Thanks, Photo Credits, Index
Without Whom …
Sounds Like London: 100 Years of Black Music in the Capital wasn’t, for me, the greatest leap of the imagination: I love London and I love black music, so why not put the two together? Far less immediately obvious, though, was what London’s black music involved. It wasn’t so much a case of what I knew about it, rather than a definition of what I didn’t. London-conceived and London-created black music had been going on around me for my entire life, yet when I started looking at it properly, it seemed as if me, my friends, my days as a raver, my decades as a working music journalist and a record collection that couldn’t quite be seen from space had simply been scratching the surface.
Beyond, around and behind my own limited experience, there was a series of stories that had either never been told or had simply never been told by the people who were actually responsible for them. It seemed as if a sizeable and very important collective social memory was in danger of being corrupted almost out of recognition, or simply being allowed to disappear. Had the latter become the case it would have left a gaping cultural and sociological hole in Great Britain’s twentieth-century history. Some serious digging would be required, and I was going to need a guide.
What I ended up with were several guides. Seasoned individuals who not only led me down various stylistic and chronological rabbit holes, introduced me around and filled in as many blanks as they joined dots, but also made some of the best cups of tea I’ve ever enjoyed. Indeed, researching Sounds Like London may not have had the sheer bonkers adventure quotient that became part of writing my previous book on reggae, Bass Culture, but the Jamaicans have got a great deal to learn about Earl Grey. While I may not have had to leave the capital to put the vast majority of this story together, many of my journeys went far beyond an Oyster card’s limit in terms of the discoveries and situations I arrived at. I owe safe and enlightening passage to the following formidable collection of pilots: Sterling Betancourt, Stephanie Calman, Lloydie Coxsone, Wala Danga, Dizzee Rascal, Graeme Ewens, Debbie Golt, Eddy Grant and Maria Kellman, Diana Hancox, Russ Henderson, Camelle Hinds, Jammer (and his mum and dad for their hospitality and genuine interest in the project), Norman Jay, General Levy, Hazel Miller, Louis Moholo-Moholo, Ruby Mulraine, Trevor Nelson, Nostalgia Steel Band, Teddy Osei, Dez Parkes, Maxine Stowe, Kenny Wellington, Mike Westbrook, Marc Williams and Kate, and Wookie. And not forgetting the PRs who put me in touch with a few of the above: James Heather, Rosie James and Chris Carr. If I’ve forgotten anybody, I’m truly sorry and please take it up with me next time you see me.
There were also those who went above and beyond what might have been expected. The reigning King and Queen of Lovers’ Rock, Victor Romero Evans and Janet Kay were as funny and charming as they were helpful – find them at victorromeroevans.com and janetkay.com. Dennis Bovell, from whom any piece of help or advice would come with at least half a dozen hilarious and usually pointless anecdotes. Steve Salvari, the perpetually cheerful conduit to all things BritFunk and the best company a man could want for an evening in the alehouse. Root Jackson, whose live funk nights and participation in Sunday Sessions at the Prince of Wales in Willesden remain an inspiration. Dr Lionel McCalman, the dreadlock sage of the steel pan for whom nothing was too much trouble. Dave Jones aka Zed Bias (zedbias.co.uk), a man who appreciates a good caff as much as he does a good tune, and actually hoovered his studio in preparation for my arrival, and Derek Yates – top artist, top company, top Gooner.
The most heartwarming aspect of the whole process was how many of those mentioned had no idea who I was, but were happy to make time to talk to me in order to help preserve this vital musical history, or simply because they kind of liked the sound of it. Thank you, everybody.
Then there’s those who supplied the fabulous visuals we amassed to illustrate 100 Years of Black Music in the Capital. Derek Yates once again merits special mention for opening up his archive of Soul II Soul artwork – see more of that at Derek-yates.co.uk – as do the photographers who did so for little more than good vibes: Ashes57, Adrian Boot, David Corio and Simon Wheatley. Not forgetting Melissa C Sinclair, editor/publisher of the rather wonderful online reggae culture magazine G Mag (www.gmag.org.uk) and their photographer Kenny V Passley – yes, they like a middle initial at G Mag – who generously let us use one of the standout images of the whole book. Also dubwise historian and keeper of all things Trojan, Laurence Cane-Honeysett, who made available a lovers’ rock treasure trove; and Mojo’s Matt Turner for invaluable help and hysterically funny conversation about Sperz. Meanwhile huge props go to our terrier-like picture researcher Elissa Bradley, who tracked down some superbly appropriate shots, and her brother George who trusted us with his collection of Ayia Napa club flyers.
And those whose contributions were less straightforward but certainly no less crucial. Kes, Nicks, Eddie Webb and the rest of the JBs; Crackers, Upstairs at Ronnie’s, Columbo’s, Hunters, Paddington, West Hampstead & Waterloo Birds Nests, Lacey’s, Parnells and Whisky’s; Mick Eve, Tim Cansfield, Richard Bailey and all the players at the Prince of Wales in Willesden Lane; The Map Café; Blacks; Contempo, One Stop, Sterns, Muzic City, Desmond’s Hip City, Paul’s, Groove, Black Market and Keith at Daddy Kool; Bob Kilbourne, Chris May & Neil Spencer of Blues & Soul, Black Music & Jazz Review and the NME, respectively; Kevin LeGendre & Chris Wells – find them at echoesmagazine.co.uk; Ron Shillingford; Mike Connolly; Guy Crossman and Simon Hills; Simon Kanter; my agent Matthew Hamilton at Aitken Alexander Associates, who immediately got what this book should be about; and, of course, Arsenal FC.
Another important part of this whole process was the original idea for Sounds Like London – thanks, Peter Ayrton, formerly of Serpent’s Tail – and the characters who kindly gave up their time to talk to me for that first manifestation: Keith Cullen, Spider Stacy, Terry Woods, Vince Power, Tony Murray, Andy Wood, Gerry Lyseight, Talvin Singh, Kuljit Bhamra and the guys from the Nasha sound system. I’m sorry it didn’t go as far as it might, and that’s all down to me and certain aspects taking on a life of their own, nothing to do with your high standard of contribution, but one day a couple of prospective chapters might make books of their own. In the meantime, I hope you agree that what it became was worth it.
Of course none of this could have happened without Serpent’s Tail/Profile Books, and chiefly Greg Ward, exactly the editor somebody as intrinsically cavalier as I need, yet who turned the whole process into a bit of a laugh rather than some sort of superannuated grammar lesson; Hannah Westland, a most entertaining Capo di tutti capi and her ludicrously good-natured consiglieri Big Mark Ellingham: a publishing double act that got things done in spite of rather than because of this particular author; Anna-Marie Fitzgerald, a publicist who relies on charm rather than blag, and rather sensibly too as she’s got it in spades; Henry Iles, who made the pages look as attractive and dynamic as they do; Peter Dyer, who so deftly captured the spirit of the story on the cover; and the fine proofreader Samantha Cook who caught all my speeling mistoks. Thank you one and all.
The deserved celebrations and the backslapping over London reaching (very nearly!) 100 Years of Black Music, are for the players of instruments, the producers and the singers – I’ll sit in a corner with the mistakes. While I’m over there I’ll give props to Linton Kwesi Johnson, Sade, Billy Ocean, JLS, Courtney Pine, Loose Ends, Mica Paris, Black Slate, Mexicano, the legend that is Carl Douglas and very likely a few more I’ve forgotten. All made important and unique contributions to London’s singular black music catalogue, but for one reason or another couldn’t be made to fit the broad-brush approach necessary to tell a story this big in so few pages. Thanks, guys, for all the joy and stimulation you’ve brought me, London and the British black music scene.
Which leaves just the most important, er, big ups. Jazzie B, who not only helped out at every opportunity, but wrote a killer foreword and is one of the funniest, most upful geezers you could shake a staff at – if I ever
hinted to Jazzie that this book might be getting the better of me, he’d give me half a dozen reasons why it shouldn’t. And none of those would be the fine cigars and chilled tins of Guinness he produces every time I fetch up round his yard; visit him at Soul2Soul.co.uk. Then there’s the late, great John Bauldie of Q magazine, who, with the patience of a saint, taught me how to write. And finally Diana, George and Elissa, who, for reasons best known to themselves, put up with me and the years of nonsense involved in writing a book. “Thanks” probably isn’t a big enough word, but you know what I mean.
Lloyd Bradley, London, July 2013
Photo credits
Thanks to all those who have made photographs available for this book. We have attempted to contact copyright holders of all the images used, though some are lost in the depths of time. We apologise to anyone who has not been properly credited and ask that they contact the publishers so that we can amend this in any future edition of this book.
P17/18, 76, Ron Emrit/bestoftrinidad.com; 21, Douglas Miller/Hulton Archive/Getty Images; 24, Bettmann/Corbis; 33, Popperfoto/Getty Images; 49, Gjon Mill/Time & Life Pictures/Getty Images; 62, George Konig/Hulton Archive/Getty Images; 67, Gamma-Keystone via Getty Images; 70, 74 courtesy of Nostalgia Steel Band; 81, 108, 114, 123, 147, 150, 198, 202 Jak Kilby; 88, Shutterstock; 92, rantanddawdle.ca/Barbara Pukwana; 104, Jurgen Schadeberg/Premium Archive/Getty Images; 135, Merlyn Severn/Getty Images; 141, Courtesy of Prince Buster; 207/208, 216 Kenny V Passley/G MaG Online; 233, Adrian Boot; 241, David Corio; 247, Roy Sweetland; 263, Davina Misrock; 299, 319, 321 Derek Yates; 308, J Quinto/Wireimage/Getty Images; 334, Catherine McGann/Archive Photos/Getty Images; 341, Tabatha Fireman/Redferns; 347, 362, 380, 382, Simon Wheatley; 350, Lois Amore; 357, Ben Donaghue; 371, 372, 375 Ashes; 401, Mr Pics/Shutterstock.
Index
1Xtra 390–3982step 365–367
4Hero 353
6X6 298
14 Hour Technicolour Dream, The 124
15, 16, 17 (trio) 251
100 Club, The 121, 191
A
Abalabi Club, The 23, 100
Acquaye, Speedy 144–146, 179
Adé, King Sunny 166
Adventures of the Funki Dreds, The 321
Africa Centre, The 160, 328–330
African music and the mainstream labels 164–167
Afro Akino 198
Afro Cult Foundation 190
Afro National 198
A Homeboy, A Hippie & A Funky Dredd 351
“Ain’t No Stopping Us Now” 274
Akido 146
Alexandra Palace 276
A Life In Black and White, Michael X 97
All-British Coloured Band, The 24
All-Star Caribbean Orchestra, The 25
Amao, Abdul Lasisi 146
American influence on 1970s black London 218
Anderson, Paul ‘Trouble’ 315
Andrews Sisters, The 38
“Angel Of The Morning” 179
Angelou, Maya 39
Anti-Apartheid Movement 103
Apartheid South Africa and jazz 92–94
Appleton, Joe 24
Arches, The 316, 363
Arkin, Alan 40
“Army” 377
Arnold, PP 179, 180
Artful Dodger 366
Arts Lab, The 124
Artwork 370
Assagai 155, 168
Aswad 230, 244–245
Atmosfear 271
Attila the Hun 35
Atwell, Winifred 54
Authentic African Highlife Music Volumes 1 & 2 138
Ayivor, Kofi 281
B
Baah, Rebop Kwaku 145
“Baby Come Back” 184
Babylon 221
“Back To Life” 333, 355
Bal Creole 68
“Bambaata” 358, 360
bamboo orchestras 65–66
“The Banana Boat Song” 40
Barnard, Steve 237
Barriteau, Carl 25
Bassey, Shirley 40
BBC Jazz Club 121
“Bebop Calypso” 44
Bechet, Sidney 22
Beckett, Harry 20, 179
Bedingfield, Daniel 366
Beggar & Co 255, 270, 280, 289, 292
Belafonte, Harry 40
Belasco, Lionel 35, 38–39
Benga 370
Bennett, Tony 38
Berlin Philharmonic Orchestra, The 25
Betancourt, Sterling 67, 68–71, 80
Betancourt, Sterling, on:
bamboo orchestras and steel pan development 66
emigrating to England 63–64
first steel band in London 61–63
getting steel drums in London 73–75
Russ Henderson Trio, The 70–71
Big Apple Records 373
Billy’s 157
Birds Nests, The 259
“Birth Of Ghana” 46
Black And White Minstrel Show, The 95
“Black And White Rag” 54
black Britishness in the 1990s 345–346
Black British Swing 23
Black Caesar 298
Black Echoes 166, 236, 237, 259
Black London Blues 180
Black Market Records 356
Black Music Association, The 204–206
Black Music & Jazz Review 237, 259
“Black Pride” 251
“Black Skin Blue Eyed Boys” 173–175, 178
Black Velvet 181
Blake, Cyril 24, 28
BLO and Apostles 192
Blue Beat 142
Blue Mink 176
Blue Notes, The 92, 93, 155
beginninngs 94–95
leaving South africa 95
Blues evolves into rock 145–146
Blues & Soul 256, 258, 259, 270, 275, 301, 317
Bluesville 265
Bohannon, Hamilton 305
Bongo 53
Bop Girl Goes Calypso 39
BOSS 104
Boston Arms, The 179
Bouncer, Peter 352
Bovell, Dennis 224, 378, 403
Bovell, Dennis, on:
establishing lovers’ rock 231–232
Jamaicans recording in London 247–249
London sound system culture 227–230
lovers’ rock distribution 239–240
Lover’s Rock label 234
making “Caught You In A Lie” 224–225
Boy Better Know collective 377
Boy In Da Corner 377, 383
Breakfast Band, The 265
“British Hustle” 280
Brotherhood Of Breath 120–121, 122, 124, 126–127, 128–129, 155
Brown, Dennis 249
Browne, George (aka Young Tiger) 29–30
Brown Sugar 251
Brown Sugar (the musical) 26
Bryant, Marie 47, 49, 50
Bukem, LTJ 353, 360
Burning An Illusion 242
Byrd, Donald 269
C
Cadogan, Susan 231
Café de Paris, The 23, 25
Café Royal, The 52
Cahuzac, Louis 24
Caister Soul Weekender 276–277
Calypso:
aristocracy, and the 52–53
BBC, at the 53–54
London’s bohemians 50–51
racial unrest 50–52
satire 55–57
21st Century 58–59
Calypso Heatwave 39
Calypso – Is Like So 40
Calypso Joe 39
Campbell, Ambrose 44, 98, 100–101, 135, 137, 140, 141, 143
“You Can’t Hide Your Love” 281
Captain Scarlet and the Mysterons 55
Caribbean Cabaret 53, 68
Caribbean Carnival 38, 68
Caribbean, The 23
Carnaby Cavern, The 185
Carnivals in London, Caribbean 77, 78
Castlemorton rave, The 357
Caton, Lauderic 28
Cat’s Pa
w 134
“Caught You In A Lie” 224–227, 227, 235, 246
“The Censoring of Calypso Makes Us Glad” 31
Central Line 269, 280
“Chant No. 1 (I Don’t Need This Pressure On)” 290
Cheapo Cheapo 258
Chilkes, Jack 47
Chris McGregor Big Band, The 115
Chris McGregor Group, The 115
City Sounds 258
Clarke, Gussie 246
Clarke, Mick 332
Clarke, Sheila 53, 68–71
Clooney, Rosemary 38
Club Afrique 101
Club du Faubourg 51
Club FWD>> 370–373, 374
CND 52
Coach House Studios 194, 203
Coconut Grove, The 23
Coker, Fred 155
Coleman, Fitzroy 43
Cole, MJ 366
Colherne, The 69
Columbo’s 259
Colville Hotel, The 69
Commonwealth Immigration Act of 1962, The 96
Congo Natty/Rebel MC 352, 353, 354
Connor, Edric 29–30, 40, 53
Contempo 258, 267, 307
Cookies & Cream 364
Cook, Will Marion 22
Country Club, The 157
Count Suckle 266
Crackers 260
Cribbins, Bernard 48
Criminal Justice and Public Order Act of 1994 344, 358
Crichlow, Frank 177
Cross, Sandra 241
Curry And Chips 154
Curtis, Clem 181
Cymande 186, 188–189, 194, 199, 203
D
Dance Wicked 315
Danga, Wala 148, 160, 166–169, 171
Danga, Wala, on:
African funkateers visiting London 192
African music post-Osibisa 156–157
black bands in London in the 1960s 148–149
Eddy Grant’s contribution to African funk 194–196
Osibisa’s demise 154–155
perceived authenticity of African music 169–170
Dan the Man 316
Dark Star & Lady Di 275
David, Craig 366, 367
DBC 275, 322, 326
D Double E 378
Dean, Elton 122
Dean, Roger 155, 157–159
Deen, Akie 194, 197–199
Deniz, Frank 23
Derek B 309, 316
Dibango, Manu 154, 305
Sounds Like London Page 37