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.  

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

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

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

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

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Dave’s ticket stubs for Motorhead.

 

Interview by Gary Alikivi March 2019.

Recommended:

Roksnaps #1 Feb 18th 2018.

Roksnaps #2 Feb 22nd 2018.

Roksnaps #3 Feb 17th 2018.

Roksnaps #4 April 4th 2018.

Roksnaps #5 June 20th 2018.

ROCK CITY LIVE with Robb Weir, TYGERS OF PAN TANG guitarist

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Since releasing their last album in 2016 the Tygers have had a successful two years equalling or maybe bettering the NWOBHM days back in the 80’s. 2018 has seen them playing gigs around the UK and Europe with Kiss, Ozzy and the Dead Daisies plus a recent headline show in Japan. Can they add more kudos to their well oiled machine? With a live album release ‘Hellbound-Spellbound ‘81’ from the line up of Jon Deverill (vocals), John Sykes (guitar), Brian Dick (drums), Rocky (bass) and Robb Weir (guitar). Was this a recording of that line up at its peak?

Yes absolutely. John Sykes played on the Wildcat tour in September ’80, but not on the Wildcat album and Jon Deverill joined us just before Christmas 1980. We were writing for the next album and with the ‘new blood’ in the line up the sound changed a little bit because those two great guys brought a different edge to the Tygers, more melodic I think. Wildcat had a heavier feel to it and a bit of a punky element to it as well. I played it in its entirety a while ago and didn’t realise how much punk music had influenced me.

The opening track on this live album, ‘Take It’ was written by John Sykes and me. When John first joined the Tygers he came round to my house to learn the songs for the then, upcoming Wildcat tour. During these sessions John said I’ve got an idea for a new song. He played me the front end, (opening) of ‘Take It’ I liked it, added in something I had, played it together and added a chorus and ‘Take It’ was born. Unfortunately it was the only song that John and I wrote together. I was used to writing by myself, John and Jon Deverill lived in the same flat so they worked on songs together. As for both Spellbound and Crazy Nights the song writing guitar riff ideas were 50/50 between John and me. Then we would put them in the pot and they become everybody’s….adding drum parts and bass.

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What were the nuts and bolts of making this live album ? We were on the UK part of the Spellbound tour in 1981, it was the second show of the tour at the Nottingham Rock City venue. Normally you would record a live performance on the last day of a major tour when you’ve had 30 odd dates to have a bit of a practice! But the Tygers never do anything easy, always back to front and upside down, we’re at the front of the queue for that (laughs).

Our record company at the time MCA hired the Rolling Stones mobile recording unit. Which was quite revolutionary in those days, it was an articulated lorry with an amazing recording studio inside of it and was owned by The Rolling Stones. It was a business venture for them and they hired it for location recording. This mobile studio was made very famous in the seventies when it went to Montreux to record Deep Purple and ‘Smoke on the Water!’ It was state of the art at the time. It parked outside Nottingham Rock City running all the recording lines inside so effectively all your equipment was double mic’d. One mic for the live sound in the hall, and one mic that ran back out to the truck for recording purposes.

 Who was engineer on the recording? Chris Tsangarides who had produced both the Wildcat and Spellbound albums had come out on the road with us to do our front of house sound. However, on this special night he couldn’t be in two places at once so he did our sound check for us and set the sound up. The guy who came with the huge sound system that we took on the road with us did front of house sound mix that night.

In those days you took your show on the road with you. It wasn’t like in Academy’s these days where everything like lights and sound system are already in house, and all you need is your backline. In those days when you went into a hall it was empty. So you had to put your sound system and lighting rig in. Consequently touring then was a lot more expensive. When you did a big tour with a big production, you almost lost money but you did it to promote your album hoping next day people would go to the record shop and buy it. That’s where you would recoup your money for the tour.

On the day of recording Chris Tsangarides set the sound up and then went into the mobile where he did the sound check again so he could set the levels and tones on the recording desk. When we were playing live Chris did what you call an ‘on the fly’ mix as well.

What was the set up as far as sound equipment and crew for the Spellbound tour? On the Spellbound tour we had two 40 foot articulated tractor pulled trailers, and a nightliner bus for the crew. We had a 16 man crew working for us. It was quite a big do as they say and in 82 when we did The Cage tour that was an even bigger production, both productions cost a lot of money. Of course you hope to get bums on seats to recoup a bit of that back. Support bands would pay to come out on the road with you because that’s the way it was done. That money all went towards the headline bands costs.

As far as I remember when we went out we took the Malcolm Hill rig out which was famed for AC/DC using it. I’m pretty sure it was a 35,000 watt rig, which was a lot of noise coming out the front of the system at you! Then on stage we had about 12,000 watt’s of monitors. I used to have two 1,000 watt wedges in front of me and they were on full tilt. We used to play loud, really loud (laughs).

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The live recording was at Nottingham Rock City. Was that a memorable day in the Tygers history? Actually there was a prequel to this show. We were staying at The Holiday Inn in Nottingham and we were all absolutely laden with flu apart from John Sykes. We were so bad our Tour Manager called for medical advice. A doctor came out and said we shouldn’t be playing, particularly Brian our drummer because he was an asthmatic. He had an array of inhalers which he used to take in-between smoking his Embassy regals (laughs). The doctor actually wrote us out a sick note to excuse us from playing, I don’t know who we were going to show it to! Maybe Tom our manager has still the sick note? (Laughs). But there was no way we weren’t playing, the gig was sold out and we were recording it.

After the gig did you hear the recording played back? At the end of the show John Sykes, who was as bubbly as ever, went to see Chris in the Rolling Stones recording mobile, they had a discussion and John came back and said Chris doesn’t think it’s very good. I can’t remember whether he had said we had made some mistakes, maybe not played very well, or something had gone wrong in the recording process, I honestly can’t remember. Nothing more was said and I guess the record company (MCA) who paid for the whole deal must have been gutted. Again there wasn’t an inquisition about it, it was just left.

It was all recorded on 2 inch Ampex tape and our manager Tom Noble took them away and they lived under a bed in his spare bedroom for years. It was only Chris and John who had heard anything from the tapes.  Brian, Rocky, Jon Deverill and myself hadn’t heard anything.

The life of the band moved on until 2000 when I said to Tom the Tygers manager, ‘you know those live tapes from ‘81 should we have a listen to them?’  He said, ‘yes, they’re under the bed in the spare room.’ So we asked Fred Purser who replaced John Sykes in 1982 and recorded The Cage album, then toured with the Tygers. When Fred left the band he went into the production side of the music business. Fred now has a wonderful studio called Trinity Heights in Newcastle. He agreed to do it but we had to hire a machine to play the tapes on because they were out dated. There was nothing in the North East so we had to ring down to London and hire a 24 track Ampex tape playing machine. Fred took delivery and transferred the tapes to digital format but because of the age of them we were told we probably would only get one chance to copy them as the Ampex tape could disintegrate! Luckily we did it.

What did the recording sound like? Fantastic, Tom and I couldn’t understand why the tapes hadn’t been used? The only thing that was wrong was because of time, the first four tracks on my guitar had ‘fallen off’ the tape. So I sourced the same pick up I had on my Gibson Explorer at the time, put it on a suitable guitar and went in the studio and recorded my guitar part’s again for the first four tracks. That is the only thing that has ever been touched so this is a complete live album with no overdubs, unlike a lot of live albums back in the day!

It has now come out years later that on some live albums back then maybe only a snare drum was live and the band went back into the studio to record most of it again– a bit naughty, but I understand band’s want their best work recorded. But if you can’t play live should you really be in the business? I’m very proud that ours IS live.

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Robb and Soren Anderson.

Why the re-release now? Well Fred mixed it and it came out in 2000 on general release. Three years ago when we signed with Target Records the C.E.O Michael Anderson, asked whether we would be interested in putting out a remixed version by Soren Anderson, who mixed our current album. So it’s been on the back burner for a while. It just so happened the timing was perfect because Soren started a mix on the album and two weeks later he appeared in Newcastle playing with former Deep Purple bass player, Glenn Hughes. I went to see them at the Academy here in Newcastle and met Soren, he said he had a day off the next day in Newcastle. Michael McCrystal (Tygers guitarist) managed to get us some studio time at Blast Studios, through his academy of music connections. This is where we recorded all the backing tracks for our current album.

So we went into Blast, he put the album up as they say, listened to some of the mixes that Soren had done and I suggested some things. All that’s happened is the tones of the instruments have been sharpened up, levels have been changed, we found backing vocals which were too low in the original mix, it’s come out really well, it’s a huge sounding live album now to be fair.

The record company are bringing it out on various formats, CD, vinyl and a box set including a signed tour poster and a ticket to Nordic Noise Festival next year in Copenhagen. It’s a great package. There’s also a tour pass from 1981.

‘Hellbound – Spellbound 81’ is available 21st  December 2018 via the official Target Records website and in the shops 25th January 2019.

Interview by Gary Alikivi December 2018.

For more Tyneside stories why not subscribe to the ALIKIVI You Tube channel.

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

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

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Music fan Paul White

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

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

 

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

Gary Alikivi September 2018

 

Recommended:

Roksnaps #1 18th February 2018.

Roksnaps #2 22nd February 2018.

Roksnaps #3 27th February 2018.

Roksnaps #4  4th April 2018.

Roksnaps #5  20th June 2018.

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

Rockin’ All Over the Toon  22nd May 2018.

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

ROKSNAPS #5

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Lemmy, Motorhead 1979.

Roksnaps are fan photographs which captured the atmosphere of concerts on Tyneside during the late 70’s and early 80’s. It was a time when rock and metal bands ruled the city halls up and down the country. On Tyneside we had the main venues of Mecca in Sunderland, The Mayfair and City Hall in Newcastle. The gigs were packed with tribes of mostly young lads from towns across the North East. T-shirts, programmes and autographs were hunted down to collect as souveniers – and some people took photographs on the night.

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Thin Lizzy, 1980.

One fan who kept his photo’s and shared them on this blog was Paul White…

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‘The pics I’ve managed to dig out here are scanned from my original prints as the negatives went walkabout many moons ago. Here’s what you’ve got. Whitesnake – Trouble and the Lovehunter tour. Thin Lizzy – Black Rose tour, Motorhead – Overkill and Bomber tour (I think). Enjoy.’

 

‘I went to my first gig in 1975. Status Quo’s On The Level tour. What a night. Back then when a band like that played, the first few rows of seats would be ripped up immediately the band came on. Along with Glasgow Apollo the City Hall and Mayfair were the best gigs in the country for touring bands. If there was a band like AC/DC on at the Mayfair you could be lifted off your feet by the crowd and pushed from side to side. You certainly had to know how to use your elbows. The exhilaration when the lights suddenly went down and a massive cheer would go up. Nothing like it. At some point I realised we had an old Minolta SLR lying round the house that nobody was using. With only a rudimentary understanding of how to use it, I bought some film and took it to a gig. The Scorpions first Newcastle gig I think it was. I remember, because the gig tickets were white and loads of people had photocopied a mates and applied a perf with a needle, including me. The staff on the doors never had time to properly check tickets back then, it was easy peasy. That happened more than once I have to say. The photos were crap though. I had no flash and was wary of the staff taking the camera. Worse, I was on the balcony and didnt have a great view. No idea what happened to those shots. Just as well. I was more lucky from then on’. 

 

‘Next time it was the Whitesnake first tour to promote Trouble which had just been released. Better seats meant better pics. A few times I queued overnight for tickets and got great seats. One time in a blizzard for Rush’s Hemispheres tour. The weather was so bad it made the local TV news. I just remember waking up under a foot of snow. Queuing overnight wasnt always a good idea though. One time me and a mate got the last bus from Blyth to Newcastle to queue for Rainbow tickets only to find a sign on the doors saying ‘Rainbow tickets will not be on sale’. Unfortunately the last bus home had gone and we couldnt afford a taxi. We kipped in a doorway of the Civic Centre and got the first bus in the morning. Wouldnt swap those days for anything though. Happy days indeed. The list of great bands we saw is hard to believe these days. Tell some young kid that you saw AC/DC or UFO at the Mayfair and their mouths drop open. We were blessed for sure’.

 

 

Interview by Gary Alikivi June 2018.

Recommended:

When Heavy Metal Hit the Accelerator 6th May 2017.

Steve Thompson (Songwriter & NEAT records producer) Godfather of NWOBHM, 27th June 2017.

Roksnaps #1 18th February 2018.

Roksnaps #2 22nd February 2018.

Roksnaps #3 27th February 2018.

Roksnaps #4  4th April 2018.

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

DEFENDER OF THE NORTH – Guardian Recording Studio stories #2 with SPARTAN WARRIOR

 

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Gaurdian Sound Studio’s were based in a small village called Pity Me in County Durham, North East UK. There are various theories on the origin of the unusual name of the village – a desolate area, exposed and difficult to cultivate or a place where monks sang ‘Pity me o God’ as they were chased by the Vikings. Whatever is behind the name it was what happened in two terraced houses over 30 years ago that is the focus of this blog. They were home to a well known recording studio. From 1978 some of the bands who recorded there: Neon, Deep Freeze and Mike Mason & the Little People. A year later The Pirahna Brothers recorded a 7” single. 1979 saw an E.P from Mythra and releases in 1980 from Hollow Ground, Hellanbach and a compilation album, Roksnax. From 1982 to 85 bands including Red Alert, Toy Dolls, Prefab Sprout, Satan, Battleaxe and Spartan Warrior made singles or albums. I caught up with a number of musicians who have memories of recording in Guardian… 

SPARTAN WARRIOR 

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Dave Wilkinson (vocals): ‘Spartan Warrior recorded at Guardian Studio in 1983/1984. My abiding memory of recording there is that the studio was said to be haunted and that made for a lot of winding up. There were occasions when although we’d been booked into the studio during the day time Terry Gavaghan, the producer of Spartan Warrior’s first two albums, would often have us recording throughout the evening and into the early hours of the following morning… that was just his way of working. In fact it wasn’t uncommon for us to arrive for a midday start on a Saturday and be finishing up at 5:00am on the Sunday! Needless to say that a lot of the overnight sessions involved a lot of ghost story telling by Terry. The control room had a large glass window next to the mixing desk and and from there you could see into the room in which the band was set up to record. It was quite dark in that room and I think it was only dimly lit with a red light. I found myself in situations where there would be a couple of hours spent with Terry in the control room and he’d tell us about the various sightings of the ghost of a little girl and there had been occasions when peoples headphones had inexplicably flown off across the room during a take. We’d all be sitting there listening and making light of it and then in the early hours Terry would send me into the other room to do a vocal in the dimly lit room while the rest of the band stayed in the control room. To say that I was apprehensive would be an understatement!!

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‘On one occasion we were in there recording a track called Witchfinder for the Steel n’ Chains album and Terry thought that it would be cool for the five of us to record a Satanic Chant at the opening of the track. So after a lot of the usual ghostly tales we all went around the vocal microphone while Terry remained in the control room with a lad who I think might have been a neighbour of his who was helping him in the studio that day. We had a few runs through this chant and it was an unrehearsed shambles but he called us back in to the control room to have a listen. Terry set the analogue recordings running and we listened back… then the tape machine just ground to a halt and he pointed at the digital clock which measured the length of the track and it came up as six minutes and sixty six seconds… 666… just like that. Terry looked really worried and said you can’t have a clock showing 666 seconds and he was  telling us something sinister was at work probably brought on by the Satanic Chant. He said that we ought to abandon the idea before anything horrendous happened… he said the Chant could bring about terrible things if blood was spilled… I think he actually said “all you need is blood”. Then the lad got up to go into the kitchen to make us all a cup of tea and he banged his head off one of the monitors and split his head open… that was it… blood was spilled and we were all terrified. It was almost certainly a wind up. I’m pretty sure Terry could have done something to make the clock show 666 but the lad did actually split his head open. The Chant never made the album!

‘On another occasion during the Steel n’ Chains sessions we took a mate of ours along and of course the ghost stories started mid- evening. I was about to put some vocals down so the other four lads plus our mate went down the street to the pub and while they were away Terry hatched his plan. He wrote himself a one way conversation and then recorded himself whilst leaving gaps at the end of each sentence so that when he played it back he could speak to ‘the voice’ live in apparent conversation. He then speeded up the recording so that it sounded like a ghostly child speaking and not just that but speaking to our friend… to protect his identity I’ll call him ‘Steve’. Terry then rigged up a ghostly model using an old Airfix model skull with a wig on it, a microphone stand at half mast with a coat hanger and child’s nightgown hanging on it. So it just looked like a little girl in a nightgown with this awful skull face and long black hair. Then we waited for the lads to come back. Once everyone was settled Terry again started telling his tales of the ghostly sightings into the early hours of the morning. He’d managed to let the other Spartan Warrior guys know what he was planning to do when ‘Steve’ was in the toilet as he was going to need their help to pull off the prank. Guardian Studio consisted of three terraced houses and the recording facility was in the middle. Because of that there were multiple points of access and exit. So once Terry had had an hour or two of his scary stories he turned to recording and set away his pre-recorded ghostly conversation which went something like:-

Steve, Steve’.

Terry tells everyone to be quiet and asks ‘did you hear that’. 

Then it goes on –

Ghost: Steeeeeve.

Terry: Who are you?

Ghost: Steeeeve, Steeeeve.

Terry: What do you want?

Ghost: I want Steeeeeeeve

Steve: Tell it to fuck off!!

‘So the tape finishes and of course ‘Steve’ is concerned so Terry told him to go and put the kettle on. Off Steve goes to the kitchen where the Ghost Model is set up and of course he sees it, screams and runs back into the control room saying that he’s ‘seen it’. Of course we go to investigate but it’s not there because one of the guys has moved it into the toilet during the commotion. So ‘Steve’ gets calmed down and after about 40 minutes is asked to go and get some toilet paper out of the toilet to clean the tape heads with. Of course he sees the Ghost Model again and runs back into the control room screaming blue murder and we have to calm him again. In fact I think Terry told him that if he was going to mess about and unnerve the band he would have to go home and he gave him a bit of a telling off. Terry then walks ‘Steve’ to the toilet, puts the light on and no ghost… of course it’s been taken out of the back door and round to the front entrance and stood in the porch at the entrance to the studio. We all have a cup of tea and a bit of light banter then we get to work again but this time Terry asks ‘Steve’ to nip next door to get whatever the hell he was asking for this time. I forget, but naturally ‘Steve’ is reluctant to go. So one of the lads tells him that he’ll come with him. So the two of them head out of the control room into the adjoining recording area which is in darkness save for the red light. They walk beyond the drum booth to a set of double sound proofed heavy doors that lead to the porch and front street as well as Terry’s living accommodation. The first door was opened by whoever was with ‘Steve’ and he opens the second door to the porch which is of course in darkness and guess what he sees!

‘Steve’ comes hurtling back through the recording area, into the control room absolutely panic stricken, almost to the point of tears, just gasping for breath and in a right state. I honestly thought he was going to collapse and I really felt it had gone too far not realising that he was of such a nervous disposition. The icing on the cake though was when we all had to sit down with him and calmly tell him what had been done and he was reluctant to believe it. To convince him somebody went to get the ghost model and brought it through to the control room to show him. We all fell about laughing when he lost his temper and punched the skull in the face. Looking back it’s a wonder we ever got any recording done’.

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This needs to be confirmed by a visit down to Pity Me, but a quick search of 26-28 Front Street on google maps reveals a well known supermarket where the two terraced houses were. I wonder if customers buying their tins of beans and bananas know the rich musical history that Gaurdian Studios contributed to recording in the North East. The Tap & Spile is just next door, is that the pub where many of the bands went for refreshment ? If anyone has information or recorded in Guardian studios it’ll be appreciated if can you get in touch.

Interviews by Gary Alikivi.

Recommended:

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

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

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

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

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

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

Neil Wil Kinson SPARTAN WARRIOR: Invader from the North 21st September 2017.

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

ROKSNAX: Metal on the Menu, 9th March 2018.

CLOSE ENCOUNTERS – with Peter Whiskard bassist for North East eighties metallers Alien.

The North East New Wave of British Heavy Metal (NENWOBHM) was immortalised on the ’One Take No Dubs’ 45 released by NEAT Records in 1982. The 12” featured Black Rose, Avenger, Hellanbach and Alien.  I talked to Peter Whiskard bassist for Felling metallers Alien… ‘Derek our singer had a reputation for a no-nonsense approach to life. During a gig at the Mayfair he found himself the unwilling target of several beer vessels – thankfully plastic – thrown by a miscreant in the audience. He jumped off the stage, felled him with one blow and jumped back onstage without losing his composure or his place in the song’. 

How did you get involved in playing music and who were your influences ? ‘I sang from a very early age and learned classical piano. An early indication of my chosen instrument was when I occasionally played piano duets and always seemed to gravitate to the bass part. A defining moment was when I hit adolescence and something seemed to click when I was jamming along to records. Needless to say the classical piano was abandoned. My influences were from the sixties and seventies, early Status Quo, Free, Cream, Bad Company and The Velvet Underground’.

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When did you start playing gigs and what were your experiences of recording?  ‘I started playing gigs when I was fifteen with friends in the Felling area of the North East. I believe our first gig was at a youth club in the same building where we rehearsed. We didn’t really gig much and the last one was at the Sixth Form Common Room Disco! I went away to University and when I returned I formed a band called Bad Luck with the former singer. We did many local gigs and recorded a few tracks at Neat’s Impulse Studios where I met label boss Dave Wood. A self financed 45 single release came from these recordings. Unfortunately this band didn’t last long. Then I answered an ad in the paper for Alien in 1982. The place where a lot of Neat bands rehearsed was the Spectro Arts workshop in Newcastle and I remember once overhearing the tremendous noise of Venom practising one day when we were offloading our gear. The band had a chequered history in the time we were together but we were offered recording at Neat Records for the One Take No Dubs EP. We still had to pay £50 for the privilege – Dave Wood was notoriously stingy. The recording took perhaps only part of a day because the essence of it was to have a ‘live’ feel and there would be no extravagant nonsense like overdubbing and repeating the process to seek the ‘perfect’ take. Hence the title ‘One Take No Dubs’.

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‘The engineer for the earlier trip to Impulse with Bad Luck and the Alien session was Keith Nichol – a lovely guy who was patient and skilful. The band played together in the studio – this was opportune for Alien’s style as we were capable of flights of improvisation as can be heard in the middle section of ‘Who Needs the Army’, one of the up to now unreleased tracks from that session. In the recording session we were in fine form, especially Ron Anderson the guitarist who recently has sadly died. A track from the recording called ‘Absolute Zero’ also appeared on a compilation cassette called ’60 minutes Plus’ sold only through Sounds and Kerrang. A Neat Singles Collection featured the track ‘Could Have Done Better’ from One Take No Dubs’.

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What can you remember of Impulse Studio ? ‘Impulse Studios lived behind a fairly anonymous doorway in Wallsend, Newcastle. It was a small place, the studio walls were covered in the ubiquitous polystyrene tiles for acoustic absorbtion. There was an office where the day-to-day running of the business took place and also a special ‘green room’ where Dave Wood would make his deals and entertain the celebs. Our relationship with Dave Wood soured somewhat as the singer felt we were being exploited financially. The band fell apart by ’83. We briefly reformed to do a gig at the Classic Cinema in Low Fell.  After Alien I joined a band called The Blues Burglars who were quite popular at the time’.

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Can you remember any high points for Alien, TV or music video’s ? ’I’m afraid we weren’t together long enough to get established to record any TV appearances or film any music videos. Although we did play some gigs with Raven and others at Newcastle Mayfair. I’m afraid I can’t remember much about the gig with Raven but I don’t think we hobnobbed much with the other bands. The audience was pretty appreciative as that was during the heyday of Neat Records. We regularly played gigs in Felling such as the Duke Of Cumberland, and our gigs had a reputation for having a febrile atmosphere with an undercurrent of unpredictability. The singer was a powerful performer and had a great rock voice. We also had several friends in other bands on the Neat roster. I knew the drummer from Hellanbach who lived round the corner, and went to school with the singer from Emerson and Axis: two Neat bands which are relatively unknown. The singer of Axis was originally born Simon Blewitt but is now called Sam Blue and at one point sang with Ultravox as well as singing on The Streets’ hit Dry Your Eyes!

What are you doing now and are you still involved with music ? ‘I have been a classroom teacher since I moved to Kent in 1986, but now I am semi-retired and teach guitar to Primary age students. I still play gigs regularly. I’m afraid I’m now playing in a folk/country band called John Doggerel and the Bad Poets. We comprise me on bass, guitar, and assorted instruments including mandolin, accordion and ukulele! We are based near Margate. I recently remastered and released a track which wasn’t used from the original Neat session called ‘Who Needs the Army’. Now available at iTunes and all good digital platforms’.

Interview by Gary Alikivi May 2018.

Recommended:

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

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

Micky McCrystal, TYGERS OF PAN TANG: Cat Scratch Fever, March 17th 2017.

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

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

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

Richard ‘Rocky’ Laws, TYGERS OF PAN TANG: Tyger Bay, 24th August 2017.

Gary Young, AVENGER: Young Blood, 17th September 2017.

ANGELS WITH DIRTY FACES – interview with former Slutt bassist John Hopper

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Neat Records were based in Wallsend, North East UK. The operation worked out of Impulse Sound Studios. Neat were arguably the most instrumental NWOBHM label in the UK. The label is notable for early releases by North East chief heedbangers Venom, Raven and Blitzkrieg who are acknowledged as major influences on American thrash metal bands Metallica, Megadeth and Anthrax. One of the lesser known albums was from SLUTT. A gang of twisted metallers from Tyneside with their make up, leather and studs. They released one album in 1988. The original bassist John Hopper talks about those times…I remember signing the record contract in the rehearsal rooms. Our guitarist Antton walked in and said ‘right sign there’. We did, then got on with rehearsing. We didn’t think of asking someone to look at it first. It wasn’t ‘Right I’ll let my solicitor see it first you know ha ha’.

How did the band get together? ‘For a number of years Glen and myself worked at the Roman Fort in South Shields and the wages from there helped finance our instruments. Me on bass, Glen Wade on drums and a friend was interested in doing some vocals. We played some rough versions of Kiss songs, we were friends just messing around. Our singer had a friend over in North Shields who knew a guitarist… ‘He would be perfect for your band’ he said. Next thing a guy with a guitar, trem and long hair came over. That was Antton Lant. We didn’t know about his brother Conrad or Neat records but soon we got to know the connection with Venom. Anyway our first gig as SLUTT was I think at The Cyprus pub in South Shields. Later we went on to do a showcase for NEAT at Tiffanys’ nightclub in Newcastle. So that was our first step. In 1987 we played at The Queen Vic pub in South Shields and got paid £300 which we used to rent lights, dry ice etc. That gig was a blast..and was videotaped ..and the audio exists’. 

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How did the record with NEAT come about ? ’We first done a 4 track demo tape at Impulse Studios in Wallsend. We just recorded it live all in one room but additional guitar or anything that was needed we would drop that in later. The line-up was Antton on guitar, myself on bass, Glen on drums and our original vocalist. On that demo Glenn had the use of a Ludwig kit owned by Tony Bray from Venom – we asked them first like! That was in 1986 and the tracks from that demo were lifted and put on the album which was released in 87. That was the first version with the LP and remains unreleased but its archived. The album needed the new singers vocal on it. Antton was friends with a singer so Peter Seymour (RIP) came in, we rehearsed and it was great. Things were becoming real you know. We got forms for our passports as we were going out on tour, NEAT paid for those. Like any band we just wanted a break, yes we were fortunate with the link we had with Neat but we still had to put the time in, the rehearsals. The years going across the Tyne to North Shields, picking up Antton and his Marshalls, then coming back through the Tyne Tunnel to the rehearsal studio. Sometimes twice a week. SLUTT was full on, and commitment was first and paramount’. 

(The album was released on vinyl in 1988 with Neat catalogue number 1043. The album includes Angel, Breakin’ All the Rules, Revolution, Thrill Me and more).  

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Who came up with the idea’s for the songs ? ‘The music was from Antton and the vocalist. The rest of the band would write some lyrics too. We went back to the studio and recorded Peters vocals over the original master tapes. If some things didn’t sound right they were quickly changed. Kevin Ridley engineered and Conrad Lant produced. I remember Conrad sent me out for something to eat a few times he liked his squid and chips! But yeah they had both worked on the demo tape and then the album which was a totally different feel. There was more pressure, there was more ‘Sorry lads them backing vocals are not in key can you do them again’. There were plenty of sound effects put on it, backward drums and live crowd noises. We had a visit from a guy who ran the Venom fan club in France. There is a piece on the track Revolution, about the French revolution and this guy just spouts out something in French and we put it on the track, it sounded great. In all it took about 7 days to record I think’. 

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Who else was in the Neat studios then? I was amazed and sucked in to the Venom thing that had gone on in NEAT. We had heard their records and by 86, 87 they were a big band and basically this was their studio. Funny every other band there the Avengers, Atomkraft all wore leather and studs it was like a blueprint – we were similar to the leather and studs look. The Atomkraft lads were knocking about. Venom’s Tony Bray was always there and guitarist Jim Clare came in with an amp for Antton. He used it for his solo’s. It was only a small Galion Krueger but totally ripped the place apart you know. Venom manager Eric Cook (RIP) came in once or twice as I say Neat belonged to Venom and all their gear was there. I walked past one room and inside was bits of the stage show that they used. Another was Dave Woods’ office he was like the headmaster in his room…ha ha’. 

Did you promote the album ? ‘In 1988 just after we released it we done a few gigs in Poland. Nasty Savage were the main headliner, with Exhumer and Atomkraft. They were doing a European tour and we flew in for the Poland leg. We arrived in Warsaw and went to the train station.The train was like an army train, it was separate carriages with compartments and we got split up. Myself and Glen sitting next to total strangers, us with our tight jeans and long dyed black hair etc.. strange. Eric Cook (RIP) came along and took us to the food carriage. I got a bowl of soup with a raw egg in the middle. Well we hadn’t eaten for hours. For the rest of the gigs we had our own mini bus with a driver. It was only the journey from Warsaw to Katowice we got the train because it was a long trek’. 

Poland Tour Pass

‘Eric Cook took us over there he was with us all the way and Tony Bray was the Tour Manager as Venom were in between albums or something. The tour was an eye opener because a serious edge kicks in. The first gig was at the Spodek Arena in Katowice in the south of the country. The arena is a huge ufo shaped building. The festival was called Metal Battle and started at 10 in the morning. We were the first English band on at 12.30. We only got half an hour at the most with no sound-check. The whole thing was broadcast on Polish Television. I remember at one point we were on stage and a woman with a handbag came on ha ha… I’m sure Eric or Tony pushed her on. The first couple of songs the front rows were fists raised, jumping up and down, there was 15,000 people there, it was unreal.

The second gig was at an ice rink in Poznan. It took about 4 hours to get there in our mini bus. It was the same bill but we weren’t looking forward to the gig. We weren’t sure about the make up that we were wearing then, so we talked to Nasty Savage about it and they said ‘Just do what you did yesterday, keep it the same, it’ll be ok’. He was right the crowd went berserk. Eric came back to the hotel with a bottle of champagne ‘Well done lad’s best band of the night’. We got paid and it was ok set ‘em up, vodka and orange, bottle of champagne, just live it up cos we aren’t taking anything back ha-ha’.

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Press day in Poland with Nasty Ronnie, Ian Davison (Atomkraft), Dave Ling & Tony Dolan (Atomkraft).

‘The last gig was in Gdansk in the north, a very industrial town. We went down great there as well. It was just the first date where it didn’t happen for us. Rock journalist Dave Ling covered it for Metal Hammer. I remember doing one of the press conferences with Antton. I didn’t like it though. All the big bright white lights and your make up is all smudged.. ha-ha’.

What was the next move ? ‘By now we had done the album, got back from the Poland gigs and were in rehearsal doing some new material. There was talk of backing Wrathchild at Newcastle Mayfair and doing a few other things but sometimes they don’t come off. There are highs and lows all the way through. So now our drummer Glen becomes uninterested with the band so he goes his own way. We get a new guy in on drums, very talented he was. We were over in Byker at Dons rehearsal rooms. After a period of rehearsals and photo sessions my head just started to drop you know. The dynamics of the band were changing, we were doing things another way and really I just didn’t fancy it. So I stepped back from it all and the band went on. How long was I in the band? Looking back I remember I was at Newcastle City Hall watching Motley Crue on the Theatre of Pain tour in 85 and we were rehearsing around then. That was at The Green Rehearsal rooms in South Shields. So fast forward to the end, I think it was 1990 when I left the band’.

What are you up to now? ’Now I work in the print industry I have been for over 25 years. I still love music and always will, I’ve ticked that box’.

Interview by Gary Alikivi April 2018.

Recommended:

WARRIOR: The Hunger, 12th April 2017.

VENOM INC: Hebburn or Hell, 28th July 2017.

ATOMKRAFT: Running with the Pack, 14th August 2017.

TYSONDOG: Back for Another Bite, August 2017.

AVENGER: Young Blood, 17th September 2017.

DEFENDER OF THE NORTH – Guardian Recording Studio stories #1

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Gaurdian Sound Studios were based in a small village called Pity Me in County Durham, North East UK. There are various theories on the origin of the unusual name of the village – a desolate area, exposed and difficult to cultivate or a place where monks sang ‘Pity me o God’ as they were chased by the Vikings. Whatever’s behind the name, it was what happened in two terraced houses over 30 years ago that is the focus of this blog. From 1978 some of the bands who recorded in Guardian were: Neon, Deep Freeze and Mike Mason & the Little People. A year later The Pirahna Brothers recorded a 7” and there was also an EP released by Mythra. 1980 saw E.P’s from Hollow Ground, Hellanbach and a compilation album, Roksnax. From 1982-85 bands including Red Alert, Toy Dolls, Prefab Sprout, Satan, Battleaxe and Spartan Warrior had made singles or albums. I caught up with a number of musicians who have memories of recording in Guardian… 

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TYGERS OF PAN TANG – Demo’s & B sides.

ROBB WEIR: ‘When we arrived at the address for the studio I thought we had got it totally wrong! It was a small street full of pit colliery houses. Nothing wrong in that of course, just we couldn’t see a recording studio anywhere. We pulled up to number 32 or what ever the house number was and knocked on the door expecting to be told we were in the wrong area. The door opened and a young man with a ‘bush’ on his head greeted us. “Hi, I’m Terry Gavaghan, welcome to Guardian! As we walked in his front room it had been converted into a make shift studio with sound proofing on the walls. Terry had also knocked a huge hole in the wall dividing the lounge (studio) to the dining room which was now the control room and fitted a large plate glass window. I remember asking him where he lived, “upstairs,” he said as if I should have known. Anyway we recorded the entire Spellbound album there as a demo for MCA our record company and Chris Tsangarides our record producer. We also recorded the “Audition Tapes” there, John Sykes and Jon Deverill’s first Tygers recordings. Which was to be a free 7 inch single to be packaged with Hellbound when it was released. I think we were there for a few days recording and during one of the sessions I was in the studio by myself laying down a solo. When I had finished I put my guitar on it’s stand and as I made my way into the control room my foot caught the stand that John’s guitar was on and I knocked his Gibson SG on the floor! He was watching through the control room window and ran into the studio going ape! I of course apologised but he couldn’t forget it. In the end I told him to shut the f**k up as no damage had been done and if he didn’t some damage WOULD be done! What did come out of Guardian were some fantastic recordings. Terry did us proud I have to say. His studio and his warmth were fantastic! The moral of the story is, “Don’t judge a recording studio by it’s colliery house appearance!”

RICHARD LAWS ‘Tygers of Pan Tang recorded at Guardian twice. Although we were usually associated with Impulse Studios (home of Neat Records). We had sort of fallen out with Impulse and Neat so we recorded the demos for our second album Spellbound at Guardian. We recorded about 5 tracks I think. These demos were later released on various compilations. The demos for Spellbound were the first time we recorded with Jon Deveril and John Sykes in the band. Later we recorded two B sides for singles off our fourth album, The Cage. Whilst we were there doing the B sides our record company came up and did a play through of the fully mixed album which was the first time we had heard the finished product’. 

More stories from Guardian coming soon. A quick search of 26-28 Front Street on google maps reveals a well known supermarket where the two terraced houses were. This needs to be confirmed if it is the exact location. I wonder if customers buying  tins of beans and bananas know the rich musical history that Gaurdian Studios contributed to recording in the North East. The Tap & Spile is just next door, the pub where many of the bands went for refreshment. If anyone has information or recorded in Guardian studios, much appreciated if  you get in touch.

Interviews by Gary Alikivi.

Recommended:

 

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

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

Robb Weir TYGERS OF PAN TANG: Doctor Rock  2017

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

ROKSNAX: Metal on the Menu, 9th March 2018.

LOST IN MUSIC – interview with North East musician Bernadette Mooney.

War Machine went on to play many gigs after the album was released in 1986 and I was asked to do a photo shoot in Kerrang called ladykillers. I really enjoyed the day as Bon Jovi was getting his photos taken the same day and for that month’s issue we both appeared in the Kerrang magazine. We also appeared in Viz as the meanest band in the North East but I think Venom should of got that one!

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How did you get started in music ? ‘Bought my first guitar when I was 15 and had lots of song ideas but wasn’t sure how to write. There was lots of lyrics in my head so I wrote them down, taught myself to play guitar from a book and started to write my own songs. A friend heard them and played them to a guy who was in a band. He liked my voice so I ended up doing a few gigs with him. Then I joined a band called Chapter 24. I played a while with them as a guitarist and vocalist but then moved on to a local band called She with Lee Robertson. I played a few gigs with them before forming War Machine with Steve White on guitar. We were both from Wallsend and Les Fry was living in Jesmond he was on bass. We had a drummer called Steve Smith who still gigs in the North East. My influences then were Pat Benatar, Steve was into Black Sabbath and Venom. I first met Steve White at college and we dated. Before he formed a band with me he was in Atomkraft with Tony Dolan who is now with Venom Inc. Steve and myself would write the songs together just by jamming. I had lyrics and give them to Steve who would write the guitar bits and Les added bass. I think Les wrote some songs too’.

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Where did War Machine rehearse and gig? ‘We used to rehearse in an old building. I think it was in Felling near Gateshead. It was horrible. The guys used to pee in Brown ale bottles as there were no toilets. I used to stand in a cardboard box with newspaper in to keep my feet warm. But we were skint and it was cheap. We did a few gigs around the North East and in Scotland. When we did a gig we went all out with the show. Pyrotechnics and explosions which always seemed to be going off near me! One night at Chrystals Arena in Scotland we set a ceiling on fire and got sent a £300 bill. We never paid of course. Couldn’t do that now with health and safety I don’t know how we got away with it. We even got offered a gig in what was then Yugoslavia. But they wouldn’t let us in because of our name. I remember we entered a Battle of the Bands held in Gateshead Brewery. We came second, or was it third ? War Machine would rehearse a lot before a gig, getting really tight and after playing many venues in the North East we ended up with a good fan base’.

 

What was your experience of recording ? ‘We recorded a demo at Neat records and on it was a song I wrote called Storm Warning. Dave Woods who owned Neat records, liked it so much he offered to record our album. The line up of the band that recorded was me, Steve and Les and we had Brian Waugh on drums. We didn’t get much time in the studio and we felt it was a bit rushed. Our album did pretty well abroad but we never received any royalties or from any other songs that were used on compilation albums. Dave Wood said all the money from the album paid for the distribution. (Nerd alert: War Machine released Unknown Soldier in 1986 on the Neat record label. An 8 track album including the tracks Power, On the Edge and No Place to Hide. The same year the album was also released by Roadrunner records in the Netherlands. Tracks by War Machine appeared on at least four compilation albums released in the 90’s). ‘We were young and naive so never questioned it. We were like many bands in that respect. We were played on a lot of radio shows across the world even the USA. I hosted the Alan Robson North East radio rock shows as he was a fan and played our music on his broadcasts’.

What happened next with the band ? ‘After a couple of years gigging I decided to leave the band as I got offered a job as a costume designer in London. It felt like the band was just doing the same round of gigs and I needed a change. Steve White the guitarist went on to play for Venom and Les went on to open Voodoo cafe. I worked in London for a few years where I did a lot of gigs with different bands’.

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What are you up to now, are you still in music ? ‘Being back home in the North East I have always played music and mainly my own. I write, record and produce my own songs. My style is very mellow now, a bit like me. Not like my wild days with War Machine which I really enjoyed’.

Listen: bernea on Reverbnation

Interview by Gary Alikivi March 2018.
Recommended:
SATAN/BLIND FURY: Lou Taylor Rock the Knight, 26th Feb & 5th March 2017.
WARRIOR: The Hunger 12th April 2017.
FIST: Turn the Hell On, 29th April 2017.
TYSONDOG: Back for Another Bite, 5th August 2017.
ATOMKRAFT: Running with the Pack, 14th August 2017.
VIIXEN: Fox on the Run, 19th March 2018.