MAKING PLANS in conversation with former BBC/Generator/Evolution & Honorary Geordie, Sue Wilkinson

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Having taken voluntary redundancy from the BBC after 25 years, Sue’s last job was as TV Development Producer, she is now semi-retired and working freelance.

But during the 90s Sue was involved with the North East music scene working at Generator and managing bands in Newcastle.

I guess I’m a bit of a career chameleon.

Originally born in Liverpool, the family then moved to Manchester where her father was a Graphic Artist.

I picked up my creative side from him. At school there was a group of us reading the music press, I went from listening to poppier sounds of Cat Stevens to serious stuff like Led Zeppelin.

When I completed my A levels punk was just on the cusp and we went to see bands like Buzzcocks and The Adverts at sweaty clubs like Eric’s. I was really into the whole punk thing listening to the Pistols and The Clash.

After University I started work as a Graduate Town Planner with North Tyneside Council. I didn’t have long term plans to stay in the North East but I loved the vibe of Newcastle. Now I’m an honorary Geordie!

My patch was North Shields, Whitley Bay and Tynemouth, things have changed dramatically down the riverfront area, it was fascinating working there.

I also worked at Sunderland Civic Centre and Newcastle on the planning team – this is a weird way of starting to talk about the North East music industry. But I wanted to make a difference in terms of helping communities, living in a better environment, helping people make a better life, and hopefully did that through music.

When I left planning, I started work at Newcastle University in the Centre for Urban and Regional Development, a research unit rather than teaching. Northern Arts funded a project there called Cultural Industries Research Unit, helping communities through the arts.

My colleague James Crawford and I were asked to look at a new project and we chose popular music. Sheffield had been flying the flag providing rehearsal space and studios so we thought we could give that a go as James had been in bands and I loved music.

Plus, I had already written a published article around culture in the North East and done a lot of research around the subject.

We spoke to a few hundred musicians and people who ran recording studios and record labels – small or large. I got to know Kitchenware Records quite well. They were interested because it would be useful to them if the next Prefab Sprout was spotted.

We found there wasn’t enough venues or rehearsal space for bands, they couldn’t get out on tour it would cost an arm and a leg and there weren’t any showcase gigs. Investment was needed to support DIY musicians – they needed a leg up.

We put the findings together and put forward a plan called Sound of the City. This was three events across Tyneside, hundreds of people attended which created more ideas. One was for an umbrella organisation to pull it all together, a one stop shop for support, advice and help – that’s how Generator came about.

The name was perfect because the aim was to generate a profile of the North East music scene which had been non- existent up till then – apart from big names like Sting and Mark Knopfler.

Dave Cross and I met once a month at the Riverside live music venue. What came from our meetings was a need for showcase gigs and working with promoters to develop a venue in their area, we covered the North East and Cumbria.

Generator was there to help musicians kick start their career, we wanted to be central in supporting emerging talent and artists, or just be creative and have better facilities to enjoy what they were doing.

The first event billed as Generator Live Music Explosion was at the Riverside in Newcastle on Saturday 25th January 1992 included Candleman Summer from South Shields, The Hangarounds from Gateshead, Procession from Teesside, Greedsville and This Is This from Newcastle.

The event went on all day generating a lot of press, many thanks to all the sponsors who came onboard donating time, money and facilities.

All of the bands were original not tributes, and although some didn’t get record deals the members went on to do other stuff. Dave Denholm from This Is This ended up in Lindisfarne.

Around 1992 Greedsville fell in my lap (interview with  guitarist Chris Jackson on 22 Feb 2023). I loved them, very creative in their outfits especially Pete Turner the singer. One outfit was a Chinese mandarin hat and shoes with curly toes.

They had their own way of doing things and were always good on publicity and presentation getting a review in Kerrang and local mag Paint it Red. They also had the idea of slotting their cd album into tiger print bags and sending them to press and media.

By now we had been working on Generator a few years and were based in the Black Swan Arts Centre on Westgate Road. We’d publish regular newsletters promoting bands and events including tips for how to plaster your name across the media, developing a press strategy, even make sure you arrive on time for an interview on radio or TV. Basically, how to get on in the music industry.

Bands would submit demo tapes and we’d choose from them what bands to have on the showcase gig, and we were becoming more ambitious adding art, design, films and music seminars.

The more events we put on the more interest we created with label scouts popping into gigs to see what we had. Rather than a regular weekly gig, we spread out the dates of gigs to make them an event.

Northern Exposure was held 11th-19th June 1994 including Profundo Rosso, Crisis Children, Blyth Power and the wonderfully named Delicate Vomit.

The MPS and Musicians Union were involved in the seminars dealing with publicity, royalties and copyright.

We became good at publicity. North East music journalist Ian Penman who sadly is no longer with us, worked for Sounds and other music papers and magazines, he gave us good advice about publicity and how it needed to be spot on.

Generator were really ramping it up and had demonstrated that we were capable of delivering stuff. In 1998 the peak was Sound City, around then Jim Mawdsley came onboard. A week after it ended we were awarded £250,000 from the National Lottery.

We had spent three years talking to BBC Radio One about bringing an event to Newcastle. We worked with the Council to put a document together which included main stage, a number of venues and a Fringe festival, the BBC accepted it.

After my work at the University on the Cultural Industries project, I got some part time work as a researcher at the BBC which I combined with the Generator work.

Looking back, it was around 1999 when I left Generator, I had just run out of steam. After Sound City I went on to work on various music festivals in Newcastle attracting bigger, signed names and by the 2000’s I was at Evolution sponsored by Orange telecommunications.

Paloma Faith (pic Sue Wilkinson).

Iggy Pop was on a bill, we had Amy Winehouse, Paloma Faith, Maximo Park and one year we had Public Enemy on. I remember for their rider we were sent to KFC for forty boxes of chicken – we weren’t very popular with the rest of the customers.

We ended up with expensive headliners with Generator running alongside with showcase gigs for North East bands and arranging music seminars. Evolution went on for years but then Covid put an end to it. We had a great time seeing the audiences enjoying the event.  

Generator still exists today, it embraced the new digital agenda and pushed it really hard. It’s helped create long lasting partnerships and connections across the music sector.

It’s now the UK’s leading music development agency and a beacon for those looking for help with their musical ventures. Something we’re really proud of because it’s made a huge impact on musicians in the region and shone a light on the North East through showcases and events.

It’s been involved in national initiatives, helping influence arts and government policy. Has it been important? You bet.

More information about the work of Generator at the official website:  

Generator: Business Support in music, creative, and tech

Alikivi     March 2023.

SPEED KINGS in conversation with Newcastle music tutor & former XLR8R guitarist, Ed Box

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XLR8R in 1992 Martin Douglas (top), Al Barnes (bottom), Simon Douglas, Mark Savage, Ed Box (middle).

Following on from Clive Jackson’s interview (Slice of Life, 22 Feb 2023) this post looks at the 90s music scene in Newcastle and focuses on guitarist Ed Box.

Originally born in Kendal, Cumbria, Ed moved to Newcastle in 1988 to study Popular Music – a big year in Ed’s life as he ended up making his home in the Toon.

But his pivotal year was 1979… That’s when I was drawn to music. First album I bought was Replicas by Gary Numan & Tubeway Army, while my older brother was recording songs off the Friday Rock Show on BBC Radio One.

Also that year, heavy bands like Rainbow, Motorhead and Judas Priest were getting on Top of the Pops. These were my gateway bands.

For me that was the start of heavy metal and then NWOBHM formed. The passion and energy in the music was a window to the outside world to a boy from out in the sticks in Cumbria. Then I got a guitar for Christmas 1980 – and away I went.

With some friends from Newcastle college, we formed XLR8R (pronounced Accelerator), and started writing songs. I knew it would take a lot of patience, practice and dedication but I was prepared for that.

We started to gig regularly around the Newcastle area. A buzz was going around and the gigs were getting packed out. We were members of North Tyneside Music Collective at Buddle Arts Centre in Wallsend, they organised gigs at venues like the Old Eldon Square during the summer.

Every band around then were doing demo tapes, Greedsville, who you interviewed a few weeks ago, were busy in the studios. XLR8R recorded three, one of them got demo of the month in Kerrang and a bit of interest from a label but that fell through. So we put our money together, made an independent album and got it pressed on CD.

We heard there was a music collective over in Deckham village in Gateshead that had a studio so we joined up. A guy called Gary Clennell ran that and set us up on a cheap studio rate. £30 per day was a lot less expensive than the others charging over £100 a day.

We spent six days doing four tracks. They were all done on reel to reel half inch tape, I think it was a 16-track desk. We designed our own covers and used the Print on Tyne shop for typesetting. We would make fold out covers with pictures and credits on, just trying to make the tapes look interesting. Pretty naïve, but a start.

Our next tape was recorded in Linx Studio, that was run by Tony Bray (Venom drummer) and Eric Cook (Venom manager) previously owned by Brian Johnson (Geordie, AC/DC). They had a 24-track using two-inch tape. This was a step up in quality, the engineer was Kev Ridley who also sang in Newcastle bands For Gods Sake and Skyclad.

Our third demo was in Trinity Heights, what happened was Tygers of Pan Tang manager Tom Noble got us a deal recording in the studio with the owner Fred Purser, who was ex-Tygers guitarist.

Linx studio was good but Fred’s was another step up, with his experience of being in the band and working in studios in London gave us a lot of confidence and pushed us on. After we had recorded the first track, we played it back and it sounded great, really polished, really pleased with it – if you’re reading this, thanks Fred!

Arch Stanton album cover.

In 1996 I was still in XLR8R when ex-Greedsville guitarist Clive Jackson got in touch. He had made a three-track solo demo and was offered a radio session on BBC Newcastle. There was also label interest but they were looking for a band not just a solo performer.

So, Clive got a band of solid musicians together who we knew had been on the 90s Newcastle scene. We went in and played the session at the BBC, then recorded a few more tracks and done a gig as Arch Stanton.

Things were coming together when Sue Wilkinson from local music agency Generator got involved, Sue was also Greedsville manager. She got us some Lottery funding to go into a studio and make a four-track demo.

Sue also got us some local TV coverage on BBC North East News and a brief clip on the National Lottery Show. Another band around then called Undergroove, got a slot on East Coast Main line.

Over a two year period we done around 15 gigs, we played on the Twang Nights at The Bridge Hotel which was promoted by music agency, Bright Orange Biscuit, I remember they also did work with Uncle Sam’s Studio in Newcastle.

Sadly, Arch Stanton came to an end, but I’d developed my guitar and vocals a lot. I was in my late 20s by then and felt I was playing better than ever.

130R album cover.

The last album I worked on is out now, it’s called 130R. The name came from Formula One racing that I was into, the hardest corner on the track in Japan is the 130R.

The idea came at the time of Covid lockdown when I wasn’t doing much guitar teaching because of restrictions. I put together a few demos then asked mates to get involved, it was totally organic.

It built from there and we added a few more tracks until we had a full album. I sing on a couple of tracks but the main singer is Newcastle based Ian Humphrey. We might do some gigs in the future but we are really happy being studio based.

130R

A lot of the rock and metal bands that I saw many years ago are still recording and gigging especially with the Festival circuit around Europe. The NWOBHM bands can make great recordings with the studio equipment and access to technology that is available now. It’s still alive and kicking.

Guitar playing has been my passion for over 30 years. Across that time I’ve been running a number of guitar lessons in schools and workshops playing Rock, Pop and Jazz, to Country, Blues and Metal, I always learn new things when teaching – you’re never too old!

For more information about Ed Box check his official website:

http://www.edwardbox.com

Alikivi   March 2023.

WHO WERE THE CRAMLINGTON TRAIN WRECKERS?

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South Shields-based playwright Ed Waugh is appealing for anyone to contact him if they have any information on the Cramlington Train Wreckers.

Ed, whose latest play was the hugely successful Wor Bella, said

“The story is one of high dramatic tension and has become an important part of British history, although largely forgotten”.

“The event happened on March 10, seven days into the 1926 General Strike when striking miners uncoupled a rail on the mainline Edinburgh to London railway” explained Ed.

“The intention was to derail a blackleg coal train they felt was undermining the strike. Unfortunately for the perpetrators, they derailed a passenger train.”

With 281passengers onboard, the volunteer driver had been warned of trouble and slowed down, meaning when the engine and five carriages were derailed, no-one was killed.

“The only injury was minor, most people were treated for shock and bruises” said Ed.

“Were the Cramlington Train Wreckers terrorists or workers trying to defend their livelihoods, family and community against an economic onslaught that took place after the General Strike ended?”

Bob Harbottle, one of the train wreckers. Bob was 21 when he was imprisoned, sentenced to eight years. Bob arrived home in Cramlington on December 23, 1929 – three and a half years into an eight-year sentence. Info & pic courtesy of Samantha Armstrong.

In the magistrate courts eight Cramlington miners were each sentenced for up to eight years, but were released early due to pressure from the trade union rank and file, politicians and the judiciary itself who saw the original sentences as too harsh.

Ed continued “The leader of the wreckers was Bill Muckle who was born in Westoe in December 1900. His father looked after the pit ponies. They lived here until 1902 when they moved to Cramlington. I’d be interested to know if older generation Muckles worked at Westoe”.

A crane lifting the Merry Hampton engine back on track. Photo courtesy of Brian Godfrey.

Such is the interest in the subject, Ed and historian Marie Dooley will address more than 120 people at a public meeting on March 30. Top North East actor/folk singer Jamie Brown will perform songs and recite from Ed’s new play.

The Cramlington Train Wreckers’ meet at The Hub, Manor Walks Shopping Centre, Cramlington, Thursday, March 30, at 2pm and 6.30pm.

Info and tickets (only £2 via Eventbrite) – see link below.

Register on Eventbrite

For more information contact Ed at the official website: ww.wisecrackproductions.co.uk

Alikivi    March 2023.

WHERE WERE YOU IN THE SIXTIES ? with Jools & Paul Donnelly

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North East couple Jools and Paul Donnelly have a huge passion for promoting the North East’s recent cultural heritage, they also run the Handyside Arcade publishing company, and the Club A’Gogo dance events named after the famous Newcastle venue.

From 1962-68 Club a’Gogo hosted a number of amazing gigs from legendary bands The Who, The Animals, Rolling Stones, Eric Clapton, plus from America – Jimi Hendrix, Sonny Boy Williamson and John Lee Hooker.

‘We successfully lobbied Newcastle Council for a heritage plaque at the site of Club a’Gogo – we are incredibly proud of this. We’ve also published our first book ‘Club a’Gogo & The Mod Scene of 1960s Newcastle’ which is on sale now, more books are planned’.

Both Jools and Paul are passionate collectors of 60s mod culture which includes vintage clothing, shoes, magazines, records and books, now the couple have combined their extensive collection for an exhibition held in Newcastle City Library.  

I asked Jools what was the catalyst for the exhibition?

It actually came from two sources, last year we visited the Punk No.1 exhibition at Newcastle City Library and this year we were in London for a private viewing of Contemporary Wardrobe, a supplier of costumes to the film and music industry.

This huge collection of vintage clothing is owned by former mod and stylist Roger K Burton. Roger has done a number of exhibitions and we were so inspired we thought we could do that.

I asked Paul what’s the response been to the exhibition?

Amazing, and to be honest far better than we expected. We’ve done regular ‘meet and greet’ events at the library – next one is Saturday March 11th from 2-4pm, where people can chat with us about the exhibition and share their memories of those glory days.  

People have brought their own memorabilia to show us, it’s been a fantastic experience. We’ve also had a good turn out from a younger generation who have been fascinated by how cool the youths of the North East were back then.

Lots of original mods and Club a’Gogo members have turned up to see the exhibition, they’ve shared their stories of seeing the likes of Jimi Hendrix, The Who and of course The Animals.

We’ve encouraged them to come along to our monthly Club a’Gogo Dance Party events where I play the Club a’Gogo sounds on vinyl.

What next for the exhibition?

This ends on 31 March 2023 and we are aiming for more exhibitions. Our next one is early 2024 that will celebrate the history of the Handyside Arcade.

(The sorely missed Arcade was a glass roofed horseshoe shaped building which housed a number of independent and alternative shops including Kard Bar. It was also the place where tribes of young people – mods, hippies, punks – would meet and hang out on weekends).

Jools added….We want to highlight the Arcades importance and promote the North East’s sub cult heritage.

For more info check the official website:

It’s my life… An exhibition of Mod & 60s culture FREE ENTRY | Club a’Gogo (clubagogo.co.uk)

To buy the Club a’Gogo book visit:

Club a’Gogo & The Mod Scene of 1960s Newcastle | Club a’Gogo (clubagogo.co.uk)

For more information about Club a’Gogo events visit

Mod club | Club a’Gogo (clubagogo.co.uk)

Alikivi   March 2023.

ROCK UPON TYNE: in conversation with musician, manager & promoter Mal Wylie

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Gateshead born Mal has been working the entertainment biz for nearly six decades and still has a great passion and enthusiasm for music.

From being a teenager watching bands in the famous Newcastle venue Club a’Gogo, to becoming a seasoned performer on the North East working men’s club circuit, and today, promoting bands and events in Skegness.

I thought he’d have a few stories to tell – he did – so we spent a couple of hours chewing the fat in The Centurion bar in Newcastle Central Station.

First time I heard loud music was in the YMCA in Gateshead, bands like The Sect were playing. It was the ‘60s with the mods and rockers, that was the sounds that influenced me. We were brought up on the best music, we were privileged to be born then.

Club a’Gogo pics courtesy Evening Chronicle.

Going to the Club a’Gogo was the best time of yer life. I saw everybody there – Long John Baldry, the Stones, Eric Burdon, and I was there when Hendrix played.

I’d seen loads of guitar players by then but you knew you were watching someone special. Nobody knew he was gonna be a world legend when he walked on stage.

The Gogo was fantastic, the DJ was Bryan Ferry who went onto Roxy Music fame. Zoot Money was massive when he played, but the biggest pull was Geno Washington & the Ram Jam band, never sold records but always rammed.

I remember when The Animals went to number one with House of the Rising Sun in 1964. They came back from London to the Central Station, got off the train and came to the Gogo. I remember like it was yesterday.

Jacko

I’ve been involved in music since I was 15. I joined a band called Jacko and got to know all the North East groups working the clubs, the Brass Alleys, the Becketts, John Miles, and my pal Brian Johnson in Geordie.

When I finished with Jacko, I went with a band called Chevy who had Andy Taylor on guitar – later he joined Duran Duran. There was Davey Black from Goldie he lived just over the road.

In fact, Andy had just come back from playing in Germany when he asked me to join on vocals ‘Do ya fancy going on the road with us?’

Andy was a great player, a rock player, so Duran Duran weren’t exactly his style but he told me ‘It’s £50 a week and they have a recording contract’. ‘Good on yer lad’ I said.

Andy rang me up one night ‘We’re playing Newcastle City Hall tonight supporting Hazel O’Connor on the Broken Glass tour do ya fancy comin’ along?’… ‘Wey aye!’

Through the Geordie days I kept in touch with Brian and when he got the gig with AC/DC I went on the Black in Back tour with him.

How it all started was one night when I was singing in Chevy and playing Peterlee Social Club, guitarist Andy Taylor said ‘we’re going to Newcastle Mayfair to see AC/DC tonight’.

This line up was with Bon Scott on the Highway to Hell tour. Well I was blown away by them and told Brian Johnson ‘Ya gotta see this band’.

He was in Geordie Mark 2 at the time who were doing the clubs and using the same PA as us. One night Chevy were doing Lobley Hill Social Club when Brian came to see us and he got up on stage and done Whole Lotta Rosie – next week he was in AC/DC!

He went off to the Bahamas, recorded the album then straight onto the Back in Black tour where I travelled with the band on the UK leg. I remember being in Birmingham and Robert Plant came backstage, it was great, a real honour to meet your hero.

I remember going to Donnington festival, then the States as the band went into Jimi Hendrix’ studio in New York to record vocals for the album For Those About to Rock.

The lads in the band were great, no big stars, they were playing 60,000 stadiums, absolutely massive over there. I was in a bar with Malcolm Young in New York, he told me ‘We knew when Brian walked in, he was the man for the job, we knew he was the kid we wanted’.

Brian didn’t think he was in the band after the audition. But Malcolm phoned ‘You need to come back we’re doing an album’. Brian replied ‘Am I in the band then’! Brian was tailor made for that job.

Sergeant: left to right – Robb Weir (later replaced by Steve Lamb) Anthony Curran, Tony Liddle & Brian Dick.

I managed a rock band called Sergeant and got them on a national tour supporting Accept. What happened was I knew Colin Rowell from music TV show The Tube filmed in Newcastle. He had singer Tony Liddle on one week ‘Can you do anything with these Mal?’

So, I went with Brian Johnson to see the band play at the Gosforth Assembly Rooms. I liked what I saw so rang John Jackson, an agent I knew in London, and he gave them that UK support tour.

We also put them in Linx Studio in Newcastle, another Brian Johnson connection as he owned the studio. We recorded them and I thought they were tremendous. Tony Liddle was great I thought boy can this kid sing.

Tony was the new breed of rock singer in the North East, you had great frontmen Davey Ditchburn, Terry Slesser, John Miles, all them that had come through, but Tony was a bit younger.

He was also a good songwriter, obviously there is Lindisfarne as your big songwriters from the North East. I remember seeing them and they were new, fresh a different style, Alan Hull was an amazing talent.

Anyway, we took the demo tape to London and the first person to listen to it was Peter Mensch, Def Leppard manager.

We were in his house and asked him ‘What do ya think of these’? Bearing in mind he had just signed Metallica. ‘They’re alright Mal, hang on to the singer’. In the end RCA were looking at giving them a singles deal.

But one day Tony walked in and told us he’s leaving the band. ‘I’m joining The Strangeways’. A Scottish band who already had a deal with plenty money behind them. That broke Sergeant up.

We gave it our best shot, they had supported Nazareth in Scotland, been on a UK tour with Accept including a sold-out show at Hammersmith Odeon and we put them in front of record companies.

When I came back from America with AC/DC, video jukebox’s had just kicked off so I went into that business. I got the franchise for a company selling a video jukebox to pubs.

I worked with a guy for years called Percy Sheeran, whose family have the fairground in South Shields, he was doing the fruit machines and I was doing the music. A great team.

Then we started Arcadia Leisure selling PA’s and sound equipment from the Team Valley in Gateshead. After that closed down Percy’s brother Walter opened bars, leisure centres and arcades in Skegness, he asked me to come down, ‘Nah I like the Toon too much’ I said. But I’m still with him to this day!

The music scene is good down there, I’m booking bands all the time, I’m putting on festivals in the summer. We’ve got some local bands from Lincoln playing, Butlins is next door with rock festivals and alternative nights – always rammed.

I’ve got four or five bands from the North travelling down this year, so I still keep in touch with North East musicians. Lorraine Crosby has been down a few times. We’ve been friends around 30 years since she was in Foxy, Lorraine’s a great kid, she done the Meatloaf single as well.

Soon I’ve got an event lined up for the scooter boys – a mod rally at the end of April. There are loads happening.

I enjoy reading your blogs but a guy who doesn’t get a mention is Greg Burman. During the ‘60s the Greg Burman Soul band played at the Gogo, he also built amps for all the bands coming through like Lindisfarne, and made stuff for Thin Lizzy and Status Quo.

He was based in Newcastle’s Handyside Arcade which sadly isn’t there now. I dealt with him in the ‘70s, a lovely fella, what a gentleman. It’ll be a great story if you can talk to him.

Alikivi   February 2023.

ALL FOR ONE at 40 with Chief Heedbangers, Raven

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All for One released in 1983.

One of the most influential New Wave Of British Heavy Metal bands are heading out on a UK tour this March, but first, earlier this year there was the small matter of Raven being inducted into the Metal Hall of Fame alongside Twisted Sister and Foreigner vocalist and solo artist Lou Gramm.

Held at The Canyon Club in California on 26 January, this was the sixth annual gala, previous inductees include Dio, Lemmy and Judas Priest.

The award is for musicians and bands who have made an invaluable contribution to rock and metal and to keep inspiring fans throughout the world. I asked bassist and Chief Raven John Gallagher, how did it come about?

Bribery and corruption (laughs). It was nice to be recognized and was a really great event where we played a three song set – almost broke a sweat! 

Did you ever think you would be in this position, a tour celebrating 40 years of an album ?

Of course not! That kind of long view, you just don’t have that when you start. It just kinda crept up on us over the years. It’s quite a milestone and we are very proud of it. That and good old Geordie stubbornness!

In the set are you playing the full track listing on All for One and have you played all the songs live before?

Yes indeed! There’s actually two songs from the album we’ve never played live before, so that’s going to be fun for sure and another two that Mikes never played. 

Have you noticed any new faces at your concerts?

Oh definitely, there’s quite often three generations of fans at our shows – which is really great.

For a full list of tour dates & tickets, album releases, video, merch & more check the official website : 

Raven | Official Raven Lunatics Website

Alikivi   March 2023

A SLICE OF LIFE

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in conversation with ex Greedsville songwriter & guitarist Clive Jackson.

Clive is a singer/songwriter who released two solo albums, Life Off Line (2015) and Rocket Science in (2019). He is currently working on a new album for release this year.

A veteran of rock bands who were part of the Newcastle music scene in the 1990’s, he was a member of Greedsville who released an album in 1994.

Clive Jackson.

The main thing that motivated me to get a guitar and become a songwriter was when John Lennon died in 1980, they played tons of Beatles songs on T.V and Radio. I was already aware of a lot of it, but when I heard A Day in The Life on ITN news, I was hooked. 

I joined various bands in the 80s, one being Twelve Angry Penguins – it was the era of daft band names! Then I was guitarist in a band called Dark Roads, and in 1991 we recorded a demo at Linx Studio with Mond Cowie (ex Angelic Upstarts) engineering. I was really pleased with my vocals, song writing and guitar work on that but unfortunately within six weeks everyone left Newcastle!

The drummer went to be a policeman in Leeds, the other guitarist went to live with his girlfriend in Wakefield and the bassist moved to Scotland to manage a hotel. In the midst of all that I got a phone call from Andy Carpenter who was bassist in Greedsville.

We sort of knew each other because we rehearsed in the same place, the 244 Rock club on Westgate Road here in Newcastle. There was a car repair shop in the back and in front was an old navy club, it was a very underground set up.

I handed Andy the Dark Roads demo and he asked me to join Greedsville as a song writer, that worked out and I became rhythm guitarist. Other bands on the scene were XLR8R, Strange Thing, 2000 and Roswell.

Greedsville promo pic.

We gigged a lot and played in Newcastle, Hull and Leeds, we went down to London Marquee seven times. I had a full-time job in the Civil Service so ended up using all my annual leave when we had to travel to gigs in London. We couldn’t knock back gigs in the capital.

Sometimes I had to arrange a half day here, and a full day there. For one London gig work wouldn’t give me a half day. I pleaded with them as we had reviewers from Kerrang and NME coming along, it was important, one gig could make all the difference.

So, I decided to get the train from Newcastle to Kings Cross, legged it to the Marquee, did the gig, ran off stage, missed the last train so jumped on the all-night bus from Victoria – still sweating and stinking with my stage clothes on. It was a long night as the bus stopped off everywhere.

Finally got home, showered, then made it to work just in time. But I was knackered, more of this wasn’t doing my health any good.

Greedsville live at London’s Marquee.

Around the early 90s we met a London guy called Sean Worrall who reviewed our demo, he ran a fanzine called The Organ and was connected to record companies. He would promote showcase gigs at the Marquee or Camden Monarch where A&R guys would turn up. Sean set up one for us.

There was Geffen records, EMI and MCA hanging at the back of the hall. It wasn’t like a gig more like a jury with them not clapping. Sadly, nothing came of it.

Then London Records saw us play in The Broken Doll, Newcastle and paid for a 4-track demo which we recorded in Hi Level studio. They asked us to ‘grunge’ the sound up.

Then we recorded a rough demo on a four track recorder in the Greedsville rehearsal room. Sean took it to MCA and the first song on it, one I’d written, was more like what they were looking for.

But the rest of the band didn’t want to go in that direction. At the time we were being compared to REM and Roxy Music – quite a wide spectrum.

The Greedsville manager was Sue Wilkinson, who has just retired from the BBC. In the 90s she was running Generator here in the North East, she got us loads of publicity, articles and reviews in the press, plus radio and TV slots on local and national TV.

She got us on Tyne Tees, you can watch it on You Tube, Greedsville – Local ITV News, UK (Tyne Tees Television) 21st June 1993. That’s footage from a showcase gig at Newcastle’s Riverside. Ian Penman (Ravendale, music journalist) is also on who was a really nice guy and supportive of the North East music scene. Sadly, he passed away not long ago.

One time we were on the bill at Camden Monarch with Skunk Anansie. There was a chalk board outside the venue with the bands names on – they were billed as Skunk and Nancy and we were Green Sleeves!

I was staring at the board when their singer Skin, she is beautiful by the way, came up to me and asked if I was in Green Sleeves. I said ‘it’s Greedsville’ we were both laughing at the mistakes. They got a record deal. We didn’t.

Our guy in London, Sean Worrall backed off in the end because he explained to us that he’d met the record companies, they’d sent A&R men, heard the demos, he felt that he’d done all he could. It was an amicable parting, no hard feelings he’d just run out of road for us.

There was still a lot of Newcastle connections around that time, like Kev Ridley, engineer at Linx Studio. There was a band I knew called For Gods Sake with guitarist Steve Wallace, there was Steve Charley the Canadian, he was studio engineer for a while. There were connections to the Music for Nations label with Venom and Skyclad.

Then Greedsville signed to North East independent record label Bleeding Hearts run by Eric Cook and Tony Bray, Eric was manager of Venom and Tony was the drummer.

What happened was Sue Wilkinson got a call from Eric Cook asking would Greedsville be interested in a deal? ‘Great’ we all said. At the time we were recording in Trinity Heights studio run by Fred Purser (ex Penetration and Tygers of Pan Tang).

The singer Pete Turner was involved in all the conversations between Eric Cook and Sue Wilkinson, and the rest of the band, including myself, were all present at meetings when major decisions were made. The contract was for distribution in Europe and Asia, we had it checked out and it was ok. We signed on the dotted line around 1994.

We had originally planned to record an EP with four songs but with the deal happening it turned into an album. We recorded in three studios – Linx, Trinity Heights and a place in Chester le Street with Frankie Gibbon. It was all mixed and mastered at Fred’s Trinity studio.

Eventually we released The Casino Royale Collection. We made 10,000 copies and it was on sale in shops like Our Price and Virgin stores.

Greedsville album released in 1994.

We were due to play in Middlesbrough, then onto the Heineken Music Festival in Gateshead Stadium. But a few weeks before that we played in London and on the way back in the van our drummer Doug Hayes said he was leaving.

So, we quickly had to get someone else in, that was Graham Hattam. We were really up against it, but Graham learned quick in a small time frame and the Heineken gig went well. The Stranglers and Jools Holland big band were also on, it was a great time and Sue got us lots of press.

But we started to lose momentum, Britpop had taken over, the band were falling apart. In 1996 it was all over for Greedsville.

Looking back the 90s had loads of different bands playing folk, blues, metal, psychedelia, it wasn’t just one genre. That’s one of the many reasons I think the A&R thing didn’t really happen here.

In one night, they would see a band dressed like they were in a pantomime, others playing Frank Zappa, and in the next pub there would be a full on metal band playing. There just wasn’t a load of bands playing one type of music where they could watch and give a definite yes or no, or maybe sign a band to a development deal.

Back then we sold around 5-6,000 albums but never received a penny. The Greedsville album is still on sale now through outlets like Amazon. If people are getting something out of listening to the songs that’s great – but did I make a living out of the music business? Absolutely not. 

In the digital age copyright goes out the window. I do get royalty cheques now and then from my latest solo albums, the last was from Spotify for around $400.

There’s lots more to add to the Clive Jackson story, and that will be added to the blog later, but for more information check the official website:

Clive Jackson | singer-song-writer (clivejackson8.wixsite.com)

Alikivi   February 2023.

FOOTBALL BLOODY FOOTBALL

/ Alikivi

part two of a conversation with author & former Newcastle United footballer, Paul Ferris.

My sister used to manage Rosie’s Bar next to Newcastle United’s ground and often talked about the time when Kevin Keegan became manager and the effect he had on not just the team, but the whole city.

She remembers fans singing ‘living in a Keegan wonderland’ and some players and staff popping into the pub for a sherbet or two.

When I went back to Newcastle as a physio in 1993, we used to have a drink in Rosie’s bar on a Wednesday night. It wasn’t the most glamourous pub but it had a great jukebox and we used to hoy in a fiver to hear great music.

I got to know Alan Shearer well after helping him through a bad injury. The work I did with him in winter ‘97 was the best I’d done for the club. Better than anything I’d ever accomplished as a player.

Paul running with Alan Shearer for the first time after he dislocated his ankle (pic Belfast Telegraph).

I used to go for a few drinks with Rob Lee and Gary Speed, we became good friends and I used to drag Alan Shearer and Gary Speed to U2 gigs. I’d be great in a music quiz cos I’m a music nut. I love listening to 10,000 Maniacs and Natalie Merchant but my all-time favourites are Van Morrison and U2.

One day Alan came in with a couple of tickets for U2 who were due to play Earls Court in London. We were playing Chelsea on the Saturday so a Friday night gig would be great.

He kindly paid to get the train down, booked a hotel and VIP lounge tickets on the Elevation tour. When we got there, he went to the bar to get some drinks but I heard U2 come on stage so shouted ‘Alan, Alan, they’re on’ I couldn’t wait so just left him and raced in to see the start of the concert.

Ten minutes later Alan walked in with two pints shouting ‘I paid for your train, I paid for your hotel, I bought your tickets and you just left us standing there!’ I did feel a little guilty but I didn’t want to miss the start, this is what we came for!

It was around 2003 I was on holiday with my family and had six missed calls on my phone, a few from Alan Shearer and some from Gary Speed. Alan shouted ‘pick the f***ing phone up’.  Loud music was blaring in the background. In another message Gary shouted ‘we’re with Bono!’

When I saw Alan later in a Health & Fitness Club, he said that night they were in a club with Bono and he wanted to talk to me. Then he got out a pair of dark wrap-around sunglasses the type Bono wears on stage, and he and The Edge had signed them on each lens.

Alan gave them to me saying ‘go on take them man I know you really like the band’. ‘No, they were for you’ I said. He pushed them into my hands and I have to say I took them under duress as they were signed to Alan.

As I was driving out of the Club car park, I got a call from Alan who was in the car in front of me ‘take those f***ing glasses off I can see you in the mirror!’ Honestly, I wanted to try them on for just a wee look.

Paul and I met a few days after Newcastle reached their first cup final since 1999, inevitably our talk turns to Football today.

Coaches used to be experienced former players but now some of them only played in lower leagues. But they all have their badges. Mourinho worked for Bobby Robson and is steeped in football, Arsene Wenger revolutionized the game.

At Arsenal he had giant athletes in the middle of the park – Vieira and Petit. At the back Keown and Adams, if you ask Alan Shearer his toughest games were probably against those two. Then up front was Thierry Henri, another giant.

Newcastle back four with the exception of Trippier, are giants. Eddie Howe is doing a great job with the club, he’s reaching a higher level sooner than expected. They are great to watch with little triangles of Trippier, Almiron and Guimaraes.

Plus, a Geordie in the team, Sean Longstaff, scoring two the other day. For Dan Burn, another Geordie, the feeling of scoring his first goal in the Carabao cup semi-final against Southampton must have been immense. The feeling must be amazing, it was for me when I first scored, and I’m an Irishman!

But the pressures on Newcastle managers are enormous. I was there when it was a pre-season friendly and Jack Charlton was in the dug-out. Around 5,000 fans in the Gallowgate end shouting ‘Charlton out’.

Bobby Robson loved being Newcastle manager it was just part of who he was. He was like a wise friend really, after training when all the players had gone, he would pop into the medical room and say ‘do ya fancy a cup of tea’ and talk about anything.

I loved the stories he’d tell about Barcelona, his family and coming back to the North East. He was so proud of coming back he bought a house near where he was born. You could see why players loved him.

In 2016 Paul turned to writing his memories from on and off the pitch and growing up during Ireland’s darkest days. Packed with real warts an’ all stories, his book is much more than just another sporting memoir.

Both my books out now The Boy on the Shed and The Magic in the Tin have been non-fiction memoirs and done well. I’ve also written a fictional manuscript called An Ugly Game about abuse in football, that has heavier themes in it. I’m starting to refer to it as An Ugly Manuscript because it is yet to be picked up by a publisher.

Now I’m writing a fictional book called The Man in One Nineteen which is a line from a song by Natalie Merchant. The book is teaming with musical references from songs I’ve loved.

The main story is the guy is dying and looking back on his life. He had a girlfriend who he referred to as having hair like Suzi Quatro and a face like Noddy Holder. But when they meet again in his 20’s she has turned into the gorgeous Stevie Nicks.

It’s a very intimate journey even though you never get to know his name or where he’s from. Is it Newcastle, New York or Sydney? I just hope it gets released, my agent has sent it to publishers Bloomsbury who have first option on it.

When writing I’m very conscious of grabbing you from the start with the first sentence and finishing strongly. If I can get some emotion from you, some laughter and engage with you, I think you will remember the book.

Alikivi   February 2023

Links to books:

The Boy on the Shed
The Magic in the Tin

FOOTBALL BLOODY FOOTBALL

/ Alikivi

Part one of a conversation with author & former Newcastle United footballer, Paul Ferris.

Paul Ferris outside St James’ Park, Newcastle (pic Irish Times).

Football is all about sticking the ball in the back of the net.

My first and only goal for Newcastle was at the Gallowgate end against Bradford in the League Cup. There was a deafening noise as the crowd banged on the metal advertising boards.

As we celebrated Neil McDonald came over to me and asked ‘are you alright’? I swear I couldn’t breathe. The sound of the ball hitting the back of the net is beautiful.

Paul Ferris was born in 1965 in Lisburn near Belfast, Northern Ireland. Living with his Catholic family on mostly a Protestant housing estate, he survived a childhood that was framed by Irelands dark but recent past.

It was my mum who said you need to go across the water, there’s nothing here for you. She just wanted the best for me. I left in October 1981 right in the middle of the IRA hunger strike, it was a very toxic time.

As a professional footballer and physiotherapist Paul had an 18- year career at Newcastle United. Between 1981 and 1985 he was the youngest ever first team player and in 1993 he joined the medical staff where he stayed until 2006. He was also part of the management team in 2009.

As physio I was there under Cox, Keegan, Robson, Dalglish, Gullit, Souness but left when Roeder came in as I was committed to do my Law work – but that’s another story for another time.

In 2018 his best-selling memoir The Boy on the Shed was published to critical acclaim, and the follow up The Magic in the Tin, about his fight with prostate cancer, was released in 2022. (links below).

Both my books have been non-fiction memoirs and have done well, but now I’m currently writing a fictional book.

We’ll find out more of Paul’s writing career in part two, but here he talks candidly about his time as a professional footballer.

When I was a kid in Northern Ireland in the 70s, I only knew one Newcastle fan and that was Kieran my brother-in-law, he told me all about players like Malcolm McDonald, David Craig and Liam McFaul.

It was mostly Liverpool or Manchester United supporters – that was the George Best connection as he was a Belfast boy. I was a Liverpool fan so Kevin Keegan was without doubt the first football hero that I had.

I used to go and watch the Home Championship games cos that’s when you got to see the big players. At Windsor Park in Belfast, I couldn’t see much being small so I would take a stool to stand on to see players like Kevin Keegan.

You see lists of greatest ever players and some of them he’s not even in, when I think he most definitely was one of the best.

My very first team I signed for was Bolton at 14, that was the team of Peter Reid and Sam Allardyce. It was for two years with a guaranteed apprenticeship but the management got sacked and I ended with nowhere to go.

I was playing for the Irish under 18 youth team and they mentioned two teams I should try out for – Everton and Newcastle. But didn’t enjoy my time in Liverpool so came to Newcastle where it was more friendly. At least they said hello to you in the street.

It was still a wrench leaving. There were flights only two days a week and a pay phone in the hall of my digs – it felt a long way from home.

Newcastle boarding a plane for Bermuda in 1985. Paul in the centre of the photo with Paul Gascoigne (and prize mullet) on his right (pic Evening Chronicle).

In 1982 I was 16 and made my Newcastle debut away from home, my home debut was against QPR in the second division. 14,000 people at a run-down stadium with a city in the doldrums and a lot of economic hardship and unemployment.

Then manager Arthur Cox signed Kevin Keegan who was twice European footballer of the year. I remember the assistant coach telling the team who we’d signed, we all said ‘f*** off, no chance!’ But then he arrived, as a shy lad it was quite daunting to see your boyhood hero.

He was not only a great footballer and charismatic, but he transformed the whole outlook of the city. He also gave it a boost when he came back as manager and won promotion in 1993.

Newcastle manager Arthur Cox was great, he was honest and straight with you, just no nonsense really. But he had the sensitivity as well and asked me how my parents were doing because he knew I was a young boy away from home.

Even now in his 80s he contacts me to ask how I’m doing as he knows I’ve had some health issues. He’s also read both my books which he enjoyed.

Some great footballers came to St James’ Park. I remember watching a European cup night and Newcastle were playing French side Bastia who included Johnny Rep.

The Dutch team of ’74 was a big part of my awakening to great footballers. On TV you would see Johan Cruyff, Johnny Rep and Neeskins. Football was better to watch in those days there was more chances created, more jeopardy in the game.

When I was young, I was told to hug the touchline, get the ball, take the full back on and take him on again, then get the ball in the box. You might lose the ball few times but it was exciting to watch.

Paul scoring his only goal for Newcastle United (pic The Times).

On my debut as a 16 year old we were playing Blackburn away and I replaced Chris Waddle. As I ran onto the pitch the crowd were singing my name. I got so excited taking on the full back he took the ball off me and a few passes later it ended in a goal for them. We got beat 4-1.

Coaching has changed now, players are told not to take people on because losing the ball is a risky business, better to pass and move keeping possession.

During the 1980s football entered its dark days with hooliganism on the rise. One time Newcastle where at Leeds. Today you have a coaching staff and kit men, but back then I was 13th man and responsible for carrying the kit in to the ground.

We were walking into Elland Road and the police officers were holding back the baying Leeds fans. The noise was deafening. We nearly got inside when a fist came out of the crowd and smacked me in the mouth. I got in the changing room with blood all over. I was told it was pointless reporting it to the police as I couldn’t identify who threw the punch.

During the game Kevin Keegan was taking a corner when he got hit on the head with a coin. Both teams were taken off, in the end the police told us to get out there and finish the game or there’ll be hell on.

So at the end of the 90 minutes we quickly got in the changing room, showered and left. As the coach was leaving we took the first corner and a brick comes through the window.

Read part two of Football Bloody Football where Paul talks about his writing career, Bobby Robson, nights out with Alan Shearer and what he thinks of Newcastle United now.

Alikivi   February 2023

Link to books:

The Boy on the Shed
The Magic in the Tin

EDGE OF THE WORLD – new single from Tygers of Pan Tang

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Tygers of Pan Tang 2023 L-R Huw, Craig, Francesco, Jack & Robb. pic. Steve Christie

In September 2020 the review of Raven’s latest album Metal City declared that ‘on this evidence Raven consolidate their title of Chief Headbangers’ and signed off with ‘any contenders?’  

Last week one of the original North East New Wave of British Heavy Metal bands, Tygers of Pan Tang, hoyed their hat in the ring.

Their new single Edge of the World released on the Mighty Music label was as the kids say ‘dropped’ last Thursday and after the first time on hearing, the Tygers have sharpened their swords and hoyed the kitchen sink at the production. It’s epic.

Starting with a hint of Eastern promise the guitars will put lightning back in yer tired bones, and with that chorus we have the next superhero soundtrack. Someone put a call in to Hollywood blockbusting film maker Christopher Nolan (Batman/The Dark Knight/Man of Steel).

There’s no idle shilly-shallying here with layer upon layer of glossy finesse, ultra-tight drumming from Craig Ellis, bassist Huw Holdings accomplished maiden recording, plus a searing twin lead break from guitarists Robb Weir and Francesco Marras, while vocalist Jack Meille faces down the beast.

Edge of the World doesn’t lead you to the dead zone with no follow up record as the Tygers are about to launch their new album and on this evidence alone, wrestle the crown from Raven.

Alikivi  January 2023.

Watch the video here:  Tygers of Pan Tang – The Official Site

Tech details:

Produced by the Tygers of Pan Tang and mixed by Tue Madsen out of Antfarm Studios, Denmark.

Francesco Marras guitars recorded at Screaming Shadows Studio between Dülken, Germany and Sassari, Italy.

Jack Meille vocals recorded at Plastic Sun Studio, Florence, Italy by Guido Melis.

Robb Weir guitars recorded at Swamp Freaks Recording Studio, 

Durham, UK by Dave Hills.

Craig Ellis drums recorded at Tyger Towers Studio, Yorkshire, UK.