GATESHEAD GET RHYTHM with drummer Steve Laidlaw

One of our strangest gigs was when Pyramid supported the Welsh heavy rock band Budgie at the Newcastle Guildhall. They and the crowd were all denim and long hair. But we were playing Glam Rock, Bay City Rollers, Mud, that sort of stuff… but went down a bomb!

From the 1960’s to the late 80’s Steve played for many North East bands including Pyramid, Busker, Backshift, Flicks and Smokestack. Recently he has returned to the stool… Last year I got back together with Chris Batty from one of my first band’s. We done some busker nights, got my mojo back, and we are getting a band going. My son Andrew is a record producer and is signed to Slam Jam Records owned by Chuck D from Public Enemy. Chris and I are doing drum and bass tracks for his new album. Can you believe it. Talk about being down with the kids (laughs).

When did you first get interested in music ? My dad was a commercial artist who played guitar and piano at home, thing’s like New Year parties. So when growing up music was around the house. When I was about 14 I got friendly with two lads who lived on the next Gateshead estate, Richie Close and Steve Davidson. Richie was already an accomplished musician playing piano and guitar. He later played with major bands such as Camel and was MD for Tony Christie.

We started messing around and Richie suggested I try drums. One day we went to his mate’s house and he had a kit. I got on and found I could separate my hands and feet and whack out a rhythm. We used to record little tapes, it was a hobby.

I remember being influenced by listening to straight four on the floor players like Mick Avory and Mick Fleetwood. No fancy complex stuff for me ! I was never technically gifted as a drummer. I was influenced in my early days by watching the great John Woods from the Junco Partners, Ray Laidlaw (no relation) with Downtown Faction and Brian Gibson of Sneeze (later with Geordie).

Later I met a lad called Peter Chrisp who played bass. He was a blues man and we formed a band with John Gormley (vocals), Ronnie Harris (guitar) and me on drums.

Can you remember your first gig ? My first gig was at the Wesley Memorial Church Hall in Low Fell in 1967. Ronnie could play the John Mayall album ‘Beano’ note for note, so were ostensibly a blues band. We did The Quay Club, Bay Hotel in Sunderland loads of youth clubs and schools. But the band sort of lost interest so I formed my own called Tycho Brahe, with my mate’s Chris Batty, George Curry and Stan Rankin. This was late 1969.

We did the Bowling Alley in Gateshead and the usual round of schools, but only lasted a few months. Then in 1970 I got a call from a guy called Jim Campbell. He was managing a club band which became The Paul Dene Set. I got Chris Batty from my previous band in on bass, but we were only 19, and the other guys were 26/27, a lot older and very experienced. I went from playing Cream/Mayall to Tom Jones and Elvis with dickie bows and velvet jackets.

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Did you have a manager or agent ? Most of my time in bands we were managed by Ivan Birchall or Mel Unsworth who were always fair with us. We started getting regular work in the clubs, and had a van and good PA. We got gigs like the Airport Hotel, Top Hat, Guildhall, these were really decent clubs. That lasted until ‘73 until I formed a band called Smokestack featuring Stu Burns and Steve Daggett. He played a blinder by stepping in at the last minute with no rehearsal, it worked out great.

Then I answered an advert in local newspaper The Chronicle, that was for a band called Pyramid who had been on the go for a while. At first we just rehearsed in a basement in Gateshead as one of the members was ill so the band were off the road. At first the agents didn’t want to know but eventually we got a couple of gigs and literally tore the places apart with comedy and chart music. Straight away we got repeat bookings and our agent Mel Unsworth started giving us work. Subsequently we started to build up what became a huge following and some people had seen us a hundred times.

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Have you any stories from the road ? We auditioned for TV talent show ‘New Faces’ in 1974 – and got on. The panel were made up of Micky Most, Tony Hatch and Clifford Davis who were not keen on us. Arthur Askey was there and he was a lovely gentleman. I remember the night we were on. We recorded the show in Birmingham on a Tuesday and the night it was broadcast we were booked for a club in Ashington, The Central I think, and we watched the show before we went on stage. There were no videos in those days. We got a load of gig’s after that and the work went off the richter scale, doubling our pay from £40 to £80 a night (laughs).

The band went full time but I continued to work. I was working in sales through the day and got very little sleep. We would be doing a club then maybe The Sands which was above the bus station in Whitley Bay or the Burgundy Cobbler also in Whitley Bay. We’d get to Palace of Varieties over in Prudhoe, then a few places in Newcastle like the Cavendish, Stage Door and the Rainbow Rooms. I’d fall into bed around 3 or 4am, then back up at 7 (laughs). We once did 93 consecutive one nighters, but by this time we had two full time roadies, and we went in our cars.

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In 1975 I got married so left the band as my new wife wanted to see me (laughs). But re-joined a couple of year later and did a tour of Germany with the comedian Chubby Brown. I remember being stopped at the East German Checkpoint and they got really funny with us. To get to Berlin we were told to ask for a Russian Officer, who we had to pay off to get through (laughs).

A story from one night involved Allen Mechen, who was the front man and guitarist Brian Pick. We used to start the act with me and Brian on stage and Allen used to run out of the gents. One night we started playing and were going over and over the song with no sign of Allen. After 5 minutes our roadie went to find him. He was asleep on the bog with the door jammed (laughs). John poured some water over him.

Incidentally Brian used to be in well known Tyneside band The Sundowners and Allen ended up playing the character Terry in the Tudor Crisps adverts. After recording an EP I left the band again, then went back for their last gigs in 1983.

What studio did you record in ? We recorded the EP at Soundlink in Newcastle and sold it in the clubs, but I haven’t got one cos I gave my copy away. We also recorded a couple of tracks at Impulse Studio in Wallsend. That was for  North East TV show Geordie Scene, but in the end they decided not to put us on. We recorded a new single at Impulse but it was scrapped at the last minute for some legal issues.

Not long after Pyramid I played in a band called Flicks. Terry, the keyboard player, was asked to join another recording band called Busker who had a huge hit with ‘Home Newcastle’. The song was a massive hit locally, and is still played at St.James’ Park. The band didn’t really exist but songwriter Ronnie Lambert wanted to put a band on the road. He also played guitar and harmonica. He asked us if we could get a few of our old mate’s in and do a few gigs, so we did. We also recorded a new single, and a new version of ‘Home Newcastle’ with a few different lyrics but the band drifted apart. I think Ronnie just wanted to be a recording entity.

After that I joined Backshift, who became an 8 piece soul band, fronted by legendary Junco Partner, Ronnie Barker. This went on for several years, we done some good gig’s and had a great laugh, but finished about ‘88. I always meant to go back to playing but had two kids and things just drifted. I had 23 years in bands by then.

What does music mean to you ? I always felt music should entertain and not educate. The general public are bored shitless by drum solos. As Brian Gibson from Geordie always said, get the girls dancing then you are ok (laughs).

 Interview by Gary Alikivi June 2019.

TYGER BEAT with former Tygers of Pan Tang drummer Chris Damage Percy

Previously on this blog was an interview with former Tygers of Pan Tang guitarist Glenn Howes. As I’m tracking down former members of the Tygers, Glenn put me in touch with Chris Percy. Chris was drummer around the same time Glenn was in the band….

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I joined the Tygers in 1999. I was asked by bassist Gav Gray, as by then we’d played in a few bands together often joining as the rhythm section. I was with the band up until the time just after the Wacken Festival.

We only played the one gig, Jess Cox had been asked to do something as it was the 20th anniversary of Don’t Touch Me There so that was the focus at the time.

(Don’t Touch Me There was their first single released in 1979 on NEAT record label and produced by Steve Thompson at Impulse Studio, Wallsend).

 

What are your memories of the gig ? (pics above) The Wacken gig for me was fantastic. I had my birthday out there so we had a little celebration. It was great as there was a shuttle of cars every half hour that went from the hotel to the gig so you just got in and travelled to and from the gig whenever you wanted.

I think at the time, the biggest gig I’d played was the bikers festival Stormin’ the Castle with a Guns n Roses tribute band. Now here I am being flown to Germany to play a gig attended by tens of thousands of people!

When did you get interested in music and who were your influences ? I’ve always been interested in music from as far back as I remember. I started drumming from a very early age. My earliest memory is from when I was 5 years old, mimicking drummers I’d watched on the tv.

I was 8 years old when I started getting lessons from a guy called Bill Tennant who was a Jazz drummer around the North East. I didn’t enjoy it very much until I was 11 or 12 when I was introduced to The Meteors, and I was hooked. I joined my first band at 14 called The Dead Travel Fast but we never played any gigs.

 

When did you play your first gigs ? I was 18 and my first gig was at a pub called Images in South Shields with a covers band called Van Goghs Ear. The band featured guitarist Dave Burn, a very good local guitarist who has released loads of solo stuff. He recently played guitar for Paul Raymond of UFO fame who sadly passed away not long ago.

On the night we supported a band called Frenzy and I think Gunslinger might have been there. I was so nervous I drank 6 pints of snakebite before I went on and could hardly remember the songs!

Did you record any of your music ? I ended up in the studio with a few bands. The first time was with my first originals band around ‘93 called FND with Dave Hills (guitar) Gav Gray (bass) Paul Nesbitt (vocals) and myself. It was completely free as Hilly had his studio in his house and we would just stay at his and drink and record songs.

Have you any stories from the Wacken Festival gig ? The first day we get there and I was sharing a room with Gav Gray. Well this bloke turns up at the door, he asked us in this Brummie accent if we had a cigarette so we replied Aye, whey aye, mate. Which as we all know means Yes in Newcastle. He looked at us puzzled and asked very slowly Do you speak English?  He turned out to be the singer from metal band Jaguar (laughs).

When we were setting up for our slot, I was working with the drum tech on my set up which literally took 5 mins as I just played a 5 piece kit, unlike some of the bands who’d had double kits with cymbals and drums all over. I started playing this kit and someone from out front came running back and started shouting Stop playing, we can hear you out front. Saxon were on stage at the time!

Why did you leave the Tygers ? We only planned to play the one gig. Jess had no intentions of doing anything after that. Rob mentioned doing something but I don’t think anyone took it serious. We just went back to what we were doing, our day jobs, bands and waited for the release of the Live album.

 Check the official Tygers website for set list and album http://www.tygersofpantang.com/official/discography.html

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What are you doing now ? I’m playing in a fantastic ‘50s rock n roll band called Ruby & The Mystery Cats with Ruby Soho (vocals) Ray Vegas (upright bass) and G-Man (guitar). I absolutley love it.

Interview by Gary Alikivi May 2019.

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.  

PIPES OF PEACE with Northumberland musician Chris Ormston

I’ve recorded various compilations of Northumbrian music but my first big break if you like was when I got a phone call one night in 1990… Hello it’s Peter Gabriel here. There is a rumour going round that I told him to f*** off because I never believed it was him (laughs). But it was and he was after some piping on his next recording. So I agreed to go down to his studio in Bath. He wasn’t really sure what he wanted and just said bring every pipe you’ve got. We worked in the studio until he found the sound he liked, which was Highland Pipes not Northumbrian.

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What’s the difference ? Highland Scottish pipes are mouth blown and mainly played outdoors. Northumbria Pipes are small, indoor instrument, blown by bellows. Not wanting to get too detailed here but you’ve got a drone going on which is a constant note playing behind so you’ve got your basic harmony going on behind the melody. The best pipe music is actually quite simple in it’s structure so it’s always chording and dischording against the drones.

How did the recording session go with Gabriel ? The pipes were mixed down and recorded onto the first song on the album Come Talk to Me. Sinead O’Connor sang on the track although I never saw her. He had brought in various musicians and sounds to add to what he had already recorded. That’s the way he worked. I got a credit and a flat fee for the work and really enjoyed the experience. Gabriel I found was very thoughtful and reserved unlike his stage performances, as a lot of musicians are don’t you think ?

(Us was Gabriels sixth studio album, recorded in Real World Studios and released in 1992)

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What is your background ? I live in Ovingham, Northumberland although I was born in Jarrow. I’ve played the pipes since I was 15 but before that I played the recorder at school which I picked up quickly and got good at, all learnt by ear. Teachers were always trying to teach me to read music but I was making good progress by ear. They sent me to the grammer school to have lessons on the clarinet. But in those days music was all about learning exercises and rehearsing not very interesting pieces so I didn’t have much commitment to it.

What first got you interested in music ? My dad was a music teacher and his brother made a name for himself as a semi-professional operatic singer. So music was always around when I was growing up. My dad died when I was 13 and I didn’t pick up the Pipes until I was 15. Later I found that my dad and my uncle wanted to learn how to play the pipes.

He was originally a joiner and my uncle was a butcher but they were both saving up money to go to music college. They ended up in the Royal Manchester College of Music and trained as music teachers. My dad played and taught piano, so there was classical music in the house and it was interesting because he never pushed me into playing anything. Sure he gave me a few lessons but never said Sit down and you must practice this. He made it sound more interesting if I would just try it out you know.

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Where you listening to any other music ? There was the operatic stuff from my family but I didn’t take to it and I started listening to Glam Rock (laughs). Slade were my thing then Prog Rock with Emerson Lake and Palmer, Yes and a band called Gryphon. Occasionaly still listen to that. You look back with affection for it, as it was part of your formative years. It’s hard to look back objectively because some of it might have been rubbish but it meant something to you then.

We talk about the moment at a concert when the lights go down, then the ‘roar’ of the crowd and the band launch into their first song. Yeah my mother used to say at Newcastle City Hall there was an excellent organ at the back of the stage that was totally spoilt when all these beat groups stated to play there (laughs).

Funnily the first rock concert I went to was around 1979 when I was studying Geography at Liverpool University and I saw Lindisfarne (laughs). It worked out really well in Liverpool because there was a good traditional music scene with lot’s of informal sessions most night’s of the week plus the folk club’s. I sort of learned the trade there.

It was a big challenge because I’d been playing the Pipes for around three years and in order to play I had to join in with the Irish music sessions. That was a steep learning curve to adapt to suit the Northumbrian Pipes.

I remember the first Garden Festival was held in Liverpool and I was playing with a Highland Pipe band at the time. We got a gig there, played our set and walked off. The first person I see is the actor John Pertwee dressed as Worzel Gummidge he said Ooh arr Pipes, I love the pipes especially Northumbrian. I ended up having a long conversation about Northumbrian Pipes with Jon Pertwee staying in his role as Worzel Gummidge (laughs).

What was the last gig you played ? The last gig I played was at the Morpeth Gathering with Katrina Porteous. (Featured interview Some Kind of Magic, April 27th 2019). There is a folk crowd who you reguarly see at the gigs, within that there are people who like different traditions of music and dance such as Scots or Irish folk as well as Northumbrian. The Morpeth Gathering is one place where all that comes together. People travel from all over the North East and come down from Scotland for these events. The performance with Katrina went really well. We’ve worked together on-and-off for 20 years. Originally we were both commissioned to do something for Northumbrian Language Society and we worked on that separately first then found out when we came together it all worked in a live setting. We’ve worked a lot like that.

What have you got planned this year ? I do a bit of teaching on the Pipes so there will be more of that. I’m off to Germany in July and Ireland in October with Newcastle Poet Keith Armstrong, that’s part of a Cultural Exchange trip. (Interview with Keith on More Than Words, April 15th 2019). In August I’m playing on a festival down in Sidmouth, Devon. Not a part of the country that I play very often so really nice to get down there.

I’m going to Devon by train rather than plane. One time I flew over to Amsterdam and security there knew what the Pipes were and said Ahh Doedelzak – that’s the Dutch word for Bagpipe. (laughs). Surprisingly, it’s usually the staff at Newcastle airport that don’t know what the Northumbrian pipes are!

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.

SONG FOR THE SIREN – Blues & Soul from Teeside with Emma Wilson

When did you first get interested in music and who were your influences ? My influences initially came from my mam. An inspired young woman who promoted Jazz gigs in the ‘50s. My Dad was a charismatic market trader who encouraged me to whistle and sing along to the funky ‘70s theme tunes like Kojak and Pink Panther. I’m sure that developed my ear.

My older sister’s and brother were playing records by Van Morrison, Little Feat, Funkadelic and of course Motown. But the first record I bought was from Austin’s Record Store in Middlesbrough. It was Aretha Now and quickly followed by Aretha Sings the Blues. Both record’s have shaped my development as a singer and I still perform track’s from both in my current set.

I used to sit for hours listening to the songs on vinyl especially anything on the Stax and Chess labels. Writing out the line-up, lyric’s and liner notes made me feel closer to the music and that I could get to know the people on the record. I suppose it was a bit of studying.

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Was there a defining moment listening to a song when you said ‘I want to do that’ ? Hearing Avalon by Roxy Music made me think I would love to be part of a band and make such wonderful sounds.

But a defining moment was seeing Heaven 17 on Top of the Pops singing Temptation. Carol Kenyon sings the iconic backing vocal. I was mesmerised. Her voice, her style, the way she looked. I remember wanting to be a singer from that moment.

Many years later I was booked as a backing singer for an advert for Barclays Bank. I didn’t know earlier that morning Carol had been in to lay down the lead vocal. I cried when I found out that I’d just missed her. But I did get to hear her down the cans (headphones) and ‘sing’ with her.

When and where did you start gigging ? I was 16 when I started gigging in and around the Teeside and North Yorkshire area. Simon my brother, had a guitarist friend called Graham Brotton who was in a band. Unbeknown to me, Simon told him I would sing with them. Bearing in mind by then I had only sung in school musical’s! Well one afternoon I was lying on my mum’s sunbed in the spareroom when this cassette came flying through a gap in the door and landed at my feet. You’ve got a gig in four day’s …learn this! Shouted Simon.

The songs on the tape were all soul tracks and after rehearsing with the band we played the gig and my youthful confidence got me through. I remember Tracks of my Tears was the first song of the set.

Simon had so much confidence in me and a great piece of psychology to get me to do my first gig, never having too much time to think about it. He is still my unofficial A&R with his finger on the pulse recommending song’s to add to my set.

Can you remember your first band ? I took every gig on offer and eventually put my own band together Ask the Cat. We played over in Scarborough at The Stage Door and had some great pub night’s around Teeside.

I had my own p.a which my parent’s bought for me from Bandland in Stockton – most girl’s wanted a car (laughs). It was a huge Peavey in a wooden case that I would load in the back of my mum’s Ford Estate and she would drive me to the next gig. I’d then unload it, tottering along in my stilletos, and set the sound up – not too much top on the mic, a bit of middle, being careful with the bottom end and a smiley face e.q. I can do it blindfolded now.

Did this early experience lead to new opportunities, playing to a wider audience ? My brother Simon and I joined LTK and the Barhops, a soul revue band from York. We done some Little Feat and Gospel tracks. A singer called Ken Pickering was also in the band. It was a great experience as we played University ball’s and club’s in Leeds and York. We had a great following and such a big sound.

I learned a lot about performing and technical stuff in those few years. You could say I had some of the sharp edge’s knocked off by the more experienced band members. That’s when I developed my big voice. I sung sweeter soul style track’s but in LTK I learned how to use my chest voice. It was no more chirping for me, it was get big or get off!

If there were no monitors I was never allowed to moan about it because the philosophy was you should know the song in your head, why do you need monitors ? Now when I ask sound guy’s to turn down monitors on loud stages, I’m met with bemusement.

Did you get to tour with name bands ? In 2002 I toured the UK supporting Fine Young Cannibals. Just me and a guitarist doing my own material. After the first couple of gigs I noticed the audience were mostly made up of women who were big fans of the singer Roland Gift. They saw the support act as just more time to have to wait and see him.

So I started to mention him in my set Oh I’ve just seen Roland getting his dinner things like that and they loved it. They’d just made a connection. After that they listened to my set and it made the gig’s easier and more fun. Roland thought it was hilarious and was extremely sweet to us. I also supported Mary Black at the Mean Fiddler in London for just one show, but that was a great moment.

Have you recorded any of your songs ? My first experience of recording was epic ! My brother and cousin were signed as 29 Palms by Miles Copeland to IRS Records in 1991. I was asked to sing backing vocal’s on both their album’s. I went from singing in pub’s to recording in The Chapel Studio in Lincolnshire with producer Mick Glossop. Mick had worked with musicians with the calibre of Van Morrison, John Lee Hooker and The Waterboys.

The Chapel was residential and I remember being so excited that Marty Pellow had been in my room the night before!

Mick Glossop was brilliant I basically got a masterclass from one of the legends of record making. He’s an amazing musician who knows how to put a sound together. I was so lucky to work with him at such an early point in my career. Vocals on the 29 Palms album required a much more intimate and harmonically complex sound than I had ever used vocally. I done 6 or sometimes 8 layered vocal track’s all on tape not digital. I still use the techniques he taught me today.

He subsequently booked me to add backing vocals on a single by Martyn Joseph on Sony records. We just missed out on doing Top of the Pops as the single stalled at number 31.

I also recorded for songwriters when pitching to big artist’s and pretty much sure of doing Candy Man in a kitchen in Notting Hill Gate. Christina Aguillera recorded that one. Also done scores of TV advert stuff and recording sessions when session singers could do really well. But auto-tune came along and ballsed that up for us.

That was around the time when I started running my own music night’s. Starting in 2000 for ten year I was running my own Live Nights London at five venue’s across the capital mainly working out of The River Bar on Tower Bridge. I met great friends and loved promoting duo’s and band’s but I never gigged much myself then.

What are you up to now ? I am very lucky to be still involved in music. I have my own band and we are gigging around the UK on the blues scene, which has embraced me with such warmth and encouragement.

For more information contact the official website http://emmawilson.net/

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Interview by Gary Alikivi March 2019.

NIGHT OF THE TUBE with former TV music producer Chris Phipps

How Frankie Goes to Hollywood were discovered by default, why Tina Turner was nearly not on, what was a life changing career appearance for her. Also, what was Ozzy doing in a coffin on City Road ? Hear all the backstage stories from ‘80s music show The Tube at a free talk by Chris Phipps.

The Tube was broadcast from Tyne Tees Television Studio 5 in Newcastle and hosted by Jools Holland and Paula Yates. It showcased everyone from Madonna, French and Saunders to Frankie Goes to Hollywood. I was in the audience for the early shows and watched some great bands including Thin Lizzy, Big Country, The Alarm and American rock singer Pat Benatar.

Chris will be talking about the sights and sounds from behind the scenes when he worked on the show. ‘As an ex-BBC producer I initially only signed up for 3 months on this unknown programme and it became 5 years! I was mainly hired because of my track record for producing rock and reggae shows in the Midlands. On the night I’ll be telling of my Jamaican exploits’.

Chris will also have copies of his new book ‘Namedropper’ for sale at a special price.

Newcastle City Library (opposite Trillians Bar) 8pm Saturday 18th May 2019. Free entry.

Namedropper Cover

Interview by Gary Alikivi April 2019.

MORE THAN WORDS with North East poet Keith Armstrong

I’m standing at the bar in The Bridge Hotel in Newcastle waiting for poet and writer Keith Armstrong. If you imagine someone looking like the actor Bill Nighy, you’re not far wrong. He breezes in and before you know it we are sitting in a quiet corner and after his first sip of cider he tells me a story…

I took the train down to London with a mate of mine, it was 1977. We had third row tickets for the Rainbow Theatre to see Bob Marley and the Wailers. We were frisked as we went in, everyone was, but through a heavy fog of ganja smoke we saw a fantastic show. He had such a presence on stage. It was pretty much the best concert I’ve been to in my life.

First time I travelled abroad was in 1966. I went with a friend, we took a Melody Maker trip to the Berlin Jazz Festival. Flew over there then got a coach past Checkpoint Charlie to the venue. It was afternoon gigs, avant garde stuff and the big jazz guys of the day like Miles Davis, Stan Getz and Sonny Rollins were on the bill. We got back to London and walking down Carnaby Street we bumped into two of the Beach Boys who we went to see in concert that night at Hammersmith Odeon.

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What is your background ? I was born and bred in Newcastle and my father worked in the shipyards. Absolutely steeped in the tradition. School days were spent at Heaton Grammar and it taught me to be a rebel because I couldn’t stand the confinement of the place. Just being edgy, wanting things to change – haven’t lost it.

First job I ever had was at Newcastle University Library I got paid 6 pounds 14 shillings and threepence a week. I was always bookish at school so libraries was good to get into. Plus I was the only boy amongst 15 women librarians – I learnt a lot. Gateshead College was another library I worked at in the early ‘70s. Within that I was developing an interest in the arts and arranged events with poets and theatre. From 1980-86 I was a Community Arts worker in Peterlee, County Durham then went freelance as a writer. I was glad to escape the 9 to 5 into an alternative prison of freelance (laughs).

I was interested in people like Dylan Thomas, the rhythm of his poetry. Actors like Richard Harris, hell raisers like Oliver Reed – all good role models! Yeah in my early days I loved the old bohemian lifestyle of reading poetry and getting tanked up (laughs). Listening to The Beatles, Bob Dylan, they were all there and I wrote poetry but always felt that I wanted to make them song-like. That’s why I ended up working with Gary Miller and The Whisky Priests. (Featured on the blog March 23rd 2019).

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Keith with North East musician Gary Miller.

How did that come about ? I was writing lyrics and I see very little difference in poetry to song lyrics. Around the early ‘90s I cottoned on to The Whisky Priests. I was looking for a band that had an edge, a bit of anger, you know a bit of an attitude. Also one steeped in the working class tradition of the North East. So I asked this guy Ross Forbes who was press officer at the NUM and he mentioned The Whisky Priests. I found they were playing at The Rose Tree in Durham. I went along and I knew this was what I was after, even I got up dancing (laughs).

It was really important for me and my poetry as it’s a different audience for what I write. And they weren’t playing in just the backroom of a Folk Club. They were taking it forward, for a younger audience. We also travelled a bit to Germany, Holland and Ireland. I always admired the fact Gary could write songs and was quite prolific about it as seen on The Whisky Priests anthology box set. But yeah I wrote some lyrics, they recorded Bleeding Sketches and it came out in 1995.

 

What does writing mean to you ? When I do write it’s to express my emotions and follow my heart. That’s why I like Gary Miller because he is like that. We worked on a project together called The Mad Martins. They were three brothers one of which has his paintings in the Laing Art Gallery in Newcastle. I researched the story and asked Gary to write some stuff for it, that’s how it kicked off. It’s a special story that we put out on a triple CD. But writing, I couldn’t live without it.

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What you working on now ? Well I’m just forcing myself to write at the minute. Emotionally I’m a bit sapped with things going on around me you know, personal stuff. There are plans to go out to Tuebingen near Stuttgart with Northumbrian piper Chris Ormston as part of a Cultural Exchange arranged with County Durham. That’ll be in July. Originally they sent me over there in ‘87 as Poet in Residence and I’ve been going back there ever since. Then in October it’s same again for Limerick over in Ireland, fell in love with the place and they keep inviting me back.

But I could still be reading my poetry to 10 people in the back room of a pub in Penrith. Why do it ? I don’t know. But I’m keeping my options open (laughs).

Interview by Gary Alikivi April 2019.

ROKSNAPS #7 – Snap Happy

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. 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 the blog is Martin Blank…

Like many fans at the time, I liked to leave a gig with as many souvenirs as I could whether it be a T-shirt, scarf, badge, programme or poster. If very lucky, maybe a plectrum, drumstick or even a sweaty towel used by the band and thrown into the crowd. If it was a band I was keen on I would sometimes record a gig, although this was greatly frowned upon at the time by record companies worried that the recording would appear on a bootleg LP and rob them of potential sales. Funnily enough recording gigs and photographing bands seems to be encouraged nowadays.

Cassette-recorders in the ‘70s were rather bulky and therefore trying to get into a venue with a huge bulge under your coat was no mean feat. I can’t describe the joy of leaving a venue knowing that you had the gig on tape which could then be relived in the privacy of your bedroom. Even better was taking photos because no other pic’s from the gig would be identical to the ones you’d taken.

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Captain Sensible of The Damned outside Newcastle City Hall in 1977.

The first camera I got was an instamatic and the first gig I took it to was T.Rex at Newcastle City Hall in ‘77. For reasons I can’t remember I didn’t take any photos of support band The Damned but straight after they left the stage I went outside and who walks past but none other than Captain Sensible. I fumbled around in a desperate attempt to find my camera in hope of getting a few candid snaps of The Captain. Shoving my camera under his nose I asked him if it would be OK to take a few photos. ‘Of course’, he said with a big grin on his face. As I was happily snapping away, hardly believing my luck as he was striking just about every pose known to man, in jumped a group of punks. One of them was carrying The Damned’s debut album. I asked if there would be any chance of getting a few photos of the rest of the band. The Captain went in the stage door and a couple of minutes later appeared with vocalist Dave Vanian looking like he’d just walked off the set of the latest Hammer Horror film.

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Pauline Murray vocalist with North East punks Penetration at the Newcastle University 1978.

The next gig I took my camera to was the Stuff The Jubilee event at The Guildhall featuring The Adverts, Penetration, The Big G and an unknown band from Manchester called Warsaw. Regrettably, I was so excited watching the bands that I totally forgot to take any photos. Warsaw, of course, were soon to change their name to Joy Division and did rather well for themselves. On that night they came across as a rather poor run-of-the-mill Punk band. So bad that somebody commented, ‘They’re so bad they’re good.

My brother had a better camera, a Zenith which he would sometimes let me borrow. Whereas with an instamatic camera it was basically sheer luck whether or not you got a good photo or just an abstract-looking blur, with an SLR (single lens reflex) you could focus, alter the aperture which was great when the stage lighting was poor and even zoom-in. Taking photos at The Mayfair, Uni or Poly was easy as nobody was bothered but the City Hall had a strict ‘no photos’ policy. Some stewards were OK with it and would let you go to the front of the stage to get a few pics providing you were very quick. Loitering around the stage snapping away could get you dragged back to your seat or, even worse, thrown out.

 

The advantage of many Punk gigs was that they took place at the Uni, Poly or in pubs which meant you could get really up-close. Several times I got disparaging looks from a member of a band: ‘Get that fuc*ing camera out of my face’. Of course, there was always the risk of your camera being damaged in the frenzy of a Punk gig but it was always worth taking the chance.

Sometimes when I show the photos to kids who are into Punk nowadays they’re amazed. It’s a bit like they’re seeing photos of the Second World War or something, ‘Omg, you were actually there!‘ I guess it’s one thing seeing photos in a book, magazine or on a website but to actually handle the originals gives them some sort of connection to the past. I’ve been offered considerable sums of money for some of the photos but I wouldn’t sell any of them as I occasionally like to dig them out and reminisce about how great it was to be a teenager in the ‘70s.

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Generation X, Newcastle University 1978.

Interview by Gary Alikivi, April 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.

Roksnaps #6 March 30th 2019.

WHEN MILLER MET CUNNY documentary about workingmen’s clubs

During late 2015 I made a documentary about workingmen’s clubs on South Tyneside and  most of the filming took place in the Royal British Legion Club in South Shields. After initial research I approached Club Steward Pam Carrol about filming in the club ‘What will be your best time ? I’d like to film when there is some entertainment on’. Expecting a Friday or Saturday night she returned with ‘No son, Monday is best. We’ve got a singer on and an afternoon bingo session. The club will be packed’. It was, and musician Alan Knights provided the entertainment.

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Wayne Miller and Iain Cunningham, still picture taken from the ‘Home from Home’ documentary 2015.

Included is a transcript of the interview with two of the contributor’s to the documentary, North East actor’s Wayne Miller and Iain Cunningham, both regulars on stage at The Customs House theatre, South Shields. A couple of points (or pints) before the stories, filming had to be stopped a few times because I was laughing so hard and if you don’t speak Geordie it’s written in the Tyneside dialect.

Miller: We were part of a travelling pantomime company that did the club’s for 15 years.

Cunny: Yes 1997 we started. We were just bairns.

Miller: Yeah just young bairns from college drafted in to do touring panto that we thought was a one year thing ended up being 15 years. It was a great training ground for us as actor’s.

Cunny: Really is where you learn your trade, where you don’t know what to expect. Was always fun to do. One thing I didn’t realise was how important it was to the people at the clubs you know the whole family day out sort of thing. They save’d up and it was a big deal wasn’t it. The kid’s always got a selection box, the dad always got a beer.

Miller: Mam always got a Babycham.

Cunny: Ya know no expense spared.

Miller: Yeah you are right it was that big massive day out all the kid’s dressed up in their Christmas outfits and Santa of course. All the club’s provided a Santa to come out after the pantomime. Which always reminds me of the story when the concert chairman came in he was like ‘Lad’s, lad’s, we’ve got Santa comin’ in right, so if you tell us when the panto is ending we’ll bring out Santa, kid’s are gonna love it, they’ll gae crackers’. I said alright mate it generally runs for this length of time, we’ll defeat the villain then we’re gonna sing Reach for the Stars. If you listen for that then get Santa ready to come out.

Cunny: We’ll make a big deal of it, a massive thing so all the kid’s get very excited shouting yeah Santa.

Wayne: That was the plan.

Cunny: It was.

Wayne: Lo’ and behold we defeated the villain and right boys and girls were gonna sing Reach for the Stars now so if you’d like to get on yer feet and… where you goin’ where you goin’ !

Cunny: There was a jingle and right at the back there was Santa.

Miller: 400 kid’s just get up off the floor and run towards the back. We’re just singin’ Reach for the Stars in front of this only kid that’s scared of Santa and is cryin’ his eyeball’s out.

Cunny: Christmas Eve show’s were brilliant. The excitement.

Miller: Yeah they knew it was comin’. Santa’s on his way. But come Boxing Day it was like chalk n cheese.

Cunny: Nobody wanted to be there. Including us. To be fair me and Miller had to go on and whip the crowd up to a frenzy, get them joining in. Remember doing one club in Gateshead and I came running on first, the music started I shouted Hiya gang. I looked out and the kid’s were (looking down) just playing with the new toy they had brought.

On concert chairmen…

Miller: Going in the club the concert chairman would greet ya’… ‘I’ll show ya’ round the club lad’s, show yer round the club. There’s yer stage, there’s yer stage right. See that…that’s yer organ.

Both together: Can’t move that. Nah can’t move that.

Miller: There’s the drumkit ower there.

Both together: Can’t move that. Nah can’t move that.

Miller: So do you think yer’d get yer set on there ?

Cunny: Most of the time we couldn’t. We’d have to scale it down to one bit of scenery and a cloth. And the dressing rooms. Every dressing room ya’ can gaurentee some turn would have wrote a note on the wall.

Miller: Turn back lad’s. Unplug yer gear. Get in the van and get yersel away.

Cunny: Yeah don’t bother. It’s rubbish here.

On the demise of the workingmen’s clubs…

Miller: It is quite sad and people aren’t goin’ in and learning their craft. Like group’s, singer’s, acoustic act’s, stand up comedians.

Cunny: There is no better place to learn.

Miller: Comedy isn’t in the club’s anymore it’s going into the theatre’s, upstair’s of pub’s. You are seeing now comedian’s don’t know how to handle a crowd. That’s what the club give ya’.

Cunny: Yeah they don’t know how to handle the drunk man hecklin’ them (laughs).

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‘Home from Home’ 25mins (2016).

Narrated by Tom Kelly. Music by Derek Cajaio.

9min edit at

https://www.youtube.com/watch?v=vSBp5XD242U

 Interview by Gary Alikivi.