Isaac Lee Hayes a true soul survivor, was born 78 years ago today in the Arrested Development southern parts of ‘Tennessee’. He was part of the Stax label blueprint writing forces with Dave Porter writing Soul Man for Sam & Dave, and in hit own right with his ‘Chocolate Chip’ and ‘Hot Buttered Soul’ formula forged a career as a singer songwriter and producer. He was responsible for the Blaxploitation movie soundtracks to ‘Shaft’, ‘Truck Turner’ and ‘Tough Guys’.  Isaac also won an Oscar and two Grammys in the 1970s..which was quite an achievement for an African American musician. As well as his musical career Isaac also branched into acting and his voice became a world wide recognised characterisation in the form of Chef from the animated cartoon ‘South Park’. Isaac collaborated with many artists including Millie Jackson, Donald Byrd and Linda Clifford and recorded some of the funkiest and in contrast sensual hot buttered soul and disco with beautiful orchestration on the Stax and Polydor labels. Some of my personal favourites include ‘Joy’, ;Do Your Thing’, I Can’t Turn Around’, ‘Moonlight Loving’, ‘Fragile’, Hung Up On My Baby’ and ‘Run Faye Run’ and not forgetting his production of Linda Clifford’s ‘I Wanna Get Away With You’. Isaac passed away on 10th August 2008 and will always be remembered as Mr ‘Black Moses’..Happy earthday Isaac Hayes with a Blue Peter one I drew earlier Take Hart drawing to celebrate.

Good afternoon and TGIF(Thank God It’s Friday) fellow soul survivors ‘Tonight’s The Night’ like Betty Wright when the much anticipated ‘ Rodney P’s Jazz Funk’ gets aired on BBC4 9pm. The black & white Candid Camera shot of Cleveland Anderson and myself in the late 1970s/Early 80s. Original Perivale jazz funk soul boys from the hood. Cleveland is now an in demand music artist agent who handles The Jackson’s (original surviving members & brothers of the J5), and I am the owner, publisher of The Soul Survivors Magazine. We are both featured in this documentary so we just sharing the Perivalian ❤️.

It’s been a long time ‘ Waiting To Exhale’ moment coming, but finally and flipping the ‘ Usual Suspects’ script, Acme Productions under the flagship of ex Touch Magazine’s Jaimie D’Cruz decided upon highlighting the UK’s African Diaspora 1st & 2nd generation Windrush children to talk about their ‘black experience’ about a homegrown music movement that they love unconditionally of their culture, and from their personal perspective( big ‘ Sigh’ like Roy Ayers). 9pm tonight BBC4 ‘Rodney P’s Jazz Funk’
Enjoy Fitzroy ????????

Good morning on this Throwback Thursday. Just got these in my inbox one more sleep ahead of the eagerly awaited Rodney P’s Jazz Funk documentary this Friday night BBC4 9pm. These are some of the stills from the filming sessions of the documentary. This is for the first time told from the perspective of the 1st & 2nd generation African Diaspora Windrush children, who for the first time as a collective in the early to late 1970s, felt they could express themselves in rhythm and dance like their ancestors before them, being at one with the music mentally, physically and spiritually. However without seeing it there are already some negative energies from a couple of posts that have been brought to my attention about a big shit storm coming come 22.01pm Friday night and there after, judging the documentary like it’s gonna be reporting fake news. It’s part of a series about black influences in the UK, so the suggestion that it has the wrong people in it and that certain people should either oversee and present it, is farcical as it’s not about you..for a change. Oh the irony especially in this current racial climate, that we as black people have a chance finally to tell our own story from our perspective, on a subject that is undeniably in our cultural DNA and birthright. How dare we???. Anyway enjoy the stills of the dancers, Jerry Barry, Ian Milne, Basil Isaacs, Perry Louis and original jazz funker Carl Cox, Greg Edwards, Jason Jules, Cleveland Anderson and Rodney P.. the countdown continues in just 36 hours just over and two more sleeps peeps..Peace!!
Greetings this Tunesday. Today is a remembrance day for various reasons. 15 years ago in 2005 it was the surreal and horrific day of the London terrorist bombing attack at several locations. On this day in 2006 the very first ‘info provider for the soul survivor’ issue of The Soul Survivors Magazine was distributed at the Soul Village Weekender. Today 14 years later it will be celebrated as Blackout Day universally as a day when the ethos is to support black owned businesses when you spend your money. So it seems poignant to remind of you of the independently and now totally black owned business The Soul Survivors Magazine.
 
It was co founded as a Stevie Wonder and Paul McCartney ‘Ebony & Ivory’ collaboration between Anna Marshall and myself who had both frequented our respective predominantly white and black soul arenas. We had this ideology of a creating a fusion between the two disparaging camps through networking their businesses via the magazine. The magazine kind of took a life of it’s own and over the past 14 years managed to soul survive even through this iSOULated pandemic saga.
 
After 9 years Anna Marshall left in April 2015 and I have retained full ownership and steered this soul boat floating magazine through some quite bigotry, racial and various Bob Marley ‘isms and skizzem’ torrential waters. As a recognised bi monthly printed soul publication amongst two major white owned long running magazines, to my knowledge The Soul Survivors Magazine is if not the only , it’s most certainly one of the very few African Diaspora owned in the UK. Big thanks to all the interviewees, contributors, distributors and readers.
 
Certain documented facts highlighted in the magazine way ahead of the current racial climate, are now playing out and are exposing some of the major ‘movers and fakers’, who claim to love the music but care no where near as much for the indigenous culture it comes from. However we are still here and will be celebrating in just under a months time 1st August 2020 with our 14th anniversary issue. Until then you can for Blackout day go to our website and purchase the limited edition of this first issue or any other issues in the shop. Thanks for reading this and for the support of The Soul Survivors Magazine over the years and Happy anniversary to us…and finally not just today support black businesses as and when you can as if you have the same love for the music. Peace Fitzroy Anthoney Facey
 
Greeting on this June 19th Friday Fitztory morning. There most certainly seems to be an Aled Jones hint of something ‘Walking In The Air’ currently with more disturbing news star side and in the UK revolving around hash tag BLM & hashtag White Privilege. There is still so much to understand and learn before there is any hope of equilibrium peace, but I will endeavour to do my bit to spread the love like butter on hot toast. Most people associate the GAP Band with the commercial classic ‘Oops Upside Your Head’, ‘Outstanding’ and if wanna go a bit left field disco wise ‘Baba Boogie’. I interviewed their front man Charlie Wilson in issue 31 9 years ago in 2011 and he shared some mind blowing previously unknown information about some historical hashtag ‘Black Lives Matter’ history. Read this short each one teach one excerpt and enjoy..Fitzroy
 
Fitzroy : “Why was the band in 1967 called Greenwood Archer and Pine Street Band and later shortened to the Gap Band in the early 70’s?”
 
Charlie Wilson : “My older brother started the group in 1967 which I became part of in the early 70’s. Greenwood Archer and Pine were the three streets of black metropolis in Tulsa Oklahoma where we live. In the early 1920’s Greenwood was full of rich black entrepreneurs and millionaires. It was like the black Wall Street where Wall Street derives from. Everybody on that strip was black and everything was black owned. Something happened in the elevator with a black man and a white woman,where they were both on their way down in a lift. When the doors opened she ran out of the lift to an audience of white people as though the black man had done something to her.They drugged the man and burnt down Greenwood and all in the neighbourhood and there was a riot. Archer and Pine ran perpendicular to Greenwood forming an H again everything was black owned on those three streets. So we took on the name because of the story but the name was too long on the posters if you tried to read it whilst driving by. So we abbreviated to G.A.P. and once through a typographical era, the dots were emitted and the GAP jumped and stood out so we just added the band.”
 
To order the hard copy please go to https://www.thesoulsurvivorsmagazine.co.uk/product/issue-31-june-july-2011/
Hi all starting tonight check out this virtual concert from these amazing acts at The Hideaway. It’s the first of three nights of musical pleasure so here is the info you need to access the free Facebook and Youtube streams.. Enjoy Fitzroy Anthoney Facey
 
Full details at www.lockedin.live including how to access the free stream on Youtube and Facebook.
 
Please encourage people to donate at https://bit.ly/2Y05d0a
This is a true story first published back in June 2011 which has relevance in todays Pandemic racial climate. I’ve seen so many closet covert and overt racist and bigots show their Cyndi Lauper ‘True Colours’ in the past less than a week on social media, that it has become the norm to witness it unfolding from those in the UK, who claim to love BLACK MUSIC. Not that I need an excuse, but they make it so easy for me to show their hypocrisy, especially when things have been documented in the magazine reflecting this ‘WHITE ELEPHANT’ in the room that some are not prepared to discuss . However I’m a Souljah in protecting the music of my heritage from this kind of abuse. I reiterate again..it’s not about likes..but sharing the ugly truth that has been staring us in the face, blatantly, subliminally, covert and overtly..now is the perfect time to tackle it. I do appreciate that some may wish to comment..freedom of speech and all that. ❤️
 
This time 9 years ago in issue 30 I interviewed Morgan Khan of the pioneering Street Sounds brand fame in issue 30 of The Soul Survivors Magazine. In light of the recent exposure of so called ‘black music loving RACIST hypocrites in their highly and now disrespected positions, here is an extract of the interview, which highlights the bigotry and racism, from someone of the infamous Funk Mafia who remained nameless. This was not for want of me wanting to find out who Morgan was talking about. Like the film ‘They Live’..there are various amounts of these alien types who walk among us. Remember this was 41 years ago 1979 when the subject song came out…
 
Fitzroy: “Was your break into the industry when you were a plugger or working in club promotions possibly at Pie Records?”
 
Morgan: “I was asked to evaluate a specific label and their new type of music. So I went to New York and met Joe and Sylvia Robinson and walked in to the studio and heard Sugar Hill Gang’s ‘Rapper’s Delight’. When I heard that record, I’d never been so excited and came back and insisted to Derek Honey the MD of Pie he got hold of that record. I remember taking that record as an acetate to a soul weekender and this is an absolute true story. I played it to one of the Funk Mafia DJ’s who put it on and listened whilst between records. He took it off and frisbee’d it towards me and it hit me cutting my head open. He said “ Never give me shit like this again, why are you giving me this nigger talking over ‘Good Times’ ?” And he was one of the big DJs. I remember looking at him in disbelief thinking he couldn’t see it’s potential, as it wasn’t a jazz funk or what was a conventional record. That was my first counter of the prejudice but I knew inherently inside it was a huge record.Three months later although it never got to number one, millions of records were sold and it still holds the record of the most selling 12 inch single. More importantly it was something from street culture with the talk, the dress and the attitude of the then movement, saying “fuck you the man, we ain’t playing by your rules, this is a revolution from a new generation” and thats what hip hop is. Who would believe nearly 30 years later hip hop would be the new dominant music form?”
 
To order this issue as a hard physical copy please go to https://www.thesoulsurvivorsmagazine.co.uk/product/issue-30-june-july-2011/

Greetings on this early June Flashback Friday’s Fitztory. Back in December 2016 I for-filled a long time reunion of being in the same space again with spoken word griots The Last Poets, whom I had the fortune to DJ for at The Jazz Cafe in 1995. I hung with them practically a whole weekend and managed to secure a joint interview with Lloyd Bradley featured in issue 68 Feb 2017. I asked one short question and this is the answer I got from both Abiodun and Umar, both relevant to what’s happening in the current climate.. read and enjoy Fitzroy Anthoney Facey
 
Fitzroy: How did you feel about Public Enemy?

 
Abiodun: “I loved them and Chuck D. (Umar: Chuck D still owes me some money.) (We all burst out laughing.) Abiodun: Chuck D and I have a running joke because my original name is Charles Davis and my nickname was Chuck, and Chuck D says ‘He’s The Original Chuck D”. (Umar: My boy from PE was Professor Griff.) Abiodun: I went down to Hicksville and laid down some stuff with Professor Griff. Umar spent some time with Flava Flav who was considered a clown, but he was more of a distraction maybe to make people feel comfortable. Chuck D would drop in some stuff and when they did that collaboration ‘Self Destruction’, that was important because we were talking about the same thing earlier. Donald Trump is nothing for us, this is child’s play. Umar made a statement at Ronnie Scotts last night, that for 400 years we have had presidents who are not on our side, this is nothing. Even black people said when Barack came that the post racial period is over (Abiodun laughs….) Well Trump is making it clear that that post racial period is over. No we are back to the racist times goddam it, with his “I’m making America ‘white’ again.” even though he says ‘great’. We know what he means. There are some people who have maintained the tradition on some level of what we did but now there is no movement. In the absence of a movement the circus comes to town. There is no better evidence of that than what just happened with the elections.”
 
Umar: “Just to show how deep things were back then. When we first started, we used to meet at Mount Morris Park. On Saturdays you’d have The Last Poets on one side, The Nation Of Islam on another side, the Black Panthers in another and The House Of Elijah somewhere else. One day something happened and the police came into the park to get a brother. There were about 10 police cars trying to force their way in, but the brothers came forward and told the sisters to get back. Man, us brothers just stood in a line with brother Hakim and others from the House of Elijah and said to the police “You ‘all ain’t coming in here, this is our day.” One of the police officers looked at another and said “Charlie what you think we should do?” Charlie said “I think we better find something else to worry about.” and they left. That’s how we rolled back then.”
 
To order the hard copy please click on the link below
 

 

Greetings fellow soul survivors and welcome to today’s Friday Fitztory. It felt so poignant to share this today with all that is happening and escalating in Minneapolis Minnesota USA with the brutal racist murder of George Floyd. Both Prince and Sound Of Blackness are a big part of the twin city Minneapolis musical and community fabric. Recorded and published 4 years ago in 2016, look at how providential this conversation extract is in relevance of the present moment with the Black Lives Matter movement which as an African Diaspora man, the cause is important, between myself and Gary Hines of SOB. Read and enjoy Fitzroy Anthoney Facey

 
Fitzroy : I’m going to move things up to date with your new single ‘Royalty’ one that you’ve dedicated to the late Prince who supported your work. The song is about up lifting of people of the Diaspora. We know what’s happening worldwide but more so what’s happening in America. We have our version over here, not on the scale of the USA as the gun laws are very different and with less highlighted prominence. I’ve entered ‘Royalty’ into the People’s Black Music Chart as it fits in with the Sounds Of Blackness ethos of embracing all aspects of black music. There is a disparage in the understanding between the black and white communities which is evident when you see some of the social media comments from those who clearly think on an extreme level, justifying for some of the brutality. I sometimes ask myself are we not watching the same video? (Gary: “Right I hear you.”) How is the song being embraced with its timing being paramount right now?
 
Gary Hines: The urgency and necessities of Royalty have a few foundations. About a year ago Sounds Of Blackness released a song called ‘Black Lives Matter, No Justice No Peace’ and that was in response for what has been going on for generations with the disproportionate incidences and interactions with the police to this day. At the time Prince released a song specifying what happened in Baltimore called ‘Baltimore’ and despite people playing it down, Prince was always about the blackness of his people’s consciousness. Prince called me sometimes at three in the morning wanting Sounds Of Blackness to impress upon the youth how important it was to know who we are. That was a genesis for ‘Royalty’ and a local radio station KMLJ brought together Sound Of Blackness and The High School For Recording Arts as we were speaking about collaborating doing a song, so this is all the recipe of recording Royalty. We’ve just released a ‘reggeaton’ version and a video of the song available.