THE GHOST OF CHRISTMAS PAST ? by author & broadcaster, Dan Green.

Mysteries of the world are fascinating subjects and we rely on scientists, archaeologists, researchers and storytellers to bring them out of the dark.

The blog in October 2019 featured a couple of stories by author and broadcaster Dan Green. He recently got in touch and wanted to share another story.

Dan was a resident of South Shields for 40 years and at the time of this event he was living in the town.

‘During many years of research, I have heard dozens of amazing anecdotal stories concerning ghosts and whatever they might be or represent.

It has left me having little doubt whatsoever that there is a phenomena behind it all, generally unknown and let alone accepted.

However, as good and convincing as other people’s stories may be it is far more rewarding if you can call on evidence from your own personal experience’.

You can’t usually force a ghost to appear or meet with one, but this seems to have happened to me during the late 1990’s when my wife and I travelled down from the North East having resigned ourselves to looking after grandchildren, thus allowing their mum to go out at the time of the Christmas festivities.

Little did we know that this innocent occupation would be taking place in a most ridiculous location – a haunted derelict asylum on a Christmas Eve.

Something you could only expect – for those of you old enough to remember their movies – from Bob Hope and Bing Crosby.

St Johns asylum, Lincoln, UK.

The derelict St John’s asylum in Lincoln was built in 1852. Originally built to house 250 patients it went on to accommodate thousands from all over Lincolnshire, finally closing its doors in December 1989.

At the time of our visit its caretakers were my wife’s daughter and her boyfriend.

The property was Grade II listed meaning it couldn’t be demolished and had just been bought by ‘Bungalow’ Bill Wiggins then the boyfriend of glamourous Hollywood starlet Joan Collins, who was to convert the main building into flats.

At the time, building had only just started and so we were offered a luxurious penthouse room for our stay, in the midst of all the empty, decaying, wall peeling eerie corridors.

It was quite simply surreal having to leave the warmth and safety of the suite to have to go along dimly lit dank and neglected corridors to the nearest toilet situated in the old asylum quarters. You swore you could hear whispering voices at the dead of night.

Interior of St John’s asylum, Lincoln.

On our first night, two days before Christmas Eve, Lincoln was snowed in. My wife and I retired around 11am after a hectic day’s babysit and nestled down into the extra comfy bed, switching the light off and expecting a quick descent into slumber.

After maybe no more than ten minutes and whilst still fully awake we nearly jumped out of our skins when the silence in the dark room was broken by an enormous crash at the foot of the bed. It sounded as if something very large had fallen.

After our initial shock we put on the light to see what it could be, already knowing that it couldn’t have been anything as there was nothing there and not even anything else in the room that could have provided such an alarming crash.

My wife was insistent for an explanation and I gave then what was perhaps the most lame and most unbelievable excuse ever – it was the flag on the balcony outside blowing in the wind. It was all I could think of. Both of us knew it wasn’t or anything remotely like it.

The following incident happened about 7pm on Christmas Eve. The snow was all around, like a white blanket. I stood outside marvelling at the sound of silence. The thousands of falling flakes amidst darkness all around in the vastness of the grounds.

It was then that I heard the lone sound of a bugle being sounded. ‘It must be an early reveller’ I thought, although a bugle wasn’t the sort of instrument I would associate with an early Christmas celebration.

I was keen to locate exactly where the sound was coming from, expecting that to be easy amidst the otherwise total silence, absence of any other person or activity, and the totality of the space around me. But I could not place it.

I moved myself around some distance but still could not pin-point the sounding bugle. I listened until I could hear it no more. It was very clear and distinct but not a musical masterpiece. Strange!

On Christmas day my stepson came to join us and we offered him another swish suite not far from our own. We decided best not to tell him about the bedroom crash or highlight anything else about the building that might possibly spook his nervy temperament.

It wouldn’t have mattered. In the morning he told us how no sooner trying to sleep he saw what he described as a ’floating black bin bag’ in the room!

I was glad when we could all leave the premises before anything else might present itself. A week or two later I was recounting my incident with the phantom bugle player to my mother-in-law.

It was then she informed me that long ago one of the asylum inmates had escaped on Christmas Eve, a fellow who was renowned for wandering the grounds playing a bugle.

However, his escape was a tragedy – he had no sooner sneaked out of the premises playing his instrument when he was hit by a bus and killed outright. I hadn’t known anything about this.

Had I encountered his ghost on the calendar night he had lost his life? If so, then this must rate as a first class ghostly encounter. I’ve since spoken to others about our nights at the old asylum and wasn’t surprised the things I learnt from them.

My stepdaughter confirmed that both she and her boyfriend had seen things – ‘a human sized figure made up out of speckles, like what you get when a faulty TV aerial disrupts the screen’.

She had decided not to tell us anything about her experiences in case it put us off coming to stay. The asylum certainly had a ghostly reputation.

A care worker I met years later who had worked at St John’s confirmed how staff had to contend with lights suddenly switching themselves on and off and the sound of footsteps being heard above them in empty rooms.

The grisliest tale he told me was when a room had been found after a wall had been broken into, and there around a table sat upright skeletons, the table having rotted food as if a feast had once been prepared.

With no windows or doors in the room they had all been entombed in there.

We were also told by my stepdaughter that the previous caretakers, a husband and wife, had left the building at the dead of night – in their pyjamas! They never returned, leaving costly personal belongings.

So, the old asylum at St John’s – haunted? Hard to think otherwise, although I’m sure psychologists would offer a bland explanation for it all, rather like my flag blowing in the wind.

Read more stories by Dan Green at: www.dangreencodex.co.uk

Edited by Alikivi  October 2020.

WAITING FOR ANOTHER WAR – author Trevor Ristow talks about his new book on The Sisters of Mercy.

The Sisters of Mercy, 1984. Gary Marx (guitar) Craig Adams (bass) Andrew Eldritch (vocals) Wayne Hussey

Watching live music in the early ‘80s was a heavy mix of rock bands delivering the goods – Sabbath, Priest, AC/DC and Motorhead. Then with a little swagger came Hanoi Rocks, The Cult and Psychedelic Furs.

Regular venues were in Sunderland and Newcastle – the Mecca, City Hall and Mayfair, then Tiffanys for darker nights that served up a poisoned brew from cult bands The March Violets and The Sisters of Mercy.

A side note is their gig at the Newcastle venue on 13th March 1985 was bootlegged – Disguised in Black – and regarded highly among Sisters fans for its quality.

Recently some Sisters tracks have been synced on TV shows Game of Thrones and American Horror Story but I first came across the band around ’84 on the John Peel radio show when they recorded a session for the BBC.

Hearing a baritone voice and drum machine was unusual for a rock band, and they did have an extra edge of driving bass carrying the sound onwards and upwards. Check out ‘Floorshow’,  ‘Body Electric’ or the spellbinding ‘Marian’.

The Sisters mk 1 peaked with an appearance on the Old Grey Whistle Test in March 1985 and then in June a final burn out at The Royal Albert Hall, London.

Reports coming out of fan websites mention that at the end of the set, backstage Motorhead’s Lemmy offered ‘refreshment’ to frontman Andrew Eldritch.

Sisters played a blistering final encore of ‘Ghostrider’ and ‘Louie, Louie’. The gig was a triumph, and a God-like status was assured for Eldritch.

If ever there was a book needing to be written about a band it is this one. In a new interview, American author Trevor Ristow reveals how long the book was in the works and how ‘Waiting for Another War’- a line taken from the track ‘Valentine’ which featured on The Reptile House EP – was not the first title…..

This book has had three titles. The working title for over a decade was ‘Mission and Revenge.’ Obviously, that’s borrowed from the unreleased second Sisters album, but I also thought it nicely expressed something about the band, specifically about Eldritch stewardship of it over 30 plus years.

But originally the book was going to have a longer sweep: 1980 to the present. When I cut it down to 1980-1985 I didn’t think ‘Mission And Revenge’ was appropriate, so I renamed it ‘Heaven And A Hope Eternal.’

I even went so far as to design the cover with this title, but I changed it at the last minute.

The main problem was that I found the title a bit soft for a book about a band that articulated an unapologetically masculine aesthetic during the period in question.

Also, the implications of the title were a little obvious: an old fan savouring the golden years and hoping for a new album.

‘Waiting For Another War’ recommended itself to me because it implies a more subtle version of the same sentiment: we all want another album, and wars are one of the few things that seem to motivate Eldritch to write new material. So here we are, waiting for another war.(a lyric from Valentine).

‘Valentine’ was definitely one of my first favourite Sisters tracks, and it is still one of my favourites, so that helped.

Author, Trevor Ristow.

In these difficult times how did the book come together ?

I am originally from San Francisco and have lived in New York since 1989. I wrote the book in two separate apartments in New York.

The first one was in Tribeca, a tiny little studio on the 49th floor overlooking the World Trade Center. Then, years later, I finished the book from a different home on East 7th Street in the East Village.

At the very end of 2019, with the book finished but not printed, I moved with my family to a new apartment because we were expecting our second son in April.

Three months later the pandemic struck New York City like a tornado. Unrefrigerated dead bodies were piling up outside NYC hospitals, including the one where we were scheduled to give birth.

Husbands were not allowed into delivery rooms. There was a PPE shortage, and everyone was panicking. Crime was spiking and summer was around the corner.

I packed up my very pregnant wife and two year old son and we left our home to stay outside the city. Although I sent the final files to the printer from New York City in February, I ended up receiving the shipment of books, signing them, and sending them from a family home in the countryside. 

What inspired you to write the book ? 

I was inspired to write the book because I love the band. Of course, an interest like this waxes and wanes.

I loved the 1991 US gigs but for some reason I didn’t really care enough to go to Philadelphia in 1997, a one-hour train ride from New York City. I was in graduate school and I guess I had other things going on.

The next year I saw them at The Ritz again in New York City and the fever returned. Since then I’ve flown overseas for gigs, like many other fans.

Sisters music has been a constant companion of mine since I was very young and the book is an expression of my passion for the music.

Waiting for Another War. pic. Ulf Burglund.

Do any stories stand out – what is your favourite ? 

I guess my favourite story that I unearthed myself is the story about the band going to a party for Joe Jackson in San Francisco. I know the guy who took them, the club they came from, I know the corner the party was on very well, I know the street, the neighbourhood.

I can picture the van ride there, the people, everything, because San Francisco is my hometown. So, apart from the fact that the story is funny, it’s very vivid to me.

Are you planning another book and where is ‘Waiting for Another War’ available ?

Yes, I will do at least one more. For the moment, just here (https://www.gkwfilmworks.com/sisters) and eBay. I’m working on Amazon.

I may reach out to some record stores in the UK and see if they would like to stock it, because the shipping charges from the USA are prohibitive for some people who might otherwise be interested. But that’s just an idea at this point.

To get an insight into The Sisters of Mercy and the Leeds music scene of the ‘80s go to the excellent blog ‘I Was a Teenage Sisters of Mercy Fan’.

Interview by Alikivi  October 2020.

SOUND & MEMORY – with Field Music’s David Brewis

Peter & David Brewis (pic. BBC website)

On the same dial as Roxy Music and Prefab Sprout, are Sunderland bands The Futureheads and Field Music who formed during the noughties…

The music community at that time was pretty tight. I’m sure there was rivalry, but it was also really supportive. We probably shuddered at the idea of it being a “scene” – but that’s what it was.

The spine of Field Music are brothers Peter and David Brewis….

We’d been teaching at a youth music project in Sunderland where we met Barry Hyde who later joined The Futureheads, and a bunch of other young musicians including Ian Black, who’d later join Field Music and release some records as Slug.

We asked Barry to join our band, which was just what we needed really. We could share our experience with regard to getting out there and playing and arranging for a band and he opened our eyes to a lot of music we didn’t know about – Captain Beefheart and The Velvet Underground and the free-er style of jagged edge in jazz.

That was an inspiring time, we had a lot of ideas and started a lot of bands which never played a gig. It took us a while to stop flailing around and make sense of what we wanted to do.

For Barry that was The Futureheads, and for us that eventually became the first Field Music album.

What was your first experience of a recording studio ?

We recorded with Frankie Stubbs at the Bunker in Sunderland a couple of times when we were first starting out – in ‘94 and ‘95 I think. And then we did a gig at South Hylton Working Mens Club to pay for a couple of days in Frankie Gibbon’s studio in Lambton Lion Park.

But really, we felt best recording ourselves. We had a cassette four-track at home and were always working on songs and we fancied ourselves as producers as well as players.

In 1997 we applied for the first round of Lottery Arts funding and they gave us £4000 to set up and run a community studio for six months. We couldn’t afford the rent after that, so we moved it back to our parent’s spare room.

Our first proper release was an EP under the name The New Tellers, was recorded there, along with the first Futureheads demos.

In 2001 we clubbed together with The Futureheads and a couple of friends to have our own studio and practice room in a community centre and since then, we’ve always had our own studio space.

We stayed in that first space for over ten years and recorded three Field Music albums, my first solo album as School of Language, Peter’s album under the name The Week That Was, most of the first Cornshed Sisters album, one of the early Maximo Park EPs, a chunk of The Futureheads’ fourth album and their first EP.

How did you get interested in music, are you from a musical family ?

We, that’s me and my older brother Peter, don’t come from a particularly musical background but our parents were of that generation who grew up in perfect alignment with British rock music.

They were nine or ten when the Beatles came along, 16 year old and trying out rebellion when Let It Bleed (Rolling Stones) came out.

And then in the ‘80s, when they were dealing with us, the few records they bought were either sophisticated adult rock like Peter Gabriel, Kate Bush and Hall and Oates, or sophisticated adult pop like the Pet Shop Boys.

What instruments did you pick up ?

Peter was itching to play the drums after watching The Bangles on Top of the Pops. That was probably 1989. I wanted in on the action so I saved up for a twenty quid acoustic guitar from Argos.

Actually, I’d been saving my pocket money ready for a holiday in Yugoslavia, but their currency was devalued while we were there, so I ended up bringing my meagre savings back and bought the guitar.

We didn’t know what we were doing but we liked the idea of playing music and then found a Led Zeppelin track on one of our parents’ compilation albums I think it was called – ‘By Invitation Only’.

They also had Free Live – we became totally obsessed. Peter learned to play my guitar much more quickly than I did so I switched to bass after a couple of years.

Who were you listening to and who did you watch live ?

We had a brief period of going to gigs at Newcastle City Hall while we were learning to play. The first one was probably Jethro Tull, who had Dave Mattacks playing drums with them on that tour, which is odd because we’ve gotten to know Dave a bit in recent years.

We went to a couple of technical guitar-type gigs – Joe Satriani, Steve Vai – while we were learning to play but that style of music didn’t bed in with us. We bought a Black Crowes CD in about 1993 and that did make sense to us.

We travelled to Sheffield to see them play in 1995 but by then we were already gigging around the local pub circuit.

Where did you first rehearse as a band ?

We rehearsed in the spare room in our parents’ house in Cleadon Village. Our neighbours were very tolerant!

For a long time our bands revolved around me singing and playing bass or guitar, Peter playing guitar live but drumming on a lot of our demos and Andrew Moore, who was our friend from school and an incredible piano and organ player.

Our first drummer was called Paul Taylor. I’m not sure we ever saw eye to eye musically but he was a good drummer and amazing to watch.

A young metaller called David Dorward joined on bass one time, and when we went to college the pool of musicians we knew grew a lot and we played with a couple of really good local drummers – Jaimie Curle and Garry McKenna – though I think we always had a sense that we wanted to be in charge of the drums.

What was your early experiences of playing live ?

We must have played at school a couple of times but the first thing that really felt like a gig was a battle of the bands at Manor Quay called Wearstock in 1994. I think the band was called Underfoot back then.

From 1994 until 1998 we played tons of gigs on the pub circuit, doing mostly covers but gradually trying to add in our own songs. Our favourite venues were places like The Duke of Cumberland in Felling, The Turk’s Head in South Shields, Sleepers in East Boldon and The Keelboat in Fatfield.

There were tons. It was a very wholesome way for a 14/15 year old to spend their free time!

Once we retired the pub-rock band, we were playing at places like The Royalty, Pure, Ashbrooke Cricket Club and Bar 36 in Sunderland and occasionally we’d venture to The Head of Steam in Newcastle.

When did you become a professional musician and how has it worked out for you, is it what you imagined as a teenager ?

We signed a publishing deal a couple of months after I finished university in 2001 and since then I’ve mostly just been a musician. The period from 2001 until we released the first Field Music album was tricky. We didn’t really know what we were doing.

We had very supportive manager and a very supportive publisher but we didn’t understand the extent to which being independently-minded means doing things yourself.

We probably didn’t realise that in order to get a record made our way, we would have to record it and mix it ourselves.

We didn’t realise that in trying to make odd music on stage, we’d have to think very hard about how to make that work for an audience in venues which are primarily geared towards bands whose music is not odd!

Whatever dreams I had about being a musician when I was young have been stripped down to the barest elements and go along with essentially running a small business.

So, yes, I get to make the music I want to make and I spend all this heady time writing songs and being creative in the studio and working out how to play these songs on stage with my friends, but I also have to book hotels and do VAT returns and do amateurish joinery in our studio. It’s harder work than I imagined but also probably better.

What does music mean to you and what has it given you ?

I love writing songs and I love recording. If I ever have a period when I’m not doing those things I get gloomy and anxious. It’s not that it’s the only way I can express myself – I’m a wordy kind of person!

And it’s not that it’s the only thing I’m good at – I could probably have stayed in academia in some maths-related sphere.

But music is the thing which gets my synapses crackling. And in songwriting I can dive into pretty much any topic or follow any curious thought.

The last Field Music record grew out of a commission for the Imperial War Museum as part of a season about the aftermath of the First World War. We ended up researching and writing songs about planning law and sanitary towels and reparations and Tiananmen Square.

Our brains were in overdrive pulling these things together and turning it into a performance and then a record. It’s such a privilege that we get to do these things. But also I feel really proud that we can take on a challenge like that and make it work.

Interview by Alikivi October 2020.

ATLANTIC RIDGE – Steve Hall talks about The Questionnaires new album.

An earlier interview with Steve talking about his time in North East band East Side Torpedoes features on the blog in March 2019.

The Torpedoes were signed to EMI, regularly toured the UK and played the Knebworth Jazz Festival in 1982 supporting Ray Charles. After suffering bad luck in the recording studio, the band called it a day in 1986.

Steve took up a successful career in academia while playing in local bands like The Questionnaires who supported Paul Young at the North Shields Fish Quay Festival in 2003.

In the interview Steve talked about ‘not being suited to life on the road and enjoying more the writing and recording side of music’.

This brings his story up to date, as The Questionnaires have been busy in the studio with new album ‘Atlantic Ridge’.

In early 2019 guitarist and Dobro player Jim Hornsby and drummer Steve Dolder, who I’ve known for a long time, heard an earlier version of one of the songs, Hide and Seek and persuaded me to make the album.

Initial sketches of the songs were made by Jane Wade and I in my home studio, just vocal and acoustic guitar. Some of our other musicians also own home studios or small semi-commercial studios.

Over time we evolved a performing and file-sharing process that worked, recording various instruments, bouncing rough mixes back and forward and re-doing them until everyone felt it was right.

We said we wouldn’t be happy until it sounded like a band who had played together for a long time. It wasn’t easy.

By the time we were happy with the basic tracks, in effect we had played together for a long time. Atlantic Ridge was made between June 2019 and August 2020.

Steve Hall, The Questionnaires.

Who plays on the album?

Our first album Arctic Circles, released in 2002, was a touch on the esoteric side, but we wanted Atlantic Ridge to be more down-to-earth, with a country/folk flavour to most of the songs. We chose the musicians very carefully.

They all had to be good enough to handle one or two tricky arrangements but at the same time sensitive enough to interpret the songs and come up with the parts that sounded right and conveyed the mood for each song.

To be quite honest we think we found the perfect combination. Jim Hornsby (Prelude, American Echoes, Martin Stephenson) on Dobro and guitar is a legendary country/Americana player, and as well as a great player, a great listener – every part he contributed in some way complemented the melody and harmony.

Steve Dolder (Eastside Torpedoes, Prefab Sprout, Glenn Tilbrook, Sid Griffin) on drums and Stephen P. Cunningham (Lindisfarne, The Proud Ones) on bass are as solid a rhythm section as you’ll get anywhere.

Anyone who cares to listen to the album will soon find out why Connecticut-born adopted Geordie Niles Krieger (Assembly Lane, The Often Herd) is regarded as one of the very best folk/bluegrass fiddle players in the country.

That was the core of The Questionnaires’ recording band, and we drafted in some special guests to put the icing on the cake – Roy Pearson on percussion, Liam Fender on organ, Les Watts on piano and Bevan Morris on bowed bass all show why they are constantly in demand for live and recording work on the North-East music scene.

One fellow-musician and songwriter commented ‘This is the North East’s Wrecking Crew’.

They made the production of this album a real pleasure, and where Jane and I pushed them to their limits they pushed us beyond ours.

What themes do you explore through the lyrics ?

The themes that Jane’s lyrics follow vary from thumbnail portraits of interesting characters you meet in pubs and on the streets in provincial cities like Newcastle, to broader themes like the state of the world in these strange times and how it is affecting people.

General facets of modern life like addictive internet shopping and in the sadder moments, broken hearts and lost love. Some of it is quite serious, some of it is a bit tongue-in-cheek.

Lyrical influences vary from jazz, ‘60s pop, folk and music hall songs. I think the standout track is Heavy Heart.

How did you find recording the album in these uncertain times for the music industry?

I knew that recording and promoting independent music is an uphill struggle if ever there was one. The corporate music industry has so many of the promotional platforms sewn up.

They produce some great music and a lot of nicely produced crap, but they succeed because it’s their great music or their crap you hear on the radio or see on the TV every day.

The quality of independent music varies too, but it’s far harder to get airplay, so you don’t come across our great music or our crap on the airwaves every day.

Some broadcasters who support local independent musicians – such as Chris Donald, Gary Hogg, Paul Kirsopp and a handful of others – are the salt of the earth, but we knew it would be a hard road, especially in a band whose ages vary from 29 to 73.

So, we began with the intention of just knocking the songs into shape because we love doing it and always have done, and keeping the recordings for friends, family and posterity.

But we’re all pros or ex-pros, and as we got going we began to think, well, you know, this is sounding OK, so why don’t we put a bit more effort into it and try a release?

As I said, our method of working was tricky. Working in home or semi-commercial studios owned by some of our musicians, initial song sketches on vocal/acoustic guitar sent to the rhythm section, guide drums and bass put on, everything redone again, add guide guitar and fiddle, percussion, organ, backing vocals, rough mixes bouncing back and forth, nobody happy, do it all again and on and on.

Of course Covid knocked us onto the back foot for months. But we persevered – we worked out that if a record label had been paying for the time we all put into Atlantic Ridge it would have cost over a million quid.

As it all came together, we began to enjoy it more and more.

By the time we finished we all agreed that this was easily good enough for a commercial release. We ran it past some pretty hard-headed music industry people we know and they said it was one of the best albums they heard in years.

‘Atlantic Ridge’ main sales is through the site Bandcamp https://thequestionnaires.bandcamp.com/

The album is available as a limited edition CD or digital download. It’s also available on Spotify, I-Tunes and all the other digital platforms. This is a special release for our friends and social media followers.

After a promo campaign Atlantic Ridge will be released nationally on January 15th, when, hopefully, if we get past the gatekeepers, you’ll be able to read about us in the press and hear us on national radio stations.

Interview by Alikivi October 2020.

SHE ROCKS – Blast Studio manager Lisa Murphy talks about a new project for Women in Music Production.

‘Research has found that women make up a very small percentage of artists, songwriters and producers. I want to address this imbalance.

This project is designed to support more women into the music industry by providing them with the opportunity to develop music production skills’

said Lisa Murphy, Studio Manager for Blast Recording Studios and Production Room in Newcastle. 

A six month project for aspiring female music producers to further their career in the music industry is starting in November.

The application closing date for this exciting new opportunity in Newcastle is Sunday 25th October, so get in touch now.

Lisa added ‘Working as a female music producer in professional recording studios in the North East, I want to share my skills, experience and contacts to open the door to more women working as music producers.

The course will include working on projects in professional recording studios, masterclasses from professional music producers and individual time in the studio to complete your projects’.

What do you hope the course will achieve ? 

‘The aim is to enable four emerging female music producers to develop skills, knowledge and contacts in order to further their career.

This will be achieved through weekly sessions with myself and other relevant guest speakers, hands on learning in a studio environment, and individual time for each participant in the studio on a weekly basis for them to practice their skills and produce work for their portfolio.

Also built into this programme will be a number of projects developed by myself to give the participants access to other studios, recording session musicians and selected bands in a larger setting with different equipment’.

What is the aim of the project ?

‘The overall aim is to enable the participants to gain their first important steps into a career in music production, an industry that is heavily influenced by a producer’s portfolio of prior work and contacts.

The use of teachers and music producers such as myself and other selected professionals – local songwriters, sound engineers and musicians – female, whenever possible, will support this aim, demonstrating that there is a place for women in the music industry – specifically in technical roles in which they are currently under-represented’.

Check the website for full details and how to apply:

www.womeninmusicproduction.co.uk

Applications close: Sunday 25th October

Interview by Alikivi  October 2020.

METAL CITY – New album from Chief Headbangers, RAVEN.

With their new album Raven carry the torch, or flying V, for metal into the future.

Excuse the pun but Amazon has been flooded with orders for this new offering from Raven. Why ? Well the word is out.

The Chief Headbangers have tooled up heavy and fired an opening three track strike. Check out the Human Race sequence drop at 2 minutes in.

One of the defining moments on this album is right there. Raven are carrying the torch, or flying V, for metal into the future.

New single Metal City with a glorious big chorus is quickly followed by a ballsy, catchy Battlescarred, with a cry of ‘Raise your hands, to the sky, stand and fall, You and I’.

Added to a Gallagher trademark scream the song builds and reaches out for better times. Surely a future live favourite?

Slick, tricky guitar from Mark Gallagher with balanced precision drumming by Mike Heller rattle and crunch tracks and pound them into submission.

It’s all tightly packed like a mighty coiled spring. There’s even a Motorhead/Lemmy tribute – nice touch lads!

The wide and expansive closer, When Worlds Collide with ‘You meet your maker on the other side’ has turned a potential plod into a triumph. The trio look back over Metal City and watch the sunset. And the credits roll.

On this evidence Raven consolidate their title of Chief Headbangers.

Any contenders?

Alikivi  September 2020.

METAL TOON, METAL CITY video filmed in Newcastle for new single from Chief Headbangers, Raven.

On Tyneside during the ‘70s and ‘80s rock music was heard from Sunderland to South Shields, bounced over the river Tyne to Whitley Bay and Wallsend – the vibrations were felt in Newcastle. A North East New Wave of British Heavy Metal was coming in.

Riding the wave were Fist, Hellanbach, Mythra, Tygers of Pan Tang and Venom pushing metal to its limits and discovering a new energy. Another of those bands was Raven.

Now based Stateside, but originally formed in Newcastle in 1974, early gigs saw the trio cutting their teeth on North East live circuit of working mens clubs.

Headline gigs at Newcastle Mayfair and Dingwalls gained the band a solid live reputation. The gates were opened, and the band went onto UK support slots with Iron Maiden, Ozzy and Whitesnake.

By the early ‘80s two albums ‘Rock Until You Drop’ and ‘Wiped Out’ were recorded in Wallsend’s Impulse Studio on the Tyneside label, Neat Records. Then a call came in from America.

Raven were at the forefront of speed metal spawning the big four beasts from the United States – Megadeth, Slayer, Anthrax and dragging Metallica out on their first, and scorching, tour across the USA.

We know where they ended up. These were life changing moments. Raven knew their future was Stateside and subsequently signed to Megaforce and then major label, Atlantic.

Fast forward 40 plus years and the band are still hitting it hard with new single ‘Metal City’ from their forthcoming album. The music video was filmed on Tyneside capturing iconic structures like the Angel of the North, Tyne Bridge and even St James’ Park home of Newcastle United.

I asked bassist and vocalist John Gallagher did filming stir up any memories when you were at the locations ?

It definitely stirred up some memories especially with one part of the shoot. We were driving to one of the locations when I mentioned “I grew up down that street there” and our video guy Paul said “Then let’s check it out!”

So, the footage with me playing the bass is in the backlane in Benwell where we played football as kids.

After ‘Top of the Mountain’ this is the second track released and both are very strong opening singles, I asked John are the band putting down a marker for what the listeners can expect from the rest of the album ?

Very much so. Top was the perfect choice as the first song as it sounds like one of our early songs dragged kicking and screaming into the 21st century!! And Metal City is not only the title track but it’s a real anthem type song.

Yep, added to trademark Gallagher scream, check out the geet big chorus!

The rest of the album runs the gamut from crazy fast songs like The Power, and a tribute to Lemmy in Motorheadin’. Added to super aggressive tracks like Human Race and Break plus a bit of an epic in When Worlds Collide.

So, there’s variety, and all heavy with ‘all killer, no filler’.

How do you look at this album compared to previous releases ?

This one is a belta! We actually think this album is the best thing we’ve ever done, for a band that’s been around the block as long as we have that’s really a case of laying down the gauntlet to many of the other bands of our era who are putting out ‘ok’ albums.

The band have just released new European tour dates, when was your last gig pre – covid ?

Our last shows were on the Monsters of Rock cruise which departs from Florida. We did the pre-party show in Miami and a show on the cruise.

Always great fun, and we actually did Chainsaw for the first time in about 30 years. We can’t wait to test drive these new songs on stage!

Watch the video on You Tube: https://www.youtube.com/watch?v=jtKKmm6ibOM&list=RDjtKKmm6ibOM&start_radio=1&t=20

Check official website for tour dates and album release:  https://ravenlunatics.com/

Interview by Alikivi September 2020.

EARTH WORKS for Teeside artist Andrew McKeown.

A current photography job I’m working on is documenting the regeneration project near the seafront in the North Marine Park, South Shields – really handy because I only live two minutes away.

Within the building and restoration work pieces of public art are planned so I got in touch with the artist commissioned for the work…..

I am currently working on designs for a large contemporary steel Beacon in North Marine Park, South Shields. The Beacon takes inspiration from the Lawe Top Beacons built in 1832.

The words on the Beacon preserve maritime trade names and celebrate the character of the people of South Shields. The words and trade names have been suggested by the local community.

Do you always involve the community in a project ?

Involving local communities is an essential part of my working practice. I have over 25 years of experience and knowledge in this area.

For previous projects I have devised a wide range of community consultation programs involving local people and schoolchildren, from presentations through to hands on practical sculpture workshops and longer artist in residence programs.

This work helps me refine ideas and sometimes new ideas are formed which develop into final sculptures.

It’s also equally important that local people have an opportunity to work together and create something positive for their community, to gain a sense of pride and ownership in the process and the final artwork.

The processes involved in the engagement work is as important as the resulting artwork.

An interesting example of this approach can be seen in the sculpture ‘Breaking the Mould’ which takes the form of a giant seed which has emerged from an old industrial mould.

The mould is broken and no longer useful but the last cast to be made is a new natural life form. The symbolism creates a striking resonance with the former and future uses of many of the 21 regeneration sites across England and Wales called Changing Places.

The £60 million Changing Places program transformed 1,000 hectares of post-industrial derelict land into parks and open spaces.

Where did the idea come from ?

During dialogue with East Manchester Ladies knitting group, I distinctly remember writing some of the things they were saying to me, like ‘turning over a new leaf’, and ‘Breaking the Mould’ as we discussed their desire to move on and leave behind the scarred industrial landscape, changing it into an urban park and community facility through the Changing Places project.

What got you interested in art, was there a ‘wow’ moment when you saw something ?

Not really, my upbringing was probably the biggest influence on that. It was a very creative upbringing.

McKeown grew up in a working-class area of Middlesbrough, Teesside, UK, as the youngest in a family of four children….

We had a large garden where my father, a lifelong steelworker grew an abundance of fruit and veg. My mother was a primary school teacher and we were always building, making, cooking and exploring.

The family lived only a couple of miles away from the shipyards, coke ovens, blast furnaces and rolling mills of British Steel and the chemical plants of ICI…

If we were feeling energetic, we would walk or cycle to Redcar beach or Eston Hills where iron ore was mined to fuel the industrial revolution.

At school, art was always my favourite subject, and this inspired me to attend art college and then a Fine Art degree in sculpture at Coventry Polytechnic.

Following education, Andrew worked as a community artist delivering school and community-based workshops and small art projects…

These were low budget projects such as one-off workshop days and artist in residence projects. Gradually larger projects became available and I was able to create my own artwork with the involvement of local communities, rather than solely community generated art.

What inspires you ?

The industrial processes of casting and mould making influence my work in both a practical and conceptual way. I often create multiple cast sculptures in iron, steel, bronze, aluminium and stone – these are very durable materials for external artworks.

McKeown uses recurring themes within his work of growth, change and renewal….

I like to work within the environment, and this often means I have to build identity and add character to a space that has very little.

Often, I am working in empty fields or urban parks that only have a few shrubs and paths or working off landscape plans while looking at building sites and piles or earth.

Rather than creating one giant sculpture I often use the available budget to create a family of related sculptures that link to each other and draw your eye to the environment they are in.

Other times I create entrance features that hope to draw people into a space. I prefer that people can engage with my sculptures becoming almost part of them for a brief moment.

On average how long do you work on a project for a client ?

This is very hard to answer but the larger projects can be spread out over years to plan and develop. Then when it comes to manufacturing this can take as little as two months or if I am making patterns and moulds for casting this might take six to eight months.

Is there a satisfying moment during the art process ?

I think the most satisfying time is when I have the right idea for a project. One that I know that I like and know the client and the community are going to like and buy into.

This can often be the most draining and difficult process and it can take a lot of research and community work similar to the Breaking the Mould idea which came after maybe eight months of research and community engagement.

What else are you working on ?

I am currently finalizing designs for a Teeside Retail Park called ‘Rolled into One’. For this project I am engaging the local community to provide colloquial job or occupation names from the local iron and steel industry.

Up to one hundred of these names will be applied to the outsides of the steel box section arms of the sculpture.

There are many unique and interesting names such as Welder, Plater, Catcher, Striker, Roller, Breaker, Burner that will be used and many more. I am currently consulting the local community including my family and friends.

I’m also working on a few other projects, one called ‘Crossing Points’ for Groundwork North East River Tees Rediscovered project, another project is for Middlesbrough Council within its Creative Factory artistic interventions project – my pieces are called ‘Endless Convenience’.

Andrew lives and works in the North East of England and is available for public and private commissions throughout the U.K. and internationally.

For more information and images for previous artwork visit:

www.andrewmckeown.com

https://www.facebook.com/andrewmckeownsculptor/

Interview by Alikivi  June 2020.

FIGHT AMONGST YOURSELVES – interview with Neil Thompson from The Carpettes

When did you first get interested in music ?

When I was a kid, I loved listening to records and watching singers like Billy Fury and Joe Brown on TV. I had my first single when I was two.

I also saw my first gig when I was two, which was Billy Fury at Sunderland Odeon in March 1962. By the time I was eleven I had about 150 singles in my collection.

I saw The Kinks at Sunderland Empire in 1969 and that was the start of me going to gigs in the North East – Led Zep at Newcastle City Hall, Queen at Sunderland Locarno, Sabbath, Genesis, Lizzy, Budgie, Nazareth, absolutely loved them all.

When was your first gig in a band ?

My first gig playing in a band was as a drummer. We were called Brown Sugar and it was on the 22nd November 1974 at Newbottle Church Hall, County Durham.

We played Chuck Berry and Rolling Stones songs to kids that wanted Led Zeppelin and Black Sabbath – we went down terrible. When we finished the vicar locked us in the back room cos they were banging on the door wanting to beat us up.

I played drums in that band for another four gigs and in the meantime started playing guitar/vocals in another band. We were doing Status Quo/Thin Lizzy covers and I played nine gigs with that band.

The last one was my first pub gig at the Sunderland Royalty in March ‘77.

By this time I was getting into the punk scene and one night I was in The White Lion in Houghton, County Durham and George was there – bassist from Brown Sugar.

We hadn’t seen each other for a good while and first thing he said was ‘Have you got the Ramones album’. I said I did, so he said ‘Well do you wanna be in a punk band then’.

The problem was that I was a drummer, but he’d seen one of the gigs where I played guitar and sang and thought I was good enough. We did our first gig as The Carpettes in June 1977.

What was your first experience in a recording studio ?

We did our first recording at Impulse in Wallsend that was in the summer of ‘77.  The demo is available on The Early Years, a CD released in 1997 on Overground Records.

Did you support any name bands ?

While we were living in the North East we gigged with Penetration, Punishment of Luxury and Angelic Upstarts. We also supported The Vibrators at Redcar Coatham Bowl.

Among all this we played one gig in London at Leytonstone Red Lion in March ‘78 supporting The Leyton Buzzards. This was the only time, thank goodness, that I was spat at during a gig.

The Carpettes released six singles and two albums from 1977 to 1980 including a 4 track EP in 1977 & ‘Small Wonder’ 7” both on the Small Wonder label.

Two albums, Frustration Paradise & Fight Amongst Yourselves on Beggars Banquet.

How did signing with those labels come about ?

We were on the Small Wonder label while we were living in the North East. That came about when we answered an advert in the Sounds music weekly for new bands and they liked us.

Me and the bassist, George, moved down to London in October 1978 and found a new drummer. But it was like starting from scratch when we moved down there but we signed to Beggar’s Banquet in June 1979.

We stayed there until 1981 then moved back up North.

Did you appear on TV or radio ?

We were on tour with The Inmates at the time and had to cancel one of the gigs at London to travel up to Manchester to record The Old Grey Whistle Test. They’d already played a track from the album on a previous show. The other band that was on was The Blues Band.

Did you have any high points in the band ?

I don’t know about high or low points – all I know is that we got better and better as we gigged. Our new drummer, Tim Wilder, was a really solid drummer, he was from Oxford but he’d been a student at Newcastle University and was the drummer in The Young Bucks while living up North.

I loved going to The Marquee to watch bands, but I didn’t really enjoy playing there to be honest. We did six supports there and they were hard work – there was always a ‘Come on then, impress us’ in the air !

We played four nights in November ‘79 with The Lurkers during their residency there. Each gig would have punks sitting on the stage with their backs to us and every now and then one would look around and stare at you – and then turn back around.

I much preferred London gigs like The Hope ‘n’ Anchor and The Nashville.

By the very last gig for The Carpettes in June 1981 we were a really tight live act with four years gigging experience – you can’t beat live experience for getting better on stage. It’s no good sitting in the bedroom playing guitar – not gonna get you anywhere.

One story to tell is that one of our first gigs was supporting Penetration at Newcastle University in November ‘77 – and we were terrible !

It was far too early to be playing gigs like that, but we supported them again at Middlesbrough Rock Garden in August ‘78 and went down a storm.

Have you any road stories ?

In 1980 we went to Italy three times and Holland once, and we also did a short UK tour supporting The Inmates. That UK tour was probably the best two weeks of my life.

I was twenty years old, travelling around the country playing music and when we arrived at the venue all the equipment would already be set up by the roadies – heaven!

What are you doing now ?

Well I’ve spent most of my life down London. I was in my own band called The Only Alternative – all my ideas and songs which was a bit selfish.

But we had some laughs for a couple of years between the summer of ‘84 to the summer of ’86. We released an album in 1985 on the Midnight Music label.

Then with the 20th anniversary of punk happening in 1996 I got both bands back together, well sort of with different line-ups. Both bands gigged on and off until the end of 2003.

During this time The Only Alternative recorded two more albums and two singles. I played drums on all of these recordings – as well as being the singer. The Carpettes released a single in 2002 and an album in 2003.

At the moment I have a three-piece band called The Alternative Carpettes which play some of my songs from The Carpettes with some Only Alternative ones thrown in.

What does music mean to you ?

Music means everything to me. All my life has revolved around music. I love all sorts of music. I love orchestral music like Tchaikovsky and Prokofiev.

Love the ‘30s and ‘40s swing bands like Basie and Ellington. Rock ‘n’ roll, country, rhythm and blues of the ‘50s. I have a radio show playing ‘50s music every day.

I also love punk, metal, indie, 78’s, cassettes, records, CD’s.  I love it all. I don’t like TV or read books – my whole life is music!

Check out The Carpettes from this 1980 episode of the Old Grey Whistle Test.

https://youtu.be/LvUt7yeAepw

Interview by Alikivi  May 2020.

LONDON CALLING: Nights at the Marquee Club

The heart of London’s music industry was the legendary live music club the Marquee, along with CBGB’S in New York, the club has been defined as one of the most important music venues in the world.

It provided the catalyst to launch the career of many bands – The Rolling Stones, The Who, Led Zeppelin – the list is endless.

A&R men used to regularly visit the club to watch out for the next big thing and with plenty of bands looking to make it, the best way was to be seen on stage of the Marquee.

Graeme Thomson wrote in his biog about Phil Lynott –

‘It was do or die. Thin Lizzy were £30,000 in debt. Money was borrowed for their showcase gig for Phonogram at the Marquee on 9th July 1974. It was so hot that night that all the guitars went out of tune, but they played well enough to confirm the deal, even if the advance for a two album contract only cleared what they owed’.

Mick Wall’s biog of Lemmy featured the time Motorhead stormed the capital, guitarist Fast Eddie Clark remembers…

‘The Marquee gig was one of the best we ever did. Lemmy said the sweat was climbing up the walls trying to get out’.

Bands from the North East of England – White Heat, Angelic Upstarts, Fist, The Showbiz Kids, Punishment of Luxury, Raven and Tygers of Pan Tang all travelled south down the M1.

Was playing London the catalyst for a life in music, or just a road too far for some ?

John Gallagher from Chief Headbangers, Raven  ‘The running joke was – c-mon lets git in a van and gaan doon t’London ! We did quite a few one off support gigs. It was in the back of the truck, drive down to London, play the Marquee with Iron Maiden and drive back straight after the gig’.

Harry Hill, drummer with Fist remembers…’We played the Marquee for two nights supporting Iron Maiden. We were going down an absolute storm, the place was packed. I’m not sure what the band thought about it but their manager was kicking off “You’re just the support band, you’re not supposed to go down like that” 

We won him over in the end and he came into the dressing room with a crate of beer. Yep we gave them a run for their money’.

Residencies were part of the scene and a few North East bands got on the list including Dire Straits. This advert from March ’78 with admission fee only 70p.

Select dates for North East bands listed as playing the Marquee:

1976:   Halfbreed 15 & 29th January & 3rd March.  Arbre 4th April.

Back Street Crawler 11 & 12th May with AC/DC as support. Cirkus 15th May.

1977:  Penetration 29th June opening for Heron also 30th July & 1st August opening for The Vibrators.

1978:  Penetration 21st June. Punishment of Luxury 3rd October.

1979:  Showbiz Kids 3rd February. Punishment of Luxury 13th February.

Showbiz Kidz 21st April. Punishment of Luxury 7th May.

Showbiz Kids 19th May & 14th June & 14th July.

Punishment of Luxury 23rd August & 31st October.

1980:  Raven 5th, 6th, or 7th November with Taurus or Diamond Head opening for Gary Moore.

1981:  White Heat 29th April.

1982:  Angelic Upstarts 18th February & 12th August.

The Marquee at Charing Cross Road finally closed it’s doors in 1996 after first establishing the club in Oxford Street, then it’s heyday in Wardour Street.

Alikivi  May 2020.