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“You often boast to me that you have the king’s ear and often have fun with him, freely and according to your whims. This is like having fun with tamed lions.

Interview: Doug Hadgraft meets Steve Barrowby Modculture 2. September, 2. 01. Steve Barrow back in the 1.

Doug Hadgraft speaks to Steve Barrow – original 1. Blood and Fire label about mod in the 1. Jamaican music scene. Doug Hadgraft writes…‘I was first aware of the work of Steve Barrow, growing up in the mid eighties via the scribes on the back covers of numerous ska, rocksteady and reggae LPs. Firstly the definitive ska LPs Intensified 1 & 2 and later in the decade when Trojan revamped their reissue campaign with a set of LP’s covering all genres of Jamaican music bar early mento.

It wasn’t just the track listings that made this set enticing; it was the artwork design and educational sleeve notes. We finally got to meet the man in person in the early nineties when Dennis Alcapone played a set in the old Twisted Wheel buildings on 6 Whitworth Street. Shortly after that, Steve was a guest on a Granada TV program talking to Stuart Cosgrove about fast paced London life with jaunts down to the Flamingo club, doobs and black american music. During the seventies he was involved in opening the first reggae record shop in the west end of London with Daddy Kool records and in the nineties he dramatically changed the rules of the reggae and dub reissue market when he founded the fantastic blood and fire record label.

Also finding time to author books and interview and video as many Jamaican artists as possible for his Jamaican heritage archive project. The new century has seen Steve tour the world as the selector on the blood and fire sound system to much acclaim. Predictably I’ve bought every B & F release and even the proverbial T- Shirt but it wasn’t until the Tapper Zukie release, where there is a photo of Steve and Tapper Zukie in 1. I suspected that this man had really retained one of the ethics of his youth ‘always look forward, never look back’. In a recent discussion on the modculture forum on ideas for interviews, it was no surprise to me that Steve Barrow was the name repeated the most.’Steve, thanks for taking time to reminisce, just to start off, where did you grow up and what are your earliest memories of music? Do you remember when you first got bitten by music? I grew up in Manor Park [E1.

London, just next to Ilford, which is in Essex. I was born in Forest Gate [E7], about a mile away from where I lived, but we moved to Manor Park early on in my life and I stayed there until I was 1. That’s when I moved out of my parents house. My childhood, it was during what they call the post war ‘austerity’ period. Thick fog in the winter, not many cars down my road, ration cards, not much money about. We played on bombsites and in the streets, walked everywhere, went to Saturday morning pictures, attended big old Victorian piles of schools that had been built in 1. It was a typical London working- class area; the nearby docks and big factories like Tate & Lyles were all in the southern part of the borough where I lived.

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Fords Motor Works was just down the road in Dagenham. Most people I knew worked in those industries, or depended on the people who did – my dad was a butcher, my mum was a housewife and part- time cashier in butcher’s shops. We didn’t get a TV until I was 8 years old in 1.

We had a radio though – I remember hearing the variety show ‘Workers Playtime’, and ‘Two- Way Family Favourites’, a request show for ‘British forces posted overseas’. It probably sounds a bit grim compared to what’s around now in terms of consumer goods, but I enjoyed it…. The Last Days Of Emma Blank Full Movie Part 1. I guess I first became aware of music as thing, in the sense of records, in the very early 1.

I was a little kid, maybe 5 years old! My mum and dad had an old windup gramophone in the house where I grew up; this would be around 1. Anyway, I was fascinated with this is a young kid, endlessly playing and winding the few discs we had. One was ‘Woodchoppers Ball’ by Woody Herman. I remember this because I used to call it ‘Woodpeckers Ball’ and I always used to get corrected. Woody Woodpecker was a character I’d either seen in the cinema as a cartoon or maybe an American comic, which were precious objects in those days. I had family in Canada who sent us parcels of comics and magazines like the Life, Saturday Evening Post.

I also had an older cousin, 3 or 4 years older than me. She was a movie fan, and when she became an Elvis fan, she gave me some records which she’d lost interest in – one of them was an EP by the Chris Barber Skiffle Group, and it had Lonnie Donegan singing ‘Rock Island Line’. I immediately fell in love with that song – I was 1. By this time I was going to East Ham Grammar School.

This was a school where people got selected by passing an exam called the 1. We were supposed to be the brightest working class kids in our area. It was a school that tried to get us involved in a whole range of activities in after- school hours, probably to keep us from hanging around on the streets where we lived like all my friends who’d gone to Secondary Modern school, i. Anyway, to cut a long story short, they had an after- school jazz club where one of the masters would play records and talk to us about the history of Jazz, from Louis Armstrong and Jelly Roll Morton thru to Charlie Parker, Brubeck and Mulligan, the latter two being very big on the scene at that time. We were encouraged to take in our own records [if we had any] and I took in my Chris Barber/Donegan EP.

Most of the other guys laughed and said words to the effect that ‘This stuff is just copying old time American ‘originals’, like Leadbelly’, and from then I was starting to get hooked on jazz. I had a paper round for 1. Dad. I also worked on a Saturday, naturally in a butcher shop, delivering meat on a bicycle and cleaning out the big mincing machine. But it gave me money to buy records. Every month I could buy an LP, or maybe three EPs. LPs then, in the late 1. And so I became a teenage jazz fan.

I borrowed books on Jazz from the library, like Rudi Blesh’s Shining Trumpets and one called Hear Me Talkin’ To Ya, all interviews. All my spare money, Christmas or birthday presents from aunts or uncles etc, I always asked for ‘record tokens’, and so by the end of the 1. I was 1. 5 and in my penultimate year at school, I had maybe 4. LPs, and a clutch of EPs too. I even have one or two left from then, in 2.

So, I have to thank my cousin Iris for that! How did this evolve for you? Before long you were going to west end clubs, was it something that was developing in the area you lived or did you have to seek it?

Like I said, all my mates from the streets around where I lived went to the secondary modern school. They could all leave school at 1.

I didn’t leave school until 1. But I still hung out with my ‘homeboys’ at weekends. And from around 1. We also just ‘learned’ quickly that you had to dress in the latest styles to impress the girls, and if you didn’t impress them, then in turn you weren’t going to satisfy the new desires, the hormones, that had begun to make themselves felt – in more ways than one, so to speak……I didn’t have the money to buy clothes, but I was trying to get my mum to alter my best pair of dark grey school trousers that could pass for ’non- uniform’ at a pinch in the dancehall situation and had saved up to buy a pair of ‘chisel- toe’ Oxford- style shoes from a shop called Denton’s in East Ham High Street. That had all the short points, side laces, and even winkle- pickers still, but they were the shoe shop of choice at that time in my ‘manor’.

My first ‘dancehall’ while I was still at school, was the Ilford Palais Saturday afternoon sessions, which instead of having a band like Ray Mc. Vay‘s , they played records over the house PA. So you’d hear the top chart tunes of the day, the danceable stuff rather than the ballads.