THE LADY WORE BLACK with Thunderstick vocalist Raven Blackwing

Best known for his time with New Wave Of British Heavy Metal band Samson, Barry Graham-Purkis formed Thunderstick, a band renowned for its female fronted power rock. July 2017 saw the album ‘Something Wicked This Way Comes’ released, the first new Thunderstick product in over thirty years.

Following the success of the album Graham-Purkis put a live band together for a series of festival dates and live gigs. The band recorded one of the shows and Roulette Records are releasing the live album this month.

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I caught up with lead vocalist Raven and asked her about the new album…. I’m pleased with the album. It’s raw and genuine and I’m very excited about the upcoming release. The whole gig was a blast from start to finish, a beautiful way for me to cherish the memory of that performance.

It’s my first album with the band and I’m really hoping that people listening to it will pick up on the enjoyment that I and the guys had on stage that night.

How did the job with Thunderstick come about ? I was very fortunate that a guitarist friend of Barry’s had seen me play with my covers band some months earlier and passed my name across to him. I am very grateful that he did ! Although I very nearly didn’t audition because I wasn’t convinced my voice would suit, but love it and I’m learning to perfect the scream.

I’ve been with the band about 11 months now and couldn’t imagine doing anything different.

What is your performing background and are you from a musical family ? I did Theatre Studies at school and performed with the local dramatic society. But my love of music has come from my Dad singing around the house. Although he would confess he could never remember the lyrics, so it was always the same lines repeated over and over !

Have you a highlight or a magic moment on stage ? I would say playing The New Day Festival in Faversham last year, and looking out to a crowd of complete strangers singing the songs back at me. That was an amazing feeling, but then so was going abroad to France for the first time. We had such a great time and met so many amazing people.

Have Thunderstick confirmed any live dates, and anywhere near North East UK ? We are in Birmingham at Breaking Bands on the 24th May, and I’m extremely excited to be launching the next album in my home town of Deal at the Astor Theatre on the 8th August. Would love everybody to come and see where I live!

It would be so good to come up to the North East of the country to play live, an area that takes it’s rock and metal seriously. We have numerous friends and followers, not to mention fellow musicians on our Thunderstick social media pages that ask if the band will be heading out soon – as soon as we have confirmed dates we will let everyone know.

‘Something Wicked This Way Came – Live in France’ is released 20th March 2020 on Roulette Records.

Pre-order from: https://www.roulettemedia.uk/thunderstick-store

A follow-up studio album is currently being recorded and is scheduled for release in July 2020.

The full Thunderstick line-up is: Raven Blackwing (vocals) Barry Graham Purkis aka Thunderstick (drums) Vinny Konrad & Lee Quenby (guitars) & Rex Thunderbolt (bass).

Interview by Gary Alikivi  March 2020

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 BIG 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, artists and poets.

In his new poetry collection, Jarrow-born Tom Kelly examines the history of the town as he tries to make sense of the past…. This Small Patch is my eighth collection published by Red Squirrel Press and will have its South Tyneside launch on 11th January at 1.30pm in The Word, South Shields’.

To buy a copy contact the official website:

https://www.redsquirrelpress.com/product-page/this-small-patch-tom-kelly

The 10 track album ‘Square One’ by former Tygers of Pan Tang, Fred Purser and Jon Deverill is out on the shelves, where does it stand with your Tygers output ?…. Jon Deverill ‘I’m very proud of it. It’s by far my best work. I’m so delighted it’s been released. We never lost faith that one day it would be’.

Square One by Purser/Deverill available to buy at HMV, Newcastle or on-line via EBay or Discogs.

In 1979 Def Leppard, Iron Maiden and South Shields band Mythra released records making them one of the original NWOBHM bands. Guitarist John Roach…’Yes we never said we were the best, just one of the first. We’ve released a 40th Anniversary Edition of Death and Destiny, we are very proud of it’. 

Order now from: https://mythra.bigcartel.com.

Gary Alikivi   December 2019

EYES WIDE OPEN – in conversation with photographer Rik Walton

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The only time I had a press pass was when David Bowie was on and only 6 were given out. When Paul McCartney came to the hall, I was a big fan, I phoned up his press agent and he was great, ‘See you at the stage door 7.30pm’ he said.

But anxiously I turned up 2 hours early and his press agent was really nice and let me in. I spent the next hour and a half in the dressing room with Paul and Linda McCartney, Henry McCulloch and Denny Laine. I used up all my film in the dressing room. Looking back I made very little money photographing bands at Newcastle City Hall, but I did get in for free (laughs).

How did you get interested in music ? I saw Bob Dylan in 1965 in the City Hall when they filmed Don’t Look Now and a year later at Newcastle Odeon on his electric tour.

A friend of mine’s father was manager of the Odeon. One day he said we have this actor coming over from USA promoting his second film and I don’t know what to do with him, can you take him to a pub. So we did and we took Clint Eastwood to The Lord Crewe in Blanchland. He was a lovely man and was quite worried about the level of violence in the two movies – A Fistful of Dollars and A Few Dollars More.

You were involved in the earliest photo sessions with the Tygers of Pan Tang, how did that come about ? I was involved in a show called Bedrock at Radio Newcastle. Back then the radio shut down at 10pm so Dick Godfrey, local journalist, got a remit to play local bands and interviews. It would go on for hours.

The team was Arthur Brown, Ian Penman, myself and Tom Noble who was manager of Tygers of Pan Tang. We took some of the earliest photograph’s of the band at Whitley Bay. I went to Reading rock festival with them, I was their driver and we stayed in the Mount Pleasant Hotel or as it become known the Unpleasant.

Did you get on well with the bands or did any of them give you any grief ? I photographed bands over a long time and I never became really friendly, I wanted to be the fly on the wall. To become too friendly made my job more difficult in a way. I started two magazines and done a lot of interviews backstage at Newcastle City Hall with some ‘famous’ people and early on I realised you don’t gush or pretend to be their best mate.

Looking back Captain Beefheart was a really interesting guy and a good interview and to my surprise when I next met him he picked up the conversation from before, that was very interesting.

I was asked to photograph the Newcastle Jazz festival then started working for Folkworks so the music really changed for me – rock to jazz to folk. I got to know Sting through photographing the big band in the early 70’s. I lived in Jesmond and across the road lived Andy Hudson, conductor of the Newcastle Jazz Big Band. I photographed them in The Guildhall during the first Newcastle Jazz Festival. They used the photo for the cover of their album. I then went onto photograph Stings band, Last Exit and of course The Police.

Motorhead were playing in Newcastle, can’t remember where, but I was going to take some photographs of the soundcheck and I walked into the place and Lemmy was having a meltdown on the stage, a real strop about something. I wasn’t sure what it was about but I got out there quickly.

The first time I cried at a rock concert was when I heard Peter Gabriel sing ‘Biko’ for the first time. A couple of years later I went along with journalist Phil Sutcliffe on a Gabriel tour for a few days doing an in depth story about him for Sounds. I remember playing croquet with Peter at 1am outside our hotel, being a public schoolboy he carried a croquet set around with him on tour.

He was a very nice guy I found him very shy compared to his on stage persona. I did get to know him but always keeping a slight distance.

How did you get access to take photographs front row in Newcastle City Hall ? One of the first bands I took photos of was Downtown Faction who were playing in the Polytechnic. Then a few year later I fell in with a guy called Joe Robertson. Joe was an entrepreneur with an office in Handyside Arcade. He opened bars in Newcastle and was very much the man ‘in the know’. He’d seen my photos and one day said ‘I’m going to go into pirate pop posters I will give you £10 for each picture I use and here’s a ticket for the Rolling Stones in 1972’.

So I went on the night but my seat was right at the back so I went to the front and asked the stewards if I could take pictures there and they said fine. So for the next 12 years I never paid to get into the City Hall and most times got in by the stage door as the stewards got to know me. When a punk band was on they even made a cordon around me to stop me getting pogo’d to death.

You worked on some great early photographs of North East bands. Can you remember the sessions with Venom, Raven, Angelic Upstarts or Penetration ? Yes the Venom session was arranged through Dave Wood at Neat records. We went around the back of Neat where there was some wasteland. One of them had white make up and was putting it on as it started to rain so it was just dripping down his face. We hid under a bush until it stopped.

The Upstarts were doing a gig in Tynemouth and Phil Sutcliffe from Sounds was doing an interview with the band. Their manager, who had a fearsome reputation, came up to me and said very calmly ‘Rik, I like you, and I want you to know that if you have any problems me and the lads will sort it out’. I felt that he’d be true to his word.

I photographed Raven just around the corner from here (we’re in Newcastle City Library) at Spectro Arts. That is where they rehearsed I think, I can’t remember taking any live shots of them. Again like a lot of the bands they were nice lads and through Neat records I would get passed from one band to another but always retaining a distance to let them get on and do what they do.

For my entire professional life I’ve been zooming in on things and sometimes you can take away the atmosphere, you might get a great shot of someone in action but miss some surroundings. I got a great shot of Pauline Murray and Penetration, on stage kneeling down surrounded by some punk lads, great shot. Bizarrely before I moved to Canada 2 years ago (one of) the last things I did was to photograph Penetration for the first time in 37 years.

What got you started in photography ? After I left school I worked on a building site as a plumber, I really wanted to be an airline pilot but for various reasons that never worked out either.

My grandfather and father were interested in photography and when my father died, I was only 13, one of the things he left me was a camera. I started taking photos and my then girlfriend’s father was a chemist so I got free developing and printing. She also knew of a Visual Communications course at Sunderland College of Art so I went on that. From that experience I learnt the language needed for design, typography and photography.

At this time I worked alongside another photographer, Ian Dixon, on the Newcastle Festival in 1972. That’s pretty much how it started and then I got a job as photography technician at the polytechnic where I stayed until 1988. Teaching came into it at the college after then and I really enjoyed it.

I worked as photographer at The Newcastle University Theatre, now called Northern Stage, for 15 years photographing the dress rehearsals and getting the prints on the wall for opening night. I realised then that my job was to be in front of the stage recording what was happening. The only person who ruined that was Bob Geldof.

I was photographing The Boomtown Rats in the City Hall and you might remember they done a song called Photograph where they grab someone from the audience and pull them onstage – guess who they grabbed! I was hauled up on stage where I froze. That’s when I realised my place is down there and they do their stuff up here.

Were there any photograph sessions that turned into a nightmare ? No because with music photography there was never any pressure on me, I got in free at the City hall and I enjoyed doing it. Nothing unpleasant from the bands in fact it was The Beach Boys who taught me to frisbee in the Newcastle City Hall. I was there to interview Mike Love for Out Now, a magazine I helped to start. But to my questions I only got 5 yes’s and 2 no’s because the questions were too long and basically contained the answer.

Has photography given you anything unexpected ? I was in the West Bank in Palestine three years ago teaching photography in a refugee camp. Freedom Theatre company runs video, photography and theatre courses, it’s to take people away from the things that are happening around them, and to give them useable skills. The founder was a lovely man, he was a half Arab half Jewish guy that wanted to give people an alternative to what was happening around them. Sadly he was murdered outside the theatre.

Everyday going to work I had to walk across the ground were he was killed. That gives you a profound sense of where you are and who you are. I learnt an enormous amount when I was there and it was an amazing experience, would love to go back.

You know Gary there was no plan, it’s just been a series of bumping into things and one thing leading to another. You can hit a groove you know. I started taking photographs of musicians because I loved music. I didn’t go in thinking I would have a career as a photographer.

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

Interview by Gary Alikivi  October 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).

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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 eleven 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 six days to record, and believe me it’s not very much when you have to record eleven 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 favourite 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 till 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 of 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.

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

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

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

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

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

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

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

How were you involved with Diamond Head ? I did two TV shows with them, both of which are very rare now. One was on ‘Look Hear’ an arts programme on BBC Midlands with Toyah Wilcox. I also had them at West Bromich Further Education college, they done a student recording that was found in a loft a couple of years ago.

That whole NWOBHM was fascinating because a lot of those bands were back in their day jobs after a couple of years, apart from Iron Maiden and Def Leppard. Finally, Diamond Head were vindicated because Metallica covered some of their numbers that contributed to their financial coffers.

What are your memories of those first days at The Tube ? I joined in ’82 as a booker and I became Assistant Producer from ’85-’87. My brief was to find bands that we could agree on to put in the show. A band on the first show that I booked didn’t happen, The Who didn’t do it because their pa system got stuck in Mexico or somewhere.

So the producer Malcolm Gerrie knew Paul Weller’s father and got The Jam to do it. In a way I’m glad that he did because The Jam playing their last TV gig ever, really said this is what The Tube is all about – that was then, this is now and off we go.

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

There was a show in December ’82 with Iggy Pop, Tygers of Pan Tang and Twisted Sister, who famously signed a record deal after their performance..…Now there is a story that I discovered Twisted Sister in a bar in New York when really the truth of it was I had seen them at Reading Festival. I was just knocked out by them because I love theatrical rock.

They were on a label called Metal Blade then, which was run by a friend of Toyah Wilcox. I was interviewing Def Leppard backstage, then spoke to Twisted Sister’s manager and told him I had a gig on a TV music channel in the UK called The Tube. He said if you can gaurantee us a booking we will finance our own trip over.

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

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

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

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

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

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

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

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

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

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

Around the time of going to The Tube I went to a few shows called TX45 filmed in the same studios….Yes TX45 ran parallel to The Tube it was a regional series it didn’t go on the network. Actually a series by Tyne Tees Television called Alright Now got them a commission for The Tube. When I was producing in Birmingham a lot of bands would say ’We’re off to Newcastle to do Alright Now or Razzmatazz or interviewed by Alan Robson’. He had a formidable reputation.

Newcastle had a reputation for cutting edge shows really, that’s why it got the commission from Channel Four. Back to TX 45 that was co-presented by Chris Cowey who went on to produce Top of the Pops.

What happened after The Tube ? All the talent from The Tube just dispersed in different directions. Tyne Tees didn’t continue to do any big entertainment. They did attempt to rival Top of the Pops with a show called The Roxy but that fizzled out. Malcolm Gerrie, the main guy went on to form Initial TV in London and made things like The Pepsi Chart Show. Now he’s got a company called Whizzkid producing big award ceremonies things like that.

Geoff Wonfor who made the films for The Tube, not the studio stuff, he went on and made The Beatles Anthology.

(An interview with Bob Smeaton who worked on the Anthology is on the blog ‘The Boy from Benwell’ Nov.5th 2018)

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

Have you any stories that stand out from interviewing people ? From 1973-82 I’d done a lot of entertainment stuff at Pebble Mill but I also interviewed a lot of people with some priceless historical value. Like the 100 year old woman who made a living from making nails from the back of her cottage near Worcester.

There was a man who helped build a storm anchor for the Titanic. I’ve kept all them interviews and in fact the storm anchor one went for research to the director James Cameron when he was making the film Titanic. So I was no stranger to going to people who just wanted to get on, particularly the farming community who didn’t want people buzzing around with cameras.

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

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

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

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

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

 Interview by Gary Alikivi August 2019.