MOTLEY CREW – Beer, burger & a tenner as former stagehand Mark Johnson remembers the crazy Mayfair nights.

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We all remember our first gigs. Mine were Black Sabbath, AC/DC, Motorhead, Ozzy and Judas Priest at Newcastle City Hall and at the Mayfair with it’s over 18 policy was Tygers of Pan Tang, Raven and Hanoi Rocks with my last one before it was demolished, was the Fun Lovin’ Criminals in ’98.

I remember the distinctive green and orange day glo posters advertising gig’s at The Mayfair. Recently I talked with Mark Johnson who with his friends Dave Mitcheson and Steve Smith have recently opened Bad Moon Prints and aim to reproduce those iconic posters….

Basically we were reminiscing about all the great gigs we had seen at Newcastle Mayfair in it’s heyday. My first gig was the Pink Fairies in ‘76 and then I saw AC/DC, Judas Priest, Iron Maiden, Cheap Trick, there were loads. Every Friday we would be there.

We thought it would be a great idea if we could reproduce the gig posters from all the iconic acts that played the Mayfair including Zeppelin, Floyd, Sabbath, Queen, Bowie, The Who and Nirvana.

Very few, if any of the early originals are now in existence. We managed to get originals of the Led Zeppelin posters from both Sunderland and Newcastle in ’71. They were in very poor condition. But I have a few originals which I nicked off the wall from when I worked there (laughs).

When did you work at the Mayfair ? I was on the stage crew for a couple of years. My first job was in November ‘78 when AC/DC played. Then it was every Friday with the likes of Judas Priest, The Clash, Police, Cheap Trick, Ramones and Journey to name a few. I also worked at the Newcastle City Hall from summer ‘79 till around summer ‘81. I was in the same squad that also worked the Newcastle Polytechnic and Sunderland Mayfair which was a lot easier venue to load in.

How did you get on the crew ? I was a student at Newcastle College and this guy I knew who already worked there just asked if I fancied earning £10, a cheeseburger, drinks tokens and seeing AC/DC ? (laughs). We would start loading in from 11am and it ended up around 10 to 12 of us long haired types unloading two articulated trucks and taking the gear down an old service lift and using the fire escape stairs.

How much gear are you talking about ? Well these were big bands, AC/DC, Journey, Sammy Hagar, The Police, with all their sound and lighting gear, tons really. The band’s would have their own professional crew, we would just hump the gear in and out. Their crew would be the drum and guitar techs, lighting and sound guy’s etc. Those guy’s would know where everything went while we were just a rabble of young daft music fan’s getting in the gig for nowt (laughs).

When would the band appear ? They would rock up in the afternoon for the soundcheck, we would sit and watch them. Maybe hang around for a few drinks then go back to the hotel. When the bands were on stage we would either be tasked with doing follow spots, standing at the side of the stage or nicking their beer from the backstage area. Some of them were really canny  guy’s, usually the techs had more of an ego on them than the actual band members but we had some great laughs.

After the gig we would bring all the equipment back up the stairs. The load out would take until around 4-5am. I think one night it was Molly Hatchett’s sound desk that went flying back down four flights of concrete stairs because the local crew were rather a bit too refreshed. Their tour Manager wasn’t chuffed. We didn’t have any stage management or anything, half the time it was chaos and we used some dodgy characters. We were on the 5am train going home once and one of the lads had nicked half a side of beef from the kitchens which raised a few eyebrows.

Are there any stand out gigs that you can remember ? Yeah the Two Tone tour with The Specials, Selecter and Madness. Basically there was a sea of skinheads, mods and punks and there was one big fight from start to finish. Tables chucked off balconies. Mayhem. All of the stage crew had long hair so we just stood at the side of the stage or backstage and kept out of it. Think it was the night when the police with dogs turned up – or was that The Clash ?

Can you remember your last gig working at the Mayfair ? My last gig working there was The Clash. Around that time I had done 5 or 6 crew gigs in a row to save money to see Pink Floyd on The Wall tour. To be honest it wasn’t the most professional set up compared to the set up at  Newcastle City Hall. They had a plan to work from, a Stage Manager for a start. No alcohol whilst working, a set time to be there. A guy called Colin Rowell ran it and it was very well run. We were the best stage crew in England.

You have to remember most of the Mayfair gig’s would be on a Friday night, but there was concerts on at the City Hall every night. One night you could be loading in Motorhead and the next night it would be The La Sagesse School Choir (laughs) and the next night it would be Queen for two nights. By the end of the week there could have been a soul band on, an orchestra on, Shirley Bassey or someone like that and then back to a  big act like the Jam or UFO. So you were there virtually every night. Sometimes we used to sleep on the stage or back stage for the early load in next morning –Which usually involved mischief.

Can you remember your last working gig at the City Hall ? I think it may have been the Van Halen gig.They brought in enough gear to fill St James Park. It was ridiculous.

I think most of the Stage crew would not carry on doing it forever unless they get picked up by a band and go out on tour with them – which occasionally happened if they were crew down or get a job with a light or sound company. Some of lads I know went on to work for various lighting or sound companies, I know other lads, and lasses who went on to work full time for Ozzy, Queen and The Tubes. I eventually decided I needed a proper job (laughs) – with some regret later on when I heard their tales.

Now you’re involved in printing the posters of the bands that were on at The Mayfair…Yeah the main reason was to bring those long forgotten nights back to life. Anyone who went to either Sunderland or Newcastle Mayfair between ‘67 and ‘97 will know where we are coming from. These were great, great bands that defined a generation, whether you were a mod, punk, biker, rocker, hippie or whatever. Producing these posters will hopefully keep those memories alive and the spirit of those fantastic nights going. They were great times for live music, and personally from a nostalgic point of view that variation and quality of artists will never be repeated.

I’m sure everyone has their favourite Mayfair gig…Yes, for the folks in Sunderland it seems to be the Faces or Free, at Newcastle it seems to be one of the 6 or 7 times when AC/DC played. Or the nights when the Specials and Selecter came to town on their Two Tone tour.
The most interesting gigs for me is finding Pink Floyd played there in 1968 and the fact that Led Zeppelin played their first ever UK gig at the Mayfair as The Yardbirds.

This was a fact unearthed by North East music historian Marshall Hall who was met with derision by the Zeppelin ‘academia’ when he first published his findings. But they all had egg on their face once it was established as fact. This had been lost for years until Marshall’s discovery and now he has rewritten the Zeppelin history books. Another little fact was Queen supporting Vinegar Joe in ‘73 and another piece of history was Bowie just before he hit the big time.

How do you produce the posters ? The posters are produced to the exact original spec. It took painstaking research of the adverts in the British Newspaper Archives where we looked at dates, support acts, ticket prices and the promoters. We also researched all of the original fonts used on the posters, a lot of them now defunct.

After a period of about 6 months we started to reproduce and build the original posters. We had to purchase the original fonts and source the original day-glo paper. Which wasn’t easy as it isn’t cheap and now not widely produced. So the whole job has become a bit of a labour of love. Some of the originals have imperfections because they were done cheaply so we’ve even reproduced them to be as authentic as possible.


How many posters have you produced ?
There is about 50 on the site with more to come. You have to remember at the time these posters were a minimal no frill affairs with only the band, date and price on. They were produced as cheaply as possible. As it was left up to the Mecca to promote the gigs, very rarely were there any images on the posters compared to the bands that were playing at the City Hall up the road.

We really love these posters, we have enjoyed making sure they are spot on with regard to exact copies. Just great times. Great posters.

Check the official website at https://badmoonprints.com/

Interview by Gary Alikivi May 2019.  

ON THE ROAD with author and former Iron Maiden roadie Steve Newhouse

Romford in Essex is where Steve Newhouse call’s home. He’s lived around the East End of London all his life and after leaving school with no qualifications he picked up various job’s in supermarkets and warehouses, he’s also worked for the Royal Mail… In 1995 I decided to have a change in career and joined Royal Mail. I worked for them for 21 years until retiring in 2016. I have since written four novels of which two have been released.

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Steve has recently found time to write down memories about the part of his life that he worked in the music business…I toured a lot with Iron Maiden, then with More, Di’anno, Wildfire and in later years with Michael Jackson, U2 and Spandau Ballet. I worked as a scaffolder, stage hand and crew supervisor.

First I was asked to write a column for on-line magazine Metaltalk. The column became really popular so was asked if I wanted to write a book.

When did you start working for bands ? About 1975. When I first started I was just a dogsbody helping carry the gear in and out of rehearsals or gigs. Then as things progressed with Iron Maiden, I got on so well with Doug Sampson that looking after him became the obvious choice. I was mainly a drum tech/roadie after that.

Doug Sampson was Iron Maiden drummer from 1978-9 before Clive Burr was in place and then Nicko McBrain took over the stool.

Steve remembers growing up with his friends and what music they were listening to as teenagers…First record I bought was probably the T. Rex single Ride a White Swan, and my first album was a cheap compilation of glam greatest hits. About ’73 or ’74 I went to my first concert at the Rainbow Theatre in Finsbury Park to see Nazareth. T.Rex, Sweet, Bowie, Slade was my thing and later that turned to Purple, Sabbath, Zeppelin and Quo.

I grew up with a guy called Paul Andrews (Paul Di’Anno original vocalist with Iron Maiden) and whereas Paul’s taste’s were a lot wider, Reggae, Swing, Blues etc. some of his influences rubbed off on me. We always had friends that were either in a band or wanted to form one.  Paul always had a decent voice, and we were asked to join various bands with me playing bass. I wasn’t very good, so when the opportunity came to roadie for Iron Maiden I gave up playing bass.

Iron Maiden were one of the pioneers of what became known as the New Wave of British Heavy Metal. Along with Sheffield’s Def Leppard and the Tygers of Pan Tang from Tyneside, they were at the very start of a nationwide musical movement.

I don’t remember much about the Tygers but I got to know the Leps fairly well and did a UK tour with them while working for More and Lionheart. Also in ‘81 the Maiden UK tour was opened by French band Trust. I can remember a gig at Newcastle City Hall, the crowd were great and people were jumping off the balcony onto the p.a stack!

I was at all the gigs pictured above. In the early days, Maiden were just another heavy rock band. I think it was Geoff Barton at Sounds who first used the term New Wave of British Heavy Metal and all of a sudden we were part of it. Things had been fairly quiet up until then, with punk rock all the rage. Suddenly rock band’s were springing up all over the country and got tagged with the NWOBHM label.

What are your thoughts when looking back on the time in the music business ? I have no regrets about being in the business. It was a great chance to be involved in something I loved. I got to work for some great people and met a lot more. I still have a lot of connections with my past. And I still believe now that Maiden are the hardest working band of any genre.

Any funny moments working for the band ? Yeah plenty. They’re all in the book (laughs).

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Loopyworld – The Iron Maiden years’ out now and available at https://www.loopyworld.co.uk/

Interview by Gary Alikivi April 2019.

GET YER STRIPES – a year in the life of a Tyger with Glenn S Howes

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On 1st December 2017 this blog has a full interview with Glenn where he talks about his early years as a musician in the North East. Guitarist for Tyneside metal band’s Avenger, Blitzkreig, Fist, Tygers of Pan Tang and playing European festivals like Headbangers Open Air, Heavy Metal Night and Keep It True. As I’m in the process of tracking down former members of the Tygers I got back in touch with Glenn and we arranged to meet and talk about his time in the band….In ‘97 I re-joined Blitzkrieg. They were already heavily involved with Jess Cox (former Tygers vocalist) through the Neat Metal record label in Wallsend. Jess was co-managing the band and arranged for Blitzkrieg to appear on the ‘99 March Metal Meltdown festival at Asbury Park, New Jersey, USA. Excellent bands like Sweet Savage, Vicious Rumours, Sepultura, Overkill, Biohazard and Anvil were on the bill.

On the flight over to Philadelphia I was talking to Jess and he mentioned that he had been trying to organise getting the original Tygers back together. He also wanted John Sykes involved. Robb Weir was in but in the end Sykes turned it down. Also the original drummer and bassist didn’t want to do it. I seem to remember they had genuine personal reasons not to join. Jess just said to me Do you fancy having a go? I was to take on John Sykes role. I said yes! He also persuaded the then Blitzkrieg bassist Gav Gray to take on the bass role. Gav brought his good friend Chris Percy in on drum’s.

When we got back from the USA. I got a call from Robb asking for us to get together for a jam. Essentially checking me out (laughs). I tried to impress him with a few Eddie Van Halen licks (laughs). It went well. Rob said yes it’ll work lets go for it. Thank you Mr Halen.

I loved the Wildcat album back in the day and still think it was one of the best NWOBHM albums. In those days the Tygers were held in high regard and were tipped to be huge. I was so happy and excited to be doing this. So much so I served my notice with Blitzkrieg in ’99 and left them to concentrate on the Tygers that same year.

Where did you rehearse? We started rehearsing in a place under the Byker Bridge near Newcastle. We were booked on the bill for The Wacken Festival in Germany in August ’99, so rehearsals were for that gig during the Summer. I have good memories of those rehearsals. We then found out we were playing the Friday night but were surprised that not only was it a headlining slot, but above Saxon! I still don’t know why that happened it must have been a mistake or Saxon must have wanted to get away earlier.

What are your memories from that gig?  They used a rotating stage mainly to get the drum kit’s ready for the next band. We were ready at the back watching Saxon who were mind blowing. I was thinking we have to follow that! To say my bowels were loose would be an understatement (laughs). But it was a great gig, we went down well and got a lot of favourable reviews for our set.

I remember the intro that Jess wanted to play I think it was The Planets by Holst. We went on, played a few bars but the lights weren’t on. The lighting guy was fast asleep. Snoring his bracket off, now this was a major festival with Saxon and Dokken on the bill. We were told the audience was nearly 20,000. There was certainly a sea of faces that’s for sure. Robb Weir just ran straight over to the lighting guy and kicked him in the bollocks. Bang, wake up (laughs).

For stage clothes Me, Robb, Gav and Chris were wearing nothing flash just like jeans and t-shirt you know. But Jess decided to wear a cheese cloth suit! I asked him why and he said he liked to change the rules. It made him look like Jesus. It wasn’t an ironic piss take either. Just weird.

I’ve done thousands of gigs in different countries. Small and massive crowds but that was one of the highlights of my career. Headlining, getting that kind of attention, it can be mind blowing. Then you get back home and back to reality. Your mates say Have you had a canny weekend then? Me: Aye just played in front of 20,000 people with the Tygers of Pan Tang in one of the biggest festivals in Europe. Not everyone actually believed me. (laughs).

You weren’t a rockstar then? No (laughs) there’s a whole myth around that in my opinion. There’s an expectation to be throwing a TV out the window, shagging groupies and snorting ants or other stuff up your nose. But the truth is that is only a small minority of bands who do that and get away with it. To be a musician in a rock band is more me.

When I’ve played Festivals which ever country I am in and your meeting, talking to fans who bring cd’s and your signing stuff for them, that is the best part. They are showing their love and respect for the songs you wrote and recorded. It’s amazing.

I’ve seen people doing the rock star thing. Maybe that’s just their extreme personalities or its done for sensationalism. That’s up to them and I don’t criticize them for it. I like socialising and having a really good time but I’ve never snorted ants or thrown a tv out of a window (laughs).

I’ve just watched The Dirt movie about Motley Crue, was it all true? Did it give a musical background? and who were Mick Mars guitarist influences etc? No one really knows. There was no depth to it. As I’ve said a lot of this type of thing is done for sensationalism and to perpetuate the rock star myth. It sells.

Did you record with the Tygers? The Wacken show was recorded. Jess took the tapes back to Neat studio and we redone just a few bits. Jess arranged all of that via his label. That was licensed out to Spitfire Records and released in 2001. Basically the full set from Wacken gig. We did have a few new song ideas for a new album but nothing materialised from those sessions. I would have liked to have put some new stuff out. But it wasn’t long after that Robb decided not to take this version of the Tygers forward and leave behind the Jess Cox version. Much like he did when Deverill took over I suppose.

How long were you in the Tygers? Not long (laughs). About a year I think. The initial discussion between Robb and Jess was for there to be another album like the Wildcat era but it didn’t pan out. Looking back there wasn’t anything negative around the band and certainly no animosity that I was aware of. My only thinking is it just didn’t feel right for Robb. Maybe he would of liked the original members in the band. I’m not sure, better to ask him. I always got on well with Robb and for me he always had the right vision for the Tygers and I respect that.

I think Jess worked on a few other projects after that. He contacted me and talked about another Wildcat type project but by that point I wasn’t interested as had other projects on the go and it all seemed a bit late.

What do you think of the Tygers now? Since Robb created that new line up I think he has done a cracking job. They have been solid with some great musicians in the band. Before they went from the Wildcat era into the Deverill and Sykes period, Robb talked of needing something special to move the Tygers on and he was honest with that. Sykes and Deverill certainly added that extra ingredient. Deverill was a great vocalist and frontman. I think Robb did the same the 2nd time around post Jess Cox. They have brought out some impressive albums. I joined other NWOBHM heroes Fist as frontman/guitarist in 2013 and I stayed with them for over four years. We played a show with the Tygers and Avenger at The Cluny in Newcastle. I stopped and watched the initial part of their set and was gobsmacked at how great they are. An amazing band.

Looking back can you walk through that Wacken Festival Day? I can pick out the whole Tygers period. Good memories of rehearsing together then travelling over to Germany. The night before the gig me Gav and Chris went out on the town and were drinking with the locals, they were amazing and found them really friendly. We got a taxi back to the hotel and Gav and Chris went to bed and I stayed up for a tab (cigarette) as I smoked in those days. I sat outside the hotel and a guy got out of a taxi who I recognised but wasn’t sure as it was around midnight and dark. He walked up to me and said in an American accent Hey man do you mind if I sit down, are you going to the festival? I then realised he was one of my heroes, Don Dokken. We sat and chatted for hours. We talked about everything. Family, where we lived. We talked about music, guitars etc. He was a really cool guy.

Next day we bumped into each other backstage How ya’ doin’ Glenn. You know it was another highlight from the gig meeting him. Me, Gav and Chris were really happy to do it. Jess had his spotlight. Robb done his thing. Yes happy times. Fantastic memories.

Interview by Gary Alikivi April 2019.

Recommended:

Steve Lamb March 25th 2019.

Jon Deverill Jan 22nd 2019.

Micky McCrystal Mar 17th 2017 & Jan 3rd 2019.

Fred Purser Dec 30th 2018.

Robb Weir Nov 5th 2017 & Dec 19th 2019.

Richard ‘Rocky’ Laws Aug 24th 2017.

Tygers of Pan Tang in Gaurdian Studio May 3rd 2018.

Steve Thompson June 27th 2017.

ROKSNAPS #6 – THE MIGHTY MOTORHEAD IN ALL THEIR GLORY DESTROYING NEWCASTLE CITY HALL.

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Roksnaps are photograph’s taken by fan’s which captured the atmosphere of concert’s in the North East during the late ’70s and early ’80s. It was a time when rock and metal ruled the city hall’s up and down the country. We had the main venues of Mecca in Sunderland, The Mayfair and City Hall in Newcastle. The gig’s were packed with horde’s of mostly young lad’s from town’s across the North East. T-shirt’s, programme’s and autograph’s were hunted down to collect as souvenier’s – and some people took photograph’s on the night. One fan who kept his photo’s and shared them on this blog was Dave Curry…

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Found out these pic’s I took was from a Motorhead concert at Newcastle City Hall on 30th March 1981. The camera I used was a Pentax MX with a 80-200mm zoom Hoya lens. The pictures were from seat W31 so a fair distance away from the stage.

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I used 400ASA film uprated to 1600ASA but even with the aperture wide open the shutter speeds were still around 1 second or so. I’ve just found some ticket stubs in the loft. I didn’t take any other photos from concerts. But from the Motorhead gig I remember the place was loud and bouncing.

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Dave’s ticket stubs for Motorhead.

 

Interview by Gary Alikivi March 2019.

Recommended:

Roksnaps #1 Feb 18th 2018.

Roksnaps #2 Feb 22nd 2018.

Roksnaps #3 Feb 17th 2018.

Roksnaps #4 April 4th 2018.

Roksnaps #5 June 20th 2018.

WHEN THE MUSIC’S (not) OVER.

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For the music is your special friend

Dance on fire as it intends

Music is your only friend until the end

Until the end, until the end.

(The Doors, When the Music’s Over from the album Strange Days, 1967)

First thing in the morning it’s the squawk from the seagulls, the gush of water as you fill the kettle then turn the radio on. Sound is all around us. At Junior school I remember hearing Jewish songs like ‘Hava Nagila’ and ‘Shalom Shavarim’. The radio played ‘Leader of the Pack’ by The Shangri-La’s and ‘Gaudete’ by Steeleye Span.  Watching Top of the Pops meant my pocket money was spent on a 7inch single by Slade or Sweet. I still listen to a lot of music today and buy the odd cd. Last one I bought was a double, a Best of Bob Dylan. I got it at a car boot sale for a quid ! Bargain. There were loads of great songs on so I got my wallet out but only had a £20 note. ‘Struggling for change here have you got nothing smaller ?’ said the bloke. I searched in my pocket for some change and counted out 90p. Holding the note in one hand and the coins in the other. He said ‘No chance, I’m not selling that for 90p….. it’s a double album !’  

I’ve closed a lot of interviews by asking what does music mean to you or what has music given you ? The answers are fired back. No chin stroking, no pause for thought, just an instant reply. Here are some of them….

Michael McNally: ‘Music is an escape, a freedom from whatever ties us down. It can be the medicine we require to soothe or the motivation to move. Without it we are monotone, bland and sad’. 

Bernie Torme: ‘Meeting great people, shit people and doing things that a shy kid with a stutter from Dublin could never have imagined in a thousand years! Gave me everything really, for which I am eternally grateful, I wouldn’t have exchanged my life for anyone else’s. It definitely did not make me rich though! 

David Ditchburn: ‘Got loads of happy memories, I would never change it you know. I’ve done a few other things in life and enjoyed them but still every night I sit down and play the guitar and write songs. I can’t imagine life without it really. It’s what I exist for I guess’.

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Danny McCormack: ’Well it’s got me around the world and it’s like a feeling of belonging. You go to a gig and I feel one of the crowd. I’m with my people, being part of a community of music lovers, and I can express myself in music. Being confident and comfortable in yer own skin which is important. The ultimate that music has given me is freedom’.

John Gallagher: ‘It’s given us so much, the opportunity to travel the world, meet my wife, have my family and just the ability to sit in a room with a guitar and bang out some riffs and create a song. Just to know that you have made something. We are incredibly lucky to be able to do what we do and do not take that lightly, so when we go out its 100% 24/7/365 mate!!!!

John Verity: Music has given me everything – but at times it has taken everything away too. It means everything to me. I have a very long-suffering wife, Carole. She lets me be what I am despite the faults and that’s amazing, the way she accepts my obsession with all things music related’.

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Robb Weir: ‘I’ve loved every second of my musical career, the whole ride has been like sitting at the front of a giant rollercoaster, hands up, screaming with delight! Music is a way of life, it’s a wonderful thing, and it can be your best friend. You can turn to music at any time of your life and it can be a great comforter. I absolutely love it.’ 

Arthur Ramm: ‘Well I can’t live without music. If my hands don’t work I don’t know what will happen. I listen to music all the time and I am in a band now with Les’. 

Les Tones: ‘When I’ve got a guitar I lose loads of time cos I can’t put it down. I’ve also been teaching music and I got into repairing and building guitars. I still play in a band now’. 

Tony Wilson: ‘It was like opening a door to the world – I’ve travelled, met good and bad people. Coming back to the folk scene I’m flattered that people remember me. There’s still some fantastic people who put you up, give you meals, drive you places…just the most incredible thing ever….really….that’s music’.

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David Taggart: ‘Everything. Even more so as I get older. Lying on my back as a toddler in our council house listening to Swan Lake, Ella Fitzgerald or the Fab Four. Or at the Newcastle City Hall to see the now legendary Rolling Stones concert where Jagger introduced the crowd to his new wife Bianca – while Bowie clapped in the wings. Fashions and fads fall along the wayside as your journey progresses and all you’re left with is the thing that really matters. The music’.

Gary Alikivi September 2018.

To read the full interviews just type the name in the white box at the top right hand of the page.

Don’t forget to check the ALIKIVI You Tube channel.

ROCKIN’ ALL OVER THE TOON AGAIN -Alikivi blog makes the news.

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On the blog in June this year, Roksnaps featured photo’s of bands playing live over 30 years ago. The rare pic’s were taken by music fan Paul White. Photo’s which capture the atmosphere and excitement at Newcastle City Hall. 

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Music fan Paul White

On Wednesday September 12th journalist David Morton wrote an article and featured the photo’s in The Chronicle newspaper and on it’s website.

Newcastle was becoming a rock music powerhouse. Black Sabbath, Scorpions, Whitesnake, Motorhead, Thin Lizzy, UFO among others all trod the boards of Newcastle City Hall’. 

 

The blog is coming up to 40,000 views, plus this is the 175th post, so a great way to mark that milestone is with a double page in the local newspaper.

Gary Alikivi September 2018

 

Recommended:

Roksnaps #1 18th February 2018.

Roksnaps #2 22nd February 2018.

Roksnaps #3 27th February 2018.

Roksnaps #4  4th April 2018.

Roksnaps #5  20th June 2018.

1980 The Year Metal was Forged on Tyneside   11th February 2018.

Rockin’ All Over the Toon  22nd May 2018.

Don’t forget to check the ALIKIVI You Tube channel.

WE SOLD OUR SOUL FOR ROCK N ROLL documentary on South Tyneside rock music.

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In February 2017 I transcribed interviews from the documentary and decided to put them out on a blog. I added some new interviews and updated the originals. Then more musicians got in touch. The blog has snowballed from North East bands like Beckett to worldwide musicians like John Dalton in California. To date it has reached nearly 40,000 views.

But how did I tackle this documentary and pull it all together ? Firstly I talked to a few musicians who passed over some of their archive of demo tapes, video’s and photo’s. Plus I already had a number of photographs I had taken through the 90’s. Then a lot of research was done in the Local Studies Library, South Shields. I remember during the 80’s reading a feature called Young Weekender in the Saturday edition of local newspaper The Shields Gazette. It featured interviews, releases by local and national bands, plus a list of gig dates around Tyneside. The library had all the Gazette’s on microfilm. It took a few visits but in all it was a good start. Then during May 2007 filmed interviews were arranged at The Cave in South Shields, formerly Tyne Dock Youth Club, where in the 1970’s some of the bands had rehearsed and performed as teenagers. 

I was surprised at the amount of people who turned up to tell their story, and what excellent stories they were. The title of the documentary is from a Black Sabbath compilation album and perfectly sums up the feeling I got when people were telling their story. Some bands even got back together after 30 odd year. After working on a few other commisioned projects, finally in 2010 a 30 minute version of the documentary was screened in South Shields, it was shown a few month later at The Cluny in Newcastle along with a film about the New York Dolls. In September 2011 a full version was shown at the Library Theatre in South Shields. 

‘We Sold Our Soul for Rock n Roll’ is on the Alikivi You Tube channel. To check out other films why not subscribe to the channel.

Gary Alikivi  2018

WRITING ON THE WALL In conversation with North East music journalist, broadcaster & producer Ian Ravendale

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Ian Penman has been a television and radio presenter, researcher, producer and journalist for more than 30 years, generally writing as Ian Ravendale to avoid confusion with the Ian Penman formerly of the NME. He returned to music journalism (and Ian Ravendale) seven years ago writing for Classic Rock, Classic Pop, Vintage Rock, AOR, Vive Le Rock, Iron Fist, Blues Matters, American Songwriter, The Word and many more. Ian has interviewed literally thousands of musicians from multi-millionaire rockstars to local indie bands on the dole…‘I worked in television for Border, Tyne Tees, Channel 4 and also ran River City Productions an independent production company based in Gateshead. In addition to making lots of local programmes I also worked on national music shows including Get Fresh, Bliss and (to a lesser extent) The Tube. The Tube was shot at Tyne Tees Television’s Studio 5 on City Road in Newcastle. The site is now a Travel Lodge! It was interesting going to the canteen on recording day for shows like shows like Razzmatazz  and The Tube and seeing who was in. I remember standing behind Phil Everly as he got his cod and chips!’ 

‘The music programmes I worked on were mainly produced by Border Television in Carlisle and I spent a lot of time there in the 1980’s. At Tyne Tees I worked mainly in the Arts and Entertainment department. Anything different or off the wall it would usually be me doing it. We produced a programme about rock poetry, presented by Mark Mywurdz, who at the time was a Tube regular. For some reason Mark wanted to present the programme just wearing a raincoat. Nothing underneath! After we finished recording the show one of the camermen came up and congratulated me; ‘That was the biggest load of rubbish I’ve seen in my life!’  I did a lot of alternative stuff. Some was challenging but none was rubbish!’

Talking about alternative stuff, can you remember Wavis O’Shave ? ‘He had a number of names – Wavis, Fofffo Spearjig, Rod Stewart, Pans Person. When I was writing for Sounds he saw me as a way in as the paper liked the off-beat stuff. He was a great self publicist. And still is! He once told me about getting £1,000 out of the News of the World for a tip-off about a forthcoming witches coven scheduled for Witton Gilbert-or wherever Wavis said it was!’ 

What can you remember about working on Get Fresh ? (kids 1986-88  morning weekend TV show produced by the regional ITV companies taking it in turns for Saturday and Border producing all the Sunday editions). ‘For Get Fresh and Bliss, Border’s 1985 summer replacement for The Tube, most of the guests came up to Carlisle the night before so I’d take them out. People like Rat Scabies and Captain Sensible from The Damned. We’d go into the music pubs and clubs around Carlisle and people would love seeing them there. Rat got up a few times to play with some of the local bands. When I met him I said ‘What do I call you?’ (His real name is Chris Miller). (Adopts cockney accent) ‘Just call me Rat’. So I did. Nice guy. At the time he was really hoping to get the drum job with The Who, as Keith Moon had recently died. Didn’t happen, unfortunately.’

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Bliss was presented by Muriel Grey and produced in Carlisle by Janet Street-Porter. We featured live bands, got them to play for half an hour, used two songs on the weekly show, then repackage the 30 minutes for a Bliss In Concert special. There wasn’t that much going on in Carlisle at the time so we had no problem getting local kids in as the audience. One week we didn’t have a live band and I’d got an advance copy of the famous animated video for Take On Me by A-Ha, who at that point were totally unknown. Graham K Smith, the other music researcher and I thought it was really good so I rang their record company to see if A-Ha were available and importantly if they could play live. A resounding ‘Yes, they can do it’ was the answer. Bliss was aimed at a teenage audience so A-ha would have fitted in perfectly. Janet-Street Porter comes in and looks at the video and goes (adopts cockney accent) ‘Oh no, that’s art school stuff, it’s boring. Draggy!’. Border TV could have had half an hour of A-Ha playing live in concert for the first time in the UK. But no. The band she booked instead were King Kurt, a well-past their sell-by date punk band. So up they come in their ratty old bus with dogs on pieces of string and a stage act that consisted of throwing slop at each other. We – or rather Janet – turned down what became one of the biggest bands of the eighties’.

When you were reviewing gigs in the early 1980’s for Sounds were there any bands that surprised you or were disappointed with ? ‘It took me a while to ‘get’ punk. I was never into the boring British blues bands and prog acts which still show-up on the BBC’s compilations of 70’s rock. With the exception of The Sensational Alex Harvey Band who I liked. When punk came along it started to make more sense. I was also into what is now classed as Americana. Along with more-left field bands like Sparks and Be-Bop Deluxe.’

I’m reading the book ’No Sleep till Canvey Island -The Great Pub Rock Revolution’ the book mentions the early careers of Joe Strummer, Nick Lowe and Elvis Costello…’There were bands that were like a doorway between punk and the boring rock bands and Brinsley Schwarz, with Nick Lowe were one of them. I saw them play Backhouse Park, here in Sunderland. Dr Feelgood were another. I saw The Damned support Marc Bolan at Newcastle City Hall and it was a short, sharp, shock. And I thought; ‘OK. What was that…?’ Phil Sutcliffe, my predecessor at Sounds did an interview with The Damned for Radio Newcastle’s Bedrock show that we both worked on. It was 30 seconds long and finished off with someone shouting ‘Oi! Who put duh lights out’!

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The big article you wrote for Sounds in May 1980 featured local metal bands Mythra, Fist, Raven, Tygers of Pan Tang and White Spirit. How did that come about ? ‘I was freelancing at Sounds, writing articles and reviewing gigs, some of which were of local bands. I was also working on the Bedrock programme and one of my co-presenters was Tom Noble who was managing the Tygers. I’d already written individual articles about the Tygers, Fist and Raven and Geoff Barton, the assistant editor at Sounds asked me to source a few more bands for a 4,000 word article. The North East New Wave of British Heavy Metal’ was born!’

NWOBHM had Iron Maiden in London, Saxon in Barnsley and Def Leppard in Sheffield…. ‘Yes. As a reviewer I went as far as Redcar. A lot of the local bands I reviewed were from here in Sunderland, Newcastle and South Shields. Sounds also had a guy called ‘Des Moines’, a pseudonym for a writer from Leeds called Nigel Burnham who is now an agricultural journalist and Mick Middles, based in Manchester. Between the three of us we had the north covered. One time the Tygers of Pan Tang were supporting Saxon and I’d gone along. I’d previously written a review of Saxon which included something along the lines of ‘in six months time they’ll be back playing social clubs’. At the gig Tygers’ guitarist Robb Weir came up and said ‘Biffs lookin’ for you!’. Fortunately he didn’t find me….Not yet, anyway.’

Was there any conflict between watching a band that you weren’t a fan of and writing something positive about them ? ‘Geoff never said to me, ‘We’ve got a big metal readership here can you go easy on them?’ He never wanted me to do that. But I found metal bands easy to take the piss out of – and I did. This stimulated very angry letters like ‘How dare Ian Ravendale slag off Ozzy. I’ve seen him and he was great’. I remember my opening line of a review I did of Ozzy, ‘What I want to know is how is Ozzy Osbourne so cabaret’. I interviewed him a few times for Bedrock but my interviewees tended not to click onto the fact that ‘Bedrock’s Ian Penman’ was also sharp-tongued Sounds scribe Ian Ravendale. One time a few years after the Sounds ‘cabaret’ comment I was working at Tyne Tees and on the Friday Ozzy was playing The Tube. The Arts and Entertainment office was next door and I saw him in the corridor looking lost.  So I went up to him and said ‘Hi Ozzy, The Tube office is just over there’. He thanked me and then said ’I’ve met you before haven’t I’. He still remembered me from the radio interviews we’d done’.

How did you get interested in writing ? ‘As a teenager I was a huge music fan and also into American comics. I wrote for a few comic fanzines then published some of my own which occasionally still turn up on Ebay. That gave me an insight into writing for public consumption’. 

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The Bedrock team with Ian sitting on the right.

What about radio? You were involved in Bedrock for nearly ten years…‘Dick Godfrey was producing a programme called Bedrock for BBC Radio Newcastle which featured interviews from national and gave local bands exposure which was otherwise very hard for them to get at the time. I had always been interested in the nuts and bolts of the music industry and how it all worked and listened to programmes like Radio 1’s Scene And Heard. Dick had a feature called Top Track where each week a different listener would come in and play his favourite track and talk about it. ‘Some Of Shellys Blues’ by Michael Nesmith was my choice. This went down well with Dick so I asked if he’d be interested in me contributing features. ‘Yes but there’s no cash involved’. Nesmith was soon going to be playing in the UK and I was going along to the gig so I asked Dick if Bedrock be interested in me trying to get an interview with him. ‘Definitely’ replied Dick. So I phoned a record label I’d heard Michael was about to sign to and they gave me his hotel number. As ‘Ian Penman from BBC Radio Newcastle’ I arranged an interview, which I did a couple days later in London, the day after the gig. That was my start in radio’. 

How did you start with Sounds? ‘Phil Sutcliffe, who was the North East correspondent for Sounds, was a friend of Dick Godfrey and also worked on Bedrock. When Phil moved to London he recommended me to Geoff Barton, Sound’s reviews editor, to be his replacement. Phil wrote a lot about the Angelic Upstarts, he liked the music but also had a sympathetic ear to what they were doing. He wrote the first articles about them. Same for Penetration, Neon and Punishment of Luxury. I’d also been involved in the music fanzine Out Now which Tom Noble had produced, so I was becoming pretty proficient at interviewing and writing reviews. I was out at gigs four nights a week and was known enough to be able to walk straight into Newcastle City Hall via the stagedoor. This put me in touch with Tyne Tees TV and when a researcher vacancy came up I applied for that, got it and carried on at Sounds for a short while. I also wrote a few pieces for Kerrang, which Geoff Barton had moved across from Sounds to edit. I wrote the first article on Venom. Yes, I’m responsible for Black Metal.

Then as now, my attitude was regardless whether I liked the music or not if I could write something positive about local bands, and it was a entertaining ….I’ll do that. If you write something negative about a local band you could do them major harm. Also, a person in Aberdeen doesn’t want to know whether a band from South Shields are crap. Why would they?’

For the work that you were doing how important do you think research is? ’Some writers think of an idea then write a piece in support of that. I don’t do that. For me it’s about the facts and information presented in an interesting way. Opinions and personal taste are what they are. Maybe you like a band that I don’t. That’s fine.  But facts stand. I do my absolute level best to write as accurately as possible. It’s really important for me to do that. Sometimes information comes from two or three sources. And if the information is contradictory, I’ll say that’. 

Any memorable incidents in your career ? ’I interviewed Debbie Harry at Newcastle City Hall when Blondie had just broken big. We were in one of the really small dressing rooms. It was tiny. The record rep said ‘Ok Ian you got seven minutes’. He introduced me to Debbie who was standing with her back to me. She was leaning on a shelf writing stuff down. I said ‘Writing out the song lyrics ?’ She replied ‘Yeah, well I don’t really know them from the new album yet’. It felt a bit awkward. I literally spent the next three minutes just watching her writing with her back to me, stunning in her jumble sale collection of clothes. Eventually she sat down and off we went. All of this was fairly new to her, she had just been playing CBGB’s (small club in New York) and now it was to gigs with 2,000 fans like the City Hall. She was trying to get used to all this Debbie-fever that was going on around her. By minute seven we were finally getting somewhere and she was opening up when the record rep walked in ‘Right Ian. Times up!’

I did actually interview the solo Debbie on the phone for Get Fresh nine years later and she was much more forthcoming.  (The  City Hall interview is on Rocks Backpages if you fancy a listen. RB is a paysite but there’s lots and lots of great stuff up there).

For more information contact : http://ianravendale.blogspot.com

Interview by Gary Alikivi July 2018.

NEAT BITES – Making Records on Wallsend

NEAT advert

Neat Records were based in Wallsend, North East England. The label was established in the late 70’s by Dave Woods, who was the owner of Impulse Studios. It was notable for releases by Venom, Raven and Blitzkreig who are acknowledged as major influences on American bands Metallica, Megadeth and Anthrax. Songwriter and producer Steve Thompson helped set up Neat and produced the initial recordings…One day Dave Woods came in and said there’s a band who are making a bit of noise out there why not get them in and sell a few records? So in came Tygers of Pan Tang to cut three tracks. Incidentally it was to be the third single I’d produced for NEAT. Now we know it is known as the New Wave of British Heavy Metal, and the tide was coming in that very evening haha’. 

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ROBB WEIR (Tygers of Pan Tang) ‘In 1979 we recorded, ‘Don’t Touch Me There.’  It had a release number 003 so we were in at the beginning of the Neat Record label story. We were the first heavy metal band to be recorded in the studio. So I’m very proud of the Tygers giving the Neat label a direction. Impulse studios took a chance and pressed 1,000 copies, that was a lot for a small independent label. Don’t Touch Me There was reviewed in Sounds newspaper which made a massive difference so the next pressing was 4,000 ! Then studio owner Dave Woods was approached by MCA record company, they wanted us! So Dave did a deal, essentially selling the Tygers to them. So MCA pressed around 50,000 copies of the single!’

BRIAN ROSS (Blitzkreig) ‘I remember the first time in Impulse Studio was great we made it feel like our second home. It came highly recommended as Tyne Tees TV used it to record their jingles there and we recorded a jingle Hot n Heavy Express which Alan Robson used on his radio show. It went well so we extended it into a single. NEAT put it out on a compilation EP. Now this studio was the label to be on, and I mean in the country not just the North East, I’ve recorded many tracks there as Satan, Avenger and Blitzkreig. It’s a shame it’s not there now’. 

ANTONY BRAY (Venom) Conrad was tape operator at NEAT doing a few days here and there and he bugged the owner Dave Woods about getting spare time in the studio for the band. He kept asking him ‘can my band come in on the weekend ? Woodsy got so sick of him he just said ok, just do it, but pay for the tape. So we recorded a three track EP and we thought it might get a little review somewhere. I was still working at Reyrolles factory then and one morning I wandered in and someone had a copy of the Sounds. Couldn’t believe it, there’s a two page spread about our EP, f’ing hell look at this. When Woodsy saw it he thought, I hate the band, think they are bloody awfull – but kerching!’

KEITH NICHOLL (Impulse studio engineer) ‘With Raven, their playing was always intensive but there were loads of stories and quite a few laughs. I think they simply wanted to do a better album than the first and then again the third. Any band would. Can’t remember if there was an official tour but they did loads of gigs. Good live band’.

HARRY HILL (Fist) ‘The first single we put out was Name, Rank and Serial Number and You Never Get Me Up In One of Those on the b side. We done a lot of reheasal and prep work so we were tight, ready to record. When we done Name, Rank we were on Northern Life TV. The cameras came down filmed in the studio that was 1980. Strangely the only piece of vinyl I have is our single The Wanderer. We started putting it in our set so yeah, went in and recorded it. Status Quo released a version a couple of month after us but honestly thought our version was better haha’.

GARY YOUNG (Avenger) ’I worked in the Shipyards near my home town but for about a year before that I worked at Impulse Studios in Wallsend which was where Neat Records were based. Due to this I was involved in a lot of recording sessions and some of them for what are now landmark albums like Venoms – Black Metal and Ravens – Wiped Out. I had my first experiences of recording there with my own bands and helping people out on random recording sessions. They were great times’.

DAVY LITTLE (Axis) ‘I remember Fist guitarist Keith Satchfield was in when we were recording. He was always track suited up. Getting fit and going on runs in preparation for a tour. I had met him a few times when I was younger I used to go and see Warbeck and Axe. Always thought he was a cool musician and writer. Plus a nice fella. We were very inexperienced and new nothing about studios. He  gave us advice on how to set up amps. Was very supportive I never forgot that. Also when we were in there a very young moody boy was working there. Making tea, helping get kit in. Always drawing. Asked to see some of his drawings. All dark, tombstones, skulls, flying demons…nice kid tho said he didn’t think we were very heavy metal. I agreed. He said “one day I am going to have the heaviest band ever”. I met Chronos years later in a club in Newcastle when he was fronting the mighty Venom. A nice lad’.

STEVE WALLACE (Shotgun Brides) ‘There was a kid called Richard Denton who grew up in the same area as us and he was working A&R at Impulse records in Wallsend. He persuaded the owner Dave Woods to take us on. We went into Impulse Studio and recorded the track Restless, that was engineered and produced by Kev Ridley in 1987. The b side of the single was Eighteen. We recorded the song bit by bit, tracking it up. Unlike a few other bands it wasn’t recorded by playing all the way through and off you go add a couple of overdubs, no it was fully tracked. It eventually ended up on a NEAT compilation album’.

PHASSLAYNE NEAT

MICHAEL MAUGHAN (Phasslayne) In the summer of ’85 Phasslayne were approached by Neat Records. Dave Woods was the main man there. What happened was we recorded a demo at Desert Sounds in Felling which they really liked so the label asked us to record a live no dubs demo in their studio in Wallsend. On hearing that Dave Woods signed us to do an album. But just before we got our record deal our singer left and everyone looked at me so that’s how I ended up doing the vocals. I think Keith Nichol was the engineer. For guitars I used my Strat and Maurice Bates from Mythra loaned me his Les Paul. We called the album Cut it Up, it’s on vinyl’.

KEV CHARLTON (Hellanbach) ‘We got a deal with NEAT records to record our first album. That was the best time. After rehearsing for months getting the new songs together we recorded the album which is a very proud moment in my life. Now Hear This came out in ’83 and was produced by Keith Nichol. I remember getting the first copy of the album, taking it into work thinking this might be me leaving the shipyards. It was one of the weirdest times of my life because it came out to amazing five star reviews and some of the big bands weren’t even getting five stars. I remember sitting in the toilets of Wallsend shipyard reading the reviews in Kerrang and Sounds, thinking this will be the last time I’ll be in the shipyard….but it wasn’t !’ 

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To read a comprehensive story of NEAT records get a hold of the book ’Neat and Tidy’ by John Tucker. It examines the history of the label, its bands and their releases including interviews with many key players in the Neat Records’ story such as label boss David Wood, producer Steve Thompson, Raven’s John Gallagher and Jeff ‘Mantas’ Dunn from Venom.

https://www.johntuckeronline.co.uk/neat-and-tidy-the-story-of-neat-records.html

Interviews by Gary Alikivi 2018.

Recommended:

Brian Ross, SATAN/BLITZKREIG, Life Sentence, 20th February 2017.

Harry Hill, FIST: Turn the Hell On, 29th April 2017.

John Gallagher, RAVEN: Staring into the Fire, 3rd May 2017.

Kev Charlton, HELLANBACH/BESSIE & THE ZINC BUCKETS: The Entertainer, 23rd June 2017.

Steve Thompson (NEAT Producer) Godfather of NWOBHM, 27th June 2017.

Richard Laws TYGERS OF PAN TANG: Tyger Bay 24th August 2017.

Robb Weir TYGERS OF PAN TANG: Doctor Rock  2017

1980: The Year Metal was Forged on Tyneside, 11th February 2018.

Guardian Studio: Defender of the North 3rd May 2018.

METAL ON THE MENU – The Making of Cult NWOBHM album Roksnax

roksnaxSouth Shields is a small town on the North East coast of England. During the 1970’s it’s main employment was heavy industry. Shipbuilding and coal kept the workers thirsty. Pub’s and clubs were doing a roaring trade with entertainment from local rock bands. Heavy riffs and pounding drums were echoes from the pits and shipyards. By 1980 the New Wave of British Heavy Metal had rolled in. The sound waves crossed the Atlantic and landed in a garage in San Fransisco. Metallica were born, and went on to become the biggest band of the genre. Not far from that garage lived a young Nick Vrankovich. Nick is now at Buried by Time and Dust Records who have re-released Roksnax, one of the albums that helped kick start the New Wave of British Heavy Metal.

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Terry Gavaghan, Guardian Records.

Originally released in 1980 by Guardian Records, the compilation album was produced by Terry Gavaghan. He recorded 3 North East bands at his studio in Durham. Teeside based Samurai, and from my hometown South Shields, Hollow Ground and Saracen. The main players behind the re-release take up the story…

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Nick Vrankovich

Nick Vrankovich (Buried By Time and Dust Records): ‘One night not long ago, I was sitting drinking some Newcastle Brown and spinning some of the compilation albums I had from the NWOBHM time, Lead Weight, HM Heroes, Metal for Muthas, all packed with songs that meant so much to us. Then I played Roksnax and I was quickly reminded of two things. One was that all twelve songs are incredible. When you talk of the magic of heavy metal or the mysticism of the NWOBHM surely they must be referring to releases like this. The second was how obscure this one was compared to the others. I made a clear decision that night to contact the bands to see if we could make this masterpiece available again. When I got in touch with the guy’s I found the willingness, generosity and honesty incredible. Even though I’m now over 50, these tracks mean as much to me as the day I first held the album all those years ago’.

‘By the end of 1980 I was 13 year old and not yet aware of the New Wave of British Heavy Metal. I was into Kiss, Van Halen and shortly after Black Sabbath would change things for me in a big way. By the end of 1981 I discovered the Record Exchange in Walnut Creek, California which is about thirty minutes outside San Francisco. The second I entered the record store an obsession would be born. The store was heavily stocked with all the latest imports and cutting edge heavy metal from the UK and Europe. The extreme appearance and imagery of bands like Venom, Mercyful Fate, Angel Witch and countless others was something that fired my imagination and created an obsession that continues to this day. The fact that the music was so fantastic and really heavy only added fuel to the fire’.

BACKROK

‘The Record Exchange is where I first remember seeing the album Roksnax. It was an import which meant the price was $9.99 which was a huge sum of money for me. I remember looking at the photos on the back, it all looked so old and obscure. I was unsure what it would sound like. I had not heard of any of the bands on the record and of course it was next to impossible to find out about them unless they had a record deal. Sadly, this time I never bought the lp’.

‘The release disappeared into obscurity and was forgotten about until one day my brother scored a copy of the single Warlord by Hollow Ground. Needless to say we were overwhelmed with how great it was and amongst other NWOBHM singles, it was right up there with Mythra and Witchfinder General. We knew there were extra tracks from Hollow Ground on the Roksnax album so we hunted down a copy. We eventually found one and heard the instant magic from the Hollow Ground tracks. We were equally crushed by the Saracen and Samurai tracks. The speed of Saracen with the killer Dawson guitar riffs and soaring vocals from Lou Taylor was not only trailblazing but still raises the hair on my arms to this day. Samurai was undoubtedly the most obscure band of the three but their heroic sound was also incredible’.

METY

Martin Metcalf, Hollow Ground.

Martin Metcalf (Hollow Ground): ‘I remember the buzz of being involved in Roksnax. The whole experience of being in Guardian Studio’s during November 1980 was magical. We met up with producer Terrry Gavaghan and talked through the idea of a compilation LP with a couple of other bands from the North East. Our mates from Shields, Saracen were also on the record. We were in the studios for 2 days and slept overnight there. The studio was basically 2 terraced houses knocked into one. I still remember the brown cork tiles in the studio and having to sellotape the headphones on my head when recording. The great memories of honing the songs and bringing them together with my friends, still burns brightly. The fine tuning and adjustments as we worked on them was a great feeling of coming together as a band, a unit. We used 2 of the songs from our EP Flying High and Rock On and added Fight With The Devil and The Holy One to make our four tracks for the Roksnax album’.

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Saracen

Steve Dawson (Saracen): ’Right from the start of the band the other members wanted to get in the studio but I thought we should of developed our sound a bit more, let it breathe a bit, walk before we run so to speak. But we booked some time in Guardian Studios where Mythra had recorded their Death and Destiny single. The owner Terry Gavaghan proposed the Roksnax album to us where he would put us on a compilation album. It was basically a live album with some overdubs’.

Geoff Nixon (Samurai)‘I have very fond memories of that time. We were convinced that we had an excellent line up, we felt as though we had something special. We were made so many promises by Terry Gavaghan at Guardian, we believed everything he said. He signed us to a 5 year publishing deal, as young lads we were flattered about the whole project’.

Martin Metcalf (Hollow Ground): ’It’s real music made by real musicians. You can’t replicate it with machines. Sparking off each other while recording the tracks will stay with us forever. It’s what being in a band is all about…and we loved it. We were so proud of the music that we produced, and still are! It stands the test of time and the whole album is a perfect snapshot of the vitality of the NWOBHM movement’,

Lou Taylor (Saracen): ’Now it’s not the worlds number one album but everyone involved in this album agreed that it is a wonderful feeling and something special about getting your name on a piece of vinyl. Terry was true to his word and got the album in the shops. I bought six of them straight away ha ha’.

Geoff Nixon (Samurai): ‘But we actually split just after the album, sometimes you get one shot at fulfilling a dream don’t you. Many years later I found that the album had been on sale around the world but I don’t think it ever sold in Britain. Looking back we had a lot of fun and of course we always have the album’.

Lou Taylor (Saracen): ‘Just being prominent enough to be invited to be part of something which we had no concept of how much impact on the British music scene the emerging talent in this genre actually had ! NWOBHM say what ?? Guardian Studios were (in) famous enough already due to releases from acts in the region so this opportunity seemed too good to pass up!

Martin Metcalf (Hollow Ground): ’Lars Ulrich from Metallica bought a copy of the Roksnax LP in Los Angeles and that lead to our track Fight With the Devil being played in a Metallica documentary. This was the documentary about the making of their Black Album. The scene is Lars Ulrich driving to the studio in his Porsche listening to Fight With the Devil. The film was released in 1992 and if I remember correctly we’re on the credits between Black Sabbath and Madonna! It led to me and Glenn our vocalist being invited to gigs on the Black Album tour. We had access all areas and were in the famous Snake Pit. It was brilliant’.

Lou Taylor (Saracen): ’Over a series of trips to a sleepy country village including one session which soaked up guitarist Steve’s 21st Birthday – a sacrifice of serious proportions ha! The long days and nights, the scary stories, the ghostly appearences, the owner eating sandwiches… Roksnax? The narrow deadlines, the even narrower drumbooth, the raw uncertainty of the mixes (still). But all tempered with the undeniable thrill of the coming eventuallity: 4 guys making their dreams come true, putting their music on vinyl for the very first time and still to be heard worldwide today…priceless !

For further information about Roksnax contact Buried by Time and Dust Records via facebook.

Interviews by Gary Alikivi 2017.

Recommended:

MYTHRA Still Burning 13th February 2017.

Lou Taylor SATAN/BLIND FURY: Rock the Knight, 26th February & 5th March 2017.

Steve Dawson SARACEN/THE ANIMALS: Long Live Rock n Roll, 2nd April 2017.

Harry Hill, FIST: Turn the Hell On, 29th April 2017.

Metallica: When Heavy Metal Hit the Accelerator 6th May 2017.

Martin Metcalfe HOLLOW GROUND: Hungry for Rock, 18th June 2017.

Kev Charlton, HELLANBACH: The Entertainer, 23rd June 2017.

Steve Thompson,( NEAT Producer) Godfather of New Wave Of British Heavy Metal, 27th June 2017.

It’s Only Rock n Roll 1st August 2017.

Pyromaniax – Bombs, Flashes and Burnt Eyebrows 12th December 2017.

Have You Heard This One ? -10 best stories from this years interviews 18th December 2017.

1980 – The Year Metal was Forged on Tyneside, 11th February 2018.