NWOBHM

DOCTOR ROCK – in conversation with Tygers of Pan Tang guitarist, Robb Weir

/ Alikivi

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How did you get involved in music and who were your influences ?

‘I was born in Ghana. My dad was working for the British Colonial Service out in West Africa as a doctor/surgeon specialising in tropical medicine.

His transport in those days was a horse, and with two saddle bags full of medical supplies. Dad travelled from village to village coming across things like black magic and cannibalism.

In 1959 my mum wanted to return home to the UK and in particular the North East of England.

When we came home Dad worked as a medical officer of health and later went into general practice in South Shields. To get to work my father had to get the ferry across the river Tyne from North Shields to South Shields.

One day he came home with a nylon strung Spanish guitar. He bought it from a junk shop I think. Dad was very musical and had trained in classical piano. To be honest he could pretty much play anything. He thought it might be fun for me to try and learn how to play.

In our house there were records by Elvis, Little Richard, The Beatles and the Stones and I used to play along with them. I didn’t have any music lessons I basically taught myself how to play, I’m still learning one day I’ll get the hang of it!’

‘I started listening to Slade, Status Quo, Black Sabbath and then around 1974 I started going to the Newcastle City Hall and Mayfair to see every band you can think of.

I became great friends with the manager of the Mayfair, Steven Lister who worked for the Mecca Association. I’d ring him up and ask who was playing and he’d leave my name on the guest list. I think it was after the first time Tygers of Pan Tang played there in ’79 that we became friends’.

The Tygers of Pan Tang formed in Whitley Bay in 1978 and by the early ’80s they had a lot of success. Can you pinpoint the time when the Tygers career took off ?

‘In 1979 we went into Impulse Recording studios in Wallsend and recorded, ‘Don’t Touch Me There.’ It had a release number 003 so we were in at the beginning of the Neat Record label story. We were the first heavy metal band to be recorded in the studio.

So I’m very proud of the Tygers launching the label and giving the Neat label a direction. Impulse studios took a chance and pressed 1,000 copies, that was a lot for a small independent label.

Our drummer’s girlfriend used to sell the single for us on the door of the venues we played like the Boilermakers in Sunderland, the Central club in Ashington and other workingmen’s clubs in the North East of England. That’s the gigs we used to play in the early days before the big time arrived.

At that time workingmen’s clubs were full of men from the shipyards and mines. Most had long hair, jeans, tattoos and listened to rock music.

All around the country the rock scene on a Friday night was huge and all the shows were packed. To see a band you had to get your arse out of the house, go to the bus stop in the pouring rain and get to the club.

You couldn’t see a concert on the internet in those days! We were definitely in the right place at the right time’.

‘Don’t Touch Me There’ was reviewed in Sounds newspaper which made a massive difference to awareness, so the next pressing was 4,000 copies! Then Dave Woods the label owner at Neat records was approached by MCA record company, they wanted us!

So Dave did a deal, essentially selling the Tygers to them. MCA pressed around 50,000 copies of the single! But our success still hadn’t really sunk in.

We were caught up in the moment I guess, you’re just in a giant musical blender getting whizzed around with all the other acts.

One of my more defining moments was when the album Wildcat came out. I got my first physical copy of it in my hand and showed my parents. They said yes that’s great, but it would be nice if you got a proper job! I guess they just wanted the best for their son.’

Were you aware of the New Wave Of British Heavy Metal ?

‘Only when I read about it in Sounds! It was a three or four page spread by Geoff Barton. He had started writing about the music – he coined the phrase NWOBHM.

Geoff wrote about four bands initially – Iron Maiden from London, Def Leppard from Sheffield, Saxon from Barnsley and the Tygers from Whitley Bay. Reading it I thought, so we’re NWOBHM eh (laughs).

Listening back to Wildcat I didn’t realise how much punk had jumped into my head song writing wise. Well a rock voice on any song from Never Mind the Bollocks album would have turned that iconic punk album into a hard rock album. Steve Jones with his Les Paul and Marshall stack – had a great hard rock sound’.

MINGLES

The Tygers were originally a four piece then changed to a five with the addition of guitarist John Sykes…

‘We recorded Wildcat in Morgan Studio’s in Wilsden, North London with Chris Tsangarides producing. We had just finished 11 days recording the album – which was very quick. We’d been playing those songs on Wildcat for two years on the road so we knew them inside out and for the recording process.

Chris put forward a few production ideas. For example, I played a guitar solo through a Lesley cabinet which is normally associated with keyboard players.

The top of the cabinet has horns inside and they spin when activated. So Chris had this idea of playing the guitar through it to see what it would sound like.

He was quite inventive, and it worked really well. I think we recorded the harmonic bit in Slave to Freedom that way and something else I can’t quite remember’.

‘1980 was a really busy year for us, we completed several tours supporting established bands. The Tygers went out with Magnum for three weeks in the March, they were promoting their new live album Marauder which Chris had just produced.

We then went out with the Scorpions on their Lovedrive tour, then we did the On Through the Night, tour with Def Leppard. There was three weeks with Saxon on the Wheels of Steel tour and we did shows with Iron Maiden and Whitesnake as well’.

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‘Apart from Magnum, all the bands we opened up for where two guitar bands. When I played a guitar solo there was no rhythm behind it so the sound would drop. It was felt that to give the band a bigger, fuller sound we needed to add another guitar player.

So our management and I.T.B (International Talent Booking) our agent down in Wardour Street, London said we think it would be better if the band added an additional guitar player. So after Wildcat was recorded we advertised and held auditions at Tower Bridge rehearsal studios, London.

About 80 guitar players were invited down. There were two that stood head and shoulders above the rest and that was John Sykes and Steve Mann, who had just come out of a band called Liar.

Steve went on to play with MSG and Lionheart who have just reformed. Steve now lives in Germany where he is a record producer. Steve played guitar and saxophone – John just played one hell of a guitar as you know.

John had everything, he was six foot tall, long blonde hair, stunningly good looking, incredible guitar player, great singer, good songwriter, although he never knew it at the time as he was just starting out – and the girls loved him, they fell at his feet.

He was so much better at playing the guitar than me I thought to myself, I’d better up my game here.’

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Was John in a band previously ?

‘He was in a covers band in Blackpool called Streetfighter, and they were fronted by bass player Merv Goldsworthy who is now in FM. Merv and I remain good friends both the Tygers and FM were on the Cambridge Rock festival bill earlier this year. Streetfighter were famed for their exceptional Thin Lizzy covers’.
(Streetfighter appear on a 1980 heavy metal compilation album New Electric Warriors).

‘John was at my house one day and I was showing him the root chords from the songs on Wildcat and he said in a cockney accent ‘Ere Robb I’m fackin’ sick of this I’ve got this fackin’ idea what do you think of this’. He played me some chords, I said ‘I really like that I’ve got something that will go with that’.

He replied ‘Fackin’ hell we got a song there, let’s go for that’. So we spent the rest of the day forgetting the set we were learning for the upcoming Wildcat tour and wrote Take It, which we recorded for the Spellbound album, unfortunately is the only song we wrote together’.

SYKES

Sykes went on to co-write and record two albums with the Tygers. ‘Spellbound’ was his first along with new vocalist Jon Deveril who had replaced Jess Cox. How did Jon Deveril get the job with the Tygers ?

‘John Sykes first gig was Reading festival, 1980 with Whitesnake headlining, there was 42,000 people there!

What happened was we had done the Wildcat tour, it was a sell out across the UK – Mayfair’s and Locarno’s and places like that, they all had a capacity of 2,000 people.

There was a big buzz in the music press about us, we were getting full page adverts in Sounds, NME, Melody Maker and Record Mirror. It was all going well, really well.

But there was a meeting with our management and Rod MacSween our agent who said ‘With the singer you have at the moment we can’t really further the career of the band outside the UK’.

So our management took the decision to change the line up even though Wildcat had been so successful. We took this forward and advertised for a singer.

We knew we were in a good position to get a great response because in the national charts Wildcat entered at number 13 and around us were the likes of Bowie, Aretha Franklin and Earth, Wind & Fire.

All those multi platinum artists and here’s the little ‘ol Tygers of Pan Tang from Whitley Bay hanging in there. We were hoping it would do well but never expected it to do that well – it was fantastic.’

‘We had a huge response for a new vocalist with well over 130 singers turning up. But again there was one who was head and shoulders above everyone else, and that was Jon Deverill.

A lad from the Welsh Valleys with a huge voice, he walked into the job really. So he moved up from Cardiff, his home city to the North East. Our management got him a place to live with John Sykes and we immediately started writing songs for Spellbound. So the Tygers story rolled on’.

‘We were living down in London and the Angelic Upstarts were down there at the same time. We were signed to MCA records and they were signed to EMI.

I remember Mensi their singer sold second hand jags to supplement his income. The drummer Decca would also make a few quid.

When the likes of Praying Mantis or Iron Maiden were playing at the Marquee he’d appear wearing one of those big long trench coats. He would walk around the punters and open up his coat like Arthur Daley and inside were all the latest EMI album releases. He’d sell them out of his coat ha-ha!

Obviously he had acquired them, ‘somehow’ from the EMI offices. It was hilarious to watch – and he always made a few quid.

They were lovely lads you know, I’ve always liked them.’

1981 was a very busy time for the band. They were still contracted to MCA and that year saw the Tygers release two albums.

‘Spellbound’ recorded in Morgan Studio’s in London produced by Chris Tsangarides and released in April. The Tygers third album ‘Crazy Nights’ was recorded at Trident Studios in London and produced by Dennis MacKay. It was released late 1981.

The more successful and commercial sounding album ‘The Cage’ was recorded in 1982. Extra songwriters were used resulting in a couple of singles that charted in the UK.

But there was another line up change. Fred Purser, formerly of fellow North Eastern band Penetration, was in on lead guitar…
‘John got the Lizzy gig because he wanted to push his career further forward. Unbeknown to us he auditioned for Ozzy first but didn’t get that job.

When he got back to the North East the news didn’t go down well with the rest of the band so we got another guitarist in.

From what I gather John’s stepfather, Ron contacted MCA and told them they shouldn’t drop John as he had great potential, which they agreed. So they set him up in a recording studio in Dublin to record a single. In the studio next door was Thin Lizzy.

Inevitably John met up and Lizzy and asked Phil if he would sing on, Don’t Leave Me This Way, John’s first single. Lizzy had just lost their guitarist Snowy White and there it was, the opening for John to join.

We’ve remained friends after everything that has happened. I’ll always have a soft spot for John’.

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After leaving Lizzy, Sykes went on to massive worldwide success with Whitesnake, then as a solo artist.

The Tygers played the iconic TV show The Tube, what are your memories of that day ?

‘Yes, it was Christmas ’82. I remember our crew had just loaded our full touring backline of 18 Marshall 4×12’s, stacked three high in cages and fourteen 100-watt Marshall heads onto the stage in Tyne Tees TV studio.

We were in our dressing room and in the distance heard our track Gangland playing, what’s going on here we thought it was getting louder and louder.

Then all of a sudden our dressing room door burst open and standing in the doorway was this huge, blonde, stripped to the waist, head banging monster. We were all shocked.

He had a big cassette player on his shoulder playing at full volume…’You guy’s fuckin’ rock I love you guy’s’. He turned around and walked back out. We looked at each other…‘Wasn’t that Dee Snider of Twisted Sister?’

I’ll never forget that. We talked with them afterwards and they were fantastic, really brilliant. I got what they were all about, the dressing up and make up. Dee was really clever writing those songs, you know the big shouty anthems.’

TV SHOW

In 1982 Love Potion No. 9 was a hit in the UK charts, did you record many TV appearances for the promotion of the single ?
’We were at Newcastle Central Station two weeks running with our tickets in our hands ready to go down to do Top of the Pops, but both times we were told we are not being included in the show.

One show they said they had the full quota of metal bands, i.e. one! To fill the time and the other show was cut ten minutes short because of a Queens speech – and our spot was in those ten minutes.

But we did appear on TV quite a few times, I remember the Old Grey Whistle Test, The Tube, we did a programme called Something Else on BBC2, there was Tony Wilsons Pop World and we did Friday Night Live on Tyne Tees television. There were more I’m sure.’

You formed a band called Sergeant, how did that come about ?

‘Tygers came to an end for me around late ’83, I was still writing songs, I had a little recording studio to put them together. I had over an album worth of songs.

At this time I was still working with Brian Dick the drummer from the Tygers, he left the band at the same time as me. We recruited a singer and bass player, and named the band Sergeant.

We recorded a 4 track demo at Lynx studio in Newcastle, which was owned at the time by Brian Johnson from AC/DC. The manager of Sergeant, Colin Rowell and I, went down to London and hawked the demo around all the record companies.

Colin had a lot of contacts in the music business. He was working as the stage manager for The Tube music programme on Channel 4 at the time.

There was interest from a guy called Dave Novak head of A&R at CBS records. He came up to see us rehearsing in a hall near Jesmond, Newcastle. He liked us and said why not come down to London play a show with Mama’s Boys at the Marquee and I’ll bring Muff Winwood along, the CEO of CBS.

We’ll do the deal in the dressing room. The initial advance was going to be £60,000.’

‘With this good news we set up a meeting at the Egypt Cottage pub in Newcastle with the other lads. They said great but, ‘We’ve decided we don’t want Robb in the band anymore’. I never got to the bottom of why they didn’t want me in my own band!

I left the pub and Colin walked out with me telling them that ‘The record contract is walking out the door as well’. They were shocked and didn’t expect that, they thought Colin would just carry on as there manager.

They apparently replaced me with a guitar player plus a keyboard player! Nice to know it took two to replace little old me! But they only lasted four or five shows. They supported Accept in the UK, and then disbanded’.

‘Not long after that I got a call from Jess Cox. We met up and eventually ended up recording a song of mine called ‘Small Town Flirt’ which Jess released through the Neat record label as he was working with Dave Woods the label owner at the time.

He also re-released a whole load of other Tygers early demo material. But I wasn’t happy at all with the situation and I just got sick of it all so that’s when I ducked out of the music industry.

Until, out of the blue, I got a call in 1999 which resulted in the Tygers, well I say Tygers !

Jess told me he had called all the previous members and asked them if they could take part in the reformation. Apparently only Jess and I could do it as everyone else had commitments they couldn’t get out of. This is what I was told.

So we hired three fantastic musicians, Gav Gray, Glenn Howes and Chris Percy who were in Blitzkrieg at the time I think, and asked if they could help out.

We actually were the Friday night headliners at the Wacken Festival in Germany. Saxon and Dokken were on before us for goodness sake!

We played in front of 22,000 people that night. I got so badly bitten again by the rock’n’roll bug I knew I just had to put the Tygers back together again somehow.’

Fast forward and the album Ambush was released in 2012 and then in 2016 a self titled album…

’That went into the British charts at number 24, the Danish charts were the record company is based, at 13. The album has done really well.

In 2013, Dean who was our longstanding guitarist from 2000, a good friend and a great player decided he wanted to do other musical things and left so we auditioned and now we’ve got Mickey McCrystal on guitar who is a great guitar player, six foot tall, he’s got the looks and an amazing career in front of him – in the spirit of John Sykes!

Tygers are run as a family, and just like a family we all look out for each other and we get on really well. When on tour we’ve got a reputation amongst hotel managers of being a nice set of lads, we don’t tear the place up – anymore, the hotel managers tell us we can book with them again and again.

Gone are the days when we would set off fire extinguishers on hotel landings and super glue TV’s in the bath!’

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What is the feeling in the Tygers camp now compared to 1980’s ? 

‘Tom Noble is back managing us, he first managed the band from 1978-82. He saw us play about three years ago in Rome, we had a drink after the show and we said we were putting a new album together.

He asked if we wanted any help. Perfect timing if you ask me. So, it came at a good time for both of us life is SO much easier with Tom.

It’s much better now, back then you were constantly chasing fame and glory, the autographs, photographs, interviews were all great but having to prove yourself all the time, the competition and ego’s – you couldn’t get away from it.

Thing is, you wanted to be recognised, people buying your records meant you were doing well and you were alive. It was a double edged sword really.

However today is a totally different story, we are very pleased that people still choose to come and see the Tygers. Meet and greet is a massive part of our night and we look forward to it, say hi to the fans, sign a few things and talk to people.

The pressure and ego’s are gone it’s so much more relaxed and enjoyable.’

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What does music mean to you ? 

‘I’ve loved every second of my musical career, the whole ride has been like being sitting at the front of a giant roller coaster, hands up, screaming with delight!

Music is a way of life, it’s a wonderful thing, and it can be your best friend. You can turn to music at any time of your life and it can be a great comforter. I absolutely love it.’

Tygers of Pan Tang are on a UK tour during November 2017. For further info and tour dates contact the official website http://www.tygersofpantang.com

Interview by Gary Alikivi   September 2017.

Recommended:

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

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

Micky McCrystal, Cat Scratch Fever, March 17th 2017.

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

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

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

Richard ‘Rocky’ Laws, Tyger Bay, 24th August 2017.

Dave Allison ANVIL: Still Hungry, 12th November 2017.

THE FAST & THE FURY with Jaguar’s mainman Garry Pepperd

/ Alikivi

1. ROBINLEVET

‘We supported Girlschool at the Royal Standard in Walthamstow, London. The DJ gave us a big build up, the house lights went down, he said ‘Would you please welcome…Jaguar…..total silence, then one lone voice shouted ‘fuck off’..…I could’ve cried….ha ha’.

JAGPROMO

Jaguar were formed in Bristol, UK in 1979 and were in the thick of the New Wave of British Heavy Metal movement.

The band released two singles ‘Back Street Woman’ in 1981 on Heavy Metal Records and ‘Axe Crazy’ in 1982 on Neat.

They also released two albums ‘Power Games’ in 1983 on Neat records and a year later ‘This Time’ on the Roadrunner label.

They also appeared on two compilation albums contributing ’Stormchild’ to Heavy Metal Heroes in 1981 and ‘Dirty Tricks’ on the 60 Minute Plus released by Neat in 1982.

Jaguar Stratford Upon Avon 1981

Original member Garry Pepperd takes up the story…

’My very first band was at school, as I recall we were named Deadly Nightshade. Then at college I had been putting bands together but they kept falling apart without really getting anywhere.

Jaguar was at the time our latest attempt at putting a decent band together, one that might actually stay together long enough to play a gig.

I remember watching Van Halen support Black Sabbath in 1978, that was a really big moment – blew me away. Then seeing Iron Maiden play in a tiny club in Bristol to a handful of people, they were awesome.

It was moments like these that inspired Jeff Cox, original bassist in Jaguar, and I to want to do it ourselves’.

MARQUEE
‘We started gigging in 1980 in Bristol pubs mainly, then we started to go further afield. We got up to Bath, then Somerset, Devon, Dorset and into Wales.

There was a UK music paper at the time called Sounds and they had pages of gigs for the coming week, with all the venues and telephone numbers.

It sounds incredibly simple but we just used to go through the listings ringing up venues and asking for gigs, it worked.

We got loads of gigs that way, some were smaller venues but even so it was great. We would end up driving 150 miles to do a gig on a cold, dark, wet Tuesday night then have to be up early to get to work the next day – hardly any sleep but we loved it’.

Who were your influences ?

‘When I was young the bands I loved at the time, Motorhead, Sabbath, Priest, Budgie and Maiden. I loved UFO but I was also heavily into Ramones, Sex Pistols, The Damned and punk in general.

An odd mix I suppose but all influences. Maybe that is why I like to play fast. Ramones still inspire me today as do Maiden. I am still a huge music fan – always have been’.

What were your experiences of recording ?

‘Well I’ve been recording since 1980 when I first went into Studio 34 in Bristol to record Jaguar demos. Then we released two 7 inch vinyl singles before the first two vinyl albums Power Games and This Time, this was in the early eighties of course.

We did a BBC Radio 1 session for The Friday Rock Show in 1984 and boy how awesome were the BBC’s studios, even back then, state of the art!

We were in the middle of recording the second Jaguar album at the time and didn’t want to go back to our own studio after that !

In the February 1983 edition of Kerrang magazine, Jaguar were interviewed by music journalist Malcolm Dome, and talked about the release of their first single ‘Back Street Woman’ on Heavy Metal Records…

’We sold about 4,000 copies in only 10 weeks, which is good going right ? But the company refused to re-press it and never gave us a satisfactory explanation as to why. That’s part of the reason why we left them’.

AXE CRAZY PROMO

After a slot on a festival in Holland with headliners Raven, the Neat records label owner Dave Woods was in the audience. The result was their next single ‘Axe Crazy’ was released by Neat Records.

Plus the interview in metal magazine Kerrang was a big help in getting exposure for the band…Garry remembers it was all going to plan…

‘Then the Dutch thing started to happen for us so we would spend weekends playing in Holland, quite often with Raven.

That was a whole different ball game, bigger venues, lots of fans, great times, luckily we still get to play there nowadays.

In 1984 we did a British tour with Girlschool, that was good, we played a lot of gigs supporting other bands and played with Lita Ford, Thor and Vardis’.

ADVERT

But by 1985 the band had run out of steam and were put on the backburner. Garry brings the story up to date…

‘After a very long lay off we got back together in 1998 and have been together ever since. The line up has changed along the way, I’ve been the only constant member’.

(Jaguar’s present line up is Garry Pepperd (guitar), Simon Patel (bass) Nathan Cox (drums) and Jarvis Leatherby (vocals)’.

‘We’ve been putting out CD albums, about ten I guess, along with some re-issues. Our last Jaguar album we recorded was in 2014. That was Metal X at Stage 2 studios in Bath. That album had a vinyl release too.

We recently played at the Pyrenean Warriors Open Air festival in France and the Frost & Fire festival in the USA in October 2017 so we’re still going strong’.

WARRIORS

For more info, photo’s and gig dates contact Jaguar on their Facebook page.

Interview by Gary Alikivi   September 2017.

Recommended:

CLOVEN HOOF: Shine On, 20th April 2017.

SAVAGE: The Mansfield Four, 8th May 2017.

TOKYO BLADE: Under the Blade, 26th May 2017.

CLOVEN HOOF: On the Hoof, 21st August 2017.

BACK IN THE GAME with St Helen’s rock band Snatch Back

/ Alikivi

‘We were sleeping in the van during a weekend of gigs. To pass the time before the evening gig, we were invited to an afternoon strip show. We returned to find the van windows had been broken.

The singer was annoyed they only pinched his woolly hat and a half eaten bag of chips. The vintage guitars under the piles of sweaty underwear remained untouched’.

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Snatch Back formed in 1974 in St Helen’s, UK. What are they up to now…

‘After decades of local fan interest we decided to reform the original line up in 2016. Ste and Ian had kept in touch. It was amazing how well we still got on.

As soon as news got out we were invited to headline the St Helens Westfield Street Music Festival and got great press reviews.

We are now building on this to promote and enjoy playing our music again to a much wider audience thanks to NWOBHM fans’.

The line up is:
Ste Byatt – guitar & vocals, John Cowley – lead vocals
Steven Platt – drums, Ian Wood – bass & Vocals

Who were your influences ?
Ste: ‘Watching Jimi Hendrix performing Voodoo Chile on UK tv music programme Top of the Pops. I never believed guitar could be so moving and limitless. Later I saw local band Gravy Train at a local theatre. From the moment their guitarist Norman Barret hit the stage it was ‘I want to do that’.

John: ‘My influences were albums by Black Sabbath, Pink Floyd, Mott the Hoople, Frankie Miller and Free. I walked around school with long hair, tassled jacket and acoustic guitar strumming Neil Young tunes but really wanted to be like Ozzy from the Black Sabbath 4 album cover.

Ian: ‘After watching Ten Years After, Mountain and Mott the Hoople at Liverpool Stadium gigs I wanted to play hard driving blues rock bass. Mott gave an interest in tempering this by writing more melodic novel material’.

Steven: ‘Hearing Foxtrot by Genesis on album and then soon after seeing them at Manchester Free Trade Hall. Loved those complex but driving drums’.

Ste : ‘Our drummer Steve took me to see Hendrix Plays Berkely. We immediately decided to form Snatch-Back as a four piece writing original rock.

We all attended superb, affordable music venues like Liverpool Stadium and Liverpool Empire as well as Manchester Free Trade Hall. We saw great bands such as Back Street Crawler, The Faces, Sabbath, Thin Lizzy, Bad Co, AC/DC, Judas Priest and Queen. They were all very influential’.

Youth Club Gig

Where did you start gigging ?

‘There wasn’t much going on for us really. Our town was filled with social clubs offering bingo and variety acts. The only other nights out were cinema and working men’s pubs which had no music.

There had been one non alcoholic blues club in the 1960’s but was closed before 1970. There were no rehearsal or recording facilities.

Snatch-Back bluffed our way into a local youth club to rehearse on the promise of organising live music concerts. We did this in two local clubs and encouraged recording bands like Gravy Train and Nutz (later Rage) to step down and play for door money’.

With Ste Kay Bass

‘Later the local cinema put us on between films by Status Quo and Rory Gallagher. This made the local news as an unusual event and ensured a larger following for us.

Then a local social club was persuaded to allow us to run a Tuesday rock night. We partnered with another local band and filled this for several years with guest bands and us headlining once every few weeks.

These audiences knew our own material from regular gigs but we had recorded very little apart from band rehearsals.

By this time we had moved rehearsals to a farm where the singer worked. We were constantly writing and recording live demos there but never released any.

With more experience, and having money for a van, we gigged in the surrounding areas of Liverpool, Cheshire and Yorkshire.

These were all gained by doggedly phoning the venues for a gig. Our biggest venues were The Lion in Warrington, The Casino and Mr M’s Clubs, Wigan, The Cherry Tree in Runcorn. Stairways of Birkenhead.

We were amazed to be playing the same venues at the same time as Vardis, Diamond Head, Def Leppard, Judas Priest, Nutz, Limelight, Strife (later Nightwing) and even Alex Harvey’s final band’.

‘Unfortunately, late in the ’80s good venues closed for all but larger touring bands. Faced with longer travel for small pubs we again focused on our local St Helens to self-promote and headline a Theatre gig with capacity 700 seats. Playing alongside other local original bands. We sold this out on two separate gigs.

Unfortunately, without management and commercial savvy, we lost hope of ever topping these achievements outside of our area and finally drifted apart’.

What were your experiences of recording ?

’We recorded in Smile Studios, Manchester sometime in 1975. ’My mate’s got a great studio, very cheap. You need to do a demo tape’ that’s how it started.

Very cheap meant a Sunday morning a quick two tracks and an even quicker mix. Very rushed, very stressed. The band felt they had reached a significant milestone and by the following Wednesday we would be partying with Led Zeppelin after this ground breaking session !

The studio is rumoured to have been used by bands such as Slaughter and the Dogs. It was an 8 track mixer/4 track tape recorder in a basement of a tiny terraced house.

Unfortunately, the engineer was anti-rock, so stressful negotiations ensued in an attempt to get it sounding half decent. We were however, thrilled to be recording and listening to our original stuff in glorious stereo…but vowed to improve’.

SBii Amazon Feb 82 4

‘We sent this demo around and gained some recording company interest. But it was not representative of our live sound. The whereabouts of the tapes are unknown.

Tracks recorded were Shoot on Sight (updated version on our 2016 CD) and another we don’t recall as it was soon dropped due to its ‘formative’ nature.

Next was Central Sound Studios, Manchester in 1979. After playing a Blackburn gig we were approached by a studio owner looking to fill off-peak time.

A deal was struck which included a batch of vinyl singles. A few late evenings recording were completed. We were much more insistent on the Marshall stack sound and worked hard on well-rehearsed overdubs. We were much more confident and happier with the sound.

Again there was a poor engineering match as their experience was with Manchester Indie bands such as the Buzzcocks, who called in occasionally, along with various Manchester theatre and variety performers for all night recording sessions. Comedian Freddie Star popped in one night.

We even did a seperate evening mixing, time was tight though, with artists in before, during and after our sessions. Unfortunately we had never heard of mastering. If this had been good, then the final single would have been a lot heavier.

Tracks we recorded were Eastern Lady and Cryin’ to the Night (Copies of the vinyl on our 2016 CD). Fortunately copies of this single and unofficial mp3 files kept interest in the band and brought us to the attention of NWOBHM fans’.

‘Then in ’81 we went into Amazon Studios, Liverpool. Wow! A 16 track pro studio with great engineering at last. We took great care to get a superb drum sound which the band that followed us Rage, pinched for their Nice and Dirty album.

We planned a separate day mixing and tightly rehearsed all the overdubs to cram 4 tracks into a one-day session! Moving Out, Boogie Shoes, Got Trouble, She’s Dead.

Everything went great as we were much more experienced. However, more time and more overdubs as the engineer suggested, would have improved the sound. Unfortunately Ste B was over influenced by the sparse production of Van Halen 1’.

‘Last year we went into Catalyst Studios, St Helens. Pro digital at last. A determined project to update the bands earlier material and produce a CD for Westfield Street Festival.

We had the advantage of a determined studio owner Andy to assist us and the ability to transfer tracks to home studio for interim reviews and adding backing vocals to save time.

Even so, we went over budget with extra guitar parts. Andy put extra hours in mastering and did a great job. We are very happy with the Back in the Game EP package.

Would have been better with more time, a pro Rock producer and a mastering expert. But we had great reunion fun and its available through our media sites now.

Tracks recorded were Need Some Heat, Shoot on Sight , Gypsie of Love, Rough Treatment and bonus tracks from viny, Eastern Lady, Crying to the Night and a farm rehearsal track Nashville Splatt with rare drummer’s vocals. Additional drum and guideline tracks were recorded in these sessions which we are currently developing for future release’.

Did you film any music video’s or tv appearances ?

‘The only early video was of a 1980’s St Helens Theatre Royal performance. This was never purchased by the band and its whereabouts are unknown. We have a few radio interviews on local independent stations.

We did received regular request airplay of our single on Liverpool radio stations with rock DJs such as Phil Easton on Radio City’.

Have you any stories from your gigs ?

‘A fantastic rock night in New Brighton on the Wirral was followed by the noise of motorboats in the street! What happened was we were due to play at The Empress of India Ballroom watering hole, it’s a first-floor Victorian dance hall.

To disguise it’s decline it is painted black inside. Anyway, we couldn’t park the van next to the entrance. The manager standing next to his Mercedes, was laughing as we parked up the hill and watched us lug the gear down and then scale the multiple flights of stairs to reach the stage.

When the River Mersey winter tides came flooding in the water covered the ground floor but luckily it didn’t reach our van. But the Mercedes guy was waste deep in water attempting to retrieve his car arguing with the coastguard who were talking to him by megaphone. Haha what a scene’.

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‘We had picked up our new manager Mick. Eager to proove himself he copied the early Smile Studios demo and sent it to various record companies.

A letter came back announcing a visit from a London A&R guy to our next gig. This was before the era of internet and mobile phones.

The showcase gig was to be at the New Brighton Empress again. The red carpet was rolled out and VIP admission organised. The gentleman arrived in his Bentley, walked in with a Saville Row suit on and a gorgeous model on his arm wearing an immaculate white afghan coat.

They were greeted by a big hairy venue owner ‘I don’t care who you are, it’s ten bob to get in’.

They expected a polished club act but by then we had ‘matured’ to become a very hairy and very loud bunch of sweaty rockers playing to a sea of Newcastle Brown soaked bikers. ‘We’ve nailed it’ Mick the manager said as he waived the Bentley off.

The following week a polite letter arrived declining Snatch-Back as they had found a more suitable band… The Rubettes. Oh well, no way our hair would have fitted under those berets on Top of the Pops’.
(The Rubettes had a string of hits during the 1970’s and were regulars on UK music programme Top of the Pops)

‘A call from Mick the manager he said ‘Got you a great new venue – definitely rock, you’ll love it’. Yes it was rock…and roll too! It was a Teddy Boy jive night. We had to fill an hour and a half with Led Zep rock and roll plus very long Chuck Berry jams or get beat up.

Another time we played a late night club in a defunct church near Oldham, Lancashire. The owner was a dreadlocked Rasta who hated rock music but loved the amount of drink that it sold.

We returned for a gig to be faced with another band already setting up. ‘Sorry man. We arrive early because we have trouble with our home made light show’.

The Rasta says ‘Sorry I’ve double booked. Thing is I can’t stand rockers. One band is as crap as the other and they are set up already, so goodbye’. The other band was Def Leppard and things seemed to look up for them after that gig’.

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What is the future for Snatch Back ?

’We are not against becoming involved with managers, promoters or record companies. We welcome any support or advice that we can get to promote the band.

We aim to continue to play gigs by establishing contacts in the New Wave of British Heavy Metal and local rock band communities.

We still find partner bands playing original rock and organise venues where possible. We love the recording experience but there is some regret that we didn’t do more recording in the 1970’s and ’80s.

Our main focus then was keeping the band financially mobile by keeping the van and equipment running and building a live fanbase. We are currently recording and working on new material for another release’.

Forthcomming gigs:
21st October 2017 E Rooms, Skelmesdale
16th December 2017 Yorkshire House, Lancaster
16th February 2018 The Griffin, Newton-le-Willows

Contact the band for more info including gig dates, photos, videos and shop at the official website snatch-back.co.uk

Interview by Gary Alikivi   September 2017.

CALIFORNIA DREAMING – Jon Dalton on his journey from Glastonbury to L.A.

/ Alikivi

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A call came in from Los Angeles ‘Hello Gary, it’s Jon here how you doing, I received a message that you have been asking about Gold. Well here is the story’.

Before we go any further let me give you some background. Gold were formed in 1979 in Bristol, UK by guitarists Jon Dalton and Pete Willey.

Like many of their contemporaries, Gold had grown up listening to first generation rock and metal bands Led Zeppelin, Deep Purple, Black Sabbath, Free and later Thin Lizzy and Queen.

Gold’s music was a combination of space and glam mixed with heavy rock. Jon has lived in USA for 20 years as a professional musician.

‘I moved out to the US in 1999, I have Native American roots so it was like coming home. I also wanted to move my jazz career along. It seems that was a good call.

I got signed to Innervision Records in 2003 and they released my first CD with them The Gift, and it did very well. The title track reached number 1 on New York’s CIM jazz chart.

I spent some time over 2006-2007 back in the UK touring and recording with a jazz organ trio with my friend John-Paul Gard on Hammond organ. I released the resulting album in the US in 2009 and it’s been very well received among people who like that kind of jazz.

I still come back to the UK from time to time for mini-tours with John-Paul and I love doing that. Gives me a chance to catch up with my UK friends and my family’s mostly over here these days’.

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‘I keep myself busy playing live with a residency in Los Angeles. I also have a YouTube channel dedicated to jazz guitar with performance videos, instrument reviews and playing tutorials, that kind of thing.

I just got done completing the first track of my next CD with producer Richard E.

Richard has done a wonderful job on that and a performance video cut will be up on YouTube soon. If things go according to plan, that CD will release on Innervision in 2018’.

When did you pick up a guitar and who were your influences ?

‘We had an 8 track player in the house and I’d listen to the Stones, Bowie, The Doors anything I could get my hands on, I was really into my music.

I was already playing a bit of rock guitar but I was mostly into progressive rock like Yes. Then around 1975 I met Pete Willey and we hit it off straight away.

Pete and I formed a school band called Grafitti we did a few school gigs and played in some pubs in Bristol. One memorable gig was in The Naval Volunteer.

My chemistry teacher came into the pub and saw me playing. Next day at school he said you were quite good last night, maybe that’s why you never do your homework haha.

That band split up after the summer holidays and I started hanging out on the free festival circuit in the west country. I used to like Steve Hillage and the band Gong and they were heavily involved in these festivals.

I think it was 7th day of the 7th month in ’77 when I first went to a festival, yes very mystical ! And there was Tim Blake’s Crystal Machine ’79 Glastonbury with a laser light show I’d never seen anything like it – blew my mind.

I was a complete dyed in the wool Gong fan I couldn’t think of a better thing to do than sit in a damp field and watch them play at a free festival !

I may be wrong on the dates but I think it was 1979 when they started charging, it was a fiver to get in but Tim Blake’s Crystal Machine, Steve Hillage and Mother Gong were on the bill so I think it was probably the best fiver I spent’.

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Did you form a band again and what venues did you play ?

’I met up with Pete Willey again, he was more of a straight ahead rocker. He liked bands like Thin Lizzy, Queen but in common we liked songs from Free and Bad Company. Pete also had good knowledge of what was in the charts at the time.

He liked a bit pop music, I was a bit more of a rock snob really. We brought this sound together and that formed the early version of Gold. We started getting a few gigs one was at The Granary where all the top rock bands played.

There was Tiffanys, The Locarno, we did have a good following for our spacey rock. This was at the end of the hippy rock era just before the tables turned and in came punk’.

What were your first experiences of recording ?

‘We recorded a 3 track demo Mountain Queen part one – I think the idea behind this song was a trilogy, but I can’t remember a bloody note of parts 2 and 3 haha.

Other tracks were Change for the Better and Is My Love in Vain that was a really popular song a sort of love ballad with a guitar solo in the middle.

We then changed our bass player, the first was Andy Scott who was more of a new waver he played on that demo but he really wanted to do more new wave stuff.

We got another guy in Paul Summerill he was more of a rocker listening to bands like Rush and played a Rickenbacker bass.

We had a guy called Steve Dawson on drums. There was a guy called Al Read who used to run a rock show on Radio Bristol and he played our stuff a lot and get us on for a few live chats’.

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‘But that line up of Gold split up and I started playing in a jazz funk band Climax. I still liked my rock though. I went to see AC/DC on one of their first tours in the UK and I remember the guy on the radio saying they were like a rock band but quite punky.

I couldn’t see how the two would work together and I went more out of curiosity really and wasn’t sure if I’d enjoy it. But by the end of the concert I was dancing and jumping around, they were great.

The name of the band at the time was quite daring plus they were breaking all the rules with this punk thing. Walking outside I thought that’s the future of rock.

The sound was edgier, harder and I could see that society was going that way, politics were changing, Thatcher got in power 1979 the whole landscape was changing and not in a good way.

Bristol had around 250,000 people and in the whole city there were a handful of homeless people. Then suddenly there was a big rise in people living on the streets, it became a different world.

There was a sense that everything had hardened and that transferred over to music with the start of NWOBHM with Iron Maiden and Saxon’.

Were you aware then and now, the impact of the music scene – heavy rock/metal/nwobhm ?

‘Well, I can say that, at the time, music was incredibly important to a lot of young people. What you listened to defined who you were, where you hung out and who your friends were likely to be. Right down to every little sub-set of every kind of music you can think of.

Back then, if you bought an album, that could be the central talking point of your life for months. People would come to your house and listen to and discuss it.

How it sounded in itself, how it compared to previous releases, where the act might be going. I can’t stress how important that kind of thing was to us. It was our lifeblood.

I think today, with the internet and access to a gazillion tunes at your finger tips rather than having to go out and buy it, people are more eclectic in their tastes.

That means that they tend to be less tribal but it also results in a sense of a greater loss of community. People are much more individual and isolated today than they were back in the day.

Many of my friends from Gold days, are still in touch now and we still have the same core interests that we used to have back then. I’m still a Heavy Metal hippie/biker underneath despite the fact that these days, I’m more likely to do a gig in a dinner jacket than a cut-off t shirt and spandex pants’.

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‘I would add that, here in the States young people still really revere the classic rock acts of the ’70s. Led Zep, The Who, Pink Floyd. They’re still seen as the classics, rather than that stuff your Dad used to listen too.

That may just have something to do with the sheer size of the place.

New ideas take longer to roll out here to the extent it affects the culture. For instance, dance music and electronica never really took off in the US at all beyond a small cult following.

I can remember in the UK that you had to be really on top of things or people would laugh at you for being dated or old hat. That never bothered me because I couldn’t care less about trends and fashions.

Americans don’t seem to care so much about that. If something’s good, it’s good regardless of when and where it was made or who made it. I guess you need both angles to make the world work’.

How did Gold get back together ?

’I bumped into Pete we had always been good mates, and he said come and have a jam well I thought ok. I’ve seen AC/DC lets have a harder, rockier sound.

There was Phil Williams on drums who had a great laid back powerful sound and that’s what we needed to move forward, it’s what we were looking for.

We went out with this new version of Gold and the crowds we were playing to then were headbangers in their late teen’s. We bought a pa system and rented it out to other bands to make a bit of money because we were broke.

It was all coming together, we got a van and toured around the country. We got all over, up to Reading, Southend, Doncaster we were out a lot and picking up some interest.

I heard we were watched by scouts for the management team from Motorhead and Girlschool, they were looking for a support band for the tours. But one night we got back home at 4am after playing and for once we decided not to unpack our van.

It got pinched. All our cabs, pa, the lot. We didn’t have the money to replace the gear, we had no idea who had done it or where it had gone. Sadly, that was the end of Gold. That’s the story in a nutshell really’.

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‘We really had a blast but listening back to recordings just before that happened, I got the feeling I had enough, and it was time to move on. Although that loss of equipment was a tragedy, I didn’t want to be stuck being a rock musician.

I admired great guitar players like Eddie Van Halen and Randy Rhoads. They were brilliant guitarists but some became these crazy virtuosos, and hair metal bored the pants of me.

A band was at its best when you had team players, camaraderie of playing in a group is what I like’.

Compared to the GOLD days what is the feeling you get today going on stage to perform?

’Well I’m a lot less nervous now than I used to be. I’ve always been a bit shy about performing which is odd because I get on well with people and I’m not exactly an introvert.

But my hands used to shake like jelly and I could barely hold a guitar pick for the first few songs.

I did do about eight years on what we used to call the Cabaret circuit, that would be playing covers around the world in bars and hotels and on military bases.

After sometimes, playing five, forty-five-minute sets per night every week and six on Saturdays that kind of work tends to knock that out of you.

I still get the heebee geebees a little today but nowhere near as much because I’ve kind of trained that out of me. I also realize that it’s only a gig. There will be another one tomorrow or maybe their won’t.

As for the upside, that’s never changed. Every now and again you get a stonking gig. You can never tell or anticipate when that’s going to happen, it just does. Your playing kicks up a notch.

The audience senses that something’s going on and focuses more clearly on what you’re doing and something transformational happens.

It’s moments like that, that keeps us musicians chasing the dragon in terms of live music. There’s nothing like that sensation and I’m as much a sucker for it now as I was 40 years ago’.

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What has music given you ?

’Music is my life. It has been since as long as I can remember. It’s defined me as a person. Taken me around the world, paid my bills, introduced me to my greatest friends and provided me with years of beauty, solace and wonder.

My greatest inspiration has always been watching my grandmother Ada Dalton who would get up, every year, on her annual church bash on the stage of the Methodist Central Hall in Bristol and sing When I Grow Too Old To Dream in memory of her husband John-Francis who died between the wars from complications of being a soldier.

She passed on in 1974 at the age of 88. She never had much, but her love and passion expressed through music, kept her going. I learned a big lesson from that.

Mostly that you should never give up, whatever the cost. Some things in life are just too important to let slip away. To be honest, I’m still chasing that level of heart and conviction in my work.

I know I’ll never come close, but it gives me a reason to get up in the morning. That’s what music’s given me. Thanks for taking the time to investigate Gold. I’ve really enjoyed sharing these experiences.

For more information contact the official website jondaltonjazz.com

Interview by Gary Alikivi September 2017.

First new Warfare album in 25 years. The noise, the chaos, the mayhem – the world of Evo.

/ Alikivi

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As we’re talking on the phone the memories from 30 years ago are flooding back for Evo…

‘We recorded a version of Addicted to Love by Robert Palmer, the record company banned it and stopped it going out cos we changed the song to Addicted to Drugs.

We done a gig at the Marquee in London and it was one of my dreams to play on that stage.

It was a great gig and for an encore we did Addicted to Love. We got a porn model on stage with us, she stripped off and squeezed lotion all over the audience, the kids at the front loved it, lapped it up, it was in their hair, everywhere, what a laugh – backstage she wanted to play with my snare drum haha. Those were the days, and I lived it to the max’.

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It can be difficult to pick out the best bits of your career but isn’t it strange how events happen and years later they come back round…

’I’ll tell you about the inspiration that started me out on the long road to rock n roll. After 25 years I’ve released a new album. It’s a follow up to the noise I created in the 1980’s.

On the album I’ve got a few friends and guests like Fast Eddie Clarke from Motorhead, Lips from Anvil and Paul Gray on bass (UFO/The Damned) he wrote Do Anything You Wanna Do.

I remember as a 14 year old boy in a cafe skiving off school I heard Eddie and the Hot Rods on the radio singing Do Anything You Wanna Do. That’s where it all started. The rest is history’.

How did you get started when you were young? 

‘I could play bass guitar but drums appealed to me simply because they were loud and I didn’t want no 9-5 fuck that. I could create more mayhem than I even did at school.

I wasn’t influenced by any drummers, I have my own style, possibly Rat Scabies from The Damned if anyone.

I started off in local shitty bands when I was around 16 they weren’t much but the first name band was Major Accident. We supported Chelsea around the UK.

I was very young and enthusiastic wanting to get on but you know with some bands it just doesn’t work I got on really well with the group but thought I wanted to go up to the next level.’

During the early 80’s you were living in London, what was the scene like ?

‘Yes we were having a good time in London, however I went there for a reason, to further my career and experience. I went out drinking around Soho with the Stranglers and Motorhead.

There was a band called The Blood who were talked about as the next big thing. I joined them and cut an album False Gestures for a Devious Public which is regarded as a cult classic now.

It got to number 62 in the album charts. But after some internal fighting I left the band and joined Angelic Upstarts’.

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Was that a case of out of the frying pan and into the fire ? 

‘No I got on well with my old mate Mensi. We toured all the time, on my very first gig Mensi the singer said ‘get yersel ready cos in a few days we’ve got a little gig up in Leeds’.

I was still living in London and I went round to Algy Wards place (The Damned bassist) just around the corner from where I was living and told him about this small gig we’ve got.

I’d never played live for about six month cos I’d only recorded with The Blood. Algy said, ‘what? no the gig’s at the Queens Hall – it’s called Christmas On Earth it’s gonna be the biggest punk festival’.

On the day we arrived at Leeds there’s huge Trans Am trucks inside the place unloading the gear, the place was massive. We ended up second on the bill.

There was The Damned, Chelsea, Anti Nowhere League, GBH, UK Subs a few more. On stage you could feel the power of the audience. 15,000 people bouncing… a little gig in Leeds!’.

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‘But I wanted to try a few more of my own ideas you know, fronting my own band. So I formed a three piece mixing punk and metal – the way no one had done it before.

Metal riffs and intellectual lyrics that stank of the street. Not at 10 but hitting the volume at 12, thrash wasn’t even invented then.

Around early ’84 I came back up North and signed for Neat records, this was the beginning of Warfare. Neat was known as a very loud label, no commercial releases, you’d always be garaunteed to get yer ears blown out.

A lot has been said about Dave Woods the label owner, some stuff I’ve heard about his dealings with bands. But personally I got on with him.

It’s how you do business together isn’t it – he put me on a wage, because that’s what I asked for. We’d go out for meals, he became a family friend.

Anyway we went in the studio and recorded the first single Noise, Filth and Fury. On guitar there was Mantas from Venom, Algy Ward from The Damned on bass, and I did drums and lead vocals’.

(Nerd alert:The 7” three track ep single was produced by Evo at Impulse Studio’s, Wallsend the home of Neat records, and released in 1984.

A side Burn the Kings Road, b side The New Age of Total Warfare and third track Noise, Filth and Fury.)
‘That immediately got to number 2 in the Heavy Metal charts. Then we cut the first album Pure Filfth’.

‘The second album was Metal Anarchy and iconic Motorhead man Lemmy produced that. Tracks like Electric Mayhem, Disgrace, Living for the Last Days, a big seller along with Venom and Raven.

You know looking back Neat had some good bands on the label, but if you really wanted your music big, angry and fucking loud that’s where Warfare, Venom and Raven came in. We didn’t take any prisoners’.

Any memories from that time ?

‘This one was fucking chaos. Typical Warfare. We played Newcastle Riverside and didn’t get paid. It was supposed to be 50/50 split on the door but the Riverside were letting in people free as a promotion before 8pm which I was never told about and certainly never agreed to. It all ended up in court.

Anyway, when they didn’t pay we went mad, headbutting the manager, pissing in the amplifiers, smashing a huge hole in the centre of the stage, the crowd pulled the speakers off the stage.

I smashed a bouncer in the face with a bass guitar. We created absolute mayhem.

Same when we went to Holland, we gigged there, and the same sort of thing happened. We threw real pigs blood at the audience. It was mental in Warfare – that’s what I wanted it to be – totally over the top. Gleeful and all in a day’s work’.

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What’s changed in the world of Warfare, why choose now to release an album?

‘Back in the early 90’s I got really pissed off with the industry, I had run out of ideas, I wasn’t a young kid anymore, it all came to a head really, so I decided to stop.

Over the 25 years since, I’ve been offered jobs with name bands, guest vocals, producing albums, but always turned them down until I had a dream one night. No, seriously. I was in a band again. On stage, the lights, the noise.

When I woke up it was like the dream was still there. So I dragged my bass guitar out of the garage, I didn’t have an amp so I went to see my mate Fred Purser at his studio (ex Penetration, Tygers of Pan Tang) we knew each other from way back when we were starting out.

Plugged into a valve amp hit the first chord albeit a bit rusty and blew everything off the desk haha.

He said ‘Evo can you not turn that fucker down ? I said ‘no, on the contrary Fred, I’m going to turn it up haha’. Then the noise filth and fury was back in my polluted bloodstream’.

Next stop was writing and recording during 2015 & 16, after hearing the newly released Warfare album on High Roller Records it sounds like he was having a blast, ironic that one of the studio’s was Blast in Newcastle.

Friends including Nik Turner (Hawkwind) Fast Eddie Clake (Motorhead) and Lips from Anvil making appearances. The album was also recorded at Wild Wood studios and at Trinity Heights, the home turf of Fred Purser who supplies guitar on two tracks.

The first ‘Screaming at the Sea‘ a spoken word intro and bang into the attack of ‘Cemetery Dirt’ and attack again, again and again.

Fast Eddie Clarke plays guitar on ‘Misanthropy’ ….’Step into the Fire they do as they are told, Greedy for a future always fighting for some gold’ …sounds like a scathing attack, look up the meaning of Misanthropy – well what else you got ?

Religion and the clergy are in the crosshairs on ‘Black’ and Evo keeps up the relenting pace from the spoken word first track, until the perfect book ending to the album ‘Stardust’ which offers a nice escape route. It must have made an impact – it will for you.

‘I asked Lips from Anvil to do a spot on the album he agreed straight away, great guy. I liked Anvil cos I always thought they were the first thrash band with Warfare being the first punk metal band.

And we’ve got Nikky Turner from Hawkwind on the album that driving bass from Lemmy and the powerful sound they created’.

Have you any future plans for Warfare ? 

‘Well the album is out now and doing very well but I’ve no plans as yet to take this out live, I’ve been offered shows, but nothing has stuck with me yet. I’m looking to do some producing work, maybe if the right act comes along. I’ve got a top-class engineer working alongside me so yeah looking to get into that side of the business.

Counting back, I’ve recorded 17 albums in my career. I‘ve had quite a journey in music and a load of experience to take forward into production. I may consider doing a guest vocal or two’.

Warfare new album out now on High Roller Records http://www.hrrecords.de

For more info contact Evo Evans on his facebook page or Lucy at Mayhem Management levans@tiscali.co.uk

Interview by Gary Alikivi September 2017.

Recommended:

Mond Cowie, Angels of the North, 12th March 2017.

ANGELIC UPSTARTS: The Butchers of Bolingbroke, 1st June 2017.

Neil Newton, All the Young Punks, 4th June 2017.

Wavis O’Shave, Felt Nowt, 6th June 2017.

Crashed Out, Guns, Maggots and Street Punk, 6th July 2017.

Steve James, Under the Skin, 9th July 2017.

Wavis O’Shave, Method in the Madness, 5th September 2017.

Steve Staughan, Beauty & the Bollocks, 1st October 2017.

Steve Kincaide, Life of Booze, Bands & Buffoonery, 11th January 2018.

THE DEVIL RIDES OUT – with NWOBHM band Satan’s Empire

/ Alikivi

During winter 2015 heavy metal band Satan’s Empire reformed. They first got together in 1979 and were originally from Dundee in Scotland. Then moved to London in 1981.

Today the band have 2 founding members left, Derek Lyon on vocals and Sandy McRitchie on guitar. They replaced Duncan Haggart and Billy Masterton with Paul Lewis coming in on lead guitar and rhythm section Wayne Hudson (bass) and Garry Bowler (drums).

The band sat down and revealed all about Satan’s Empire…

‘We’ve been really busy setting things up. We signed an album deal this year with 3Ms Music from St Albans and have finished recording the album, the final mixes are being completed as we speak’.

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Where did you record the album?

’The drums and bass were recorded at Smokehouse Studios in London, then we travelled to the Coach House Studios in Hesdin, France to do guitars and vocals.

In all it took about 12 days to get it down. We are still sorting out the order of the songs, but the album is called Rising.

Titles of some of the tracks, Satan’s Empire, On the Road to Hell, Slaves of Satan, Dragonslayer and Soldiers of War. It will be available early 2018 as a Limited Edition 8 track Vinyl with a bonus 7″ 2-track single of a demo from 1984.

Sleeve design is by Andy Pilkington of Very Metal Art’.

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When you started out who were your influences and how did you get involved in music ?

‘Music began for us from a school band doing covers and as our skills developed, we played more difficult songs. Until eventually we started jamming and writing our own stuff, that was about 1979.

We were listening to the likes of Led Zeppelin, Judas Priest and Iron Maiden’.

When did Satans Empire start playing and have you any funny stories from those early gigs ? 

‘We did local pubs and clubs as well as dates all over Scotland. For a name band we supported Budgie in Dundee at the first Dundee Summer Festival.

I remember one time we did the American naval base at Dunoon in Scotland as a favour for a friend. When we turned up, we got the gear ready on stage, then looked around and saw most of the punters were wearing cowboy hats!

One guy said ’Hey boys you must be the Country & Western band ?’ When we cranked up the volume and started playing they got a bit of a shock!

What were your early experiences of recording ?

‘Our first proper session was at Craighall Studios in Edinburgh. The demo was recorded on a small sixteen track where we came out with 2 tracks, Suicide Man and Soldiers of War’.

(Nerd alert: ‘Soldiers of War’ appears on Lead Weight, a compilation released by NEAT Records on cassette in 1981. There are 11 bands with one track each on the tape including Raven, Warrior, Blitzkreig and Venom.

Although Fist are on twice, their first track is ‘Throwing in the Towel’ and they are listed as their former name Axe to record ‘S.S.Giro’.

Another compilation on NEAT Records is ‘The First Strike of N.W.O.B.H.M’ released in 1996. This also features ‘Soldiers of War’ and 16 other tracks by bands including Jaguar, Tygers of Pan Tang, White Spirit and Hellanbach).

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Are you aware of the impact that NWOBHM has had ?

‘We had a bit of an inkling when people kept asking us to reform – kind of cemented that assumption. There are a few bands within the NWOBHM movement that we are friends with and done gigs with’.

What is it like now rehearsing and playing live compared to 1980’s ?

’We rehearse at Farm Factory Studios in Welwyn Garden City and its fine there. To be honest there is no difference really only that we are more focussed at playing and not too much larking around.

Bands we have met are more friendlier than the ’80s and we have made some good friends here’.

How do you sort out the set list, what songs are first/last and is tempo important ?

’We initially had sets for 30, 40, 45 and 60 mins to cover all options, and until recently, we always kept the same relevant set, but now we are just kind of flying it to see how it goes with the audiences’.

What are the future plans for Satan’s Empire ?

‘By the end of this year we will have done around 30 gigs as part of the On the Road to Hell tour. We are up and running and when the album is released we will be ready to promote it.

For starters we are off to Europe in October with gigs in Belgium and France followed by two dates in the North of England in November at Newcastle and Dundee’.

For more info contact the band on various social media pages Facebook, Reverbnation and Bandcamp.

Interview by Gary Alikivi August 2017.

Recommended:

SALEM: To Hull and Back, 6th April 2017.

CLOVEN HOOF: Shine On, 20th April 2017.

WEAPON UK: All Fired Up, 6th May 2017.

SAVAGE: The Mansfield Four, 8th May 2017.

TYTAN: Back in the Ring, 25th May 2017.

TOKYO BLADE: Under the Blade, 26th May 2017.

JAGUAR: The Fast and The Fury, 24th October 2017.

PLAYED HIS CARDS RIGHT – celebrating a 45 year career with vocalist Pete Allenby

/ Alikivi

‘Every five years or so I still get very small royalty checks… about enough to buy a bag of chips!’

New Wave of British Heavy Metal band Tarot came from South Yorkshire. They formed in 1979 but folded in late 82′

‘There are no plans to reform. I have a four piece rock band called The Method and we play covers of band’s like Toto, Rush, The Who and Queen. We do about 30 gigs a year, we do it for the love !’

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Who were your influences and how did you get involved in playing music ? Was there a defining moment when you said ‘I want to do that’ ?

‘I first got involved in music when I was asked to join a band soon after leaving school, and realised I wasn’t that bad at it! My main influences then were The Who, Queen, Joe Cocker and Alex Harvey.

My defining music moment was probably when I first heard Won’t Get Fooled Again then I bought the album, Who’s Next and played it to death! Also when I first heard Seven Seas of Rye by Queen. I’d never really heard anything quite like it before!’

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When did you start playing gigs and what venues did you play. Was it in the immediate area or travelling long distances, and did you support name touring bands ?

‘I started playing in ’72 but my first gig’s with Tarot started in 1979 in working men’s club’s. The line up was me on vocals, Malc King on guitars, on bass we had Brian Redfern and Andy Simpson on drums.

We quickly started playing at recognised rock gigs of the day, Ford Green in Leeds, Boilermakers in Sunderland, in Halifax was The White Lion then over to Jenks bar in Blackpool’.

‘We also supported bands like The Jags, John Parr, Fischer Z, Frankie Miller and Def Leppard -whatever happened to them ! On those gig’s we played the Universities, Newcastle Mayfair, Queen’s Hall in Bradford, we got to Doncaster, played The Cock and Lion in Bridlington and The Pier at Lowestoft.

Back in those day’s we got around the North a lot, we covered a lot of miles’.

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What were your experiences of recording ? 

‘From 1979-81 Tarot recorded three demo sessions, first was in Halifax where we recorded five tracks in one day. I can’t remember the studio name but I do recall it was on the fourth floor cos I nearly had a coronary carrying the kit up there !

Our second and third recordings were at September Studios in Huddersfield, where we recorded six tracks in all, three at each session.

I can’t remember how much the sessions in the recording studio cost, but coming from Yorkshire I guess it wasn’t mega expensive. HOW MUCH! Being the Yorkshire man’s mantra!’.

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‘The only published song from these sessions was Feel the Power which appeared on the compilation album – New Electric Warriors released in 1980.

I remember seeing the album in the local record shop, was a bit disappointed with the cover. You’ll know what I mean if you’ve seen it.

How that came about was someone got in touch with us via Sounds magazine I think, they had checked our name as we were in the metal chart most weeks.

Streetfighter were also on the album, I met their manager a few times. We did a gig with them at Leeds Uni and the BBC came to film some of it including us.

I’m sure it was something to do with Peter Sutcliffe the Yorkshire Ripper not sure why. I don’t remember it being shown on tv’.

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‘We also done a mini promotional tour for the album. To be honest I don’t know how many copies of the album were sold back then. It was re-released as part of a triple box set of NWOBHM, which I bought a copy of.

I managed to by a cd version a few years back of New Electric Warrior’s and also a vinyl copy too! I still get very small royalty checks every five year or so, about enough to buy a bag of chips !’

‘All the Tarot material has just been released for the first time, on a remastered cd Rough and Ready. To order a cd you can contact me directly at horacedog@talktalk.net or the band via facebook page’.

Interview by Gary Alikivi August 2017.

INVADER FROM THE NORTH – Spartan Warrior guitarist Neil Wilkinson

/ Alikivi

In a previous interview on this blog (Chain Reaction, May 21st) Neil said’   After Pure Overkill we thought things were starting to happen, the bloke who ran Guardian Studio asked if we wanted to do a full album, we said yeah let’s go for it’.

Based in Sunderland North East UK, Spartan Warrior recorded two albums in the 1980’s, ‘Steel ’n’ Chains’ on Guardian Records and ‘Spartan Warrior’ on Roadrunner. They also appeared on compilations ‘100% Pure Metal’ and ’Pure Overkill’.

The band are still playing live so I got back in touch with Neil and asked him how long does it take to prepare for gig’s ?

’Well the amount of preparation depends on the gig really. Gigs abroad are definitely more complex as we have to book ferries or flights and there’s usually travel to the airport or ferry terminal to take into account.

For a lot of gigs that involve the ferry travelling through Dover is usually the cheapest, which for us in the North East involves an overnight drive to get an early ferry and then drive to a gig.

There’s been times I’ve set off around 9pm on a Friday evening and drove to Dover for an early morning 6 o’clock ferry which gets us to Calais for 8am allowing for an hours time difference.

Then drove to a gig and literally gone straight on stage to play having not slept a wink. I’m certain that’s a situation that’s not unique to us’.

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‘Also if we need to hire a van it can be a lot of work – you wouldn’t think it, but it is. Also with a van comes a higher cost on the ferry. The whole thing can be a lot of work and probably way more involved than people think.

So far there’s been no problems apart from the time Dan decided to wear his bullet belt going through Heathrow airport ha ha – he actually put it through the scanner.

He was lucky to make it to the gig that time and I was sat in the airport thinking how we could busk the gig as a four piece’.

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Is there any difference from coming of stage now to when Spartan Warrior played their first gigs ?

’There’s a definite difference. These days after gigs people want to talk and meet us and even sign stuff for them which is really nice’.

What kind of ages are in the audience and do you see familiar faces ?

‘We get all ages at festivals I’ve seen old blokes – like me – and parents with babies with ear defenders on. Its quite a small scene so you do get to see a lot of familiar faces, a lot of them are now friends’.

The set list, how do you decide what goes in/out, is tempo important to the order, how do you choose the first and last songs ?

’Putting a set list together is usually a joint exercise. There’s a core of songs that we class as must do, the one’s we think people expect to hear us play.

Other than that we try and switch the set up as much as possible so that people who’ve seen us before will get to hear something different. Tempo is important and we sometimes try and run songs into each other.

Playing the gigs we do and with four albums worth of songs we usually have limited time so we try and play as many songs as we can. Both first and last song we try and choose something that will hit hard from the off.

I remember reading something that had been written about us at Headbangers Open Air festival in Germany, they said Spartan Warrior opened with Stormer, ‘and nearly ripped my head off’. Well that was job done and exactly the reaction we wanted !’

In the coming month’s Spartan Warrior have a few gig’s coming up are there any that stand out ?

‘We’ve got the Trillians gig in Newcastle in November and we are looking forward to Grimm Up North which is a charity event’.

On September 30th in Bury is the Grimm Up North Festival.

On the bill are fellow NWOBHM bands Salem, Weapon UK plus a whole host of others who are coming together to help Steve Grimmet vocalist from Grim Reaper who tragically lost his leg while on tour in South America.

‘We are really looking forward to those gig’s, not just because we are playing but we also get to catch up with loads of mates in bands who are also on the bill’.

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Interview by Gary Alikivi August 2017.

Recommended:

MYTHRA: Still Burning, 13th February 2017.

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

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

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

WARRIOR: The Hunger, 12th April 2017.

FIST: Turn the Hell On, 29th April 2017.

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

TYSONDOG: Back for Another Bite, 5th August 2017.

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

SPARTAN WARRIOR: Chain Reaction, 21st May 2017.

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

Vince High, Vinyl Junkies, 11th December 2017.

INCREASE THE PRESSURE – with Salem’s Paul Macnamara & Simon Saxby

/ Alikivi

This year UK metal band Salem completed dates at Brofest in Newcastle, Metarock in Barcelona and Wedfest in Hertford. They’ve also been working on new album Attrittion with release date early 2018 on Dissonance Productions.

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The Hull based group have lined up four gig’s starting September 30th in Bury at the Grimm Up North Festival.

On the bill are Spartan Warrior, Weapon UK and a host of metal bands coming together to help one of their own.

Steve Grimmet vocalist with Grim Reaper tragically lost his leg while on tour in South America. It left him and his family with massive medical bills.

With a lot to sort out, Salem guitarist Paul Macnamara (pic. below on left) and frontman Simon Saxby told me about their plans.

Paul: ‘We played at British Steel in France 2015 and we’re really looking forward to do that again. Blast From The Past is new to us though we have gigged in Belgium several times already. And then Grimm Up North, well that’s something else quite special’.

Simon: ‘Preparing for gigs these days takes less time than it ever did when we were young and keen. I think because we’re old and keen to get out of going shopping…again. We tend to rehearse at home, and have a full band rehearsal nearer the gig just to make sure.

Paul Mac does most of the travel arrangements and thankfully, so far nobody has forgotten passports. However we are guilty of forgetting that it takes longer to remember whether you have got everything you need before you set off. Maybe that’s an age thing’.

Paul: ‘I do remember one time when arrived to pick up Simon at 6am in the way to a gig in Europe. He was asleep and didn’t hear his phone – so we resorted to throwing stones at the window of his third floor apartment!

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On 7th October they go to France for the British Steel Festival playing on a bill with Tytan, Satan’s Empire and headliners Oliver/Dawson Saxon.

How do the band write the set list, decide what songs are in/out and is tempo important to the set order ?

Simon: ‘The set list is obviously governed by the time allotted, however, as we have continued writing and recording new material the choice of what to leave out gets more challenging.

The first song is always one with impact and power and thankfully we have a few to choose from. The last song is usually a song like Forgotten Dreams. The pace of the set fluctuates between those two’.

Paul: ‘We try to select a good blend of old and new, some from the 1980’s and increasingly more from the recent albums. We are always excited to include our newest material, so we may start incorporating songs from our forthcoming Attrition album soon – maybe!

During December the band have two more festival gigs to wrap up the year. On the 2nd they are at the HRH NWOBHM in Sheffield with Avenger, Diamond Head and headliners Raven.

What kind of ages are in the audience and do you see familiar faces ?

Simon: ‘With the popularity of rock music and the organisers of gigs being family people, we find a mixture of all ages. There is an honesty and warmth amongst the metal community that is ageless and the audience always reflects that’.

Paul: ‘And we do see more and more people at our gigs who have become our friends over the years. It’s great to see them there – singing along to all our songs.  We really appreciate their support’.

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Finally, they travel onto Belgium for Blast from the Past festival playing alongside The Deep, Tysondog and headliners Diamond Head.

Is there any difference from coming off stage now to when Salem played their first gigs ?

Simon: ‘Yes it’s more tiring but many times more rewarding. We actually take time to enjoy every second on stage and enjoy a cold beer, a chat with people afterwards. Then a good night’s sleep before setting off again’.

Paul: ‘Definitely. For a start, we are playing bigger events than in the 80’s so there are a lot more people keen to talk with us at the merch table – which is great – and the dressing rooms are better, rather than having to change in the toilets!

I’m sure we work harder to put on a show which as Simon says is tiring – and it’s so good to engage with the audience. It is such a brilliant feeling to see so many people enjoying themselves who know our music and are singing along with us’.

For more info on gig’s, album releases, merchandise and listen to some of the tracks contact the band at the official website salemband.co.uk

Interview by Gary Alikivi   August 2017.

Recommended:

SALEM: To Hull and Back, April 6th 2017. 

CLOVEN HOOF: Shine On, 20th April 2017.

SAVAGE: The Mansfield Four, 8th May 2017.

TOKYO BLADE: Under the Blade, 26th May 2017.

CLOVEN HOOF: On the Hoof, 21st August 2017.

JAGUAR: The Fast & The Fury, 24th October 2017.

YOUNG BLOOD – interview with Avenger and Repulsive Vision drummer Gary Young

/ Alikivi

Based in the North East of England Gary is drummer for New Wave of British Heavy Metal band Avenger, who he has played for on and off over 30 years.

He is also a member of four piece Cumbrian death metal band Repulsive Vision who formed in 2010. Both bands have recently released albums.

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Avenger released The Slaughter Never Stops on Rocksector records in early 2016. Repulsive Vision released their debut album Look Past the Gore, and See the Art on 31st March this year on Danish metal label Mighty Music (pic below Gary standing on left)

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‘Being lucky enough to get a release from a hard working label like Mighty Music has certainly been a great step in the right direction for us. We have really been delighted with the reviews and positive feedback that the debut has recieved.

For Avenger the new album really made it special for us as for quite a few people this was their first introduction to the band’.

If we go back to when you started playing drums who were your influences and how did you get involved in playing music ?

’I started by jamming with a mate from school Dave Burn, who is now a well known and respected guitarist. He is currently lead guitarist for Paul Raymonds band. I think meeting Dave and playing my favourite tunes of the era was what started me off’.
(Nerd alert: Paul Raymond, keyboardist/guitarist began his career in the late 60’s songwriting and performing with bands Chicken Shack, Savoy Brown, UFO, Michael Schenker Group & Waysted)

‘My influences were primarily classic heavy rock bands such as Thin Lizzy, Van Halen and Judas Priest – and a good bit of punk. But my primary influence to form a band, write and perform original music was 100% NWOBHM bands in the Tyneside area during the early 80’s.

Seeing those lads get out of the North East and make such a profound impact on the scene worldwide was a huge motivation for me, and that continued after Avenger was formed.

For rehearsals we rented a room at Spectro Arts Center just off Pilgrim Street in Newcastle. A lot of bands those days used that place and it did create a feeling of community for all involved.

Curiously this community was going to last quite a few decades although we didn’t know it at the time’.

With bands like Raven, Venom, Tygers of Pan Tang, Fist, Mythra and NEAT Records all based in the North East of England.

This led to the North East New Wave of British Heavy Metal highlighted by music journalist Ian Ravendale reporting a ’Matrix of Metal Mayhem’ in the 17th May 1980 edition of Sounds.

Interviews on this blog have featured all of these bands plus Steve Thompson producer at NEAT Records.

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What venues did Avenger play in ? 

‘Early on we used to play popular music venues in and around Newcastle such as the Newton Park Hotel and Tiffanys night club. I was also lucky to get off on tour when I was pretty young and play abroad.

A stand out gig from back in the day is Avengers debut gig in Europe at Dieppenbeek Belgium in ’83. We played as headline band on a show with maybe seven other bands in what was a large sports hall a bit like The Lightfoot in Walker, here in Newcastle.

As our time came to play the crowd started chanting our name – it was unbelievable and a bit scary but once we got onstage it was great. Thanks to social media, all these years later I’m reunited with the lads who organised that show’.

What were your experiences of recording ?

’I worked in the Shipyards near my hometown but for about a year before that I worked at Impulse Studios in Wallsend which was where Neat Records were based.

Due to this I was involved in a lot of recording sessions and some of them for what are now landmark albums like Venoms – Black Metal and Ravens – Wiped Out.

I had my first experiences of recording there with my own bands and helping people out on random recording sessions. They were great times’.

Have you any stories from recording two Avenger albums Blood Sports and Killer Elite ?

‘A long time ago now this Gary! One mad story was Ian Swift (vocals) and Mick Moore (bass) doing a promo interview with Metro Radio for Blood Sports shortly after recording the album.

They mentioned on air before the interview Avenger were coming in to the station to talk live about their new album Blood Sports.

Well some Animal Rights protesters turned up on the night going mad about us being ‘pro’ Blood Sports -we were like no!! You’ve got it all wrong’.

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‘Recording Killer Elite, the most vivid memory was how much Keith Nichol the engineer mentored us during the recording. Encouraging us to try for better takes. Giving opinions on how to improve the dynamics of the songs, stuff like that.

It really brought home to me that there’s more to an engineer than tweaking knobs and sliding desk controls. An Engineer who is a musician will motivate a band and encourage the best performance within a bands ability.

Keith done that with us 110%. After that experience I’d always prefer to record with an engineer who is also a musician’.

Did you film any tv or music videos ?

‘Avenger filmed three promotional videos for Killer Elite which was unheard of back then for a band on a small indie label. Venom and their production team helped us out a lot on these shoots especially Venom drummer Tony Bray and their manager Eric Cook.

They had done quite a few videos and had a far better idea than us about presentation and all that. They loaned us a fair bit of gear and managed the pyrotechnics for the video.

Looking back they are what they are, very ’80s looking videos but even now people constantly refer to them, so over the years they have been a really useful promotional tool’.

Have you any stories from playing gigs ?

’There’s one or two stories that stick with me, funnier ones like playing with Blitzkrieg at Newcastle University and being paid in bottles of Brown Ale! We jinged down the street afterwards.

Another time playing in Holland when we were young lads. During the terrible winter of 1985 two Dutch girls asked me and one of the lads ‘do you fancy coming back to ours ?’.

Being 18 at the time we said yeah. We got a taxi and ended up in a freezing cold rat infested basement under the student hall of residence.

‘Wait here we will see if the Night Porter is about because we can’t have visitors after 23.00’ they said. We waited and waited…Ahhhh it was a set up !…they left us in the freezing basement.

This was before mobile phones. It was broad daylight when our Dutch friends found us’.

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‘Back in ’83 myself and vocalist Brian Ross were fortunate enough to be asked to play a one off show in Holland with a variety of musicians from other bands. Lads from Satan, Mercyful Fate and Deep Machine’.
(in Avenger at that time, Brian Ross has also been frontman for Satan and Blitzkreig. He features in the blog Life Sentence Feb.20th)

‘We travelled across to the continent which was the first time I’d ever flown in my life. We rehearsed a set of covers for a week then played the set to a full house the following Saturday.

It was great fun, it was also the first gig I played where we were all paid a significant fee.

Because of this one off show we managed to return and play three shows ten months later as a full band, one gig in Belgium and two in Holland.

This was Avengers first gigs outside the UK and they went really well. So much so that we were signed for three albums by NEAT the day after we returned from those gigs.

We returned to mainland Europe the following year playing more shows in Belgium and Holland. The following year 1985, the band played its first gigs in America but on return sadly the band folded’.

What are you doing now and are you still involved with music ?

’Avenger reformed in 2005 and have played abroad every year since, including our debut shows in Brazil in 2013. We really enjoyed some great gigs for the early part of the promotion of the last album.

Dates that stand out for me was the Triel Open Air just outside of Paris, Rock You to Hell Festival in Athens, Greece and sets at Brofest in our home town Newcastle upon Tyne. Not forgetting the SOS festival in Bury’.

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‘Repulsive Vision has been enjoying several prestigious supports in the last few years playing with their heroes Discharge, Benediction and Destroyer 666.

But the gig highlight for sure was performing at Las Vegas Deathfest in June on the same bill as Vader, one of my personal favourites. That was absolutely great.

Both bands have recent promo videos up on You tube for the albums and a quick search takes you straight to them for anyone who would like to check them out’.

Interview by Gary Alikivi August 2017.

Recommended:

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

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

Micky McCrystal, Cat Scratch Fever, March 17th 2017.

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

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

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

Richard ‘Rocky’ Laws, Tyger Bay, 24th August 2017.