The poetry is part of me, I couldn’t do without it. It’s been with me all my life. It’s a sort of compulsion! It’s a basic human connection, we all play with the sound of words when we’re children.

I find art very mysterious. If you’re a writer, artist, musician or film maker, in the end what makes it work? You can’t teach it, you can’t explain it, it’s something mysterious. There’s something magic about it.

Pic by Daily Astorian.

When were you first interested in poetry and who were your influences?

Songwriters like Bob Dylan, Paul Simon, Leonard Cohen and Patti Smith were really important when I was in my teens.

Film was also influential, especially the 1982 cult film Koyaanisqatsi, with a soundtrack by Philip Glass. There were shots of wide-open American landscape. A lot was in timelapse, so the film was speeded up then slowed down.

It cut between close up microscopic to wide angle shots, it was playing with perspective and time. That was really influential on my way of seeing things.

Poets who influenced me included Geoffrey Hill, who I met when I was 18. Northern Arts paid for a three-day course in Ambleside, that was 1979.

In the early ‘80s I travelled around the west coast of America and saw the wide landscapes of the Arizona desert which were just beautiful. American poets like Robert Pinsky influenced me at that time, and the Irish poet Seamus Heaney, who taught at Harvard.

What is your background?

I studied History at Cambridge University and then gained a Harkness fellowship to the USA, where I studied in California then Boston.

In 1989 I won an Eric Gregory Award for poetry from the Society of Authors. It was £6,000, I’ve been very lucky. That started me on the road to working freelance.

You have written a number of local history books. How does that fit with your poetry?

I’ve lived on the Northumberland coast for over 30 years in the village where my Grandparents used to live. I wanted to write about the sea so the best way was to talk to the local fishermen.

They were a huge influence on me, some of them were in their 80s.

They knew so much and there was a sense that fishing was coming to an end. It was very difficult to earn a living and young people weren’t coming through.

All their stories, skill, knowledge, even their dialect was all going, so I spent many years spending as much time as I could with them, going to sea, in the huts talking to them. This was very formative to my poetry.

A whole series of work came from it. My first two poetry books with Bloodaxe and a series of local history books featuring Seahouses and Beadnell. I still have a load of material that I got from the fishermen, there’s still a lot of writing to do there.

I feel as though I could be doing this work for the rest of my life. And you come across some great names, like fishermen called Geordie Birdy, Bill Cloggy, Dobbin and Kelpy Jack (laughs).

I’m more driven to write poetry though. The local history informs the poetry, it gives me a subject.

In 1999 I was asked to write something in the Northumberland dialect and with me talking to the fishermen and writing down the phrases of their everyday speech, I tried to put them all in one poem.

I worked with musician Chris Ormston which resulted in a CD called The Wund an’ the Wetter. With it being 20 years old we are performing it soon at the Iron Press Festival. Chris plays the small pipes, and he is one of my longest standing music collaborators.

Do you perform your poetry at many live events?

We play various folk and poetry festivals around the country, church halls, schools and women’s institutes. I’m really interested in spoken word, perhaps even more than poetry in books. Although I have produced books, I have written a lot for BBC Radio 3 and 4.

How did work on the radio come about?

I’ve had work on the radio for about 20 years now and it first came about through my publisher Bloodaxe. Radio producers are looking around for poems about certain subjects.

Sometimes they get in touch with book publishers, tell them what they are after, and they get in touch with poets. It can be very competitive. But worth working on because you can bring other sounds to your work. It’s a lovely way of experimenting with sound.

Think of it as a piece of music. I wrote a half hour poem for Radio 3 about Holy Island where I worked with producer Julian May. We brought in sea sounds, the wind, all the different birds and the sound of the seals. Then you can layer the voices and make it more abstract, hearing sounds rather than words.

Artists are always looking to perform to a wider audience…

Poets are quite happy with six! (laughs). I’ve travelled to Festivals with musician Chris Ormston where we played to six people in one place and ten at another. But asking about reading to a wider audience is a serious point because I like to have my work in books, but there is a limited amount of people who will pick up a poetry book.

But like music, poetry is for everyone, and I would read my work to a general audience rather than just a poetry audience. I’ll read my work anywhere and working with musicians makes it more accessible to people.

Performing with Peter Zinovieff at The Sage, Gateshead.

I also work with electronic composer Peter Zinovieff. We’ve made five pieces and are going to be making another one next year. Peter was one of the first people in the world to have a computer in a private house.

He was making music with a computer from the mid ‘60s in his EMS studio in London, where he designed the VCS3 synthesiser.

This was one of the first commercially available synthesisers and used by all sorts of bands like Pink Floyd, The Who, Tangerine Dream and Roxy Music’s Brian Eno. At the same time, classical composers such as Harrison Birtwistle were working in Peter’s studio.

Where did you meet Zinovieff?

I met him in the mid ‘80s in Cambridge when I was studying there. The first piece we made was for Radio 3 in 2011, then we made a few pieces for Life Science Centre planetarium here in Newcastle. They were about astronomy and physics, the large and small, thinking about scale and perspective.

The text for those pieces is coming out in a book from Bloodaxe later this year called Edge. They are big performance pieces with visuals and made for surround sound but I’ve also got stereo recordings so can perform them anywhere.

We are working on another science-based piece with music and poetry with the NUSTEM Exploring Extreme Environments project at Northumbria University.

That will be around ice and glaciers and using some of the recordings the scientists have made in Antarctica. Peter will create a soundscape from that. We’ll have that ready next year.

What else have you got planned for this year?

On 24^th May I’m going to be working with folk fiddler Alexis Bennett at a gig on The Cutty Sark in Greenwich, London. So really looking forward to that. Also the Iron Press Festival on 22^nd June at St George’s Church, Cullercoats.

Contact Katrina on her website http://www.katrinaporteous.co.uk/

 Interview by Gary Alikivi    April 2019.

When I first started playing sax there weren’t that many sax players on the Newcastle scene but now I think the sax has become more popular and it’s good to see and hear all these great young jazz musicians taking up the sax, they can really play!

When did you first get interested in music and who were your influences ?

I was born in Newcastle on the banks of the River Tyne. My Grandma played the harmonica and the piano, rumour has it that she could rock!

I started piano lessons at the age of 9 but wasn’t until I was 15 when I really woke up to music. I saw the Rolling Stones on Top of the Pops. Blown away!

The first record I bought was Whatcha Gonna Do About It by the Small Faces then started listening to The Beatles and The Yardbirds until I discovered the blues with Muddy Waters, Howlin’ Wolf and John Mayall. By 1967 it was Motown and Junior Walker.

Then I got into the Stax sound with James Brown, Sam & Dave, Booker T & the MG’s, just all soul music and finally bought a saxophone.

When and where did you start gigging ?

I joined my first soul band at the age of 18, The Georgia Quintet. Got into their brass section of two saxes and a trumpet, great guys, still friends with them all today.

Those early years I gigged the local scene with many bands. We went to all the social clubs, school dances, universities. It was great fun learning the ropes and gathering experience.

In ‘75 I joined Harcourts Heroes with Ray Jackson and Charlie Harcourt. They were a crackin’ band. By ‘78 I had moved to London and formed a band called The Breakers with Charlie Foskett and Maggie Luckley.

We got a deal with MAM Records and recorded in Broadoak Studio in Brighton. We done a couple of tours, one supporting Darts. Great band, nice folk’s it was all good craic! But London got too big for me, so I came home to Newcastle.

I met up with Ray Laidlaw, Rod Clements, Jed Grimes, Billy Mitchell and Steve Cunningham who had a crackin’ band called Pacamax. I joined them and had so much fun, this was around 1980. We played all the festivals and folk clubs.

How did the gig with Lindisfarne come about ?

The call from Ray Laidlaw to join Lindisfarne came in 1983. We spent many happy days touring the world and recording with the band.

I played sax, flute and vocals on the Amigos album and sung lead vocal on Roll on that Day, co-written with Rod Clements. I also co-wrote Everything Changes with Alan Hull. We used the Reel Time Studio in Newcastle.

Lindisfarne have a large back catalogue of recorded music…

Yes I was also on the Here Comes the Neighbourhood album in ‘98. We went into the Watercolour Studio, in Ardgour, Scotland to record that one.

Again I added whistle, harmonica, accordion and vocals. I also recorded lead vocal for one of my own songs Driftin’ Through. The album was produced by Sid Griffin.

Elvis Lives on the Moon was recorded in Newcastle’s High Level Studio by Kenny Craddock, he is sadly missed. Dance Your Life Away was recorded and produced by Steve Daggett at Impulse Studio in Wallsend. We also recorded Buried Treasures and Live and Acoustic.

In 1990 the band achieved a UK top 3 single with the most famous footballer at the time, former Newcastle & England player Paul Gascoigne….

We had great fun with Gazza and his version of Fog on the Tyne. I co-wrote that with Alan Hull. It was all good until the sad and untimely death of Alan in 1995. Alan was a big influence on me both as a friend and a song writer.

I was privileged to write a couple of songs with him, it was great to watch him work. He was a prolific songwriter, great performer and a cool guitar player too, just loved his Strat playing.

Looking back all the gigs and tours with Lindisfarne were memorable especially at Newcastle City Hall. But by 2000 I had left and with Les Dodd and Brian Duffy we formed a band called The Happy Cats.

After joining Lindisfarne I started touring and gigging the folk clubs and festivals discovering a whole new world of music on the folk scene. I did some gigs in Ireland and started listening to Irish Celtic music.

I loved the celtic sound of fiddles, flutes, accordion, acoustic guitars and whistle all taking the melody.

This got me listening to John Prine, Mary Black, Dalores Keen and of course the Saw Doctor’s. I joined an Irish band called the ShyTots based in North Shields where I learned to play the Bodhran, a great band full of fun.

This was the thinking behind The Happy Cats, a celtic sounding band, with a big emphasis on fun.

Over the years I have picked up new instruments as and when the songs required them. Now I’m playing sax, flute, harmonica, bodhran, accordion and whistle. Also found myself singing more these days and enjoying the music.

Did you record with The Happy Cats ?

Yeah, we made three albums and gigged for 17 years. Fans became our friends, the Toon to Tuam tours were infamous, mighty craic in County Galway (laughs).

We recorded our debut album Follow the Moon at Watercolour Music Studio, Ardgour, Scotland. It was produced and mixed by Micky Sweeney. I sang lead vocal on all tracks and played sax, whistle, harmonica and accordion. Rachael Bailey added fiddle and Michael Bailey was on bass guitar.

The Take my Hand album was recorded at Cluny Studio, Newcastle where I sang lead vocal on all tracks.

For Ten Years On we went into Charltons Studio in Cambois to record. That was mixed and mastered in Blast Studio here in Newcastle. I played sax, flute, whistle, harmonica, accordion and sang lead vocal on all tracks.

Again, Mickey Sweeney produced that record. But sadly, The Happy Cats split up in December 2017.

Marty Craggs Little Band Jam.

What are you doing now ?

Paul Alex Campbell (ex Christian’s) and I have been writing and recording for our band the Unexpected Visitors. A fantastic six piece band, that rocks.

We’ve already done a few gigs and hope to release our debut album this year. Also been gigging with my old pal Trevor Sewell, an award winning guitar player. It’s 50 years since we were on stage together, it’s been a blast.

These are busy times because we, Steve Dolder (drums) Dave Whiffin (guitar) and Michael Bailey (bass) put together a celtic/Irish influenced four-piece band called Marty Craggs Little Band Jam. We are playing songs from the Lindisfarne and Happy Cats days, plus adding some good cover songs.

We guarantee 100% full on sing-along night out. The Lindisfarne Festival Thursday 29^th July 2019 is a date for your diary. I would like to thank my right-hand man and Roadie No1, Alan Loughhead, for all his support and help. Top man.

What does music mean to you ?

Music is my life, it’s what makes me tick. I’m constantly writing songs and gigging. Still as enthusiastic about everything to do with the business as I was back in 1966. I’m so lucky and blessed to still be able to do it! Luckiest boy!

In 2016 I got together with my son Andrew and daughter Beverley, both great musicians and singers, and we realised that after all these years we hadn’t played or performed together. So, we wrote and recorded The Craggs Family Album recorded at Broadoak Studio in Brighton and Blueattic Studio in Hexham.

All mixed and mastered at Blast Studio,Newcastle. The project was a wonderful time and a great thing to do, a very proud Dad.

Interview by Gary Alikivi March 2019.

Steve Straughan guitarist with UK Subs got in touch about an ongoing problem of instruments damaged by airlines. An issue that he feels all touring musicians should be aware off…

In 2015 the headstock on my Gibson Les Paul Classic was smashed off while in a hard, solid flight case. The guitar was actually in two pieces.

This was the second time it had happened on two different airlines. This was when I decided to take action.

I took to social media and loads of people replied offering good advice. I got in touch with Air France and at first they told me they would not compensate me. Their reason being that the guitar case was not damaged but the guitar was.

So, I sent an email directly to the CEO of the airline and I started receiving offers of compensation from their staff. Eventually I was compensated but it took a long time.

But this was only due to all the good people out there. All the messages of support really helped. It felt like I wasn’t going through the whole process alone.

This is why I set up a facebook page to help others who find themselves in the same unfortunate position. We can take on the big companies if we stick together.

What do you think is the main problem in transporting your instruments ?

On top of the lack of storage issue there is the on-going problem of the instruments being smashed by the baggage handlers and left in the airport or even sent to the wrong airport.

It’s also a hard fight to get any compensation for damaged instruments. It’s becoming very difficult for musicians.

Airlines have lost my guitar twice. There was one concert in Budapest and another in Spain where I had to use another musician’s guitar. I often get messages saying it’s happened to them.

Is this being addressed by the airlines and can you see it becoming a bigger problem ?

More airlines now are refusing to take guitars on board planes and store them in the overhead lockers, or any other lockers.

Some airlines are now even stating that you must give them advance warning for guitars to be stored even in the hold. It’s a big ongoing problem.

What do you think is the future for musicians who use airlines ?

I’m starting to think that it’s gonna have to be down to promoters to supply guitars and other instruments. A lot of musicians find it hard using guitars other than their own because most have them set up to the way they like them. The sound can also be quite different. The unfortunate thing is I see no other way.

If you are a touring musician that uses flights and your instrument has suffered damage or has been lost by an airline please share your story. I’m trying to get musicians from all over the world to act on this and voice their outrage and concerns. The more the better.

All of our voices could possibly help you get justice. It worked for me. Nothing is required apart from our anger, frustration and voices.

 If you have experienced any problems contact 

Airlines Smashed Or Lost Instruments group page on facebook.

Interview by Gary Alikivi    January 2019.

With the blog hitting over 50,000 views and 199 posts so far, a milestone 200^th post comes from a piece in local newspaper The Shields Gazette. Journalist Peter French writes on his page about the post of 14^th January 2019 where I featured the music scene in South Shields during the 90s.

The Shields Gazette 14th January 2019.

Link to full piece:……https://www.shieldsgazette.com/lifestyle/nostalgia/when-south-shields-had-a-thriving-rock-scene-1-9535098

Thanks to all readers of the blog so far I’m looking forward to adding more interviews  including former Tygers of Pan Tang vocalist Jon Deverill, Burnley blues/rock band Cloverhill and a feature on the issue of instruments damaged on airlines with UK Subs guitarist Steve Straughan.

Gary Alikivi January 2019.