooligans in the Inter City Firm – had appeared on Top of the Pops in West Ham shirts. “After that, everybody wanted to fight us, but you couldn’t back down,” says Turner. “Once you were defeated, it would have opened the floodgates for everybody.”
So the Rejects and their party fought: “Twenty Cockneys against … well, not all 300 Brummies were trying to attack us, but I’d say we were trying to fight off 50 to 100 people.” In the aftermath, Micky Geggus was charged with GBH and affray, and the Cockney Rejects’ career as a live band was, in effect, over. An attempt to play Liverpool later that year ended after six songs “because there was 150 Scousers trying to kill us”, while a subsequent gig in Birmingham was aborted by the police: “The old bill got wind of it and escorted us on to the M6,” says Turner. “At the time, I was gutted, but now, I think, thank God for that. Someone could have died.”
Perhaps it’s unsurprising the gig has been swept under the carpet of musical history: after all, so has the genre the Cockney Rejects inadvertently inspired. Thirty years after Bushell – then a writer for the music paper Sounds, as well as the Rejects’ manager – coined the term “Oi!” to describe a third generation of punk-inspired working-class bands playing “harder music on every level, guitar driven, terrace choruses”, it remains largely reviled or ignored in Britain.
In the eyes of its remaining fans, Oi! is the “real thing”, the genuine sound of Britain’s streets in the late 70s, populated by artists Bushell championed when the rest of the music press concentrated on “bands who dropped literary references you wouldn’t have got if you didn’t have a masters’ degree and wrote pretentious lyrics”. Bands such as the Cockney Rejects, the Angelic Upstarts – Marxists from South Shields managed by a man Bushell colourfully describes as “a psychopath – his house had bars over all the windows because people had thrown firebombs through it” – Red Alert, Peter and the Test Tube Babies. It briefly stormed the charts. The Angelic Upstarts followed the Cockney Rejects onto Top of the Pops, while Splodgenessabounds made the Top 10 with the deathless Two Pints of Lager and a Packet of Crisps Please. But today, if the general public have heard of it at all, they tend to agree with the assessment once offered by journalist and broadcaster Stuart Maconie: “Punk’s stunted idiot half-brother, musically primitive and politically unsavoury, with its close links to far-right groups.” It is, asserts Bushell, “without a doubt, the most misunderstood genre in history”.
The problem isn’t really to do with the music, although protracted exposure to the oeuvre of Peter and the Test Tube Babies – home to Student Wankers, Up Yer Bum and Pick Your Nose (and Eat It) – could leave all but the hardiest soul pleading tearfully for a few literary references and pretentious lyrics. The problem is Oi!’s adoption by the far-right as its soundtrack of choice. It wasn’t the only part of street culture to attract the attentions of the National Front and the British Movement in the late 70s and early 80s. Losing out at the polling stations thanks to the rise of Margaret Thatcher, the NF had instigated a programme of “direct action”: it would attempt to kick its way into the headlines at football matches and gigs. Chart bands such as Sham 69, Madness and the Specials had concerts disrupted.In 1978, seig-heiling skinheads caused £7,500 worth of damage at a Sham 69 gig in London.
But it was to Oi! that the far-right was most attracted, not least because it attracted both football hooligans and the re-emergent skinhead movement – two groups the NF’s direct-action programme targeted for recruitment. “We played a gig in Camden, we saw these Nazi skinheads beating the shit out of these two punks,” remembers Turner. “They’d managed to wreck Sham 69’s career, but us with our following” – the ICF was then headed by Cass Pennant, whose parents were Jamaican – “we weren’t going to have it. We just went down and absolutely slaughtered them. We declared to them that if they ever set foot where we were again, we’d decimate them.” And so it proved. “Neo-nazis confronted the Rejects again at Barking station,” remembers Bushell. “They basically told them, ‘We’re going to come to your gigs, we’re going to do this and do that.’ The Rejects crew battered them all over the station. They didn’t come to the gigs after that.”
Bushell points out that there was “a Nazi subculture all the way through punk. Malcolm McLaren started it all with the swastikas, which thick people saw and thought, ‘Oh, they must be Nazis.'” There were white power punk bands, too – such as the Dentists and the Ventz, which were formed by the “Punk Front” division of the National Front, in lieu of real punk bands showing any interest in promoting white supremacy. It was a trick the NF would be forced to pull again when Oi! bands resisted their overtures – the party recruited a failed punk band from Blackpool called Skrewdriver and repositioned them as the musical voice of the neo-Nazi movement. “It was totally distinct from us,” says Bushell. “We had no overlap other than a mutual dislike for each other.”
Bushell’s latterday career as a gleeful provoker of the liberal left, writing for the Sun and the Daily Star, probably hasn’t done much to help public perceptions regarding Oi!’s political affiliations. When Oi! was at its height, however, he says he was a Trotskyist who did his best to infuse the movement with socialist principles. He organised Oi! conferences and debates, “trying to shape the movement, trying to stop the culture of violence, talking about doing unemployment benefits, working with the Right to Work campaign, prisoners’ rights gigs – I thought we could unite punk and social progress.” Not everyone was receptive: “Stinky Turner was at one debate, and he didn’t contribute much, apart from the classic line, ‘Oi! is working class, and if you’re not working class you’ll get a kick in the bollocks.'” He laughs. “Perfect! That was what the Rejects were all about.”
Trotskyist or not, Bushell also managed to exacerbate the problem, not least by masterminding the unfortunately titled 1981 compilation Strength Thru Oi!. “I didn’t know!” he protests. “I’d been active in politics for years and had never come across the phrase ‘strength through joy’ as a Nazi slogan.It was the title of a Skids EP.”
To compound matters, its cover featured a photograph of a skinhead who turned out to be the delectable-sounding Nicky Crane, who – nothing if not a multi-tasker – managed to combine life as a neo-Nazi activist with a secret career as a gay porn star. “I had a Christmas card on the wall, it had that image that was on the cover of Strength Thru Oi!, but washed out. I honestly, hand on my heart, thought it was a still from The Wanderers,” Bushell says. “It was only when the album came through for me to approve the artwork that I saw his tattoos. Of course, if I hadn’t been impatient, I would have said, right, fucking scrap this, let’s shoot something else entirely. Instead, we airbrushed the tattoos out. There were two mistakes there, both mine. Hands up.”
Much worse was to follow. A July 1981 Oi! gig featuring the 4-Skins and the Business in Southall – the scene of a racist murder in 1976 and the race riot that ended in the death of Blair Peach in 1979 – erupted into violent chaos: 110 people were hospitalised, and the venue, the Hambrough Tavern, was burned down after being petrol bombed. Depending on whose version of events you believe, it was either sparked by skinheads attacking Asians or Asian youths attacking gig-goers: either way, the Southall riot stopped Oi!’s commercial progress dead. The Cockney Rejects found that shops refused to stock their new album, The Power and the Glory: “I’d sung a song called Oi Oi Oi and all of a sudden there’s an Oi! movement and I didn’t really want anything to do with it,” says Turner. “This awful, awful shit happened in Southall, we were never there, and we got the rug pulled out from under our feet. I went from the TV screen to the labour exchange in 18 months.”
An inflammatory article in the Daily Mail exacerbated the situation further: “We never had an problems with Nazi activists at our gigs until after the Mail’s piece,” says Bushell. “Only then did we have people coming down, thinking it was going to be this rightwing thing, When they discovered it wasn’t, that’s when the trouble started. I was attacked at an Upstarts gig at the 100 Club by about 20 of them. I had a knife pulled on me at Charing Cross station.”
That should have been that, had it not been for Oi!’s curious afterlife in America. Steve Whale – who joined the Business after Southall and struggled on through the 80s, repositioning the band as “street punk” – unexpectedly found himself in possession of a US recording contract with Bad Religion’s label Epitaph, lauded by bands including Boston’s Irish-punk stars the Dropkick Murphys and the extraordinarily influential California band Rancid. Jeff Turner has just returned from a tour of Japan: “Osaka, Tokyo, Nagoya. I haven’t got fortunes but I’m able to do that. That’s all I can ask for, it makes me happy.”
“I had Lars Freidricksen of Rancid come in and sit in the pub round the corner from my house, welling up, telling me if it wasn’t for Oi! he might have killed himself as a teenager,” says Garry Bushell. “I thought, ‘Fuck me, it’s really had an effect on these people.’ I’m not proud of the way Oi! was misunderstood, but I’m proud of the music, proud of what it started, proud of what it gave punk.”
In Britain, he concedes, the genre’s name is still blackened in most people’s eyes. “There were people in 1976 saying punk had to be a Nazi thing because of the swastikas. The difference is, those bands had rock journalists on their side. The Oi! bands only had me.” He laughs, a little ruefully. “I did me best.”
Arrived in Brighton around 1.30 with my mate Steve Aller holding high expectations of what the weekend had in store. I was not to be disappointed as this years reunion was even better than the 2013 event. After checking in at the Adelaide hotel, we made our way to the Volks where we met up with many old mates, Dave Ryan and his son Sid, Dave Nash, Lisa Sumner, Lynda Scarpellini, Jo Barnett, Steve Parish, and many more. The vibe was good as we all sat around chatting outside in the sun whilst the music blasted out. First band on were ”Grade 2” who performed well above anything I had anticipated. This band made up of 3 lads all still at school showed a confidence well above their years. Sid the vocalist showing no nerves at all. I was straight on the dancefloor throwing myself about like a spider on acid. Loved every second of their set. Then it was back to the fresh air of Brighton to cool myself down. Saw a old flame from the past, [11 years to be exact!] Ana, and straight away we connected. The relationship blossomed over the w/e. Back to the bands and next on were Swedish Oi band ”Agent Bulldog” who had brought with them a large Swedish contingent. Although I could not understand the lyrics to their songs, I still enjoyed their set very much and had a jump around. Last band of the night were ”The Downsetters” who I had seen earlier in the year at Skamouth. The masses obviously enjoyed these lads as the dance floor filled. Their set included a combination of covers and their own material, which was very good. They even did a ska version of the Sex Pistols Pretty Vacant, which I was not sure about! By around 10ish the bands had finished. But for many the night was just beginning as the crowds headed for the next venue [which I cannot remember the name of!] After a short walk we arrived to hear old Trojan sounds blasting out, and so the dancing continued into the early hours. By around 1 o clock this old boy was done in, my bed was calling.
SATURDAY. Up early to hit the breakfast table, so after a shower and a squirt of Steves chanel deodorant, off we toddled. We eventually hit the Volks around 1ish on another scorching day. Gutted that I had missed Ken and Bobbi’s wedding do.Already the place was heaving with skinheads slowly getting pissed. As a non drinker it was J20s all the way, kinda funny seeing most getting pissed whilst I remained sober. The music is my alcohol! The Dr Martens photo booth was in big demand as many queued for a free photo. First band on today were ”Lineside” who I must apologise to for missing. I took a break from reunion activities for a walk along Brighton pier with the Latina Ana, where we got more reacquainted, and indulged in a ice cream. Back to the Volks just in time to catch Linesides last number. They actually sounded very good indeed. Next band up were the 2-Tones, who I thoroughly enjoyed from last years reunion. Again, they blew the roof off with the dance floor packed as they belted out cover after cover of our favourite ska/Trojan sounds. A hour or so later it was time for Saturdays headlining band ”The Feckin Ejits” a band I had not seen since the 1980’s. Really enjoyed this set as the crowd went mental to ”You gotta kick a picket or two”. Top marks Mr Sterling! Then at 10-30 it was off to the ?????? for more dancing. My poor feet were done in, the dms are certainly better than brogues for jumping about in. Again by 1ish I was cream crackered and pestered Steve to go back to the hotel. [He had the solitary key!]. And so endeth day 2.
SUNDAY Up early, due to my mate Steve singing Judge Dredd songs whilst I was trying to sleep. Down for brekky, then it was more sleep. Got to the Volks to find it still packed, regardless of many having headed home for work commitments. Only 2 bands tonight. ”Jack the Lad” with Gunk from Condemned 84 who did a complete set of Oi covers, and jolly good fun it was too! Once again I jumped about like a loony on day release. Finally it was the highlight of the w/e [not including meeting Ana again] the band I had really came to see ”The Last Resort”, having not seen them for a few years I was really psyched up. And what a energetic set it was. All the old favourites, mixed in with newer stuff like Never get a job, and the superb We are invincible. The floor was a mass of boots, muscle and sweat [with a couple of females amongst the nutters, well done Jo Barnett and Tash] . After 2 encores that was it, no more bands. But certainly not the end of the night as Ana and I strolled romantically along the beach with the lit up pier and big wheel in the background. Awww how nice. Still made it back to the volks for the last hour or so of music. The djs incidentally have been superb. Top marks to them all. Also the bar staff who were kept on their toes. Gotta say a massive thank you to everyone that made this w/e such a great event. It is what you make it to a point, but after all is said and done it would not be happening without Symond. Sod the haters. Roll on 2015s Reunion. Oi oi that’s yer lot Dave Webster. Could have wrote much more, but have left my personal details out. Ha ha.
Fans at The Gaylads’ Echoplex showPHOTO BY JENNIE WARREN
Around 9 on a recent Friday night, the Echoplex is filling up quickly with skinheads. Men sport closely cropped hair — sometimes with a parting cut — while the women wear either shaved patches up top or mod hairstyles. Button-down Ben Sherman shirts, rolled-up Levi’s 501s or permanent-press trousers known as Sta-Prest are popular on both sexes. A sizable minority, meanwhile, are in their nattiest: well-tailored, slim-cut suits or mod dresses with boots or loafers. On the smoking patio, old friends reunite over cigarettes and beer, showing off new tattoos, talking about jobs they hate or maybe sharing war stories about old shows, old bands and old fights.
They’re here to see Jamaican reggae legends The Gaylads and Brenda Holloway, the first Los Angeles Motown artist. As Holloway takes the stage, small groups skank in circles, with some couples paired off and dancing close, face to face.
L.A.’s skinhead scene has been around for decades but has gotten particularly popular during this latest revival in the past few years. Unlike the skinheads you’ve seen on TV, the L.A. scene is not only anti-racist, it’s overwhelmingly Latino. Though scenesters are into punk and Oi!, early reggae and obscure soul records dominate their collections. At least once a month, several hundred people turn out for old Jamaican stars or mostly forgotten Motown singers. DJ nights at Fais Do-Do in Mid-City offer superdeep cuts of early reggae and “Northern soul,” a neologism for American soul tracks first popular in Northern English dance clubs in the early ’70s. The Rocksteady Lounge at Silver Lake’s Akbar, a gay pub, offers a more intimate monthly affair with no less drinking and revelry.
Skinheads range from teenagers to middle-aged scene veterans. Their boots get an extra coat of polish for a night out, but otherwise they leave for work in the morning looking the same as they do for the club. Unlike the East L.A. punk scene, skinheads aren’t preoccupied with rebelling against The Man, and the police aren’t always busting them up. Instead, they’re focused on the simple pleasures of beer, music, friends, dancing and fashion. Women are as much a part of it all as men, and there’s always a good chance for romance.
This working-class subculture grew out of the British mods of the late 1960s. Ten years later during a punk-oriented revival, the neo-fascist National Front targeted English skins for recruitment. This cleaved the scene into two groups: racists, known as “boneheads” (or “glue sniffers”), and “traditional skinheads,” also known as “sussed skins.” While the former degenerated into fascist street gangs, the latter remained true to the skinheads’ original ethos of beer, boots and monster beats.
Boneheads look like old-school racist rednecks in wifebeaters and combat fatigues. Traditional skinheads, however, look more cultured, with a preference for Italian scooters (rather than cars) and high-priced polos — a basic Fred Perry costs around $80. A suited and booted traditional skin easily could be mistaken for an extra on Mad Men, if his hair were longer. Strip off the tattoos and sideburns and they’re positively clean cut.
Los Angeles might have the biggest skinhead scene in the country, though cities like San Jose, Portland and Boston have sizable contingents. There’s no distinction here between Latinos and whites, though the latter are a distinct minority. Skinheads live all over L.A. County, but their hot spots are in Mid-City, Echo Park and Silver Lake.
One particularly devoted enthusiast is Mark Morales, a 35-year-old psychology researcher at USC, who promotes soul and reggae events. He’s at the Echoplex tonight but doesn’t have much time to party, as he’s working not only as DJ but also stage manager and liaison for a video crew taping the event. Having grown up in East L.A., he became obsessed with the ska-revival label Two Tone as an adolescent, before falling in love with early Jamaican classics.
A stocky, easygoing guy who’s quick with a smile, Morales hasn’t donned skinhead gear in years, but he’s an influential scenester, bringing top Jamaican acts of yesteryear and obscure soul players to spots like this one and downtown’s Alexandria Hotel. Being a skinhead “is not just a look, like rockabilly or mod or whatever,” he says. “There’s a working-class mentality to it that other scenes don’t have.”
Indeed, you’ll find folks with occupations like line cook, warehouse clerk and assembly-line worker in the crowd. Step into a skinhead’s home and you’re likely to see memorabilia from years past, such as vintage housewares, posters from original 1960s releases and records too scratched to play. Further, skins tend to marry and reproduce within the cult: Melrose shop Posers Hollywood even sells Fred Perry and Ben Sherman baby clothes.
And though this retro-obsessed crowd voraciously consumes tunes that originated in Jamaican shantytowns and American tenements, it’s not protest music per se.
Instead, it’s a document of downtrodden people keeping their collective heads up through hard times. Lyrical themes include colonial oppression (“Israelites” by Desmond Dekker), romance (“The Tide Is High” by the Paragons), sex (the list of dirty reggae tracks runs a mile long) or nothing at all (nonsensical songs like “Skinhead Moonstomp” by Symarip).
This complicated musical evolution began with American R&B singers like Fats Domino and Huey “Piano” Smith, who inspired early Jamaican ska, which evolved into rocksteady, then reggae. The first British skinheads embraced these sounds during tough economic times in late-’60s Britain; more than 40 years on, traditional skinhead tastes haven’t changed much.
But don’t listen for “Redemption Song” at these parties. Though Marley is beloved, skins prefer him with the classic Wailers lineup that includes Peter Tosh and Bunny Wailer. In fact, skinhead parties feature beats and bass that bear more resemblance to a good hip-hop break than what most people think of as reggae.
Unlike many other musical subcultures (punk, for example), skinheads don’t usually “grow out of it.” Some have been around since the early 1980s and are pushing 60. Their preferred look — sharp, smart and clean — certainly helps them to age gracefully, but Morales believes something else keeps people in the fold. “It’s that attitude: the idea that I work for all my shit. Nothing has been given to you, so you’re proud of the stuff you have.” It’s not just about wearing the right clothes or having the right records in your collection; it’s about representing your working-class way of life.
Morales gets a bit of downtime when Holloway takes the stage, though he’s still on the job, so there’s no time to grab a drink at the bar. His eyes darting about the room, he looks over the scene that has shaped him since he was an adolescent. He’s living proof that what makes a skinhead is not what you wear — or even how your hair’s shorn — but what you’ve got in your heart.
Check out the skinhead scene June 9, when reggae legends The Pioneers perform at Los Globos.1
The Great Skinhead Reunion Brighton Every Year, the first weekend of June, Skinheads come from across the globe to Brighton seafront. for full event details go to www.subcultz.com
FULL 3 DAYS EVENT, YOUR WRISTBAND IS VALID THROUGH OUT, YOU CAN USE IT FOR AS LITTLE, OR AS MUCH AS YOU WANT. THE EVENT WILL SELL OUT, AND THERE WILL BE NO ADVANCE DAY TICKETS AT A REDUCED DAILY RATE , IN ADVANCE.
The line-up maybe subject to change, as so many band members and dj’s are involved. Babies coming along, alcohol, world wars and famine can be unforeseen, but the Great Skinhead Reunion, is more about coming to Brighton to see all your friends and making some more, for 3 full days of mayhem.
SKINHEAD ONLY HOTELS .
Add to your experience, by getting a room in our Skinhead only hotels. Conveniently located, with a short walk to the venue, and no moaning neighbours to worry about. The rooms vary in size and cost, to fit your needs. all within an easy walk to the skinhead reunion venue. We have hotels exclusive to the Great Skinhead Reunion guests and bands. Party party !! please email subcultz@gmail.com with your requirements, to be booked into the Skinhead Hotels
For those on a low budget, its worth checking Hostels and campsites, but my advice, is to get in the reserved hotels, for a nice stress free, clean and comfortable holiday in Brighton.
TRAVEL INFORMATION
Brighton is situated on the south coast of England, approximately one hour from London. London Gatwick is the nearest airport. There are regular direct trains and National Express buses. The next nearest is Heathrow, There are also direct trains from Luton Airport . Its advised not to fly to Stansted, as this is a long way, and you risk losing valuable drinking time
The nearest ferry port serving mainland Europe is Newhaven -Dieppe . Newhaven is about 20 min drive to Brighton. Dover is about 2 hours to Brighton
PARKING ZONES – one of the worst aspects of Brighton, is a lack of affordable parking. my advice is to use street parking on the suburbs of Brighton, its a reasonably safe place. a good bus service will take you into brighton centre (churchill square) and a short walk from there to the sea front. worth allowing the extra hours work, to save yourself serious parking charges
All Event Enquiries email Symond at subcultz@gmail.com. phone (uk) 07733096571
PRINCE BUSTER – DISCOGRAPHY: (Ska/Rocksteady Singer)
Biography: Cecil Bustamente Campbell OD (born 24 May 1938, Kingston, Jamaica), better known by the stage name Prince Buster, is a Jamaican singer-songwriter and producer. Prince Buster, one of the founders and leaders of the ska music scene that originated from jamaica. Reggaediscography presents the most complete discography on internet dedicated to Prince Buster’s music.
PRINCE BUSTER – OFFICIAL DISCOGRAPHY:
1) Albums: .1963 – I Feel The Spirit .1964 – Fly Flying Ska .1964 – National Ska: Pain In My Belly .1965 – It’s Burke’s Law (Jamaica Ska Explosion) .1965 – Ska-Lip-Soul (Prince Buster And His All Stars) .1967 – What A Hard Man Fe Dead (The Prince Buster All Stars) – [Aka: “Live By My Ten Commandments” 1967] .1967 – Prince Buster On Tour – [Reissue: “King Of Blue Beat” 2001] .1967 – Sings His Hit Song Ten Commandments .1967 – Jamaica’s Pride: Rock Steady (Judge Dread feat. Prince Buster) .1968 – She Was A Rough Rider .1968 – Wreck A Pum Pum (Prince Buster & The All Stars) .1969 – The Outlaw .1972 – The Message Dubwise (Featuring Prince Buster All Star) .1972 – Big Five .1972 – Sister Big Stuff .1972 – Dance Cleopatra Dance – [Includes some previously unreleased + Compilation] .1987 – Prince Buster Sing Showcase .2003 – Prince Of Peace: Live In Japan (Prince Buster With Determinations)
2) EPs: .1980 – Behind Bars [Judge Dread (Aka: Prince Buster)] – [Blue Beat] .2013 – Blue Beat Original EP (JJ Sparks & Prince Buster) – [An Altara Production]
3) Compilation/ Best of: .1967 – Prince Buster Record Shack Presents The Original Golden Oldies Vol. 1 – [Prince Buster] [Compilation of Hits] .1967 – Prince Buster Record Shack Presents The Original Golden Oldies Vol. 2 – [Prince Buster] [Compilation of songs produced by Prince Buster. It includes various artists] .1968 – FABulous Greatest Hits – [(FAB, 1968) & (Sequel Records, 1993)] [Compilation/Greatest Hits] .1968 – Tutti Frutti – [FAB] [Compilation/Greatest Hits] .1968 – 15 Oldies But Goodies (Prince Buster & Other Stars) – [FAB] [Compilation of songs produced by Prince Buster. It includes various artists] .1994 – The Prophet – [Lagoon] [Compilation/Greatest Hits (1963-67)] .2000 – King Of Ska – [Prince Buster/Jet Star] [Compilation/Greatest Hits] .2003 – Rock A Shacka Vol. 5 – Dance Cleopatra – [Drum & Bass Records/Japan] [Compilation/Greatest Hits] .2013 – The Blue Beat Explosion! The Birth Of Ska – [Sunrise Records] [Classic collection of early Prince Buster related material] .2013 – Buster’s Shack (Prince Buster & Friends) – (Digital Release) [Greatest Hits of early Prince Buster material]
4) Appearances: Albums .1972 – Chi Chi Run [Big Youth, Prince Buster All Stars + Friends) – [FAB] .1972 – Jamaica’s Greatest (Prince Buster & Friends) – [Prince Buster]
5) Album Tribute: .1986 – “Prince Buster Memory Lane” by Owen Gray – [Phill Pratt] .2012 – “Prince Buster Shakedown” by The Dualers – [Cherry Red Records]
See Photos and Music Videos:
Prince Buster – Discography: ____________________________
1) Albums:
.1963 – I Feel The Spirit (Original Press): “I Feel The Spirit” 1963 – [Blue Beat]
“I Feel The Spirit” 1968 – [Fab]
Editions:
“I Feel The Spirit” 1963 – (Original Version) Tracks: 1) I Feel The Spirit. 2) Madness. 3) Don’t Make Me Cry. 4) They Got To Come. 5) All Alone. 6) Soul Of Africa. 7) Wash Your Troubles Away. 8) Jealous. 9) Black Head Chinaman. 10) Beggars Are No Choosers. 11) Run Man Run. 12) Just You. [Label: Blue Beat (Lp: 1963)]
Reissue: “I Feel The Spirit” 1968 – (Same Album) Tracks: 1) Wash Your Troubles Away. 2) Hold Them. 3) Shaking Up Orange St. 4) We Shall Overcome. 5) Last Train To London. 6) Time Longer Than Rope. 7) I Feel The Spirit. 8) Madness. 9) Closer Together. 10) They Got To Come. 11) All Alone. 12) Soul Of Africa. [Label: Fab (Lp: 1968)] ______________________________________________________________
.1964 – Fly Flying Ska (Original Press):
“Fly Flying Ska” 1964 – (Original Version) Tracks: 1) Prince Buster “Flying Ska (Wings Of A Dove)”. 2) Prince Buster “Lucky Seven”. 3) Prince Buster Feat. The Skatalites “Perhaps”. 4) Prince Buster Feat. Bobby Gaynair & Errol Dunkley “My Queen”. 5) Prince Buster Feat. Millie Small & Roy Panton “I Go”. 6) Prince Buster Feat. Roland Alphonso “Roland Plays The Prince”. 7) Prince Buster “Call Me”. 8) Prince Buster “Eye For An Eye”. 9) Prince Buster Feat. Owen Gray “River Jordan”. 10) Prince Buster “The Greatest”. 11) Prince Buster Feat. The Maytals “Ska War”. 12) Prince Buster Feat. Don Drummond “The Burial”. [Label: Blue Beat (Lp: 1964), Blue Beat/Prince Buster (Lp: 1964)] ______________________________________________________________
.1964 – National Ska: Pain In My Belly (Original Press):
“National Ska: Pain In My Belly” 1964 – (Original Version) Tracks: 1) Prince Buster & The Maytals “I Got A Pain”. 2) The Maytals “He Is Real”. 3) T. McCook “Cast Your Faith To The Wind”. 4) Prince Buster “Faith”. 5) The Ska Busters “Georgia”. 6) Prince Buster “Have Mercy”. 7) The Maytals “I Love You So”. 8) Eric Morris “Those Teardrops”. 9) Prince Buster “Chinaman Ska”. 10) The Skatalites “Super Charge”. 11) Don Drummond “Ska Town”. 12) Prince Buster “Ska School”. [Label: Blue Beat (Lp: 1964), Blue Beat/Prince Buster (Lp: 1964)] ______________________________________________________________
.1965 – It’s Burke’s Law (Jamaica Ska Explosion) (Original Press):
“It’s Burke’s Law (Jamaica Ska Explosion)” 1965 – (Original Version) Tracks: 1) Burke’s Law. 2) Al Capone. 3) Gun The Man Down. 4) Skahara. 5) Trip To Mars. 6) Rygin’. 7) Mighty As A Rose. 8) Indian Love Call. 9) Here Comes The Bride. 10) Almost Like Being In Love. 11) She Pon Top. 12) Feel Up. [Label: Blue Beat (Lp: 1965), Blue Beat/Prince Buster (Lp: 1965)] ______________________________________________________________
.1965 – Ska-Lip-Soul (Prince Buster And His All Stars) (Original Press):
“Ska-Lip-Soul” (Prince Buster And His All Stars) 1965 – (Original Version) Tracks: 1) Wings Of A Dove. 2) Respect. 3) Cat Munno. 4) Mek It Tan Deh Goosie. 5) Sammy Dead Medley. 6) Dance Jamaica. 7) Mr. Wonderful. 8) How Can I Tell Them. 9) Dayo. 10) And I Love Her. 11) Matilda. 12) Rum And Cocoacola. [Label: Blue Beat (Lp: 1965), Blue Beat/Prince Buster (Lp: 1965)] ______________________________________________________________
.1967 – What A Hard Man Fe Dead (The Prince Buster All Stars) – [Aka: “Live By My Ten Commandments” 1967] (Original Press):
Editions:
“What A Hard Man Fe Dead” (The Prince Buster All Stars) 1967 – (Original Version) Tracks: 1) Hard Man Fe Dead. 2) That’s Saying A Lot. 3) Words Of Wisdom. 4) Sit And Wonder. 5) Sad Song. 6) Thanksgiving. 7) Ten Commandments. 8) Moving Spirit. 9) The Prophet. 10) My Girl. 11) I Won’t Let You Cry. 12) Answer Your Name. [Label: Blue Beat (Lp: 1967), Blue Beat/Prince Buster (Lp: 1967)]
Aka: “Live By My Ten Commandments” 1967 – (Same Album with some different title tracks) Tracks: 1) Ten Commandments. 2) Moving In My Soul. 3) The Prophet. 4) My Girl. 5) I Won’t Let You Cry. 6) Girl Answer Your Name. 7) Hard Man Fe Dead. 8) Ain’t That Saying A Lot. 9) Words Of Wisdom. 10) Is Life Worth Living (Sit And Wondtr). 11) Sad Song (Your turn). 12) Thanksgiving. [Label: Prince Buster (Lp: 1967)] ______________________________________________________________
.1967 – Prince Buster On Tour – [Reissue: “King Of Blue Beat” 2001] (Original Press): “Prince Buster On Tour” 1967 – [Blue Beat]
Reissue: “Prince Buster On Tour” 1988 – [Skank Records]
Reissue: “King Of Blue Beat” 2001 – [Wah-Wah Records Sound]
Editions:
“Prince Buster On Tour” 1967 – (Original Version) Tracks: 1) Intro. 2) Madness. 3) Take It Easy. 4) Oh Love. 5) Seven Times To Rise. 6) 007 (Shanty Town). 7) Come To Jamaica. 8) Cincinnati Kid. 9) Move Over. 10) Sound And Pressure. 11) On The Beach. 12) Al Capone. [Label: Blue Beat (Lp: 1967), Skank Records (Lp: 1988)]
Reissue: “King Of Blue Beat” 2001 – (Same album) Tracks: 1) Intro. 2) Madness. 3) Take It Easy. 4) Oh Love. 5) Seven Times To Rise. 6) 007 (Shanty Town). 7) Come To Jamaica. 8) Cincinnati Kid. 9) Move Over. 10) Sound And Pressure. 11) On The Beach. 12) Al Capone. [Label: Wah-Wah Records Sound (Lp/Cd: 2001), Tam-Tam Media (Digital Release: 2007)]
!!! Album Recorded live at UK tour, on May 28, 1967 ______________________________________________________________
.1967 – Sings His Hit Song Ten Commandments [It includes 5 songs taken from the album “What A Hard Man Fe Dead” 1967 + New Tracks] (Original Press): “Sings His Hit Song Ten Commandments” 1967 – [RCA Victor]
Reissue: “Sings His Hit Song Ten Commandments” 2009 – [Reel Music/Sony]
Editions:
“Sings His Hit Song Ten Commandments” 1967 – (Original Version) [It includes 5 songs taken from the album* “What A Hard Man Fe Dead” 1967 + New Tracks] Tracks: 1) Ten Commandments*. 2) I Won’t Let You Cry*. 3) Is Life Worth Living*. 4) Ain’t That Saying A Lot*. 5) Girl, Answer To Your Name*. 6) Ten Commandments From Woman To Man. 7) Wings Of A Dove. 8) Smart Countryman. 9) Tongue Will Tell. 10) They Got To Come. [Label: RCA Victor (Lp: 1967)]
Reissue: “Sings His Hit Song Ten Commandments” 2009 – (Includes 1 bonus track**) Tracks: 1) Ten Commandments. 2) I Won’t Let You Cry. 3) Is Life Worth Living. 4) Ain’t That Saying A Lot. 5) Here Comes The Bride**. 6) Girl, Answer To Your Name. 7) Ten Commandments From Woman To Man. 8) Wings Of A Dove. 9) Smart Countryman. 10) Tongue Will Tell. 11) They Got To Come. [Label: Reel Music/Sony (Cd: 2009)] ______________________________________________________________
Reissue: “Jamaica’s Pride: Rock Steady” 1988 – [Skank Records]
Reissue: “Jamaica’s Pride: Rock Steady” 1998 – [Diamond Line/Jet Star (Lp: 1998)(Cd: 2000)]
Reissue: “Judge Dread Rock Steady/She Was A Rough Rider” 1993 – [Dojo Limited] [It includes two original album on one cd]
Editions:
“Jamaica’s Pride: Rock Steady” (Judge Dread feat. Prince Buster) 1967 – (Original Version) Tracks: 1) Judge Dread. 2) Shearing You. 3) Nothing Takes The Place Of You. 4) Ghost Dance. 5) Rock With A Feeling. 6) Sweet Beat. 7) The Appeal. 8) Dark Street. 9) Judge Dread Dance. 10) Show It Now. 11) Raise Your Hands. 12) A Change Is Going To Come. [Label: Blue Beat (Lp: 1967), Blue Beat/Prince Buster (Lp: 1967), Skank Records (Lp: 1988), Westmoor Music (Cd: 1993), Diamond Line/Jet Star (Lp: 1998)(Cd: 2000)]
Reissue: “Judge Dread Rock Steady/She Was A Rough Rider” 1993 [It includes two original album on one cd] Tracks: 1) Judge Dread. 2) Shearing You. 3) Nothing Takes The Place Of You. 4) Ghost Dance. 5) Rock With A Feeling. 6) Sweet Beat. 7) The Appeal. 8) Dark Street. 9) Judge Dread Dance. 10) Show It Now. 11) Raise Your Hands. 12) A Change Is Going To Come. 13) Rough Rider. 14) Dreams To Remember. 15) Scorcher. 16) Hypocrites. 17) Walk With Love. 18) Taxation. 19) Bye Bye Baby. 20) Tenderness. 21) Wine Or Grind. 22) Can’t Keep On Running. 23) Closer Together. 24) Going To The River. [Label: Dojo Limited (Cd: 1993)] ______________________________________________________________
.1968 – She Was A Rough Rider (Original Press): “She Was A Rough Rider” – [(Blue Beat, Lp: 1968) – (Blue Beat/Prince Buster, Lp: 1968) – (Westmooor Music, Cd: 1990?)]
Reissue: “She Was A Rough Rider” 1988 – [Skank Records]
Reissue: “Judge Dread Rock Steady/She Was A Rough Rider” 1993 – [Dojo Limited] [It includes two original album on one Cd]
Editions:
“She Was A Rough Rider” 1968 – (Original Version) Tracks: 1) Rough Rider. 2) Dreams To Remember. 3) Scorcher. 4) Hypocrites. 5) Walk With Love. 6) Taxation. 7) Bye Bye Baby. 8) Tenderness. 9) Wine Or Grind. 10) Can’t Keep On Running. 11) Closer Together. 12) Going To The River. [Label: Blue Beat (Lp: 1968), Blue Beat/Prince Buster (Lp: 1968), Fab (Lp: 1969), Skank Records (Lp: 1988), Westmooor Music (Cd: 1993)]
Reissue: “Judge Dread Rock Steady/She Was A Rough Rider” 1993 [It includes two original album on one cd] Tracks: 1) Judge Dread. 2) Shearing You. 3) Nothing Takes The Place Of You. 4) Ghost Dance. 5) Rock With A Feeling. 6) Sweet Beat. 7) The Appeal. 8) Dark Street. 9) Judge Dread Dance. 10) Show It Now. 11) Raise Your Hands. 12) A Change Is Going To Come. 13) Rough Rider. 14) Dreams To Remember. 15) Scorcher. 16) Hypocrites. 17) Walk With Love. 18) Taxation. 19) Bye Bye Baby. 20) Tenderness. 21) Wine Or Grind. 22) Can’t Keep On Running. 23) Closer Together. 24) Going To The River. [Label: Dojo Limited (Cd: 1993)] ______________________________________________________________
.1968 – Wreck A Pum Pum (Prince Buster & The All Stars) (Original Press): “Wreck A Pum Pum” – [(Blue Beat, Lp: 1968), (Blue Beat/Prince Buster, Lp: 1968) & (FAB, Lp: 1969)]
Reissue: “Wreck A Pum Pum” 2000 – [Prince Buster/Jet Star]
“Wreck A Pum Pum” (Prince Buster & The All Stars) 1968 – (Original Version) Tracks: 1) Wreck A Pum Pum. 2) Wreck A Buddy [Feat. The Sexy Girls]. 3) Rough Rider. 4) Pum Pum A Go Will You. 5) Whine And Grine. 6) Ten Commandments. 7) Beg You Little More. 8) Pussy Cat Bite Me. 9) Pharaoh House Crash. 10) The Abeng. 11) Train To Girls’ Town. 12) Stir The Pot. [Label: Blue Beat (Lp: 1968), Blue Beat/Prince Buster (Lp: 1968), FAB (Lp: 1969), Prince Buster/Jet Star (Cd: 2000)] ______________________________________________________________
.1969 – The Outlaw (Original Press):
“The Outlaw” 1969 – (Original Version) Tracks: 1) Gun The Man Down. 2) The Baddest. 3) Cincinnati Kid. 4) The Sermon Of A Preacher Man. 5) Al Capone. 6) Any More. 7) Happy Reggae. 8) Hold Them. 9) Outlaw. 10) Burke’s Law. 11) Fever. 12) Phoenix City. [Label: Blue Beat (Lp: 1969), Blue Beat/Prince Buster (Lp: 1969)] ______________________________________________________________
.1972 – The Message Dubwise (Featuring Prince Buster All Star) (Original Press):
“The Message Dubwise (Featuring Prince Buster All Star)” 1972 – (Original Version) Tracks: 1) Swing Low. 2) Sata A Masa Gana. 3) Java Plus. 4) The Message. 5) Mississippi. 6) Saladin. 7) Why Am I Treated So Bad. 8) Jet Black. 9) Black Harlem. 10) Big Youth. [Label: Prince Buster (Lp: 1972), FAB (Lp: 1972)] ______________________________________________________________
.1972 – Big Five (Original Press): “Big Five” – [(Prince Buster/Melodisc, 1972), (Westmoor Music, 1993)]
Unofficial Album:”Big Five” – [Unknown label]
Reissue:”Big Five” 1988 – [Skank Records]
Editions:
“Big Five” 1972 – (Original Version) Tracks: 1) Big Five. 2) Kinky Griner. 3) Leave Your Man. 4) Give Her. 5) Bald Head Pum Pum. 6) At The Cross. 7) Fishey Fishey. 8) The Virgin. 9) Black Pum Pum. 10) Every Man Pum Pum. 11) Tonight. 12) Wash The Pum Pum. [Label: Prince Buster/Melodisc (Lp: 1972), Skank Records (Lp: 1988), Westmoor Music (Lp/Cd: 1993)]
Reissue: “Big Five Party Album” 197? [Same Album with different title tracks. Album released without cover art] Tracks: 1) Big Five. 2) Kinky Griner. 3) Tonight. 4) Give Her. 5) Bald Head Pum Pum. 6) At The Cross. 7) Holly Fishey. 8) It Big. 9) Fat Girl. 10) It Too Long. 11) Mrs. Tail. 12) Wet Dream. [Label: Prince Buster/Melodisc (Lp: 197?)] ______________________________________________________________
.1972 – Sister Big Stuff (Original Press):
“Sister Big Stuff ” 1972 – (Original Version) Tracks: 1) South Of The Border. 2) Still. 3) Protection. 4) Why Not Tonight. 5) Wish Your Picture. 6) Sata A Masa Gana. 7) Sister Big Stuff. 8) Stand Accused. 9) Bridge Over Troubled Waters. 10) Stick By Me. 11) Young Gifted And Black. 12) Cool Operator. Bonus Tracks*: 13) Police Trim Rasta. 14) My Happiness. 15) My Heart Is Gone. [Label: Melodisc (Lp: 1972), Sunspot (Lp: 2011)(Cd*: 2011)(Digital Release*: 2011)] ______________________________________________________________
.1972 – Dance Cleopatra Dance [It includes some previously unreleased + Compilation] (Original Press):
“Dance Cleopatra Dance” 1972 – (Original Version) Tracks: 1) Dance Cleopatra. 2) Madness. 3) Take It Easy. 4) Oh Love. 5) Times To Risc. 6) 007. 7) Come To Jamaica. 8) Cincinatti Kid. 9) More Over. 10) Sounds And Pressure. 11) On The Beach. 12) Al Capone. 12) Waiting For My Rude Girl. [Label: Blue Elephant (Lp: 1972)] ______________________________________________________________
.1987 – Prince Buster Sing Showcase (Original Press):
“Sing Showcase” 1987 – (Original Version) Tracks: 1) Rain From The Sky. 2) Version. 3) Breaking Up. 4) Bugging. 5) Fatty Fatty. 6) Version. 7) Blowing In The Wind. 8) Version. 9) Hypocrites. 10) Version. [Label Tesfa Records (Lp: 1987)] ______________________________________________________________
.2003 – Prince Of Peace: Live In Japan (Prince Buster with Determinations) (Original Press):
“Prince Of Peace: Live In Japan” (Prince Buster with Determinations) 2003 – (Original Version) Tracks: 1) Gaz Mayall “Introduction”. 2) Determinations “Mt. Gem”. 3) Determinations “Mango Rock (Shock Steady)”. 4) Determinations “Crazy”. 5) Prince Buster & Determinations “Introduction”. 6) Prince Buster & Determinations “Al Capone”. 7) Prince Buster & Determinations “Orange Street”. 8) Prince Buster & Determinations “They Got To Come”. 9) Prince Buster & Determinations “Burke’s Law”. 10) Prince Buster & Determinations “Dance Cleopatra”. 11) Prince Buster & Determinations “Hard Man Fe Dead”. 12) Prince Buster & Determinations “Big Five”. 13) Prince Buster & Determinations “Blackhead Chinaman”. 14) Prince Buster & Determinations “30 Pieces Of Silver”. 15) Prince Buster & Determinations “One Step Beyond”. 16) Prince Buster & Determinations “Prince Of Peace”. [Label: Island/Universal/Japan (Cd: 2003)]
!!! Recorded live at Bayside Jenny, Osaka and at Liquid Room, Tokyo in 2003.
“Behind Bars” [Judge Dread (Aka: Prince Buster)] 1980 – (Original Version) Tracks: 1) Prince Buster “Judge Dread”. 2) Prince Buster & Allstars “City Riot”. 3) Jamaicas Greatest “It’s Burkes Law”. 4) Prince Buster “Barrister Pardon”. [Label: Blue Beat (Lp: 1980)] ______________________________________________________________
.2013 – Blue Beat Original EP (JJ Sparks & Prince Buster) (Original Press):
“Blue Beat Original EP” (JJ Sparks & Prince Buster) 2013 – (Original Version) Tracks: 1) You Did’nt Love Me. 2) Tra La La. 3) Mama Kiss Him Goodnight. 4) Feeling Blue. 5) 3 Nights in Lovers Town. 6) I Love You so Much [Label: An Altara Production (Cd: 2013)(Digital Release: 2013]
!!! Songs by JJ Sparks & Prince Buster released early 60’s
.1972 – Chi Chi Run (Big Youth, Prince Buster All Stars + Friends) (Original Press): “Chi Chi Run” (Big Youth, Prince Buster All Stars + Friends) 1972 – (Original Version) Tracks: 1) John Holt & Big Youth – “Chi Chi Run”. 2) Prince Buster All Stars – “Haft”. 3) Prince Buster & Big Youth – “Revolution Rock”. 4) Prince Buster & Big Youth – “Revolution Come”. 5) John Holt & Big Youth – “Leave Your Skeng”. 6) Prince Buster All Stars – “Miami Beach”. 7) John Holt & Big Youth – “Leggo Beast”. 8) Little Youth – “Youth Rock”. 9) Dennis Brown – “One Day Soon”. 10) Dennis Brown – “If I Had The World”. 11) Prince Buster All Stars – “Boop”. 12) Alton Ellis – “Since I Fell For You”. [Labels: Fab (Lp: 1972), Melodisc/Prince Buster (Lp: 1973)] ______________________________________________________________
“Jamaica’s Greatest” (Prince Buster & Friends) 1972 – (Original Version) Tracks: 1) Dennis Brown “One Day Soon”. 2) The Heptones “One Day Will Come”. 3) John Holt “If I Had The World”. 4) John Holt “News”. 5) Alton Ellis “Since I Feel For You”. 6) Prince Buster “Still”. 7) John Holt “Mona Lisa”. 8) The Heptones “God Bless The Children”. 9) Dennis Brown “If I Ruled The World”. 10) Alton Ellis “Good Loving”. 11) Prince Buster & Ethiopians “My Happiness”. 12) Prince Buster “Protection”. [Label: Prince Buster (Lp: 1972)]
Owen Gray “Prince Buster Memory Lane” 1986 – (Original Version) Tracks: 1) Enjoy Yourself. 2) Run Man Run. 3) They Got To Go. 4) Bad Minded People. 5) Madness. 6) Time Longer Dan Rope. 7) Beware. 8) Black Head Chine. 9) Wash Wash. [Label: Phill Pratt (Lp: 1986)] ______________________________________________________________
.2012 – “Prince Buster Shakedown” by The Dualers (Original Press):
The Dualers “Prince Buster Shakedown” 2012 – (Original Version) Tracks: 1) Chinaman Ska. 2) King Of Kings. 3) Nothing Takes The Place Of You. 4) Take It Easy. 5) Firestick. 6) Orange Street. 7) Sister Big Stuff. 8) Enjoy Yourself. [Label: Phoenix City Records (Cd: 2012), Cherry Red Records (Cd: 2012)(Diogital Release: 2012)]
Featuring Live bands Citizen Keyne, Skapones, Adverse society, Tear Up. Toxic. Anti Social
Full DJ line up for a second room, playing SKA, And all Skinhead related music
The Great Skinhead Northern Gathering 9th + 10th October In Sunderland. Our second year of our Autumn Gathering, as a celebration of the skinhead culture A full day of Dj’s in one room, and Live bands in another. A full line up to follow, watch this space. Ony £15 for the whole event. Cheap beer and rooms nearby. Friday will be wristbanded 7pm -3am bands and DJ’s. Saturday 10th noon -5pm free entry meet and greet. After 5pm it will be wristband only, Live bands and DJ’s The weekend wristband £15 is valid for both nights
This is a family friendly event. Children are welcome until 9_9:30pm, but must be off the premises by then, by law so all are welcome, the venue is The Corner Flag. Central to the city center in a good location for local transport connections, trains, metro etc it’s the corner flag located at high street west, with plenty of fast food outlets and restaurants nearby, there will be something for everyone a good mix of Oi,ska,two tone a little bit of everything, a good size venue capable of holding this event, any bands wishing to play, Oi,Ska,Two Tone also any dj’s wishing to spin a few disks, should contact subcultz@gmail.com. www.subcultz.com If you missed last years then you have to come to this one, good music,good beer,with very good people
Late additions to the Bill for The Great skinhead Reunion 2015 The Bermondsey Joy Riders
Claiming all the credentials of a bonafide ‘77 super group, The Bermondsey Joyriders is a band pooling the hard-won experience and history of three veteran punks. Founding membersGary Lammin (vocals / guitar) and Martin Stacey (bass) cut their teeth in the Joe Strummer-produced Little Roosters and Generation X precursors Chelsea respectively, whilst recent recruit Chris Musto (drums) is a sticksman of some credentials – having previously played with Johnny Thunders, Joe Strummer and Nico, to name but a few!
More than the sum of their impressive punk rock heritage however, The Bermondsey Joyriders have won praise for splicing those sounds from suburbs with raw blues and Lammin’s startling slide guitar – emerging with a sonic signature that is undeniably all their own. Given just 12 hours (!) in the studio to lay down their self-titled 2008 debut, they managed to produce a record which Classic Rock magazine’s Carol Clerk deemed to have “pulled off a really impudent mix of influences”, and which Guitarist magazine’s Charles Shaar Murray felt had achieved a “unique spin on punk-blues”.
Featuring Gary Lammin, writer of Runnin Riot and Chip on your shoulder, original member of Cock Sparrer. Check their website for full info on the band
This event is now done, but we are back for 2016 on 3-4-5th June on Brighton beach again, for The Great Skinhead Reunion big 6. we will be putting things together as we go, finding the very best bands on the scene, organising DJ’s, sorting out peoples tickets and hotels. To make the big 6 even bigger. Massive thanks to everyone who has supported the skinhead subculture, and the reunion. see you all soon.
Bands and DJ’s wishing to perform, all info and enquiries, contact Symond at subcultz@gmail.com
Details below are the 2015, New bands will be performing for 2016.But i will leave this link up, to give you the idea, of what the reunion is all about
Video made in 2013
THE TICKETS ARE £40 EACH, WHICH IS FOR THE FULL 3 DAYS EVENT, YOUR WRISTBAND IS VALID THROUGH OUT, YOU CAN USE IT FOR AS LITTLE, OR AS MUCH AS YOU WANT. THE EVENT WILL SELL OUT, AND THERE WILL BE NO ADVANCE DAY TICKETS AT A REDUCED DAILY RATE , IN ADVANCE.
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The line-up maybe subject to change, as so many band members and dj’s are involved. Babies coming along, alcohol, world wars and famine can be unforeseen, but the great skinhead reunion, is more about coming to Brighton to see all your friends and making some more, for 3 full days of mayhem.
DISCOUNTED HOTEL RATES QUOTE REFERENCE SUB001 When making a booking Hotel rooms, of all sizes. 3 hotels available to fit your requirements email Ed at info@granvillehotel.co.uk or phone 0044 1273 326302. You must quote the reference SUB001 to get your rooms. The rooms vary in size and cost, to fit your needs. all within an easy walk to the skinhead reunion venue. These hotels are exclusive to the Great Skinhead Reunion guests and bands. So no public to worry about. party party !!
YOU CAN NOT BOOK THESE HOTEL ROOMS VIA THE HOTEL WEBSITE, YOU NEED TO CONTACT THEM DIRECTLY, AND GIVE THE CODE, AND SAY YOU ARE ATTENDING THE SKINHEAD REUNION
For those on a low budget, its worth checking Hostels and campsites, but my advice, is to get in the reserved hotels, for a nice stress free holiday in Brighton
PARKING ZONES – one of the worst aspects of Brighton, is a lack of affordable parking. my advice is to use street parking on the suburbs of brighton, its a reasonably safe place. a good bus service will take you into brighton centre (churchill square) and a short walk from there to the sea front. worth allowing the extra hours work, to save yourself serious parking charges
All Event Enquiries email Symond at subcultz@gmail.com. phone (uk) 07733096571
Brighton can lay claim to being a big part of the birth of Skinheads. During the Mods and Rockers battles of the 1960’s when London lads would descend on the South Coast for bank holidays to Peacock and cause ‘Bovver’ the term Skinhead was born, to describe the short haired Mods.
Becoming probably the biggest and longest standing of all the youth fashion subcultures, Skinhead has matured and now become a worldwide community. Distinctly recognized by almost military shaven head, boots and braces. The real skinhead is a working class product of the British council estate ‘salt of the earth character’ fiercely proud of his identity,with an obsession for clothing, style and music, equaled only with his love of beer.
On the first weekend of every June, since 2011, Brighton has seen an ever increasing number of Skinheads and their lovely Skinhead Girls invade Brighton. Boots, Braces, pristine clothing and a cheeky smile. Attracting scene members from right across the globe, to Madeira Drive, overlooking the beach. A full three days of Skinhead related entertainment is laid on. DJ’s playing hyper rare vinyl, from the early days of Jamaican Ska, through to modern day Street Punk and Oi. Live bands hit the stage of the Volks bar each night. With various aftershows happening until the early hours, to keep the party buzzing.
Acts appearing so far booked
Peter and The Test Tube Babies
Make no mistake! Peter And The Test Tube babies have written some of the best punk songs ever. In the early ’80s they stood out, above all other bands to emerge, with their tales of the hazards of being young punks in Brighton – “Banned From The Pubs”, “Intensive care”, “Run Like hell”, the list goes on…all had the Test Tubes hallmark, combining personal experiences, real cool tunes and, most important of all, maintaining a great sense of humour.
At the time, their gigs were fun filled events with electrifying tunes and plenty of entertainment. Harmless humour of those early gigs was captured on their debut album, “Pissed And Proud“. From those early gems, the Test Tubes just got better and better. The next crop of songs, “Jinx”, “Blown Out Again” and “September” all featured on “The Mating Sounds Of South American Frogs“, which stayed at number one for four months at the top of the independent charts. A US tour followed, climaxing with a 4,000 capacity sell out show at the Los Angeles Olympic Auditorium.
The mid ’90s saw the release of “Supermodels” and the departure from the band of Trapper and Ogs (bass and drums), excellent musicians. The band brought in fresh blood, the young and dynamic Rum and AD on bass and drums respectively. To promote the Supermodels album the band then went on a 25 date tour of Germany, Holland and Switzerland.
On their 20th anniversary in 1998 the band flew to Germany to record the “Alien Pubduction” album, their first with AD and Rum. The band also undertook a massive US and Canadian tour that lasted five weeks, lots of UK gigs and of course the annual German Christmas tour.
Rum quit in 1999 due to the punishing tour schedule. Paul ‘H’ Henrickson, known to the band and a Brighton stalwart, took over on bass. The band hit the road with renewed vigour touring repeatedly throughout the UK, Germany, Ireland, USA, France and making an impact on the summer festival circuits. Early in 2001, after years of taking punk to the masses, the pressure took its toll and A.D. left the band. Harp playing Christophe from Paris took over on the drums, beating other hopefuls to the job in hard fought auditions. The band were soon back on the road touring all over the world including a visit to The Shetland Islands!
Drums rolled again in 2003 as Christophe yielded the role to Dave ‘Caveman Dave’ O’Brien. Christophe joined Peter and Del in the studio to aid with their creation of vibrant Test Tube material for the twenty first century.
In 2005, after a seven year hiatus, the band released “A Foot Full of Bullets“, recorded at Ford Lane Studios, Ford, West Sussex. The album was definitely worth the long wait demonstrating a familiar core sound matched with smart self assurance gained from decades of experience. Storming on with characteristic vigour, the Test Tubes gained praise as “the best band of the weekend” (Lars Friedrickson) at the WASTED festival before closing the year with the annual German Xmas Tour 2005.
A remix of “A Foot Full of Bullets” was produced with contributions from Campino (Die Toten Hosen) and Olga (The Toy Dolls) at the start of 2006. “For a Few Bullets More” was released in August. Not long after, web master Dr Nigel announced he was bowing out of the band’s website after years of valued service. The band are all indebted to Nigel and wish him all the best. Creating a new web presence took the band through to the next big tour date…The band flew down under in September to play Australia and New Zealand for the first time.
The Test Tubes remain one of the best punk bands to come out of Europe. Appearing on the first Oi! albums in the early 80’s, The Test tubes have remained a favourite for many of us, ever since. See them live at the Great Skinhead Reunion
The Rough Kutz where formed by Hazza (Hammond organ), Brigga (vocals) and Rat (guitar) in 1994. The band changed the band line-up over the years, the current line-up consists of four other members; Mucka (vocals), Tony (bass), Sean (lead guitar) and yatesy(drums). The first studio album, A Bit O’ Rough was released in 1998 on Antwerp-based ska label Skanky ‘Lil Records. After this release the band began touring Europe. They released second album Welcome to our World in 2002 and, in 2006, followed with Another Week Another War. On this album Roddy Radiation from The Specials played guest lead guitar.[1] In 2006, they also performed a European tour with Radiation on guitar.in 2010 the Rough Kutz released their fourth album gangsters playground on Rk records.in 2012 the Rough Kutz recorded a version of the specials song Rude Boys Outa Jail, for the specialized charity album in aid of the teenage cancer trust.they performed live at the cd launch gig in the home of Two tone records, Coventry.
The Crack. Although they are best remembered as being members of the Oi! punk movement, the Crack were actually closer to the musical stylings of punk popsters 999 and mod rockers the Chords than any of their Oi! brethren (the Business, Cockney Rejects, etc.). On the musical scene since 1982, often compared to Slade, in their musical sound. They won a national televised battle of the bands, probably one of the only skinhead bands to have gained any positive recognition on British Televisions history. the Crack didn’t release this debut album until 1989. Like many bands of the era, as the main skinhead culture nose dived in the UK. The Crack, together with Argy Bargy and Cock Sparrer fought the hard times in Europe, to bridge the gap, and keep the flame burning, taking Skinhead and Oi music worldwide.
Franky Flame. A legend of the Skinhead culture. Franky will be there for his one man Cockney Joanna ‘Pie n Mash’ knees up
In the scene for many years,with his band superyob, Franky plays a traditional london dancehall version of oi tunes, making a great sing a long, beer filled malarkey
For a long time now Aarhus has been Denmarks Oi! capitol and Last Seen Laughing is another band in that tradition, which we are proud to belong to!
Last Seen Laughing is a 3 piece band, with members who all come from OI/Punk/Hardcore musical backgrounds. We’ve all played in various bands over the last approx. 20-30 years. We have played together about 4 years and had our debut in our hometown of Aarhus, Denmark in Dec. 2008.
The Line-up is:
Steen – Bass, Chorus : Frontman, leadsinger & guitarist in legendary Danish punk band The Zero Point still goin’ strong since 1979. Drummer in Hardcore outfit War of Destruction.
JP – Drums, Chorus : Drummer in Oi! band The Hoolies. Singer in Oi! Band The Outfit. Drummer in 80’s punk band Dayli Kaos and 90’s punk band deFuldeprofeter (The Drunken Prophets).
Kres – Guitar, leadvocal : Guitarplayer in 90’s Hardcore band Toe Tag, bassplayer in 90’s Hardcore band Tiny Toons. Guitar in 90’s punk band deFuldeprofeter and Guitar in The Hoolies and The Outfit.
After The Outfit decided to call it a day, Kres as being the main idea holder of the band, had tons of unused material, decided to start on his own along with brother JP on Bass. Back then we called ourselves The Jutland Muster. Jutland being the part of Denmark where we live. After about 8 months JP couldn’t find the extra time to play music, but Kres kept on with various bass players and drummers (very hard to find musicians that want to play or know oi music in Denmark). It was always kept as a 3 piece band to keep it minimalistic, aggressive and tight. After approx. 2 years of practicing and creating songs JP decided to join back in and took over the drums. 3 months later in late 2008 we hi-jacked Steen to play bass and Last Seen Laughing was born.
In late 2009 we went into the studio to record a demo with 3-4 songs, but ended up with recording 9 songs! We sent out the material to different labels and negotiated with especially one of them. Things dragged on and time went by and we played more and more shows both at home and abroad, and we kept on writing more material until we by the end of 2010 was ready to hit the studio again. This time we recorded 5 songs. 1 song was for a local comp which hasen’t been released yet and the 4 remaining songs was together with the 9 previously recorded songs was going to be our debut album. Suddenly we were contacted by Randale Records in Germany, who had received our 9 song cd earlier, and they wanted to do an album with us. We seized the opportunity and accepted their offer after a bit of negotiating with both them and the other label we had talked to earlier. That resulted in our debut album being released in June 2011. The vast majority of people who have heard it are very pleased with it and reviews of the album are all in all very positive.
Then later that year we landed ourselves a part of a christmas comp. That song brought about the idea of a split christmas Ep together with fellow hometown band The Guv’nors. It’s a picture Ep in the shape of a christmas tree. It has to be the ugliest record you’ve ever seen!!!
We recorded material for the next album & an EP in 2012. The EP containing a teaser from the new album and a song that’s solely on this release. It was available from Randale Records on dec. 20’th 2012. It sparked the interest for the new album to come and the response was really good. The plan was that the new album should be released a couple of months later but due to circumstances it was delayed untill October 2013. The titel of our second album is “As true as it gets” and it’s also released by Randale Records. The impact of this album has really lifted the band to a new level and made our name more well known.
Last Seen Laughing is inspirered by the second wave of Oi! from the 80’s as well as the Oi! Revival of the 90’s. We take bits and pieces from many different bands and mix it into our own sound. The style is aggressive, minimalistic and catchy! Last Seen Laughing has already made quite an impact on the scene in Denmark especially with the song ”Tæsk” (translates Beating or more precise ”to get your head kicked in”), which is somewhat of a hit or anthem in the underground. These last couple of years has also seen a very fast growing interest for Last Seen Laughing from abroad and we’ve already been to England, Norway, Sweden, The Netherlands and Germany to play gigs. So far Last Seen Laughing has played a lot of concerts in Europe and we still have more to come. The future for Last Seen Laughing looks remarkably bright if you look upon the bands history so far!
A new young band from The heart of Ireland. The amazing vocal talents of female vocalist, Shannon Doyle, Playing their own original Reggae /Ska songs. already kicking up a storm, right across the ska scene in Ireland and the UK. We are very excited to see what they can pull off infront of a full house of skinhead veterans, at Brighton.
Gerry Lane (Guitar),
Ciaran White(Drums)
Alan Daly (Bass)
Robbie Collins: Trumpet
Andy Mullan: Saxophone.
Skinheads from across the pond, Minneapolis, USA
Degeneration is Oi! with a capital “O!” These boys have been having a laugh and having their say for 20 years. The band formed in 1994 in Minneapolis, where the music scene was not to favorable for a bunch of skins to be shining out. But they carried on, despite the negative press skinheads were having at the time. The band storms the stage and play unrelenting music, with scorching guitars, heavy bass, and growling vocals. They know what they what needs to be done and then proceed to get it done.
The boys released their first single “Blind.” in 96. They played hundreds of gigs and then put out “Oi! For the Kids”, where they had their first success. They quickly followed that up with a new drummer, who’s still here today, and 2 more 7”s. “Boots and Braces-Studs & Chains” and the “Young Life EP”. Going from strength to strength, they put out their first cd “Carry The Torch”.
Moving forward, always staying true to their Oi! roots the band, continued on. They recorded a few songs for compilations, and things slowed down. They stepped away from the stage and raised some families. Never forgetting the music they love, they knew it was time to let the world know that they were still standing tall!
Their new LP “Standing Tall” will be released on 11/11/15 and they will be coming to Europe for the first time to play both old and new songs. What a better place for a bunch of skinheads to hear them then at the Great Skinhead Reunion!
Degeneration is
Jason is Lead GuitarGreg on DrumsPhil “Ox” on BassMe VocalsChris “Joker” Rhythm GuitarOi OI Music
SKAbretta, is a 6 piece band that takes you through the years of SKA and Reggae from the early Blue Beat sounds of Prince Buster to the 80’s revival, covering everything in between. Created in mid 2012 they have quickly become a local favourite as there blend of old and new styles caters for every taste whether your in to 2-tone or the more traditional Trojan groove you are in for a night to remember.
In less then a year Skabretta have gone from playing local boozers and clubs to playing venues such as the 12 bar Club in Denmark Street, Folkstone SKAfest and the iconic 100 Club on Oxford Street. With a packed diary and gigs coming in up and down the country, they will be coming to a town near you soon.
Our DJ’s are selected like a fine wine, from around the world of skinheads. Each DJ has a strong history. They all come and play the best music you are ever likely to hear, and most run their own nights elsewhere. so please support these guys and girls, who are the backbone, of the Skinhead Reunion and the scene overall
Gary Olas, The Upsetter
Olas has been hosting our Friday nights since the first Reunion.Old school vinyl sound system playing the best in all types of reggae with gigs all over the world. This is also runs the OLAS BOSS REGGAE RADIO SHOW. Twice a week OLAS BOSS does two internet radio shows, Wednesday at 7pm until 9pm playing the very best in roots and dub reggae across all time dates. The later Wednesday, from 9pm till midnight, show is boss reggae/rocksteady/ska – two tone at ten for fifteen minutes – then at 11pm, the world famous Dabble Under the Duvet. An hour of the finest old school lovers rock. All genres of reggae are covered over the two shows. You can also listen again at any time. the radio site iswww.channelradio.co.uk. OLAS BOSS REGGAE RADIO SHOW.
Barry ‘Bmore Mcvowty’
From the Wycombe skinheads, been active in the skinhead scene since 1979. One of the very best DJ’s, with a wide knowledge of eclectic music. Dont miss Bmore performing as he spins. And dont be surprised with what hits the decks, Bmore plays from the soul!
Skavoovie
SkavooVie! .. Infectious SKA Beats and Killer Diller Rocksteady rhythms. WHERE? Currently enjoying a monthly residency at Upstairs at the Mez, 4th Saturday of the month. Serious SKA choons on original 45’s from the vinyl vaults of Blue Beat, Studio One, Dr. Bird, Top Deck, Treasure Isle and many more…Scorchers!!!
A regular and key player in Brighton, with a record collection, most DJ’s would die for.
Weekend tickets are available at www.subcultz.com
Lee Evans. Has been around the London scene, longer than red buses. From the Wycombe Skinheads, Lee was a well known face DJ’ing around London in the 80’s with bands like the Riffs and Hotknives, Desmond Dekker and Laural Aitkin shows, to his credit. Now running regular DRC nights
Martin Long..I’d like to welcome Martin Long from Portsmouth, to our list of guest DJ’s at the Great Skinhead Reunion 5. Martin has been a long term skinhead and very active in the skinhead and scooter scene for many years, and its a pleasure to have him play for us in 2015
Rob ‘Double Barrell’ Powell. Is active on the London circuit and Carnaby Street skins, and Elephants head meet ups of the modern day. And his only fools and scooters events. Playing a cross section of skinhead related tunes
Fuxy AKA The Hungarian’s Boss Sounds
Active on the Dublin scene, Live and direct from Hungary.
Playing, punk, Oi! and Boss sounds
Skashack Toast, will be back in residence for 2015, playing his saturday setS
So I love me some Laurel Aitken, and I’m singing along in my car to Sally Brown driving down the highway and my son starts laughing. I’ve belted out these lyrics so many times I don’t hear them anymore, but my son’s fresh ears pick up on perhaps the silliest words to ever grace a ska song–yes, the cukumaka stick. What the heck is a cukumaka stick? I decided I’d find out.
The cukumaka stick is actually a coco macaque stick. It was first used by the Arawaks in battle, even though they were largely a peaceful people. The Arawak, or Taino Indians as they were sometimes called, were one of the native people of the Caribbean. They came to the islands of the Caribbean from Guyana or perhaps from other islands in the Greater Antilles and the Bahamas. They were still a Stone Age people whose tools were primitive and they were an agricultural and fishing people.
The Arawaks used the coco macaque, a heavy solid strong stick or club, as a tool, but they also used it to bludgeon their victims or enemies in combat. In Haiti, the coco macaque stick was called “the Haitian Peace Keeper.” In Cuba, where Laurel Aitken was born, it was called “the Cuban Death Club.” And in New Orleans, the coco macaque stick is called “the Zombie Staff” or “Spirit Stick.”
The coco macaque stick was used in Cuba and Haiti as a weapon and became a part of the cultural vernacular after it was used by the dictatorial regimes in Cuba and Haiti against political activists. During the regime of Papa Doc in Haiti, the coco macaque stick became a symbol associated with the “guaperia,” or his military. According to one article, the “Cocomacaco was the main weapon of the notorious tonton macutes, his the personal body guards.”
The Daily Gleaner on March 1, 1915 wrote of a coco macaque stick when reporting on a corrupt Haitian dictator who stole money from the country’s coffers. It stated, “He could only find a few thousand pounds to seize, though he sent an army to make the levy: an army strongly armed with superdread-nought cocomacaque sticks.”
Aitken is likely informed by many of these interpretations of the coco macaque stick, but perhaps none as much as the one in his own country which saw the coco macaque stick as a weapon associated with slavery. On the Cuban sugar plantations, slave owners beat their slaves with a coco macaque stick. The weapon later became a “tool of correction” used by men on women, and there was a Cuban proverb that said that wives should be “corrected with cocomacaco hard,” which may also shed light on why, when Laurel Aitken was once asked about this lyric, he hinted at a sexual connotation, as was common in the calypso, mento, and subsequent musical traditions–just think of Jackie Opel’s “Push Wood” for an example with a similar object–wood–but there are dozens if not hundreds of others with different objects–shepherd rods, needles, etc.
The coco macaque stick also had a life all its own. The Taino Indians and Haitians who practiced Voodou believed that the coco macaque stick walked by itself. The owner could send the coco macaque stick to run errands or dirty work, and if the coco macaque stick hit someone on the head, they would then be dead by morning.
Here is some information I found in an article on voodoo: “Coco macaque is what many refer to as a very real magical Haitian vodou implement or black magicians helping tool. Made of Haitian Coco-macaque palm wood or what ever wood one has at hand it is basically just simple thick 1 to 2 inch wooden cane, which is supposed to be possessing one of many magical powers, The strangest one is that to be able to stand up and walk on its own. Though it’s appearance of walking is described more like a hopping or bouncing action. This Voodoo Magic walking stick is not bound by gravity and is said to bounce off of houses and homes and even roofs as it travels to it’s commanded destination. Sometimes many people might refer to them as Voodoo Zombie Canes and swear that by all known accounts and means that they or it is possessed by the spirits of the dead. By all old Haitian accounts many will tell you that it is a simple design or sometimes crudely hand carved by a voodoo black magic priest using what ever found wood is available to them at the time. And it is a cursed or controlled by specific spirit that causes the walking stick to appear to move all by itself.”
Here are the lyrics to that classic Laurel Aitken tune, Sally Brown:
She boogey, she boogey, she boogey down the alley Let me tell you about Sally Brown Sally Brown is a girl in town She don’t mess around Let me tell you about Sally Brown Sally Brown is a slick chick. She hits you with a cukumaka stick Cukukukukumaka stick Hits you with a Cukumaka stick
CHESTERTON, IND.—Songbirds: Pioneering Women in Jamaican Music by Heather Augustyn has been published by Half Pint Press and is now available. The book is a comprehensive look at Jamaican vocalists, instrumentalists, record producers, dancers, wives, mothers, and deejays who helped to shape the course of Jamaican music on the island and worldwide. Songbirds: Pioneering Women in Jamaican Music is the fourth book from Augustyn on Jamaican music and culture.
The book features dozens of interviews with women who found a way share their talent in a culture and industry that was marked by brazen displays of masculinity. They endured harassment and received little or no pay to perform as backup or alongside or in front of the male musicians. They sacrificed family and home for a life in the spotlight, or they brought their babies with them on the road. They took over the studio and made it their own, or they suffered unimaginable violence, even murder. They changed the course of music all over the world. The book also features over 100 exclusive photographs and memorabilia that supplements personal narratives and archival material.
Heather Augustyn spent two years researching and talking to such women as Millie Small of “My Boy Lollipop” fame who rarely grants interviews, and she obtained photographs from her personal photo album. Others include Enid Cumberland of Keith & Enid who is now in her mid-80s; Janet Enright, the country’s first female guitarist who performed jazz in the 1950s; Marcia Griffiths of the I-Threes, Bob Marley’s backup singers, and vocalist for the Electric Slide, the staple of every wedding reception; members of the first all-girl ska band, the Carnations, featuring the parents of Tessanne Chin, winner of The Voice; Doreen Shaffer of the Skatalites; Patsy Todd of Derrick & Patsy and Stranger & Patsy; Althea & Donna, and dozens of others.
Augustyn is also author of Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist, McFarland 2013; Ska: An Oral History, McFarland 2010; and Ska: The Rhythm of Liberation, Scarecrow Press 2013. She is a correspondent for The Times of Northwest Indiana and an adjunct professor at Purdue University’s North Calumet campus. She lives with her husband and two boys in Chesterton, Indiana. Songbirds Pioneering Women in Jamaican Music is available at Here and amazon.com.
From April 26, 1964–”Something had to come after the Twist and it appears to be the ‘Jamaica Ska,’ just imported from the Caribbean island by dance lovers of New York’s jet set. Here, at Shepheard’s night spot, where the infectious new dance made its U.S. debut, lovely Carol Joan Crawford (left), Miss World of 1964, pays close attention to the dancers. The ‘Ska’ may be simply described as ‘up-beat blues with a shuffle rhythm.’ Its name evolved out of the sound of the guitar’s up-beat stroke. Miss Crawford, who also hails from Jamaica, is currently touring the U.S. for the first time.”
The premiere of the ska in America was controversial then, as it is now. I recently found an article from 1964 called “Dissension in the Ska Camp” that shows even when musicians were in the thick of it, it was a contested issue of who was included and who was excluded, who created it first and who was following suit. So I today I share this article that appeared in the Sunday Gleaner, April 26, 1964 that shows these topics were just as relevant and talked about then as they are now, even more so. The article has no byline so it is not evident who wrote the piece, but Ronnie Nasralla and Prince Buster chime in with their opinions.
First, let’s set the scene. Referenced in this article is the event at Shepheard’s Club, seen above in the photo. This nightclub was located in the Drake Hotel on Park Avenue in Manhattan. It was a hotspot. It was hip and posh and cool. Big stars stayed at the Drake, including Frank Sinatra and Muhammad Ali and later Led Zeppelin and Slade. But Shepheard’s was also swanky and the hot dances of the day, like the Frug, were not only danced here, but unveiled here. So too was the Ska. Shepheard’s even produced a flyer called, “How to Do the Newest Discotheque Dances at Shepheard’s in New York’s Drake Hotel” with step-by-step instructions to dance the Jerk, Watusi, Frug and the Monkey.
The event at Shepheard’s Club was prior to the World’s Fair. This event was held in April, whereas the World’s Fair wasn’t until August of 1964. However, Jamaica’s tourism efforts began before the World’s Fair in anticipation of creating a buzz and capitalizing on the dance craze trend. You may remember the photo I posted with Arthur Murray’s wife and Ronnie Nasralla from this evening at the Shepheard’s Club, and above is another rare gem.
Without further ado, the article:
National sound hits New York but now the argument flares as to what it is and who started it!
DISSENSION IN THE SKA CAMP
LIKE a raging fire, the promotional tour of the Jamaican National Sound, the Ska, has started a smoldering in the underbrush of the Kingston music world from which this distinctive brand of music was born.
Everyone wants to prove who is the true exponent of the Ska and who originated it? What is the authentic style of the Ska dancing? Successful though the promotional tour to the U.S. was, enthusiastic though the reports which came back treat the appearance of a Jamaican troupe of dancers and artistes at the Shepheard’s Club, there is dissension in the camp.
Some artistes who made the trip say their sound was not promoted as much as certain other sounds. Some of the artistes say that some of the other artistes didn’t have a clue about Ska dancing and in fact did the Monkey, the Wobble, the Twist . . . anything but true Ska.
Reports from the other side say that the moves done at Shepheard’s were moves decided on and rehearsed for several nights, together, before the team left the island.
To the accusation that other records were promoted over others, we discover from Mr. Winston Stona of the Jamaican Tourist Board, a co-sponsor of the promotional venture that:
The junket to the Shepheard’s Ska dancing, backed up over recorded music. Shepheard’s is one of a current crop of New York Clubs called discotheques. In this night spot feature entertainment comes from records played on a large turntable, from an amplification booth much like the Jamaican sound system of the dance halls.
According to the Tourist Board spokesman, the promotional venture for the Ska, as suggested by Henri Paul Marshall and Roland Rennie, the music promotion experts who came to the island last month on the invitation of the Ministry of Development and Welfare, was that Ska records and not personal performances by the artistes, would be projected.
The records which were taken to Shepheard’s therefore, were a selection made on the suggestion of the experts who, on their visit to the island, listened to the work of various Ska exponents. The records chosen for promotion were the ones which the experts deemed most likely to catch on with the American public.
These records included the works of Prince Buster, Derryck Morgan, Eric Morris, and others known to the local Ska followers.
Why should there be dissension? Among the tunes featured at Shepheard’s was “Sammy Dead,” the old Jamaican folk tune restyled as Ska by Byron Lee and the Dragonaires, featuring the voice of Eric Morris. Certain members of the troupe to Shepheard’s say “Sammy Dead” was promoted over other tunes.
According to Mr. Stona, “Sammy Dead” was actually played twice at the beginning and at the end of the programme of Ska records which he presented to the Shepheard’s audience.
It was also revealed that “Sammy Dead” which is to be released on a Capitol label in the States was specifically promoted on the request of Capitol records.
Prince Buster and the other early devotees of the Ska say this should not be so. And they throw in the argument that in their opinion “Sammy Dead” is not a true Ska tune and why should it be played even one more time than any of the others, which are reorganized as real Ska by the real Ska fans?
Prince Buster, who took the Ska to England where it is known now as the Blue Beat, was very expressive about this. He says he is one of the originators of the Ska and sees no reason why he and others, who worked together on the National Sound, should not have got as big billing.
But who really originated the Ska? As Buster tells it, it was back in 1958 that he, Derryck Morgan, Eric Morris and others used to meet on top of an old house situated on Charles Street near Orange Street. The meetings were inspired because “as boys together, we were looking at making a brand.”
He points out that a number of Jamaican musicians had tried adopting American shuffle sounds to their own style, but it didn’t really work. There was need for “our own sound.” So those meetings on top of the house was to find out just how to make things work, how to find a Jamaican sound which the fans would go for.
Down on the ground you might say the big sound system operators Duke Reid and Coxson were evolving their own sound. It was an adaptation of certain American shuffle tunes re-recorded for the sound system dance audiences. It is said that when the experimenters offered Duke Reid and Coxson the new Jamaican sound they would have nothing to do with it.
According to Buster, the new sound when it was evolved was referred to with great disdain by other musicians and by the public as the Boop-Boop. He even earned the name Boop. And when he and Derryck Morgan, for a promotional stunt, launched Boop-Boop songs deriding each other the public really went for their skins.
But out West, the thump of the Boop, later is to be called Sca, then Ska, was catching on. Musicians who had “boxed around” in various musical combos began to be reorganized as “Ska beaters.” Out west and on the east, they could tell you and still tell you about Drumbago who played the drums and Ja Jerry, Theophilus Beckford, and Raymond Harper, Rupert “Blues” Miller, and Stanley Notice.
These according to the fans and on Orange Street and (unreadable) where sound boxes thump through the Saturday night of every week were the original ska men.
As the craze progressed, getting popularity most of all on JBC’s Teenage Dance Party, other musicians joined the parade, cut dies, met for sessions, helped the sound to grow.
The fans began to acclaim Baba Brooks, Roland Alphonso, Lloyd Brevet, Lloyd Tate, Don Drummond, Lester Sterling, Johnny Moore, Lloyd Knibb and the men whose full names nobody remembers but rather a name like Jackie, Charlie, and Campbell. Later they were joined by the acclaimed pure jazz, tenor man, Tommy McCook.
The Ska caught on, spread and grew, most of all in the Saturday night sound system headquarters such as Forrester’s Hall, Jubilee Tile Gardens, Carnival and Gold Coast on Sundays.
Sound system operators worked feverishly to get the latest biscuits on disc. Early on release, they bore no labels, but the dance hall spies got the names eventually and the sound system which didn’t have the new biscuit last week, acquired it this week, to draw the fans.
It is interesting to find a parallel in the discotheques which began in Paris and spread to London and New York.
In the process of finding who should get credit for what, it is eye opening to hear Prince Buster saying that Louise Bennett played her part in the promotion of this peculiarly Jamaican sound and dance. He says that Louise’s life work of keeping alive the folk songs and rhythms of Jamaica is responsible for many of them coming back into popularity, set against the Ska beat.
Many of the musicians and artistes associated with the Ska movement are fairly young men. However, one of the acknowledged originators and Dean of the Sound has been playing music in Kingston for 46 years.
He is Drumbago the drummer who also plays a flute. His real name is Arkland Parks and (unreadable) Mapletoft Poulle and Frankie Bonnitto.
Drumbago, a mild mannered gentleman, says he and Rupert Miller, a bass player for 36 years, were in on the original search to find the sound which came to be called Ska. He explains their best arrangement of the sound as being basically four beats to the bar in eight or twelve measures.
“You get the sound according to how you invert the beats,” says Drumbago.
Another exponent of Ska and its various offshoots feel that the dance called Wash Wash has every claim to being truly Jamaican, for it is inspired by one of the basic Jamaican show dances … the wash day scene. This is a standard with many nightclub rhumba dancers, with many folk lore troupes.
So what constitutes Ska dancing? According to the fanatics, true Ska motions are the wash wash, the peculiar washing motion of either clothes or the body, the press along, in which the dancer thumps out the rhythm with his arms at shoulder level, the move (for which we found no
name) of spiraling down to floor level and back up, the one in which you moved the hips and pumped the arms in the opposite direction to the press along.
The fans say that while the extempore movements are allowed dancing the Ska, these are the definite basic movements which one must know to be IN.
Dissenters from the troupe which performed at Shepheard’s say these movements were not used fully or enough and that at one stage they heard a critic saying that what was being done was nothing new, it looked like a first cousin to the Twist. And that the Monkey and the Pony movements which were done were recognized as old hat immediately.
Mr. Stona says this accusation is not true. He found nothing but satisfaction for the presentation at Shepheard’s and is optimistic for the future of Ska promotion in the United States.
We contacted a spokesman for the Byron Lee and the Dragonaires outfit who made “Sammy Dead.”
He told of having heard the feeling expressed by some of the original Ska sound makers that certain orchestras now playing the sound were only cashing in and didn’t know how the sound began.
The Byron Lee spokesman—Mr. Ronnie Nasralla—says:
“For Byron Lee and the Dragonaires it’s not just cashing in. I know Byron feels that it is full time Ska was organized and promoted so that the best can be got out of it for the benefit of the artistes and Jamaica.”
According to Mr. Nasralla:
“Many Ska artistes were not properly protected or organized before Byron Lee has signed up several artistes for recordings and appearances and we’re taking all steps to see that they’re properly presented.”
“I’ve heard that some people say that Byron Lee is just promoting his orchestra. It’s not true. Sure, as a businessman he will look out for his investments, but let us stop quarrelling among ourselves and promote the sound not only for the good of one band but for all Jamaica.”
Whatever comes of it, Ska is going to be a talking point for many more months. Ironically, like most things, it was an art without honour in its own country until it was discovered somewhere else.
Stay tuned for next week’s blog when I will post a response to this article that appeared in the Daily Gleaner the following Sunday. Apparently the comments made by Ronnie Nasralla and Prince Buster struck a chord and a number of musicians responded with their thoughts, including Eric Monty Morris, Roy Panton, Ronnie Nasralla again, Alphanso Castro, Sir Lord Comic, and Roy Willis who respond with comments of their own.
From April 26, 1964–”Something had to come after the Twist and it appears to be the ‘Jamaica Ska,’ just imported from the Caribbean island by dance lovers of New York’s jet set. Here, at Shepheard’s night spot, where the infectious new dance made its U.S. debut, lovely Carol Joan Crawford (left), Miss World of 1964, pays close attention to the dancers. The ‘Ska’ may be simply described as ‘up-beat blues with a shuffle rhythm.’ Its name evolved out of the sound of the guitar’s up-beat stroke. Miss Crawford, who also hails from Jamaica, is currently touring the U.S. for the first time.”
The premiere of the ska in America was controversial then, as it is now. I recently found an article from 1964 called “Dissension in the Ska Camp” that shows even when musicians were in the thick of it, it was a contested issue of who was included and who was excluded, who created it first and who was following suit. So I today I share this article that appeared in the Sunday Gleaner, April 26, 1964 that shows these topics were just as relevant and talked about then as they are now, even more so. The article has no byline so it is not evident who wrote the piece, but Ronnie Nasralla and Prince Buster chime in with their opinions.
First, let’s set the scene. Referenced in this article is the event at Shepheard’s Club, seen above in the photo. This nightclub was located in the Drake Hotel on Park Avenue in Manhattan. It was a hotspot. It was hip and posh and cool. Big stars stayed at the Drake, including Frank Sinatra and Muhammad Ali and later Led Zeppelin and Slade. But Shepheard’s was also swanky and the hot dances of the day, like the Frug, were not only danced here, but unveiled here. So too was the Ska. Shepheard’s even produced a flyer called, “How to Do the Newest Discotheque Dances at Shepheard’s in New York’s Drake Hotel” with step-by-step instructions to dance the Jerk, Watusi, Frug and the Monkey.
The event at Shepheard’s Club was prior to the World’s Fair. This event was held in April, whereas the World’s Fair wasn’t until August of 1964. However, Jamaica’s tourism efforts began before the World’s Fair in anticipation of creating a buzz and capitalizing on the dance craze trend. You may remember the photo I posted with Arthur Murray’s wife and Ronnie Nasralla from this evening at the Shepheard’s Club, and above is another rare gem.
Without further ado, the article:
National sound hits New York but now the argument flares as to what it is and who started it!
DISSENSION IN THE SKA CAMP
LIKE a raging fire, the promotional tour of the Jamaican National Sound, the Ska, has started a smoldering in the underbrush of the Kingston music world from which this distinctive brand of music was born.
Everyone wants to prove who is the true exponent of the Ska and who originated it? What is the authentic style of the Ska dancing? Successful though the promotional tour to the U.S. was, enthusiastic though the reports which came back treat the appearance of a Jamaican troupe of dancers and artistes at the Shepheard’s Club, there is dissension in the camp.
Some artistes who made the trip say their sound was not promoted as much as certain other sounds. Some of the artistes say that some of the other artistes didn’t have a clue about Ska dancing and in fact did the Monkey, the Wobble, the Twist . . . anything but true Ska.
Reports from the other side say that the moves done at Shepheard’s were moves decided on and rehearsed for several nights, together, before the team left the island.
To the accusation that other records were promoted over others, we discover from Mr. Winston Stona of the Jamaican Tourist Board, a co-sponsor of the promotional venture that:
The junket to the Shepheard’s Ska dancing, backed up over recorded music. Shepheard’s is one of a current crop of New York Clubs called discotheques. In this night spot feature entertainment comes from records played on a large turntable, from an amplification booth much like the Jamaican sound system of the dance halls.
According to the Tourist Board spokesman, the promotional venture for the Ska, as suggested by Henri Paul Marshall and Roland Rennie, the music promotion experts who came to the island last month on the invitation of the Ministry of Development and Welfare, was that Ska records and not personal performances by the artistes, would be projected.
The records which were taken to Shepheard’s therefore, were a selection made on the suggestion of the experts who, on their visit to the island, listened to the work of various Ska exponents. The records chosen for promotion were the ones which the experts deemed most likely to catch on with the American public.
These records included the works of Prince Buster, Derryck Morgan, Eric Morris, and others known to the local Ska followers.
Why should there be dissension? Among the tunes featured at Shepheard’s was “Sammy Dead,” the old Jamaican folk tune restyled as Ska by Byron Lee and the Dragonaires, featuring the voice of Eric Morris. Certain members of the troupe to Shepheard’s say “Sammy Dead” was promoted over other tunes.
According to Mr. Stona, “Sammy Dead” was actually played twice at the beginning and at the end of the programme of Ska records which he presented to the Shepheard’s audience.
It was also revealed that “Sammy Dead” which is to be released on a Capitol label in the States was specifically promoted on the request of Capitol records.
Prince Buster and the other early devotees of the Ska say this should not be so. And they throw in the argument that in their opinion “Sammy Dead” is not a true Ska tune and why should it be played even one more time than any of the others, which are reorganized as real Ska by the real Ska fans?
Prince Buster, who took the Ska to England where it is known now as the Blue Beat, was very expressive about this. He says he is one of the originators of the Ska and sees no reason why he and others, who worked together on the National Sound, should not have got as big billing.
But who really originated the Ska? As Buster tells it, it was back in 1958 that he, Derryck Morgan, Eric Morris and others used to meet on top of an old house situated on Charles Street near Orange Street. The meetings were inspired because “as boys together, we were looking at making a brand.”
He points out that a number of Jamaican musicians had tried adopting American shuffle sounds to their own style, but it didn’t really work. There was need for “our own sound.” So those meetings on top of the house was to find out just how to make things work, how to find a Jamaican sound which the fans would go for.
Down on the ground you might say the big sound system operators Duke Reid and Coxson were evolving their own sound. It was an adaptation of certain American shuffle tunes re-recorded for the sound system dance audiences. It is said that when the experimenters offered Duke Reid and Coxson the new Jamaican sound they would have nothing to do with it.
According to Buster, the new sound when it was evolved was referred to with great disdain by other musicians and by the public as the Boop-Boop. He even earned the name Boop. And when he and Derryck Morgan, for a promotional stunt, launched Boop-Boop songs deriding each other the public really went for their skins.
But out West, the thump of the Boop, later is to be called Sca, then Ska, was catching on. Musicians who had “boxed around” in various musical combos began to be reorganized as “Ska beaters.” Out west and on the east, they could tell you and still tell you about Drumbago who played the drums and Ja Jerry, Theophilus Beckford, and Raymond Harper, Rupert “Blues” Miller, and Stanley Notice.
These according to the fans and on Orange Street and (unreadable) where sound boxes thump through the Saturday night of every week were the original ska men.
As the craze progressed, getting popularity most of all on JBC’s Teenage Dance Party, other musicians joined the parade, cut dies, met for sessions, helped the sound to grow.
The fans began to acclaim Baba Brooks, Roland Alphonso, Lloyd Brevet, Lloyd Tate, Don Drummond, Lester Sterling, Johnny Moore, Lloyd Knibb and the men whose full names nobody remembers but rather a name like Jackie, Charlie, and Campbell. Later they were joined by the acclaimed pure jazz, tenor man, Tommy McCook.
The Ska caught on, spread and grew, most of all in the Saturday night sound system headquarters such as Forrester’s Hall, Jubilee Tile Gardens, Carnival and Gold Coast on Sundays.
Sound system operators worked feverishly to get the latest biscuits on disc. Early on release, they bore no labels, but the dance hall spies got the names eventually and the sound system which didn’t have the new biscuit last week, acquired it this week, to draw the fans.
It is interesting to find a parallel in the discotheques which began in Paris and spread to London and New York.
In the process of finding who should get credit for what, it is eye opening to hear Prince Buster saying that Louise Bennett played her part in the promotion of this peculiarly Jamaican sound and dance. He says that Louise’s life work of keeping alive the folk songs and rhythms of Jamaica is responsible for many of them coming back into popularity, set against the Ska beat.
Many of the musicians and artistes associated with the Ska movement are fairly young men. However, one of the acknowledged originators and Dean of the Sound has been playing music in Kingston for 46 years.
He is Drumbago the drummer who also plays a flute. His real name is Arkland Parks and (unreadable) Mapletoft Poulle and Frankie Bonnitto.
Drumbago, a mild mannered gentleman, says he and Rupert Miller, a bass player for 36 years, were in on the original search to find the sound which came to be called Ska. He explains their best arrangement of the sound as being basically four beats to the bar in eight or twelve measures.
“You get the sound according to how you invert the beats,” says Drumbago.
Another exponent of Ska and its various offshoots feel that the dance called Wash Wash has every claim to being truly Jamaican, for it is inspired by one of the basic Jamaican show dances … the wash day scene. This is a standard with many nightclub rhumba dancers, with many folk lore troupes.
So what constitutes Ska dancing? According to the fanatics, true Ska motions are the wash wash, the peculiar washing motion of either clothes or the body, the press along, in which the dancer thumps out the rhythm with his arms at shoulder level, the move (for which we found no
name) of spiraling down to floor level and back up, the one in which you moved the hips and pumped the arms in the opposite direction to the press along.
The fans say that while the extempore movements are allowed dancing the Ska, these are the definite basic movements which one must know to be IN.
Dissenters from the troupe which performed at Shepheard’s say these movements were not used fully or enough and that at one stage they heard a critic saying that what was being done was nothing new, it looked like a first cousin to the Twist. And that the Monkey and the Pony movements which were done were recognized as old hat immediately.
Mr. Stona says this accusation is not true. He found nothing but satisfaction for the presentation at Shepheard’s and is optimistic for the future of Ska promotion in the United States.
We contacted a spokesman for the Byron Lee and the Dragonaires outfit who made “Sammy Dead.”
He told of having heard the feeling expressed by some of the original Ska sound makers that certain orchestras now playing the sound were only cashing in and didn’t know how the sound began.
The Byron Lee spokesman—Mr. Ronnie Nasralla—says:
“For Byron Lee and the Dragonaires it’s not just cashing in. I know Byron feels that it is full time Ska was organized and promoted so that the best can be got out of it for the benefit of the artistes and Jamaica.”
According to Mr. Nasralla:
“Many Ska artistes were not properly protected or organized before Byron Lee has signed up several artistes for recordings and appearances and we’re taking all steps to see that they’re properly presented.”
“I’ve heard that some people say that Byron Lee is just promoting his orchestra. It’s not true. Sure, as a businessman he will look out for his investments, but let us stop quarrelling among ourselves and promote the sound not only for the good of one band but for all Jamaica.”
Whatever comes of it, Ska is going to be a talking point for many more months. Ironically, like most things, it was an art without honour in its own country until it was discovered somewhere else.
Stay tuned for next week’s blog when I will post a response to this article that appeared in the Daily Gleaner the following Sunday. Apparently the comments made by Ronnie Nasralla and Prince Buster struck a chord and a number of musicians responded with their thoughts, including Eric Monty Morris, Roy Panton, Ronnie Nasralla again, Alphanso Castro, Sir Lord Comic, and Roy Willis who respond with comments of their own.
Stanley Motta is always mentioned as an early pioneer in the ska industry since he had the first recording studio on the island, although they were not pressed there–Motta sent the acetates to the U.K. for duplication. But Motta began the recording industry in Jamaica. His recording studio was opened in 1951 on Hanover Street and his label, M.R.S. (Motta’s Recording Studio), recorded mostly calypso and mento. Motta’s first recorded in 1952 with Lord Fly whose birth name was Rupert Lyon. It is to be noted that in his band on these recordings were Bertie King on clarinet, an Alpha Boys School alumnus who would go on to have a successful jazz career in Europe, as well as Mapletoft Poule who had a big band that employed many early ska musicians and Alpha alumni. Motta also recorded artists like Count Lasher, Monty Reynolds, Eddie Brown, Alerth Bedasse, Jellicoe Barker, Lord Composer, Lord Lebby, Lord Messam, Lord Power, and Lord Melody (good Lord!). There is a strong ska connection too. While I originally thought and posted that Baba Motta was Stanley Motta’s little brother and got that misinformation from Brian Keyo (here: www.soulvendors.com/rolandalphonso.html), I have been corrected by mento scholar Daniel Neely, as you will see from his fantastic and helpful comments below. They, in fact, are not related. Baba Motta was a pianist and trumpeter who also played bongos at times. Roland Alphonso performed with Baba Motta and Stanley then employed Roland to play as a studio musician for many of his calypsonians. Baba Motta had his own orchestra based at the Myrtle Bank Hotel. Baba Motta also recorded for his brother Stanley Motta with Ernest Ranglin. And other ska artists who recorded for Stanley Motta include Laurel Aitken and Lord Tanamo. Rico Rodriguez also says he recorded for Stanley Motta. Theophilus Beckford also performed for other calypsonians that Motta recorded, playing piano before he cut his vital tune “Easy Snapping” for Coxsone, the first recognized ska recording. So who was this Stanley Motta character and what was his interest in Jamaican music? Well as most Jamaican residents know, Motta was the owner of his eponymous business that sold electronics, camera equipment, recording equipment, and appliances. They also processed film, if you remember that! Motta started his business in 1932 with just two employees. Motta’s grew to hundreds of employees over the years and they sold products from Radio Shack, Poloroid, Hoover, Nokia, and Nintendo, to name a few. Stanley Motta was born in Kingston on October 5, 1915. He was educated at Munro College and St. George’s College. He was married twice and has four sons, Brian, David, Philip, and Robert. Motta chose to get into recording perhaps because it was a new industry for the island. And as a businessman, he saw that there were tourists who flocked to Jamaica with spending money, and in an effort to capture some of that money, he began recording to send them home with a souvenir. Many of these calypso and mento recordings for MRS were intended to be souvenirs, a take home example of the sounds enjoyed while on the north coast beaches. In fact, later Motta would serve on the board of the Jamaica Tourist Board from 1955 to 1962, so this was a focus for Motta. He recorded 78s, 45s, but also 10 full-length LPs including “Authentic Jamaican Calypsos,” a four volume series targeted at tourists upon which Roland Alphonso is a featured soloist on the song “Reincarnation.” In short, Motta was an entrepreneur, so his interest in recording came from a vision to fill a need, and he quickly moved on into more enterprising endeavors when he saw that need was being met better by others, like Federal Records, a physical pressing plant, and he chose to focus on his retail stores instead, stores which are still in business today. Motta was also involved in broadcast, but not as you might think. In 1941, after viewing a program that was broadcast on NBC, Motta was so moved by the content of the program titled “Highlights of 1941,” that he wrote to NBC to obtain a recording of this broadcast. He secured the one-hour program which he then showed for audiences at the Glass Bucket Club and he used donations from the screening to support war funds. The program dramatized many of the events of the year interspersed with real footage of Pearl Harbor and the milestones leading up to World War II. Motta was likely also a supplier for many sound system operators, as you can see from the advertisement above. He sold amplifiers, speakers, and all types of recording equipment so without his influence, the face of Jamaican music would not be the same, in many ways. Share your stories, memories, and research on Stanley Motta here and keep the dialogue going! Here are a number of links to more information on Stanley Motta and his recording legacy: http://www.npr.org/templates/story/story.php?storyId=1842828http://www.mentomusic.com/1scans.htmhttp://bigmikeydread.wordpress.com/2010/08/25/stanley-motta-mottas-recording-studio-kingston-mrs/
Scores of youths have been given prison sentences following a Whitsun weekend of violent clashes between gangs of Mods and Rockers at a number of resorts on the south coast of England.Yesterday two youths were taken to hospital with knife wounds and 51 were arrested in Margate after hundreds of teenagers converged on the town for the holiday weekend. Dr George Simpson, chairman of Margate magistrates, jailed four young men and imposed fines totalling £1,900 on 36 people. Three offenders were jailed for three months each and five more sent to detention centres for up to six months.
Obscenities
In Brighton, two youths were jailed for three months and others were fined.
More than 1,000 teenagers were involved in skirmishes on the beach and the promenade last night.
They threw deckchairs around, broke them up to make bonfires, shouted obscenities at each other and at passers-by, jostled holidaymakers and terrified elderly residents.
At about 1300 BST Mods and Rockers gathered at the Palace Pier chanting and jeering at each other and threw stones when police tried to disperse them.
The teenagers staged a mass sit-down on the promenade when police, using horses and dogs, tried to move them on.
In Margate, there were running battles between police and up to 400 youths on the beach early yesterday morning. Bottles were thrown and two officers were slightly hurt.
Later, on the high street, around 40 young men smashed council flat windows and vandalised a pub and a hardware shop.
Last night, hundreds of young men and girls were still wandering around the resort long after the last train had left.
Police stepped in to prevent further violence and dispersed about 30 youths in leather jackets who marched up the promenade shouting “Up the Rockers!”
There were further clashes at Bournemouth and Clacton.
From the early to mid-1960s young, mainly working class, Britons with cash to spend joined one of two youth movements.The Mods wore designer suits protected by Parka jackets and were often armed with coshes and flick-knives. They rode Vespa or Lambretta scooters bedecked with mirrors and mascots and listened to Ska music and The Who.Rockers rode motorbikes – often at 100mph with no crash helmets – wore leathers and listened to the likes of Elvis and Gene Vincent.Inevitably the two gangs clashed. The 1964 Whitsun weekend violence in Brighton was famously dramatised in the film Quadrophenia (1979).In August that year police had to be flown into the Sussex resort of Hastings to break up fights between the two gangs.
But two years later, most Mods had turned their attentions to the burgeoning, more laid-back, hippie culture. While the harder working class Mods created the Skinhead Subculture
Hello everybody!! We have a record & clothing store in Rochester NH that sells a wide variety of Punk, Oi! & Ska records & clothing. If you are not from the area we do have an online store we have just started up www.skele-tone.com or you can find us on facebook Skeletone Records add us as a friend we do mail order for anything you cant find on our website!!! If you have any questions or comments feel free to leave them here or email us asskele_tone@hotmail.com.We hope you like the store we work very hard to support the scene. Cheers!!!
Jamaican producer and musician Harry Zephaniah Johnson, 67, credited with producing what is widely considered the first reggae single “No More Heartaches” by the vocal harmony trio The Beltones, passed away on Wednesday, April 3 in his Westmoreland, Jamaica birthplace, succumbing to complications from diabetes; Johnson leaves four children and three grandchildren.
Born on July 6th, 1945, Johnson, better known as Harry J, initially entered the music business as a bass player with The Virtues prior to becoming the group’s manager. Shortly thereafter, he took a job as an insurance salesman but his love for music continually beckoned. He booked time at producer/sound system owner Coxsone Dodd’s Studio One in 1968 and recorded The Beltones. The resultant debut release on Johnson’s Harry J label, “No More Heartaches,” is considered a defining record heralding the emergence of the reggae beat as distinctive from its rock steady predecessor. (“Nanny Goat”, a 1968 song produced by the better-known Coxsone Dodd and sung by the duo Larry and Alvin is also cited as a transformative record, moving the rock steady tempo into a reggae rhythm).
“At the time we were under contract with Coxsone Dodd but he wasn’t doing anything for us so a member of a popular group The Cables took us to Harry J; Harry was new to the business and happy to record us so we broke away from Coxsone and went with him,” recalled The Beltones’ former lead singer Trevor Shields told Billboard.biz. “The driving sound on “No More Heartache” was totally different; we were like outsiders starting something new but didn’t know it at the time. The song was No. 1 on the Jamaican charts for about four weeks, which was no easy feat in those days.”
Harry J’s next big hit “Cuss Cuss” by Lloyd Robinson, released in 1969, boasts one of the most recycled reggae rhythms in the voluminous Jamaican music canon. The same year Harry J released a succession of reggae instrumentals credited to the Harry J All Stars, a revolving cast of musicians that included pianist Gladstone “Gladdy” Anderson, keyboardist Winston Wright, bassist Jackie Jackson, drummer Winston Grennan and guitarist Hux Brown. “Smashville,” “Je T’Aime” and “Srpyone” an assortment of Jamaican originals and reggae adaptations of international hits, are just three of the Harry J All Stars’ instrumentals that garnered steady play from Kingston’s sound system selectors.
Their most successful was “Liquidator,” led by Winston Wright’s spirited keyboard solos, which peaked at no. 9 on the UK Singles chart and became an unlikely skinhead anthem there. The song’s opening bassline was subsequently featured on the introduction to The Staple Singers’ 1972 Hot 100 chart topper “Ill Take You There” (Stax Records). According to an April 7 report in the Jamaica Observer newspaper by Howard Campbell, based on a 2000 Observer interview with Johnson, drummer Al Jackson (of Booker T and the MGs, Stax’s in-house band) visited Kingston in 1969 and met Harry J who gave him a copy of “Liquidator”; Johnson was shocked to hear the song used in the Staple Singers’ hit and took aggressive steps to collect royalties from Stax but made little progress.
Following “Liquidator’s” UK success, British reggae label Trojan gave Johnson his own Harry J imprint; his instrumental productions never again reaped the popularity of “Liquidator” but Johnson triumphed working with several of the island’s vocalists commencing with Marcia Griffiths and Bob Andy: their 1970 duets covering Nina Simone’s “Young Gifted and Black” and Crispian St. Peters’ “The Pied Piper” reached the upper tiers of the UK singles charts.
In 1972 Johnson opened a sixteen-track studio at 10 Roosevelt Avenue, Kingston, which revolutionized the reggae capital’s recording industry. “Back then, we were recording two-track and four-track sessions so it took great foresight for someone to go all the way to 16-tracks, which brought us on par with the rest of the world,” engineer/musician/producer Stephen Stewart told Billboard.biz at Harry J studios; there Stewart learned audio engineering in the 1970s while still a teenager, working alongside the late Sylvan Morris. “Because he had the latest in technology Harry J attracted the best artists of the day,” Stewart noted.
A sampling of the classic 1970s roots reggae recordings done at Harry J studios includes: The Heptones’ “Book of Rules,” The Melodians’ “Sweet Sensation,” Toots and the Maytals’ “Reggae Got Soul,” Burning Spear’s “Days of Slavery” and Dennis Brown’s “So Long Rastafari.” Bob Marley and The Wailers also recorded their first four albums for Island Records at Harry J (“Catch a Fire,” “Burnin,” featuring Bunny Wailer and Peter Tosh, “Natty Dread,” and “Rastaman Vibration” with the I-Threes); presently, framed gold copies of those Wailers albums adorn the walls of the studio’s main room.
Harry J Studios are featured in the 1978 film “Rockers” (directed by Theodoros Bafaloukos and starring Leroy “Horsemouth” Wallace, Gregory Isaacs and Jacob Miller) in a scene that spotlights singer Kiddus I recording “Graduation In Zion” there.
Although the 1970s were Harry J’s production heyday he continued to produce and release hit singles throughout the 1980s including Sheila Hylton’s cover of The Police’s “The Bed’s Too Big Without You”, which reached no. 38 on the UK singles chart. Harry J responded to the massive “Sleng Teng” rhythm released by the King Jammys label in 1984, which jumpstarted Jamaican music’s digital revolution, with his aptly titled “Computer Rule” rhythm that spawned numerous hits for various singers and toasters including Daddy Freddy, Charlie Chaplin, Uglyman, and Little John.
Following a seven-year dormancy during the 1990s, Harry J studios reopened in 2000, under the management of Stephen Stewart who refurbished and re-equipped the facility, with Johnson retaining ownership of the premises. “Harry J pushed the business aspect of the industry, putting deals together and cataloguing his songs (including releases on the Jaywax, Roosevelt, 10 Roosevelt Avenue and Sunset subsidiaries), which were separate from the studio operations,” Stewart offered.
Countless reggae veterans including Toots Hibbert, Burning Spear, Sly and Robbie and Luciano have recorded at Harry J studios in recent years while upstart Jamaican groups Raging Fyah and Di Blueprint Band and an abundance of European reggae acts have each sought out its authentic roots reggae sound. “People come here to capture that live session chemistry where recording is more than just one person using a computer program,” observes Stewart. “The legacy of the musicianship that has come through here makes Harry J studios really special, it’s part of the vision Harry brought to Jamaican music.”
385 Willesden High Road is tucked away behind a row of dilapidated 19th century houses, its entrance obscured by high locked gates and a walled yard. But 385 is a treasure trove of reggae history. It’s called Theorem, Music Village, and it’s where we’re recording several artist interviews for Reggae Britannia. As we arrive, there’s a band in the studio rehearsing a romantic Lovers Rock number, there’s a man up a rickety ladder painting the walls and another mopping up from an all night dance in the ‘functions room’ with its damp lino and garish red felt walls.
T-Jae, the tall soft-spoken proprietor of what was once called BBMC (the Brent Black Music Cooperative) helps us with our camera gear. He’s got coffee brewing in the kitchen beside an open can of condensed milk. Before T-Jae’s time this was a leisure centre filled with rattle of pinball machines and the click of snooker balls – now replaced by the drum ‘n bass of reggae rhythms leaking from the studio.
We’re here to interview Dave Barker, one half of the Dave and Ansell Collins vocal duo who set the teenage mods alight, back in 1971, performing a novelty number called ‘Double Barrel’. Dave’s a quietly spoken man with a hint of a stammer. He tells us how, when he first came to this country (and he stayed here ever after) he peered out through the window of his BOAC plane as it banked over the smoking chimneys of the snow-covered houses below and wondered ‘how come they have so many bakeries in England?’ On the drive from the airport he was shocked at seeing white men digging the road and taking out garbage: ‘Wow man, that was strange, you didn’t see those things in Jamaica’. Nor dogs wearing winter vests, nor steak and kidney pies, nor that little sparrow he spied pecking the top off a milk bottle. He can’t help himself: Dave sings a refrain from Matt Munro’s ‘Born Free’ and segues into ‘Summer Holiday’.
Dave arrived in the U.K exactly ten years before Theorem opened its doors to top British and Jamaican reggae artists passing through. Today, there’s the legendary Max Romeo sitting on bench in the winter sunshine, his grey locks neatly tucked into a woolly beret. In 1969, Max brought his wicked song ‘Wet Dream’ to Britain and its risqué lyrics – which got it banned in clubs and on the BBC – made it an anthem for skinheads in dance halls all across Britain. He sings a few lines, diffidently explaining how it caused an ‘upstir’ among the rebellious youth of the time. He’s a little ashamed of it now because, by the mid 70s, Max had embraced the wisdom of Rastafari. That was when he wrote and recorded some of reggae’s most powerful and memorable music in the Black Ark studio of Lee Scratch Perry: ‘War In A Babylon’ and ‘Chase The Devil’. When those songs arrived here, first as pre-releases and then remixed by Island Records, they inspired our fledgling roots reggae bands and then the punks and then Bob Marley too. Max intones a few lines from ‘Chase The Devil’, an ironic, cautionary tale that has been covered or sampled by dozens of musicians – including Jay-Z in ‘The Black Album’ – and was featured in the video-game Grand Theft Auto.
Dave Barker and Max Romeo – by Irfhan Mirza
‘I’m gonna put on an iron shirt and chase Satan out of earth’ he sings. ‘I’m gonna send him to outer space to find another race’. Max explains: ‘The devil is the negative within the psyche. Chasing the devil means chasing the negative out of your mind.’ There are people wandering in and out while he speaks; musicians carrying drums and guitars into this studio that’s cold as a morgue, or dropping off an amp or a heavyweight speaker, or they’ve come to pay their respects to the master, with a hug or a high-five.
T-Jae comes sauntering by with a piece of carpet under his arm to help our sound recordist dampen the ‘live’ acoustic of the room (yes, we still have a sound recordist on our crew) and he tells me that among the band members in the studio today is none other than Bigga Morrison. Bigga’s not a front man like Max, but a keyboard virtuoso and music director of renown. Reggae royalty. The band take a another break for a smoke in the yard and Bigga, immaculate in pin-striped suit and brogues, describes growing up in this country as a second generation West Indian: ‘My parents had experienced troubles and threats on the streets, back in the ’50s, with the Teddy Boys and such, but they wouldn’t discuss those things because they wanted to keep you free from the pressures. But as we grew up, we took our message and our fight onto the streets with the roots and culture music we played in bands like Steel Pulse and Aswad.’
Later during the interview, I asked Bigga to show us how the British reggae producers, back in the early 1970s, added violins to the Jamaican imports to make them sound ‘more classical’. Unfortunately, he’s lost his glasses and so can’t read the score. Tee Jay’s on hand to send for a replacement pair. Bigga fills in time by playing us a delightful new track by his band the Skatronics, but when the glasses arrive, they’re all wrong for Bigga. He wears them anyway, and peers astigmatically at the music for ‘Young Gifted And Black‘ which is layered in symphonic-style strings. Bigga (educated at Trinity College of Music) explains how Jamaican reggae gradually transformed into a British musical experience, first through the dub sounds and conscious lyrics of hardworking roots groups like Aswad and then by the bands that went platinum: the 2 Tone crowd, UB40 and The Police. Bigga’s being called back to rehearsals now, so we break for a late lunch. It’s a choice of The New Golden Duck Chinese Take Away or the Caribbean place half a mile up the road. We do the walk and settle for salt fish and akee. Or rather, the others do. I choose the goat curry on plantains and soon regret it.
Bigga Morrison
Back in Theorem, Bigga’s at the keyboards and a couple of pretty female vocalists are delivering more saccharine Lovers Rock. And that’s where we see Big Youth, in among them, gyrating his hips to the pounding bass and chugging upbeat of the guitar. He’s chaperoned by a petite Italian lady from an artists’ agency called Roots Rockers. She’s Trish, and she’s exhausted because they’ve only just returned from a nightmare flight from Spain. Trish is a miracle of calm and efficiency in the maelstrom of the struggling reggae business and it’s clear all the artists adore her. Trish has offered us the opportunity to interview Big Youth, the toaster who excited British reggae fans with his revolutionary, rasta-inspired lyrics in the mid ’70s. He’s on top form today, his wiry body twisting and swaying in the interview chair as he sings lines from ‘Hit The Road Jack’, telling me how the great Ray Charles called him up one Christmas-time to admit that Big Youth’s version was just ‘the best’. ‘Big Youth stole the scene,’ he concludes. Modesty isn’t one of Big Youth’s virtues. But I can vouch for his status, and integrity. I first met him insideRandy’s Record shop in Kingston Jamaica back in ’77. He was checking out the sales of his album – visiting these record stores was about the only way an artist could tell how many were selling. He was as big a name as Marley at the time, and revered both on the island and over here. We met again – by chance – in Lagos, Nigeria, when he was on the run from some unscrupulous promoter. He’s older and greyer now, but with no loss of energy, showmanship or sharp humour. And the red, gold and green implants in his front teeth are still there.
The filming days at Theorem haven’t only been productive for our ninety minute programme, they’ve also been enormous fun. Maybe it’s the familiarity and affection the artists have for this building, or maybe it’s what they call ‘the spirits’ of the house: a combination of all those sounds and experiences imbedded in the cracking plaster walls, the creaky floorboards which once the feet of hallowed artists trod, or the reverberating bass you can hear down Theorem’s honeycomb of corridors.
We’ll be back here later in the week to interview the fiery, bubbly Lovers Rock singer Sylvia Tella, from Manchester; and Tippa Irie who came to fame DJing for the Saxon sound system, and maybe Dennis Bovell, the multi-talented producer/song writer and bass player, who did so much to anglicise reggae music in this country. Oh, and Trish says Dennis Alcapone’s coming by, the dapper, bowler-hatted vocalist who brought a whole new style of toasting to these shores with songs like ‘Guns Don’t Argue’: ‘Don’t call me Scarface, my name is Capone, C-A-P-O-N-E!’
For him, we’ll haul our equipment boxes down the dark corridors of Theorem (we never could find the light switches, thriftily hidden away in recesses above door frames). Because we’ll place him in a room, behind the studio, which is every reggae fan’s dream, an Aladdin’s cave of antique tape machines and mixers, and an expansive crimson casting couch. The wood-trim Rainderk desk dates from the early ’70s when Reggae first exploded onto our pop charts with songs like ‘Young Gifted And Black’, bringing an upbeat musical thrill not just to those of Caribbean origin and the packs of skinheads who followed them around the country, but to the whole nation. This mixing desk was donated by Pete Townshend of The Who. It has made history since, recording reggae artists like The Wailers, Gregory Isaacs, Aswad, Janet Kay, Maxi Priest … and so many more.
The traffic’s slow on Willesden High Road as we leave the studios and T- Jae waves us into the evening gridlock and shuts the gates. Back-in-the-day, Theorem would be filling up with dreadlocked musicians and their natty entourage, ready for another all night session. Sometimes it still does, but with the proliferation of cheap home studios and a music industry in crisis, it’s a whole lot quieter now. No sessions tonight. Just the rattling pipes, the whispering corridors, the vacant studio and the ghosts of British reggae history.
385 Willesden High Road is tucked away behind a row of dilapidated 19th century houses, its entrance obscured by high locked gates and a walled yard. But 385 is a treasure trove of reggae history. It’s called Theorem, Music Village, and it’s where we’re recording several artist interviews for Reggae Britannia. As we arrive, there’s a band in the studio rehearsing a romantic Lovers Rock number, there’s a man up a rickety ladder painting the walls and another mopping up from an all night dance in the ‘functions room’ with its damp lino and garish red felt walls.
T-Jae, the tall soft-spoken proprietor of what was once called BBMC (the Brent Black Music Cooperative) helps us with our camera gear. He’s got coffee brewing in the kitchen beside an open can of condensed milk. Before T-Jae’s time this was a leisure centre filled with rattle of pinball machines and the click of snooker balls – now replaced by the drum ‘n bass of reggae rhythms leaking from the studio.
We’re here to interview Dave Barker, one half of the Dave and Ansell Collins vocal duo who set the teenage mods alight, back in 1971, performing a novelty number called ‘Double Barrel’. Dave’s a quietly spoken man with a hint of a stammer. He tells us how, when he first came to this country (and he stayed here ever after) he peered out through the window of his BOAC plane as it banked over the smoking chimneys of the snow-covered houses below and wondered ‘how come they have so many bakeries in England?’ On the drive from the airport he was shocked at seeing white men digging the road and taking out garbage: ‘Wow man, that was strange, you didn’t see those things in Jamaica’. Nor dogs wearing winter vests, nor steak and kidney pies, nor that little sparrow he spied pecking the top off a milk bottle. He can’t help himself: Dave sings a refrain from Matt Munro’s ‘Born Free’ and segues into ‘Summer Holiday’.
Dave arrived in the U.K exactly ten years before Theorem opened its doors to top British and Jamaican reggae artists passing through. Today, there’s the legendary Max Romeo sitting on bench in the winter sunshine, his grey locks neatly tucked into a woolly beret. In 1969, Max brought his wicked song ‘Wet Dream’ to Britain and its risqué lyrics – which got it banned in clubs and on the BBC – made it an anthem for skinheads in dance halls all across Britain. He sings a few lines, diffidently explaining how it caused an ‘upstir’ among the rebellious youth of the time. He’s a little ashamed of it now because, by the mid 70s, Max had embraced the wisdom of Rastafari. That was when he wrote and recorded some of reggae’s most powerful and memorable music in the Black Ark studio of Lee Scratch Perry: ‘War In A Babylon’ and ‘Chase The Devil’. When those songs arrived here, first as pre-releases and then remixed by Island Records, they inspired our fledgling roots reggae bands and then the punks and then Bob Marley too. Max intones a few lines from ‘Chase The Devil’, an ironic, cautionary tale that has been covered or sampled by dozens of musicians – including Jay-Z in ‘The Black Album’ – and was featured in the video-game Grand Theft Auto.
Dave Barker and Max Romeo – by Irfhan Mirza
‘I’m gonna put on an iron shirt and chase Satan out of earth’ he sings. ‘I’m gonna send him to outer space to find another race’. Max explains: ‘The devil is the negative within the psyche. Chasing the devil means chasing the negative out of your mind.’ There are people wandering in and out while he speaks; musicians carrying drums and guitars into this studio that’s cold as a morgue, or dropping off an amp or a heavyweight speaker, or they’ve come to pay their respects to the master, with a hug or a high-five.
T-Jae comes sauntering by with a piece of carpet under his arm to help our sound recordist dampen the ‘live’ acoustic of the room (yes, we still have a sound recordist on our crew) and he tells me that among the band members in the studio today is none other than Bigga Morrison. Bigga’s not a front man like Max, but a keyboard virtuoso and music director of renown. Reggae royalty. The band take a another break for a smoke in the yard and Bigga, immaculate in pin-striped suit and brogues, describes growing up in this country as a second generation West Indian: ‘My parents had experienced troubles and threats on the streets, back in the ’50s, with the Teddy Boys and such, but they wouldn’t discuss those things because they wanted to keep you free from the pressures. But as we grew up, we took our message and our fight onto the streets with the roots and culture music we played in bands like Steel Pulse and Aswad.’
Later during the interview, I asked Bigga to show us how the British reggae producers, back in the early 1970s, added violins to the Jamaican imports to make them sound ‘more classical’. Unfortunately, he’s lost his glasses and so can’t read the score. Tee Jay’s on hand to send for a replacement pair. Bigga fills in time by playing us a delightful new track by his band the Skatronics, but when the glasses arrive, they’re all wrong for Bigga. He wears them anyway, and peers astigmatically at the music for ‘Young Gifted And Black‘ which is layered in symphonic-style strings. Bigga (educated at Trinity College of Music) explains how Jamaican reggae gradually transformed into a British musical experience, first through the dub sounds and conscious lyrics of hardworking roots groups like Aswad and then by the bands that went platinum: the 2 Tone crowd, UB40 and The Police. Bigga’s being called back to rehearsals now, so we break for a late lunch. It’s a choice of The New Golden Duck Chinese Take Away or the Caribbean place half a mile up the road. We do the walk and settle for salt fish and akee. Or rather, the others do. I choose the goat curry on plantains and soon regret it.
Bigga Morrison
Back in Theorem, Bigga’s at the keyboards and a couple of pretty female vocalists are delivering more saccharine Lovers Rock. And that’s where we see Big Youth, in among them, gyrating his hips to the pounding bass and chugging upbeat of the guitar. He’s chaperoned by a petite Italian lady from an artists’ agency called Roots Rockers. She’s Trish, and she’s exhausted because they’ve only just returned from a nightmare flight from Spain. Trish is a miracle of calm and efficiency in the maelstrom of the struggling reggae business and it’s clear all the artists adore her. Trish has offered us the opportunity to interview Big Youth, the toaster who excited British reggae fans with his revolutionary, rasta-inspired lyrics in the mid ’70s. He’s on top form today, his wiry body twisting and swaying in the interview chair as he sings lines from ‘Hit The Road Jack’, telling me how the great Ray Charles called him up one Christmas-time to admit that Big Youth’s version was just ‘the best’. ‘Big Youth stole the scene,’ he concludes. Modesty isn’t one of Big Youth’s virtues. But I can vouch for his status, and integrity. I first met him insideRandy’s Record shop in Kingston Jamaica back in ’77. He was checking out the sales of his album – visiting these record stores was about the only way an artist could tell how many were selling. He was as big a name as Marley at the time, and revered both on the island and over here. We met again – by chance – in Lagos, Nigeria, when he was on the run from some unscrupulous promoter. He’s older and greyer now, but with no loss of energy, showmanship or sharp humour. And the red, gold and green implants in his front teeth are still there.
The filming days at Theorem haven’t only been productive for our ninety minute programme, they’ve also been enormous fun. Maybe it’s the familiarity and affection the artists have for this building, or maybe it’s what they call ‘the spirits’ of the house: a combination of all those sounds and experiences imbedded in the cracking plaster walls, the creaky floorboards which once the feet of hallowed artists trod, or the reverberating bass you can hear down Theorem’s honeycomb of corridors.
We’ll be back here later in the week to interview the fiery, bubbly Lovers Rock singer Sylvia Tella, from Manchester; and Tippa Irie who came to fame DJing for the Saxon sound system, and maybe Dennis Bovell, the multi-talented producer/song writer and bass player, who did so much to anglicise reggae music in this country. Oh, and Trish says Dennis Alcapone’s coming by, the dapper, bowler-hatted vocalist who brought a whole new style of toasting to these shores with songs like ‘Guns Don’t Argue’: ‘Don’t call me Scarface, my name is Capone, C-A-P-O-N-E!’
For him, we’ll haul our equipment boxes down the dark corridors of Theorem (we never could find the light switches, thriftily hidden away in recesses above door frames). Because we’ll place him in a room, behind the studio, which is every reggae fan’s dream, an Aladdin’s cave of antique tape machines and mixers, and an expansive crimson casting couch. The wood-trim Rainderk desk dates from the early ’70s when Reggae first exploded onto our pop charts with songs like ‘Young Gifted And Black’, bringing an upbeat musical thrill not just to those of Caribbean origin and the packs of skinheads who followed them around the country, but to the whole nation. This mixing desk was donated by Pete Townshend of The Who. It has made history since, recording reggae artists like The Wailers, Gregory Isaacs, Aswad, Janet Kay, Maxi Priest … and so many more.
The traffic’s slow on Willesden High Road as we leave the studios and T- Jae waves us into the evening gridlock and shuts the gates. Back-in-the-day, Theorem would be filling up with dreadlocked musicians and their natty entourage, ready for another all night session. Sometimes it still does, but with the proliferation of cheap home studios and a music industry in crisis, it’s a whole lot quieter now. No sessions tonight. Just the rattling pipes, the whispering corridors, the vacant studio and the ghosts of British reggae history.
Watford (in red) and Harrow (yellow) skinheads at Butlins, Clacton, in 1968.
Philip Ellisdon has sent in this picture of the Watford and Harrow skinheads on holiday at Butlins, Clacton, in 1968.
He said: “There were 20 of us – ten from Watford, ten from Harrow and Wealdstone. I am the one on the floor in the centre, third from the left with the striped shirt on.
“I had just won a reggae dance competition sponsored by Trojan Records, the big reggae record company at the time.
“The local guys are there, red are Watford, yellow are Harrow and Wealdstone. Next to me was Steve Hickman, behind with the white braces is Keith Munday and to his right is guy called John Warby who was a last minute replacement.“Keith and I were born next door to each other, nine days apart, and are still friends today.
“In the front are Nicky and Charlie, and with the jacket and white socks is John Galley or Layo as he was called then. He was from Ruislip, but a friend I met at Butlins two years earlier. The rest of the boys were not in the photo – they were all at the bar.
“In the early days, all skinheads wore white socks. One day I went to the Co-op at Gade House with two friends, Barry Preston and his girlfriend at the time, Linda Howarth, to buy a new pair of white socks and they had sold out.
“I bought red socks, just to be different on the dance floor, then a few of my mates also bought the red socks and that was our Watford identity, not always welcome in some places like Wembley or Golders Green, as they knew where we came from and we were not always welcome.
“The prize at Butlins was a lifetime membership to the Trojan Record Club, a big gold medallion, a certificate and an invitation to dance in the next round at a club in London – but I never went.
“I used to dance in many clubs around our area and got to know loads of people from all over the place. Sometime we were welcome, sometime you could be classed as being ‘too flash’ and someone would take exception and start trouble. Time for us to leave.
“We use to dance in clubs in Hemel, Harrow, Greenford, Kingsbury, Ealing, Slough, Windsor, Wembley, Golders Green, Tottenham, Stevenage, Welwyn Garden and, of course, our own stamping ground, the Watford Top Rank, as it was in those days.
“The Top Rank was a safe haven for us, we could wear our red socks, be as ‘flash’ as we liked and dance all night with very little trouble. I had many regular girl dance partners who were great friends. I even met and married one, my wife Lori, and we can still mix it at a 60s/70s disco.
“In the skinhead days, you would never go out with a hair out of place. Tonic suits, Ben Sherman shirts ironed, Levi turn ups measured and pressed, Florshiem Imperial shoes shining, Doc Martin boots polished – everything immaculate, everything ready for The Top Rank. For us, this was the centre of our the universe in those days, a place where all the factions of Watford council estates congregated and because they either went to school, played football or supported Watford FC together, mostly they became friends and were Watford Boys as one.
“People used to travel from all the aforementioned places to spend a Saturday night “up the Top Rank”. It was amazing, how we all became friends, and my wife and I are still friends with many of the people we first met there.
“Many of the ‘faces’ from those days are still around the Watford area. A few are members at my golf club, West Herts. They have not changed, still smart, still looking like a ‘face’.
“The ‘ace face’ at the time was a guy called Roy Rumble. He was the best dancer around by a mile. People use to stop and watch him dance long before John Travolta could even walk.
“He was an inspiration to all those people who wanted to dance, me included, and for such a small guy, he could also look after himself if anyone started on him for being ‘too flash’.
“The Top Rank was open Tuesday, Thursday and Saturday nights. They even opened a club on a Sunday night in later years after the skinhead era.
“The good days were gone and 70s music and clubs diversified into the suedehead and glam rock eras, so we all grew our hair down to our shoulders and moved on, an era gone, but certainly not forgotten.
“The music still lives and the memories flood back.”
Watford and Harrow skinheads, Philip Ellisdon has been in touch with more information about the skinhead and mod scene in Watford during the 1960s, and how it started.
He said: “This is a photo of Mick Colvin and myself at Butlins in 1967.
“Butlins was like Spain is now. It was fun and affordable. Too many stories to be told now, but a great era, lots of style and lots of fun.
“Notice the small turn ups on the Sta-Press trousers, another skinhead fashion if you could not afford Levis, but the obligatory braces and haircut – which was expensive till a mate of my Dad started to shave it for me.
“In this picture it’s grown a bit and the skinhead haircut did not compliment my forehead, as in the song Dr Jimmy from Quadrophenia: “You have to move with the fashion or be outcast”.
“Great film, the Who are my favourite group, great words from Townshend and an understanding of a generation that I think most can relate to, no matter what era they grew up in. All the generations have had the same growing pains.“There was a mod scene. The Trade Hall in Watford, which has been featured a few times in the Nostalgia section over the years, was famous.
“Many of the groups, The Who, Small Faces and the like, played there. I watched them through the windows with my mates, standing on beer crates as we were either too young or too skint to get in.
“There has never been a lot written about the skinhead days, only bad stuff, but it was a brilliant era, we had the Motown on one side and the reggae on the other. We liked both. The dancing was varied and everyone danced as you did not need to be a gymnast to dance in them days.
“We had the skinheads, hippies and rockers, all three factions and Watford had a place for them all – the Top Rank for the skinheads, Kingham Hall for the rockers and the Watford Tech for the hippies.
“We use to race around Watford on Vespas and Lambrettas. I was born and lived in Waterman Close, as were my friends. There was 12 of us all around the same age, born in or around Waterman’s, all living within a few yards of each other. Keith and I were next door neighbours and we had council garages at the bottom of our gardens where we kept our scooters and where all the others in the Close with a scooter would hang out.
“Watford had some infamous characters during the skinhead era. The first skinhead I knew in Watford was a guy called Gary Armstrong, who unfortunately is no longer with us.
“We were up the Top Rank one Thursday night when someone came in and said that Gary was down the Red Lion (now the Toby Carvery, where they use to have a disco sometimes) with a load of skinheads.
“We had no idea what a skinhead was, so we jumped on scooters and went to see what it was all about. When we got there, Gary, a style guru and a mod, (a Small Faces lookalike with glasses) was now a shaved head skinhead. Unbelievable.
“We were all basically young mods, seeing Gary and these guys from London’s East End, with all these smart clothes and shaved heads, some in Levi’s, Doc Martins, Ben Sherman shirts and Harrington jackets, some in tonic suits, Fred Perry’s and Florsheim shoes with white socks.
“These guys were so cool, we spent all night talking to them about the clothes, quickly realising that to become a skinhead was not cheap. Most of the gear was from the USA and no way we could afford it, but a shaved head we could.
“The next day, being Friday, pay day, Steve Hickman and I went to the A1 barbers in Carey Place, recommended by Gary, for a No1 haircut. The place was packed, but five minutes later, we were in the chair and in the blink of an eye, we were skinheads.
“My Mum went mad, my Dad thought the short, back and sides was a bit extreme and I got a lot of stick back at work, where I was a trainee panel beater.
“Within a week, Watford Top Rank was full of skinheads and pretty soon, during the late 60s, the Watford Top Rank became a infamous venue, with people coming from all over the place to spend a Saturday night ‘Up the Top Rank’.
“There were many “faces” during that time. Some became known for their style, others for their ability to take care of themselves, should the need arise of course, which, on a Saturday night, it did.
“There was always a chance of some “aggro” taking place, especially when gangs from outside Watford chose to visit and try and claim territory within ‘the Rank’.
“Roy Rumble danced and people watched. Outsiders would usually make some comments and it would all kick off, but as with generations before and since, this ended in trouble and being a skinhead meant you had to stand your ground.
“Watford Peace Memorial Hospital, as it was then, always had a busy Saturday night, especially being so close by. Many of the nurses who lived in also frequented the Rank, so sometime you got the personal service and an escort to the hospital.
“But in those days, there were very few knives, hardly any killings and in many cases, friendships were born out of the ‘aggro’ and I can speak from experience there.
“Getting blood down your white Fred Perry and your Tonic mohair suit was not part of the evening’s plans. You don’t look so cool with a nose bleed. It’s the guy who gave it to you who is the hero.
“Hope this gives you a brief insight to an untold era in Watford.”
Patsi Whelan-Archer, formally from Whitwell Road, in Garston, read Mr Ellisdon’s letter about Roy Rumble last week and has sent in some more information.
The 61-year-old, now living in Sutton Coldfield, said: “I remember him very well. As your article said, he was an amazing dancer.
“I used to go to the ‘Rank’ on Thursday and Saturday nights and Roy was always first up on the floor and always last off.
“We all loved him and looked up to him because he really had an amazing presence; he was his own man.
“I remember him stepping forward to help me when a lad was trying to force me to dance with him when I’d said ‘no’.
“Roy decked him and there was no more problems, even the bouncers respected him as they, and everyone, knew he was a trouble stopper, not a trouble starter.
“All Roy wanted was to dance and for everyone to be happy around him. I will never forget Roy Rumble – a lovely, lovely man.
“I now live in the Midlands and when I read your article it brought all the wonderful memories of the 60s flooding back. Does anyone remember ‘The Trade’?
“I saw the Who and many, many amazing bands there, and was asked out by Rod the Mod aka Rod Stewart, but thought he was a bighead and refused! Oh well, no regrets eh?
hello, over the last few days a lot of groups have gone, these are all related to the skinhead, fashion and music subculture. This is a serious issue as its effected thousands of people. As a promoter of events in England i use Facebook to promote and interact with bands, fans, media and many other aspects. Nobody has been given a reason for this. The groups have no political or aggressive nature, but more a nostalgic and bonding use. people get together from all over the world and follow events. we have The Great Skinhead Reunion weekend party booked in Brighton England, which attracts old jamaicans in their 70’s to young english 15 year old children, people attending from many counries. we have a very warm friendly environment. this culling of groups and people profiles has broken alot of communication links relied on. please contact me as soon as possible and let me know what has happened. has this been a facebook action, or that of a hacker?
We are aware that the skinhead subculture, over its 40 year life span has been abused by the media. but as active skinheads, many of us around the world have fought to kill off the political extremes attached from both left and right. to make it a celebration of music, style and friends. as an example, my next event has a band from ethnic singapore, english/polish band, ska and reggae dj’s. Women , children and every type of person, black and white, coming along for the third year.
an example of the groups which have gone are classic skinhead photographs. traditional skinheads and many more, which have the name skinhead in the title.
https://www.youtube.com/watch?v=Xz_63cTrlxg We believe we have the right to know what has happened to our networking groups, personal photographs. and friendship links made across the Globe If you have been effected by this please register with subcultz and place your name in the comments below. please put your country and town, so we can show facebook what a worldwide family we are
Being a skinhead or skinhead girl in a country like Venezuela hasn’t been very easy, even though we are a tropical country and especially multicultural, here few subcultures are appreciated and followed, although punk subculture has had more relevance in Venezuelan youth, the skinhead subculture has left its mark on some of the Venezuelan’s youth, but today few remain in that lifestyle.
How did begin the skinhead subculture in Venezuela?
It is said that began in the mid-80s. At the time, in Venezuela, it was difficult to find music from other countries, especially from other continents; the music was coming rather late, as the news about the birth of new subcultures which by then some had over 20 years runs and others had more than 10 years. For this reason, the Venezuelan tried to obtain, anyhow, this type of information. Jamaican rhythms known as Ska and Reggae were heard at Venezuela by the mid-60s thanks to groups like “Las Cuatro Monedas”, many of our grandparents and parents fondly remember as part of their youth and good times. It is said that some young people began keeping Skinhead lifestyle in the mid-80s, but due to misinformation and bad reputation that the skinhead subculture had to the time (because they were identified as Nazis or Fascists) it became difficult to be a skinhead in Venezuela. Many of the Venezuelan’ skinheads couldn’t say that they were Skinheads because people confused them with Nazis and also it was known that were some groups of fascists and national socialists who claimed to be “skins” but they always were minority and lived hidden because it didn’t know more about them. In the 90s, the skinheads in Venezuela were few and numbered due to this situation.
By early 2000, the skinhead subculture took some notoriety among Venezuelan youth; this boom began after 2004, we were still few but far more than previous decades. The bad reputation was gradually eradicated, it wasn’t so hard to say if someone was a Skinhead, because this subculture was a symbol of beer, football and violence in some cities, for others it was to belong to certain groups such as SHARP and RASH and for some (very few actually) was a symbol of ska, reggae, beer, loyalty, friendship, tradition and pride.
Today the situation is different than used to be about 4 or 5 years ago, in the years 2007 and 2008, where it could be said that the skinhead scene in Venezuela was significantly higher than it was and what it is nowadays. They were good years for the skinheads of our country, we knew each other, there were events and there was presence. The skinhead scene began to losing ground by 2010, this mostly because of a personal nature. Although between 2011 until nowadays, events of ska and reggae have grown like wildfire in our country, this hasn’t affected in any way the interest in the scene. In fact, by this moment, we are a small number of traditional and Oi! Skinheads those still remain true to the lifestyle. Some people stopped living the skinhead lifestyle to continue with their lives from other perspectives.
Those who still continue living the skinhead lifestyle, we keep living life as each day goes by, it is something we own, something personal, when we can we enjoy excellent events of Venezuelan ska and reggae or some occasional party among friends. We are few in comparison to other Latin American countries but we are faithful and true to the skinhead lifestyle and every year we see more of it.
As I said before, it wasn’t easy to be a skinhead in Venezuela, far less being a skinhead girl like me, but that didn’t affect us negatively. On the contrary, this difficulty makes us true and faithful to the feeling.
Essay made by Mary GunsFever Montilla.
NOTE: Referential Photos of some Venezuelan Skinheads
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Plan B Photographed In Skrewdriver T Shirt The Quietus , July 22nd, 2012 05:18
Has Ill Manors rapper had an attack of the Morrisseys?
As reported on Brian Whelan’s excellent blog recently, UK rapper/neo-soul star Plan B was photographed last week wearing a T shirt bearing the band name Skrewdriver.
The picture was taken from the front cover of popular free title, Shortlist which has a circulation of over half a million copies a week. The The Defamation Of Strickland Banks star was giving an interview to promote his new album and film (both called Ill Manors). The photoshoot took place immediately on his arrival at the studio, but it isn’t made clear if the clothes belong to the rapper or were given to him by a stylist.
The T shirt appears to bear a picture of Nicky Crane, a violent Nazi skin who provided security for Skrewdriver and served several jail terms for racist assaults. Donaldson and Crane both fell out when the latter came out as gay towards the end of his life. For many, the white power, bonehead band Skrewdriver represented the absolute nadir of popular music’s interaction with the Fascist movement, given that their message was evangelical, unironic, violent, radical and, to a certain degree, popular. That singer Ian Stuart Donaldson died in a car crash in 1992, did nothing to hurt their standing worldwide among neo-Nazis. The band however started as a non-politically aligned punk group in 1976 signed to Chiswick, and this incarnation of the group still has many fans internationally including J Mascis and Pink Eyes from Fucked Up. (Pink Eyes, aka Damian from Fucked Up, delivered a righteous screed on the subject of being a fan of the band’s early recordings on the Guardian which is worth checking out.) The interview with Benjamin Paul Ballance-Drew aka Plan B is still viewable on the Shortlist website where you can clearly see he is wearing the neo-Nazi band top. It seems highly unlikely that Plan B has accidentally revealed himself to be – or indeed is – a Nazi especially given his recent, left leaning and nuanced ‘Ill Manors’ single but it is ironic and doesn’t help him any that during the interview he praises Tim Roth’s acting in Made In Britain, Alan Clarke’s 1982 film about racist skinheads. He was asked: “Do you look at actors such as Winstone, Gary Oldman and Tim Roth and think, ‘I’d like to be at that level in 20 years’?” And replied: “Oh mate, Tim Roth in Made In Britain – f*cking amazing. In 20 years, I’d love to be at the level they’re at, but it depends how I look. Some people don’t age well for films. They lose that spark. Oldman’s still got it, Ray’s still got it. It all depends on what fate’s got in store for me.”Yet another example of a complete lack of knowledge or investigation by the media, but printed as fact.Well here’s the real story of the ‘T shirt’ the facts are Gavin Watson has done a bit of work with Plan B, and he loved Gavins skinhead photographs, he asked Gav could he use some, and Gavin gave him a whole box of images to choose from, which he then printed a few to t shirts, as a way of using genuine British street images, and also supporting Gavins photography.
But the picture in question, printed on the T shirt is one that Gavin Watson took of his younger brother Neville, who at the time was about 14 years old. Taken in the mid 1980’s on a council estate in High Wycombe at the height of the Skinhead Subculture. Posing against a garage, which has the word Skrewdriver graffitied on it. At that time it was very common for punk bands names to be graffitied all over the country.Gavins photographs have been printed worldwide and have come to represent Margaret Thatchers Britain. Gavin was given a camera as a kid and went about photographing his environment, family and friends, in a complete innocent love of photography. It just so happens that the time was when the British youth culture of Skinheads was at its height, of which Gavin was an active part. Films like ‘ This is England’ and many fashion designers and marketting people have used Gavins images as inspiration, but due to 21st Century political correctness, the actual era that the photos represent is something the British establishment would rather bury under a carpet. and even today, 30 years later the media are still spewing out their lies about the time and the young people involved.This obsession withbelittling council estate kids, and anyone that tries to inspire them. i think its extremely brave and sincere of Plan B to take genuine images of real kids from the council estates that he now represents with his music. In the USA people like Biggy Smalls did that, with his own environment, to huge worldwide success. Yesterdays Skinheads who listened to Oi music, are no different than todays youth, listening to Grime . The more young people feel attacked and written off, outcast, the more chance they will take to the streets, as was seen last year in British cities and in 1981, with the previous generation. July 22, 2012 13:34
Plan B responds to NME ‘neo-Nazi’ t-shirt criticism
Rapper apologises, says he was unaware of the existence of Skrewdriver
Plan B has responded to criticism for a photograph which shows him wearing what appears to be a Skrewdriver t-shirt. The most recent issue of Shortlist shows the rapper sporting a top with the band’s name written on it. This prompted some commentators to question his motive. The New Statesman asked why the rapper had worn the T-shirt and quoted journalist Brian Whelan, who wrote on his blog: ” It is very unusual that Plan B would knowingly wear this t-shirt and that Shortlist would stick it on the front of their publication. Make no mistake about it Skrewdriver were a nasty bunch, [founding member] Ian Stuart became a martyr for the far-right when he died in a car crash almost 20 years ago.” The rapper has now released a statement, which has been posted on The Quietus, explaining that the garment was not an official Skrewdriver t-shirt. He also apologised for not knowing who the band were, or what they represented. He said: “I was ignorant to the existence of the band Skrewdriver. I don’t listen to music like that so I wouldn’t know the names of bands that make that music. I was wearing a T-shirt I created using a photograph from the photographer Gavin Watson’s book Skins. “I asked him if I could print shots from his book on to T-shirts. I made a number of these T-shirts. Gavin’s photos are relevant to me because they represent the demonised youth of the past. Just like my generation of young people are demonised in the media to all be hoodie wearing thugs and chavs so were the skinheads in the 80’s.” Speaking about the person on the T-shirt, who some thought to be former Skrewdriver associate Nicky Crane, Plan B explained: “Most of the T-shirts I had made were of his brother. The boy on the image is Neville Watson. Neville is Gavin Watson’s brother. The graffiti behind him is graffiti. Neither Gavin or Neville put it there; it was already there when Gavin took the photo. Gavin did not know I had printed that image on a T-shirt and I was not aware of the significance of it.” He concluded: “The minute I found out what the words on the T-shirt meant I was angry with myself for not questioning them. The T-shirt is not official nor is it on sale anywhere. It was of my own doing and therefore it is my mistake, but that is all it is.” Skrewdriver were a notorious neo-Nazi “white power” group with links to the National Front. Founding member Ian Stuart Donaldson died in a car crash in 1993 and his death is celebrated every year by the far-right movement. Shortlist’s interview with Plan B can still be viewed on their website, where he talks about his favourite actors and movies as well as his own film, and accompanying album, Ill Manors.
The Great Skinhead Reunion 2Brighton Seafront 8th – 10th June 2012Live Performance from the Legend of Skinhead Reggae, Roy Ellis AKA Mr Symarip, plus a full line up of events from Friday afternoon until Sunday. The Ticket is for the Allnighter. Due to high numbers expected, this year we have incurred costs for extra security, and the all nighter is in a second venue, The View, Hove Beachfront, which starts at 10pm . The Wristband will also give you preferential entry to all free daytime venues, and to take part in the Quadrophenia tour
on Sunday 10thThe Great Skinhead Reunion is booked for the 8-10th june on Brighton seafront. the event kicks off on friday with a gathering at the volks club. Spirit of 79 will be focussing on the era of punk rock, oi and 2tone as well as the origins. CASE coming down from London on the Saturday, it will be all day at the volks, Madeira Drive,from 12 noon, which is the venue used in quadrophenia , where sting first shows up . Scooterists are parking for the day, Live performance from Ska’d 4 Life.Then after that is the allnighter, which will be two rooms, bands, dj’s and right on the beach. The Jamaican Reggae Legend Roy Ellis AKA Mr Symarip live. Then weather permitting a Quadrophenia tour and beach BBQ on Sunday. this event is for anyone who is, was and just likes the skinhead scene, all styles and eras of skinhead music will be played, from original ska and soul, to punk, oi, 2 tone and beyond, its strictly non political and non snob. everyone is welcome. we have people coming from ireland, scotland, the north and south of the uk, plus several contacting us from abroad as far away as USA and Singapore who are making the trip.You dont have to be a skinhead, nobody is excluded. its for fun. children and famillies are welcome. (very strictly non political)A full line up of The Uk’s top dj’sBands Roy Ellis AKA Mr Symarip meets the Moonstompers, Ska’d 4 Life, Case,. Dj’s ConfirmedSka ShackGrooverDarren (official Madness DJ) Hit the MoonOlas BossLee Evans, Direction ReactionBarrySabrina LatinaGegga, Skinhead Heaven Check out last years video if you missed ithttps://subcultz.com/2011/12/the-great-skinhead-reunion-review/SCOOTER PARKING AVAILABLEhttp://www.facebook.com/groups/SkinsUWW/
Published: Thursday May 3, 2012 | 9:05 am15 Comments
Lloyd Brevett (2nd left) in the company of his friends and fellow musicians.
Barbara Gayle, Staff Reporter
One of the founding members of The Skatalites Band, Lloyd Brevett is dead.
Brevett died at the Andrews Memorial Hospital in St. Andrew this morning at the age of 80.
In October 2001, he was conferred with Jamaica’s fifth highest honour, the Order of Distinction and in October 2010, he was awarded the Silver Musgrave Medal for his contribution to music.
The musician’s son Okine Brevett was killed in February after collecting an award on his father’s behalf at the Jamaica Reggae Industry Association Awards at Emancipation Park.
At that time, the former upright bass player of The Skatalites was said to be too ill to collect the award.
barbara.gayle@gleanerjm.com
Lloyd Brevett, the upright bass player for the legendary Skatalites, has passed away at the age of 80 in St. Andrew’s Parish, Jamaica. Brevett had been hospitalized a few weeks earlier due to a series of seizures and a stroke. While he was already in poor health, Lloyd’s health began to decline following the tragic murder of his son, Okine, in February of 2012. Okine had just accepted an award on behalf of his father earlier that night, but the celebration was cut short after he was accosted not far from the Brevett home.
Lloyd Brevett’s musical legacy cannot be understated, although his name sometimes does not get as much mention as other Skatalites members. Lloyd was introduced to the bass at a young age, as his father was one of Jamaica’s first jazz bass players. His father taught a young Lloyd not only how to play bass, but also how to make his own upright bass. As a young bass prodigy, Lloyd would be exposed to many local bands and players through his father’s work, meeting other up-and-comers like future Skatalites drummer Lloyd Knibb, who was learning how to play drums from Esmond Jarrett, who was playing with Eric Dean’s band at that time. Both Knibb and Brevett would eventually go on to play with Eric Dean’s band (as well as many other club and hotel bands), and from there, both became highly sought-after musicians in Jamaica.
As the recording industry began to take off in Jamaica in the late 1950’s, Brevett found plenty of session work, where the best of the local musicians would find themselves doing many sessions together for various producers. It was at Studio One, however, where the core group of musicians that would eventually become the Skatalites recorded some of the most popular tunes of the early 60s. Sir Coxsone would play his Studio One productions at his Downbeat sound system dances, and as the local demand for buying these records grew, Coxsone figured that the people would want to know the name of the band that everyone was dancing to. Coxsone then assembled his finest group of session players, and attracted the talents of other in-demand players like Tommy McCooke (who was working in Nassau), Lloyd Knibb (who was working in Montego Bay) and Lynn Taitt (who was working with Byron Lee and Count Lasher, as well as his own groups), and thus the Skatalites were born.
Lloyd Brevett’s bass work was quintessential to the Skatalites’ sound, even though his bass lines may not always be all that easy to define. That was really his genius coming through, though. Although he learned the instrument from his father, Lloyd had been developing his own style based on all of the styles he played in his earlier career, as well as his understanding of drumming styles like burru and mento, which were uniquely Jamaican. Listening to certain Skatalites tunes, it can be quite difficult to pick out just what Brevett is playing; at times he seems to be all over the place, but it becomes apparent that every note is exactly in its place.
Brevett was also crucial in the transition from ska to rocksteady, as he was the bass player for the Soul Vendors, the studio band that rose from the ashes of the Skatalites and the Soul Brothers.
This is Lloyd Brevett’s legacy; the sublime beauty of his musicianship, a crucial foundation of the ska beat, and a true Jamaican legend. His music will live on in his numerous recordings, from ska and rocksteady to roots and dub, and his memory will endure as one of Jamaica’s best known and most-beloved bass players.
If you would like to donate money to the fund for both Okine and Lloyd Brevett (for funeral arrangements and hospital bills), please see the information listed below. Even though Lloyd was a US citizen, he was unable to receive any health or social security benefits while being hospitalized in Jamaica. His wife (Ruth Brevett) and family would appreciate any assistance during this tragic time. Rest In Peace, Lloyd Brevett.
c/o Lloyd Brevett National Commercial Bank, Hagley Park Branch – Hagley Park Road
Acct # 174274584
Western Union – Ruth Brevett, Kingston Jamaica 876-850-4403 originaljamaicaskatalites@gmail.com
Hi Symond,Here we go with the answer to your questions!! For pictures, I`ve to look, By moving from place to place it seem to lost lots of them.My bestRoy Elis
where were you born ( I was born in Kinghton Jamaica 27 April, age I never tell, it`s not important for me,is how you feel It`s just another number.
when did you first get into music? (As you all know, most black singers started their singing career in the churches,and so did I
I really started my music career in London in 1962, As a young man with full blooded music in me, not only I wanted to sing, but also wanted to play an instrumant too. So I took up the Trombone,at the sametime getting a few lesson from one of the masters Rico Rodriguez, In this time he just got to England, And from there on I choose music as my career, singing and playing, and so it all started to where I am today.
how was life in jamaica, what studio’s did you work at, orange street, studio 1 etc. what musicians and people did you know and work with
actually I haven`t done any recording in Jamaica, As I said it all started in England,But as singing and playing in a band called The Bees in 1964.
We got the luck to be discovered by the one and only late Laurel Aitken who had us as his backing band,and also as our producer, and a promoter. we were touring the UK with him.
Then we got the chance to backed Prince Buster,The Ethiopians, Maytals, Earol Dickson,The Pioneers,Millie Small, Owen Gray, Jackie Edwards, Desmond Dekker, Then in 1967 we met Eddy Grant he wrote our first two hits Train tour to rainbow city, and All change on he Bakerloo line.
Then in 1969 I wrote Skinhead Moonstomp and Skinhead Girl, and also we recorded the Skinhead Moonstomp album that went to way up in the hit chart. then it all started
from there.
when and why did you come to the uk ( I came to UK between 1959-1960 as a teenage school boy.
how did you find life different in the uk, was it what you expected on arrival, did you come with family and friends.
I came to Uk alone, My mother was here long before me,in this time the Uk wasn`t a nice place for black people,It was too much discrimination giong on then, and it still is!!
for me it was very very hard as a teenager,no one to play with or to talk to me, but I was mentally strong, so I try to over come the problem by try to intergrate.how did you get involved in the mod scene, and how come you moved onto the skinheads. what was the difference in the two scenes.
Well been intergrate in the school, and learning to be a cook, I got into the mods scene with the other english teenagers who were already in it, So at last they accept me, But why did they accept me? because I was a very good Amature boxer from Jamaica, And that`s how I got in to the mods and skinheads scene on till this day.
Someone is got to build the bridges so that we all can cross over doesn`t matter what colour we are.
whats the story with symarip, who were the guys, do you ever see them, why did you write the skinhead moonstomp album, with many songs referencing skinheads
Well I was the only one the band as a black skinhead who believed in the scene at that time,and after Prince Buster tour we made meny fans and Laurel Aitkens gave me the idea by saying why don`t you write something about the skinheads, then come Skinhead Moonstomp etc.
Well The Bees,The Pyramids,The Symarip, The Seven Letters were the same people,and we allcame from Jamaica, some have been to school here in Uk, and some have been to school in Jamaica,The band broke up in 1988.and I went on my own to do solo as Roy Ellis aka Mr.Symarip and it`s been going well for me since, as solo singer and I`ve been traveling all over the world,t hey got very jealous, so right now we don`t speak to each other,It`s pitty thow, But that`s how it is with some people.
what significance has brighton to your life
Great remembrance as a teenager, every friday night riding down to Brighton beach on scooters with the other boys, kicking Rockers asses, dancing, drinking a little etc. You know what teenagers do. Its such a pleasure to be invited back to Brighton to play for the Skinheads in june 2012, i hope to see some old friends there and meet all the new boys and girls
how is your carreer these days. (Well I can`t complain, since I`m back in 2005 a lot of great things been happening for me,I`ve been traveling the world knowing the drifferent Countrys, meeting different people, making new friends and new fans, I got the chance to put out two albums, three singles, coming out in April my new single with my new video, a lots concerts, lots of media connections etc. It`s been all good for me could be better, but I`m happy with what I`ve got.
what has been the highlight of your musical life. (Well my highlights are all my hit records, Playing Wembley Stadium 1970, Been in a film with Sydney Poitier, Travel the world etc. there are so much more, but it goes on to long 🙂why did you go to switzerland.
In 1970,after the Wembley Stadium concert, our agent sent us to mittle Europe to Pioneer the reggae music,no one knew what reggae was then,So by touring around I`ve met a lovely lady in Switzerland in 1980, and she became my second wife in 1988, that`s why I stayed in Switzerland (The end !!
Another Chance is Czech street-ska-punk since 2010. Home town of Another Chance is Bruntál. Bruntál is at northeast of Czech republic – at Silesia. Band is four members: Tommy – sing, lyrics, music and lead guitar, Jakub – bass guitar, Petr – trumpet and second vocals and Pavel – drums. Band is formed in part on former members of no idle ska band Náhradní Program. We play fusion between classic punk-rock and ska. Lyrics are primarily about entertainment, us, our future, and last but not least, about drinking. There is no politics as in other Czech bands. We are behind about 20 concerts in Silesia. We have a young, cheerful band always head upwards. We are not pure skinhead band, but we are punks and skinheads in one. Bands Perkele and Stomper 98 are our largest models, but we do not copy anyone, our style is ours and it is different than any other band.
Here is a link to our music profile at Czech music server Bandzone.cz and profile at Facebook: http://bandzone.cz/anotherchance http://www.facebook.com/dalsisance Here is our Youtube channel: https://www.youtube.com/user/tmazal At this sites you can find our music, pictures, movies and lyrics. We are Czech band, so our lyrics are in Czech language. We would like to greet all the listeners oi! and ska around the world. Oi! to the World. Be happy and proud, thanks, Tommy, Another Chance
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Symond Lawes 
Isabelle Pradel Skinhead Girl, Sao Paulo Brazil banned from Facebook
Instagram is awash with people banned from Facebook
Instagram is full of people talking about losing their facebook profiles
Skinheads in Sao Paulo Brazil 
One of the biggest skinhead scenes now is in Bogota Colombia
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