How long have you been a member of The Fiend ?

The Fiend started way back in 1982. At that time I was guitarist in the Public Toys playing old school punk when the opportunity arose to play in a band with my brother Robert and two good friends Moony and Jamesy.

After mulling over a few band names, we settled on The Fiend.

My last gig with the Public Toys was at Miss Kinks in Hebburn. The other support band were an alternative band from South Shields called Next, they played first to a full house full of punks and went down like a lead balloon.

Don’t think the punk audience were ready for what they had to offer. 

The Fiend played next and went down really well which dispelled any doubts I had about leaving the Public Toys. The next wave of punk was about to hit and I just think we were there at the right time with the right sound.

The music we were looking at creating was a much harder version of punk along the lines of Discharge with a real edge to it, also a lot more politically motivated. 

Where was your first rehearsal and your first gigs ?

Our first rehearsal space was in Hedworthfield Church Hall in Jarrow on a Sunday afternoon. One time we turned up on a sweltering day and Kev our singer just had a pair of Jean’s on and no top. The vicar refused to give us the keys till he was fully clothed. Then we found a room in Frederick Street, South Shields which was above Goldfingers second hand shop.

We played at Gateshead Trinity Church. We ended up in a bit of bother and the gig ended in a riot. Things moved on quickly from there playing a few gigs round the country also playing numerous gigs at the now world renowned Station club in Gateshead.

What was your first experience in a recording studio ?

The first recording we ever done was at Desert sounds in Felling next to the Tyne & Wear metro line. There was no toilet, no heating, it was dark and a plastic sheet for a back wall. We recorded four songs – Help Me, Weird Boy, On the Dole and IRA. 

We put the tracks out on tape for release available for £1 by mail order available from my home address in South Frederick St, South Shields. We were then contacted by Endangered Records and asked if were interested in a recording deal.

We went back to Desert sounds to record our first record the infamous Stand Alone EP with our new drummer at the time, Nelly. Again we recorded four tracks. Fires of Hell, Stand Alone, Religion and Remember Who We Are.

Stand Alone was originally a four verse song but as we were recording the Metro train went past and spoilt the recording so we recorded it as a three verse song – nothing like improvising (laughs).

The EP was released a few months later but the first we knew of it was when we went into Volume records in Newcastle to find it number 1 in their charts, Nelly actually bought a copy from the shop. The single sold out after a few weeks and become a bit of a collector’s item selling upwards of £50 in record fares.

It was also bootlegged on a Brazilian label as a split album with Icons Of Filth. The record was also put out on a re-release by a German label but was sold out by pre-order before it even got to the shops. 

Did you have a manager or agent ?

We’ve always managed ourselves through our own contacts. We did a tour a few years back through MAD tour promoters in Berlin. 

A tour of Europe was announced and immediately we thought there may be trouble when someone commented on the tour posters ‘have these f***ers not got a map’ !

We were sent an information pack we called the bible, it had our fee, venue details, capacity, hotel location and the distance from the last gig which I think they just made up. They chased the money so we often ended up passing a venue to get to another venue, then came back the next night.

We played Cologne, then the next night Copenhagen. They booked our ferry for 9am next morning. We literally came off stage at 1am packed our gear into the van then drove to Rostock to catch our ferry to Copenhagen then back to play Rostock the next night.

We went on to play a venue in Germany, then from there to Krakow in Poland. The bible said 320km after driving for four hours we reached the border of Poland where the sign read another 350km. As I said I think they just made up. It was actually 620 miles to the venue. 

What other countries have you toured?

As for playing abroad we’ve played all over most of Europe including France, Holland, Denmark, Poland, Czech Republic, Belgium, Germany and Slovakia. Most bands will tell you the European scene is far removed from the UK scene. 

The venues tend to be far more welcoming and I think the audiences are much more appreciative. Every gig I’ve played in Europe we’ve been fed and watered which isn’t always the case in the UK. 

We’ve also had the chance to play some unbelievable venues which my favourite has to be Kopi a huge squat in Berlin where we always get a great crowd in. We’ve actually had people from Israel, Russia, Turkey as well as the UK to see us in Berlin.

I found that mind blowing when local bands can’t even get 100 people to a local gig in Newcastle.

Another such venue was a place called Exile a former concentration camp so much history there. It was a really weird feeling when being shown round the place as not many bands get the chance to play there, it was a real honour.

Liepzig is another great city, we’ve actually played in three different venues in the same street each time we went back we played a bigger venue than the last. Not forgetting to mention Frankfurt AJZ, the hospitality is second to none, it also helps we played to 2500 people. 

One moment was playing AK47 in Warsaw and our guitarist at the time Barteks family turned up as well as a couple of locals were celebrating – one being the singer Darius of Polish band Incuivicta.

Halfway through the set he is down the front in the mosh pit when he picks up Barteks dad – who is also in the pit! and flings him about 30 feet across the dance floor. 

Any road stories you want to share ?

Probably the best story from touring was at a gig in Kunstverein, Germany. It was an old SS training camp left over from the war. The gig goes ahead amidst the worst thunder and lightning I’ve ever witnessed which added to the ambiance of the place.

We played the gig which was great, then as usual the lads went on the drink. With me doing most of the driving on tour and our drummer Steve James also being a non-drinker, decided it was time for some kip around three am. Our accommodation was a long barracks type room with about ten bunk beds.

While choosing our beds for the night Steve picks what he thinks is the best bunk while I’m further from the door. As he’s getting into bed he asks me to turn the light out, so there’s me trying to find my bed wondering round in the pitch black only illuminated every now and then by the lightning. It must of looked like a scene from a Frankenstein film. 

Just before I found my bed Steve jumps up screaming ‘put the light on, put the light on’. In a panic I manage to find the light but there’s something in my bed. As the light goes on we see a huge rat disappear under the sleeping bag.

We rush over pull back the sleeping bag there’s a huge rat and its owner in the bed – it was a lad from the gig. 

‘Who’s that’ Steve asks. ‘I don’t know you got into bed with him’. After a good old laugh about it and him getting a different bed, off to sleep we went to see what tomorrow would bring. 

What does music mean to you ?

As you can imagine being associated with a band for almost 40 years it’s been as pleasurable as it has been hard. As long as you enjoy what you do and you can still do it why retire. 

It becomes a bit of your identity when you speak to people, people introduce you not as Robby but Robby from the Fiend.

Also it’s about leaving your identity through records gigs etc and hopefully leaving life long memories for people. You get the chance to meet a whole lot of great people you would never have met without the band, also visiting places you could only dream of going to.

After all these years I can honestly say I enjoy it as much as ever. Still look forward to rehearsing and gigging with some of the best and most down to earth people you could hope to meet.

Interview by Alikivi  December 2020

‘Off Key’ is the latest novel by Mark Robertson…

I was playing a residency in a jazz club that allowed me the chance to play with a lot of UK and Europe’s best mainstream jazz players.

These nights usually overran but no one minded, not even the bar staff as musicians from an earlier era would spend almost as much time talking about their previous escapades as playing music.

I put together a patchy screenplay in 2007 before I re-wrote it as a more fully realised novel between 2010 and 2014. But I think the idea came as early as 1986 during a walk in Turnpike Lane, London.

I was inspired by a tune from jazz musician, Iain Ballamy, plus many live music sessions over the years and helped by the melting pot that was Jazz Café in Pink Lane, Newcastle.

I came across the Jazz Café one day in Newcastle when rehearsing with The Hangarounds a band Ray Laidlaw was managing.

I walked past the Café and at the time the door had a slot in it when anyone wanting to gain entrance would be given the ‘once over’ by the legendary Keith Crombie – if you were lucky you got in. I’ll be honest I was a bit wary of going in at first.

Folklore had it that Keith had been one of a number of locals who had ‘politely’ requested The Kray Twins to return home when they had ventured North looking for somewhere to expand their empire.

The Hangarounds rehearsals went on for a week and eventually I passed when the door was open. I went in and offered my services. Within a fortnight I had a regular gig there and spent the best part of twenty years playing there, up to six gigs a week.

What were your early experiences of the Jazz Café ? 

In the early days punters were thin on the ground with the majority coming on Friday and Saturday nights, with seldom more than forty people in a place that could hold up to 160.

This left Keith with the conundrum of paying the bands enough to keep them sweet while remaining in business.

This he resolved in two ways, firstly scouring second-hand shops and picking up the best bargains, usually top drawer clothes, which he passed on to the resident musicians.

During these early days, pay for your night’s work often included leather jackets or barely worn brogue shoes.

His second life-saver was a number of cash generating parties, the most memorable being themed on Berlin in 1932 and a rather left field Dadaist party.

On one occasion I went to the upstairs toilet only to encounter a seven-foot (in heels) transvestite, unencumbered by any sort of clothing – Keith didn’t buy women’s clothes.

The absence of anywhere open after 11p.m, other than nightclubs, led to an increasing stream of the city’s most interesting residents and visitors taking in the Jazz Caff as its popularity grew.

Scottish Opera, Opera North, The Royal Ballet, The RSC and numerous visiting musicians plying their trade in musicals at the cities theatres would sit in with whatever band was earning their threads for the week.

Keith was never happier than when engaged in conversation with these groups, keen to show all, but especially those from London, that we had culture of our own in the North-East.

Who else was playing the Café ?

The artistic freedom of the Caff made it a training ground for musicians as diverse as Seb Roachford, drummer from the Mercury-nominated Polar Bear to Matt Jones, currently playing keyboards for Liam Gallagher.

It also saw its fair share of jazz legends come through the door to sit in and play, people like Wynton Marsalis, Russell Malone and Harry Connick Jnr. The change in licensing laws hit the Caff badly and, in all honesty, it never really recovered.

Although the pinnacle of his happiness, in my opinion, was the night Keith had to turn away thirty punters because, even had they queued all night, there still wouldn’t have been room for them.

This made Keith laugh quite a lot and, after the struggle he’d had to keep the place open, who could blame him. These were the Jazz Caff’s heydays and I thought there was no finer place in the world to be making music.

The film director Abi Lewis made an award winning, feature length documentary on Keith Crombie – The Geordie Jazz Man which is well worth catching if you can. It really is a potted history of music in the North East from the ‘50s to almost the present day.

Are you from a musical family and what got you first interested in music ? 

On the 29^th of January 1969 the six-year-old me, in bed, could hear the euphoric music on Top of the Pops wind its way up the stairs.Fleetwood Mac had hit No.1 with Albatross.

It wasn’t anything like nursery rhymes or the music on children’s television, but I knew it made me feel blissful.

Whilst my parents liked music we didn’t own a record player and there wasn’t any older brothers or sisters to ‘educate’ me. The very idea of ‘owning’ music was beyond me.

This was an era when you could still pay to listen to the number one by calling Dial a Disc on your telephone.

After my father’s early death in ‘72, a record player appeared in the house. The first thing I was compelled to buy was The Theme to Colditz and then The Best of Val Doonican.

Suffering that lack of older sibling guidance again. I bought the odd single, but little stood out. The next light bulb moment was in ‘74, seeing Cozy Powell play Dance with the Devil.

That wise sage Dolly Parton once said ‘Find out what you like to do and get someone to pay you to do it’ which I really should get tattooed somewhere.

Next I bought an £8 drum kit, and I was off. I started in a few bands with friends before hitting the North-East club circuit.

Have you any memories from club land ?

Sometime ago I was doing a dep gig in a club outside the North East, for Kevin Scott who was in Small Town Heroes. When we went in the whole venue had an air of the ‘wild west’ about it, not least the number of small children roaming around inside.

During our second set a ‘lady’ of a certain age clambered on stage and began propositioning the band, sexually . . . mid song. It transpired that it was her birthday and her daughter’s attempt to remove her from the stage came to naught.

Eventually a bouncer appeared and tried to reason with her. In a move that wouldn’t have shamed Lionel Messi she managed to nut the bouncer and then knee him in the balls as he went down. As this went on the whole club began to get a bit lively the phrase ‘The next dance is a fight’ may have got a mention.

It was at this point I became aware of our crew dismantling the equipment and removing it from the stage at a speed which could only be described as Olympian. I’d done enough gigs that this sort of altercation wasn’t unique.

What was a first was the ‘lady’ concerned was still in the club as we left, arguing the toss with the bouncer.  

Next on the cards for Robbo was a journey doon south….

I left University in ’85, ended up in London and three months later doing the show Godspell. At the end of the show’s run I got a gig in what was, to all intents and purposes, a brothel in the West End.

The band played six sets a night, 45 mins on 15 off, from 9pm till 3am, six times a week.

I didn’t drive at the time and after trying to catch twenty winks during the last set I would walk into Trafalgar Square where I would get a night bus home that would have me comfortably in bed by 6am.

I stayed in London for five years, did a little teaching and formed a jazz trio with session guitarist, James Woodrow and bass player Phil Scragg who was playing with Robert Plant at the time.

I was still looking for a more commercial band whilst I did this. I played in many weird and wonderful outfits but never found anyone to progress with.

On a visit home in 1989 I went to Impulse Studio, Wallsend to meet up with an old friend who was working with Sunderland band the Faithful Colours. The band I was looking for in London had been under my nose all along. I told them if they ever needed a drummer to give me a ring.

Next summer they did and I still play with them to this day. They’ve had some near misses notably recording an album with Elvis Costello’s label in ‘97 before it was taken over by the people who owned ‘Woolies’.

Are you still playing now ?

After Keith Crombie’s death in 2013 a lot of my jazz work dried up and I found myself playing in a Housemartins/Beautiful South tribute band working the O2 Academy circuit. Nobody ever tries to pay us with second hand garments.

For more info contact the official website: offkeythenovel

‘Off Key’ -The Greatest Story Ever Told About Love and Jazz (in Sunderland) by Mark Robertson is available now and on kindle through Amazon.

Interview by Alikivi  December 2020.

I first came across the work of Trevor Wood around 2002 when I watched ‘Dirty Dusting’, which became a very successful play he wrote with Ed Waugh.

The show performed in front of packed houses at The Customs House, South Shields before going to play to audiences in Ireland and Australia, as well as a UK tour.

The North East based writing duo went on to write several more hit plays, including ‘Waiting for Gateaux’ which toured New Zealand as well as the UK.

‘Maggie’s End’ commemorated the 25^th anniversary of the Miners strike and ‘Alf Ramsey Knew My Grandfather’ which told the true story of the West Auckland Football Team who won the first World Cup.

After leaving school, Trevor joined the Royal Navy where he stayed for 16 years before retraining as a journalist. He worked on various newspapers in the North East including the Evening Chronicle…..

‘Then after a brief spell at Newcastle City Council as press officer, then Head of Communications, I teamed up with Ed Waugh, who I’d met on my journalism course, and we wrote a very successful series of comedy plays’.

What inspired you to write?

Originally the comedy plays came about because Ed and I didn’t think there was anything out there that we wanted to see so decided to try and write something ourselves. Our first play was an immediate success, so we just kept going!

The crime writing was a much longer process – I’ve always been a huge reader and it’s the genre that I nearly always turn to so five years ago I decided to give it a go.

I enrolled on the inaugural MA in Crime Writing at the University of East Anglia and The Man on the Street was developed on that course.

It took quite a while to find the right publisher, but it was worth the wait as my publishers, Quercus, which is part of the huge Hachette publishing group, have been incredibly supportive.

How was your debut received ?

The Man on the Street was published in March 2020, just before they closed all the bookshops. Despite this it has done very well, winning the Crime Writer’s Association’s New Blood Dagger for the best debut crime novel of the year and being chosen by Val McDermid for the prestigious New Blood panel at the Harrogate Crime Festival.

It’s also received praise from leading crime writers like Lee Child, Mari Hannah and Elly Griffiths as well as great reviews in the Guardian and Sunday Times. It’s also been optioned for TV by World Productions, who made Line of Duty and Bodyguard.

What is your latest project?

One Way Street is set in and amongst the North East’s homeless community. A series of bizarre drug-related deaths among runaway teenagers has set the community on edge.

The word on the street is that a rogue batch of Spice – the zombie drug sweeping the inner cities – is to blame, but when one of Jimmy’s few close friends is caught up in the carnage, loyalty compels him to find out what’s really going on.

One Way Street sees the welcome return of Jimmy Mullen, the homeless, PTSD-suffering, veteran as he attempts to rebuild his life following the events in The Man on the Street.

As well as writing I volunteer one afternoon at the People’s Kitchen in Newcastle, where I help cook meals for the city’s homeless population.

Have you got a file full of ideas for new projects ?

I wish!  I’m currently writing the third in the Jimmy Mullen series which is provisionally called Dead End Street and have a publishing deal for a fourth book which will be a standalone novel.

As yet, I have no idea whatsoever what that will be so if anyone has any great ideas! 

My wife has come up with a brilliant idea for a Christmas rom-com but I’m not sure my publishers will be happy with a sudden switch from gritty crime thriller to that.

Where are your books available to buy?

It’s available from all the usual outlets but I’ve had great support from all the local bookshops so would always say Forum Books in Corbridge or Waterstones in either Newcastle or Durham for The Man on the Street.

Although the shops are closed again now – temporarily I hope – you can order online from any of them.

One Way Street is only out in ebook and audio at the moment – the hardback isn’t published until March 2021 – so you may have to go to Amazon for that.

For more info and up to date news check out the official website:

http://www.edwaughandtrevorwood.co.uk

Interview by Alikivi  November 2020.