FORTUNE FAVOURS THE BRAVE with recently departed Tyger, Micky Crystal

After 7 years, two albums and playing numerous tours a statement was released by guitarist Micky Crystal on 23rd April 2020 which left fans of the Tygers of Pan Tang in shock as it came at a time when the Tygers were, after rescheduling lockdown dates, gearing up to going out on the road with new album Ritual…..

…..’I officially announce that I have left Tygers of Pan Tang and want to thank you the fans for all your love and support. I am proud of the music we have created and the things this line-up has achieved. I have developed and grown both as a musician and as a person and I feel this is the perfect time to open the door to a new chapter and new goals. I wish the band all the best for the future. Micky’

Only so much can be said in a statement so for more detail I got in touch and asked Micky if he has made the right decision…. Absolutely, you know I had a great time for the first few years but to be honest I think I cared too much and was starting to drive myself crazy really wanting it to be something that it wasn’t going to be. At the same time I feel fortunate that I’ve met some true friends within the band and been able to visit some of the wonderful places I have through playing music.

But unfortunately, cracks started to appear and gradually got worse particularly around making the Ritual album.

What were the problems for you ? I began to find things incredibly frustrating. The manager and the original member have been friends since the Sykes/Deverill days and while he did do some good things early on, it gradually had a very negative effect on the decision making. It became less of the democratic brotherhood that it was sold as when they asked me to join.

Increasingly towards the end, big decisions were made without everyone’s approval or in some cases we were deliberately not being told, there’s too many examples to individually list. The original member made it clear to me on numerous occasions that it was their way or the highway which only added to my growing frustrations after he had very little involvement in the writing or recording of Ritual.

That wasn’t a problem in itself, but it became painfully apparent that there was no appreciation for the extra work and hours put in by myself.  I started to feel more like a hired hand who was expected to write albums and do the hard work but have very little say or input regarding anything else – that just didn’t work for me.

In the end it was actually an old interview quote from John Sykes (former Tyger guitarist) that made me realise things would never change and it was time to walk away. “What happened with the Tygers was that I was getting fed up with them. Everything was a five-way split, yet I was doing most of the work and not getting the credit I should have done. They didn’t wanna listen to what I had to say – I told them to get rid of the manager”. (Interview with Killerwatt in Kerrang magazine 1984) 

Micky with Soren Andersen.

What are your plans now ? I’ve been working on a home studio and have been getting more into the production side of music which I’m really enjoying. It’s something I’ve been wanting to do for a long time. I was fortunate enough to spend a week with Soren Andersen last year and I learnt a lot from him so I’m putting a lot of the stuff I learnt into practice now. I’ve also got some online content for some guitar companies that I’m working on. Plus some online collaborations and a prog project that I’m pretty excited about too.

Have you been listening to any new music ? I’m listening to a lot of trap and pop music at the moment. People like Machine Gun Kelly and Post Malone in particular. I’m listening to a lot of Big Wreck too as well as all the usual rock stuff like Led Zeppelin and Ozzy. It really depends on the day to be honest, one day it could be Chick Corea the next day it could be Bring Me The Horizon.

What were your highlights in the Tygers ? Writing closely with Gav and Jack was a highlight, they both work fast and they’re very open minded when it comes to creative ideas.  Finding out that both the self-titled album and Ritual had charted was awesome combined with various magazine front covers for the first time in the bands history. Spending my 28th birthday on stage in São Paulo, plus I’d always wanted to play in Japan so getting to play there and go sightseeing round Tokyo was certainly a highlight.

The Lockdown – how are you dealing with it ? I’m still teaching from home via Skype and playing a lot and recording too so I’m keeping busy. Just trying to make sure I’m learning new things so it’s been ok.

Who knows what the future holds. I’m totally open to new projects and bands. I hope it involves a lot of music, recording, teaching, playing live. I love it all.

For more information contact Micky on his social media acoounts:

https://facebook.com/MickyCrystalOfficial/

https://www.instagram.com/mickycrystal/

https://youtube.com/MickyCrystal

https://jtcguitar.com/store/artist/micky-crystal/

Interview by Gary Alikivi  April 2020

 

IT WASN’T ABOUT BECOMING ROCK STARS – in conversation with songwriter & producer Steve Thompson

An interview with Steve is on the blog (The Godfather of North East New Wave of British Heavy Metal, 27th June 2017 link below) where he talks about his songwriting and production work with Rodger Bain, Pete Waterman, Venom, Tygers of Pan Tang, The Hollies, Neat Records, Sheena Easton (!) and more.

But before that he started out as bassist in North East rock band Bullfrog, who were active during the early ‘70s. I wanted to know more about his early days in music to add to his story. In November 2019 as chance happened he was in a recording studio in my hometown South Shields, so I arranged to drop in.

Before recording with engineer Martin Trollope, we had a half hour chat an’ a cuppa where I asked Steve was he looking to ‘make it’ at being a musician, getting a record deal and moving to London ? When I left school I was working at Consett steelworks and I learnt more there on how to be a record producer. I learnt how to communicate and in particular using humour. So I don’t regret going into the steelworks. But I think not having to work there might have been the motivator.

It’s interesting to look back because we saw everything through a lot younger eyes. If I’d been armed then with what I know now I would have been invincible – but we were young and naïve. Really my motivation and maybe not the other guys in the band who were all older than me, I just wanted to get into this making music thing and I figured I just had to get into a band. It wasn’t about becoming rock stars it was all about getting the first gig. Then get more gigs and to just do it.

How old were you then ? I was 16/17 year old and had a couple of stabs at rehearsing with people but it was going nowhere. There was another apprentice a year above me that had been at the same school so we sort of knew each other – a lad called Robin Hird. The first year you are in the training centre and the second year that Robin was in, you go out onto the plant.

We made contact and got talking about music, guitars and bands we liked such as Cream and Hendrix, then he sold me an amp. When I got it home the speaker cabinet was a drawer from a chest of drawers with some foam backing and a circular hole cut in with a speaker fixed in.

Robin said let’s form a band, I have a guitar and a bass which I’ll give to you. I agreed and then he brought a drummer, Mick Symons, to my parent’s house. I played them a few songs I’d been working on and Robin said ‘I told you he’s got talent’. I was in.

Where did you rehearse ? We got a room where the local brass band rehearsed, we shared the place for years. We started to live and breathe the band. I’m not sure that we thought about a record deal then because that was just a distant dream. The dream that was closer was to get gigging on the local circuit. So for us this was The Freemasons Arms in Consett.

We’d go there every Saturday night and watch who was on and say how much better we were. Then the obligatory fight would break loose, the glasses would fly, bodies, tables and chairs all over – that was Saturday night.

Can you remember your first gig ? We went to see a Mrs Eiley and she gave us a date for The Freemasons, it was her only gig. The week beforehand we went to the pub and got up to play with the band who were on, that was my first time on stage. I remember one of the songs we played was Sunshine of Your Love by Cream. The following week on our own show we stormed it. Afterwards I went home and told me mam, it was a life changing moment for me.

We got loads of shows after then but we always returned now and then to The Freemasons Arms. We once done a sort of homecoming gig there and the punters were queuing down the side street, along the alley – we got such a following.

Did the band talk about what you were going to wear on stage ? No, it just didn’t enter our imagination. Although we were doing some clubs we were doing them on our terms and not in sparkly suits. I suppose we would have dressed like Free, Sabbath, Deep Purple you know. The perception was that they were wearing the same clothes that they had just walked in off the street.

In those days we never played any pop stuff it was all rock, then we started introducing our own stuff and got away with it. Although when we had two sets of 45 minutes each to fill we never done a gig with just all our songs. You had to play The Hunter or Child in Time and you’d be stupid not to do them, the audience wanted to hear those songs.

Did you have a manager ? We had a few, but looking back I was doing a lot of the organizing, I wasn’t in charge but was doing a lot of stuff. This whole thing of a bunch of young guys going out on the circuit attracting the attention of some guy who might be a plumber but has more money than you and fancies a dabble in management, well we had a few of them who had no background in the music industry.

We had one guy called Skippy who said we need to have one of those moments like The Beatles on the rooftop. So one Saturday afternoon, it was reported in the Sunday Sun, we went down to Old Eldon Square in Newcastle broke into an office and ran a cable up to the monument in the middle and performed. It was the first time anybody had played there and it hit the papers. It didn’t end well for Skippy, he got arrested and deported back to Australia.

What venues were you playing ? The North East agent Ivan Birchall got us masses of gigs supporting name bands. Venues like Newcastle Mayfair, The Viking in Seahouses and the thing was I never drove the van so I just got picked up and we drove out into the wilds.

At The Viking we loved that gig it was a big trek to get there. There was Bellingham Village Hall and a really good one was St Johns Chapel in Weardale. I can only imagine that the populous was starved of entertainment because they went crackers when a decent band turned up.

I remember we supported Suzi Quatro at the Mayfair and this was just before she cracked it and everybody was gobsmacked at not only a girl playing the bass but she was really rocking it out.

We nearly always got booked into the right places but eventually got a gig where we ended up in a place where no matter how quiet you turned down they were going to hate you. We really should of seen it coming and not got up to play. The concert chairman came up to us and said I’ll give you half your money lads and off you go. The thing I remember was the shame of carrying yer kit out from a packed club.

Every now and then you would do a gig where there would be two bands. One night we played The Rex Hotel in Whitley Bay and there are two stages there. Now this was a sign of our ambition cos we used to try and arrive later than the other band so we could headline the gig – we were top of the bill at The Rex (laughs).

The other bands would do it as well cos we saw them driving slowly along the back lanes. Beckett were one of the bands cos I recognised their posh Merc – we only had a van. We done a gig with a band called Jasper Hart. The singer was Brian Johnson, the band must have been the forerunner to Geordie, and of course he ended up in AC/DC.

Most times we’d be out gigging and finish around 2am in the morning and coming back we’d go to a cafe near Central Station in Newcastle that was open all night. All the bands would go there, we discovered we didn’t need sleep

I remember visiting Ivan Birchall one day and up on the wall he had lists of the bands he had on his books. There was an A list and a B list. We were on the B list and I wasn’t happy. He said the A list are his priority bands, if a show comes in at short notice I go to my A list and as priority they pay me 15%, and the B list pay me 10%. ‘Do you wanna be on the A list ?’ I replied ‘I insist’. In one fell swoop I gave him 50% more commission (laughs).

Did you meet with any record companies ? Well it was a struggle. We had some demos and we were going to set the world alight so we went down to London, our first time there. To save money Robin and I booked return rail tickets travelling on a weekend cos it was cheaper then. But as we found out it was the day’s when record companies were shut (laughs). So we just had a weekend in London, the closest we got was Orange had a music store selling amplifiers and they also had a record label so we gave them a tape.

I remember typing hundreds of letters sending them out one at a time cos there was no photocopiers them days, I must have been a mug and the rest of the band were having a life ! I have some of the responses and out of the blue got a nice letter from Brian Auger, he was organ player with Julie Driscoll (Wheels On Fire). So clearly I wasn’t just sending to record companies. I think I went through the Melody Maker yearbook getting address’ and pitching stuff left, right and centre. It was a tape I sent out that finally got us a deal.

How did that come about ? Cube Records who were formerly the Fly record label based in Soho, London with Joan Armatrading, T.Rex, Procul Harem on their roster, so they had a big track record, then we came along (laughs). They ran an advertising campaign looking for bands so I sent them a tape about the same time we had won 3rd prize in a competition run by EMI. We went to a recording studio in Manchester Square, EMI’s headquarters in London, yes we had two record companies chasing us.

Cube told us that at EMI we would only be a small part of a big machine. But on the day of going to the EMI reception we thought we couldn’t make it cos we had a gig in Durham on the same night, but they organised a flight for us to get to London and make it back to Durham for the gig. Our roadies had set the gear up and just as we were going on stage we saw the concert chairman and told him we’d just made it here as we have flown up from London. I don’t think he believed us (laughs).

Cube Records were really keen and they came up to Durham to watch us live and we couldn’t have arranged it better. The punters were swinging from the rafters going ape shit, after our first set Cube came into the dressing room and they were gobsmacked. They signed us there and then.  Now we signed everything, publishing, recording, management to that one company and the one gig that came from that was for the Newcastle Odeon supporting Wishbone Ash.

What did you record on Cube Records ? I remember taking a guitar lick into the rehearsal room it was a Jazz sort of thing and Pete the singer said it sounded like riddly, tiddly, tum. So we wrote a joke song called that. Cube were looking for the first single and we had done some recordings with Rodger Bain (Black Sabbath) and Hugh Murphy who done a lot of Gerry Rafferty stuff but when they heard Riddly, Tiddly, Tum they said that’s the single. We were mortified, it was only done as a joke. No it’ll be a hit they said.

They allowed us to change the title to Glancy, Mick Glancy was our original singer who had been replaced by Pete McDonald. To promote it we pulled a stunt with Tyne Tees TV where we were driven around Newcastle in an open topped car, but we promoted the B side of the record, In the City, we were embarrassed about the A side. That put a nail in our coffin as far as the record company were concerned.

Unfortunately that was when the dream became muddied by what the music business is about. They had the means to get our songs out there but they weren’t as clever as they thought they were. Maybe releasing a novelty song was going to be a good idea but I’m glad I’m not saddled with it – and having to do a follow up (laughs).

About 10 years ago Glancy ended up on a compilation album called 20 Powerglam Incendiaries and went to the lower regions of the album charts.

How long did Bullfrog last ? Initially we started out as Mandrake until we found another band was going out under that name so we changed it fairly quickly. It got to the point where it became our lives. We were gigging every Friday and Saturday plus some mid-week nights. I’ve still got my diaries from then and we were going out for £15-£20. It was really exciting to be out there.

Our first gig was in 1969 and we were at it until ’74. We sort of got a taste of the big time making demo recordings and sending them out to the record companies, we did have a burning ambition. There were other local bands getting record deals and the scene was really vibrant.

Eventually we took to drugs, our drummer introduced us, there was a certain brand of cough medicine and if you drank the whole bottle it would send you crackers, we all done it bar the singer. I remember doing a show in the Amble Ballroom and that was a strange one cos the stage sloped to the front so the vibrations off my bass amp pushed it towards the edge. Anyway we finished what we thought was a great gig and when we got off stage the singer said ‘Guy’s lay off that cough medicine cos I can’t sing those songs at that speed’. Apparently we played all the songs at double speed (laughs).

When did you know the dream was over ? I remember doing TV show The Geordie Scene twice. One live and the other miming, and I felt really silly miming. I always hated seeing bands giving it what fettle and not even being plugged in. So I plugged mine in to make it look at least legit. But I was embarrassed and you’re not rock star material if you are embarrassed flaunting yersel in front of TV cameras. We almost cracked it but I wonder if I was cut out for it cos I went on to become more of a backroom boy – song writing and producing.

But there was also another North East band, Kestrel, who signed to the label and the label put their guitarist Dave Black together with our singer Pete McDonald essentially destroying two bands.

We reformed as Bullfrog 2 adding keyboards and a female singer but my heart wasn’t in it. I had lived this thing from being a kid, it was all consuming, but now at 22 after working with producers Hugh Murphy and Rodger Bain, who also introduced me to Gus Dudgeon, I thought I’m gonna pull back from this thing.

I could of kept going at it but wanted to switch to song writing which led me to production. And that is where I was meant to be because here we are today in a recording studio talking about it and I’m getting ready to record some of my new stuff.

New album ‘The Long Fade’ is available here: http://thelongfade.xyz/

Read the first interview here:

https://garyalikivi.com/2017/06/27/the-godfather-of-the-north-east-new-wave-of-british-heavy-metal/

Gary Alikivi November 2019.

ART OF NOISE from the Tygers of Pan Tang new album ‘Ritual’.

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Just when you thought it was safe the aptly titled ‘Art of Noise’ comes at you head on, and returns for another bite. Opening with thick treacly rock sound ‘Worlds Apart’ to ‘Spoils of War’ and the single ‘White Lines’ with plenty of room for ‘Words Cut Like Knives’. Then the MONSTER thunder of ‘Let’s turn up the sound and gather around, To hear…the art of noise’. Deafining indeed. Album closer ‘Sail On’ is a breeze after that. The Tygers of Pan Tang, engineer Fred Purser and additional production from Soren Andersen are the creative team behind the new album ‘Ritual’ which can be added to any hard rock playlist in 2020.

For further info contact the official website:

http://www.tygersofpantang.com/official/

Gary Alikivi  March 2020.

SANTAS BIGGER BAG O’SWAG

If yer lookin’ for a Christmas present to buy why not take a butchers at these goodies that have appeared on the blog this year. 2019 has seen nearly 100 musicians interviewed and also featured authors and artists….

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On ‘Live & Acoustic’, Blues Siren Emma Wilson sings 4 favourites from her live set plus her original blues break up song ‘Wish Her Well’. With guitar accompaniment from Al Harrington, Emma’s raw and dynamic vocals shine through ‘I used to sing sweeter soul style but learned and developed a big voice. It was get big or get off’. The 5 track EP reached no.12 in the Independent Blues Broadcasters charts and received rave reviews from Blues Matters magazine and several American Blues stations.

For a hard copy on CD email Emma at  emmawilsonbluesband@gmail.com or contact the official website : www.emmawilson.net or via Facebook.

bloody well everything icon bandcamp

Gary Miller from folk rockers The Whisky Priests….‘Leaving school in the mid-80’s, being in a band meant having a voice and a sense of hope and purpose during the dark era of Thatcherism. So, The Whisky Priests kind of evolved out of that and initially became a vehicle for expressing all my frustrations and passion at that time’. Get yer copy of Whisky Priests – ‘Bloody Well Everything’ 12-disc CD Box Set contact: https://whiskypriests.bandcamp.com/merch/chistmas-2019-offer-bloody-well-everything-limited-edition-box-set-only-300-numbered-copies-free-tour-t-shirt

THOMPSON

The Steve Thompson band recorded an album earlier this year…’The Long Fade really is my life’s work. After 50 years of being a backroom boy writing songs for other people I finally recorded them in my own name with a fantastic group of musicians and singers. Making the album was a fantastic adventure with lots of laughs with old friends’. You can download and stream links at http://www.thelongfade.xyx

Gary Alikivi December 2019.

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 !

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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

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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!

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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.

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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

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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

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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 !

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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.

NO ORDINARY JOE – in conversation with Alan Fish former guitarist with WHITE HEAT

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Who was the first band you saw ? My first band was Ten Years After in 1971/72 at Newcastle City Hall, supported by Supertramp. It was a fantastic gig with Alvin Lee ‘the fastest guitar player in the world’. He had just come off the back of playing at Woodstock. I had an instant connection to the blues and rock music. I used to go to the match, Newcastle United, and have that feeling of disappointment when we got beat. But going to gigs at the City Hall was a lot more positive outcome to spending my pocket money (laughs). First game I went to was a European game against Feyenoord and we won the Fairs cup that season, I didn’t think it was going to be all downhill from there.

When did you first start playing in bands ? I first started playing in club bands doing covers, I was still at school. We played a lot of night club gigs on the chicken in a basket scene supporting bigger bands like The Fortunes and The Casuals, who were sort of one hit wonder bands. But these were ‘60s bands on the way down really.

There were hundreds of clubs so if you were a competent musician who could put a band together, play some songs off the radio, there was plenty work out there. I ended up playing Thursday night, Friday night, two gigs on a Saturday and a Sunday night. But your gear was expensive, a Les Paul guitar in 1979 was around £300 and I was never away from Mortons in Newcastle having my amp’s repaired.

But one thing about the clubs is the more you played they more you learned a discipline and etiquette. First set not too loud and if you didn’t hit the level of acceptance you would be paid off. And you had to dismantle your gear in full view of the audience with the Concert Chairman telling everyone ‘We’ve paid them off (laughs)’. So by the time I was 19 I was so ready to play in an original band.

How did the job with White Heat come about ? There was a 4 piece band called Hartbraker very much a Zeppelin/Free rock sound and they were playing to young people, and playing loud. They were essentially a Bry Younger band, a vehicle for his prodigious guitar playing. I had been offered a tour of Germany playing American Army Bases with the club band, I wasn’t keen. One night we were playing at the Guildhall and Bry Younger from Hartbraker came in and asked if I would be interested in joining the band. That was a lifeline for me really. This was time to explore my song writing abilities and the band were receptive to that.

Opportunity never comes to the front door it always comes to the side or the back door. Just always have your radar ready. It’ll be something innocuous, it’ll not be a certain thing but it’ll lead you onto the next step.

Line up for Hartbraker was Bry Younger (guitar) Col Roberts (bass) John Miller (drums) Bob Smeaton (vocals) Alan Fish (guitar). White Heat had the same line up with Alan adding backing vocals and when John Miller took a break, George Waters stepped in on drums.

Bands like Graham Parker, Elvis Costello and The Boomtown Rats were around and for some gigs we used to throw in a Small Faces cover into the set. The sound was changing from the blues/rock of Hartbraker so we changed the name to White Heat.  Bob was a big fan of James Cagney so he took the name from his film. This was around the time of New Wave and everything fitted as we shortened the guitar breaks, sharpened everything up and Bob’s lyrics fitted great.

 

How were the song writing duties shared around the band ? In White Heat it was very cut and dried. Out of the band frontman Bob Smeaton had most to say. He had a more challenging life to us and had more to shout about. He would give me a load of lyrics I would leaf through and find bits that could be formulated into songs. I had a gift for melody and you can hear a lot of it in the instrumentation. That would leave space for Bob to have a go at what’s wrong with society (laughs).

Did you play any gigs with name bands ?  If there was a big band in Newcastle at the Mayfair or the City Hall that needed an opener we would be one of the bands who would be contacted. At the last minute we got a call to support Judas Priest at the City Hall. We got on well with them so they asked us to stay on the tour. That was exciting playing to those audiences even though we weren’t exactly the same genre there was a crossover there. The sound crew said ‘You’re going down really well, we know your songs next gig we’ll have it nailed’. But we didn’t get the next gig as another band from the same label as Priest were called in.

What were your highlights from being in White Heat ? As an up and coming band we played the Bedrock Festival and it was a fantastic gig people told us we were the highlight and we picked up management from that gig. Local businessman Brian Mawson said to us ‘I’ll get you in the studio, on the radio, tv’ and he came good on these claims. He ran Rubber Records and was involved with Windows musical instrument and record shop in Newcastle. When somebody else puts faith in you it supercharges it, it was a pivotal moment.

Back in the late ‘70s getting in a studio was a difficult thing, it was an absolute fortune but one of the best thing’s we wrote was the first thing we recorded in Impulse Studios, Wallsend. It was a precise pop song, short and snappy, it was ‘Nervous Breakdown’. That got airplay and John Peel made it his record of the week. It started peaking the interest of record companies. Virgin finally signed us in 1980.

One of your songs ‘Bad Jokes’ has a New York Dolls feel to it. Is that a band you listened to ? Not me. I loved The Who and The Kinks. Maybe Bob was a Johnny Thunders fan (laughs).

 

White Heat called it a day in 1982 and Tyne Tees TV filmed the last ever gig for a 30 minute documentary. What was the atmosphere like around the band knowing it was coming to an end ? It was a really good atmosphere and there was a big sense of relief. For a number of years we were fully committed and chasing the big deal, but towards the end there was an air of desperation when Virgin dropped us. That was a big disappointment because we knew it would be very difficult to get signed again. When you have been signed and then dropped, you still have the debt. So for a second record company to come in and sign you they have to buy you out of your previous deal. That’s not going to happen.

When we made the decision to call it a day we all collectively breathed a sigh of relief. We had put everything into it and it was time to regroup. I remember telling the lad’s that was it for me. They were originally a four piece before I joined so I thought they would go back to doing that. But I was surprised they were having the same thoughts about leaving and glad I jumped first. We left in a constructive fashion because we had good support from management and Geoff Wonfor from Tyne Tees. People had put a lot of time and energy into us and we wanted to go out with a bit of a statement.

Brian Mawson set up our last hurrah at The Mayfair and said let’s finish on a friendly basis and go forward on a friendly basis. I liked that. I can talk calmly about it now but when you are young you think your world is falling apart. There is an amount of rage and uncertainty. So looking back it’s a good thing as a band we stepped away from it calmly.

Having a half hour programme broadcast is big exposure, was there not a thought that an agent might pop in with an offer ? There might have been a small amount of that but the concept of the show was a band in it’s final stages….but you never know (laughs).

Did you make any plans what to do after the band  ? The time you invest and the fact you are paralysed by poverty for want of a better expression, I had to get working again. I was offered a few interesting music projects but wasn’t interested. Fortunately I got a job off shore as an Electrical Engineer in the Petro Chemical Industry. The money was ok and it was a chance to get back pretty even you know. I was taking my guitar off shore I learnt harmonica and we had a bit of a band out there.

Then I heard from my song writing partner in White Heat, Bob Smeaton, he had got a small deal with a spin off company from Virgin called Static. He said I need some songs so I left the rigs and we ended up in 10CC’s studio in Surrey.

I was there only as a songwriter, we didn’t have a band. I was looking for a niche in the music industry just as a songwriter and I’d be happy with that. Unfortunately nothing materialised but we got a call from Geoff Wonfor who was putting together a programme for Channel Four featuring up and coming acts called ‘Famous for Fifteen Minutes’. That’s what led to the formation of a band called The Loud Guitars.

 

Have you any road stories from your time in White Heat ? When we recorded at Townhouse Studio in Shepherds Bush it was Virgins residential studio and there was another band there. It was the time just after Black Sabbath and Ozzy Osbourne was getting Blizzard of Oz together. Randy Rhoades was there, he was a phenomenal guitar player. Ozzy came in the studio to listen to one of our sessions ‘I love you guys you’re great’ he said. He was with Sharon his girlfriend and manager, she was delighted that Ozzy had found someone to play with, not musically just to get him out of her hair (laughs).

We used to go out for a few drinks together, there were no airs or graces he just liked a good drink and a laugh. We’d go back to the residential and he’d be in the best suite, Sharon would be there and order in a Chinese meal cos she recognised we were skint and starving so they looked after us quite well. We used to distract them so we could pinch their booze out of the cupboard. One morning Ozzy came into the studio and said in his Brummie accent ‘Ere lads we must have had a good session last night cos there’s no booze left in me cupboard’ (laughs).

By coincidence we met Sharon’s dad, Don Arden. Years after White Heat split up we were offered a decent amount of money to play a comeback gig at the Exhibition Park in Newcastle. Aswad, Haircut 100 were on and a few others plus us as a local band who went down a storm. After the gig in our trailer in walks this bull like character dripping with gold and says ‘Lads I’m gonna sign you. Meet me at The Gosforth Hotel for breakfast and bring any contracts you’ve got’. We didn’t tell him this was a one off gig but we were interested in what he had to say. But in the end we didn’t get breakfast cos when he looked at the contracts he said he would be throwing good money after bad. ‘Right Alan’ he said ‘You’re stuffed no one will buy you out of this’.

What type of record contract did the band have ? Brian Mawson was still managing us but we obviously had Virgin representation from Richard Draper. The actual record deal was £70,000 and the publishing deal was £40,000. Virgin put a lot of money into us.  What I do know is the money went quickly (laughs). We made a lot of naïve mistakes. We spent more on recording than The Police did on their third album.

White Heat were a really good live band. That’s where we built our reputation. The chemistry between the members contributed to that. But that’s not good enough for the industry cos you are signing a recording deal. You’ve got to make the transition from live to recording. We failed to do that. The money that went into it, it just wasn’t good enough.

Part two of this interview will be posted soon, Alan will be talking about what he is doing now and another few road stories from his time in White Heat.

Interview by Gary Alikivi August 2019.