Gizelle - from Lovers Rock to Acid House

Another great episode of DJ Controlled Weirdness' Tales from a Disappearing City podcast, this time featuring DJ Gizelle, aka Rebel Yelle. As I've said before what I like about this series is how it shows the ways people's lives connect together all these different scenes which people see as separate, and Gizelle has had quite a journey.  Growing up in Catford, she talks about buying records in Lewisham model market and the punk/reggae/ska crossover  including seeing The Clash at the Lyceum and seeing Desmond Dekker playing with Madness at Lewisham Odeon (actually the line up for that 1980 gig also included The Go-Go's with Belinda Carlisle).

As a teenager she joined lovers rock group Charisma, signed to Nevil King's King City Records. They rehearsed above the King City record shop at 494 New Cross Road, with the backing band One Blood. Maxi Priest also rehearsed there.

Later Gizelle worked in local pubs included the Mid Kent Tavern in Lewisham and then Winston's bar in Deptford (where exactly was that?), where she started out DJing in around 1987. Soon she was getting into the early acid house scene, and DJ'd at Asylum nights at the Harp Club in New Cross (soon to be renamed the Venue). I've heard of this before but had no idea that Colin Jerwood from anarcho punk band Conflict was involved in putting on these nights, or that Billy Nasty did a chill out/balearic room upstairs there  Later Gizelle was involved in a night at Thames Poly called Shaboo. Funnily enough I once saw Conflict play there, as well as at the Ambulance Station on Old Kent Road.

Looking forward to the next episode of this, no doubt some good stories of moving from playing at acid house clubs like Clink Street through to the London acid techno scene of the 1990s and beyond.

See previously Uncle G on Woolwich B-Boys and Acid House. I was also honoured to do a couple of episodes myself.

Dennis Bovell - Lovers Rock as 1970s X-Factor

Earlier this month, Dennis Bovell was made an Honorary Fellow at Goldsmiths, a recognition of his contribution to music and his links to the South East London area. Bovell is probably best known for his many reggae/dub productions, including producing Linton Kwesi Johnson, helping to establish the Lovers Rock genre (including writing Silly Games for Janet Kay)  and being a member of Matumbi.  But he also had a key role in the punk/post-punk period, producing The Slits and The Pop Group among others.

Bovell wrote the film score for the film Babylon (1980), which as discussed here before was filmed in SE London. Earlier this year he devoted his Soho Radio show to music from the film in dicussion with Les Back from Goldsmiths, prompted by the death of the film's director Franco Rosso.



Much of Bovell's work in the late 1970s was recorded at Dennis Harris's Eve Records studio at 13 Upper Brockley Road, SE4, the base too for Harris's Lovers Rock label. In the Soho Radio show, Bovell recalls 1970s auditions here:

'we used to have an audition every Sunday afternoon after 3 pm. There was a programme on BBC London called Reggae Time and that was presented by a man called Steve Barnard, it was the only chance of listening to reggae for two hours on  the BBC, and so directly after that we'd hold our auditions. We'd get him to say if you want to audition get down to Eve Studios in Brockley and
one day came three girls that became Brown Sugar and Caron Wheeler was one of them, and so was Kofi and of course Pauline Catlin who now goes under the name of Shezekiel (and her son Aaron Soul, big talent). This is where the youngsters of South East London came to audition- this was the X Factor!'

(Brown Sugar's debut single 'I'm in Love with a Dreadlocks' was released on the Lovers Rock label in 1977).

Les Back abd Dennis Bovell at recent Goldsmiths Graduation Ceremony

Check out Dennis Bovell's recent A to Z compilation at his bandcamp site

Little Earthquakes... Independent Records Labels & SE London

The joint Independent Label Market/London Brewers Market in Greenwich on Friday night (5/5/2017) was good and busy, with music, food and drink stalls and Lewisham's Unit 137 Sound System shaking the rafters of the indoor market.

I wrote the following piece for the programme giving a quick overview of independent labels associated with SE London, in particular New Cross/Deptford/Lewisham. I say 'associated with' because you can't necessarily pin down the label based on an office/mailing address. So for instance, I included Stay Up Forever, arguably an East London label, on the basis of tracks being recorded in Deptford (the Punishment Farm studio mentioned was originally upstairs in the now closed Harp of Erin pub, then known as Round the Bend, on New King Street). Similarly I mention No Hats, No Hoods on basis of association with Lewisham artists, though its address is in E2.

Little Earthquakes that changed the world

In 40 years of  vinyl, cassettes, CDs and digital downloads, the independent labels and artists of South East London have helped launch and popularise whole genres of music. Some of these little earthquakes have ended up shaking the world, at least those parts of the world ready to be shaken by a guitar riff or a bass wobble.

The punk period saw the first big explosion of DIY music and independent labels.  Miles Copeland named his label  Deptford Fun City because, according to Jools Holland, ‘he had been so amused by Deptford High Street, never having seen or heard anything like it before’.  A major aim was to release early tracks by Greenwich’s Squeeze, who included the young Jools on keyboards. Squeeze were soon to be recognised as some of the best songwriters of the New Wave period but as well as their sweet melodies Deptford Fun City released some of the more experimental sounds of the post-punk period by Alternative TV, the band founded by Deptford’s Mark Perry , the sometime editor of legendary punk zine Sniffin’ Glue.

Reggae sound system culture was another key ingredient of the SE London social/sonic mix in this period, and this too found expression through influential independent labels.  Dennis Harris’s Eve Records in Upper Brockley Road was to give birth to the Lovers Rock label in this period, popularising a new style mix of reggae rhythms and soulful vocals that remains part of the palette board of pop down to the present.

In the early 1980s, a new industrial sound began to emerge that included  noise made from bashing metal and other found objects.  The pioneers of this in the UK were Test Dept; like many bands at this time, they self released early material on cassette, before moving on to vinyl and releasing records on their own Ministry of Power imprint on Some Bizarre records.

The Band of Holy Joy started out in similar milieu – some of them even sharing a house with members of Test Dept in New Cross -  but their songs of love, despair and the city took them in a different direction. Their breakthrough record  was the 10” EP ‘The Big Ship Sails’ released on Flim Flam records in 1986. Flim Flam was an independent label  as well as a club of the same name that took place at the Harp Club in New Cross – later to become The Venue.  It was started by BOHJ and Beloved manager Robert Lancaster with each record given a ‘Harp’ serial number presumably in reference to the New Cross club.

Back in the late 1970s, Counterpoint record shop in Forest Hill was the main local outlet for punk and new wave records. Owner Andy Ross was in band Disco Zombies who released their 'Drums Over London' single on their own South Circular Records in 1979. Fast forward ten years and Andy Ross was working for indie label Food Records when he went to check out a band called Seymour featuring a couple of students from Goldsmiths in New Cross. He persuaded them to change their name and signed them - you might have heard of Blur.

In the 1990s electronic music explosion, a specifically London contribution  was the Acid Techno sound pioneered by the Liberator DJs  - the 303 drenched banging soundtrack to London free parties. Many of the classic tracks were released on Stay Up Forever  records, and recorded at D.A.V.E. the Drummer’s Punishment Farm studios in Deptford. International techno/speedcore label Praxis Records also sold records for a while from a shop on New Cross Road in that period.

The early noughties saw a revival of intelligent guitar based  bands and a key label was Angular Recording Corporation, founded by ex-Goldsmiths students Joe  Margetts  and Joe Daniel.

The release of the  ‘The New Cross’ compilation CD album in 2003 by Angular Recording Corporaton and associated nights at the Paradise Bar (now Royal  Albert pub)  led the music press to talk of the ‘New Cross Scene’ .  While not all the bands were actually from the area it was through Angular’s New Cross portal that bands like Bloc Party, Art Brut, These New Puritans, The Long Blondes and Klaxons had their first releases.

Following in Angular’s footsteps, No Pain in Pop  was founded by Tom King and Tom Oldham in New Cross in 2008, putting on nights in local pubs before releasing a diverse range of material from indie pop to post-dubstep – and the UK release of the 1st album by Grimes,  Geidi Primes.

A recording studio on the Juno Way industrial estate in New Cross helped launch another new sound on the world, with Defenders Entertainment releasing Crazy Cousins’ ‘UK Funky’ tracks  including their highly influential remix of Kyla’s Do You Mind (2008) – later covered by The XX and sampled  by Drake on ‘One Dance’ (2016). Also from New Cross,  Andy Blake’s disco/house label  Dissident Distribution released a critically acclaimed series of  limited issue 12" singles from 2007 to 2009.

The spirit of Dissident and Andy Blake’s ‘World Unknown’ clubnights have informed the most recent wave of ex-Goldsmiths upstarts known as The Rising Sun Collective. Along with labels such as Squareglass they are carrying the torch for S.E. D.I.Y. with a series of parties, mixtapes, and vinyl releases spearheaded by artists such as A House In The Trees and Semi-Precious.

The recent upsurge in 2^nd wave grime is giving birth to may new independent labels as artists seek to take control of their careers. Brockley’s finest Novelist has launched his own Mmmyeh Records,  having first come to prominence as part of grime collective The Square with their famous Lewisham McDeez track released on No Hats, No Hoods.  Independent labels have come a long way since the first punk and reggae 7 inch singles, but the DIY spirit lives on.

You can check out tracks from some of these on the accompanying Spotify playlist here: https://open.spotify.com/user/independentlabelmarket/playlist/0xzi0yipqBDCCI62zqCIe1

1. Alternative TV – Action Time Vision (Deptford Fun City, 1978)
2. Brown Sugar - I’m in love with a dreadlock (Lovers Rock, 1977)
3. Test Dept - Fuckhead (Ministry of Power, 1986)
4. Band of Holy Joy - Rosemary Smith (Flim Flam, 1986)
5. Star Power  – Nothing can save us London (Stay up Forever, 1994)
6.  Long Blondes - Autonomy Boy (Angular, 2004)
7.  Veronica Falls – Beachy Head (No Pain in Pop, 2010)
8.  Kyla – Do you Mind, Crazy Cousinz remix (Defenders Ent, 2008)
9.  Cage & Aviary - Giorgio Carpenter(D‎issident,  2007)
10. The Square - Lewisham Mcdeez  (No Hats, No Hoods, 2015)
11. Semi Precious - No Distractions (Squareglass, 2017)

Limited for time and space for this article,  there's a lot more that could have been included. Johny Brown  from Band of Holy Joy has asked me about Desperate Bicycles, arguably the DIY label pioneers of the punk period. I did consider them but wasn't sure about extent of their SE London connection. Think first single was recorded in Dalston, but their 1978 'New Cross, New Cross' EP on their own Reflex label apparently followed a period rehearsing in New Cross. He also mentioned Bastard Haircut records, associated with Brain of Morbius. 

As covered at this blog before, there were other New Cross reggae labels in late 1970s/early 1980s, including Fay Music, Studio 16  and Sound City Records. 

In wider SE London beyond Lewisham, there's lots more to consider, perhaps most significantly on the punk front Conflict's Mortarhate label, starting out in Eltham, and One Little Indian which started out with Flux of Pink Indians in Forest Hill. 

Loads of dance labels out there of course, could have mentioned Controlled Weirdness' Unearthly records (including his great South London Bass track).

Who would you add to the list of SE London independent labels?

Music Monday: Akwaba and Lewisham Bridge Primary School Choir 1983

Last week I was DJing at the Agit Disco benefit for Housmans bookshop at the Surya Bar in Islington, also on the bill was John Eden (Uncarved) who kindly gave me this record he had found in his crate digging for reggae classics and obscurities.

'El Condor Pasa' by Akwaba is a cover in a lovers rock style of the Simon and Garfunkel song. It was released on Small Axe records in 1983 and recorded at Mad Professor's Ariwa Studio, which as we have established here before was at 42 Gautrey Road SE15 in this period. Not one of the greatest productions from this studio, but what is of Transpontine interest is that it features 'Garry Hall and the Lewisham Bridge Primary School Choir'. I don't know any more about it than that, but would be interested if anybody who was at the school at that time, or was even in the choir, can tell us more.

If someone who sang on it comes forward with the story, they can have the 7" single as a prize!

John Goto - Lovers Rock: Lewisham portraits from 1977

In 1977, John Goto was teaching evening classes at Lewisham Youth Centre. He took a series of portrait photographs of people dressed up ready for the dance hall at the Centre which 36 years later have seen the light of a day in a remarkable book - Lover's Rock.

1977 was a heavy year in a heavy period for young black people in South London. It was the time of the Lewisham 21 Defence Committee, set up to support youth accused of street robberies arrested by police in a series of raids.  The time too, in August of that year, of the racist National Front marching from New Cross to Lewisham and a riotous counter-demonstration. But it was also a period of cultural and musical ferment, and the time of lovers' rock. In a recent interview, Goto explains:

'I chose this title because it refers to a musical form that’s specific to South London where it originated. Lovers’ Rock was the first British Afro-Caribbean musical form to grow out of this country. It took reggae and developed a new genre from it. The general argument was that reggae had moved into a roots reggae phase, which was Rastafarian-based. It was very political and it was heavy. The argument is that for young people who had grown up in Britain, this didn’t really strike the chord that it might, because they had different cultural roots… [Lovers' Rock] was a much more melodic kind of music, softer, and much more inclined towards women. There are arguments about this; the standard line is that it was apolitical in relation to roots reggae’s political radicalism. This was supposedly music for the women – the way that you danced to Lovers’ Rock involved very close dancing. The counter-argument is that it was political – these overt displays of sexuality in themselves were a kind of radical statement by women of that time. So there are conflicting views about its social significance. My portraits were taken on dance nights in a youth centre where as a young artist I was teaching evening classes. The type of music that was being played at these events was probably a mixture – I don’t remember exactly – of Lovers’ Rock and roots reggae…'

© John Goto 

As Paul Gilroy writes in his 'There is Love in the Heart of the City', his text to accompany the photographs: '1977 was the year that the two sevens clashed. That summer, as the seventh day of the seventh month approached, London’s hatches were being battened down for more than a mere reprise of the previous year’s rioting.Gregory Isaacs’ heavy, Upsetter-produced anthem ‘Mr. Cop’ sat at number one in the Reggae chart just above Denis Alcapone’s exhortatory toast ‘Brixton Hall’. (...) Denis’ echo-laden, opening lyric, ‘I am standing ten feet tall in a Brixton hall, with my back against the wall, but I ain’t gonna fall yaaaaaah’, captured all the edgy violence of the profound moment of realignment that is registered so beautifully in John Goto’s extraordinary portraits of young South Londoners readied for a night out... After 35 years, Goto’s portraits have acquired special gravity. They are powerful and important for the explicit challenge they present to the rules of racial interpretation'.

© John Goto 

You can buy the book, published by Autograph ABP, here, and check out many of the portraits at John Goto's site.

The legendary Lover's Rock label was based in Dennis Harris's studio at 13 Upper Brockley Road, SE4.

Black Pride by Brown Sugar (Lover's Rock, 1977)