Whether it's the gravity-defying blend of youth and wisdom, or the startling authenticity of their Trojan/skank ressurections, there's no doubting the scale of the impact that rookie dub soundsystem replicators THE JANICE GRAHAM BAND are making on the music scene both in Manchester and beyond.
Their on-stage blending of ska/jazz, blues, reggae and soul is irresistible and their reputation for sonic mayhem is growing by the week, thanks to sheer strength of breathtaking live shows where dancing becomes a compulsive, rather than compulsory act.
Acclaimed appearances this summer saw the JGB take the Hungry Pigeon festival by storm, whilst also discovering a possible spiritual home in the brilliantly refurbised Manchester haunt Band On The Wall. Elsewhere in the city, support slots with the likes of Cleethorpes sensations ORPHAN BOY have also sparked scenes of celebratory devastation: where audiences were once static, there are now gyrations aplenty, thanks to the sense of abandon generated by the skanking soundtrack that also fuels the prostitute-obsessed musings of front-man Joe Jones.
W&H tracked the youthful-looking four-piece down to Manchester's Deaf Instiutute prior to their showcase appearance at the relaunch of the kitsch/eclective vinyl-only BEAT BOUTIQUE club night. With the November release date planned for debut single 'No Money Honey' drawing ever closer, they not only gave us their first impressions of life as recording artists, but were also more than willing to disclose the secret DRIVING force behind the JGB's rapidly gathering momentum. Read on!
Initial questions around their sound prompted unenthusiastic murmurings from the lads about 'drum n' bass not hitting the spot', alongside vague references to 'dad's record collection'.
"What came out of us was this...what came naturally to us was this - and we can't help that" declared Jones
"We love some modern music as well - you can't write it all off. Some of it's amazing, and hopefully it always will be. It's just that where music is going now... the direction of it now doesn't seem genuine - it's not authentic"
"The single comes out on November 6th...it keeps getting delayed. It's taken us ages and cost us loads of money"
"It hasn't cost that much" counters trumpet man Josh Hunt
Guitarist Andy Morton elaborates: "We've spent 700 pounds on different recordings with different people"
"It's gonna be worth it though" said Jones
"What's hard is getting the right balance with the right producer" adds Hunt:
Drummer Tom Scot agrees: "It's getting who understands..I mean, we don't know, any of the technical terms when they're using the cuebase and what have you..we're chucking stupid phrases at them, like 'put more beef on it'..... It's getting someone who can translate bullshit into actual sound".
"It was about at least finding someone that understood us and what we wanted to do, and not just trying to do their thing on it" Hunt mused:
"Having gone through that process, I'm excited about recording again though" Jones said, although:
"It's difficult because you can never, ever, unless you record a gig, replicate it in a studio - and that's the reason why it took so much time - and money. Before we took the step back.."
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"Cos you've got your live performance, and you've got your studio work" added Morton with the conviction of a man who has learned by his own experience.
"Two diferent things, two different things" is Hunt's sage observation:
What else have you been busy with?
Scott: "Playing a lot of golf"
Morton(laughing) "Yeah, playing golf"
Seriously?
"It relaxes your mind" they both laughed:
"We haven't been playing long" added Jones to the amusement of their manager, whose cries of "Bogey" and "Double Bogey" came from across the room:
Hunt(indicating Jones) "No, you've had birdies!"
"I have had birdies.." admitted Jones modestly
"We've had pars and stuff" said Morton, indicating the rest of the band
"It's just getting different systems..." Hunt deeply suggested:
"Haharr, it's just a golf interview now" laughs Morton, who has picked up on this as well, prompting Jones to declare:
"If you start golf, you will never, ever, ever stop. Ever"
"Once you play it, you'll be hooked" added Morton:
So the JGB definitely advocate golf as a worthwhile pastime?
"Yeah, definitely!"
It's the most sincere view I've heard for a long, long time
"It's better than taking pictures of yourself and putting them on Facebook for people to tell you how good you look" adds Scott to murmurs of agreement from everyone present:
"....chit-chat with your friends...whack a ball about, in the sun - No Facebook"
"Nothing worrying you" said Jones dreamily:
Showtime saw yet another blinding set began with the audience immediately bouncing to the dipping anti-fanfare skank of trumpet/bassline anthem 'Robbery' . Following up with the forthcoming single, 'No Money Honey', it was just us, them and Jones' preoccupation with crack-whores and the double-lives of their clientele.
Home-grown street wisdom also featured heavily as the reverb got hypnotic. Through the whirlwind tempo of 'Swallow Swords' and the dub-ringing taunts of 'Murder' we were driven, with Jones in effect:
"I pay for school/ I pay for clothes/ I pay for sex but no-one knows" came the refrain, before the screeching primate chants onstage triggered screams of joy as the lads launched into the silly strains of jazzed-out crowd fave "You Can Dance".
Concluding a stunning set with the self-explanatory 'Carnival', the JGB proved their worth once again. It's been said that 'If you don't like the Janice Graham Band, you're lying': I can confirm that this statement appears to be an absolute truth. Miss them, and you're missing out.
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