North East couple Jools and Paul Donnelly have a huge passion for promoting the North East’s recent cultural heritage, theyalsorun the Handyside Arcade publishing company, and the Club A’Gogo dance events named after the famous Newcastle venue.
From 1962-68 Club a’Gogo hosted a number of amazing gigs from legendary bands The Who, The Animals, Rolling Stones, Eric Clapton, plus from America – Jimi Hendrix, Sonny Boy Williamson and John Lee Hooker.
‘We successfully lobbied Newcastle Council for a heritage plaque at the site of Club a’Gogo – we are incredibly proud of this. We’ve also published our first book ‘Club a’Gogo & The Mod Scene of 1960s Newcastle’ which is on sale now, more books are planned’.
Both Jools and Paul are passionate collectors of 60s mod culture which includes vintage clothing, shoes, magazines, records and books, now the couple have combined their extensive collection for an exhibition held in Newcastle City Library.
I asked Jools what was the catalyst for the exhibition?
It actually came from two sources, last year we visited the Punk No.1 exhibition at Newcastle City Library and this year we were in London for a private viewing of Contemporary Wardrobe, a supplier of costumes to the film and music industry.
This huge collection of vintage clothing is owned by former mod and stylist Roger K Burton. Roger has done a number of exhibitions and we were so inspired we thought we could do that.
I asked Paul what’s the response been to the exhibition?
Amazing, and to be honest far better than we expected. We’ve done regular ‘meet and greet’ events at the library – next one is Saturday March 11th from 2-4pm, where people can chat with us about the exhibition and share their memories of those glory days.
People have brought their own memorabilia to show us, it’s been a fantastic experience. We’ve also had a good turn out from a younger generation who have been fascinated by how cool the youths of the North East were back then.
Lots of original mods and Club a’Gogo members have turned up to see the exhibition, they’ve shared their stories of seeing the likes of Jimi Hendrix, The Who and of course The Animals.
We’ve encouraged them to come along to our monthly Club a’Gogo Dance Party events where I play the Club a’Gogo sounds on vinyl.
What next for the exhibition?
This ends on 31 March 2023 and we are aiming for more exhibitions. Our next one is early 2024 that will celebrate the history of the Handyside Arcade.
(The sorely missed Arcade was a glass roofed horseshoe shaped building which housed a number of independent and alternative shops including Kard Bar. It was also the place where tribes of young people – mods, hippies, punks – would meet and hang out on weekends).
Jools added….We want to highlight the Arcades importance and promote the North East’s sub cult heritage.
Gateshead born Mal has been working the entertainment biz for nearly six decades and still has a great passion and enthusiasm for music.
From being a teenager watching bands in the famous Newcastle venue Club a’Gogo, to becoming a seasoned performer on the North East working men’s club circuit, and today, promoting bands and events in Skegness.
I thought he’d have a few stories to tell – he did – so we spent a couple of hours chewing the fat in The Centurion bar in Newcastle Central Station.
First time I heard loud music was in the YMCA in Gateshead, bands like The Sect were playing. It was the ‘60s with the mods and rockers, that was the sounds that influenced me. We were brought up on the best music, we were privileged to be born then.
Club a’Gogo pics courtesy Evening Chronicle.
Going to the Club a’Gogo was the best time of yer life. I saw everybody there – Long John Baldry, the Stones, Eric Burdon, and I was there when Hendrix played.
I’d seen loads of guitar players by then but you knew you were watching someone special. Nobody knew he was gonna be a world legend when he walked on stage.
The Gogo was fantastic, the DJ was Bryan Ferry who went onto Roxy Music fame. Zoot Money was massive when he played, but the biggest pull was Geno Washington & the Ram Jam band, never sold records but always rammed.
I remember when The Animals went to number one with House of the Rising Sun in 1964. They came back from London to the Central Station, got off the train and came to the Gogo. I remember like it was yesterday.
Jacko
I’ve been involved in music since I was 15. I joined a band called Jacko and got to know all the North East groups working the clubs, the Brass Alleys, the Becketts, John Miles, and my pal Brian Johnson in Geordie.
When I finished with Jacko, I went with a band called Chevy who had Andy Taylor on guitar – later he joined Duran Duran. There was Davey Black from Goldie he lived just over the road.
In fact, Andy had just come back from playing in Germany when he asked me to join on vocals ‘Do ya fancy going on the road with us?’
Andy was a great player, a rock player, so Duran Duran weren’t exactly his style but he told me ‘It’s £50 a week and they have a recording contract’. ‘Good on yer lad’ I said.
Andy rang me up one night ‘We’re playing Newcastle City Hall tonight supporting Hazel O’Connor on the Broken Glass tour do ya fancy comin’ along?’… ‘Wey aye!’
Through the Geordie days I kept in touch with Brian and when he got the gig with AC/DC I went on the Black in Back tour with him.
How it all started was one night when I was singing in Chevy and playing Peterlee Social Club, guitarist Andy Taylor said ‘we’re going to Newcastle Mayfair to see AC/DC tonight’.
This line up was with Bon Scott on the Highway to Hell tour. Well I was blown away by them and told Brian Johnson ‘Ya gotta see this band’.
He was in Geordie Mark 2 at the time who were doing the clubs and using the same PA as us. One night Chevy were doing Lobley Hill Social Club when Brian came to see us and he got up on stage and done Whole Lotta Rosie – next week he was in AC/DC!
He went off to the Bahamas, recorded the album then straight onto the Back in Black tour where I travelled with the band on the UK leg. I remember being in Birmingham and Robert Plant came backstage, it was great, a real honour to meet your hero.
I remember going to Donnington festival, then the States as the band went into Jimi Hendrix’ studio in New York to record vocals for the album For Those About to Rock.
The lads in the band were great, no big stars, they were playing 60,000 stadiums, absolutely massive over there. I was in a bar with Malcolm Young in New York, he told me ‘We knew when Brian walked in, he was the man for the job, we knew he was the kid we wanted’.
Brian didn’t think he was in the band after the audition. But Malcolm phoned ‘You need to come back we’re doing an album’. Brian replied ‘Am I in the band then’! Brian was tailor made for that job.
Sergeant: left to right – Robb Weir (later replaced by Steve Lamb) Anthony Curran, Tony Liddle & Brian Dick.
I managed a rock band called Sergeant and got them on a national tour supporting Accept. What happened was I knew Colin Rowell from music TV show The Tube filmed in Newcastle. He had singer Tony Liddle on one week ‘Can you do anything with these Mal?’
So, I went with Brian Johnson to see the band play at the Gosforth Assembly Rooms. I liked what I saw so rang John Jackson, an agent I knew in London, and he gave them that UK support tour.
We also put them in Linx Studio in Newcastle, another Brian Johnson connection as he owned the studio. We recorded them and I thought they were tremendous. Tony Liddle was great I thought boy can this kid sing.
Tony was the new breed of rock singer in the North East, you had great frontmen Davey Ditchburn, Terry Slesser, John Miles, all them that had come through, but Tony was a bit younger.
He was also a good songwriter, obviously there is Lindisfarne as your big songwriters from the North East. I remember seeing them and they were new, fresh a different style, Alan Hull was an amazing talent.
Anyway, we took the demo tape to London and the first person to listen to it was Peter Mensch, Def Leppard manager.
We were in his house and asked him ‘What do ya think of these’? Bearing in mind he had just signed Metallica. ‘They’re alright Mal, hang on to the singer’. In the end RCA were looking at giving them a singles deal.
But one day Tony walked in and told us he’s leaving the band. ‘I’m joining The Strangeways’. A Scottish band who already had a deal with plenty money behind them. That broke Sergeant up.
We gave it our best shot, they had supported Nazareth in Scotland, been on a UK tour with Accept including a sold-out show at Hammersmith Odeon and we put them in front of record companies.
When I came back from America with AC/DC, video jukebox’s had just kicked off so I went into that business. I got the franchise for a company selling a video jukebox to pubs.
I worked with a guy for years called Percy Sheeran, whose family have the fairground in South Shields, he was doing the fruit machines and I was doing the music. A great team.
Then we started Arcadia Leisure selling PA’s and sound equipment from the Team Valley in Gateshead. After that closed down Percy’s brother Walter opened bars, leisure centres and arcades in Skegness, he asked me to come down, ‘Nah I like the Toon too much’ I said. But I’m still with him to this day!
The music scene is good down there, I’m booking bands all the time, I’m putting on festivals in the summer. We’ve got some local bands from Lincoln playing, Butlins is next door with rock festivals and alternative nights – always rammed.
I’ve got four or five bands from the North travelling down this year, so I still keep in touch with North East musicians. Lorraine Crosby has been down a few times. We’ve been friends around 30 years since she was in Foxy, Lorraine’s a great kid, she done the Meatloaf single as well.
Soon I’ve got an event lined up for the scooter boys – a mod rally at the end of April. There are loads happening.
I enjoy reading your blogs but a guy who doesn’t get a mention is Greg Burman. During the ‘60s the Greg Burman Soul band played at the Gogo, he also built amps for all the bands coming through like Lindisfarne, and made stuff for Thin Lizzy and Status Quo.
He was based in Newcastle’s Handyside Arcade which sadly isn’t there now. I dealt with him in the ‘70s, a lovely fella, what a gentleman. It’ll be a great story if you can talk to him.
One of the most influential New Wave Of British Heavy Metal bands are heading out on a UK tour this March, but first, earlier this year there was the small matter of Raven being inducted into the Metal Hall of Fame alongside Twisted Sister and Foreigner vocalist and solo artist Lou Gramm.
Held at The Canyon Club in California on 26 January, this was the sixth annual gala, previous inductees include Dio, Lemmy and Judas Priest.
The award is for musicians and bands who have made an invaluable contribution to rock and metal and to keep inspiring fans throughout the world. I asked bassist and Chief Raven John Gallagher, how did it come about?
Bribery and corruption (laughs). It was nice to be recognized and was a really great event where we played a three song set – almost broke a sweat!
Did you ever think you would be in this position, a tour celebrating 40 years of an album ?
Of course not! That kind of long view, you just don’t have that when you start. It just kinda crept up on us over the years. It’s quite a milestone and we are very proud of it. That and good old Geordie stubbornness!
In the set are you playing the full track listing on All for One and have you played all the songs live before?
Yes indeed! There’s actually two songs from the album we’ve never played live before, so that’s going to be fun for sure and another two that Mikes never played.
Have you noticed any new faces at your concerts?
Oh definitely, there’s quite often three generations of fans at our shows – which is really great.
For a full list of tour dates & tickets, album releases, video, merch & more check the official website :
in conversation with ex Greedsville songwriter & guitarist Clive Jackson.
Clive is a singer/songwriter who released two solo albums, Life Off Line (2015) and Rocket Science in (2019). He is currently working on a new album for release this year.
A veteran of rock bands who were part of the Newcastle music scene in the 1990’s, he was a member of Greedsville who released an album in 1994.
Clive Jackson.
The main thing that motivated me to get a guitar and become a songwriter was when John Lennon died in 1980, they played tons of Beatles songs on T.V and Radio. I was already aware of a lot of it, but when I heard A Day in The Life on ITN news, I was hooked.
I joined various bands in the 80s, one being Twelve Angry Penguins – it was the era of daft band names! Then I was guitarist in a band called Dark Roads, and in 1991 we recorded a demo at Linx Studio with Mond Cowie (ex Angelic Upstarts) engineering. I was really pleased with my vocals, song writing and guitar work on that but unfortunately within six weeks everyone left Newcastle!
The drummer went to be a policeman in Leeds, the other guitarist went to live with his girlfriend in Wakefield and the bassist moved to Scotland to manage a hotel. In the midst of all that I got a phone call from Andy Carpenter who was bassist in Greedsville.
We sort of knew each other because we rehearsed in the same place, the 244 Rock club on Westgate Road here in Newcastle. There was a car repair shop in the back and in front was an old navy club, it was a very underground set up.
I handed Andy the Dark Roads demo and he asked me to join Greedsville as a song writer, that worked out and I became rhythm guitarist. Other bands on the scene were XLR8R, Strange Thing, 2000 and Roswell.
Greedsville promo pic.
We gigged a lot and played in Newcastle, Hull and Leeds, we went down to London Marquee seven times. I had a full-time job in the Civil Service so ended up using all my annual leave when we had to travel to gigs in London. We couldn’t knock back gigs in the capital.
Sometimes I had to arrange a half day here, and a full day there. For one London gig work wouldn’t give me a half day. I pleaded with them as we had reviewers from Kerrang and NME coming along, it was important, one gig could make all the difference.
So, I decided to get the train from Newcastle to Kings Cross, legged it to the Marquee, did the gig, ran off stage, missed the last train so jumped on the all-night bus from Victoria – still sweating and stinking with my stage clothes on. It was a long night as the bus stopped off everywhere.
Finally got home, showered, then made it to work just in time. But I was knackered, more of this wasn’t doing my health any good.
Greedsville live at London’s Marquee.
Around the early 90s we met a London guy called Sean Worrall who reviewed our demo, he ran a fanzine called The Organ and was connected to record companies. He would promote showcase gigs at the Marquee or Camden Monarch where A&R guys would turn up. Sean set up one for us.
There was Geffen records, EMI and MCA hanging at the back of the hall. It wasn’t like a gig more like a jury with them not clapping. Sadly, nothing came of it.
Then London Records saw us play in The Broken Doll, Newcastle and paid for a 4-track demo which we recorded in Hi Level studio. They asked us to ‘grunge’ the sound up.
Then we recorded a rough demo on a four track recorder in the Greedsville rehearsal room. Sean took it to MCA and the first song on it, one I’d written, was more like what they were looking for.
But the rest of the band didn’t want to go in that direction. At the time we were being compared to REM and Roxy Music – quite a wide spectrum.
The Greedsville manager was Sue Wilkinson, who has just retired from the BBC. In the 90s she was running Generator here in the North East, she got us loads of publicity, articles and reviews in the press, plus radio and TV slots on local and national TV.
She got us on Tyne Tees, you can watch it on You Tube, Greedsville – Local ITV News, UK (Tyne Tees Television) 21st June 1993. That’s footage from a showcase gig at Newcastle’s Riverside. Ian Penman (Ravendale, music journalist) is also on who was a really nice guy and supportive of the North East music scene. Sadly, he passed away not long ago.
One time we were on the bill at Camden Monarch with Skunk Anansie. There was a chalk board outside the venue with the bands names on – they were billed as Skunk and Nancy and we were Green Sleeves!
I was staring at the board when their singer Skin, she is beautiful by the way, came up to me and asked if I was in Green Sleeves. I said ‘it’s Greedsville’ we were both laughing at the mistakes. They got a record deal. We didn’t.
Our guy in London, Sean Worrall backed off in the end because he explained to us that he’d met the record companies, they’d sent A&R men, heard the demos, he felt that he’d done all he could. It was an amicable parting, no hard feelings he’d just run out of road for us.
There was still a lot of Newcastle connections around that time, like Kev Ridley, engineer at Linx Studio. There was a band I knew called For Gods Sake with guitarist Steve Wallace, there was Steve Charley the Canadian, he was studio engineer for a while. There were connections to the Music for Nations label with Venom and Skyclad.
Then Greedsville signed to North East independent record label Bleeding Hearts run by Eric Cook and Tony Bray, Eric was manager of Venom and Tony was the drummer.
What happened was Sue Wilkinson got a call from Eric Cook asking would Greedsville be interested in a deal? ‘Great’ we all said. At the time we were recording in Trinity Heights studio run by Fred Purser (ex Penetration and Tygers of Pan Tang).
The singer Pete Turner was involved in all the conversations between Eric Cook and Sue Wilkinson, and the rest of the band, including myself, were all present at meetings when major decisions were made. The contract was for distribution in Europe and Asia, we had it checked out and it was ok. We signed on the dotted line around 1994.
We had originally planned to record an EP with four songs but with the deal happening it turned into an album. We recorded in three studios – Linx, Trinity Heights and a place in Chester le Street with Frankie Gibbon. It was all mixed and mastered at Fred’s Trinity studio.
Eventually we released The Casino Royale Collection. We made 10,000 copies and it was on sale in shops like Our Price and Virgin stores.
Greedsville album released in 1994.
We were due to play in Middlesbrough, then onto the Heineken Music Festival in Gateshead Stadium. But a few weeks before that we played in London and on the way back in the van our drummer Doug Hayes said he was leaving.
So, we quickly had to get someone else in, that was Graham Hattam. We were really up against it, but Graham learned quick in a small time frame and the Heineken gig went well. The Stranglers and Jools Holland big band were also on, it was a great time and Sue got us lots of press.
But we started to lose momentum, Britpop had taken over, the band were falling apart. In 1996 it was all over for Greedsville.
Looking back the 90s had loads of different bands playing folk, blues, metal, psychedelia, it wasn’t just one genre. That’s one of the many reasons I think the A&R thing didn’t really happen here.
In one night, they would see a band dressed like they were in a pantomime, others playing Frank Zappa, and in the next pub there would be a full on metal band playing. There just wasn’t a load of bands playing one type of music where they could watch and give a definite yes or no, or maybe sign a band to a development deal.
Back then we sold around 5-6,000 albums but never received a penny. The Greedsville album is still on sale now through outlets like Amazon. If people are getting something out of listening to the songs that’s great – but did I make a living out of the music business? Absolutely not.
In the digital age copyright goes out the window. I do get royalty cheques now and then from my latest solo albums, the last was from Spotify for around $400.
There’s lots more to add to the Clive Jackson story, and that will be added to the blog later, but for more information check the official website:
Tygers of Pan Tang 2023 L-R Huw, Craig, Francesco, Jack & Robb. pic. Steve Christie
In September 2020 the review of Raven’s latest album Metal City declared that ‘on this evidence Raven consolidate their title of Chief Headbangers’ and signed off with ‘any contenders?’
Last week one of the original North East New Wave of British Heavy Metal bands, Tygers of Pan Tang, hoyed their hat in the ring.
Their new single Edge of the World released on the Mighty Music label was as the kids say ‘dropped’ last Thursday and after the first time on hearing, the Tygers have sharpened their swords and hoyed the kitchen sink at the production. It’s epic.
Starting with a hint of Eastern promise the guitars will put lightning back in yer tired bones, and with that chorus we have the next superhero soundtrack. Someone put a call in to Hollywood blockbusting film maker Christopher Nolan (Batman/The Dark Knight/Man of Steel).
There’s no idle shilly-shallying here with layer upon layer of glossy finesse, ultra-tight drumming from Craig Ellis, bassist Huw Holdings accomplished maiden recording, plus a searing twin lead break from guitarists Robb Weir and Francesco Marras, while vocalist Jack Meille faces down the beast.
Edge of the World doesn’t lead you to the dead zone with no follow up record as the Tygers are about to launch their new album and on this evidence alone, wrestle the crown from Raven.
Autoleisureland is the new project by former Kane Gang members Dave Brewis and Paul Woods.
The Kane Gang, with Martin Brammer completing the line-up, formed in the former coal mining town of Seaham on the North East coast in 1982, and signed to Kitchenware Records.
The pop soul band notched up several UK and USA hits including Respect Yourself, Closest Thing to Heaven and Gun Law.
I asked Dave and Paul how did the project come about ?
PW: It started a few years ago when Dave was working on his instrumental album.
Every week before we popped out for a pint he’d drop off a new mix or new track. I really liked them and started on lyrics to turn them into songs. It snowballed and I started giving him lyrics and ideas for new ones.
DB: Paul and myself have remained in touch and seen each other regularly over the years since the Kane Gang was active. When I quit lecturing at Gateshead College I was still doing session gigs, but fancied writing again.
I recorded a set of tunes, and Paul thought he would write lyrics, so that got the ball rolling. Before long we were full on writing and recording, something we always enjoyed. So we thought we’d name ourselves and start a band project.
PW: Eventually we came up with the song Autoleisureland and that was the catalyst for the sound we were going for in our heads. Sort of all of our influences coming together.
After that we were off and running. I’ve never enjoyed working on something so much.
Have you a best time for song writing ?
DB: Definitely not in the mornings. A few days a week we work two to three hours at a time in the afternoon on recording.
After that length of time we lose our judgement so we stop, but evenings are when we usually write and that is done separately. Then we exchange ideas and continue. It’s quite efficient as we usually know what we are after. But it can take time.
PW: I tend to have the best ideas at night for hook lines, titles and choruses. Sometimes when I’m listening to some other music and I mishear the lyrics, it sets me on a different train of thought. The rest of the daytime is used for the mundane lengthy task of actually finishing it.
Autoleisureland album released 25 November 2022.
What do you consider for the final running order of the songs on the new album ?
PW: We had a number of catchy songs that kept going, all rather upbeat and positive and we didn’t want to break the mood. So, we didn’t really want a slow number until about the seventh track in.
DB: We start with something upbeat that is representative of the album – Autoleisureland, then try to run four or five strong bangers in a row. Pop in a slow one then kick off again.
We have a few reflective ones but we finish this album with the title track Infiniti Drive, as it bookends with the first track Autoleisureland.
Do conversations ever turn to ‘remember in the ‘80s when this happened’ ?
DB: Yes sometimes. The odd daft thing that happened with taxis, airports, interviews. For me, thinking back to studio work mainly. That was very enjoyable, I think we preferred that side of it.
PW: The Kane Gang was and is a big part of our lives so it’s natural we have some thoughts about it. Obviously, the older you get, the less you remember.
For instance, a few weeks ago a thought came to me and I asked Dave, ‘were we on Soul Train?’. All of a sudden I had a flashback of the dancers and the show’s set. We performed Motortown.
However, on its official website it says we were never on. They mustn’t have used it, I guess.
What does music mean to you ?
DB: Music is a part of my life. I feel somewhat frustrated if I haven’t played or written something for a while. We can create and shape something out of nothing that entertains and feels worthwhile.
PW: This is difficult. For Dave, I believe it’s simpler. He’s a musician. That’s what he studied for, that’s what he practised for, that’s what he does, that’s who he is. He doesn’t think about it. And then there’s me.
When it comes to music I’ve always had imposter syndrome. Never believing I’m good enough to sing, write, record. All the time I was in The Kane Gang I was plagued by that.
It was only until this latest project that I thought, ‘yeah this IS what I do, and I’m going to keep doing it’, so I apologise in advance.
What are your hopes for the new album ?
PW: Who knows anymore. I’m just pleased it’s done, out, finished. I’m prouder of this than anything I’ve done. So I’m pleased it’s out, people can hear it and then we can get more stuff out and even more recorded.
DB: We hope we can reach a lot of people who like this style of music, worldwide. Obviously some Kane Gang fans, but also the people who listen to our contemporaries like Tears for Fears, China Crisis, Prefab Sprout.
And people who like some of the more interesting newer bands. It’s good to try to be fresh but ultimately do what you do.
Autoleisureland is released on 25th November 2022 on all digital streaming and download platforms including Spotify, Apple Music, YouTube & Bandcamp.
The previous post featured South Shields born Will Binks, who at 16 started a successful North East punk fanzine, in this second part he talks about his passion for photography.
Will can often be seen ‘doon the frunt’ at North East punk gigs so if you see him give him a shout.
Will in action at a gig in The Black Bull, Gateshead 28 July 2022 pic. Pete Turner.
After the fanzine and short-lived tape label I was ready for something new, and even as a child I always had a passing interest in photography.
When did you start taking photos, was it with North East punk band The Fiend back in the 1980s?
When I was eighteen years old, in 1984, I got a Pentax SLR camera and flash from Alan Brown’s shop on Frederick Street in South Shields. I took it to gigs and yes I did do a photoshoot with the lads from The Fiend.
(The Fiend featured on the blog in January 2021)
The Fiend in rehearsal rooms 7th September 1984.
However, it was a bulky camera, with film, batteries and developing not cheap at all. I was at the age where I wanted to socialise and enjoy a drink with friends, so I often left the Pentax at home and took out my parents’ Kodak Disc camera. It was pocket-sized and you just pointed and clicked.
Great I thought at the time, but in retrospect a mistake. The quality of photos was to put it bluntly, terrible. I wish I persevered with the Pentax. Isn’t hindsight a wonderful thing?
The Fiend at The Station, Gateshead 14th December 1984.
What was the atmosphere like at punk gigs?
To be truthful, it was scary sometimes but mostly it was okay, although I know folk who suffered violence. There were times when you could sense trepidation in the air, and you just knew what was gonna happen.
Thankfully, I sidestepped any trouble but I definitely had a few lucky escapes.
There seemed to be a lot of that irrational tribalism between different areas. I never did understand folk wanting to assault someone just because they were from another town or city. I’m pleased to say that nowadays it is much, much better.
For you what is the difference between taking photos on film back then, and digital now?
Back in the day, I was restricted by how much film I could afford to buy and having the cash to get those films developed. It wasn’t particularly cheap. Photography was, and still is, an expensive hobby.
The good thing was once I had taken my pics and had the film developed that was that. You had your images and there was no post editing back then.
Nowadays, your time is split between taking pictures then spending hours, if not days, at home editing your images to your own specifications. It is very time consuming but I thoroughly enjoy it.
I’ve always said I take pictures for my own gratification. If anyone expresses a liking for any, then I’m pleased, but I should stress that it’s not the reason behind why I do what I do. I am non-commercial. I am not motivated at all by financial gain.
Sunrise 12th September 2016.
Hard to say, I know, but what is your best pic?
A very difficult question. Regarding my live music photography, it changes constantly. Here’s one I took of a sunrise from back in 2016, something that I always enjoy witnessing.
Greg Graffin, Bad Religion, Newcastle University, 5th June 2022.
Where can people see your pics ?
I’ve had some of my images used in books and by bands on their record or CD sleeves. All I ask for in return is that I am credited, and that I get a copy of the product once released. I don’t think I can be much fairer than that.
All my pics are public and viewable in full resolution on my Flickr page. I invite everyone to follow the link and check out the many albums of pictures there. Hope you enjoy what you see.
I know doing a fanzine wasn’t exactly momentous historically, however it was our small involvement in our local scene. It might not be important to everyone, but it was very important to some.
Will Binks at home in South Shields aged 16 in 1982.
After leaving school in 1982Will was looking to contribute to the punk scene on Tyneside…
I never possessed natural talent or had the opportunity to play an instrument, I was never gonna be a vocalist by any stretch of the imagination.
Thinking back, I don’t think my parents had the kind of disposable income to fork out on a guitar, amp or drums. Times were tough back then as anyone from that era can confirm.
But I did have an admiration for the Sunderland fanzine Acts Of Defiance which I bought from The New Record Inn next door to the infamous Old 29 pub in Sunderland where many bands played. I would read the copies enthusiastically and wondered if I could do something similar.
Will set about typing stuff out using his sister’s typewriter.
I would be creative using Letraset or permanent black marker pens with stencils. I would cut pieces out of the weekly music paper Sounds and daily newspapers to create collages or backgrounds by gluing them together. Back then ‘copy and paste’ meant using scissors and adhesive!
For a name I saw ‘Hate And War’ in a magazine, that would fit perfectly across the top of an A4 sheet of paper. I cut it out and it looked great, so that was that sorted.
Obviously we didn’t endorse hate or war – quite the opposite in fact. To us it was just a great song by The Clash, and it was completely by chance that I found that cutting and it fit perfectly.
Were you working alongside anybody to produce the fanzine?
During that period I was very close with my cousin Paul Briggs. We would arrange to meet bands or write to those further afield with postal interviews. Basically I’d send them a bunch of questions and they’d reply with their answers in a week or two.
What bands did you feature?
We featured bands like Vice Squad, Dead Kennedys, U.K. Subs, The System, External Menace, Riot Squad, The Adicts, Instant Agony, and lots more.
We also focused heavily on local North East talent such as Uproar, The Fiend, Psycho Faction, Total Chaos, Toy Dolls, Sadistic Slobs, Public Toys, Negative Earth, Red Alert and tons of others.
Front cover for the first issue of Still Dying.
The next hurdles to overcome were how to get it financed and printed.
We were just kids relying on pocket money so things didn’t look good. Then I mentioned it to my grandmother who worked as a cleaner at the police station in South Shields.
I think the office staff turned a blind eye when she photocopied the odd knitting pattern but I’m grinning remembering that before anyone turned up on a morning my grandmother photocopied our fanzine in the police station offices.
She must’ve had some bottle knowing that getting caught could cost her the job she loved.
How many issues of the fanzine did you put out?
We put out two issues of Hate And War. Admittedly, they were basic and primitive but I mentioned this recently to my mate Nelly, he pointed out that ‘our whole punk scenewas basic and primitive‘ – it’s nothing to be ashamed of or embarrassed about.
We set about a third issue including interviewing Total Chaos at the Bier Keller in Newcastle where I crossed paths with Gary Payne. When I said wor – Geordie slang for ‘our’ – Paul had lost interest, he suggested going into cahoots with him.
He even had the new fanzine name and first front cover assembled – Still Dying was born. If Hate And War was basic and primitive then Still Dying was a bar or two higher as we raised our game.
Where did you sell copies of the fanzine ?
We sold lots by taking them to gigs at places like The Station in Gateshead and The Bunker in Sunderland. We’d ask folk if they fancied buying a fanzine and before we knew it they were gone. We had some for sale in Volume Records in Newcastle and lots were sent out by mail-order too.
I’m guessing we got about 200 of each issue printed and they all sold. The two issues of Hate And War sold for 10p, and Still Dying was a bargain at 20p.
My grandmother helped again by getting the first issue of Still Dying photocopied. We put out three issues of Still Dying during 1983 which I’m still proud of.
The second issue was printed by a lad called Ian, who did Testament Of Reality fanzine and owned his own photocopier. The third and final issue was printed by our friend’s sister who did Edition Fanzine.
By the end of that year Gary bowed out saying he’d completed what he set out to achieve and left me to forge on. My intentions were to continue but it wasn’t the same, so I gave everything we had typed out with all the artwork for our proposed fourth issue to a lad called Marty.
It featured in his fanzine ‘Remember Who We Are’. After that, I did pursue a short-lived tape label before stepping back altogether.
Interview with The Adicts from issue three.
Do you think the fanzine had an impact on those who bought it ?
In recent years some folk have told me that they still own the issues they bought back in 1983. They’ve kept our little fanzine for nearly four decades, so it must’ve left some impression on them. I’ve heard good comments over the years and even the suggestion that we should resurrect it.
Next up read As I See It part two with Will Binks talking about his passion for photography.
Part one of the interview featured stories of gigs in working men’s clubs and recording in Abbey Road, in this second part Bob and Dave remember more shenanigans in ‘70s band Fogg.
At the time Tyne Tees TV were building a team to produce music shows resulting in the ground breaking Tube exploding on our tv screens in November 1982, but before The Tube was a programme called Geordie Scene.
Dave: We were on the Geordie Scene a few times. One time we were on with the band Geordie, Brian Johnson (AC/DC) was their singer. On the last song both bands got up and jammed on Blue Suede Shoes, we were the daaarlings of the North East scene (laughs). There was a party afterwards, it was great, both bands got on really well.
Bob: Yes, we did a few shows. Heidi Esser from EMI Electrola flew us out to Cologne to do a TV show and we stayed in a beautiful hotel all expenses paid. Boney M and Gilbert O Sullivan were on the bill too.
After the show we wanted a drink but like most bands we didn’t have any money. However there was a mini bar in our room which we’d been told was off limits. Chris and me looked at each other and said well just the one!
I’m ashamed to say that we disgraced ourselves by drinking it dry by 4am. I was told that it cost a fortune. Apologies to Heidi and EMI. It’s no excuse but we were just young lads and were very very thirsty!
Bob: The excellent Vaingloriousuk site does have many of our TV performances on video. (link below)
Mind the result of a little known FOGG/Geordie football match is still a sore point for us. Tom Hill, Geordie bass player ‘It’ll just be a quiet kickabout’. Aye that’ll be right Tom. (laughs)
Dave: Geordie were signed to Red Bus Records. I’ve got three songs on a Geordie album, and never had a penny. But that’s the music business.
Bob: Thinking back about that we were lucky to have John Reed and Derek McCormick on our team, they were dead straight with us. In fact they still look out for us. The re-release of the album This is it is their project.
How did the re-release of the album come about ?
Bob: Over the years John Reed stayed in touch with Mike Heatley at EMI who had worked on the initial This is it release and was a huge fan of Fogg. Cut to the present day and the new CEO at Warners music is Mike’s friend and ex colleague.
Our manager Derek McCormick has been beavering away on the legal side whilst John and Mike discussed a digital release with Warners. Success – what a team.
Guitarist & songwriter Dek Rootham
Talking about team members, our guitarist and main songwriter was Dek Rootham. Dek had a great sense of humour which certainly enlivened long journeys. He was often seen with Archie, a ventriloquists dummy.
We once had a small fire in the back of our Ford Transit whilst flying down the A1 at 70 mph. We are all thinking like Basil Fawlty ‘F-F-F-Fire!’ but Dek just turned around, warmed his hands on the blaze, turned back and continued reading his newspaper. What a guy. (laughs)
What caused the band to call it a day ?
Bob: A number of things really. In the mid-70s a few things were happening around the UK – recession, middle east oil shocks, venues closing down, three day weeks, power cuts. Just lots of things that really added up. But we gamely carried on playing gigs for a while surviving on the money from them.
We eventually decided to wrap it in. Chris went on to form his own band Shooter. Dave, Dek and I worked the clubs for a few months as a trio named Jingles(laughs).
Dave: By the late ‘70s Brian Johnson was re-forming Geordie to play the clubs, he already had a drummer and he asked me and Dek to join. We joined and had a great time with gigs pouring in. We had a few with Slade as Brian knew Chas (Chandler, ex Animal, Slade manager) quite well.
Then 1980 came round, Brian left for an audition in London, my wife was in hospital giving birth to my son, and I got a call from an American called Peter Mensch.
‘Hello is that Dave Robson, my name is Peter Mensch, I own AC/DC. I believe you have some contracts ?’
I said best to ring me back as my wife has just given birth. Well really I was devastated, Geordie had being doing well, now suddenly I was out of work. We continued with other singers but it was hard to replace Brian, he was very funny and had an instant connection to the audience soon as he got on stage.
(Along with many tales about the band Geordie, Brian Johnson’s story of the AC/DC audition can be read in the new book ‘The Lives of Brian – A Memoir by Brian Johnson’).
Bob: I went on to work with other bands and really enjoyed working on several unique projects with Steve Daggett (Lindisfarne). After studying at Newcastle University I joined Raw Spirit again for a while who I was in before Fogg.
Sadly Chris (vocals) passed away in 2014. He is still greatly loved and missed by the lads and indeed by all who met him. Dave, Dek and myself still do occasional gigs in our respective bands. Music is always in your blood I guess
.
Dave: But looking back it was a fantastic time.
Bob: Yeah such a magnificent period in our lives. We are so blessed to have experienced it and have This is it come to light once again.
Dave: And you can always dine out on the stories (laughs). Although some don’t believe you about Abbey Road.
Bob: Yeah there are a wealth of tales which are true but usually met with disbelief. Did we tell you about the time the Duchess of Devonshire asked us to pop in for tea, or Freddie Mercury’s market stall, or our near fatal adventures on Aberystwyth beach or when recording the album This is it, Olivia Newton John walked by and simply gave us a dazzling smile ?
I met up with rhythm players Bob and Dave to get a clear picture of the FOGG story, but first let’s find out where the name come from…
Dave: It had something to do with the book about Phileas Fogg and his travels around the world in 80 days didn’t it ?
Bob: Nah it stands for Fairly Old Grumpy Geriatrics (laughs).
Bob Porteous (drums) & Dave Robson (bass).
During the 1970s FOGG were based in Newcastle and signed for EMI and Warner Brothers. They released four singles and an album ‘THIS IS IT’ recorded at Abbey Road. Warners are now re-releasing the remastered album (links below).
Bob: Iwould say This is It…is really a mix of hard rock, boogie, pop stompers and even a smidge of prog. Very tight instrumentally with great vocals, harmonies and guitar. Warners have remastered and digitised the album.
To my ears it sounds quite contemporary and hasn’t dated. Ok I’m biased but I love it all over again.
Dave: The album sounds very fresh today, I really like it. I’m proud of what we did. We were just a little band playing workingmen’s clubs who were suddenly catapulted onto a higher level and suddenly recording in the world famous Abbey Road studios.
The first version of Fogg started in 1971 and was formed by guitarist Dek Rootham ex-Sect, and bassist Dave Robson ex-Toby Twirl. They played the working men’s club circuit with drummer Ronny Levey and Colin Anderson on guitar.
By 1973 Ronny and Colin had moved on and were replaced by ex-Raw Spirit drummer Bob Porteous and Chris McPherson on vocals.
Dave: I was playing bass when I first joined a band at 19, they were called Toby Twirl who were a pro band doing gigs every day and night all over the UK. The drummer was John Reed, John was also a songwriter, later he moved from Sunderland to London but we stayed in touch.
Don’t wanna get ahead of myself here but he was very influential in Fogg because he got management involved and to this day is fully committed to the band.
John called Derek McCormick from Corus Music who had pedigree because he used to manage The Moody Blues and had a lot of industry contacts.
Bob: That was around 1973, we were playing the clubs at first then the work expanded via Derek and John and their contacts. Dek Rootham and John Reed began to write songs together.
Chris McPherson sounded like Noddy Holder from Slade, and was a charismatic front man. He took a break for a short while so we got Davey Ditchburn in on vocals during Chris’s time out.
We did several shows on Tyne Tees TV for the Geordie Scene. A You Tube channel dedicated to North East music called VainGloriousUK has several videos of Fogg performing on the show. My personal favourites are Ask No Questions and Captain Moonshine but there are many more to choose from.
Dave: Then later on Chris re-joined the fold. I remember Chris was a great character, god bless him he passed away a number of years ago.
Bob: He owned every stage he walked on. We all loved him.
Bob: Fogg worked hard on the College circuit, did a tour of Finland and TV & Radio work. By this time the band was developing a great synergy and the competition with other pro bands on the circuit had created a highly charged performance involving great audience rapport.
Dave: Yeah yer’ had to ! It was sink or swim.
Bob: Jumping in at that level generated massive confidence and camaraderie within the band.
Dave: We also did a lot work in the Bailey Clubs run by Stan Henry, a friend of our manager.
Sadly, Stan Henry died in September this year. From their South Shields headquarters Stan and business partner John Smith ran the Bailey Organisation. They opened a number of clubs around the UK.
Notably The New Cellar Club in South Shields where Cream opened the venue on 2nd December ’66 and Hendrix played on 1st February ’67.
Chris (vocals), Bob (drums) & Dave (bass).
Bob: One night we played the Bailey club in Watford and the top act was Dana (Hugely popular Irish winner of Eurovision song contest in 1970 with ‘All Kinds of Everything’).
She was absolutely lovely and invited us to her dressing room which was a different world. She was like a beautiful Queen with her make up and wardrobe people swanning around offering drinks and even lighting up other people’s cigarettes.
This, coupled with our week long soiree at a Hampshire health farm where we met the legendary Ava Gardner gave us a little glimpse into ‘70s fame.
Dave: The Bailey clubs were great, very pro, but I remember a lot of the CIU workingmen’s clubs were also run really well, Concert Chairmen keeping things right, great audiences, yeah loved them.
Bob: They always gave you a round of applause and there was always a dressing room, no changing in the toilets. And being paid well.
Dave: I wish they were back.
Bob: Concert chairmen had a bad rep but often they were smashing guys. There was a chairman called Edgar at one of the clubs and he would like to sing the last song of the night with the band.
‘What do you want to sing Edgar?’ ‘Blaydon Races’ he replied. We found that the song had about 20 verses and he knew them all! Still shiver and feel apprehensive to this day when someone says Blaydon Races (laughs).
How did the band get signed ?
Dave: As well as song writing with Dek, John Reed was the band manager and got us a gig in a Covent Garden pub where he invited Derek McCormick and various music industry people.
Derek was very impressed and we signed a management contract with him. John arranged a session in the EMI recording studio in Manchester Square and we did a successful demo there.
Bob: This was during the late summer of ’73. Derek was friends with Joop Visser, a lovely Dutch A&R guy in EMI and this opened the door to a recording contract.
In 1974 the band went into the legendary Abbey Road studios where The Beatles had recorded. They produced several singles, one of which Water in my Wine had significant sales in Germany and Japan.
EMI then helped realise the bands ambition by recording a full album at Abbey Road. This is It…was produced by Wally Allen from the Pretty Things.
Dave: It was like ‘yeh just going into the recording studio today’, that’s just what you did in those days you know.
Bob: Back then it was the arrogance of youth! (laughs)
Deep down though, we were ecstatic to be at Abbey Road even though we were being outwardly cool and professional about it.
Dave: Now it’s revered as a holy place but don’t get me wrong it really was a fantastic place to be.
Bob: The first single was Doing the Best I Can which got a few radio plays when released in 1974 but nothing major. All the band were involved in writing for the album but it was Dek and John Reed on the majority of songs.
Our first producer was Ian McClintock who we thought was good but not entirely tuned in to our music.
Dave: We needed more direction from him as we hadn’t been in a 16 track recording studio before.
Bob: When you are new to studios and the red light goes on it can be nerve wracking but we must have done ok because if I remember rightly we only did a max of three takes on most songs .
Dave: Eventually McClintock was replaced by Wally Allen who was bassist with The Pretty Things – he was brilliant. We moved into The Beatles studio and the sounds were fabulous there. You go into the control room to hear back what you’ve recorded and it’s a genuine ‘Is that us !’
Bob: That was Studio Two where the whole thing had a different vibe.
Dave: And the harmonies had a much better sound.
Bob: I don’t believe in ghosts but you could just feel an atmosphere of all the other musicians who had passed through there.
Dave: And on the piano there was the marks where (Paul) McCartney had left his tab burning!
Bob: One day the others were laying down some overdubs so I went for a wander around the other studios. I went into the huge Studio Three where I started playing a wonderful set of timpani drums. A severe looking security guard heard this and popped his head in and asked what I was doing in there.
‘Just from the band recording in the other studio’. After hearing my accent he asked where I’m from ‘Newcastle’ I replied. He let out a delighted laugh ‘Wey I’m from Gateshead man!’
We really felt a part of the Abbey Road family. Incidentally a couple of tracks from the album have a real North East vibe, Northern Song and Water in my Wine.
In 1975 the band moved on from EMI, signed to Warner Brothers and released two singles Dancing to the Music and Rock n Roll Star.
Next up read Rhythm Kings part two with more FOGG stories from Bob and Dave.
The remastered FOGG album ‘THIS IS IT...’ is now available in digital format from:
ALIKIVI UK : NORTH EAST MUSIC & CULTURE 