Author: Alikivi

SPELLBOUND – in conversation with Prelude singer & songwriter Brian Hume

/ Alikivi / 2 Comments
Ian Vardy, Brian & Irene Hume.

I met up with Gateshead born Brian Hume and he talked about his life in music and what it means to him now.

‘Music dominates your life. It can often exclude things that you should pay attention to. Personal relationships can suffer cos it takes over your life. All you wanna do is make that sound, make that music, at first you don’t care if you make any money you just do it for the love of it.’

‘Unless you’re all on the same page there’s always tension within bands. You’re living permanently on the idea that it will all come to an end tomorrow. If you’re a guitar player you could break a finger or get arthritis. Somebody might leave and your left high and dry. You might have an argument and everybody falls out, it’s a miracle they stay together. But it can be exciting not knowing what’s round the corner’.

78 year old Brian looks back to when and where he was first inspired.

‘Me mother was very musical she’d knock out a tune on the piano and a four string guitar – all self taught, amazing. That’s where I learnt to pick out a few tunes. Lot of houses had a room where no one went very often, that’s where the piano was.’

It was in Grammer school where Brian first met up with Ian Vardy, forming a duo to sing in Tyneside pubs and clubs.

‘One of the first gigs we played was the 99 club in Barrow in Furness. After two songs the chairman came up to the front of the stage “You’re not really right for this kind of environment”. He was nice about it but, yeah, we were paid off.’

‘The Everley Brothers songs were the go to sound, when we heard their two part harmonies we thought we could do that.  We used to play the Bridge Hotel in Newcastle. The folk scene then was vibrant, clubs were always packed out people were singing sea shanties then Paul Simon came along.’

‘Then we’d try writing our own stuff. Our publisher wanted us to be called The Cobblers. You could see the first review – what a load of! We settled on The Carnival – a very 60s hippy name. We lasted for one record – a Paul Simon song called The Big Bright Green Pleasure Machine. The review in the NME read ‘social comment at breakneck speed!

‘Ian and I were singing in our flat in Gateshead. We had just bought the Crosby, Stills and Nash album trying out different songs like Sweet Judy Blue Eyes. My wife, Irene was singing in the kitchen with the door open. She was singing the third harmony. We were totally surprised as we didn’t know she could sing. We turned and said ‘sing that again’. It wsan’t long before we went out to folk clubs and started going down really well.’

‘We lived in School Street, Gateshead and nearby at the end of the Tyne bridge is an old toll booth. A big granite structure. It had a lovely echo. Some nights we’d go in there and sing. One night a policeman came in. He thought we were up to no good. Very officious. But he stuck around listening to a few songs then as he was leaving said “Carry on”.

‘We got a deal with Decca Records and recorded a single The Edge of the Sea which had a strong hippy vibe to it. All during that period we were recording in Impulse Studio making demos courtesy of the owner, Dave Woods who soon after ‘discovered’ Alan Hull.’

‘We were called Trilogy for a while but had to change it because there was an American band with the same name. It’s not easy choosing a name as any band will tell you. I came up with Prelude and that stuck. That was 1972.’

‘Three part harmonies had a big effect on musicians. A lot of bands had done it like The Lettermen and The Platters from way back, but Crosby, Stills and Nash were different, this was whack right in your face. Yeah, a big influence on us and many other bands including fellow Tyneside band, The Caffreys.’

‘Different members have come and gone but the band were Ian Vardy, me and my wife Irene. Ian and I got a song writing contract with ATV music which worked for us financially. We decided to put both our names on everything we wrote irrespective of who wrote it.’

‘We had a brilliant guitarist called Frank Usher. We parted company and and he went on to play guitar with Fish from Marillion as well as being a fine guitar maker.’ 

‘We played the North East club scene for a while and in between we’d do Durham College where we’d support artists like Gerry Rafferty, Mott the Hoople, Shaking Stevens and the Sunsets – that band were amazing. There was a hippy commune type band called Principle Edwards Magic Theatre who all dressed in white which looked cool so we copied that – it was a cheap uniform.’

‘Our manager George Carr got us a record deal with Pye who back then were dominated by Max Bygraves selling boatloads of Sing-a-Long-a-Max records. We were the token folk band, although we were never folk they just called us that cos we had acoustic guitars! You couldn’t say that Pye were part of the cultural vibe.’

‘In 1973 we went to Rockfield Studio in Monmouth to record our first album How Long is Forever? produced by Fritz Fryer who was in a group called The Four Pennies. They had a number one with Juliet. A wistful ballad. On the final studio day Fritz asked if there was anything else we had. We used to sing a Neil Young song just for our own pleasure. That was After the Gold Rush.’

‘We recorded it and it sounded pretty good so we double tracked it. Overdubbed it fifteen times and it sounded massive. We never thought for a minute anyone would pick up on it. But John Peel at Capitol radio did. He got loads of calls ‘Who is this band?’ ‘Where can we buy the record’.

‘Next thing we know Pye put it out as a single and we’re on Top of the Pops. That was 1974. We ended up appearing twice the first time was with Marc Bolan. There was a succession of TV appearances. You had to do television because you are reaching a massive audience. We did a show for Tyne Tees called the Geordie Scene. We did the Basil Brush show for Pete’s sake.’

‘Most notably we went on the Vera Lynn show. During rehearsals she referred to us as The Prelude. Later she was walking towards us along the corridor when Ian stopped her and said “By the way Vera it’s not The Prelude it’s just Prelude”. Not skipping a beat she turned to him and said “If you don’t mind it’s not Vera…it’s Miss Lynn”.

Prelude were always based in their hometown Gateshead this meant constantly travelling up and down the M1 to television and recording studios in London.

‘It was every other week. We should have moved down there. But 1974 was a big year for us. We did the background vocals on Streets of London which was a hit for Ralph McTell. He asked us to go out on a UK tour with him.’

‘Ralph wanted to put our names on the record but our company wouldn’t allow it. For the next best thing Ralph put ‘background vocals by ‘The Gold Rushers’. It would have been a great advert for Prelude to have their name on the single but Pye were stupid on that.’

‘Ralph was so talented and generous to a fault. It was a big tour around the country then we played a venue where we’d seen Paul Simon, Crosby, Stills and Nash – here we were on the stage of the Royal Albert Hall. Amazing.’

‘After the McTell tour we went back to playing smaller venues but I’m getting the timeline mixed here because I remember before touring with Ralph was a UK tour with a singer and songwriter called Mike Chapman. He had a devoted following and used to live up the Tyne Valley in Haltwhistle.’

‘Then we went on the road with a great piano player called Peter Skellern who had a big hit with You’re a Lady. Meeting him he was rather quiet and reserved – he later became a priest. Then there was talk of America.’

‘This was 1976. What happened was Lindisfarne played the States. When Alun Hull came back, he’d tell us to get over there ‘Cos all ya’ hear is your bloody record ‘After the Gold Rush’ on the radio all the time.’

‘I always read the NME and Melody Maker, looking at American charts where like the Holy grail of music to me. To see Neil Sadaka, Beach Boys and bands like that we thought wouldn’t it be great to get in there. Our manager George Carr said ‘You’re in the American top 100’. We thought this is a dream come true.’ Then it went towards the top 20.’

‘We wanted to capitalise on the success but the record company didn’t want to pay for us to go to America they sent us to Amsterdam. We played the clubs and had a good time but we should have been in the States where we wouldn’t have even needed guitars as the song was acapella. We could have done the Johnny Carson show and the like and knocked that record up the charts.’

‘It wasn’t until 18 months later we got to the States. There were a few gigs on the West Coast in San Francisco where we supported Jerry Garcia in Berkley and met Nicky Hopkins who played piano on all Rolling Stones records. Then over to the East Coast and played The Bitter End in New York. When we came back to the UK Irene took a break when we had our second boy, Joel.’

‘Things moved on quickly until 1979 when our manager got us a deal with a new company called After Hours who were very forward thinking. We made an album at Abbey Road with The Hollies producer Ron Richards. His style was more towards lush strings and stuff like that. It didn’t really work for us.’

‘We also signed to EMI in 1980 and made an album in Portland Studios owned by Chas Chandler, charming fella. We had some great players on there but the only track that came out of it was Platinum Blonde. Our principal guys were Ian Green de facto producer of Platinum Blonde and Dave Wintour who was Neil Sadaka’s bass player. It was a minor hit which got to number 45 in the charts.’

‘We did a video for it in the old Battersea Power Station in London arranged by the head honcho at our record label, Richard Jacobowski. He was really on the ball, a hip guy. We crashed in his three storey flat in Hampstead and shared it with a band called The Regents who were very talented, like a proto-punk band. They had a hit song on Top of the Pops with Seventeen.’

‘For the single we did Top of the Pops and I remember on the same programme were Bay City Rollers. Platinum Blonde was good for us but afterwards we came back up North and played the folk clubs again.’

‘Ian Vardy was looking at doing something different so left the band around 1985 and became a social worker. We continued and got in ace guitar player Jim Hornsby who had been with a lot of country bands. Jim was very much in demand for session work.’

‘Country was labelled as redneck music then, it wasn’t cool – but it is now. Gram Parsons did a hell of a job making country hip. He influenced The Byrds and Keith Richards. Some clubs turned their nose up at country stuff but we had a great time doing clubs then. Unfortunately, as happens in bands Jim left.’

What did the new millennium bring?

‘From 2001 it was Irene, me and Chris Ringer who we brought in on bass and vocals and took Prelude on the circuit of country clubs and the whole scene. Through the years we have performed with countless numbers of musicians and loved every minute of it.’

‘Our latest album The Belle Vue Sessions (2012) is all acoustic. It started in 2010 when Ian came round to our house, he had an appointment at his dentist round the corner. We got the guitars out, as you do,and it all went well so we asked him to do a gig with us. One turned into many.’

‘It was our manager Sue Brind who originally said ‘Why don’t you make a new Prelude album? We thought ‘why not?’ so we wrote some new songs and recorded them in Broadwater studios, Gateshead. Two lovely guys engineered, Gavin and Paul. We recruited Paul Hooper who was drummer for The Fortunes and again Chris Ringer played bass. We are very proud of the album.’

What does the future hold for Prelude?

‘We’re busy meeting with David Wood who used to run Impulse Studio in Wallsend. Impulse was a gateway for a lot of acts. He released a lot of Heavy Metal stuff like Venom and Raven from the North East, it was a big scene for him.’

‘David recently put out a CD box set of Alan Hull demos, he recognised Alan’s talent early on. Now he wants to do the same with us because he’s got a lot of tapes that have never seen the light of day. We’re looking to release something soon.’

After recalling a life spent with a multitude of musicians and the memories it triggers, Brian reveals that his ‘obsession’ holds a deeper meaning than just getting on stage and banging out a tune.

‘Your friends tend to be musicians and you share a common language which is almost secret amongst you. You know and experience things that nobody else has. There’s a bond between musicians which is friendship but sort of deeper. You know what the other is going to do, what they’re going to sing, – what they can and can’t do. Every successful band has to have that. It’s like brotherly love. It’s a wonderful feeling. It’s why people do music instead of opting for a ‘safer’ life.’

Alikivi   June 2025

LOOKING FOR LUCIFER #7 – The continuing search for Italian born author & artist Baron Avro Manhattan (1914-90).

/ Alikivi
Avro Manhattan

Since 2012 I’ve been researching the life of this fascinating character who was originally named Theophile Lucifer Gardini. He spent his last years living in a terraced house round the corner from where I live in South Shields.

In 2018 I produced a short documentary ‘Secrets & Lies’ based on what I found about his life so far, a link is at the end of the post.

I often mention him to neighbours and hear the odd story about Avro and his wife Anne. Recently an old friend got in touch and remembers the couple who lived at 45 Henry Nelson Street.

‘We moved into 32 Henry Nelson first week of June 1990, I think Avro died in the November so it was only a short time. I remember his wife used to have a little furry dog. She used to walk it out all the time.’ Recalled 60 year old Jeff Anderson now living in Washington, County Durham.

Jeff Anderson

‘I’d see them in the street. Always well dressed. Always smiling. I don’t think local people were aware of who he was to be honest.’

‘Actually, very first time I came across him and his wife was prior to moving into the same street. I saw them on the corner of King Street in the town centre. They really stood out, there was a real glow about them. They had a big smile on their faces. You couldn’t help but notice them’.

‘What they were wearing was very classy – not the type of clothes the everyday person of Shields would wear on a Saturday afternoon. They really stood out of the crowd just by their whole demeanour.’

‘But when Avro died I remember his wife was absolutely devastated. From the initial sighting in King Street and other times in Henry Nelson they had this glow about them but after Avro died that seemed to vanish from her. From what I can remember she was never quite the same’.

‘A strange thing happened to me on the night he died. I went to pick my wife up from work in the town centre but there was nowhere to park so I had to go back round the block. I went past St Hilda’s Church and as I went round the corner I had like a paranormal occurrence – the only way to describe it. I actually saw a vision of Avro on the ground reaching up to me. I was shocked, I thought what’s going on. This is a bit weird.’

‘I continued on and as I came back round the block again there was no sign of him. Gone. It really freaked me out as you can imagine. It wasn’t until a few days later that I learned he had died that night. So, you know what was going on there?’

‘I didn’t know anything about him having any health problems. He died at 76 you say? Doesn’t seem that old now does it?’

If you have any information about Italian born author & artist Baron Avro Manhattan (1914-90) please don’t hesitate to get in touch.

Alikivi   June 2025

SECRETS & LIES – script of the film based on the life of Baron Avro Manhattan | ALIKIVI : NORTH EAST UK CULTURE

COMIC STRIP PRESENTS Northumberland cartoonist David Haldane

/ Alikivi / 1 Comment

A series of talks by cartoonist David Haldane have been booked into venues this September including the Civic Theatre, Gosforth and The Word in South Shields.

‘I started work at the Shields Gazette in 1977. It was a great job really enjoyed it. It was my first real wage packet. We used to get paid weekly. In cash!’ recalls David.

Born in Blyth in 1954 David last featured in April this year talking about his work at national newspapers including the Mirror, the Guardian and The Times (link below). In a recent phone call he looked back to his early days and what inspired him.

‘I noticed cartoons when I was young. At the age of 7 I got scarlet fever which then was quite serious, luckily there were anti biotics. I remember I was isolated in my bedroom at home and couldn’t touch any of my books or they would have to be destroyed’.

‘There was a guy who lived in the street who was a Merchant seaman, he brought back some papers like the Chicago Tribune. I had a pile of papers on my bed with loads of full colour comic strips inside like Popeye and Prince Valiant.’

‘Me mam bought me a jotter from Woolworths, I just sat and copied them when I was ill. From then on I drew regularly, in particular funny stuff.  When I was studying for my ‘O’ levels in Blyth library I noticed a whole series of Punch annuals which I started to read and from then on fell in love with the cartoons.’

‘People have heroes – rock stars, singers, guitarists, my heroes were cartoonists. I was 15 year old sitting in Blyth library thinking I wanna do this – never thinking I actually could or meet these people.’

‘There was a magazine called The North which featured walks and the like in places like Berwick. The art teacher put me in touch with the editor. That magazine is where I done my first published strip. I was still at school at the time and did it for a couple of years. Did I get paid? Put it this way I gave up my paper round for it.’

‘When I enrolled on a Design course at Newcastle Polytechnic I was doing a few cartoons on the side sending them in to magazines like Punch. When I got my first cartoon published in Punch it was when I was at the Gazette in 1977.’

‘The Shields Gazette were building up the art department working on advertising, editorial and illustration and four of us got a job at the same time. The newspaper then was absolutely thriving they used to do three or four editions a day. Other papers were published in the area – Whitley Bay, Chronicle and others it was a real Fleet Street on the Tyne.’

‘I remember local punk band the Angelic Upstarts came in to be interviewed by the editor, they were big, like the North East Sex Pistols. There were many wild rumours about them – the pigs head on stage was one!’

‘We were mainly advertising stuff like a pull out of Ocean Road which would feature all the shops. They would pay for adverts and we used to draw them up. This was before computers so it was all hand drawn. It was like a little factory in there we used to churn the stuff out on a daily basis.’

‘Working there was experienced journalists like Janis Blower, John Landells the waterfront reporter, his son Steve joined later. Mike Blackah was the editor. There was a huge room with a lot of sub-editors. It was a very busy, thriving newspaper office. When I started working at the real Fleet Street in London, I realised how similar they were.’

‘In the early 80s I worked on a short run of TV show Spitting Image. This was during the Thatcher years – the real hardcore political stuff. Ian Hislop and Nick Newman were writing short sketches which played before and after the commercial breaks. They wanted cartoonists to fill in the bits without puppets. Newman asked cartoonists who were working on Punch and Private Eye. Four or five of us worked on them and subsequently I got a few sketches on.’

‘I remember going to a script meeting in London. It was great meeting the scriptwriters who went on to produce a lot of shows. One of them told me to stick to drawing cartoons as you’ll make a lot more money. I took his advice. They still release box set DVDs of the show, I’m grateful to still receive the odd royalty payment.’

‘When I’m drawing I listen to film soundtracks – Japanese, Korean, quite niche, also Italian horror movies, spaghetti western, jazz sometimes. I have some Michael Nyman here as well, beautiful stuff. The music is on in the background but not when I’m thinking of ideas. I tend to sit in silence to work out ideas.’

To find out more of the life and work of David Haldane he will be appearing at ‘An Evening With’ at The Word, South Shields on September 24th & Gosforth Civic Theatre September 30th 2025.

Alikivi   May 2025

Link to previous post >>>

DRAWING NEWCASTLE’S LIT & PHIL – with Blyth born cartoonist David Haldane | ALIKIVI : NORTH EAST UK CULTURE

THE BALLAD OF BIG MOSS

/ Alikivi

Musicians, writers and actors have contributed stories to the site for over 8 years now resulting in world wide views totalling over 430,000. A big thank you to all the readers – much appreciated.

The site also has local and social history posts. A contributor who goes under the pseudonym Tinwhistler sends in his recollections of characters in South Shields. The likes of Big Hec, Billy Meths and Wavis O’Shave have already featured and the number of views prove there is a thirst for these stories.

In his latest post he talks about how a myth can be cultivated to the point of belief.

‘Our heroes are due to legend created from what is said or written about them, however, they can become exaggerated when tales are passed down. The negative aspects are usually omitted so you might be left with a ‘Robin Hood’ tale bearing little resemblance to reality’.

‘Controversial characters become larger than life courtesy of Chinese whispers elevating the likes of small time hoodlum to status of master criminal.’

‘We have heard of individuals such as this with their names and gang titles posted via graffiti. Never in a position to place a face to any of the names sprayed out there, I often wondered if these characters did exist?’

‘What if they were simply the imaginings of a furtive mind creating a band of disciples who followed a not so large Mr. Big? Back in the 1980s in South Shields there was indeed a case of this.’

‘This originated in the realm of dreams that belonged to Wavis O’Shave and the title bestowed was ‘The Hard’ showcased by Tyne Tees television on their nationally networked UK live music show The Tube.’

‘The Hard was tough, a shaven headed individual with a pumped up upper torso (a little padding), wearing Dr Marten boots on hands as well as feet.’

‘The Hard was filmed completing stunts such as spreading out one of his hands on a brick wall and banging several digits with a claw hammer, his mantra was an unforgettable “Felt Nowt!”

‘So where and how did the Hard originate? The North East of England has had more than its fair share of this type over the years, some individuals, some gangs usually involved in some kind of turf war.’

‘Spotting them wouldn’t be too difficult, in fact take three or four and morph their assorted traits, qualities and characteristics and hey presto!’

‘Going back to the 1970s O’Shave was solely involved and directly responsible for the Hard’s precursor. Back in those days we would read the writings on the walls to see if we might discern who these characters were, what they might be about and wonder if they actually existed at all.’

‘And so it came to pass. Wavis cunningly wove a mental tapestry involving the adventures and exploits of one of these types, creating a legend that would expand over a period of time. A title was bestowed on the non-existent extra hard tyrant and it was ‘Big Moss’.

‘The somewhat susceptible youths who we spotted in our neighbourhoods were fair game to test out the believability of his creation. Several of us in the know would be dispatched to where they would assemble – street football, outside the chip shop or leaving a youth club.’

‘The message was that Big Moss had been seen in the area and he was big trouble, keep out of the way and avoid at all costs. We answered questions as best we could but there were inevitable distortions as a precise script had not been devised.’

‘If asked as to his South Shields origins one reply might be the notorious old Deans Estate, another might be Horsley Hill or possibly one of the town’s outlying estates such as Biddick Hall or Whiteleas.’

‘The general description given was – bigger than you can imagine, a mop of ginger red hair, Dr Marten boots, 60s style evaprest trousers that were worn too short for his long legs which left exposed ginger shin fur. An additional warning was issued, “whatever you do, do not laugh!”

‘The Big Moss wardrobe was somewhat random from charity shops and jumble sales married up with home made turtle neck knitwear topped off with a blazer or suit jacket as the pockets were useful for carrying tapes of preferred music.’

‘If you were stopped by Big Moss and asked what music you liked and your answer wasn’t what he happened to like then it was likely a case of seeing stars. If he motioned to place his cassette recorder (the size of a small suitcase) on the ground, then it was best to run as it meant he was going to fight you.’

‘As previously described, Big Moss wore a jacket with pockets where he kept tapes by Black Sabbath and Budgie who were a Welsh hard rocking trio.‘

‘He also carried cigarettes –  unfiltered Capstan Full strength, a Ronson Varaflame lighter and in his inside pocket held close to his heart more tapes. These were of American band The Carpenters. It was strongly rumoured that Big Moss was secretly in love with Karen Carpenter.’

‘There were some agnostics who would only believe in him if they actually saw him and this was when the sightings were confirmed – up close and threateningly personal.’

‘The role of Big Moss was played by a Wavis acquaintance known as ‘HAT.’ Hat fitted the bill perfectly as Wavis had fashioned his mental prototype largely on his colleague, just a few tweaks were needed here and there.’

‘His hair was a natural ginger combed forward creating a fringe curling up at his forehead. His hairstyle was commented on by a local barber who asked “who the hell cuts his hair cos it looks like he’s wearing a cap or a hat”.

‘Hat’s wardrobe was what Big Moss’s apparel was based on and the crowning glory was an auburn curly wig was taken from the wardrobe of somebody’s mother (possibly mine) and though worn reluctantly it achieved the desired image.’

‘So, Hat played the role of Big Moss, the personification of mixed up violence/ hardness married to dodgy dressing. He was let loose during December 1977 until February 1978 and new believers arrived after a successful campaign.’

‘They were accosted several times, stared at, made to listen to his music via the cassette. One track enforced upon the poor unfortunates was self penned by Big Moss, rap in nature maybe pre dating what came out of the States. In fact, he may have been the first possessor of a ghetto blaster, who knows.’

‘His self penned ditty was played repeatedly to these new believers frightened to look at their companions as it may lead to triggering an unwanted reaction. Expressionless faces secured their safety. They were now believers, converts and fearful of the spectre that had descended upon their once safe neighbourhood.’

‘Wavis fielded their questions as best he could. One question was “is he called Big Moss because of his size?” Wavis replied that this was partially correct, it was also because there was another of that family, Little Moss. The new believers were told that if they thought Big Moss was hard then never ever get in the way of Little Moss.’

‘Twice as bad but only half the size. The new believers were told of the exploits of Little Moss such as how he had toppled opponents twice his size, taking them on frequently in pairs and sometimes their fathers as well.’

‘Little Moss was the absolute rock, the hardest individual in these parts. But this was wrong. Wavis informed them of another even more ferocious member of that clan. This individual was said to fight opponents in threes with their Staffordshire Bull Terriers as well. This was none other than Medium Moss. A new legend was born.’

Words: Tinwhistler

Edit: Alikivi   May 2025

Link to previous post by Tinwhistler >>>

BILLY’S STORY -The artist formerly known as Meths. | ALIKIVI : NORTH EAST UK CULTURE

TOON CURSE? with paranormal investigator, author & broadcaster Dan Green

/ Alikivi

On the last day of a successful season for the Toon and qualification for more European football next season, paranormal investigator and lifelong Newcastle United fan Dan Green, got in touch with his take on Newcastle finally lifting a trophy and perhaps a curse?

‘Born in 1956 I became 69 years old this year. I noticed this rang a bell somewhere. Oh yes, Newcastle United last won a trophy – the Fairs Cup, defeating a Hungarian team without knowing they’d be left hungry for another trophy for 69 years – 56 years ago’.

‘Was this an omen sent me direct from the footy Gods? Were Newcastle actually going to win a trophy in 2025? And heaven knows they did. One of the top clubs in British soccer with the most loyal fans asking why had it taken so embarrassingly long? Were the whispers that the club had been cursed, actually true?’

‘It’s folklore that 1920’s club legend Hughie Gallagher who had fell out with the club said ‘Newcastle United, you’re doomed’ – allegedly his bad vibe last words before committing suicide. Ruud Gullit, coach of the club during seasons 1998/9 experienced his own difficulties in a short space of time declared ‘There must be some sort of curse on this club’. Even down to earth Kevin Keegan spoke of a ‘jinx’. In our modern day scientific world of technology, can curses be real?’

‘St James Park was built on the former site of Gallows Gate, part of the Town Moor. Hence the title of the famous Gallowgate end. It’s said that in 1650 alleged ‘witches’ – likely just innocent women – were hung there in one of the largest mass executions ever held in the country by lunatic ‘witch hunters’. Nearby St James Park is now clearly visible in the distance from the spot.’

‘Apparently modern day witches along with priests had taken the proposition serious enough to try and lift the curse. Obviously, it hadn’t worked. Local newspaper the Evening Chronicle even tried to end a 29 game losing streak of  matches in London. In a game at Arsenal renowned psychic Uri Geller was called in for the occasion. When the Magpies won Gunners coach Arsene Wenger said ‘There must be a sorcerer at work’.

‘Found in many religious faiths and ritualistic practices do emotional curses work? Many believe they do, so let us assume then that a curse was placed on the ground, the consequent stadium and therefore team.‘

‘In 2023 Newcastle made the Carabou cup final at Wembley and an estimated 50,000 fans invaded London, assembling at Trafalgar Square. The team lost the game. In 2025, making Wembley again, it wasn’t possible to recreate this wild scene as preparations for St Patrick meant that Trafalgar was going to be sealed off. Again, tens of thousands this time invaded the city, meeting up and assembling throughout the Covent Garden area. The following day, this time they won the cup’.

‘I couldn’t help the almost duplicate sounding of ‘Covent Garden’ with ‘Coven garden’, a coven being a group or gathering of witches, from Anglo-Norman ‘Convent’ and ’Cuvent’ from Old French ‘Covent’. By placing the fans at a re-arranged assembly point, was fate playing a part here in overdue fortune of the club?’

‘I looked into the history of Covent Garden, and yes, it does have something of both a religious and occult history especially with the star shaped junction of Seven Dials where seven streets converge at a Doric obelisk topped by six sundials, the column itself serving to cast the shadow of a 7th dial’.

‘Centuries ago, diviners, psychics, mystics, astrologers and the like would congregate there. The ancient fields were owned by Westminster Abbey and Convent – there’s that word again – and the neighbourhood was built on the site of an ancient settlement founded by Pagan Anglo-Saxons in the 7th century.’

‘Was the arrival of up to 50,000 positively charged Geordies somehow transforming a negative energy, a curse, tracing back to 1650? Was this spot the very area – possibly what pseudoscientists call a ley line or an ‘energy highway’ that can connect various historic structures – that needed the timely injection? Could such a ley line connect all the way back up North to Newcastle’s Town Moor?’

‘Initially, to celebrate the win, an open top bus tour was sidestepped and a celebration planned at the city’s Town Moor. However, the open top tour did go ahead leading the team to the Town Moor – to return the scene of the crime, the very place where centuries ago witches were hung and placed their curse’.

‘The Heavens appear to have played their part too. On March 14th the day before the Toon Army headed for London there was a total lunar eclipse and full moon, and on 29th the day of the Town Moor celebration – a partial solar eclipse!’

‘By lifting up a trophy it may well be that Newcastle United were also, after 375 years, finally lifting an ancient curse too’.

Words: Dan Green

Edit: Alikivi  May 2025

Link to previous Dan Green posts >>>

GLASTONBURY TOR – More than just a Hill by author, Dan Green | ALIKIVI : NORTH EAST UK CULTURE

‘CARRYING DAVID’ PLAYS NEWCASTLE THEATRE ROYAL

/ Alikivi
Micky Cochrane and Glenn McCrory with Tim Healy, who was ringside on the night of the world title bout in 1989 when Glenn became world cruiserweight champion. (Copyright Ed Waugh)

“Carrying David is emotional and heart-breaking. It’s about the love of two brothers. This is pure theatre. You don’t have to like boxing to be emotionally involved in this wonderful story” said actor, Micky Cochrane.

Carrying David premiered in 2019 and played to full houses gaining the actor a standing ovation for his telling of an emotive and inspiring story.

Post-Covid, the play was staged in London and toured the north of Ireland to sell-out crowds, including the prestigious Lyric theatre in Belfast.

The play tells the incredible story of Glenn McCrory’s rise to becoming the first-ever world champion boxer from the North East. It also has the further twist that Glenn’s terminally ill brother David inspired him to become the best in the world.

The play was written by Ed Waugh who brought North East working class stories to the stage Wor Bella, Hadaway Harry and more recently The Cramlington Train Wreckers which toured the region with sold out performances.

Ed explained “This play is about two lads from Stanley. Glenn McCrory played by Micky Cochrane – aiming to become world boxing champion and his brother David McCrory – fighting every day to stay alive!”

David’s muscle-wasting disease meant Glenn often physically carried his brother on his back, hence the title of this fantastic story.

“David and I were very close,” said Glenn, a former Sky television pundit. “He was my inspiration. David would say, “If I can defy death, you can become a world champion! Saying those words still brings tears to my eyes. I think of David every day.”

David was not expected to live beyond 14 but evaded death until he was 29, living to see his beloved brother win the coveted world cruiserweight title in 1989.

The fight was held at Stanley Leisure Centre and broadcast live throughout the world. It is the remarkable story of an underdog defying all the odds – a North East story that people still talk about today.

Ed added “The performance by Micky is sublime. He won a standing ovation at every venue, the reviews are all five-star. Rocky was a great film…but this County Durham Rocky story is even better…and true!”

Carrying David will be performed at Newcastle Theatre Royal on Saturday and Sunday, June 21 & 22. Tickets (including concessions) are available from the Theatre Royal or via the Theatre Royal website  Carrying David | Newcastle Theatre Royal

Edit: Alikivi  May 2025

A NIGHT WITH JETHRO TULL – with former Pirahna Brothers drummer, Tony Hodge

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In previous posts Tony has talked about the influence Ginger Baker had on his drumming, and the many nights with friends going to watch bands like The Nice, Tina Turner, Jimi Hendrix and The Animals at Newcastle’s Club a’Gogo.

Before joining the Pirahna Brothers, Tony drummed for North East band Turm with Micky Balls (lead guitar), George Sturrock (guitar), Alf Passmore (bass) and the late John Lawton (vocals). He remembers the night they got a gig opening for Jethro Tull in a County Durham club.

‘It was an amazing experience to play on the same bill as the legendary Jethro Tull, unfortunately, the venue we were booked in was the Argus Butterfly in Peterlee. I say unfortunately because The Argus Butterfly was and still is a difficult venue for two bands to play as the stage and concert room are really small and there was an even smaller dressing room at the back of the stage’.

‘We arrived first and set our gear up  and heard that Jethro Tull and all their equipment were travelling up from London in a small Thames van’.

Turm at the Cellar Club, South Shields

Before big names including Cream, Pink Floyd, Deep Purple, Jimi Hendrix and Led Zeppelin packed out halls around the UK, they built their reputation playing smaller venues including Bay Hotel in Sunderland, Club a’Gogo in Newcastle, Cellar Club in South Shields,  Kirklevington Country Club in Yarm and Argus Butterfly in Peterlee.

‘When we got the booking I hadn’t heard of them as they were yet to hit the big time but when they entered the club, we were all fascinated by the lead singer. He was very thin, wore unusual hippy type clothes and had very long hair. This was becoming the fashion in London but was yet to be a fashion on Tyneside. Here was Micky and me wearing brightly coloured satin shirts in pale blue and fluorescent pink – so last year darling!’

‘All the guys were very friendly and were taken by our Geordie accents. They piled their equipment out of this small van, we wondered just how all their gear, four band members and a roadie got in the van – never mind drive 200 miles up the A1 dual carriageway. Note – there were no motorways yet’.

‘We were ready to play our set. Our fourth song in was a rousing number called Amen which had three or four sing along choruses with clapping to accompany it. This was a perfect song for John’s voice and the girls loved it’.

‘Each time the chorus started I would jump off the drums and go back stage clapping as I did. It sounds ridiculous, and it probably was, but it seemed to work well for the show’.

‘However, Mick Abrahams, the lead guitarist of Jethro Tull, was in the dressing room catching a well-deserved snooze on top of several amp covers. The first time I rushed in he jumped up in shock but then he saw the funny side when I ran back on stage for the opening riff after the sing along chorus. The next time I did it, Mick was laughing a lot as he had watched me returning just in time to start up after the chorus. The third time however he was ready. He grabbed me by the arms and didn’t let me return at the end of the chorus’.

‘The looks on the rest of my groups faces was a picture when they started with no drums. I can still see the vision in my mind today. Fortunately, he let go of me and it didn’t ruin the whole song, great guy, and a great laugh’.

‘After our opening set it was time for Jethro Tull to go on and they just couldn’t have been more different to us and were truly mesmerising. Their music was unlike anything I had heard before and their style was far away from anything I had seen before on the various stages in the North of England’. 

‘Another first for me was that Ian Anderson, the main vocalist and front man, played a flute that was a huge surprise. He also played harmonicas which he kept in small leather pouches around his waist and there was a funny side to this. He also kept his cigarette tobacco in these pouches and this meant he had to knock the tobacco out of each harmonica each time he was about to play them which was really very funny to watch’.

‘The visuals of the band were like nothing I had seen before and Ian sang many of his songs on one leg. This became his trademark as time went on and still is today. The drummer and bass players were very solid, had a great sound and the band was well received’.

‘Turm and Tull had a great time together as fellow musicians even if we probably looked a bit out of the current fashions in London. After this meeting they released Living in the Past a song that started my romance with my wife Jane many years later’.

‘They became rock superstars filling massive stadiums all around the world to thousands of people. I wonder if they ever thought back to the good old Argus Butterfly in Peterlee, the Turm and the 200 plus audience – somehow, I doubt it’.

Words: Tony Hodge

Edited: Alikivi   May 2025

More stories on the site from Tony Hodge including Jimi Hendrix, Cream, Tina Turner and Club a’Gogo.

Link to previous interview with Tony >>>

LUCKY MAN – part one, with North Shields actor & musician Tony Hodge. | ALIKIVI : NORTH EAST UK CULTURE

THIS CLUB’S A’GO GO with former Pirahna Brothers drummer, Tony Hodge

/ Alikivi

This second part of Tony’s memories feature his pilgrimage to Newcastle’s Club a’Gogo where he saw many bands who were on their way to a successful career in music. They included Amen Corner, The Nice and a young guitarist from the United States – Jimi Hendrix.

North East venues for the Hendrix tour in 1967 included dates at Kirklevington Country Club in North Yorkshire on January 15th. The Cellar Club, South Shields on February 1st and February 2nd at Imperial Hotel, Darlington with a gig at Club a’Gogo in Newcastle on March 10th.

‘We were right at the front and only a few feet away from the great man himself. He was tall and looked very young. His style of guitar playing was like no other I had ever seen – even playing with his teeth on some numbers. At one point Hendrix dropped a ten shilling note and the guy next to me rushed to pick it up and hand it back to him. He thanked him saying that was for the bands supper’.

‘He went on to finish the night with a long guitar solo and then thrust his guitar into the ceiling leaving it there with the feedback screaming as he left the stage. On many subsequent visits we saw the hole still in the ceiling. A great memory of a great night’.

‘Over the following months we saw many emerging London based bands play at the a’Gogo like ‘Amen Corner’ with Andy Fairweather Low, Jeff Beck with a very young Rod Stewart as his main vocalist wearing an extremely long college scarf and of course our very own local mega band ‘The Animals’

‘This club forged mine and many other local musicians’ tastes for the years to come and we got to see megastars playing only a few feet away from us’.

‘While I’m talking of being right up close to your idol musicians there are two more instances of things that could never happen today. On these occasions my brother Barry and I went to music events at the Sunderland University students Union’.

‘On one night ‘The Nice’ played and my brother was sitting on the edge on a two-foot-high stage only a foot or two from Keith Emerson and his famous Hammond Organ when he did the world renown stabbing of the keyboard. We also saw Tina Turner when she was still performing with Ike. She wore a one-piece lemon coloured jump suit and looked amazing. Once again, only feet away from us, wow!’

‘We didn’t know it at the time that only a few months after these events these bands would play in much bigger venues and stadiums so the days of being within a few feet of your idol were gone for ever’.

Plaque for Handyside Arcade and Club a’Gogo in Newcastle.

‘Sadly, the Club a’Gogo itself was only open for six years, it became a bingo hall as the game was becoming all the rage in the North East. Finally, the club and the surrounding buildings were demolished in the 1980’s making way for the Eldon Square shopping complex. The club was only open for a short time but the mark it left on the Newcastle music scene was amazing’.

‘These venues were where I started to love that different style of music, but it wasn’t until we formed bands that I got the chance to play it not just listen to it’.

Words: Tony Hodge

Edited: Alikivi  May 2025.

Link to previous interview with Tony from February 2021 >>>

LUCKY MAN – part one, with North Shields actor & musician Tony Hodge. | ALIKIVI : NORTH EAST UK CULTURE

AN ANIMAL IS BORN with former Piranha Brothers drummer Tony Hodge

/ Alikivi

On 1st February 1967 on his way to becoming one of the most influential guitarists of the 1960s, Jimi Hendrix played the Cellar Club in South Shields.

A previous post (19 March 2025) looked at the impact this gig had, also mentioned was the opening of the new Cellar Club in December 1966 by Cream.

Reading the article stirred up some memories for North East musician and actor Tony Hodge, he recalled the time he was introduced to the band and in particular the drummer Ginger Baker and how influential he became in his life.

‘In the sixties my good friend Ray Laidlaw played in Downtown Faction along with Rod Clements and Simon Cowe – all three became famous in the amazing band Lindisfarne. Ray and Rod had an excellent bass and drums connection, driving the band’s music with real power – I loved to hear them play’.

‘On many occasions we went to see each other’s bands play at various venues including the Briar Dene Tavern in Whitley Bay and The Nautilus Pub, a short walk from my house that became a regular haunt from 1964 onwards.’

‘I would often go with Micky Balls and meet Ray and other likeminded musicians like Billy Mitchel, Will Browell and Billy Dunn. We always had great meetups and all types of music were discussed’.

Micky Balls and Tony in Newcastle.

‘One night near Christmas 1966 Ray mentioned he had heard of a drummer that played with two bass drums. This drummer apparently could play a drum roll with his feet!’

‘A drum roll is hard enough to play with your hands using sticks, never mind with your feet using foot pedals. I found it hard to do a fast double beat that was required in some pop songs of the time never mind a full drum roll. I said I couldn’t see that it was possible and we had quite a heated discussion about how impossible it would be’.

Fortunately, the band were due to play at Newcastle Club a’Gogo and Ray saw this as a chance to convince Tony. The Club a’Gogo was a popular venue housed in two upstairs rooms above Handyside Arcade in Newcastle.

It opened in 1962 as a jazz club but broadened its musical style and became better known as a Soul, Rhythm n Blues and Rock venue attracting big stars like The Who, The Rolling Stones, Jeff Beck and local stars The Animals.

Tony explained ‘It was split into two separate rooms each with its own stage three feet up from the floor. One room was called ‘The young set’ for under eighteens and the other was called ‘The jazz lounge’ for everyone young and not so young’.

‘When the big stars played there, they would play a set in each room. This must have been a nightmare for the road crew as during the interval everything needed to be set up in one room then taken down and set up in the other’.

‘If you got in early, you could be right at the front and literally a couple of feet from the stars. That was amazing for a fan. On every visit I always got to the front and had the most amazing view of people who were to become megastars’.

‘We had come to see the band that we had discussed in the pub with this special drummer. It was a newly formed band from London. Unusually they were just a three-piece group, lead guitar, bass guitar and drums and had no separate singer as was the popular set up of the time’.

‘The club had an amazing atmosphere, it was dark and you were all packed in together. Small lights lit the stage which was only big enough for artists to play and not a lot of extra room for big theatrics. The stage was absolutely packed with equipment’.

‘To each corner were two sets of PA speakers and on the right-hand side were four Marshall 4×12 cabinets and the same on the left-hand side. In the middle was a set of Ludwig drums with two tom toms, two floor toms and two bass drums showing the name Ginger on one drum and Baker on the other. Yes, this band was Cream and the amazing drummer Ginger Baker. At this time of course, I had no idea who he was – but that was about to change’.

‘On came a man dressed in a long purple Teddy boy jacket and a ginger quiff with a half pint glass of rum (I think) in his hand. He sat down picked up his sticks and hit all four tom-toms then did an amazing roll on the two bass drums. He stood up and left through the back door of the stage, his sound check completed. This was the one and only Ginger Baker’.

‘Both Ray and I just stood and looked at each other in amazement. The speed and technique were just amazing and so different to us two young drummers, I heard nothing like it before’.

‘I was still recovering when two other guys entered the stage and came to the microphone. Ginger came through and sat down behind this huge kit. They started to play with no count in just heavy tom-tom beats, then guitar, then the man in front of me who was Jack Bruce started to sing ‘Driving in my car, smoking a cigar, the only time I’m happy is when I play my guitar’.

‘The opening to N.S.U. was like nothing I had heard or played – ever! The drums rolled around the kit the volume was deafening and when the guitar solo came in by Eric Clapton the hairs on my neck stood up. It was loud, very loud. It was something you never forget’.

‘The rest of the set was also amazing playing in a style I could never have imagined. Ginger played a drum solo that was again long and loud but it ended with him playing the two bass drums and his tom toms in a chest thumping roll that went on for several minutes.

That was the famous twin bass drum roll Ray had been talking about, it was true, a drummer could play a drum roll with his feet. I had to learn that, I had to be able to play drum rolls with my feet. I was hooked’.

‘The trip back on the bus was all about the miracle we had just seen, a drummer like no other. I was changed overnight, by this one-man, Ginger Baker. Without my friend Ray persuading me to go to the Gogo to see him I would not have become the mad drummer I became. That night ‘Animal’ was born’.

‘I had to have a double bass drum kit and if possible, a Ludwig one. Off again to the music shop and more debt but I got a lovely Ludwig drum kit with a pearl finish just like Ringo Starr. It looked and sounded fantastic’.

‘Once I got this kit my whole style changed. I was more brash and started playing a drum solo at the end of The Pirahna Brothers first half. It was long, loud and not very technical but this new style and the notoriety it brought with it opened many doors. My nickname was ‘Animal’ and people shouted it out at venues’.

More stories from Tony Hodge coming soon including Jimi Hendrix, The Nice, Jethro Tull and Tina Turner.

Edited: Alikivi   May 2025

Link to previous interview with Tony from February 2021 >>>

LUCKY MAN – part one, with North Shields actor & musician Tony Hodge. | ALIKIVI : NORTH EAST UK CULTURE

SOUTH SHIELDS SCHOOL DAZE with former Westoe pupils Ian Taylor & Malcolm Jensen

/ Alikivi

These recollections are from two former pupils who attended Westoe County Secondary School over 50 years ago. The South Shields school was on Iolanthe Terrace and closed down in the 1980s. It had a fearsome reputation amongst schools in the town.

MJ: You could walk past the outdoor toilets, get nabbed and have your head stuffed down the bog with the chain flushed. Plumes of smoke rose from the roofless toilets – I made a Prefect report on the smokers. I knew if I did, they’d kick my head in.

New boys could be thrown over the 6ft wall into the girls school next door. They were unable to climb back over as the girls would de-bag (pull trousers down) them and threaten them with used sanitary products.

Our most dreaded teacher had a bald head onto which he applied some strange lotion that left him wafting carpet cleaner as he went by. Pupils hidden at a distance would shout his nickname whenever he went by in the playground and he’d produce a little note book and jot in it pretending that he knew the culprit to be dealt with later.  

He was once seen kneeling in front of his desk as if it were a sacred shrine. He told the kids he had his hair pulled out in a Japanese prisoner of war camp during the second world war. Other teachers told us to ignore him.

IT: There was obvious staff room conflict regarding his sadistic attitude to the kids and over use of the cane. I recall our English teacher deriding him to us a few times. I remember teachers rowing with him in the dinner hall on a couple of occasions.

MJ: We had an equally dread teacher, when you went into his classroom you’d stay absolutely silent throughout. Although sober he was like an inebriated Oliver Reed on a live chat show, you were on edge from the start fearing his unpredictable behaviour as he’d make it clear from the start, behave or he’d ‘crease you’ or ‘ruddy do you’.

IT: He was a terrifying man, well built with little patience, and there’d be a sudden burst of anger to any pupil he perceived to be play acting – as if anyone would dare – or gave the wrong answer during the lesson.

He kicked my desk on one occasion and it lifted a couple of feet in the air. I was terrified when he started walking towards me and feared he would lay into me.

MJ: Then there was another teacher who’d top up his earnings as a taxi driver. After handing out maths books he’d write out 10 sums on the board complete with answers and get us to copy them out then tell us to do the next 10 on our own.

We couldn’t do any to save our life so when we handed our books in for marking he’d mark the first 10 as correct and the other 10 with a cross. If you dared go to his desk and ask for help in doing one of the remaining sums he’d look up from his newspaper and say ‘Go away – you’re barmy.’

IT: I don’t remember him ever smiling. He was a humourless man. Seemed to me to be just waiting for retirement.

MJ: We only ever went on one school trip early one Saturday morning, a coach trip to Fountains Abbey. From the moment we left we were rowdy and when someone threw a shoe out the window after 20 minutes the teacher had the coach turn round and that was that.

Whenever rumours went round in an afternoon that nearby school Ocean Road were coming round at home time to scrap with us we’d break legs off wooden chairs in preparation but they never once turned up. The teachers never understood why in the morning they’d find all the chairs broken.

We once got involved in an inter-schools quiz – a posh lot turned up as challengers. We thought we’d have no chance but they weren’t all that hot and somehow we had equal scores right up to the last and potential winning question.

‘What sport is played at St Andrews?’ An arm shot up from one of ours. ‘Football’. ‘Incorrect’ came back the answer, they answered ‘Golf’.

We didn’t know about golf at St Andrews only that Birmingham City’s ground was another St Andrews. We wanted our hands on the winners but they received a hurried escort out the building.

IT: The fact that there are no Westoe School class photos  spoke of the low value attached to schooling and futures of those in the lower education system. I reckon there must have been a Caning League mentality amongst some of the staff and a culture in which status was earned based on flair or disciplinary prowess. Maybe some had a City & Guilds qualification in caning. Perhaps the staff room walls were plastered with framed certificates.

MJ: When the school closed down I wonder if they left all their canes behind in a cupboard?

Ian Taylor & Malcolm Jensen

Edited by Alikivi   May 2025