Ban Ban Ton Ton’s very talented friend, “Brother” Lee Skelly, hosts a long-running show on London’s Soho Radio. Entitled The Trip, the broadcast goes out every other Sunday, between 10PM and 12 midnight. Right after Norman Jay. Here, Lee takes us through the thoughts behind, and a few tracks from, his latest instalment… 

Super selections and wonderful words by the terribly talented Brother Lee Skelly.

I live in a remote French village, and across the street from me is the village church. Everyday at noon, the church plays a haunting three-bell melody, reminiscent of an old folk song, or a children’s nursery rhyme, or maybe it’s part of of an old French hymn that I’ve never heard? Lately the third bell has been taken away for restoration work, yet the noonday melody continues, except that the third bell doesn’t chime, so there’s a space where it should ring out. But in my head I still feel like it’s there, I still sort of ‘hear’ it. Like in dub reggae, when all the instruments drop out for four beats and all you get is Space Echo repeats, but your brain still carries the song even though it’s temporarily missing. My latest show for Soho Radio loosely covers some of the space between the notes idea. Here’s a few examples of what I played in the show…

PETE JOLLY “Plummer Park”

From the “Seasons” album, a huge record for me, and probably for many others reading this. I found my first copy in a charity shop for 60p in 1989, and it quickly became a DNA-level influence, like “Ege Bamyasi” had done earlier, and “3 Feet High And Rising” would soon after. I own multiple copies now (you know, just in case) and still play it on repeat regularly. For a 3-hour improvisation session, quickly cut to free Jolly from his A&M contract, it’s a remarkable 30 minute listen and if you haven’t already heard it, seek it out now, you won’t regret it.

ORLANDO ‘CACHAITO” LÓPEZ “Tumbanga”

Yes, the veteran bassist featured in Buena Vista Social Club. He worked tirelessly as a sideman for decades, yet made just one solo album, recorded towards the end of his life. And there’s nothing really quite like it. You’ll get Cuban dub, turntable scratching, jazzy surf guitars, audio verité, blaring brass, deft Hammond organ touches and heavy percussion. When it was finally reissued on vinyl I was so happy to be able to crank this track during live sets.

KARINA BUHR “Do Pilá”

This was recorded for the Goma-Laca “Afrobrasilidades” project, where contemporary Brazilian artists re-recorded songs that had been issued decades earlier on 78s. Some of the featured artists, like Lucas Santtana and Russo Passapusso, will be familar to those with an ear for Brazilian vibes, as they’ve toured or worked internationally. But Karina Buhr doesn’t seem to venture out of Brazil quite as frequently, so she’s not a name that crops up elsewhere too often. Which shouldn’t bother her at all as she’s a star in Brazil anyway. I also included “Dragão” (from 2016’s “Selvática” album) in the show, just ’cause it’s narcotic pop dub groove has been a favourite since I first heard it.

ZOOK “Dulcetone”

The final track on what was sadly their sole album, released on Tummy Touch. Most of Zook’s output seemed to be mid-to-uptempo, yet always felt super laidback. Maybe because it was all played on what would traditionally be termed ‘jazz’ instruments (upright bass, brushed drums, unamplified guitar, etc). The spacey, heat haze groove on this is beautiful, as is the childlike piano melody. I wish they’d done the second album that Tummy Touch gave them the option for. But this still exists, and for that, I’m glad and grateful.

THE NEAR JAZZ EXPERIENCE “Voodoo Child In Dub”

It takes cojones to take on a Hendrix classic. So many have crashed on the rocks attempting it. But the Near Jazz Experience, ably assisted by Adrian Sherwood, give “Voodoo Child” the skronk-jazz dub treatment and it doesn’t disappoint. Taken from 2022’s “Afloat In Dub” (which came packaged in a round metal tin, PiL fans), legendary geezers Terry Edwards (Spiritualized, JAMC, Lydia Lunch, Nick Cave, PJ Harvey etc), Mark “Bedders” Bedford (yes, that Bedders from Madness), and Simon Charterton (Zook, Alex Harvey, The Higsons etc) tear into this, and you don’t feel short changed like when you usually hear Hendrix covers. Just as it comes to a echoey halt you’re wanting it to go on for another 10 minutes, easy. Recommended.

Brother Lee Skelly records under his own name, and various aliases, including the Inner Space Quartet. He also runs his own bespoke imprint, Dime.