HIGHWAY TO HELL with drummer & vocalist Kat Gillham

‘The attraction to Death Metal ? It’s about being able to raise a big middle finger at mainstream society. The attitudes, trends and all the bullshit that goes with it. It’s like “fuck you, I don’t want to be part of your mainstream plastic pop culture”.

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Kat pointed me in the direction of some of her work via You Tube. With song titles like ‘Full Moon Nights’, ‘The Horrors Of Highgate’ and ‘The Arrival Of Apokalyptic Armageddon’. I had an idea what was coming. Or so I thought.

The storm clouds gather. Make one last sign of the cross and click play. What does it sound like ? The cry from nosferatu when his internet connection goes off. No, that makes light of a beastly and brutal sound.

The lyrics might be ‘Though I walk through the valley of the shadow of death’… I’m not sure, as the death growls, and growls. But who said hell ain’t a bad place to be ?

Has Kat caught the full moon fever ? Has she danced with the devil once too often ? Am I running out of cliches ?

But this is hard. This is heavy. This is feral. With Sabbath riffs, tonsil ripping vocals and Aleister Crowley love songs, surprisingly, this theatre of pain hold’s a real narrative for better things.

Yes it does. Is it hope ? I asked Kat what has this music given you ?
‘Being able to channel negativity through the power of music and convert it into something positive gives me a natural high and the biggest buzz ever!

That feeling and surge of adrenalin before you play a gig and get up onstage is like no other feeling in the world. When that adrenalin and raw live power is in full flow, everything is gelling and you see the crowd getting into it – that’s such an amazing feeling.

I get away from mainstream attitudes by playing niche underground music. The music has heaviness, aggression, raw energy and non-conformity. It has also given me the chance to express myself creatively.

It has helped forge long lasting friendships and introduced me to so many like minded people. They have became good friends. In hard times it has gave me strength emotionally, and over the years countless hours of listening pleasure’.

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Who were your influences when you were young ?

‘It was 1990 I was a 13 year old kid and I first heard bands like Death, Morbid Angel, Metallica, Celtic Frost, Slayer, Autopsy, Obituary, Entombed and Dark Angel. That was my introduction to death metal and it fuelled a hunger to form a band and create my own music.

By the summer of ’92 my first death metal band Morstice was formed. We mainly played locally and around Northern England. By ’93 we had recorded two demo’s and filmed two music videos.

The venues I’ve played with various bands over the years have been a mix from floors and stages in pubs, to bigger well known clubs with huge professional PA’s.

The Doom metal band I formed in late 1993 Blessed Realm played across England and also got to mainland Europe, of Germany, Austria and France.

I have played all around UK with a couple of my current bands too, but I’d love to get back over to Europe to play live. I’ve shared the stage with touring bands like Cathedral, Orange Goblin, Hooded Menace, Iron Monkey and Hellbastard’.

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Kat is currently writing and performing in four bands, three of them – Uncoffined, Enshroudment and Winds of Genocide… ‘They are all heavily influenced by traditional Doom metal from the ’80s and ’90s, to the Swedish Crust/Käng Punk scene’.

Her fourth band, Lucifer’s Chalice have this year released an album. ‘The Pact’ out now on Shadow Kingdom Records…

‘We play heavy metal in this band and are heavily influenced by early stuff from NWOBHM bands like Iron Maiden, Angel Witch, Mercyful Fate, Witchfynde and Metallica.

The drummers from these bands were a big influence on my style of drumming. We have various members for the four bands that I’m in but the current line up for Lucifer’s Chalice is Myself on Drums, CW (guitar), SRM (lead guitar), DH (bass)’.

The storm clouds clear as death metal makes way for heavy metal and Eddie from Iron Maiden presses play on the Lucifer’s Chalice album. His fingerprints are all over ‘The Pact’.

Was that the sound of Vincent Price, creaking doors and howling wolves ? Remind me, what is the number of the beast ?

This album is a soundtrack to war in the Middle East. American soldiers with headphones and night vision goggles kicking in wooden doors and taking prisoners. Pounding. Intense. Ruthless…

‘Each recording experience has been different and very special and memorable in their own ways. I’ve recorded a lot with various bands in recent years, most of those recordings from 2010 onwards with Winds Of Genocide and Uncoffined took place at Studio 1 in 12 in Bradford with Bri the guitarist from crust/punk legends Doom producing’.

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‘But a few years ago, I got to travel to Stockholm, Sweden and work on Winds of Genocide debut full length album Usurping the Throne of Disease with a well-known producer called Fred Estby.

He played drums in one of my all time favourite death metal bands Dismember. To be at Gutterview the studio he co-owned with Nicke Andersson from Entombed and The Hellacopters – was an amazing experience.

To get to work with someone who’s music and producing I’d admired and respected for years was awesome. It was eye opening to see how someone like him worked. I learnt some valuable things over there’.

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What are the future plans for you as an artist/musician ?

‘Just to continue creating music and playing live as regular as possible, which actually isn’t as much as I’d like at the moment. Hoping 2018 will bring more live opportunities for my various bands.

Also planning to make good progress on the writing of the third Uncoffined album as well as sophomore albums of Winds of Genocide and Lucifer’s Chalice. Enshroudment will also record our debut EP in the very near future which will be titled As the Light is Extinguished.

Discography:
Winds Of Genocide The Arrival Of Apokalyptic Armageddon EP (2010 self released)

Split CD – Winds Of Genocide/Abigail (Japan) Satanik Apokalyptic Kamikaze Kommandos (2012 Witchhammer Productions)

Uncoffined – Ritual Death And Funeral Rites (2013 Memento Mori)

Winds Of Genocide – Usurping The Throne Of Disease (2015 Pulverised Records)

Uncoffined – Ceremonies Of Morbidity (2016 Memento Mori)

Lucifer’s Chalice – The Pact (2017 Shadow Kingdom Records)

For further info contact Kat or any of the bands on Facebook.

Interview by Gary Alikivi   October 2017.

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

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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.

BEAUTY & THE BOLLOCKS – UK Subs & Hi Fi Spitfires guitarist Steve Straughan

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‘Since joining the UK Subs I am more busy than ever, which I love. The UK Subs have a 40th anniversary gig in November, a UK tour then a five week tour of Europe.

I’ve got a lot going on and always have since I first picked up a guitar after hearing Never Mind the Bollocks. Blew me away. It still does today’.

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

’1970’s music was healthy at the time but nothing was opening the doors for me. Music was always there in the background like the glam rock thing, but it just wasn’t grabbing me. It was like black and white tv, nothing special.

But when punk came around it gave me that extra thing like colour tv. It just had that extra spark, that beauty. What can I say, it was incredible.

I remember watching video clips from The Great Rock n Roll Swindle, songs from the Bollocks album – that made me want to do it myself.

Also listening to The Stranglers album, Rattus Norvegicus, and a lot of other punk stuff from 1977. That whole scene was electric. I rode the wave of punk rock to get into music first, then went back to the likes of 70’s glam to appreciate it.

There was a keyhole to my musical heart and it was punk that opened it’.

‘Where I lived in Sunderland we had a healthy punk scene. Watching the likes of Red Alert at Monkwearmouth youth club was very influential. Watching lad’s from my area and who were just a little bit older made me realise that it can be done.

Being in a band back then was more like being in a gang but extended with instruments. Punk gave you the ability to tell your story and release your frustrations’.

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When did you start playing gigs and what venues did you play ?

’From the start I’ve been really busy gigging and recording. I haven’t stopped, over the years I’ve played in a number of bands.

Way back in the early 80’s my first punk band Formal Warning played youth clubs and school halls in the Fulwell and Seaburn area of Sunderland where we lived. That lasted till around ’82.

As I got older I joined Red London and toured all over Europe. I then joined a band called Holy Racket. Again toured all over Europe.

We played brilliant gigs but one great memory was supporting Rancid at the O2 Academy in Newcastle. Loved that. I’ve played guitar for the Lurkers touring around Europe with them from 2009 until 2012.

I was guitarist for a couple of years in the Angelic Upstarts we played many great gigs including a USA tour.

I formed Hi Fi Spitfires and toured a lot in the UK and abroad. One great tour was supporting TV Smiths Adverts and toured with 999 in Germany. We have supported everyone in the punk world really, like The Damned at the North East Calling gigs.

Since joining the UK Subs just over a year ago, we have played extensively in the UK, Europe and the USA. Is that enough for ya’.

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What were your experiences of recording ?  

‘Over the years I have recorded with all of those bands I’ve talked about. Best thing is I’ve kind of found my home when working with producer Fred Purser at Trinity Heights in Newcastle. Fred was once guitarist of the North East 70’s punk band Penetration.

Some of the bands who have recorded at Trinity are Angelic Upstarts, Toy Dolls, Red Alert, Red London, Holy Racket and Hi Fi Spitfires. Holy Racket recorded the album Anthems For The Doomed And Dazed there, North Rebel Radio and Subliminal Chaos all of which were released on cd.

We also recorded some material which was later released on a 7 inch single called Anoraxia.  Hi Fi Spitfires recorded the album England Screaming there which was released on cd and the album Nightraid which was released on cd and vinyl’.

‘We have always paid for everything ourselves, no record companies involved at all. If your serious about being in a band it’s obvious you have to record and release material.

It’s not cheap to do it though. To record where we do it’s £220+ per day. On top of that there is the cost of pressing on cd or vinyl. The price of vinyl is unbelievably pricey. This is why I have only managed to do the vinyl route a couple of times.

We are at the moment talking to a good friend who has agreed to put the money up to release our first album on vinyl like he did with our second’.

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Have you any funny stories from playing gigs ? 

‘I could honestly write a book. Here are just two. A long time ago I played a charity gig in Sunderland. A friend of mine asked if he could come along as he had not seen any live bands before. I remember beforehand he was a bit nervous meeting the rest of my band.

He kept asking if everything would be ok. I kept assuring him that everything would be cool and there certainly would not be any kind of trouble as it was a charity gig.

As I got ready and packed my guitars he went to the shop and got some ale just to take the edge off as he was quite nervous around new people. At this point I just thought he was having a couple of drinks.

Fast forward to the gig and just before we went onstage he told us how grateful he was for letting him come with us. About five songs in I was aware that something was going totally wrong by the people’s faces in the venue.

I turned to my side to see my once very nervous mate running round the stage and pogoing naked. The security was called and he was escorted from the building. We were told to get off the stage.

I asked why and the bouncer said, ‘shut up, get your gear off, your barred’. After the initial shock I laughed my head off all the way home. I think we gave those people something extra thanks to my mate’.

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‘Years later I agreed for the same lad to come on tour with me in Belgium with the band I was in at the time Holy Racket. He assured me all the way there that he had learned his lesson and he wouldn’t do it again.

There would be no repeat performance. I know he was very embarrassed about it.

During our performance on stage he was looking in a cupboard and found a horses head mask. He came running on the stage naked, with the horses head on and a sock fastened to his cock. I couldn’t play for laughing. I remember the audience loving it’.

‘Next stop for Hi Fi Spitfires are return recording sessions with Fred Purser at Trinity Heights, Newcastle. We are recording a five track cd called Doors To The USA. Yeah can’t wait’.

Interview by Gary Alikivi September 2017.

Recommended:

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

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

Evo, No One Gets Out Alive, 8th October 2017. 2017.

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

DEATH OR GLORY – interview with Danny McCormack bassist The Main Grains/The Wildhearts

I’m with Danny at his home in Newcastle and notice a black and white photo on the sitting room wall, it’s a picture of The Garricks Head pub in South Shields… ‘Yeah my Grandma Pat used to have it’.

I remembered I had my first drink there when I was 16 year old. A pint of McKewan’s Scotch, after the first drink the froth covered the caterpillar growing on my top lip…

‘Yes, it was a great pub sadly not there now. She used to have regular lock-in’s, the punters staying behind after hours for a few more drinks.

A bloke with an accordion would be in, there was a piano player in the corner, and we’d all be singing along with them. Smokey tunes, great times and wild night’s, yes, I can remember all that’.

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When living in London Danny McCormack was a member of The Wildhearts. During their commercial peak in the nineties, they recorded four albums with their second release P.H.U.Q entering the album charts at no.6.

The band also released a bucket load of top 30 singles, and they appeared on British tv music programme Top of the Pops,

and had support slots with Manic Street Preachers, Guns n Roses and AC/DC, they also toured America and Japan.

Danny went on to form The Yo Yos and recorded one album, toured the UK, Europe and Japan then split in 2000.

Since returning North in 2003 he has re-joined and left The Wildhearts several times, played with Dog’s D’Armour and with his younger brother Chris in Three Colours Red. The Yo Yos also made a brief comeback.

Those are just edited highlight’s of his life in rock n roll. But bringing the story up to date Danny has a new band – The Main Grains.

Before meeting up I checked out some of their music and watched a video for ‘Unscrewed’. I thought it had a Ramones/End of the Century/ Phil Spector feel to it…
’Yes it’s our nod to Phil Spector in a way. The Main Grains are JJ on guitar, Ginna on drums and Ben on guitar with me on bass and vocals.

They are Yorkshire lads so they come up to Gateshead where we rehearse. When we first got together it all fit in place, the playing is tight. That’s what you want.

We record the old fashioned way, idea’s on an acoustic first, then get in a room together to rehearse. Bounce idea’s off each other. We need the spark, the energy for it to come together. This time we are doing it ourselves.

We’ve had no record company input. So never signed anything, we own our own music. We make our own decisions and plenty people are coming to the gig’s, so we are doing something right.

We will work with promoters to put together a few more gig’s but we are in control, we’ll choose when we want to record and gig’.

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Punk was a big influence in your life, can you remember where you first heard it ?

‘The jukebox man would come around to my grandma’s pub and say ‘Pat what do you want on the jukebox this week ? She said ‘All my usual’s you know the Patsy Cline stuff, but none of that punk rock music there’s far too much fucking swearing in it haha’.

My ear’s pricked up like devils horn’s. What’s punk rock ? Then I heard the Pistol’s, Damned, Clash and just loved it. They absolutely blew my mind. I used to play them at low volume so my mother couldn’t hear the swearing.

I was playing The Toy Doll’s, still love them to this day, Angelic Upstarts – there was a lot of complaints about them being on stage kicking a pig’s head around with a copper’s helmet on it.

But they were only singing the truth you know, reality, have a dose of this folks. I had a picture of them on my wall and there’s the ugly mugs of Mond and Mensi staring down at me haha. Yes I love punk’.

Did you have any hero’s in music ?

‘Nah I was never into the hero worship thing, never looked up to any of the musician’s or bands really. The only heroes out there are all the nurses, doctors and fireman. They face life and death decisions every day…that’s who real heroes are’.

When did you get your first guitar ?

‘I got my first guitar one Christmas, it was a classical. The reason I play bass is because two strings snapped and I didn’t have the heart to say to my mam that I’ve snapped the strings because A, I’ll get a clip around the lug for snapping them and B, she couldn’t afford to replace them.

I just used to play along with my records with the four strings like a bass’.

Then some mates got together, and we done my first band called Energetic Krusher. Ali was on vocals, Hairy the drummer, Louie and Nick Parsons on guitars.

Nick went on to do The Almighty. We made an album for a record label down London called Vinyl Solution. We had just split up but never told them.

Ali took us for a pint and told us about the record company interest, we all said yes of course we’ll do it. We were 15-16 year old with a record deal, it was brilliant. I remember going to school somebody video taped us in rehearsals. I was really chuffed’.

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‘We got the buzz then, first gig I ever done was amazing. It just felt exactly right. The crowd were going nut’s, we were going nut’s, it sounded tight, in time, in tune. That was at The Riverside in Newcastle.

Later I was working at King’s Music guitar shop in Sunderland it was a YTS scheme getting £27.50 a week. I remember that was my exact fare to get to London and join The Wildhearts’.

How did that come about ?

‘Ginger from The Wildhearts had heard about Energetic Krusher through his mate Panda from South Shields and he came to see us play at The George Ropery in London.

That must have stuck in his mind you know because when one of the guy’s left his band Ginger was straight on the phone to me, saying would you come down for an audition.

Well when I got there it wasn’t really an audition because I took some acid and got off with the secretary from the record company. He said ‘You’re in!’ haha.

Ginger was a few year older than me and had already been down there a few years and had been in Beki and the Bombshell’s, The Quireboys and a few other bands.

You know I was in a band with Ginger from The Quireboys, and Bam Bam from Dog’s D’Amour. At 15 year old I was down the front at a Dogs D’Amour gig then four years later I was in a band with him, it was like a dream come true’.

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Where did you stay in London, did you have any digs?

‘I was squatting in Gingers cupboard in Finchley Road. The woman used to come round for the rent and she started noticing I was there a lot. Who’s he, where’d he come from she’d say.

We were rehearsing in Jumbo Studios when we could. I was on dole money, we had nowt. We used to split and share our money to get by.

It was £15 quid with Ginger one week then next week he would give me £15 back. It was that hard when we first moved down there.

First year we were dossing around cos the band were in litigation. Ginger had signed some deals that weren’t working for us. It was all lawyer meetings, what was going on here you know. We couldn’t record it was frustrating.

But you know what it is, we didn’t give a shit, we believed in the band that much.

The songs were flying out of Ginger, he had an acoustic and played me a few tunes, what do you think of this one ? Then another and another, he used to blow me away.

Coming out with classic after classic in my book. The guy’s a genius. Nothing but admiration for him’.

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Can you remember first recording with The Wildhearts ?

‘The first album was done in Wessex Studio’s where Never Mind the Bollock’s and London Calling by The Clash were recorded, bit of Queen stuff also done there, yes it was phenomenal. It was a great place.

We done demo’s there originally and they were so good we used them for the album, we tarted the vocal up a bit. All done in a week and we had an album’.

The Mondo Kimbo EP was done down in Wales at Rockfield Studio, a very famous studio, a lot of bands recorded there. Around late ’92 we done a lot of small gig’s but the turning point was when we played with Pantera at The Marquee, that was a phenomenal gig.

After that we went out with Wolfsbane, Manic Street Preachers, Alice in Chains even Steve Vai. We were building a reputation as a good live band.

We were playing tight, a pretty formidable unit. A stand out gig was supporting Guns n Roses in Japan. Ended up going there seven times’.

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

‘As a job, being in a band with a plank of wood and four wires hanging around your neck doesn’t quite cut it with your parents, cos they had proper jobs.

So after we’d done Top of the Pops a few times and they’d seen me on the telly my mam and dad stopped asking if I was going to get a proper job.

We used to have a great time on the show, the crowd would go nut’s. I don’t know where they were from but there was a few Wildhearts t-shirts in the crowd.

We done it a few way’s, miming, live, sometimes just the vocal’s were live. But we never had a song where it stuck and grew. Our hardcore fan’s would buy the single’s and we would sell enough to get on the show, but never reached further in the charts’.

‘For the I Wanna Go Where the People Go video we filmed that in New York. We went there for five days to do the video and ended up living there for a couple of month.

We were in a house in Brooklyn it was great fun. For the first month we were in The Chelsea Hotel.

One night after drinking in CBGB’s we jumped in the taxi and told the driver to take us to the nearest drug dealer. ’No problem get in guy’s’. The taxi was quickly surrounded by them.

The deal was done and we returned to The Chelsea. We laid them out on the bed and looking through them we managed to score some salt and some pencil shavings haha… they must have seen us coming. We did get some spliff amongst the pencil shavings.

The drummer Ritchie put the radio on, lit some candles and we chilled out. The candle was on a wood shelf and he put something underneath so it wouldn’t burn through the shelf.

But he put a paper plate under the candle. Well of course we fell asleep and the candles burned through, fell into my bag and set his hair alight.

The fire caught hold on the old wooden floor, it was pretty big so I ran into the hallway in me under crackers looking for a fire extinguisher.

Next door and downstairs were making noises about all the smoke, now the fire brigade turned up, there was coppers running about and we were absolutely stoned.

The manager came and showed us to another room, he was very calm and said you’re in good company, the only people who’ve set fire’s in this hotel were Sid Vicious and Andy Warhol!

Eventually the record company starved us out of New York. They stopped the money going into the bank and we eventually went back to the UK to do Top of the Pops.

You know I don’t think about those times all the time, just now that you’ve asked but I can see it in my mind and thing is I’m back in touch with Ginger now’.

Where did you go after The Wildhearts ?

’After The Wildhearts I toured America with The Yo Yo’s and the first drive was three days – never complained about touring in a van in the UK again.

We went out with The Backyard Babies and The Murder City Devil’s. We done about 42 states in 5 month, that was brilliant.

We were on Sub Pop at the time and I recorded around 20 songs with them’.

(Nerd alert: Sub Pop was a USA record company working out of Seattle, famous in the 1980’s for signing bands like Nirvana, Mudhoney and Soundgarden. In 2000 The Yo Yo’s released their debut album Uppers and Downers, it was recorded in Trident Studio’s, London).

‘They gave us the backing and at first it looked like a very good deal unfortunately it didn’t work out that way – but that’s another story. Those contracts look like they are written in Latin and I wasn’t trained as a lawyer. But hey, loved my time in that band, got to travel to Japan again’.

Danny has a lot more stories and will be returning in a few month time but before the interview we talked about musicians who have suffered with depression and addictions, or others who had recently passed away.

Danny has had his own problems which are well documented elsewhere, but I felt there was no need to repeat them here…

‘What’s in the past is just that, you can’t change it. Just looking forward to playing some more rock n roll. Musicians aren’t anything special. Me, I’m just a bass player in a rock n roll band. That’s who I am’.

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The Main Grains.

Catch The Main Grains live at The New Adelphi, Hull on September 22 and at Trillians, Newcastle on September 23. They are supporting The Professionals at The Slade Rooms, Wolverhampton October 27  2017.

The Main Grains have a new single coming out on 7th November 2017 The Rain is Over, What We Gonna Do Now ? and Sock It To Me Baby.

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For more info, tour dates & downloads contact the official website maingrains.com or thru facebook or twitter.

Interview by Gary Alikivi August 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.

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

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

Evo, No One Gets Out Alive, 8th October 2017.

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

METHOD IN THE MADNESS – interview with Wavis O’Shave

‘I’ve always enjoyed working in studios and confounding the hell out of engineers completely unaware of what was about to hit them.

And not once has it ever cost me a penny, always paid for on behalf of individuals holding out for me making them wealthy. No chance! Once I’d had my fun, I was off and as uncooperative as usual’.

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In my previous blog about Wavis O’Shave, (Felt Nowt June 6th) I asked, Who was Wavis ? By the end of the interview it still wasn’t clear. Was he a musician, author, performance artist or fraudster ? A mix of all four ?

He had produced a hatfull off records – singles and albums. Appeared on live music programme The Tube. Under the guise of numerous identities, he was never shy of promoting his latest gag.

This interview looks at the time he spent in recording studios. A time that he described as ‘unclassifiable, non-commercial, and a none hit wonder’. Carry on Wavis…

’My, and the unsuspecting engineer’s first experience, was at a 4 track studio hidden in the small village of Wrabgy in Lincolnshire.

The unlucky engineer was Andy Dransfield, now owner of luxurious Chapel Studios. Which is a converted church at South Thoresby in Lincolnshire.

He has since recorded hits there with the likes of Paul Weller, Wet Wet Wet, Shirley Bassey, and the Arctic Monkeys’.

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‘I went down there during the winter of 1979 after being signed up at only my second attempt by a small indie label called Company Records based in Lincoln.

The first near miss was from Beggars Banquet, who at the time were too busy with Gary Numan who described me as ‘unusual’ .

Travelling down, there were five of us in the car that conked out alongside the River Trent. Whilst the car was being fixed nobody could find me. I’d gone for a walk across the frozen Trent. I was almost halfway across when the ice all around me started to audibly crack.

Andy might have preferred it had, but instead we recorded the four track Denis smokes tabs (John is a Fig Roll) EP and somehow he and a couple of his worried mates survived the experience of having five unbalanced, wayward Geordies in his small converted barn. We performed like complete rookies within a studio’.

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‘Andy couldn’t believe it when I had him splice in the middle of the song Mauve Shoes are Awful, my mate Hatts dad swearing like a trooper.

It was on a demo tape we’d caught him on when he’d burst in Hatts bedroom during a take of the song. He was threatening to cut off the electricity and informing us he’d had ‘two stings alriddy’ for his pains. We spliced it in at exactly the point he’d burst in during the demo. There’s authenticity for you.

We sometimes made audible sounds instead of musical instruments and we recorded without a bass. Andy hadn’t experienced working this way before with any band.

But he did come round to appreciating that there was some uniquely original method in the apparent madness. He became a bit of fan actually, and remains so today’.

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‘In 2005 I freaked Andy out by tracking him down and paying him an unannounced visit at his Chapel Studios. I sneaked in and quietly sat alongside him in exactly the same scene as I had last left him 25 years earlier.

When he noticed a presence, I just smiled. It was as if time had stood still.

I played him my Katie Derhams Bum cd that I’d just recorded on computer, and he couldn’t believe the quality. ‘It’s very Wavis’ he said. ‘Of course, you twat, ‘cos it is!’ I replied’.

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Wavis and Danny Baker from the NME

Did you have any success with your recordings ?

’I’m told the EP in time eventually went on to sell a total of 5,000 copies after being picked up by John Peel and Danny Baker. They both gave it the thumbs up in the NME. Dunno if that was true, never saw a penny, nor cared less.

Classics like You think you’re a Woman ‘cos you don’t eat Fishcakes and Don’t Crush Bees to Death with the End of your Walking Stick entirely threw the engineer Mr Dransfield who was exceptionally patient with his guests.

He even ended up playing drums on the Anna Ford’s Bum album that we recorded there the following year. He was a glutton for punishment. The master tapes were bought off him from Newcastle Indie label Anti-Pop for £100’.

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‘In those days the Sounds had their own Alternative Chart from record store returns, and the album spent three weeks top of the chart before being knocked off by Adam Ant!

I have always been blessed with excellent session men and this was no exception. However, when the guitarist asked me how I wanted the guitar playing on She’s a Prune (meaning could he hear a demo first) I told him ‘Dead fast’ Blank looks all round’.

Did you record in any other studio’s ?

’My next actual studio raid came in 1980 and was at Terry ‘Slippers’ Gavaghan’s Guardian Studios within his terraced house at Pity Me in County Durham. Pity Terry, not me. I called him slippers ‘cos he never took ‘em off.

He was into ghosts and all that stuff and we even had a spool come flying off its reel whilst we were there. South Shields reprobate the late Danny Deen, took time out from his band The Letters and had persuaded some school teacher to stump up £300 for us to make a three track demo there. Danny provided the music and I wrote the lyrics’.

‘I’m surprised we ever got there as I seem to specialise in being picked up by conky out cars. By the time I was picked up at a roundabout, the car was filled with five people, it was falling to bits and was spewing constant black exhaust fumes.

Soon after a door came off, and we had to abandon ship when the steering wheel started lifting off. It would have done a circus clown proud. Cue ringing for two taxis.

To amuse ourselves, and my idea, we introduced ourselves as The Nancy Boy’s. We had been really naughty though and hadn’t rehearsed any of the songs so when it was time to record we found out we couldn’t reach the high notes or deal with key changes.

Terry couldn’t believe it. I was supposed to sing all three but ended up only doing the last one, It’s so Charming when we’re out Farming. A song about falling in love with a farmyard cow.

During the song a stressed Terry had absent mindedly left a microphone switched on which we didn’t realise until it was done, but we managed to get off with it’.

‘Everyone had a go at the other two but the middle one nobody could do. Cue the most absurd moment of my recording career when the engineer Terry even stepped forward to have a go at it and he couldn’t sing for toffee.

We actually had to come back another day with another £200 quid to sort it all out. Whilst we were there Trevor Horn of Buggles fame popped in. He must have wondered what became of the Nancy Boys.

If he’s bothered he can listen to a spoof radio interview with me and Danny on BBC Newcastle’s Bedrock show and the songs on YouTube under The Nancy Boys 1980 Wavis ‘O’Shave’.

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‘Next free studio for me was a nice little compact effort somewhere in Chester-le-Street where the objective was to record my Texican Raveloni – Bedside Songs for Problem Children album. The artwork drawn by VIZ Comic’s Chris Donald.

I really can’t remember more details about that one, other than the engineer, naturally, was freaked out. My keyboard player caught us all out when he scarpered after two hours to go to give somebody an hour long violin lesson.

We had a great session though, containing my craziest material ever.

The content of the album only made it to cassette before becoming a 2005 release on cd by Essex indie label Falling A. The head honcho at the label was a fan who had been born and raised in South Shields’.

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Wavis and Toyah Wilcox.

‘My friend at the time Toyah Wilcox, had her own copy and asked if she could record her fave track with me, the apocalyptic Better Get the Washing in.

Being aware of her own chart success scared me off as I was quite happy being what I preferred to be; unclassifiable, non-commercial, and a none hit wonder.

The album included You Won’t Catch Me on the 503 which is responsible for my greatest number of YouTube hits to date – 400,000 under ‘Phunny angry bus drivers’. The track was once played on Radio One for the first 20 seconds only.

The video for it was made by the 11 year old son of one of my fans! The song was the ‘B’ side of 1982 single, my last ever on vinyl, Tie Your Laces Tight released by Eccentric Records.

Now, the rumour remains that it was my mate Jools Holland who played piano on it. Did he? I’m not allowed to say, but if I did, I’ll say he might have…’

Have you any other stories from then ?

’Whilst in London in 1980 I was whisked away from spending time with Ian Dury’s Geordie Blockheads keyboardist Michael Gallagher, and guitarist John Turnbull to spring a surprise stitch up on singer Jona Lewie.

Jona had built a studio in the basement of his flat. Gate crashing in at 2.30am the whole idea of the somewhat contrived visit (manipulated by Anti-Pop connections) was to bribe Jona into allowing me free studio time.

Otherwise we would give a recorded phone call of him to the NME expressing his fears about his hair loss and premature ejaculation. It was a stitch up. Either free studio time or the NME got the tape.

Well in the end, I never got the studio, the NME never got the tape and Jona salvaged his hair’.

‘I used to play footy every Sunday on the fields at the Marine & Technical College in South Shields with some regulars.

One day this lad new to the area, turned up fresh from a holiday at Butlins in Minehead. No sooner on the pitch, he was excitedly trying to tell us all about this song he’d heard at Butlins and it had been top of their charts for six weeks.

It was my You Won’t Catch Me on the 503 song! Imagine his disbelief when one of the lads casually informed him ‘He did it!’ pointing over at me. Against all the odds, as usual. That’s the world of Wavis!

Interview by Gary Alikivi 2017.

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

IT’S ONLY ROCK ‘N’ ROLL – blog hits 5,000 views.

It’s all about the story isn’t it. For over a decade of making documentaries and releasing them on DVD, in February this year I decided to try a different media.

The original idea was to transcribe the interviews from my music documentary ‘We Sold Our Soul for Rock n Roll’ (available via You Tube). The stories still sounded fresh and funny even though I heard them many times during editing. But where do they go from here ? I’d read a few blogs and thought they would be a good outlet for the stories, how do I put one together?

I got in touch with a friend who wrote a blog and he talked about using a WordPress template. It didn’t sound too difficult so I checked it out. 

The interviews filmed for the music documentary were a good start, they just needed updating. Then I got in touch with more musicians, recording their stories via email or meeting up and recording our conversation with a dictaphone.

The initial idea was to interview North East based musicians but social media makes it easier to contact bands from across the UK, Europe and USA. Managers and European PR agencies have also been in touch to arrange interviews.

The blog mainly covers rock, punk and NWOBHM. Although the scope has widened lately, but if the story is good – it’s in. The latest feature, Vinyl Junkies, interviews musicians, actors and writers who talk about their favourite 7 records that shaped their world.

So here we are, 5,300 views in 6 month on a blog which I thought would be read by a handful of people. Starting with 300 a month in February it has grown to 1,500 in July. Special thanks to everyone who has shared their stories…they just keep on coming.

Listed below are all the blogs from the past 6 month. To make it easier to find an interview you can now check on the month or put the musician or band name into the white search bar.

February:
Vince High & Maurice Bates (Mythra) Brian Ross (Satan, Blitzkreig) Lou Taylor (pt 1 Satan, Blind Fury).

March:
Lou Taylor (pt 2 Satan, Blind Fury) Mond Cowie (Angelic Upstarts) Micky McCrystal (Tygers of Pan Tang) Bernie Torme (Gillan)

April:
Steve Dawson (Saracen, The Animals) John Gallagher (Raven) Paul Mcnamara (Salem) Dave Dawson (Warrior) Lee Payne (Cloven Hoof) Paul Di’Anno (Iron Maiden, Battlezone) John Roach (Mythra) Harry Hill (Fist).

May:
Danny Hynes (Weapon UK) Chris Bradley (Savage) Rick Bouwman (Martyr) Maurice Bates (Mythra) Neil Wil Kinson (Spartan Warrior) Kev Riddles (Tytan) Andy Boulton (Tokyo Blade) Steve Dawson (Oliver/Dawson Saxon).

June:
The Butchers of Bolinbroke (Angelic Upstarts) Neil Newton (Angelic Upstarts) Wavis O’Shave (Alternative), Terry & Gerry (Ska/punk), Mick Maughan (Phasslayne, Cirkus) Trevor Short (Dealer) Martin Metcalf (Hollow Ground) Trevor Sewell (Blues) Kev Charlton (Hellanbach, Bessie & the Zinc Buckets) Steve Thompson (Bullfrog, Neat records) Mark Duffy (Millenium).

July:
Ian Dick (Soldier) Jeff Baddley (Troyen) Lee & Chris Wright (Crashed Out) Stevie James (Grudge, Warwound) Martin Popoff (Vinyl Junkies) Bernie Torme (Desperado) Will Binks (Vinyl Junkies) Thunderstick (Samson) Blast Recording Studio (Newcastle, UK) Let the Music do the Talking (Tyneside musicians) Antony Bray (Venom Inc).

LET THE MUSIC DO THE TALKING – in South Tyneside

10 years ago I started researching the South Tyneside music scene and from there a number of interviews with musicians were set up. Here is a few stories taken from them.

Duncan Binnie: ‘I was seeing bands when I was ten year old and at that time to go and watch bands at the Newcastle City Hall you’re just blown away.

My brother had a guitar that I pinched out of his room, tried playing it, just the one string, thinking I can play this. Eventually it leads to a band, four lads getting together which we did’.

Ted Hunter: ‘My first inspiration to play music was me Dad, he was a guitarist in the ’60s. Then when I was 14 I got a ticket to see Ted Nugent, he was jumping around the stage, screeching his head off.

We had a little covers band and we used to practice in St Peters Youth Club in Whiteleas. There used to be a youth club in South Shields called St Hildas and local bands used to play there’.

John Hopper: ‘I just bought a cheap bass rehearsed and plugged away at St Judes Church Hall in Laygate. We played The Cyprus, the pubs in Shields. We just liked gigging that much we realised we had to do it more and more’.

John Lockney: ‘I was forever bashing away on me legs to music and many people said why don’t you become a drummer. We used to rehearse in the back of Tyne Dock Youth Club and we started playing gigs, I remember Bolingbroke Hall and Boldon Lane Community Centre in Shields’.

Joe Peterson: ‘Around the age of 14 my Dad was a singer in the North East Social clubs so that’s where I started thinking about music, started playing guitar. We played all round the country at that time as the clubs were thriving’.

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Robby Robertson: ‘First band I saw was The Damned, my lad took me along and that was it, hooked from then. Everybody had a go at being in a punk band. Everybody could have a shot at it and they did. We started off in Hebburn, Kinx nightclub, it was a cellar. We thought we were the business, we were rubbish like.

We done the first gig, we jumped around all over, pulled the leads out and the p.a. caught on fire. The singer run over and blew it out. We had to finish after three songs, it was an absolute disaster, thinking this is a bit harder than we thought it would be.

We went on to play The Station in Gateshead with loads of bands, decent bands like Conflict and Icons of Filth’.

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Paul McRae: ‘I got into music when I was about 10, in the backyard of John Williamson Street, playing with knitting needles and a dish. We used to rehearse at Trinity House Youth Club and we were right into Free then, so we started rehearsing all Free tracks.

Then we played the schools, Stanhope Road, Dean Road. We used to play The Hunter and we liked it that much we played it ten times in the same gig’.

Rob Atkinson: ‘Lou Reed, The Doors, Iggy Pop that’s where I was at the time. In the band Next it was the influence we had on each other. It was a bit off the wall, could be a bit weird. But there wasn’t much else like it.

When you work with people who can be so productive and come up with ideas, when you bounce of each other that’s the best part of the music.

You don’t have to sit for years and think am I good enough. You just go out there and if they like it they like it, and if they don’t they don’t come and see ya’.

Billy Morgan: ‘The alternative punk scene started and that changed things for me. Instead of being someone who was an observer in music I thought that I can do it. It was like we wanted to jump up and down and be heard, I’m here, I exist.

Definitely pushing things to the alternative and coming up with something different.

The very first gig we played in front of six people. Then the next gig we played in front of twelve and we thought we really doubled up’.

Richard Jago: ‘The punk thing was pretty fundamental, it was totally different. XTC, Ian Dury and the Blockheads that was the stuff that really made me sit up and listen.

I couldn’t play guitar at least I couldn’t play very well, I couldn’t play drums so I started throwing words together. A number of influences like John Cooper Clarke, Ian Dury, the humour that was in what they were doing.

I was also very much influenced by the ’80s, middle of the Thatcher regime, pits were closing, industry was shutting down the yards were going’.

Some bands scraped the money together to go into studio’s and record demo tapes and singles. If the band were lucky enough small record labels would make albums.

Joe Peterson: ‘Lots of bands at the time used to record demos and post them off to every record company they could think of. I think they were very rarely listened to’.

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Ted Hunter: ‘There was plenty of bands doing original music at the time that could of got further, and obviously the record deal is the holy grail. But many bands got plenty ‘we regret to inform you’ letters.

We spent four days in Guardian Studios in Pity Me, Durham and spent £400. Which was a fortune in those days. I was only getting £25 a week. We come out with two really good Prog tracks. Which I don’t think got the band anywhere’.

Duncan Binnie: ‘Desert Sounds was the first studio where we done a demo. But I was such a perfectionist. I wouldn’t send a demo tape away to a record company because I didn’t think it sounded quite right, I wouldn’t send a photo away to a record company cos I would think I didn’t look right.

I just didn’t want the letter back saying, we don’t want this’.

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John Hopper: ‘First major gig was Tiffany’s in Newcastle, that was a showcase. That’s where we got the record deal with NEAT Records in Wallsend. When we went into the studio we done most of the tracks that was listed for the album and the demo ones got taken off the reel and put onto the album reel.

Originally the album was just called Slutt and then it got catalogued as Model Youth. It was released in 1988′.

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John Lockney: ‘The studios we used was Guardian Studios in Pity Me just outside Durham, run by a man called Terry Gavaghan. We recorded the four track EP and that was so nerve wracking at the time because we were green as grass.

We were proud of the songs and we went around the local record shops to leave some copies on sale or return. It really was great, I mean you’ve been brought up on singles. Now suddenly you’ve got one of your own. It’s still one of the proudest things I’ve ever done you know.

We went back to record another two tracks for a compilation album Roksnax, the production was better then, we weren’t as green and went back again and done another four tracks for demos to flog around record companies. You can tell the difference how confident we were with more experience in the studio’.

Being in a band can also bring it’s funnier moments…

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Robbie Robertson: ‘Kev the original singer out of The Fiend decided he was going to get a mohican, so we cut this mohican for him but it turned out a bit wonky and looked rubbish so we painted it with yellow gloss paint’.

Joe Peterson: ‘We spent a lot of time in Scotland. Used to drive to a club, put the gear in the club, do the performance, leave the gear in the club overnight and sleep in the van. Which was really hot in the summer and absolutely freezing cold in the winter.

So cold I remember waking up one morning, someone was sleeping in the passenger seat and his forehead had frozen to the window. We had to peel him off in the morning when he woke up’.

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Duncan Binnie: ‘In ’87 we’re playing the Amphitheatre down South Shields in front of can I say, one of the biggest crowds that’s been down there. Council wouldn’t give us any lights so it was an absolute disaster ‘cos halfway through the gig it was dark. But we had the fireworks and the stage was pretty good at that point.

We had a few unpaid roadies one of them was called Joe and it’s unbelievable what effort he’s putting in for nowt. Well during a song one of our explosions went off at the wrong time and the poor guy gets blown up at the gig.

I remember going into The Marsden Rattler pub afterwards and he was standing there his coat was all burnt, the whole top of it was fringed up and he had no eyebrows left’.

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John Lockney: ‘We supported Fist one time, they were in a different league to us. When they went on I remember there was flour bombs from above the back of the stage getting dropped on the drummer Harry Hills head. He ended up being a blur of white as he thrashed around the drums’.

Joe Peterson: ‘A band I was in The James Boys did an audition for the producer of The Tube, and The Tube at the time was the music show. Everybody played live on it, this was the very last edition and we passed the audition.

We were given our times and dates to go and do it but a few days leading up to the recording we were told that as it was the last show Paul McCartney decided he wanted to appear on the show. So we were dropped and Paul McCartney took our place’.

Duncan Binnie: ‘We were playing Middlesbrough Town Hall which was the biggest gig we’d done ‘cos you’d feel cool, we were playing a stage the size of Newcastle City Hall. But the sound guy was going to me ‘give us £50 and I’ll get you a good sound’ and I was going we haven’t got £50, it took us all our bus fare to get up to Middlesbrough’.

Last words…

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Joe Peterson: ‘Music is such a massive part of my life, that I think it has helped me through some really difficult times’.

Paul McRae: ‘The music, the scene, well it was just our life, everything about it, we were in it from the beginning’.

Robbie Robertson: ‘We just enjoy ourselves really, that’s what it’s about, if you don’t enjoy it you’re wasting your time’.

Interviews by Gary Alikivi 2007.

UNDER THE SKIN with drummer Stevie James

Stevie James has been in a few punk bands over the years so he’s collected a lot of memories…

‘I’ve being tapped up by a midget in New Orleans, locked in squats in Genoa and our singer got stuck in a parachute once. I got altitude sickness on stage in Columbia and hid from Nazi skinheads in a loft in Poland. So many memories but if you venture out of your door you experience life in all its glory’.

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Where did it all start ?

‘I started off playing in bands as a kid, playing punk rock on drums. My first band was called The Betrayed and since then have played in so many bands including Hellkrusher, Grudge, Blunt Wound Trauma, Demon 340, The Fiend and The Varukers’.

Who were your influences ?

‘Like most kids growing up you start with the music your parents listened to. For me it was a family of two sides. My mothers music taste was diabolical but my dads was great.

He listened to bands like Them, The Kinks and the Rolling Stones. But he was also into heavier stuff like Black Sabbath, Iron Maiden, AC/DC and Motorhead. It’s all music I still listen to.

My own music started with Damned, Specials and The Sex Pistols. I remember me dad playing Friggin in the Riggin to me uncle and thinking, I’m gonna get me lug dadded here but he just laughed. Then I discovered Angelic Upstarts and the UK Subs.

Now I had a thread to follow I quickly discovered punk in all its forms and along with school mates, found the harder edged and politically motivated punk of the early eighties. Once I discovered that, it was life changing, I never looked back’.

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How did you get involved in playing music ?

‘When we were kids we hung around in large groups on the streets, roaming all over the place. In the early eighties there was an old drum shop on Bede Burn Road in Jarrow that would chuck old sticks and drum heads in a skip around the back. We would go and raid it and see what we could acquire.

Kids from my generation didn’t have access to much so even an old drum head would spark off the imagination.

We would play Crass records that one of our friends older brother had. The anger and politically charged lyrics was the first time I really related to someone else’s point of view. It was the beginning of my interest in music.

Around ’81 or ’82 we went to see The Phantoms of the Underground, Blood Robots and The Pigs in a church hall in Jesmond, and that was that.

I remember having to lie to my dad about where I was going and when I got dropped off at home after the gig, I thought I was gonna get a clout around the ear, but he just said ‘get to bed lad’ and I escaped another hiding.

We decided after that to start a band and moved into me dads garden shed for about three years. I built a drum kit from water barrels from me dads’ allotment.

They were covered in towels perched on upside down chairs with the backs pulled off and the dowel from the backs for sticks. I had a snare drum shell with only a bottom head and no snare, so I turned it upside down and covered it with a towel.

That was my first kit until I bought a proper kit from a lad at the paper shop for £30.

We did our first gig in my parent’s kitchen when they went shopping. We sold tickets for 25p and filled the house with kids from the estate. We borrowed the school drum kit and took it to mine in shopping trolleys.

Me parents came home half way through the gig and caught us. Me old man said I had one hour and went in the living room and closed the door. He was alright about me music was me old man’.

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When did you start playing gigs and what venues did you play ?

‘When I got heavily involved in the punk scene it was very diy and we would play gigs anywhere and everywhere. The bands we followed predominantly played at The Station in Gateshead, The Bunker in Sunderland and later The Broken Doll in Newcastle.

I played my first gig at the Anglo Asian club in the west end of Newcastle but we shook the floor so much they stopped us playing there. ‘We also used to play a lot at The Irish Centre in Newcastle’.

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‘When I was in a band that you could call serious, we did our first gig at The Riverside in Newcastle but we played all over the country and some of us into Europe and America.

I have played worldwide over the years, the punk scene is as far reaching as it gets and I’ve played with everyone from Glen Matlock from the Sex Pistols, to UK Subs, Discharge, Exploited, GBH, The Damned, Steve Ignorant from Crass, The Dickies, The Misfits, you name it. Those early days of kicking around the doors were special though’.

What were your experiences of recording ?

‘We were about as clueless as it gets but what we lacked in knowledge we made up for in enthusiasm. I can’t remember prices but we recorded as cheaply and as quickly as possible in those days.

We used to go to Rednose Studio on the north side and recorded our first single with a band called Senile Decay, which was mastered at Abbey Road then our first album there with Hellkrusher on the Wasteland record which was released in 1990.

The record company said it wasn’t good enough so we went to Baker Street Studio in Jarrow owned by local musician Howard Baker’.

‘I turned up with a pair of old drum sticks covered in gaffer tape and when the engineer asked me where my drums were, I told him I didn’t have any. I thought this was a studio so there would be some here. We ended up borrowing the kit of someone who stored it in the studio.

I later went on to study and become a sound engineer and record many artists over the years and in studios all over the world, including the amazing Rooftop Studio in South Shields.

I went on to design and build The Cave Studio that is still standing to this day, which I’m proud of as it’s in my hometown. I’ve always produced everything I ever did since I had the knowledge to do it’.

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Have you any funny stories from playing gigs ?

‘Oh aye. So many, I wouldn’t know where to start. Most bands spend just about the full day travelling and drinking so they do everything three sheets to the wind but I don’t drink so I remember everything.

I’ve got loads of memories, like the time I slept in a convent, we’ve been escorted by police out of various cities and even over the borders of countries. There has been riots, kick off’s, we’ve blown so many circuit boards in venues it’s not funny.

I remember doing a gig with The Fiend and the guitarist Robby pulled into a petrol station to fill up the van and somehow managed to jam his keys into the van ignition and pulled off the steering wheel trying to get them back out.

We had to leave the van on the forecourt and Robby got a lift on a moped to go get his car. Aye we still did the gig!’

‘We done a gig in The Ferry pub in South Shields where we were so loud we vibrated all the bottles off the bar. They could hear us down the road at another pub so they complained to the police.

One time we went through the metal detector in Berlin airport and one band member accidentally had a butter knife in his boot, it didn’t go off but we were sweating buckets going through security.

We were on tour in America when one of us got pulled in Dallas for having the same name as a wanted terrorist! They showed us a picture of an Asian fella and asked if it was one of us before they would let us go into South America’.

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

‘Music got under my skin and never left me. I was involved in an accident that damaged my spine badly and it had an impact on my health in general. It was a long and arduous climb back up to a semblance of normality, but it changed how I live my life and affected me profoundly.

I can’t play anywhere as well as I used to as the damage is degenerative, and I have to tread really carefully but I still play’.

‘I just can’t imagine my life without playing music in it. I will always play diy punk just how it’s always been, and how it feel’s natural to me. There isn’t a single penny in it and it’s a chore like you couldn’t imagine.

It can be frustrating to manage the logistics of it but I love it with everything that I am and always will’.

Interview by Gary Alikivi June 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.

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.

GUNS, MAGGOTTS & STREET PUNK – Just a normal day for Jarrow band Crashed Out

‘We played South Central LA and the gig got swamped by two rival gangs. The street outside had gangbangers in cars screeching up and down the street. The gangs were ready to go to war. Everyone was crapping themselves. We finished the set then legged it’….

Where did it all start ?

’The very first line up of Crashed Out consisted of four 15 year old school mates, Gary Fulcher, Mark Spencer, Lee Griffiths and me, Lee Wright.

The present line up is my brother Chris Wright, Spencer Brown and Carlos. I’m the only original member from the start. At the very beginning we wanted to sound like a mash up of Rock and Punk. We listened to bands like Stiff Little Fingers, UK Subs, Nirvana, Cock Sparrer and AC/DC’.

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How did you get involved in playing music ?

‘The only reason I picked up the guitar was boredom. I was 14 years old and got it as a present for Christmas. I started to watch early Guns ’n’ Roses videos and got obsessed with music. I wanted to learn how Slash played his guitar solos, it amazed me.

When I realised I couldn’t play like that, I turned to punk music, mainly Stiff Little Fingers and UK Subs. I spent months learning in my room. I found I could pick their songs up easier.

Many years later we would tour and become friends with these types of bands, who would have known.’

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When did you start playing gigs and what venues did you play ?

‘We started off playing our school hall in front of the kids and teachers. They didn’t think much of us punk kids making a noise, but we left our mark for sure. Twenty odd years later I bumped into an old school teacher and he mentioned that gig haha.

After that we started playing pubs up and down the country, it was difficult ‘cos of our age. But we managed to pull it off somehow. Around that time we supported the likes of UK Subs, The Exploited, Peter and the Test Tube Babies, GBH and a few others.

I wrote hand written letters to gig promoters back then, it was hard work but it was great. We even managed to get to Belgium for a few gigs’.

What were your experiences of recording ?

‘In 1995 we recorded our first self financed single in a studio called Uncle Sams here in Newcastle. It was a professional analogue set up. I can’t remember costs but it wasn’t cheap.

That first single was called Memories of Saturday and on the b side was Fight Back. Both those tracks are on a compilation album put out by Hammer Records called True Brit.

After releasing the single we followed it up with an album This is Our Music. Uncle Sam’s studio had a good vibe !’

Have you any funny stories from gigs ?

‘There are always funny stories when traveling abroad with the band, trouble is it’s always a blur because of the alcohol ! I remember on one of our first trips abroad we decided to go by ferry. We got absolutely plastered on the way over and one of the lads passed out drunk on the floor. Someone decided to pour a carton full of boiled rice down the back of his underpants while he slept. It wasn’t hot by the way.

Anyway, morning came and we forgot about the various antics that had went on the previous night. As we left our cabin we joined the queue of people near the exit waiting to leave the ferry, when suddenly our mate started screaming and grabbing at his arse.

He was dancing round as if he was on fire, pulling rice out of his pants, he thought he had maggots coming out of his arse. With the added hangover he was really panicking, you should have seen the look on his face. I can still remember it now’.

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Chris Wright:

’Once we played in an old prison in Germany, with support from The Bruisers, who went on to become The Dropkick Murphys. Anyway it kicked off outside and some nutters were shooting guns so we had to hide in the back of the building.

This is a very bizarre but true story. We were in LA when we met Lemmy at the Rainbow Rooms. He asked me if I wanted to buy a Hollywood star paving slab with my name ettched on it. He said he could have it shipped to Jarrow for me!! Honestly true story’.

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‘Former Angelic Upstarts drummer Decca Wade (pic above) was playing for us in 2006. He played a gig in Spain completely naked and when he finished he stood up from his kit and bowed to the crowd. He took a step back and disappeared off the stage. Thing was the stage was in the centre of a hall and a curtain was drawn behind it so he couldn’t see the 5ft drop. He had to run from behind the stage through the crowd to the dressing room, all this while he was naked’.

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What are Crashed Out doing now, and have you got any plans for the future?

‘Well twenty plus years later we are still playing all over the world. We have new recordings in the pipeline and we have some new band members too. Things are going really well. Thanks for the interview’.

Crashed Out have lined up a few stand out gigs this year. They are playing at a charity gig at the Head of Steam in Newcastle on August 25th.

In October the band are at Newcastle Uni with Cock Sparrer on the 7th, then on the 20th they are supporting Sham 69 at Newcastle Academy.

December 9th they travel to Wales for a pre-Xmas bash then on 28th they are having a Xmas Mash Up at Trillians Bar in Newcastle.

Check the official website crashed-out.co.uk or their facebook page for more dates.

Interview by Gary Alikivi June 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.

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

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

Evo, No One Gets Out Alive, 8th October 2017.

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

STILL GOT THE BLUES – with guitarist Trevor Sewell

This Friday June 23rd, is the the launch of ‘Calling Nashville’ the new album from Trevor Sewell.

If you don’t know him check this for an impressive record in the music biz; Winner of 9 major awards in the U.S.A , 4 times nominated in the British Blues Awards, his debut album ‘Calling Your Name’ spent a staggering 7 weeks at number one on the American Blues Scene Chart.

His second album ‘Independence’ went on to win multiple awards and firmly establish him as a real force to be reckoned with.

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Sewell’s music has not only been recorded recently by several American artists but also featured on numerous major compilations alongside legendary artists such as Robert Johnson, B.B King and Howlin’ Wolf.

The years have seen Trevor Sewell continue to go from strength to strength…

‘We have the new album coming out which features some amazing guests in the shape of the wonderful Janis Ian who is herself a multi platinum selling artist and Grammy winner. Also Tracy Nelson from the legendary Mother Earth and produced by American producer Geoff Wilbourn’.

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Rewind the tape Trevor and tell me where did it all begin and how did you get involved in playing music ? 

‘The people that influenced me in the early days and really got me started playing were Jimi Hendrix, Freddie King and John Mayall with Eric Clapton and the Bluesbreakers.

I have a very eclectic taste in music but it was these guys that really made me want to pick up a guitar and make a go of it.

My brother brought a guitar home along with the John Mayall album and I was hooked before the intro of All Your Love had completed. I just thought how can I get a guitar, it was an amazing moment for sure’.

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Where did you rehearse and when did you start playing gigs? 

‘Like most bands we started off rehearsing in each others houses and church halls, anywhere we could really. The first one I ever did was when I was 13, it was at a Drill Hall in Heaton, Newcastle in front of about 400 people.

But since then I’ve played pretty much every sized venue from the very smallest to 20,000 plus’.

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What were your experiences of recording ? 

‘I spent a lot of 1983 working in the major London Studios which taught me a lot and gave me a taste for recording and over the next decade or so I worked hard to learn how to do it myself and build my own studio enabling me to record my albums at home.

Although I recently did one at Capitol Studios in Hollywood and have just returned from Nashville where I’ve recorded the new album’.

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Have you any stories from playing gigs ? 

‘I remember touring in Norway with The Monroes who were signed to EMI Norway and had a number one album at that time. The Monroes were themselves Norwegian and wanted to take the show to places where major bands didn’t usually play so over six or seven weeks we played pretty much everywhere in Norway and it is such a beautiful country.

It was amazing driving through the mountains in the Arctic circle and then getting a small plane into Hammerfest, the most Northerly town in the world, it was a fantastic experience.

I also love playing in America we have had our last two album launches in Los Angeles it’s a fantastic place’.

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What are your plans for the rest of 2017 ? 

‘We played at the pre-Grammy Soiree earlier this year and we are planning to go back to the U.S for the Grammys next February. I’m also lucky in that I get to play on other people’s albums sometimes particularly in the U.S.

I really do think I am a very lucky person as even after all this time I still love playing’.

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Tickets are still available from http://www.thecluny.com for the launch for the new album ’Calling Nashville’ on Friday 23rd June at The Cluny in Newcastle with special guests (from Lindisfarne) Rod Clements with Ian Thomson plus Les Young of the Wall to Wall Blues Show.

Interview by Gary Alikivi April 2017.

Recommended:

Bernie Torme, The Dentist, 21st March 2017.

Steve Dawson (ANIMALS) Long Live Rock n Roll, 2nd April 2017.

Robb Weir (TYGERS OF PAN TANG) Doctor Rock, 21st June 2017.

John Verity, (ARGENT) Blue to his Soul, 7th November 2017.