THE FIXER – in conversation with former Impulse Studio and Neat Records owner David Wood

The next person to feature on this blog was owner of probably the most influential independent heavy metal record label in the 1980’s, a label that spawned Chief Headbangers Raven and Venom, who were major influences on the multi-million selling Americans, Metallica, Anthrax and Megadeath.

So what was he like ? Was he the Don Arden of Tyneside ? Am I to be flown out by private jet to a yacht on the French Riviera or picked up by a chauffeur driven Rolls Royce and driven off to an exclusive restaurant ? Sadly no, it was just a misty September morning when I nipped on a ferry, crossed the river Tyne and taken to a café in North Tyneside by a man wearing a fez.

What or who inspired you to start Impulse Studio ? When I left school I ended up as a Park Keeper in Wallsend Park then found a half decent job as a Technical Assistant at Proctor and Gamble. I was there for 3 year, it was well paid at £11 a week so I had a few quid to go out on a Friday night with me mates, but I couldn’t see myself staying there. For a 21st birthday present off my parents I was given a ticket to go to America on the Queen Mary.

While sightseeing in New York I came across this recording studio called Talent Masters. I went in and got talking to a guy who worked there called Chris Huston. I found out he used to be guitarist in The Undertakers from Liverpool. They had a hit record but he left the UK to be a tape technician in the studio. I’d always liked music, my instrument is the piano while not much of a player, but was really interested in this studio.

So when I returned home on the Queen Elizabeth ship I began to play around with a bit of sound recording. At that time a teenagers club was open in The Borough Theatre in Wallsend called The Manhole. This was around 1966 and people were listening to The Beatles and locally The Animals had made their name. It was a great meeting place was The Manhole, graphics painted on the walls, flower power you know, and a lot of good bands played there. That’s where I really got interested in the music scene. There was a similar place in Tynemouth called The Cave which was underneath The Gate of India Restaurant. (There was also a teenagers club in Beach Road, South Shields called The Cellar Club run by Stan Henry and his mother. Stan later opened The Latino and The New Cellar Club where Cream and Jimi Hendrix played).

cellaradvert

Advert for the opening of The New Cellar Club, South Shields. Taken from The Shields Gazette December 1967.

Yes I used to go to The Cellar. I’d drive to the ferry at Howdon, get on there with my car, you could in them days, then get off at Jarrow. It was a great building I think it was in the basement of their house where Stan’s mother ran the club. South Shields and Sunderland had their own places to run music from, it was great. I ended up doing some work for Stan, we ended up doing his sound equipment and for a lot of other people to keep the business ticking over.

In the Manhole club I met a band called The Chosen Few, and in them were Alan Hull, Alan ‘Bumper’ Brown on bass, singer was Rod Hood, guitarist I think was John Gibson and keyboards was Micky Gallagher who eventually played for The Blockheads, and he’d also played in The Animals when Alan Price left. They were really good and had a recording contract with PYE records. They recorded down in the West End of London at Radio Luxembourg studios. They put a couple of singles out.

Going back to The Manhole Club, that just shut one day and never reopened. I don’t know why maybe someone out there knows something about that. The Borough Theatre was built in 1906, it was a music hall at first, then a cinema, then a bingo hall. I got to know the manager and asked him for some space to run a studio. The studio was in the dressing room and the entrance to the studio was through the old stage door. There was a little booth where the doorman would of sat, well before our time (laughs).

How did you develop the space into a recording studio ? Literally built it up from scratch Gary, it took years to get it all done. At first we used egg boxes for sound proofing then bricked up all the windows. Anything was used for padding because we never had enough money then and at first we only had a mono then a stereo studio. We then purchased a 4 track, then an 8 track, eventually a 24 track machine but this was done over 10 or 12 years. This was all by the 1980’s and by then we had the run of all the building and moved the studio to the top floor, which wasn’t very popular with the bands as we had no lift. Eventually Impulse Studios were on all 3 floors.

What bands did you record and who did you get in as sound engineer ? One day I bumped into Alan Hull (Lindisfarne) by then The Chosen Few had split up, he was working as a nurse at St Nicholas Mental Hospital and still writing songs so I invited him down to record some. Impulse at that time recorded local bands. We were a progressive studio and probably recorded most people in the region who sang and played at one time in their careers. Everything then was recorded onto quarter inch tape. At that time we started to organise pressing records.

Sound engineer was Micky Sweeney, a great character, really popular with everyone. I used to do some recording as well. Micky ended up working with Lindisfarne who were born in the studio because it was there that Alan Hull got together with various members of Downtown Faction. They played together and got to know each other and it all came together.

You recorded an album with North East comedian Bobby Thompson, how did that come about ? I knew his manager Brian Shelley and he said Bobby is doing really well around the clubs do you fancy recording him ? I thought yeah we’ll give it a go. So we recorded him in Rhyope Poplars Club and Newcastle Mayfair. This was around 1978. It was around an hours recording that we put out and got Vaux breweries to sponsor it, ironically Bobby didn’t drink then and there he was on a promo poster with a pint of beer.

Soon as we put the record out it took off, they couldn’t get enough off it, straight to number one in the local charts. Every shop was selling bucket loads. It was phenomenal. Nobody could of appreciated the way it took off like it did, he even appeared on the Wogan show. But his humour didn’t travel well, he was shy of being in other places but up here in the North East he was absolutely fantastic. He could relate to the man in the street up here – the debt, the poverty, the wife and the war, he was incredible really.

With the label doing well, was Bobby responsible for Neat records ? Ha ha well with the profits from Bobby the studio came on in leaps and bounds in no time at all, so yeah we’ve got to thank him for it. We started Neat records as an alternative to what we were doing. A couple of early singles and one by a band called Motorway which was pop, not heavy metal, then a song by Jayne McKenzie written and engineered by Steve Thompson. Then Tygers of Pan Tang, Raven and Fist came along and suddenly we’ve got what became a New Wave of British Heavy Metal. Venom added to that and before we knew it we’ve built up a library of metal records.

Was there any rivalry between the top four North East metal bands – Fist, Raven, Venom and the Tygers ? Ha ha yeah they probably hated each other. No, listen, musicians are very much their own people you know. I don’t blame them. If they are the guitarist they are a ‘great guitarist’, you can’t perform in front of a dozen, hundreds, or thousands of people if you haven’t got an ego. You couldn’t stand on stage if you are a wimp, you’ve got to have something about ya – and they all do.

For Venom, first gig they played was at a church hall in Wallsend and they decided to have pyrotechnics and smoke. That all went off at the start and that’s the last we saw of the band for the whole set – they were playing behind a screen of smoke.

Did you deal with any managers or did the bands represent themselves ? I dealt with Raven directly but some of the bands had managers. One of them was a butcher (laughs) then Venom ended up with Eric Cook who really worked hard for them.  He was very enthusiastic and got a lot of things going for them. Thing was he had no experience but nobody else did really with this New Wave of Heavy Metal, it was all new. And that is something to remember about that whole scene, they were trying to play and we were trying to market, we (Neat) were all on the same level. We were balancing the recording, arranging tours, marketing, it was all interesting times, sort of in development, and some nightmare situations.

How did recording on the Neat label work for bands ? We did singles at first and they were tasters trying to get some interest, get picked up by bigger labels, that sort of thing. Some of them would end up on compilation lp’s later and some of the early Neat stuff were the demos. The first Raven album went into the national charts which was a surprise to all of us. But that was the progress we were trying to make.

How did Tygers of Pan Tang end up on MCA record label ? MCA were interested in the Tygers first single and put it out on their label which put the Tygers in a position to sign an album deal. Through their enquiries I got to know Stuart Watson who was head of A&R so I took the whole Neat project to MCA. They ended up recording albums by Fist and White Spirit. But MCA didn’t get their teeth into what we were doing so it all came back to us. It could have gone further but major companies are looking for big numbers, they didn’t want to sell 5,000 albums they wanted to sell 50,000 albums. We would have been happy to sell 1,000!

If you did sell that many how would the profit be used ? It would all go in the kitty, we wanted to progress the studio and the label – but we didn’t have any Lamborghini’s you know.

How did the label work for Raven ? We ended up doing 3 albums with them and took them to America and worked with Johnny Z at Megaforce Records based in New Jersey. They did some touring over there and Neat were managing the band at the time, paying them a retainer every week. When they came back the band had signed with the Americans. ‘Thanks for telling us’ I said, but hey that’s all in the past and we came to an agreement to release I think a live album over there.

Was that the bands natural progression to go to a bigger label ? Yes I suppose that’s fair comment to say that. We had gone as far as we could as basically a smaller outfit. I liked the band, I liked the idea of a 3 piece because it makes it easier to ship around. A 5 piece band can be much more challenging to get around on tour and in the studio.

Did the label have contacts to sell records in other countries ? We tried to get like-minded people in European countries, Holland, Italy etc, to do that but sometimes it was hard. A lot of time was spent trying to get it up and running but perhaps the label never reached it’s full potential. We sold to local record shops in the North East but a good outlet was actually mail order.

How does it work for a band if they released a single in say 1980 and the track ends up on a compilation album years later ? All the contracts were given over to Sanctuary and they had a section to deal with all the necessary releases.

What were Neat paying for as in terms of recording and tours ? We would put money up for tours and we once bought a tour bus for Fist, which was a big mistake cos it got wrecked inside. Their first single was ‘Name, Rank & Serial Number’ and ‘The Wanderer’ came much later, Status Quo ended up doing that, sounding very similar. Doing a more commercial song is a way in. Again I liked Fist and thought they had great potential, Keith Satchfield is a great singer and songwriter.

But just managing it all, controlling it all was a nightmare. There wasn’t a bottomless pit to fund it and you just try your best with the resources. What was surprising about bands playing in the UK was there wasn’t many chances to play on the big festivals, England was a hard place to play. America and Europe was mainly where the market was. I remember Holland was a good place for the bands to go.

Neat released a lot of singles would that have put the label in a good position ? Yes it helped the studio, marketing etc when the next single or album come along to record and promote.

Was there a time when Neat weren’t in a good position ? Yes often, I remember one time a band wanted to go on tour and it was £4,000. A lot to lay out because you don’t get it back cos the band don’t make much playing live. There was a lot of costs involved with going on the road.

When did Neat records fold ? Jess Cox (former Tygers of Pan Tang vocalist) got involved and we set up a separate label called Neat Metal, we put a different catalogue together, started licencing from different labels – a different approach to it. At one time we didn’t have any of the original Neat stuff on the catalogue. Eventually Sanctuary Records came in for the label and did some re-releases. A lot of independent labels have been moved around over the years.

With that I checked my watch and time was getting on so we agreed to meet up again soon where Dave will tell more stories about Impulse Studio including Cilla Black, Joan Armatrading and Sir Lawrence Olivier.

Interview by Gary Alikivi  September 2019.

 

HEED’S DOON – with John Gallagher from Chief heabangers RAVEN

By 1980 Raven had released their first single on Neat Records. The Gallagher brothers – the original pair not the lot from Manchester who wanted to live forever – made their way out of the North East …For young lads like us there was only two ways out of Newcastle…..and we weren’t good footballers.

They began slogging the hard yards and laying the foundations for speed metal…It all changed when we made contacts in the US and did our first tour with a young rag tag outfit called Metallica opening for us.

Was there a plan in the early day’s – gig loads, buy a van, get signed ? The running joke was ‘C’mon let’s git in a van and gan doon  t’ London!’. Slightly impractical! We did quite a few one off support gigs. It was in the back of the truck, drive down to London, play the Marquee with Iron Maiden and drive back straight after the gig.

We just worked, playing shows, writing songs. One thing we’ve never had is a lack of song ideas. Often a riff from a sound check turns into a song. Getting the Neat deal changed everything totally. We had worked hard for years so when the opportunity arrived we dove in head first.

The other main bands on the Neat record label were Fist, Venom and Tygers of Pan Tang. Was there any rivalry ? No. We actually got on well with all of them. There was some passive aggressive crap with Venom where we thought time, resources and money were going to them, and they thought they were going to us….of course the money went elsewhere (laughs).

Did you ever play on the same bill ? We actually played two shows with the Tygers. A show pre-Neat at the Guildhall in Newcastle and a show in Wallsend which was John Sykes first gig with them. We also did at least one show with Fist at the Mayfair and a few with White Spirit. All great lads.

Raven went on a UK tour with Girlschool in 1982 where I saw them at Newcastle City Hall… Aye a 27 date ‘City Hall’ type venue tour of the U.K. was very, very good for us. Their crew treated us well and we got on great with the girls. I ‘ave no idea how it came about but we had done a few shows with Motörhead, and Girlschool had the same management.

Was it a good match up in terms of style and audiences ?  It was a great fit and a great opportunity for us, they were at their peak.

Did you have any warm up routines before going on stage ? No I never bother with all the ‘la la la la la LAH’ vocal stuff. I just do it!

Did you play any festivals in the UK ? Festivals (laughs). Well we did the Wrexham festival with Motörhead and Twisted Sister. The only other rock festival then was Reading and that was a bit political I guess.

Did mainland Europe have better attended gigs or a more organised set up than UK ? Probably both. But it was the fervour of the fans that was surprising. We knew basically in England the further South you went, the fans were more reserved and thankfully that’s kinda gone by the wayside these days. But our first gigs out of the UK were in Italy and Holland…and they were just NUTS!!!

Have you any stories from meeting other bands while on tour – in motorway cafes, gigs in the same town, and you must have come across Lemmy ? Jeez.. actually no! We did run into Fast Eddie Clarke at some motorway cafe back in 2005. But that was it really.

Nearly 40 years since the US tour with Metallica. Did you ever think Raven and Metallica would still be playing in 2019 ? If back then you had told me Metallica were gonna rule the world as they subsequently did, I would have been doubtful. But they evolved fast.

It was great to get to play a stadium show with them in São Paulo a few years back and hear James (Hetfield) tell the crowd how much they appreciated Raven taking a chance back in 1983 and taking Metallica on tour with them. That meant a lot to us.

What was the impact of that tour for both bands ? Well we saw the opportunity and how huge the US really was. We knew this was where we had to be to move forward and escape the ‘indentured servitude’ at Neat.

The tour had a huge impact on us and on Metallica. Their first tour, they soaked it all up and learnt. It really was a hell of an experience !

EGW3gCDXkAAYcOd

Has there been a ‘magic’ moment on stage or in the studio when you thought ‘This is what I should be doing’….Every. Single. Night. We have given blood sweat and tears to do what we do and feel humbled and fortunate to be able to do what we love. Plus to be able to travel the world to do it!

We know we are better at it now and more importantly appreciate it more. We have a new album ready for early 2020 release and are gearing up for lots more touring!

For more info contact the website:  http://www.ravenlunatics.com/

or follow them on Twitter @official_raven

Interview by Gary Alikivi September 2019.

 

ALL FOR THE RECORD – with Jack Meille, vocalist with Tygers of Pan Tang

18268151_10155304973048967_6771520490438916733_n

Music is life. It showed me I could follow my passion and make it my job. I’m a lucky guy.

Is there a country you haven’t played that you would like to ? Australia! That would be a dream come true.

How did you get the job with the Tygers ? In the past I have been lucky not to have had to audition for a band. Firstly, I was contacted by a Swiss management company who said a British band are looking for a new singer. Without knowing the name of who it was, I sent my CV and recordings from the album released by my band Mantra. So when I got the confirmation it was the Tygers and they wanted to audition me, I said to myself ‘Why not? Let’s do the first and hopefully, only audition of your life’. I went to Darlington on November 4th 2004 ….and got the job!

60247638_10156410481504639_855498979318693888_n

Is there a good balance of characters in the band ? It’s a five piece band and we all have different characters, more important, very different musical taste’s. This is a bonus but sometimes it’s not easy to combine everyone’s point of view on a song, if you know what I mean. We are all very passionate when it comes to Tygers songs.

You just recorded the new album, how did that go ? It was tough, but rewarding. We were force to delay the recording twice because we didn’t feel we were ready to record. It wasn’t an easy decision to take but the best. The 11 tracks on the new album are the best we could ever record. I know it sounds like a cliche, but after all the hard work, we’re all very proud of the result.

How did you get on with the producer and former Tyger, Fred Purser ? I personally enjoyed every moment spent in the studio with Fred. He is such a talented guy and made me feel at home. I only had 6 days to record, and believe me it’s not very much when you have to record 11 songs plus a couple of bonus tracks. But I made it and have to thank him for that. Also we discovered we have a passion for craft beers. So after recording we managed to ‘indulge’ drinking some really good ones.

Who were your early influences in music ? I love rock ‘n’ roll from Chuck Berry to Slayer but the first record that really blew me away was Dark Side of the Moon. I have memories of me, about 4 or 5 years old, listening constantly to ‘On The Run’. The first record I bought, or should I say I asked my father to buy was the Queen album A Night at the Opera. Still one of my favorite albums of all time. I’m a record collector – the boys in the band can confirm that – so you can find me at festivals looking at record stalls. When it comes down to singing, the choice would go to Robert Plant, early David Coverdale, Phil Mogg, Paul Rodgers…the list may go on and on.

What has been your best gig with the Tygers so far ? There has been a few. I always enjoy playing the Bang Your Head Festival in Germany. A memorable day was at a festival in Northern Spain where we played a great set and then had the pleasure to hang around with Cheap Trick, then saw the set by John Fogerty with Ty Tabor from King’s X.

ELLIS1

Have you got any gigs lined up for the new album release ? During November we are going to play the UK and Europe. Before that we play Dusseldorf with Diamond Head, Doro and Saxon on 26th October 2019. (Since this interview Saxon have been forced to postpone all upcoming gigs in 2019 due to frontman Biff Byford undergoing heart surgery. Get well soon Biff).

‘White Lines’ will be the first single, released on 27th September on all platforms, and a 12″ vinyl limited release of 500 copies for all you collectors will be available from: http://targetshop.dk/…/tygers-of-pan-tang-white-lines-12vin…

For further information contact the official website:  http://www.tygersofpantang.com/official/

Interview by Gary Alikivi August 2019.

WHITE LINES – interview with Craig Ellis, drummer with Tygers of Pan Tang

69659872_10156674697214639_2756183532928761856_n

The Tygers have just shot a music video for the new single ‘White Lines’, how did that go ? The video shoot went well really, the location was Dynamix Extreme Skate Park in Gateshead. A fantastic place with lots of options for backgrounds to shoot in and around. Moving a six piece drum kit into three different areas was a pain in the a**e but worth it after seeing the superb screen captures on the cameras.

How did you get the job in the Tygers ? Robb had been working on some new material with an ex-Sergeant band member and two friends of mine were drafted in the play bass and guitar. The initial demos were cut together using a drum machine so when it came to the recording a live drummer was needed and my two friends suggested me. The end product of that recording was ‘Mystical’ in 2000 and I’ve been here ever since!

Even though I’d written lyrics and melodies previously in other bands, it wasn’t until our vocalist Jack joined the Tygers that I started to contribute. From day one there was a chemistry that has worked ever since.

Before gigs do you have a warm up routine ? Some stretching exercises, specifically arms and hands to loosen up and a mash-up of sticking exercises/rudiments to get comfortable. I don’t eat anything three hours before a show and if I’m going to have any alcohol, it’s after the show.

 How did you start on drums and who were your early influences ? I didn’t start playing drums until the age of fifteen but I’d been listening seriously to music from around nine or ten year old. My Dad had a reel to reel player and I was infatuated with not only the machine itself, but also the music the spools kicked out…Hendrix, Foghat, Lynard Skynard, Blue Oyster Cult and Led Zeppelin.

Programmes on the TV like Top of the Pops, The Tube and of course The Old Grey Whistle Test were like a drug, I never missed an episode! With the pocket money I saved, I bought vinyl. Even back then I had a varied collection of music as my tastes have always been eclectic, however, once I started playing drums, rock and metal was where I found my niche. Drummers such as Cozy Powell, John Bonham, Ian Paice, Bill Ward and Neil Peart and the bands they played in resonated with me hugely and have never left me.

Where I’m from, we were very fortunate to have venues including The Coatham Bowl in Redcar, Middlesbrough Town Hall, Crypt and Rock Garden and Newcastle Mayfair and City Hall. So I got to see almost all my favourite drummers and favourite bands.

Who were the first band you played for and what venues did you play ? My first cover band at around sixteen was called Overload. We played rock covers by Sabbath, Status Quo, Golden Earring, AC/DC etc in and around the Teesside/Cleveland area. There was a huge Working Men’s Club scene back then, which I played in most venues in the North East, in various cover bands. I’ve always had a passion for original music so I took every opportunity presented to me to work alongside musicians creating original music. From very early on I learned a great deal about the recording process both at home and in studios.

Have there been many memorable gigs with the Tygers ? There’s been quite a few Gary, in no particular order …The fact we were touring in South America and the audiences were insanely awesome was amazing but the night we played Carioca Club in São Paulo on Micky’s Birthday – the whole room sang Happy Birthday to him.

Japan Assault Festival was a humbling experience for this tub thumper from Teesside to have had the opportunity to travel to and perform in Japan to a crowd of people who were so pleased to see the Tygers. Supporting the Dead Daisies at the 02 Academy to a Newcastle home crowd who were just awesome.

The Spodek in Katowice, Poland is a venue that is an assault on the mind! Its incredible both inside and outside. We’ve been very lucky to have been invited back a few times to the incredible Bang Your Head festival in Balingen, Germany. Bully-On-Rocks Festival and Raismes Festival have been our most recent shows in France both with amazing audiences.

Belgium is a special place for the Tygers, we performed some of our very first shows there and met many wonderful people who have remained friends to this day and always do their utmost to get to the shows.

Have you any road stories you want to share ? Robb’s your man for the funny he stories, he collects them! But here goes a couple… When on tour in South America we took an internal flight and got split up throughout the plane. As we were disembarking there were shenanigans going on at the front of the plane. Robb and Gav were sat in the cockpit, Captains and Officers hats on, having a laugh and chat with the crew. Turns out the captain was a huge Tygers fan and invited them in!

Around twelve years ago, travelling to Belgium in what was then the bands tour bus we were badly rear-shunted by a delivery truck late at night on the A1M. We were all thrown around the cabin like rag dolls and the back end of the tour bus was a mess but, we limped on ‘because we had gigs to do!’ The rear footstep had been shoved so far down and as we went up the ramp to board the ferry, sparks were flying from it and the noise was horrendous.

At that same point we also discovered the steering was in a bad way too so we were gliding like a sail boat up the ramp. When it came to getting off the ferry the bus wouldn’t start but the ferry mechanics got us going! With the ignition now faulty at the end of almost every gig fans would give us a push to ‘bump-us-off’! Embarrassing but a laugh and main thing was, we did the shows.

The new album ‘Ritual’, did you feel recording went well ? Time is of the essence when it comes to Recording Studios because as the clock ticks away its costing money. But, you want to enjoy the experience and to do that it’s all about the preparation. Although writing the material for the album had begun over a year prior, regular, concentrated writing and rehearsal sessions started in January of this year right up to going into the studio in April.

During that time we would video and record everything for reference and when a song is complete I write out the drum notation so I get it completely under my skin. Both Jack and I write the lyrics and melodies to the majority of the songs and because of that I automatically absorb a songs structure. Because of the prior work put in, we each completed our parts in a very short time. What also makes for a good recording session is the engineer and studio, and Fred Purser at Trinity Heights made the whole thing an absolute pleasure throughout.

Will the Tygers be promoting the album ? Absolutely! We’ll be doing four, maybe even five, songs from the new album and featuring them in our November shows and from there on. There’ll be a selection of merchandise available supporting the release too. I’m particularly looking forward to gigging with the Festival sized backdrop we’ll have for those shows, the Ritual Mask in giant-size taking ownership of the stage!

What does music mean to you ? It pretty much makes my world go around Gary. I play music, I practise music, I write music and I teach music. It takes me mentally to a different state of mind and physically to many incredible places I likely wouldn’t get to see otherwise. I’m extremely lucky to be doing what I love.

‘White Lines’ will be the first single, released on 27th September on all platforms, and a 12″ vinyl limited release of 500 copies for all you collectors will be available from: http://targetshop.dk/…/tygers-of-pan-tang-white-lines-12vin…

For further information contact the official website:  http://www.tygersofpantang.com/official/

Interview by Gary Alikivi  September 2019.

SLAVE TO THE RHYTHM – in conversation with Gav Gray bassist with Tygers of Pan Tang

46485680_10213150965549751_388825270502555648_n

After their last album in 2016 and touring throughout Europe, the Tygers are back and about to release their new record ‘Ritual’. The second with the line-up of Jacko Meille, Robb Weir, Micky Crystal, Craig Ellis and Gav Gray….. Yes it was a lot of hard work, three months of prep, writing and arranging. So when we got into the studio we were ready for it. We knew we were gonna make a great album – and we have.

The band used Trinity Heights Studio in Newcastle, former guitarist with the Tygers, Fred Purser is owner and producer…..Yeah lovely bloke, we got on really well, he loved my tea and morning hugs (laughs) ! He would say to me during a take, ‘Try and play less hard’, so I tried, and then he`d say, ‘Nah, just play the way you do’. He had a plug in to pull it back in (laughs). Some of the lines I’d written and rehearsed with the lads sounded fine until the guitars were layerd. Being in a two guitar band sometimes requires that ‘less is more’ and most times that’s true, the bass doesn’t need to be too busy, just a really solid rhythm is all that is needed on a lot of hard rock songs. My thing has always been for the rhythm and timing over busy, it’s all about the one. I was never a practising musician, just a frustrated drummer !

56635165_10214052636170953_4792916325305417728_n

How did it go in the studio ? On day one we just set up, got some drum sounds, got comfortable and worked towards day two to have some drum and bass takes with guide guitars. This is how we do it. We will play the songs that have an easier approach, leaving the harder ones for later. Craig is in the live room. Me and Mick would be in the control room with Fred. We had worked on the songs for months so when it came time to record the song’s it didn’t take long. We were well prepared. Me and Craig (drummer) did a couple of the songs in one take as a drum n bass jam, which are on the album.

Robb added his guitar and Jackie flew in from his home in Italy on the last week of recording to do the vocals. It all worked well, everyone’s playing on the record is fantastic and because we were tight, the songs just came together as we expected.

The whole session and working with Fred was, for me, one of my best yet. It`s a great place to make a record.

How did the songs come together for the new album ? We each work on ideas at home doing demos and then take them into reheasal’s and work out how it`s all going to fit together. ‘This is the bridge, That’s good for a chorus’, Big riff intro`sort of thing and dissect the structures for each song until we have a rough arrangement. Then all the bit’s that make a song special, you fine tune them. When they get into the studio we play them through and maybe somebody make’s a mistake but sometimes that’ll work within the song – a nuanced piece, a happy accident really. When that happens, it’s a great feeling. That’s a great part of making music – just by playing, those accidents can become your favourite part of the song.

Do you write some songs just to be recorded in the studio ? No, all songs are wrote to play live. Whether or not we play all of them live is another thing. I don’t know any band who plays just for the studio and to be honest you should be able to play all your songs live.

How did you join the Tygers ? This latest run has been since 2011. But back in the ‘90s I originally met Jess Cox at a gig I was playing at the Riverside, Newcastle. He approached me after the gig, told me about owning Neat Records and having a few bands on his roster. He was looking for a bass player for future touring and recording. This was a big deal for me cos I was just playing around local bars on Tyneside. We met up and he mentioned Blitzkreig who I had heard of and I said yeah sounds good so I done that for a short while, doing a handful of shows and a festival in America.

Then Jess wanted to get the Tygers back together, this was 1999. Robb Weir was already in and me and Chris Percy the drummer came as a rhythm section cos we had bounced together from band to band. I said to Jess he (Chris) was really solid and will kill it. And he did. Then a guy you interviewed not long ago, Glenn Howes was brought in on guitar. We rehearsed for a couple of months in the Off Quay buildings near The Cluny in Newcastle then went off to Germany to play the Wacken Festival in front of 10,000 people. The biggest gig of my life at the time.

But when we got back to the UK there was some bitterness within the band and it ended, it’s the way it goes sometimes. But Jess had always been good to me and got me a lot of gig’s. I think around that time I must have been in about 3 bands on his roster.

Then out of the blue I got a call from The Almighty. They were a big name so what ya gonna do eh ! I turned them down haha! I was fed up with the music scene and wanted out. It wasn’t til a few months later I came home from a night out and my girlfriend told me that the Almighty management had been on the phone again. I thought, hell, why not, it’s what I wanted to do so jumped on a bus down to Oxford after learning 5 songs, talked to the band, played a bit and got the job. Loved my time there but unfortunately only lasted about 18 months cos the band were dropped from the label.

A couple of years later Ricky ends up in Thin Lizzy, he’s a great bloke and I still keep in touch with him. In fact he just got the Tygers the gig supporting Saxon in the Dusseldorf Arena. He called me up and said ‘Can the Tygers do it ? I talked with the rest of the band and our manager and agreed it would be great for us to play in front of 7,000 people just before we release our new album.

(Since this interview Saxon have been forced to postpone all upcoming gigs in 2019 due to frontman Biff Byford undergoing heart surgery. Get well soon Biff).

In the Tygers live set the band play a few songs from their first album Wildcat…..Love playing those songs from the first album, it’s my favourite, there was just something about it. It’s got a great, dirty sound – it’s got attitude, and Robb wrote song’s from the heart. When it was released in ’79 they were just out of the punk explosion and ‘Insanity’ was one of my favourite songs. Around that time I went to see local bands Fist, Hellanbach and Angelic Upstarts in South Shields. The first single I bought was Hanging on the Telephone by Blondie, still one of my favourite ever songs. Then I saw Lemmy on Top of the Pops and thought ‘That’s what I wanna do’.

It wasn’t until I was 21 when I started playing bass in bands. Everyone wanted to be a guitar hero so I thought that if I buy a bass I might get a gig haha. I played along to my favourite records for a year and just wanted to join some band’s, have a laugh, have a beer and just have some fun playing. Being from South Shields I started looking around the Tyneside, Sunderland and Washington areas to get a few gigs. That’s where I joined a band called The Junkies around ‘89/90. That was my first band and first gig.

Are you looking forward to the new album release in November ? Yeah, the record company will set the exact date. The mix is now finished by Soren Anderson he worked on our last album. Harry Hess will be mastering it again, making it as fat and big a sound as you possibly can – basically sprinkling fairy dust on it (laughs). Finally it goes to print so yeah the record company will have a date soon. I’m just really looking forward to hearing the final tracks cos we worked so hard on that album. I know it’s a bit of a cliché but we really feel it is one of the Tygers best albums.

‘White Lines’ will be the first single, released on 27th September on all platforms, and a 12″ vinyl limited release of 500 copies for all you collectors will be available from: http://targetshop.dk/…/tygers-of-pan-tang-white-lines-12vin…

For further information contact the official website:  http://www.tygersofpantang.com/official/

Interview by Gary Alikivi August 2019.

LIVE IN JAPAN with Rick Bouwman, main man with Dutch Metal Maniacs, MARTYR

Martyr were active for 5 years during the ‘80s recording two albums and appearing on compilation albums released by Roadrunner and Metal Blade. They reformed in 2001, played the European metal circuit and recorded new material. Extensive road work gained a strong fan base leading to a Japanese tour in 2017. When Rick got in touch I asked him what have the band been up to since we last spoke in April 2017….We mainly focused on supporting the ‘You Are Next’ album by playing many live shows in Europe. Also the album was released in Japan followed by a tour in the Land Of The Rising Sun after our big 35th anniversary show in Autumn 2018. A dream come true as we are very much influenced by Japanese metal.

In 2018 we just kept on touring and didn’t cancel one show. We also signed a 2 album contract, there was a 2nd tour in Japan and we released our Live In Japan album over here on Pt78 records and in Japan on Rock Stakk Records with an official Japanese release.

download

Have there been any changes to the MARTYR line-up ? Normally I would say that it was unfortunate we had some line-up changes but it has turned out for the better. Our current members are really into the style we are developing now, have spirit that we need in the band and are very creative when it comes to their instruments and songwriting. True metalheads too.

Current line up is Rop van Haren (vocals) Rick Boumann (guitars) Rick Valcon (drums) Vinnie Wassink (bass) and Geoffrey Maas (guitars).

Have you mellowed with age ? Hell NO !! Listen to our Live in Japan album, the songs are being performed heavier than ever. Old classic tunes like ‘Speed of Samurai’ and ‘Snow and Fire’ are sounding again like they are supposed to. And the new material we are currently writing, I promise you, will be heavy and more developed than our previous work.

What was the fans reaction in Japan ? The Japanese fans are so awesome. They treat you with so much respect as musicians, are very loyal, buy all the merch at the stand and just love to make pictures of everything you do (laughs).

So far we toured Japan twice, and I must say to perform a song like ‘Speed Of Samurai’ in Japan which is in fact a tribute to Japanese metal written in 1984, is very special to us. Besides the fans reaction to our music, Japan is a beautiful, crazy country and the people are so very lovely and friendly. We love it.

Can you see Martyr going back there ? For sure. We’ve had many requests to return. We have released ‘Live In Japan’ officially over there and are already making plans to hopefully return in 2020.

What have you got planned for the future ? First of all we’ll do our live shows, festivals and headlining club shows, also supporting Exciter and other bands. We’ll perform in Germany, Holland, Belgium, UK and Austria for sure and are working on more dates. We are aiming for more festivals in 2020.

Also we are in the writing process for a new album that we are aiming to release in 2020. Very soon a new live video from one of the shows in Japan will be released and for touring as I said we hope to return to Japan, with China and Australia in future plans.

For bookings contact MARTYR at:

info@wayland-management.nl  or  info@martyronline.nl

Official websites:

www.martyronline.nl

https://www.facebook.com/MARTYRONLINE

Interview by Gary Alikivi August 2019.

NAMEDROPPER – in conversation with freelance author/TV producer Chris Phipps

Being on the dole during the ‘80s had it’s advantages. We queued up outside Tyne Tees TV Studio every Wednesday to get free audience ticket’s for the following Friday’s edition of live music show The Tube. If I was working I wouldn’t have got the chance to be part of what became a ground breaking TV programme and something that changed my life. Looking back it took a couple of years to seep through, but it was one of the magical moments I experienced that massively helped me in my work today.

In one of the programmes I was standing on the gantry looking across the studio with the stage and drummer below, another stage was to my left, there was a bar at the back, pink and blue lighting all around, Pat Benatar at the front of the stage – a little lady with a big voice. And cameras on the studio floor catching the buzz. Something clicked. It was the first time I thought ‘I would love to be involved in something like this’. I knew I was onto something.  

So a chance to interview a man who was part of that show was a great opportunity and one that I wasn’t going to miss. Take it away Chris…..

It’s interesting you mentioned Pat Benatar because I booked her, the drummer was fantastic and she was incredible.

I was at the Tube from the start in ’82 till it’s full run to ’87. But I started as a journalist in ’74 with three big stories happening on my patch, the Birmingham bombings, the hunt for the Black Panther and the Carl Bridgewater murder – a baptism of fire. After that I was producer at Pebble Mill at One and did a lot of regional TV and radio then.

I was doing rock shows, reggae shows and of course in the ‘70s the Midlands was Dexys Midnight Runners, UB40, Specials, Selector coming out of Coventry. It was like a nuclear reactor in terms of the music coming out of there. And of course you had the whole New Wave of British Heavy Metal, and I was involved with a band called Diamond Head who came out of Stourbridge. They were touted as the next Led Zeppelin which was a big mistake. They were phenomenal but for certain reasons they just went on to implode.

How were you involved with Diamond Head ? I did two TV shows with them, both of which are very rare now. One was on ‘Look Hear’ an arts programme on BBC Midlands with Toyah Wilcox. I also had them at West Bromich Further Education college, they done a student recording that was found in a loft a couple of years ago. That whole NWOBHM was fascinating because a lot of those bands were back in their day jobs after a couple of years, apart from Iron Maiden and Def Leppard. Finally, Diamond Head were vindicated because Metallica covered some of their numbers that contributed to their financial coffers.

What are your memories of those first days at The Tube ? I joined in ’82 as a booker and I became Assistant Producer from ’85-’87. My brief was to find bands that we could agree on to put in the show. A band on the first show that I booked didn’t happen, The Who didn’t do it because their pa system got stuck in Mexico or somewhere. So the producer Malcolm Gerrie knew Paul Weller’s father and got The Jam to do it. In a way I’m glad that he did because The Jam playing their last TV gig ever, really said this is what The Tube is all about – that was then, this is now and off we go.

On one show I booked a combination of Green Gartside and his band Scritti Politti, and Robert Palmer which I thought was a good mixture. Then Gartside wouldn’t do it, didn’t want to perform live or something I can’t remember now. But he pulled, you know my job was to convince really big names to come, particularly in the first six months of the programme because it was based in Newcastle. A lot of record companies would say ‘We’re not sending anybody up there’.

There was a show in December ’82 with Iggy Pop, Tygers of Pan Tang and Twisted Sister, who famously signed a record deal after their performance..…Now there is a story that I discovered Twisted Sister in a bar in New York when really the truth of it was I had seen them at Reading Festival. I was just knocked out by them because I love theatrical rock. They were on a label called Metal Blade then, which was run by a friend of Toyah Wilcox. I was interviewing Def Leppard backstage, then spoke to Twisted Sister’s manager and told him I had a gig on a TV music channel in the UK called The Tube. He said if you can gaurantee us a booking we will finance our own trip over.

So yeah they turned up in a van outside The Tube studio direct from New York, played the show, and in the audience was Mick Jones from Foreigner, his manager and UK supremo from Atlantic records Phil Carson. Phil signed them the next day.

Actually I don’t think I was too popular with the Tygers because I had to cut one of their numbers. At the time they had a great album out The Cage, but they were another band that imploded. Incidentally, first time I saw the Tygers was at JB’s club in Dudley. They were supporting Robert Plant and his rock n roll band The Honeydrippers.

Why did you ask the Tygers to cut a song from their set ? Lemmy wanted to jam with Twisted Sister at the end. In fact the guy who directed that show and all of The Tube, Gavin Taylor, who sadly died a few year ago, said his two favourite moments he directed were U2 at Red Rocks and Twisted Sister jamming with Motorhead. And this from the guy who directed Whitney Houston, Michael Jackson, Miles Davis.

So after that everytime I saw the presenter Paula Yates she used to impersonate my Birmingham accent and go ‘Chris Phipps Twisted Sister’ (laughs). God love her. They sent me a platinum disc as a thanks which I still have, and a manhole cover with the Twisted Sister logo on it.

Also on that programme was Iggy Pop what are your memories from then ? Yeah he was a wild one. No one could find him just prior to his performance, he completely disappeared. I got a call from reception and they said there was something in the reception area spinning round and looking like a mummy. He was bandaged from head to foot (laughs).

Did the show help the careers of other bands ? Fine Young Cannibals got signed, although they already had a publishing deal. The Proclaimers got signed and there was a time when a researcher called Mick Sawyer and some of the Tube crew went to Liverpool to film Dead or Alive. But they weren’t around, then someone in a pub told them to go round the corner to another pub where there is a band rehearsing ‘You might be interested in them’. It was Frankie Goes to Hollywood.

The Tube filmed the original version of ‘Relax’, that was shown and Trevor Horn saw it. He did the deal and re-recorded and produced the single.

Frankie epitomised The Tube and the ‘80s, they got what it was all about. You can never bring The Tube back. It’s of it’s time. Chris Evans on TFI Friday in the ‘90s near enough had it. The set was just like The Tube, so yeah it’s had an incredible influence.

Last year I was on the Antiques Roadshow with memorabilia from The Tube and I thanked the BBC for banning ‘Relax’ because, it not only done Frankie a load of good but The Tube as well (laughs).

Here’s the link: https://www.bbc.co.uk/programmes/p06b19jf

Around the time of going to The Tube I went to a few shows called TX45 filmed in the same studios….Yes TX45 ran parallel to The Tube it was a regional series it didn’t go on the network. Actually a series by Tyne Tees Television called Alright Now got them a commission for The Tube. When I was producing in Birmingham a lot of bands would say ’We’re off to Newcastle to do Alright Now or Razzmatazz or interviewed by Alan Robson’. He had a formidable reputation. Newcastle had a reputation for cutting edge shows really, that’s why it got the commission from Channel Four. Back to TX 45 that was co-presented by Chris Cowey who went on to produce Top of the Pops.

What happened after The Tube ? All the talent from The Tube just dispersed in different directions. Tyne Tees didn’t continue to do any big entertainment. They did attempt to rival Top of the Pops with a show called The Roxy but that fizzled out. Malcolm Gerrie, the main guy went on to form Initial TV in London and made things like The Pepsi Chart Show. Now he’s got a company called Whizzkid producing big award ceremonies things like that. Geoff Wonfor who made the films for The Tube, not the studio stuff, he went on and made The Beatles Anthology. (An interview with Bob Smeaton who worked on the Anthology is on the blog ‘The Boy from Benwell’ Nov.5th 2018)

I went into documentary, feature film making and my bread and butter work for 14 years was working on a series called The Dales Diary, which covered the Yorkshire Dales for Tyne Tees and Yorkshire. What was interesting was that I was dealing with people who had never been in front of the camera before so I went from 5 years of people who couldn’t wait to get in front of the bloody camera to 14 years of people who sometimes weren’t happy to do it. Yeah I had some fantastic times working in Yorkshire.

Have you any stories that stand out from interviewing people ? From 1973-82 I’d done a lot of entertainment stuff at Pebble Mill but I also interviewed a lot of people with some priceless historical value. Like the 100 year old woman who made a living from making nails from the back of her cottage near Worcester. There was a man who helped build a storm anchor for the Titanic. I’ve kept all them interviews and in fact the storm anchor one went for research to the director James Cameron when he was making the film Titanic. So I was no stranger to going to people who just wanted to get on, particularly the farming community who didn’t want people buzzing around with cameras.

Did you work on any other music programmes ? I’m the sort of person who will come across something and say that will make a fantastic programme. I worked on a series for Dutch TV, it was like your Classic Albums series but for singles. Incredible programme to work on, it was called Single Luck. It took me all over America tracking down songwriters, producers, and for one song the backing singers were Ashford and Simpson.

Another programme was for the song ‘Blue Moon’ it profiled The Marceles, who came out of Pittsburg. The song sold I don’t know how many millions and some of them are living on the breadline you know. They got nothing, old story isn’t it.

Well I thought how do I find these people who are living in Pittsburg ? One of the singers was called Cornelius Harp. There might not be too many Harps in the phone book I’ll try that. The one I called said ‘No I’m not Cornelius Harp, but he’s my cousin, here’s his number’. The guy who was managing them had a restaurant called Blue Moon. The producer was in California and came over to Pittsburg to re-produce the song. So yeah found all of them and suddenly you have a 30 minute programme.

What have you been working on lately ? After releasing the book ‘Forget Carter’ in 2016 which was the first comprehensive guide to North East TV and film on screen, I’ve just released another book ‘Namedropper’ full of anecdotes and stories of my time in the entertainment world. I’ve hosted quite a few talks including the evenings with Roger Daltrey and Tony Iommi at the Whitley Bay Film Festival. Currently I’m still working as freelance producer/director based in North East specialising in entertainment and music for network and regional.

Chris is appearing at Newcastle’s Waterstones to sign his latest book ‘Namedropper’ on Saturday August 17th at 12 noon.

 Interview by Gary Alikivi August 2019.

DESTINY CALLING – in conversation with John Roach guitarist with North East metal band Mythra

On February 13th 2017 an interview with North East heavy metal band Mythra saw the first post on the Alikivi blog. Over 75,000 views later and for the 250th post is appropriately an interview with John Roach…Last year our vocalist Vince High left the band for personal reasons, but we’re still mates. I met Vince when I was 16 in the training school at Swan Hunters shipyard in Fisher Street, Wallsend. We liked the same music and hung around together at work. I was in a band called Zarathustra with Maurice Bates, who was originally the singer now current bass player with Mythra. Vince was in a band called Freeway and eventually he joined us. Pete Melsom was on bass.

53719219_2164098597236599_4408484686087585792_n

Where did the name come from ? We needed a shorter name really, one that was easier to remember so after a few idea’s were thrown in the hat I came up with the name Mythra. We went with that one and around the same time Barry Hopper joined. Our original drummer Kenny Anderson wasn’t really 100% into the band so Barry stepped in. When Barry first came to audition his brother dropped him off in his car. We took one look at his beatuful silver Tama drumkit and said ‘He’s in’ (laughs).

As the original 4 piece Mythra, we all went to gig’s together. Not just Purple or Sabbath at Newcastle City Hall but local bands Warbeck and Axe with Keith Satchfield, Southbound and Circus. There were some truly great rock bands around at that time. Watching them saying ‘this is what we want to do, this is just like Top of the Pops… but real’ (laughs). Axe were probably the most influential band for us they had a huge p.a. and lights and they wrote their own songs, that’s what we wanted.

We were all learning from each other really because we knew the lads in other local bands Saracen, Hollow Ground, Hellanbach. It was like ‘Dawsa (Steve Dawson, guitarist Saracen) has got a Marshall stack…What, really…let’s go an’ see it. Or ‘Metty (Martin Metcalf,  guitarist Hollow Ground) has got a Les Paul. What, a real one ? (laughs).

The band were all around 18 year old, we had bought a Bedford van, our own pa and started earning money from workingmen’s club’s in the North East. Getting our own van was a milestone really instead of our dad’s dropping us off in their cars.

We gigged from Hartlepool, Teeside right up into Northumberland. Maurice got us tied up with Ivor Burchill the main agent in Newcastle. We were getting loads of gigs right through ’76-‘80. We played Sabbath, Wishbone Ash, Humble Pie rock stuff like that. I was earning more money from playing than I was for being an apprentice fitter in the shipyard. You can’t do that anymore (laughs)!

We had a couple of roadies helping out with the gear plus Lou Taylor came along with his home made lamps, lights, flares all sorts (laughs). He was always singing in the back of the van. He used to do these Rob Halford screams and they were spot on. I think Vince thought he was auditioning for Mythra (laughs). Lou ended up singing in various bands like Saracen, Satan and down London with Blind Fury.

52762406_2024617097652306_4576230401973944320_n

In 1979 Def Leppard released ‘Getcha Rocks Off’, Iron Maiden the ‘Soundhouse Tapes’ and Mythra recorded the Death & Destiny ep at Guardian Studio in Durham making them one of the original NWOBHM bands. Yes, we never said we were the best, just one of the first. The single was recorded around September or October and we released it in the November. Actually we just wanted to record a demo at first, put it on cassette, send it around record company’s and hopefully get a deal. The producer and owner of Guardian Records, Terry Gavaghan, said for the same money you can get it on record and it will look more professional than tape. So we bought 200 records at first. We sold them and went back a fortnight later to order more! We sold most of them at Second Time Around Record Shop in South Shields.

Gavaghan got us a distribution deal with Pinnacle Records so it was sold all over the country. Rod MacSween at International Talent Booking agency heard Death and Destiny on the Friday Rock Show hosted by Tommy Vance. That opened a lot of doors and got us bigger gig’s nationwide.

By the time 1980 came around we had done a lot of gig’s and recorded the ep but I couldn’t see the band going any further. After 5 years, I felt as if I had enough so I left in the February. The rest of the band got a guy in called Micky Rundle to replace me and he played on the Headbangers Ball in July ’80 at Stafford Bingley Hall with Motorhead, Saxon and a few others.

Looking back on the ep, we are really proud of it because we were the first of the bands like Fist, Hellanbach, Hollow Ground and Saracen to release a record. We were at the front of all that.

Did you work with any other musicians ? I had a break for a few months then started rehearsing with Saracen. Lou Taylor, Les Wilson, Dave Johnson – and Steve Dawson was the other guitarist. But Steve and I had different playing styles and it didn’t work out. I don’t think Saracen was destined to be a two guitar band. Around 6 month after that Harry Hill (Fist drummer) got in touch and I joined them. We played the Gateshead Festival with Diamond Head, Lindisfarne, Ginger Baker and headliner Rory Gallagher.

Did you have a manager in Fist ? Our management team were based in Manchester and were called Rhino Promotions. I think they had a clothing company making jeans – which were like Geordie Jeans.

I remember a gig in Manchester when the back window of our hired car got smashed and they pinched everything from the boot including my leather trousers, cowboy boots and skimpy black t-shirt that I wore for the gig. They also took a pair of red shorts and an orange bag belonging to Harry Hill. He was livid! And I’d only wore the leather pants once. We drove back to Tyneside with Glenn Coates, Norman Appleby and me in the back, freezing our arses off sitting on tiny bits of glass from the back window (laughs).

How long were you in Fist ? I was in Fist for about a year and a half, originally with a singer called Colin Johnson before Glenn Coates joined. We recorded the album Back with a Vengeance and played a few gigs. The rest of the guys decided they wanted to be a four piece so after a rehearsal in Felling – Glenn and Norman came to my house and told me I was out. It was a bit of a shock!

We had a side band going called Centrefold (Harry, Glenn, me and a great guy called Peter Scott – who sadly died very young of a brain tumour). This continued for quite a while after Fist so there were no real hard feelings. After Peter died we were going to start Centrefold up again with another bass player but my heart wasn’t in it – I think Steve Dawson took it on – small town Shields !

61546111_10211159663346540_864351645650124800_n

Bringing your story up to date, what have Mythra planned next ? Well we are all just enjoying it. Earlier this year we were at the Grimm Up North festival and Negasonic in Belgium, where we showcased some new material. We’re currently finishing pre-production on 12 new songs and we are going to record a new album for High Roller Records with our new singer Kev McGuire later this year. Kev is a great guy with a lot of live experience on stages in the North East and he has a great rock voice. Our next gig is in France at the South Troopers Festival in Marseille on 21st September.

Contact Mythra on the official website http://www.mythra.co.uk/

or through their Facebook page https://www.facebook.com/mythranwobhm/

 Interview by Gary Alikivi July 2019.

DIAMOND GEEZER – with former music manager & promoter Jim Sculley

There was one particular savage night when everyone seemed to be fighting. I was worried about one lad who’s face was just awash with blood. I wiped the blood with a tea towel. ‘You been knifed mate?’ I asked. ‘Nah’ he replied ‘I nutted someone and his teef stuck in me forehead’Who said working in the music biz was a glamourous job ? Jim Sculley was born in West Hartlepool, County Durham where he had a decent education…But when I bought my first guitar, studying went out of the window (laughs). Jim joined local band The Mariners as lead guitarist in 1962 and was working at Hartlepool Steelworks at the time…After lot’s of gigs and personnel changes, the band changed its name to The Electric Plums. Then in 1964 I went for a proper job and answered an advert to train at an old established jewellers shop called Lamb’s. He was a great employer who trained me well and sent me to night school in Billingham to study Gemmology, the science of precious stones.

I repaid him by doing the dirty on him by going in business with my night school teacher. We set up a jewellers in Billingham Town Centre in 1971. I found out afterwards from an ex-colleague at Lambs that the boss admired my bravery for setting up our own business and bore me no malice at all!

Business boomed and they quickly gained 3 more jewellery shops and 2 more partners… I was still dabbling in music at the same time but by then had left the Electric Plums to join a girl fronted band called The Partizans. Around ‘68 we changed name to Whisky Mack. This band was good doing night clubs and social clubs, supporting known artistes such as Karl Denver, the Dallas Boys and Tony Christie.

The band were offered a German club tour but Jim thought it was time to call it a day…The shops were doing well and I couldn’t jeopardise my future for a few months gigging abroad. So around late ‘72 we trained up a new guitarist for the tour and I said goodbye. But a few years later, I was back on the road in a couple of duo’s…couldn’t leave the old grease paint behind (laughs).

How did you get involved in promoting ? I wasn’t a great follower or even an avid listener of rock music at that time. However I’d got into the habit of going to rock gigs at Thornaby Cons club and being a guitarist, started to appreciate the quality of musicianship in rock. This was around ’79. At the club fans were telling me that there was a lack of venues in the area, and that local promoters were finding it difficult to coax new bands with any pedigree. A light lit up! Could I make any money at it, and did I fancy the challenge?

What venue did you use for the first gig’s you promoted ? I was putting the word around for local bands to play my new weekly gig in The Swan ballroom in Billingham. Getting an agency licence wasn’t easy in those days, there were financial checks, but within a month J.S. Promotions & Agency was born. ‘Rock At The Swan’ was an instant success with local bands queuing up to play. They would take a percentage of the door take after costs were taken off for an advert in the local press and pa hire.

After a few months we were getting requests from bands from all over the country due to word of mouth. And not only from bands. Agents were wanting to send bands with newly signed record deals on the road, but were having difficulty finding promoters who would take a chance on unknown bands. Another light bulb moment hit me and I jumped at the opportunity. Provide new blood for the fans and possibilities for local bands to support a signed band.

I asked myself I’m working with big agents who need venues to blood their bands. Why don’t I track down more venues and offer these big agents a full tour for their new bands. It made sense because these agents didn’t really want to take time to blood these bands on the road. They would wait till when the album was out and selling, then take over and put them into major venues.

So I set to work on the telephone and scanning through tour adverts in Sounds and Kerrang. Eventually sorting myself a good amount of venues that I knew I could form into different size tours. It helped when talking to each promoter that I was promoting a venue, same as them, and knew the score. I could be trusted and they knew that. It was a very important point.

By 1981 J.S. Promotions & Agency was well established. I was sending bands here there and everywhere. The Swan gig was bouncing and the jewellery shop was doing great. I often look back and wonder how the hell I kept myself going! Suppose it was because I was still young and kept quite fit. Be a different story today (laughs).

Did you book any big name bands at The Swan ? I ran that Swan gig for about 7 or 8 years and some biggish names have been on that stage. It was a nice venue, being a ballroom, and a decent sized fire regulation limit of 200 plus people. Bands like The Groundhogs featuring Tony MePhee were regulars and would always fill the place. I worked them a lot tour-wise. And what about this for an eye opener of a gig – in 1983 aged 17, son of Led Zep’s drummer John Bonham, Jason formed his band Airrace.

I got a call from his agent asking for a Billingham Swan gig as part of the band’s first tour. Money no problem, they’d just accept percentage door-take. But on one condition. So that the band would be judged on their merits and not the Bonham name, no mention of Jason Bonham could be used in any advertising. Of course I agreed and the band turned up on the date…in a great big pantechnicon van!! Wow!!

I have never been so up and close to a back line like it. Wall to wall, ceiling to ceiling Marshall amps. Not for volume but for clarity. Great sound, great gig, and a reasonably full room, rock fans aren’t stupid, they read the rock mags. And I have to say what a genial gentleman Jason was, no airs or graces, happy to chat to all the fans after the gig.

67142519_484098198831464_9212562342905118720_n

New Wave of British Heavy Metal was at it’s peak during the early 80’s. Did you come across any of the bands in the Teeside area like Axis or White Spirit ? In 1982 I’d taken a shine to a rock band I’d given a few gigs to, Black Rose, they were in the Iron Maiden kind of mould at the time and wrote their own material. They had a manager called Barry Clapp but were disappointed they weren’t making any progress. They asked me to manage them. I talked with Barry who gave me his blessing, admitting he’d had enough.

By 6 months we had a single out on the Teesbeat label called No Point Runnin’ coupled with Sucker For Your Love. One of the Sounds reviewers loved it and wrote a nice piece about it which propelled it to no.19 in the rock charts. The band then appeared on two compilation EP’s in the same year. One Take No Dubs on Neat Records, and the other on Guardian Records, called Roxcalibur.

(The album included Battleaxe, Satan & Marauder. ‘One Take No Dubs’ had Alien, Avenger & Hellanbach).

In 1984 the Midlands rock label Bullet Records signed the band. They produced a self-titled EP, also the Boys Will Be Boys album. A single of the same name was taken off the album. All through this studio activity the band were gigging heavily in the UK and Holland where they have a strong fan base. I went with them to a gig in the Dynamo Club in Eindhoven. Brilliant gig.

Coming back from that gig a funny thing happened at the Dover customs. Me and 4 band members were in my Mercedes. We were kept at least half an hour, as the officers were searching the car, under it, in the boot, under the bonnet. They couldn’t believe that a long haired heavy metal band would not have something suspicious on them especially travelling from HollandI had an awful time explaining to the customs officers that none of the band actually smoked, rarely drank and nobody actually bought anything from duty free (laughs).

In 1985 Bullet folded so the band returned to Neat Records and recorded a superb EP titled Nightmare. Then a year later…eureka! The band were noticed in the USA. Neat Records engineered a deal with Dominion Records (an offshoot of the massive K-Tel Records) for a studio album recorded at Neat. Walk It How You Talk It, was pressed, packaged and ready to be distributed. We were in talks to arrange an American tour. After all the hard work since 1982 we’d made it.

Then a bombshell phone call from Neat. The powers that be in America hadn’t done their homework. There was already a band called Black Rose who’d registered their name in the States, they were threatening to sue. Our label Dominion Records took water in and pulled the deal. Neat wouldn’t fight it, so everything was scrapped. Not long after, myself and the band parted company. Gutted to say the least.

Pauline Gillan Band

Did this disappointment put you off being a manager/promoter ? No. I managed The Pauline Gillan Band, from about 1984. I knew two members who lived in the same town as me, Bilingham. Davy Little, a great ex-Axis guitarist, and Chris Wing on bass who could play anything you gave him. He wasn’t called the Wizz for nothing. I’d caught the band at a couple of gigs and was impressed. They asked me along to a rehearsal and I think we all knew when I left them that I’d be their manager.

I had them gigging extensively right through the UK. Including gigs at the London Marquee. We were contacted by a promoter in France who was organising a music festival at a place called Neuvic not far from the Dordogne region. He’d heard about the band through the music press and decided we would add nicely to the festival line-up. Actually we ended up as number 2 to the headline band.

It was a magic time both for the band and the fans. In 1985 we managed to secure an album deal with Powerstation Records based in York. The album Hearts of Fire was recorded in Fairview Studios in Willerby near Hull. While recording the album, Gerry Marsden of the Pacemakers fame popped his head in. ‘Can I pinch 10 min’s of your recording time lads, I’m appearing locally and I need to record an advertising jingle’. Well 10 min’s later, that was all the recording done for the day because Gerry insisted on taking all of us, our roadies, the recording technician, him, his management and entourage down to the pub in the village for the rest of the day. Booze and snacks all paid for. And what a gentleman he was, so friendly.

Gerry told us a great story about one of the pop successes of that time Frankie Goes to Hollywood, who had a number one hit with Relax. On the B side was Ferry Across The Mersey which of course was written by Gerry himself, and that he’d received thousands of pounds in PRS royalties. ‘I love that band’ he laughed.

Did you promote any punk gigs ? There was a few gigs that were memorable for the wrong reasons. Many punk gigs, big names, but mostly trouble with a capital T. Around 1980/82 I was approached by a guy called Don who had just bought the then defunct Rock Garden club which was one part of the Marimba night club in Middlesbrough. Now having owned some before Don knew everything about pubs and night clubs, but knew nothing about the live music scene. So he asked me, adding a financial carrot, to book bands and run live music nights. I agreed but advised him that a new name would be a good idea. So it was a warm welcome to The Cavern.

As part of our licence the Police made us search the punks for weapons and glue, the preferred drug of the day for punks. My missus Marg would handle the takings and tickets at the door and take the glue from them. We weren’t allowed to keep the glue, but return it to them after the gig. One night we couldn’t help laughing when this little 5 foot skinhead surrendered his polythene bag from his sock, then quipped ‘Now dont forget will ye…mine’s the Evo Stick’ (laughs).

The Rock Garden had always done well with punk bands and there was still a good punk fan base in Cleveland, so I decided to alternate heavy rock with punk nights. But battling was always on the cards at punk gigs – never at rock gigs.
First night at The Cavern, if my memory serves me well but I’m not absolutely sure, was well known punks The Destructors supported by a local band. We had a strong security crew (about 8 men) one was a friend, Ron Gray who was an ex-European kick boxing champion. As it happens on that first night, we needed them all! We’d got word through a contact that a mob was coming down who had bad blood with another load of fans. Still I wasn’t worried, we had plenty of cover didn’t we ?

Support band had only been on about 5 minutes when the crowd split into two armies. A bit like the parting of that biblical sea. And then the charge! Marg was stood on a beer crate in the corner directing our bouncers, screaming ‘over there’ and ‘side of the stage’ and then opening the emergency door for me and the lads to eject the brawlers. She was a good help on band nights.

My claim to fame was to convince the Police to allow me to book the Angelic Upstarts who’d been banned in Cleveland for over a year. I knew the police were pleased with our record of not allowing any trouble to spill outside and that was the reason we were given permission to stage this particular show. And what a cracker it was, and believe it or not hardly any crowd trouble.
Other memorable bands were GBH, Penetration and Conflict. I liked Colin the singer of Conflict. He insisted we keep the entrance fee down so that his fans could afford it, even taking a smaller purse himself.

Did you promote punk gig’s at any other venues ?
Early 80’s I was co-promoting a punk gig in the ballroom of the Park Hotel in Redcar and managed to attract a really well known punk band from the late 70s, UK Subs. I booked local band Dogsbody or was it Dogsflesh as support to bring a few extra punters in.
Anyway one of the Subs members copped off with the girlfriend of one of the support band and took her to a room upstairs where the band where staying for the night. The support band went upstairs and a huge battle ensued with carpets ruined with blood and drink. It took an hour or so to restore order. Then the Park Hotel manager presents me with a bill for a huge amount. I can’t remember how much but remember shaking in my boots. As promoter I could have been held responsible in some ways I suppose. But I turned on the Subs road manager and threatened to get the police and the newspapers involved, which would probably curtail or cancel the rest of their tour. Anyway he rang the band’s manager who agreed to foot the bill. Job done. I tried hard to stick to rock gigs after all this trouble, but have to admit the memories of punk will always bring a smile.

539153_504044589624993_1031774801_n

If you can choose one, what is the best gig you have promoted ? Slade in about 1984 at Durham University’s Student Union Hall. Massive sell out, queues right down the road. Great gig but didn’t get to meet them. Went to the dressing room straight after the gig but they’d already left for the hotel.

Have you any regrets as a promoter? Turned down a Tina Turner gig as part of her resurgence tour. Thought the fee was too high. A couple of month later Private Dancer released and the rest is history. That was my Decca/Beatles moment!

There is a regrets number two. I was in the Marquee Club with one of my bands in 1985 and took a call from Bronze Records who wanted to show me a band. I went to Camden next day to see them and basically it was a country & western star, can’t remember the name. Anyway, country wasn’t my scene so turned it down. Then he produced a picture of Tom Petty who was coming over soon to tour. The price was reasonable but I knew he hadn’t released anything for about 3 years so turned that down too. Another Decca/Beatles moment!

What does music mean to you ? For all I was playing on stage continuously for about 17 years, and it was part of my life for so long after that -management, agency and promotions, I don’t really listen to a lot of it nowadays. Weird eh!

But after thinking a little more about it, I’ve concluded that it’s the actual making of music, the playing of it, watching other people playing it – construction really. I was never one for lyrics, it was always the tune, the riffs and chord structures that got me excited. That’s why I tend to like songs with a nice hook to them.

I played my guitar at home quite often untill I had a medical problem with my finger which made it totally inflexible. I can’t even form a chord now, which actually makes me quite miserable! My last time playing on stage was backing local singer Johny Larkin at a Help For Heroes charity gig about 7 years ago.(pic. below)

Having said that we’ve booked both days of the upcoming Hardwick Hall festival. And I do watch Fridays on BBC 4 and we went to The Sage to see Mott the Hoople a couple of months ago. Sod it … looks like music still means a lot to me.

Interview by Gary Alikivi July 2019.

THE FLAME BURNS ON for Davy Little ex- guitarist with NWOBHM band Axis


Davy was guitarist with Axis, who along with Fist, White Spirit, Mythra, Raven and Tygers of Pan Tang were at the forefront of the North East New Wave of British Heavy Metal. Axis released their first single in 1980 on Neat Records and appeared on various Heavy Metal compilations. He also played with The Pauline Gillan Band, Kashka and now his latest project Lies of Smiles…. I bumped into former Axis guitarist Mick Tucker at Crash Crallans funeral in 2008. Mick worked with Crash when he was drummer for White Spirit plus working together on Tank’s Honour and Blood album (released 1984). It was a terribly sad occasion, but we chatted about old times and new. In fact it was Mick who kick-started the Lies of Smiles project, he suggested bringing in his nephew Pat O’Neill (Black Rose guitarist) and Tony Thurlow (vocals, Berlyn, Panama). He said he would contribute to the album as well.

The opportunity to work with him and the other guy’s was certainly an incentive. So I got in Chris Wing on bass and keyboards and Keith Naylor on drums from my Pauline Gillan days. We started writing. Pat O’Neill already had the basis of four tracks. We then completed the other songs, which became Cross and Claw released 2010. Absolutely brilliant that I got to play with these great players. Mick guests on a track called Fallen, a beautifully crafted solo.

Pat is an outstanding guitarist as is his Uncle Mick, but Mick trained us both, while I am not in any way in that category of guitar player, I was trained well and I know how to get the job done.  The album was produced by Fred Purser at Trinity Heights studio. Fred used to be guitarist with Tygers of Pan Tang so we knew each other from back in the 80’s. He is a great producer, great musician, a joy to work with.

Do you look back on your time in Axis ? Well back in 2011 Jaap Wagemaker and the MD Steffen Boehm from High Roller Records got in touch with Mick Tucker about an Axis album. I believe their thing is releasing stuff from the NWOBHM era. They already acquired the rights to the single Lady/Messiah and asked if we had any old recordings. I gave them 3 live and 3 studio recordings. What a job they did of the vinyl and cd Flame Burns On, with an 8 page booklet and the original Axis poster for Lady.  They were a great company to deal with, no arsing around, just did the job in spectacular fashion.

What is the story behind Axis getting involved with Neat records ? After a year of gigging we had some interest from Neat Records. They had seen us twice in Sunderland, and then Newcastle Mayfair. I say interest but I always got the impression they weren’t interested at all. I can’t say it was great working with them. Everything was an information fog, if you didn’t see it, it wasn’t true. So my first impressions of record companies wasn’t a good one.

They didn’t think we were heavy enough for the Neat label so put us on a subsidiary label Metal Minded – go figure. Anyway I didn’t really care, it was a way to get something out. The single Lady did really well. Although it seems to be the B side Messiah that gets the more favourable press. We did go back in the studio later with a couple of changes to the line-up. This time Sam Blue was vocalist (Emerson, Samson, Ya Ya) and on bass was Phil Brady (White Spirit). We recorded Flame Burns on, You Got It and One Step Ahead, they have appeared on various compilations.

I’ve only two good memories of Neat. Meeting Chronos from Venom, before he was Chronos of Venom. He worked there and was friendly, articulate, mad on drawing, and he did tell me his band were going to be the heaviest ever! I also met Fist guitarist Keith Satchfield and had seen him play with Warbeck, Axe and then Fist. Great player and writer. When I was in the studio and keeping to the Neat sound of tinny reverby guitar, he told us how to set our amps up so we didn’t get the tinny reverby guitar! Rather kind I thought.

When did you first get interested in music ? I was 15 when I started listening to the first Sabbath and Uriah Heep album’s. When I was 16 I started work at the shipyard so had some money. We would go to Redcar Jazz Club and see Mott the Hoople, Atomic Rooster, Hawkwind and Curved Air.

I also met a great blues player in the shipyard, Kenny Relton. He had a band that did clubs, the White Folks Show band, he used to let me go to gig’s with them. They covered some great tracks, Mountain, Cream, Fleetwood Mac. I think that is really the point I thought this was a good idea. Ken would give me pointers and let me play his Gibson SGs, and L6S guitars. Ken is a great player still, I think he despairs that I play heavy metal (laughs). So I had a basic lesson in all the good things, work ethic, presentation, he was a ‘get it right’ sort of lad.

I also caught UFO and Priest early on at Sunderland Locarno. I actually saw the classic Schenker/Chapman line up. Plus of course one of my great loves Blue Oyster Cult. They influence me lyrically. I don’t think many British bands have the humour, the satire, razor sharp observations, the out there poetry. So my paltry attempts at conjuring images of Sci-Fi wastelands and Starscapes usually falls a bit short of the mark (laughs).

Can you remember your first band ? I had seen Axis live with their original line up. They were great musicians.  I always thought Axis were principally a good blues band, lots of Hendrix, Robin Trower, Wishbone Ash.

In 1979 I was looking for a band to join, I was 23 so late as a guitar player. I went to audition as second guitarist and I remember having to learn a couple of Scorpions, Deep Purple and UFO tracks. However it must be pointed out that I did arrive with a fair amount of cash from my welding job. There were probably better guitar players than me that applied, but I was older and had a decent job. I suspect I bought my way in. You know, give me the job please and I will buy this massive PA (laughs).

The chemistry was good and I got the job and Axis were the first band I was in. Mick Tucker was and is a ferocious guitar player. I knew I could work and learn from him, try to create something different. We had a darker design for Axis.
Who else was in the band ? I was surrounded by great musicians. Mick already had the line-up he wanted. Marty Day (drums) Paul McGuire (keyboards) John Cunningham (bass) Neil Grafton (vocals). They were all very patient with me as I had a pretty steep learning curve. Initially we did lots of covers, Blue Oyster Cult, Scorpions, UFO, Montrose, but our main aim was to have our own stuff as the main part of the set, it just took time.

Can you remember your first gigs ? First gigs were Thornaby Cons club. Lots of the NWOBHM bands played there like White Spirit, Limelight, Son of a Bitch who went on to become Saxon, Tygers of Pan Tang and Vardis. The circuit was pretty good, the Warrington Lion, Sunderland Locarno where I sat on every toilet seat in the dressing room so I could have my arse where Michael Schenker once sat (laughs).

Me and our manager John Lancaster were big pals with White Spirit’s manager Mike Sanderson so we supported them a few times. Gigging was always fun with Axis. I was in a band that is all that mattered. We travelled the length and breadth of the country.

Any road stories from that time ? A memorable one was when supporting former Thin Lizzy guitarist Eric Bell at a local gig. We’re in at midday to set up a huge wall of Marshalls, drum riser, lights, smoke bombs the whole nonsense. Hey we were local heroes (laughs). Then Mr Bell and band arrived. You can imagine the headliner walking in and seeing this mountain of shit on the stage. But what a gentleman, we were young and full of it. He was very gently spoken and just said ‘This isn’t really the way it works lads’. Then much to our relief he said ‘but it’s fine, we don’t need much room, not bothered about a sound check’.

I remember it was packed to the rafters for Eric Bell, not for us, but we did ok. His drummer set up after us. Bass player rolled his amp on, Eric Bell rolled either a Vox AC30 or a Fender Twin on to the stage and blitzed the place. No arsing about, no demands, just played like true pro’s. What a lesson, what a professional. Of course we thought he was brilliant, his band were brilliant, his last words… ‘Pleased you enjoyed it, now you know there is no need for all that shit on stage, and don’t ever fucking set up before the main band gets there’ (laughs). A year later went to see him at the Redcar Bowl and he introduced us to his new band with ‘These are the cheeky bastards who set up before we even got to the gig’ (laughs).

Another time our bus had broken down so we had to hire a Luton van to get us to a gig in Wales. We were on the road to Tonypandy when the Luton stopped, back doors opened and we get out looking at a battered bridge over a gorge in Wales. If you were a sparrow you wouldn’t have landed on it! Apparently there had been a lot of storms that caused structural damage so there was a sign that read something like ‘Safe load..?’

Well this Luton with all the kit and us in it must’ve been well over the limit. To turn back would take hours, so our manager John Lancaster and soundman Paul Cleugh said… ‘Just jump in the back lads, we’ll turn round and find another way’. So we did, like fools. Back door shuts, van rev’s like it’s in a drag race, sets off with wheels screeching and us holding on to anything. We go 200 yards then stop and the back doors open. We have just gone over the bridge of death. Mr Lancaster and Mr Cleugh crying laughing to shouts of ‘Are you fucking mental’. I asked why they didn’t just let us walk across the death bridge. The answer was… “That would have been no fun at all”.

What happened to Axis ? The story ends with guitarist Janik Gers leaving White Spirit to join Gillan and Mick Tucker leaving Axis to join White Spirit. We found it hard to replace a guitar player like Mr Tucker, plus we had too many line-up changes in a short time. Axis called it a day. Mr Tucker later joined Tank and is still touring and putting great albums out now, they have a really healthy following.
Pauline Gillan Band

Where did you go then ? I joined the Pauline Gillan Band who were initially signed to Mausoleum Records, but then Powerstation got us out of that deal, so we signed to them. They were good people I liked them. They had Chrome Molly on their roster and later Little Angels. A couple of singles came from the album Hearts of Fire and we took it out on the road touring extensively around the UK and Europe. I brought John Lancaster the former Axis manager in as road manager. He was and is a great fixer. We also had decent management, a guy called Jim Sculley, also Black Rose’s manager. He worked his ass off for us and spent a lot of money. We did a Tyne Tees TV live music show called TX45 and that was good fun.

R-7630918-1454763533-1596.jpeg

What studio did the band use to record the album ? We went into Fairview studio in Willerby near Hull. It was like Club Paradise compared to Neat. In reality we did what we could, but we weren’t great writers. Powerstation did bring in some outside writers and we recorded some of that stuff. Not sure what happened with it, may have appeared on a compilation.

Have you any road stories from your time in the Pauline Gillan band ? I remember playing in Watford and we had a very famous guest backstage, the drummer from The Sweet, Mick Tucker – not to be confused with Mick Tucker from Axis/White Spirit/Tank. He was very straight with us.. ‘I’m looking for bands to produce, I want to take you into the studio and record that song you do, it has hit written all over it’. The song in question unfortunately was Eric Martins Just Another Pretty Boy and it had been a hit for Mr Martin in the USA. We covered it in the set and he could obviously spot a tune, but unfortunately we couldn’t write one. He didn’t finish his beer (laughs).

Whilst on tour we had a particular Spinal Tap incident in Scotland. We stayed in a great hotel for a few days in a place called the Bridge of Allan and got to meet Jack Bruce (Cream) – he lived there. We bought the biggest bass cab you have ever seen off him. This particular night our management had got us a fill in gig, rather than sit on our arses in a nice hotel we had to get out and work. It was a workingman’s club and we knew we were in trouble when we looked at the juke box. All country and western, the stage had silver and gold tassles at the back. They told us to do two 45 minute sets. Which we didn’t ever do, I mean the night before we had played Glasgow Apollo a real hard rock venue.

Anyway we set up, soundchecked and you could see the bar staff with their mouths open at the sheer volume. Lots of shuffling from the committee men. That night we emptied the place in around 5 minutes, but like troopers we carried on at full tilt. I noticed two white haired old dears sat right at the back, drink in front of them, just staring at the stage. Between a break in a song I said to Pauline ‘When we’re finished I’m going to buy them a beer. Who would have thought the two oldest people would stay through this’.

We came off stage, got changed and were told by the committee that our services would not be required for the second 45 minutes, fine by me. I went to ask the two old people what they wanted to drink just as their carers arrived with their wheelchairs… they couldn’t get out if they wanted to (laughs).

But it was hard for Pauline being constantly compared to Ian (Gillan) who is one of the greatest rock singers of a generation in one of the greatest bands of a generation. But in Pauline’s defence she never wanted to call it The Pauline Gillan Band that was the record company insisting. But it worked and we got great gigs, festivals in Europe, great hotels. Oh we also got backstage passes for some spectacular Deep Purple gigs on the Perfect Strangers tour. We did our best as Pauline did, she was great to work with, fun, articulate and liked to party. I enjoyed that time immensely.

I only have good memories of the Pauline Gillan Band. We seemed to gig forever, that made us a tight band and we had fun wherever we went.

Did you work in any other studios ? After Pauline Gillan I recorded with a band, Kashka. That was for Curain Records who put us in Fairview Studios, the Producer was John Spence.  We had Dave Bell, guitar, Chris Wing, bass/keyboards from the Pauline Gillan Band and our friend Mick King on drums. We worked with two great girl singers Lorraine Crosby and Jackie Fox, and we really found our thing as writers. The usual thing tons of interest. Isn’t there always? Even from the Queen management, they called and said Brian May was interested. We got a lovely letter off him saying he had crashed his car whilst listening to the tracks! He particularly liked the two girl’s voices.

So story goes he took it to America with him. However the view from their company in the USA was that they had factories churning out great girl singers and this type of AOR. As it happened neither of the girls could commit to gigging. They both had decent well paid careers as singers, we couldn’t afford them and they understandably didn’t want to do anything on a flimsy promise of stardom.

What are you doing now ?  I always think Lies of Smiles is what I wanted Axis to develop into. You know the Starscapes, Warscapes, God as an Alien, Lucifer misunderstood. Aliens as controllers of the human race and all that heavy metal bollocks in all its glory.

On both albums Cross & Claw (2010) and Dreams of the Machinoix (2015), Lies of Smiles have produced two huge granite slab’s of classic 80’s hard rock enhanced by Ronnie James Dio ‘Mob Rules’ era vocals. Both album’s benefit from slick, solid, meaty production courtesy of Fred Purser at Trinity Heights studio in Newcastle. Ticking all the boxes of any respected heavy rock/metal album.

There may be another Lies of Smiles album, 3 is a good number, it’s enough to tell a story! Dependant entirely on the boys in the band, we have the means to do it so it’s just time and commitment, and for no other reason than to create. Simple as that.

What does music mean to you ? Maybe it’s mathematical, the laws of physics and mathematics apply to the planet, the Solar System, the Universe. ‘There is geometry in the humming of the strings, there is music in the spacing of the spheres’. (Pythagoras). Thing is music is entirely intertwined with mathematics, even a basic major chord can be described mathematically.

But just listening to it is one of the most important things in life. It touches people and has a deeply profound effect on people’s emotions. It elevates people, makes them happy or sad, brings back vivid memories of times and places. The creativity, comradeship and feeling of creating something from absolutely nothing. Looking back it was all fun, still is. I wouldn’t have had it any other way.

Contact the band on their official website:  https://www.liesofsmiles.com/home

Interview by Gary Alikivi  June 2019.