THE HOUSE THAT OLGA BUILT – with Toy Dolls frontman


In 2019 The Toy Dolls will celebrate 40 years of being in the business but back in 82 The Dolls played in the foyer of live British tv music show The Tube, broadcast from Tyne Tees Studio in Newcastle.

While ripping through ‘She Goes to Finos’ behind the band was a huge yellow backdrop and bank of tv screens.

Presenter Muriel Gray said “That incredibly energetic and slightly mad bunch are The Toy Dolls. A Sunderland based band. They were signed with EMI but unfortunately EMI let the contract lapse after only 12 month and one single. But happily a two man Newcastle based recording company called Volume snatched them back from impending obscurity. Well hope they are favouring(?) any damage done in the foyer”.

When did the music bug hit you Olga ?

‘I got into playing music after watching Suzi Quatro on Top of the Pops. I knew from that moment what I was gonna do! Be a bass player.

I saved up for a bass guitar for a year by doing a paper round, but when I went to buy it, it had gone up by £1! So I just bought a guitar instead’.

Early influences for Olga were Dr Feelgood, Status Quo, The Pirates…

’Also listened to Slade, Suzi Quatro, The Sweet, Eddie & the Hot Rods and most of the early Punk bands, The Jam/Clash/Pistols’.

Since ’79 many drummers have been and gone, plus a few bassists, but the line up for The Toy Dolls in 2018 are Olga: Guitar & Lead Vocals. Tommy Goober: Bass & Vocals. The Amazing Mr Duncan: Drums & Vocals.

Olga and Duncan both live in London and Tommy lives in Germany.

Back in Sunderland during the late 70s Olga played in local band ‘Straw Dogs’ then formed The Toy Dolls…

‘Started in October 1979 and for a long time we just played locally around the North East UK. Then the Angelic Upstarts gave us a support slot on their UK tour, to whom we are eternally grateful.

In 1985 we met our manager, Dave (RIP). He got us gigs worldwide for the next 30+ years’.

When you were based in the North East where did the band record ?

‘At first it was Guardian Studios in Pity Me, Durham. That was where we always went from the beginning and for many years to follow. I think it was about £40 a day then, which was expensive for the early ’80s.

We recorded singles mainly, until 1983, when we recorded our first album Dig That Groove Baby’.

At a time when Eurythmics, George Michael and Spandau Ballet were regularly hitting top ten and the Band Aid single was number 1, The Dolls crashed the UK singles chart in December ’84 with a cover of ‘Nellie the Elephant’. It entered the chart at 16 and reached number 4.

They also filmed a music video for one of their songs at Penshaw Monument in their hometown of Sunderland. The band also recorded some TV appearances…

‘Yep quite a few. The usual pop shows in the UK like Razzmatazz, Top of the Pops and quite a few TV shows in Germany, Holland and Switzerland’.

Have you any funny stories from playing gigs ?

‘Ha, too many to mention. One story I will never forget is the first time we played in Sao Paulo, Brazil. A skinhead managed to climb over 4,000 people, through the security, got on stage and smashed me in the face, knocking my tooth out. And he was a fan can you believe!

He even came backstage after the gig to say how much he loved the show. No apology though!’

 After being involved in music for over 40 years what does music mean to you ?

‘What else am I gonna do ! Busy writing a new Toy Dolls album at the moment, and almost finished! “Music was my first love and it will be my last”…. Ha, pass me the sick bucket, though its true!’


Along with writing a new album, the rest of the year has a couple of live European dates in December including a sold out show in Geneva.

With a feature on the bands website ‘Ask Olga’ where fans ask questions about touring, records or Olga’s chewing gum – he’ll always be busy. Go on ask him!

Interview by Gary Alikivi   November 2018.

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DANCING IN THE MOONLIGHT with Sunderland musician Ian Munro


As a co-founder of the ’90s dance band Opus 3, Ian Munro (pic. on right) had a big hit in 1992 with ‘It’s a Fine Day’. But the song had an earlier beginning…

‘In the ’80s Manchester musician Edward Barton wrote and recorded ‘It’s a Fine Day’. I first saw him playing on live TV programme The Tube. The song was also played on Radio 1 but didn’t chart.

One Sunday evening at our studio in Sunderland I remembered that ‘Fine Day’ was acapella, so we sampled it and in about three hours it was basically done. We had no doubt it was going to be a hit !

The song reached number 5 in the UK and number 1 in the US dance charts with appearences on Top of the Pops, The Word, Jonathan Ross show, and performed live in Paris and Japan.

‘From ‘It’s Crucial’ a band I joined in 1984, to A.S.K. and Opus 3 my constant musical partners were Nigel Walton and Kevin Dodds.

We needed new vocals on ‘It’s a Fine Day’ so we recruited Kirsty Hawkshaw who was Kevin’s ex-girlfriend. We met Kirsty during our first stint in London.

Opus 3 was me on keyboards, Kevin was keyboards engineer, Nigel was the drum programmer, and our vocalist Kirsty was from Hertfordshire. We were signed to PWL records and Warner Brothers.

Kirsty had a good musical background. Her father Alan Hawkshaw had a long and distinguished music career. Playing with The Shadows, co-writing for Elvis, Streisand and popular TV theme tunes.

Her Mum used to run the UK Osmonds Fan Club and Alison Moyet lived next door.

During the ’90s we were in London when it was amazing. Living in the coolest city on earth heading towards a new millennium. It was a blur of musicians, clubs and parties’.


‘Our house parties at 131 Queenstown Road in Battersea had a balcony that overlooked the famous Power Station that Pink Floyd used on an album sleeve.

One very long night saw some excellent DJ’s grace the long counter in the kitchen. Those nights were magical even the police were okay with us.

The extreme was hiring a 2.5 k PA rig for a birthday party. Afterwards the system was cabbed back to my mates flat and along with a few DJs, went on till 10am when the hire company came to collect the PA.

But back then our music management were crap and contributed nothing to help our success. One was a real gangster and threatened to damage my fingers. They had offices in Soho and as their first group we were zero priority.

In a vicious meeting one of the managers who was semi-employed by PWL, sided with them and not us. After the disappointing performances of the singles and second album we were dropped.

Orbital sampled ‘It’s a Fine Day’. They spun it backwards and got co-writing credits. We only got 5k out of this. It was a bad deal.

British businessman and polo player Bryan Morrison became our publisher. He had worked with T.Rex, The Pretty Things, Pink Floyd and George Michael.

Morrison was the most arrogant man I’ve met. Part barrow boy and part Dracula actor Christopher Lee. He was financially drunk on George Michael’s huge success’.

When did you start playing gigs and what venues did you play ? 

‘Watching The Tube TV show coming from my home area made anything seem possible. At 15 I played my first gig at The Dovecot Arts Centre.

In South Shields we played at The Marsden Inn supporting a band managed by Chas Chandler.

As A.S.K we played at the South Shields nightclub Banwells. At large events we were billed with a wide range of bands like Blur, D-Ream, Ramones, dance/techno band 2Unlimited, Ace of Bass, the lovely girl group Eternal and rapper from the States – LL Cool J.

Then at a gig in the USA we were playing in a venue off Broadway in New York, where Moby was our warm up DJ !


What were your experiences of recording ?

‘1984 to 1985 we recorded in Desert Sounds in Felling near Gateshead and then went into Prism studio in Newcastle. We also had some home studio equipment.

By 87-90 we used various studios in London including Rooster 2, Pye studios, Matrix Maison Rouge and Mayfair. Then we built a mega home studio at The Elms, West Ashbrooke in Sunderland. Then back in London again we had our own studio in Brixton.

In 1989 ASK released ‘Kiss and Tell’ on EMI. We were signed to Capitol and MCA where we recorded Freedom We Cry in 1990. As Ashbrooke Allstars we released ‘Dubbin`up the Pieces’ in 1991 on East West records.

Opus 3 released ‘It’s a Fine Day’ and ‘I Talk to the Wind’ in 92. ‘Hand in Hand’ and ’When You Made the Mountain’ was ’94. These two from the second album were co-writes with Sunderland lad Martin Brammer of the Kane Gang.

Opus 3 released two albums. Mind Fruit in 1992 and Guru Mother 1994. In 1998 DJ Paul Oakenfolds Grace covered the Opus 3 record ’Hand in Hand’. That charted at 38 in 1997 so we weren’t a one hit wonder !

Have you any stories when you were in the band? 

Seeing Joey Ramone whilst in a health spa in a Finnish hotel or at breakfast after an all-night partying session in Pete Waterman’s studio there was a decommissioned missile in the TV room. Countless moments.

After a few early drinks in Clapham my friends and I returned to my flat before going to The West End to be met by a distressed Terrier dog. I took him home and rang the number on his collar to no avail and headed out to a club.

The next morning, I got a call from a woman with a Northern accent. She said ‘I am Vivienne Westwood (fashion designer) thanks for rescuing my dog’.

Opus 3 played The Supper Club off Times Square in 1994. Moby had remixed the second disastrous single and we all loved his single ‘Go’.

That night we got out of the limo and our singer Kirsty was dressed as a cyber Statue of Liberty. She looked amazing and upstaged onlookers the B52s and Miss Keir from Dee Lite. Madonna was invited but didn`t show’.

What does music mean to you ?

Everything, it’s my love and my torment ! I still play and write. Music to me isn’t work just complicated demanding fun that takes a while.

Would I like to change any mistakes made…Yes …Do I regret leaving a boring job as a Clerk ? No. Failing a dream is better than succeeding in a nightmare’.

Interview by Gary Alikivi November  2018.

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MARTYR TO THE NEW BLOOD – Def-Con-One are back & release new single


With a new line up, British metal band Def-Con-One, featuring ex Venom drummer Antton Lant have released a new single ‘Martyr to the New Blood’. Andy Mallaby bassist with North East deathcore band Osiah mixed and mastered the track in Colossus Studios in Newcastle, UK….

‘Fans and people in the music bizz have responded really well to the new track so I’m buzzing about that and can’t wait to get this band back on the road’ said Antton.

The band have been in the studio writing, rehearsing and recording tracks for the new album, as yet untitled. But promise this to be a killer from start to finish.

‘I’ve been working with Crol for quite a while now and it’s great to work with such a great player and talented musician. I can play guitar as well, so we hit the rehearsal room and jam out some riffs.

We have about twelve tracks for the album. They keep evolving and growing, nothing is set in stone yet. We are still tightening up on a few of them’.

Plans for future live shows include next year’s HRH Metal festival in Birmingham…

‘Last time on stage was HRH 2017 so funnily enough we are carrying on where we left off. There have been a few changes since then.

Since forming the band, the line-up has always been evolving and the chemistry between this line-up could not be better. It took a wee while to get everyone on board, but it was worth the wait for sure’.


Vocals Danny Hagar Jnr (vocals), Guitars Crol ‘Crolossal’ Dunn (guitars)

Brian ‘Sass’ Bell (bass), Antton Lant (drums)

New single Martyr to the New Blood’ out now.

Interview by Gary Alikivi    October 2018.

THE BOY FROM BENWELL with Film & TV Director, Bob Smeaton

‘You can play a hundred gigs and reach a thousand people. You can do one television show and reach millions’

When White Heat broke up in 1982, Tyne Tees art show ‘Check it Out’ filmed a half hour special on the band which Geoff Wonfor directed (later at live TV music programme The Tube).

The special was broadcast during February 1982 a week before their farewell gig at the Mayfair.

’When we told Geoff Wonfor that White Heat were splitting, he told us that Tyne Tees should make a documentary about the band. Geoff was able to convince them that they should do it and that he should direct it.

We filmed our second last gig at the Gulbenkian Studios near the Haymarket in Newcastle. What a lot of people don’t know is that we mimed a whole set of songs from our album In the Zero Hour and then mixed that in with film from the actual gig. So we in fact played each of the songs twice.

After we had mimed to all of those songs I had almost blown my voice out. Even though we were miming I still used to sing the songs. All the audio that was used in the documentary came from the album, none of it was live.

We also shot some stuff of me returning to the shipyards. One of the followers of White Heat has put it up on You Tube’.

White Heat. Circa 1978

White Heat (circa 1978)

The blog is heading for 50,000 views so a great way to mark this milestone is to feature Director Bob Smeaton. If you’ve ever watched the Classic Album series, caught a Hendrix documentary or any TV with big names from the music world on- Bob’s probably directed it.

Along with being nominated three times for an Emmy as director of music and arts documentaries, he’s a double Grammy award winner. In 2017 he worked with fellow Geordie, and ex AC/DC vocalist, Brian Johnson for the Sky Arts series A Life On the Road.

Before working in film and television, Bob was lead vocalist and songwriter with North East rock band White Heat. Signed to Virgin records, the band toured extensively and released one album and two singles. This is his story…..

‘When I was around fifteen me and my mates became obsessed with guitars. I couldn’t afford a guitar so I became a singer, it was the cheaper option. All you needed was a mic and you were up and running.

I was never going to be the best singer in the North East. But I had learnt a lesson that if you put on a show that helped hide any bum notes then you stood a fighting chance.

There were loads of great singers around at the time, Mick Whitaker, Dave Taggart to name but two. I was never going to be as good a singer as those guys and over the years rather than develop as a singer I was getting better as a front man’.

Who were your influences in music ? 

‘My dad had a large record collection when I was growing up. The first records that I listened to were his. I would have been around eight years old at the time. He had records by everyone from Slim Whitman to Elvis Presley.

I always loved songs that told stories and I used to love learning the words and singing along to their records.

I had no idea what any of the singers looked like aside from what I saw on the record covers. So as far as I was concerned there wasn’t a great deal of difference between the likes of Slim Whitman, Elvis and Tom Jones. They were just great singers who were singing great songs.

Then in my early teens I started hearing Tamla Motown on the radio and at my local youth club disco. Again, great singers and great songs.

But I still had very little idea of what the artists looked like as I very rarely saw them on television.

The big moment for me was when I started getting into rock music. This was the first time when the visual side became as important as the musical side. It all came together, the songs, the musicianship and the way the bands looked.

Even though I hadn’t as yet been to see a live gig. Just the pictures I saw in the music press, Sounds, NME and the Melody Maker was enough to get me excited’.

‘The first band that I saw performing live that had an affect on me were The Showbiz Kids. I was working as a floor waiter at the Scotswood Social Club and they were one of the bands that appeared.

What made them stand out was the singer, Rob Coyle, he grabbed your attention and demanded that you look at him.

Up to that point the audience in the club would pretty much ignore the bands until the end of the evening then they would all be up dancing. With Rob it was different, you had to watch him. He was like Mick Jagger.

And he made me realise that if you put on a show you would get the audience attention. I think Rob Coyle is not only one of the greatest front men to come out of the North East, but one of the greatest front men, period.

I saw him a couple of years ago fronting Dr Feelgood and he was still brilliant. Rob was a massive influence on me.

I remember meeting him for the first time and I was really made up that he knew who I was and had heard of my band’.

Was there a defining moment when you said ‘I want to do that’ was it watching a band or hearing a song ?

’Again, this comes back to seeing Rob Coyle and the Showbiz Kids. But the moment when I thought ‘I could do that and be a contender’ was when I saw The Clash at Newcastle Polytechnic.

Up to that point I had seen loads of bands, Zeppelin, The Who, Bad Company, all who had great singers but way out of my league as far as aspiring to be like them.

When I saw Joe Strummer I realised that with punk rock you didn’t have to be a great singer in order to make it. If you had the right attitude, then you were well on your way.

Strummer had attitude by the shed load, and he looked great on stage, you believed in him 100%’.

When did you start playing gigs and what venues did you play. Was it in the immediate area or travelling long distances and did you support name touring bands ?

’I started doing gigs with my first band Hartbreaker around the mid 70s. The band were, me on vocals, Bryan Younger on guitar, Colin Roberts on bass and John Miller on drums.

We didn’t want to play the working men’s clubs as we didn’t want to do cover versions and I wasn’t great at singing other people’s songs.

Therefore, we started writing our own songs and began playing gigs on the Newcastle pub circuit. The Bridge Hotel, Cooperage, Gosforth Hotel and Newton Park.

At the time our goal was to be as good as another local band, Southbound, they were brilliant and we got a couple of gigs supporting them. They are another one of those great North East bands that never ‘made it’.

I remember they once brought a demo that they had recorded to play to me when I was still living at home at my mam’s in Benwell. It was brilliant, if they had come from Alabama rather than Sunderland I am convinced they would have been as big as Lynyrd Skynyrd.

Hartbreaker built up quite a following, but it was still just a side-line to our day jobs. I was working as a welder at Swan Hunter Shipyards at the time.

When punk and new wave happened around 76/77 that’s when I started thinking I could possibly make a career out of music. The doors had been kicked wide open. By then we had changed our name to White Heat and had added an extra guitarist, Alan Fish’.

What were your experiences of recording ? 

‘Around 1976 we had acquired a manager, Brian Mawson, who also managed the record department of Windows music store in Newcastle. Brian got us studio time at Impulse Studio in Wallsend.

I would nip up the road from the shipyards at lunchtime and lay down a vocal while in my overalls then head back to work.

I never enjoyed the studio as much as I did the live gigs. In the studio there was no place to hide any dodgy vocals. White Heat were much better live than on record.

Mond Cowie (ex-Angelic Upstarts) also worked in the yards and I remember him telling me that he was quitting his job to go full time with the band. I was really jealous.

I hated the yards but it was something to kick against and a lot of my lyrics were influenced by working there and wanting to get out of the place.

White Heat released an independent single called Nervous Breakdown which we recorded at Impulse, it was produced by Mickey Sweeney.

Mick produced everyone who came through the door at Impulse, from the Angelic Upstarts to Alan Hull. He was a great guy and full of enthusiasm for the band.

The studio was run by a guy called Dave Woods. Dave like Mick loved the band and around this time set up Neat Records.

I thought at one time we might have ended up on Neat Records but instead we released Nervous Breakdown on our own label called Vallium.

The record did really well in the North East and we started attracting the attention of the major record labels. I quit my job as a welder and became a full time musician. It was the best decision that I ever made.

We eventually signed a deal with Virgin music publishing and Virgin Records. We toured with the likes of Judas Priest, the Vapours and did the odd gig supporting amongst others the Climax Blues Band, Gen X, Split Enz and the Tom Robinson band’.

By 1981 the band had released their 10 track album ‘In the Zero Hour’…

‘When we were recording parts of In the Zero Hour at Rock City Studios which is in the film complex of Shepperton Studios, James Cagney was there filming the movie, Ragtime.

I went into the canteen one day and saw him sitting there having his breakfast. I asked one of the production people if I could go over and say hello to him. I was told he wasn’t feeling too good and maybe I should ask again tomorrow.

The next day he didn’t turn up. Ragtime turned out to be his last ever film. I wish I had got to speak to him as he died shortly afterwards.

But it was great to see him in the flesh. If anyone ever asks me who my favourite film actors are I always used to say, Elvis Presley, Stan Laurel and James Cagney’.

Did the band have any help or supporters ?

’We were really lucky in that I became great mates with a guy called Geoff Wonfor who was a television director working at the BBC. Geoff would make film clips of the band and get these shown on the local BBC channel.

This helped the band reach a wider audience and soon we were playing bigger gigs. By now we were playing places such as the Mayfair.

I loved doing television performances, just to see yourself on the telly was such a buzz. Nervous Breakdown did really well, and we were hovering outside the national charts.

If we had made it onto Top of the Pops I am convinced we would have been massive, but we only ever did local television.

In the TV documentary there is a backstage scene of the band getting together and shouting ‘Nice one’. Was that a pre-gig ritual or a set up just for the camera ?

’We used to have a roadie called Paul Elliott who when we came off stage would always tell us that the gig had been a ‘nice one’. Regardless of how good or bad we felt it had been, that always made us feel better.

We adopted that line, and it became part of our pre-gig ritual. It was a bonding thing, always raised a laugh and was a good way to loosen up the vocal chords.

We used to come on stage to the theme song from the James Cagney film, Yankee Doodle Dandy, that was because I was a massive fan of Cagney and he was once in a film called White Heat which was another connection’.

White Heat at the Marquee.

White Heat live at The Marquee, London.

Looking back what do you think of the Bob Smeaton then, and have you still got the white jacket you wore on the documentary ?

’I watched the Check it Out documentary when I was writing my book. I thought I came across like a right cocky bastard. But I was young and I was cocky and I thought I looked great.

I even thought that the white jacket looked great, but not sure it quite went with the braces!!

I no longer have the white jacket. I threw it into the crowd at the end of the final White Heat gig. A bit like a cowboy hanging up his guns.

I still get asked if I can still do the press ups that I used to do during the solo of Nervous Breakdown – and I can. But I feel a bit knackered afterwards.

If anyone looks at the Nervous Breakdown clip on You Tube they will notice that the performance is all captured in a single shot, there are no edits in it.

Geoff Wonfor was on stage with the cameraman, and I would push the camera in the direction of where I thought it should be filming. That was all spontaneous and it’s a great clip.

In fact, I would probably go as far as to say that Nervous Breakdown is the best song that White Heat ever wrote and that along with that video clip pretty much summed up what the band was all about.

It was a strange dichotomy with White Heat. I never wanted us to be considered a ‘local band’ I wanted us to succeed on a national level but so much of the success we did achieve was because of the following we had in the North East.

We did do a number of gigs in London, but we really should have moved down there if we wanted to really grow a fan base.

But we were all local lads and maybe the desire to make that big step wasn’t present within all the band members’.

Have you any stories from playing gigs ? 

‘I have just written my memoir which is coming out in November, and I have written about touring with the band. Those were the best days ever; they were not so much funny as really exciting. Touring is the best thing in the world.

I have been fortunate to have made music my life, but nothing compares to performing with a band. White Heat went from playing to fifty people at the Bridge Hotel to selling out the Mayfair at our final gig playing to 2,000 plus.

I really miss performing live, the size of the crowd is secondary. It’s as good performing in front of a hundred people as it is two thousand.

I have done both in fact we once played a gig just outside of London to eight people. That’s the smallest crowd we ever played too. The biggest crowd was probably around three thousand when we were supporting Judas Priest on tour and played Sheffield City Hall’.

After White Heat did any other bands enquire about you as their frontman ?

’After White Heat split I didn’t want to join another North East band I always felt that would have been a come down. I moved to London for six months and joined a band called Agent Orange who were made up of ex members of the mod group The Chords, along with Mick Talbot who used to be in the Merton Parkers and then later formed the Style Council with Paul Weller.

I recorded almost an albums worth of material with Agent Orange, the studio time was paid for by Polydor who The Chords used to be signed with.

Polydor were keen to sign the band and we were in the process of arranging some gigs so that they could see the band live. But I bailed out as I missed being home in Newcastle.

The lads in White Heat were my mates. The Chords were not really my mates. I wanted to ‘make it’ but not at any cost.

Those days with White Heat were the best times and I wouldn’t change it for the world. Also I felt we split up at the right time’.

Version 5

What does music mean to you ?

’It sounds like a cliché but music changed my life. If I had not become obsessed with music, I don’t know what would have become of me.

I have been many things, an actor, television presenter and now a director of music documentaries. But this all came about through my love of music. It has been the gateway to everything that I have done.

I still love seeing live bands and hearing new records. There is so much great music around now, you just have to sift through it to find the gems. A good song and a good singer, that is still my yardstick’.

What are you doing now and are you still involved with music ? 

I was really fortunate in that thanks to my friendship with Geoff Wonfor I got involved in making music videos. This led to working on a great number of music documentaries.

For the past twenty-five years or so that is pretty much what I have been doing. I have been lucky to have worked with a number of the bands that I grew up listening too. The Who, Pink Floyd, The Rolling Stones and The Beatles.

My background in music, and having played in a band has been a great help when working with those people. They realise pretty early on that when it comes to music I seem to know what I’m talking about.

If any young kids read this and are thinking about playing music, I would say go ahead and do it. You have got to get out of your bedroom and start playing music with your mates. It’s one of the best feelings in the world.

Even if you don’t ‘make it’ just to walk out on stage and perform in front of an audience is something that you will never regret’.

Bob Smeaton memoir ‘From Benwell Boy to 46th Beatle…and Beyond’ out now.

Interview by Gary Alikivi October 2018.

For more Tyneside stories why not subscribe to the ALIKIVI You Tube channel.