A dozen teenage metallers from South Shields dressed in bike jackets, denim and long hair jumped on a coach to travel 200 mile south of Tyneside. In honour of our Viking ancestors we burned down the highway, raised mighty hell and invaded… Stoke on Trent.
The Heavy Metal Holocaust was on 1 August 1981 at Port Vale football ground, but from the off the neighbours tried to get the festival banned. The Stoke council gave the go ahead after the promoter offered a free coach trip to Blackpool for elderly residents.
In the first issue of Kerrang, the all-day metal extravaganza was originally planned for Milton Keynes Bowl, in what would have been the first of two shows at the Bowl that year.
Rock at the Bowl on 8 August ’81 featured headliners Thin Lizzy, the Ian Hunter band and the mainstream sound of Judie Tzuke and Q Tips. Reviews say the gig was poorly attended.
A full page in Sounds had Black Sabbath and Motorhead advertised as double headliners at Port Vale on Saturday August 1st – with a monster PA in tow.
A ‘major band’ was to be announced with rumours circulating that Ted Nugent was being added to the bill – now Ted isn’t exactly the Ken Barlow of Metal so backstage refreshments with Lemmy and Ozzy might get messy.The Nugent rumour appeared in the first issue of Kerrang, but it was just that, a rumour, and the eventual axeman who played on the day was Frank Marino & Mahogany Rush.
A week later Sounds ran a story that Sabbath had pulled, and a full page advert read Ozzy Osbourne’s Blizzard of Oz had stepped in. No surprise a deal had been struck as that summer Motorhead were opening for Ozzy on a North American tour.
But with only one album behind the former Sabbath frontman, the band might have to rely on old Sabbath favourites to stop a (crazy) train wreck coming down the track ?
Why did Sabbath pull out ? Tony Iommi doesn’t talk about it directly in his biography, but he mentions that summer the band were in Los Angeles recording new album Mob Rules, the follow up to the very successful Heaven & Hell.
The day was propped up by NWOBHM band Vardis, on stage they were hot, frustrated and looking for a groove. But as the gears began to click, suddenly it was all over, while out in the field the disciples gathered around the stage, sensing something special was in the air.
Then up came two Canadians and one American band fighting it out between each other. The slick American rockers Riot glide through their set with guile and finesse. Next up Triumph searched for magic only to get caught in the crossfire and manage to hang on bravely during the bottle wars. A solid performance from Frank Marino earned a glowing respect from the sweltering hordes gathering at the altar.
As the sun set the High Priest of Rock n Roll, Lemmy, invites Ozzy and Randy Rhoads to plug in for the ride and amp it up high and loud. They leave no room for doubts delivering a blistering set, a crazy train rumbling down the line, hot enough to light a bonfire.
Then an eerie silence falls and dark clouds gather overhead while lights spark in the night sky. Through the smoke headliners Motorhead arrive and steal the show opening with Ace of Spades – but the night belonged to Overkill.
Research: Sounds, Set List, Kerrang & UK Rock Festivals.
Heavy Tales is the story of how one American couple who ran a flea market stall, helped create the golden era of Heavy Metal and released the most important albums in its history.
Marsha Zazula and husband Jon founded Megaforce Records in New Jersey, USA in 1983, and were instrumental in the careers of Metallica and Raven.
By the early ‘80s Raven had released two albums ‘Rock Until You Drop’ and ‘Wiped Out’ on the Neat record label based in North East England. But when Neat got a call from Zazula, Raven knew their future was Stateside not Tyneside.
Zazula has documented the story in his new book where he remembers listening to Raven’s first album Rock Until You Drop.
‘That album was recorded for about 1,000 pounds with a group of the greatest fucking musicians. You’ll hear the greatest jam, grooves and change up’s.I saw a number on the back of the cover and called David Wood, head of the label’.
I asked Jon if he can remember meeting Wood.
‘Yes the mastermind. This man had the key to the pulse and Neat records was his Kingdom. He came to the US and stayed at my home and we discussed the breaking of Raven and Venom in America’.
‘Venom were a crazy lot. They stayed with me in the States. Abaddon burnt down my kitchen and Cronos ate my glassware. There was blood and glass in my sink from when he spit it out. Mantas was quiet but always held the centre. No Mantas no Venom. But he had two maniacs at his side’.
Around this time, Zazula unexpectedly received a demo tape from an unsigned band.
‘As soon as I heard it I was blown away. I thought this was America’s answer to the NWOBHM.When I came upon Metallica it was like mounting a lightning bolt’.
‘We also worked with Raven on releasing their album and had them headlining a summer tour with Metallica. When Raven hit the stage nothing can compare. They tore it up. I can honestly say that Raven were heavily on the rise. When they toured with Metallica as their opener, they were still able to maintain headline status every single night’.
‘The Raven/Metallica tour was a success. We sold a lot of band merchandise and people took notice. Raven and Metallica played an amazing show in Chicago which we filmed in case they would ever use it for promotion’.
‘I spent some time in Newcastle. I stayed in a flat with Raven drummer, Rob Wacko Hunter. I was fortunate to meet John and Mark’s (Gallagher) parents. They were wonderful people’.
Zazula remembers offering the bands a place to stay when they were out on America’s east coast gigging.
‘There was a point when Raven, Venom and Metallica were all hanging at Casa Z ! I was trying to work in the basement with my desk surrounded by sleeping bodies snoring away’.
In 1983 Megaforce released Metallica’s debut album Kill ‘Em All and became the label in America for Heavy Metal. The book also includes stories of managing and releasing albums by Anthrax, Ace Frehley, Overkill, Ministry and more.
HEAVY TALES: The Metal, The Music, The Madness.As lived by Jon Zazula – out now on kindle or paperback.
As a mark of respect this post was held back due to the death of Marsha Zazula, on 10 January 2021. Rest in Peace.
On line interview and book extracts by Gary Alikivi December 2020 & June 2021.
The last 17 months have been surreal, I don’t want to live my life behind a glass window and frightened – I’m double jabbed and ready to rock n roll said Leah as we sat down in The Centurion bar in Newcastle Central Station.
I got a call from Ed Waugh ‘Would you be interested in putting on Dirty Dusting at Whitley Bay Playhouse for a week ? I saw it around 20 years ago when it opened so was interested in picking it up. He sent me the script and I thought I’m not learning all this for one week.
So I asked Ed and Trevor Wood (Writers) if I could make a few alterations to make it more current. Well Ed had been to review our pantomime at Consett Empire and had seen me do other variety shows so he knew I was comedy based. They said ‘You know what’s working when you’re doing it – go ahead’.
So I pushed it along and here we are with 31 dates on our ninth tour. It’s a sign of a good play when it can last as long as it has. I hope to start touring at the end of September, I love getting up and setting off to the next venue.
WE ARE FAMILY
The meeting of the cast for the photo call and press launch was in my niece’s dance studio in Bedlington where I live, so very handy to pop in to my house, the restaurant and the pub. It’s very important that everybody gets on and gels – they did and we had a great time.
Dirt Dusting starts in Blyth Phoenix and for all the dates the cast go into a theatre family. We have Vicki Michelle (Yvette Carte-Blanche in Allo, Allo) still a very glamorous lady, and Vicky Entwistle (Janice Battersby in Coronation Street) just so funny.
In the past young people have told me they brought their gran to the show because they thought they would like it. But it’s the young people who like it, one girl said to me ‘I never went on my phone once’. What an accolade (laughs).
I just hope people are not frightened to come back to theatre because at some point we have to make a decision how we are going to live the rest of our life. If people want to come into the theatre and keep a mask on fine, it might be mandatory anyway.
When I was 12 year old I was putting play’s on in the backyard roping in my school friends and hanging my mother’s sheet up as the backcloth. Nobody in our family had any connection to the entertainment industry so I don’t know where it came from, my mother couldn’t understand it. I didn’t go to stage school, I was more academic and looking at being a teacher or a lawyer, but somewhere, somehow, I wanted to be on stage.
I was born in Benwell on the banks of the river Tyne, I didn’t come up through Jesmond when everything is there for you. I came up where you learned to survive and work. My brothers and sisters were the same – cut from the same cloth. From my experience I think North East women are strong.
At 15 I started for Beverly’s Agency in the North East. The working men’s clubs is where I learnt my craft. And I’m eternally grateful. The clubs were different back then they were always a discerning audience. The men didn’t go in the concert room if they didn’t have a suit and tie on.
I think that background stood me in good stead for working in showbusiness. Especially when I moved out of the North East into more of a national market, you realise it’s a tough industry. You can’t be easily knocked down.
I was very happy going into places doing what I felt I have to do – entertain. I started off singing but because the audience in clubs are close to you, and some aren’t adverse to talking to you, I learnt how to speak to them on a personal level. I didn’t realise at first but it translated into comedy, and from that I won club and stage awards.
I went on a summer season in Jersey and from there Ken Dodd put me on his UK tour in the early ‘70s. He used to stand in the wings which is very disconcerting. When I came off stage he would say ‘You’re timing that gag wrong, this is how you time it’. So I had for free, one of the best teachers of comedy. If I’m writing a gag or a comedy sketch his words on timing echo in my ear.
Ken Dodd put me on with him at the Victoria Palace, London when I was young and I’m glad because when you’re young you’re brave. I never thought if the London people would understand me. Will my approach be acceptable in the West End ? I just went on and did my act and spoke to people.
OH YES HE IS
I worked with Bobby Thompson a lot, he was a nice man. His act was of its time, the poverty, the war – very funny. We done a panto in Newcastle Theatre Royal with David Jason (Only Fools and Horses). Being in the North East was like being sent to the Antarctic for him ‘Blaady ‘ell’ he’d say in his Cockney accent (laughs).
David didn’t know Bobby Thompson at all, Bobby never rehearsed with us, there was no interaction. So Bobby done his Cabaret piece at the start of act two, and afterwards backstage would shuffle around saying hello to people. David used to say to me ‘What a shame for that old fella, fancy having to work at his age, I’ve just give him some money for a cup of tea’. I said ‘What ! he gets dropped off in a limousine (laughs)’.
One night David said ‘He’s never in the finale, it’s nice of the theatre to let him go early he must be tired’. Really Bobby was doubling up and playing the late spot at Newcastle Mayfair. Bobby had great delivery, clear, distinctive and not draggy. It can sound like he’s just talking along but it’s not, it’s very precise. He was a one off.
SHOW MUST GO ON
But there has been low times like when I was doing final rehearsals for a touring show that was just stopped completely because of what happened in New York on 9/11 – the show just didn’t go ahead. But if the theatre permits it I’ve always gone on after terrible events.
When Princess Diana died I was in Jersey, and you could tell the mood of the island and all the holidaymakers, the whole world was watching news 24/7. It was decided that nothing would proceed that actual night, but from the next day it would carry on.
We were doing a fabulous ‘50s and swinging ‘60s show, I would do the opening and make a remark about it and say we need to carry on. The audience applauded that and relaxed into the show. It was like people were waiting for it and wanting us to acknowledge what had happened.
When I used to work on the cruise lines I was on the Canberra and we would be doing the rota, and none of us wanted to go on stage after we had stopped in Jerusalem. When the tourists got back on board they were very sombre and serious because they had been on a religious tour. We felt we would be far too flippant for them after they had spent the day there.
TURN BACK TIME
If I could go back and change anything I would like to have in my thirties the frame of mind I’ve got now. When you go through showbusiness you really have your heart on your sleeve all the time, you are trying to please everybody and doing what you think they want you to do.
I worried about performances when working for people when really I should have just enjoyed it more. I should have made more of the opportunities rather than worry about them. As I say to all the cast before they go out to do any show ‘Remember above all, try not to be shite’ (laughs).
An old lady stopped me on Bedlington Front Street the other day and said ‘Leah are you gaan on at the Blyth, cos we’ve had our tickets cancelled from the Christmas show.
I said ‘yesI’m going on’. ‘Good’ she said ‘we’re glad to be gaan oot cos we’re sick of stopping in’.
I walked off saying ‘If the theatre is shut, I’ll do it in the car park behind ASDA’.