AC/DC

GLORY BE – in conversation with stand up comedian Gavin Webster

/ Alikivi
(pic. Gavin Webster, Centurion bar, Newcastle. Alikivi Sept. 2025)

I first met Gavin back in 2021 where we are today in the Centurion bar in Newcastle Central Station. He talked about being brought up in Blaydon during the 1960s and breaking into alternative comedy in the early 90s.

I missed out on the workingmen’s club circuit. But there was still a buzz for the whole comedy scene. I’ve been doing this for 33 years, I’m 56 now.

We talked about TV shows we watched as kids – Wheeltappers and Shunters Club, The Comedians and Minder.

It was great. It seemed there was chaos and a caper everyday down London. I wanted to move down there and get to know these types of people, hustling and bustling during the days, loved it.

Scene from Sunday for Sammy in 2018.

In 2004 I was at Newcastle City Hall watching an afternoon of Geordie entertainment. Sunday for Sammy concert was organised by Auf Wiedersehen Pet stars Jimmy Nail, Tim Healy and Lindisfarne drummer Ray Laidlaw.

Among the TV, theatre and music talent on stage was AC/DC vocalist Brian Johnson ripping into Nutbush City Limits. A great afternoon. Played to packed houses the show returns to Newcastle every two years.

Yeah about 20 years ago I done a Sunday for Sammy show at Newcastle City Hall. Originally, I think Ray Laidlaw phoned me up about it. I really enjoyed it. In fact, I done it twice, the first time was with the lads from Viz. There was myself, Simon Donald, Simon Collier plus a couple of actors and I think the boxer Glenn McCrory done a part. We done a Sid the Sexist sketch. The next time I done my stand-up routine.

There were two shows. A matinee and a show in the evening. The matinee went well and at the later show I went on early because I had another show to do at The Stand in Newcastle. I had played the City Hall with 2,500 people there, a full house, but only about a dozen people turned up at The Stand. That has happened twice in my career.

At the Edinburgh Fringe in 2003. It was a benefit gig for an HIV/AIDS charity at the 3,000 seater Festival Theatre on Nicholson Street. It was a star studded line up and I did a 10 minute slot. My parents came up for the day. After the show I took them down to my other gig where only 11 people turned up. You get brought down to earth with a bump.

My agent at the time told me to go to the Oranji Boom Boom Club in London as it’s a good place to go, people get down there. I played the club on a Wednesday night and did a good decent job, worked hard, took it seriously. But in front of only a dozen people. However, a few year later I done some TV work on Channel Four and the producer came up to me and told me that he saw me at the Oranji Boom Boom Club.

During the past few interviews I’ve asked how do you survive in the arts?

Sometimes it’s been tough. I met a shock jock type of comedian from Australia his father was very rich. He was well supported. He would tell wild stories about how people walked out of his gigs. Now if I done that, I wouldn’t be able to pay my rent. It’s alright if you have unlimited funds coming in.

There has been times without work but I get by. I’ve done some voice over work, small comedy/drama parts. I’ve been in two Ken Loach films. I had speaking parts in I, Daniel Blake and Sorry I Missed You.

I done some of the animal voices on a children’s TV show called Walk on the Wild Side with Jason Mamford. We recorded that in a studio in Wardour Street, London. The set up is you watch the video on the big screen and read through the script. I got to write some of season three. Sarah Millican done it, Jon Richardson, Rob Gilbert, Mark Benton – loads of comics done voices on it.

I totally understand when some actors can end up working in shops and restaurants cos you need a regular income or you can end up skint. Actors need TV shows like Eastenders and Emmerdale. The films and voice overs don’t happen all the time – stand up has kept me going.

What am I doing now? I do a pod cast called Bazookaaah, small stand-up tours, regular gigs at Edinburgh Fringe and the Tyne Theatre in Newcastle. This new show on 21 November is called Glory Be its Gavin Webster. It’s stuff from Edinburgh with some new stuff that I’ve added. I always write a new show every 18 months or so.

Last time at Tyne Theatre was January 2024. For this show I arranged it and done a deal with them just for the one night so it’s not a massive commitment for them. Really looking forward to it.

Alikivi   October 2025

Link to podcast >>> Bazookaaah Number 37

Link to previous interview >>>

CRACK ON with North East comedian Gavin Webster | ALIKIVI : NORTH EAST UK CULTURE

Sunday for Sammy >>>

Sunday for Sammy | Supporting young creative talent in Tyneside

WIRED FOR SOUND part two with Hartlepool musician Jimmy McKenna

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After playing in club groups and appreciating other people’s music, Jimmy was now spending more time writing his own songs. Then in ’76 New York Kings of Punk the Ramones blitzed the bop and beat on a brat. This was the catalyst to form DisGuise.

DisGuise in 1978, Jimmy McKenna, Alan Sculley & Pete Scott.

It was May 1977 when White Spirit’s drummer Crash Crallan played with me and another Hartlepool musician Peter Scott at The Queens pub in Hartlepool. On the way home in the hired van we tried to persuade Crash to join us but he remained loyal to his mates said Jimmy.

As we approached a junction a young couple in a state of intoxication were having an altercation. As we drove past the young lass stepped back and fell under the van. I jumped out and sprinted the 200 yards home to ring for an ambulance, convinced she had died, we were relieved when we found out she hadn’t.

She had a nasty cut on her head and the lads took her to hospital. The next morning we returned the van and informed the hirer that the Police might wish to check some details, but we had already cleaned up most of the blood and vomit from the van.

The gig itself was recorded by our friend Dave Emerson on his trusty cassette recorder. This was used to entice Chiswick Records into taking an interest in us. We eventually recruited Alan Scully on drums.

At the time we thought we were really good and assumed we were going to be the next Big Thing, yet one by one other North East punky type groups came up from behind and overtook us.

It was 1977 and DisGuise had a club gig booked around the time when Elvis Presley had died in the August, Marc Bolan died in the September and it was the anniversary of the death of Jimi Hendrix. At the gig we played a Bolan song and a Hendrix song, completely forgetting about Elvis.

Unfortunately, the club was frequented by a lot of Teddy Boys who quickly took exception to the DisGuise performance. A common practice at Social Club gigs was for song requests to be written on a beer mat and handed to the artist during their performance. The one handed to Jimmy said ‘play Get Off by Nobody Likes You’. The song was written in the van going home.

LINK > ‘Get Off’ : https://youtu.be/Kpy32rgX2YQ

Confidence grew among the three members of DisGuise to where they gave up their day jobs to became full time musicians.

As did our three road crew! This of course meant that we were signing on for unemployment benefit.

It was September ’77 we had a gig at Longscar Hall in Seaton Carew, we were getting paid £30. We went across the road to Max Magic shop and blew it all on little disguise type masks which we threw out to the audience. The next week we were all called into the Benefit Office and had our dole stopped for working.

On 23rd October 1977 we were at Middlesbrough Town Hall opening for AC/DC. There was no time for a soundcheck, I recall running on stage and turning my bass amp to 11 and just going for it.

Afterwards we were invited backstage for a bit of socialising, but declined because we wanted to get home in time for Match of the Day. Also, during the AC/DC set I was in the wings of the stage when their roadie came over to ask if I had a safety pin. Of course I had one in the lapel of my jacket and he used it to great effect on a running mid song repair to Angus Young’s school shorts.

On 25th February 1978 we were booked for Middlesbrough Rock Garden with local group, Giantkiller. Over at Redcar Coatham Bowl, the Sex Pistol’s former guitarist Glen Matlock’s new group The Rich Kids were supposed to play but there was a power cut. So they contacted the Rock Garden to ask if they could play at our gig. Suddenly we were relegated to being first on, but we got our mad up and played well.

Later I was watching Giantkiller’s set when Glen Matlock sought me out to tell me that he enjoyed the DisGuise performance. Mind, he then asked to borrow my plectrum and my guitar strap – which he wore side saddle, which looked cool though he had to keep adjusting it as it slid off his shoulder. The Rich Kids set finished with Pretty Vacant – of course, with a two guitar chiming intro.

In June ’78 it was one of the Newcastle Bedrock Festivals, sharing the stage with some local youngsters called White Heat. I remember watching them soundcheck doing Dylan’s Lay Lady Lay and thinking oh dear is this what Newcastle rock is all about? I was wrong of course.

After our two-dimensional set White Heat went full on 3D with show-off frontman Bob Smeaton pushed to stage front by the explosive drumming of John Miller. John later joined Disguise in 1979.

Chiswick records promo poster for Dis Guise.

DisGuise recorded one single for Chiswick records in December 1977, but it wasn’t released until November ’78.

I think someone from the Netherlands bought a copy and then errr nothing. So, our chance at fame had come and gone. The single chosen by Chiswick who were very keen on the song, was not representative of what we normally sounded like, it being rather polite pop.

I have recently been tidying up some of the other recordings from December 1977 and made them available as the 1977 And All That album, which redresses the balance a little.

The original DisGuise came to an end in Summer 1979. There were some on and off recordings with Peter and myself up until 1985 and some of these are available on VainGloriousUK.

LINK to DisGuise live in 1982 >

 www.youtube.com/watch?v=WPWvRXYhU5M&t=43s

Music is still a big part of Jimmy’s life…

Since then I’ve tricked and coerced musicians into feeding the needs of my songs. Gavin Bell on bass and Jason Bell – no relation but brothers in creative rhythm, are my go-to duo every time I want to start a bunch of new recordings. I will have a rough idea, shout out some chords to Gavin and songs take shape very quickly, even my peculiar ones.

Jason Bell, Jimmy McKenna & Gavin Bell.

LINK to Jimmy, Gavin and Jason performing ‘Mystery Singer’ >

www.youtube.com/watch?v=mlGKn_DuyJ8

The website VainGlorious UK features biogs, books & music videos by North East bands. Jimmy explains…

Yes, it’s for bands who for one reason or another didn’t get that big break. When it came about it seemed a good way to finally store all my music, of course in the hope that others may pick up on it.

Check the official site >

Home – VainGloriousUK

Alikivi   June 2024



WIRED FOR SOUND with Hartlepool musician, Jimmy McKenna

/ Alikivi

Hartlepool musician Jimmy McKenna has over 50 years in the business and in that time has released 14 albums. In the first part he looks into his musical memory box and digs out stories about auditioning for White Spirit, playing for Hell’s Angels, and does he still listen to Cliff Richard?  Read on….

The legend in our family is that my Dad went out to buy a washing machine and came back with a radiogram. As a small child I would play all the family records, A and B sides, digesting the labels as to who wrote the songs etc.

The radiogram did really well up until 1970 when it struggled trying to play my Deep Purple in Rock LP – it jumped all the time – by that time stereo was the big thing.

Jimmy was a child of the 50’s and his home was full of the top musicals of the day, Carousel, South Pacific, Carmen Jones, West Side Story, as well as current pop songs.

My all-time favourite was The Wanderer by Dion. My first love was Cliff Richard and I remember arguing in school with older kids who were trying to tell me that Elvis was better than Cliff – I just wouldn’t have it. Mam and Dad dutifully bought me all the early Cliff singles. Then of course came the Beatles, writing their own songs, the Merseybeat explosion and all that followed.

Jimmy in Iron Cross, 1973.

Jimmy’s big present for Christmas 1967 was a Magnus chord organ – a small keyboard with buttons to play chords.

I wanted to play the big hit of the time A Whiter Shade of Pale, but instead learned to play Silent Night and Londonderry Air. By now I was making up tunes in my head, including putting a couple to poems I found in a book about the 1745 Scottish rebellion!

By the time I was 14 my friends and I all received our first guitars, and suddenly we were a group. Within weeks we went from being The String Vest to Black Canyon to Iron Cross and later as pretentious 17 year olds we became Hansard. Also, within weeks I was relegated to bass as I was the last to master that pesky F chord.

As Iron Cross we played our one gig at a Boys and Girls Brigade party, performing My Generation and easy bits from ‘Live at Leeds’ when I was suddenly promoted to lead singer. My sister Margaret had been knitting a quilted bed spread, but converted it into a Roger Daltrey type coat for me!

After appreciating other people’s music, Jimmy started spending time writing his own songs.

We had a piano at home on which I spent hours doodling and making up quasi classical tunes, not even understanding what key I was playing – most of these have still to be completed/recorded, but they are on the list.

My friends and I were also diverging in our tastes, I discovered the ambitious music of Van der Graaf Generator and Peter Hammill. When I later heard the Sex Pistols I noted that a rock group had a singer with the same passion in his voice as Peter Hammill. I later learned that John Lydon was a Hammill fan also.

I then connected with Peter Scott of Hartlepool – not to be confused with Newcastle folk songwriter Pete Scott or that bloke who went to the Antarctic. Peter was an intuitive and aggressive guitar player. He was impressed that I was writing songs which encouraged him.  

Our first club group was Silver and our singer was Geoff Grange who would later sing, blow harmonica and record for Bill Wyman’s Rhythm Kings and Thomas Dolby.

After a gig one cold night the van’s windscreen was completely frozen over and our roadie Peter ‘Dock’ Oliver had the perfect solution and stood on top of the van to pee over the windscreen. It worked well.

Link to Silver playing intro to Purple Haze (Jimi Hendrix).

By 1975 Jimmy had an electric piano…Still only able to play my little quasi classical tunes, but I answered an advert for keyboard player for local rockers White Spirit. I blew it as soon as I got into their van, when I exclaimed that they were a bit young. I was 19 and they were just 17. After extensive jamming on the main riff of Jethro Tull’s Locomotive Breath their manager Sandy gave me the ‘we’ll let me know’ speech.

So back to bass guitar, around 1975/76 Peter Scott began backing popular Country and Western singer Mick Layton. There was a nightclub gig in Scarborough, the manager was desperate. A group of Hells Angels had arrived for a weekend of fun but it had rained nonstop and their weekend had fallen flat.

The manager was worried they would take their disappointment out on his premises so he begged us to do what we could to entertain them. This was Peter’s cue to turn up his guitar and we spent two hours doing extended Status Quo, Jimi Hendrix and Chuck Berry songs. At the end the biker lads were on their knees giving us the ‘we are not worthy’ hails and everyone went home happy.

At this gig Peter did a little trick with his wah-wah pedal, placing his guitar against his amp to make it feedback, then balancing one foot on his wah-wah to change the notes of the feedback  – noisy but dead good. This was while we were playing Ghost Riders in the Sky.

The Mick Layton Trio would often get booked into cowboy clubs…

I remember the audience all dressed up with names like Diamond Lil and Big Jim Bowie. It would get hectic when in moments of excitement they would start firing their pretend guns.

We once had a polite gig in a posh Newcastle Hotel. The manager came up to us at half time, a little excited. Cliff Richard was performing one of his Gospel Shows that night, and was staying at the hotel. The manager said he would ask Cliff on his return if he would sing a couple of songs with us – we had already played Apache.

Unfortunately, Cliff was a little tired and just wanted a nice cup of tea, so declined the invitation. Then Summer ‘76 we heard The Ramones and everything changed.

DisGuise in 1978, Jimmy McKenna, Alan Sculley & Pete Scott.

Next up read part two of Jimmy’s story including his close brush with fame with punky pop group DisGuise opening for AC/DC, Glen Matlock and The Rick Kids, and on the bill at the Newcastle Bedrock Festival with White Heat.

Alikivi   June 2024

SOUTHERN COMFORT for 70s rock legends GEORDIE

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Geordie were signed to EMI, had UK chart hit singles, appearances on Top of the Pops and toured with Thin Lizzy and Nazareth. A few line-up changes took them into the 80s where they finally called it a day.

With a much welcomed return to the stage, the 2020s line up has original members Brian Gibson on drums and Tom Hill on bass with new recruits in former Animals guitarist Steve Dawson, and former Beckett/Back Street Crawler frontman Terry Slesser.

“Terry is working really well as the frontman for Geordie” said Tom.

The band are back on the road in August and heading down south with a series of gigs including the Half Moon in Putney and Leo’s Red Lion in Gravesend.

Tom added “For the set we’ll be introducing some new songs, we recently released three singles in quick succession. All three made the top 20 of Mike Read’s Heritage Radio Show”.

“After this run of gigs we’ll be doing more recording then at the end of September playing a festival in Belgium, keep on rocking”.

Alikivi   2023

For further info contact the official website:

The Official Geordie Website – Keep On Rocking – Geordie Band

RHYTHM KINGS part two with Bob Porteous & Dave Robson from ‘70s Newcastle band FOGG.

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Bob and Dave ‘Can you remember the time when…’

Part one of the interview featured stories of gigs in working men’s clubs and recording in Abbey Road, in this second part Bob and Dave remember more shenanigans in ‘70s band Fogg.

At the time Tyne Tees TV were building a team to produce music shows resulting in the ground breaking Tube exploding on our tv screens in November 1982, but before The Tube was a programme called Geordie Scene.

Dave: We were on the Geordie Scene a few times. One time we were on with the band Geordie, Brian Johnson (AC/DC) was their singer. On the last song both bands got up and jammed on Blue Suede Shoes, we were the daaarlings of the North East scene (laughs). There was a party afterwards, it was great, both bands got on really well.

Bob: Yes, we did a few shows. Heidi Esser from EMI Electrola flew us out to Cologne to do a TV show and we stayed in a beautiful hotel all expenses paid. Boney M and Gilbert O Sullivan were on the bill too.

After the show we wanted a drink but like most bands we didn’t have any money. However there was a mini bar in our room which we’d been told was off limits. Chris and me looked at each other and said well just the one! 

I’m ashamed to say that we disgraced ourselves by drinking it dry by 4am. I was told that it cost a fortune. Apologies to Heidi and EMI. It’s no excuse but we were just young lads and were very very thirsty!

Bob: The excellent Vaingloriousuk site does have many of our TV performances on video. (link below)

Mind the result of a little known FOGG/Geordie football match is still a sore point for us. Tom Hill, Geordie bass player ‘It’ll just be a quiet kickabout’. Aye that’ll be right Tom. (laughs)

Dave: Geordie were signed to Red Bus Records. I’ve got three songs on a Geordie album, and never had a penny. But that’s the music business.

Bob: Thinking back about that we were lucky to have John Reed and Derek McCormick on our team, they were dead straight with us. In fact they still look out for us. The re-release of the album This is it is their project.

How did the re-release of the album come about ?

Bob: Over the years John Reed stayed in touch with Mike Heatley at EMI who had worked on the initial This is it release and was a huge fan of Fogg. Cut to the present day and the new CEO at Warners music is Mike’s friend and ex colleague.

Our manager Derek McCormick has been beavering away on the legal side whilst John and Mike discussed a digital release with Warners. Success – what a team.

Guitarist & songwriter Dek Rootham

Talking about team members, our guitarist and main songwriter was Dek Rootham. Dek had a great sense of humour which certainly enlivened long journeys. He was often seen with Archie, a ventriloquists dummy.

We once had a small fire in the back of our Ford Transit whilst flying down the A1 at 70 mph. We are all thinking like Basil Fawlty ‘F-F-F-Fire!’ but Dek just turned around, warmed his hands on the blaze, turned back and continued reading his newspaper. What a guy. (laughs)

What caused the band to call it a day ?

Bob: A number of things really. In the mid-70s a few things were happening around the UK – recession, middle east oil shocks, venues closing down, three day weeks, power cuts. Just lots of things that really added up.  But we gamely carried on playing gigs for a while surviving on the money from them.

We eventually decided to wrap it in. Chris went on to form his own band Shooter. Dave, Dek and I worked the clubs for a few months as a trio named Jingles (laughs).

Dave: By the late ‘70s Brian Johnson was re-forming Geordie to play the clubs, he already had a drummer and he asked me and Dek to join. We joined and had a great time with gigs pouring in. We had a few with Slade as Brian knew Chas (Chandler, ex Animal, Slade manager) quite well.

Then 1980 came round, Brian left for an audition in London, my wife was in hospital giving birth to my son, and I got a call from an American called Peter Mensch.

‘Hello is that Dave Robson, my name is Peter Mensch, I own AC/DC. I believe you have some contracts ?’

I said best to ring me back as my wife has just given birth. Well really I was devastated, Geordie had being doing well, now suddenly I was out of work. We continued with other singers but it was hard to replace Brian, he was very funny and had an instant connection to the audience soon as he got on stage.

(Along with many tales about the band Geordie, Brian Johnson’s story of the AC/DC audition can be read in the new book ‘The Lives of Brian – A Memoir by Brian Johnson’).

Bob: I went on to work with other bands and really enjoyed working on several unique projects with Steve Daggett (Lindisfarne). After studying at Newcastle University I joined Raw Spirit again for a while who I was in before Fogg.

Sadly Chris (vocals) passed away in 2014. He is still greatly loved and missed by the lads and indeed by all who met him. Dave, Dek and myself still do occasional gigs in our respective bands. Music is always in your blood I guess

.

Dave: But looking back it was a fantastic time.

Bob: Yeah such a magnificent period in our lives. We are so blessed to have experienced it and have This is it come to light once again.

Dave: And you can always dine out on the stories (laughs). Although some don’t believe you about Abbey Road.

Bob: Yeah there are a wealth of tales which are true but usually met with disbelief. Did we tell you about the time the Duchess of Devonshire asked us to pop in for tea, or Freddie Mercury’s market stall, or our near fatal adventures on Aberystwyth beach or when recording the album This is it, Olivia Newton John walked by and simply gave us a dazzling smile ?

Dave: She did. And she was absolutely stunning.

The FOGG album This is it is available from:

Amazon: https://music.amazon.com/albums/B0BGSN3Q93

Spotify: http://open.spotify.com/album/2jG2Qb7hHHFHC2hskrPPGY

Apple: https://music.apple.com/us/album/1647553016

FOGG TV appearances  can be found at VainGloriousUK:   

Home | VainGloriousUK

Alikivi  October 2022

RAW MEAT IN THE SONIC MINCER #5 – Looking back at Sounds Music weekly: Tour Adverts

/ Alikivi

Looking through back issues of the UK music weeklies for a mention of North East bands, I came across a screaming headline from a Motorhead gig review – Raw Meat in the Sonic Mincer – yep that’s ‘reet for the ‘heed.

Sounds or NME was always knocking about our house, pocket money bought a copy for 25p. We could read exclusive interviews with bands out on tour promoting their latest album, check forthcoming UK gig dates or look at artwork for new albums. Music weeklies were always something to look forward to – even though half the print rubbed off on your fingers.

Sounds mixed rock and punk interviews with Ozzy/Halen/Upstarts. NME featured alternative and post punk bands Damned/Cramps/Costello. Take your pick of front covers splashed with David Coverdale, Kate Bush or Angus Young.

Front cover Angus Young (AC/DC) 2.1.82

Album and tour adverts were a big feature for music weeklies, not only for much needed revenue from record companies, but they tracked the cycle of a band. The cycle would feed into each other – write a song – record – release a single – create TV/media coverage – release album – tour to promote. And repeat.

Large tours were the norm in the ‘70s and ‘80s, but since the ‘90s when enormodome arenas sprung up around the UK, there has been a massive sell off of smaller venues and subsequently less chance to see bands.

Looking through tour adverts I noticed the Overkill UK tour of Spring ’79 that Motorhead completed, by their standards, a short run of 19 dates. A visit to Newcastle City Hall was on March 26 and a review of the gig in Sounds by Paul Sutcliffe went like this….

‘It was very loud. The crowd roared and some yelled ‘It’s not loud enough’. Lemmy said ‘I can’t get it no louder. Shut your trap’. Then they played ‘Iron Horse’ which was as loud as the First World War if they crammed the whole thing together and held it in a phone booth’.

Tour advert in NME 4.10.80

During Autumn 1980 Motorhead ground out another 35 dates around the UK on their Ace Up Your Sleeve tour with two dates scheduled at Newcastle Mayfair in October. Support came from NWOBHM band Weapon. In May 2017 I interviewed Weapon vocalist Danny Hynes who remembers an incident from the tour…

‘We were at Edinburgh Odeon and had just finished our sound check. Jeff and Baz went to the side of the stage to tune their guitars when the cables on one side of the Bomber lighting rig snapped, sending it crashing through the flight case that the tuners were mounted on. An inch or two closer and we would have lost two members of the band’.

Tour advert in Sounds 24.10.81

In Sounds October ’81, Thin Lizzy are on the 28 date Renegade UK tour with two dates each at Manchester, Birmingham, Liverpool and three nights at the Hammersmith Odeon. They hit Newcastle on 10 December and didn’t close the tour until a week later in Derby. On the Vintage Rock website the author remembers the Newcastle date….

‘The Renegade tour was scheduled to call at Newcastle City Hall on 27th October 1981. The concert was postponed and Thin Lizzy actually played the gig on 10th December 1981, supported by Sweet Savage, a metal band from Belfast, who included Dio and Def Leppard guitarist Vivian Campbell’.

Tour advert in Sounds 22.5.82

In the 22 May 1982 issue, is advertised a So What tour which included 18 dates around the UK for headliners The Anti-Nowhere League, with guests Chelsea, Chron Gen and The Defects.

The first date was at a place called Manchester Rotters who held a special matinee for under 18’s. Next date was May 20 at Newcastle Mayfair and the tour ended with two dates at the London Lyceum.

The past year has seen live events destroyed by the covid 19 pandemic and everybody who works in that industry has had their working life put on hold, but hopefully they can return soon – however many dates and whatever the venue.

Sellers on EBay are flogging pre-owned copies of music weeklies. They go for anything from £2.99 to £35 depending on who is on the front cover and featured inside. What you waiting for, get yer bids in and take a step back in time.

Alikivi  January 2021.

Info:  History & Tour Archive – The Official Motörhead Website (imotorhead.com)

Thin Lizzy Newcastle City Hall 1981 & 1982 | Vintagerock’s Weblog. (wordpress.com)

ROCK n ROLL DREAMS – with Dean ‘Deano’ Robertson former guitarist with Tygers of Pan Tang.

/ Alikivi

How long were you a member of the Tygers ?

I was in the band just over 12 years. After Robb (Weir), I’m the longest serving guitarist.

Why did you leave ?

At that time I wanted more from the band including more gigs and I felt my writing ideas were stifled by the Tygers style. I could write typical Tygers style songs but a lot of my songs needed a different outlet – but the grass ain’t always greener and all that. I’ll always be grateful for my time with Robb and the Tygers.

Dean has an impressive list of recordings from his time in the Tygers – Mystical (2001), Noises from the Cathouse (2003), Animal Instinct (2008) and Ambush (2012).

Two live albums, In the Roar in 2003 and 2005’s Leg of the Boot, recorded in Holland. Plus a couple of EP’s, Back and Beyond in 2007, Wildcat Sessions in 2010 and the Spellbound Sessions  in 2011.

There was also a compilation album produced in 2003, Second Wave – 25 years of NWOBHM, which included five songs each from Tygers, Girlschool and Oliver/Dawson Saxon.

What was your experience of studio work ?

Everything with the Tygers was fun – studio, rehearsals, travelling and gigs. It all seemed fairly relaxed to me. The days working with producer Chris Tsangarides in his studio was fun and a memory I’ll cherish.

I worked with Chris at a studio in London for the Second Wave album with Girlschool and OD Saxon. Plus we recorded the album Ambush in his own studio in Dover.

He was a great guy, up for any suggestions and would give his advice when he thought it was needed or asked for.

His walls were covered in gold and platinum discs by some great inspiring bands, plus a few strange ones – I remember him making a point of showing us the Samantha Fox one (laughs). 

I remember him sat at his desk with a guitar in his hand while we were recording, and when we would come back in, he would be playing a version of the riff or wanting to know a part he couldn’t work out.

We could have easily spent the first week just chatting, he had some amazing stories.

The best for me was Judas Priest, he talked about how Rob Halford was just incredible and had perfect pitch every session and the music from the metal gods was intense.

But he would listen to the band chatting in the studio and their Brummie accents made him laugh.

When did you pick up the guitar & what were your early days like in music ?

I live in the North East now, but I’m originally from London and I got my first guitar when I was around 9 year old from my cousins future husband.

At the stag party I pestered my Dad all day for him to buy it, he waited till the groom was drunk and offered him £10. Then he came home with a Zenta Strat copy and a Leo 6 watt amp. It was nice he came to see me in the Tygers years later. 

Playing live in bands in the early days was the usual pub and club circuit, then I joined a club rock band where I met up with Craig Ellis (drums) and Brian West (bass). Eventually our friendship took us into the Tygers.

How did the job come about ?

Brian West was the first of us to join the Tygers, who at that time were just Robb Weir (guitarist) and vocalist Tony Liddle. Brian got a call from Tony who he knew and had worked with before.

The Tygers had almost completed the Mystical album (2001) and needed second guitar and drums for live work. I came in and played a couple of solos for the album.

When I ran through a few old tracks with Robb in the studio he seemed quite pleased that I had done my homework on the songs. We then booked a rehearsal studio for a week and jammed through most tracks.

I’m not sure Robb was that interested in spending time auditioning after that cos basically we hit it off instantly and he was happy with my playing. Gigs were already lined up and Robb wanted to get out there again.

Where was your first gig in the Tygers ?

I always reminded Robb that my second gig I ever went to was the Tygers/Magnum and Def Leppard concert at Newcastle City Hall – I still have the ticket stub. (Wild Cat tour April 20 1980).

We were signed to Z Records who asked us to headline a Z Rock festival in Wigan. Robb had asked if we could be further down the bill with it being our first gig and at short notice, but it was already advertised as a Tygers comeback show.

Our singer Tony was also working in another band and was in Russia while we were in rehearsals. Therefore we only had one day with Tony and he wanted to change the songs and order. It was a shambles – definitely one to try and forget.

Set list.com have the gig on 26 August 2001 featuring Tyketo, Contagious, Jaded Heart.

Blimey ? Can’t remember the date, somewhere I have a video from the show. I think the gig was at a venue called Maximes, I only remember Tyketo being on the bill, Danny Vaughan is such a good vocalist.

A few weeks later we went to Germany for another Z Rock Festival and that was a lot better. However Z Management were not happy with Tony on vocals, so after two gigs we were looking for a new singer.

Gav Gray, Robb Weir, Jack Meille, Craig Ellis & Deano.

Have you any road stories from gigging with the Tygers ?

I’ve so many great memories, and met so many great people. We used to get up to a lot of mischief in hotels, even two minutes before walking onstage there was always something going on.

Once Robb nearly crashed our van in Germany and almost ended up fighting with the other driver because of Craig. Craig and I were always the last to bed and our ‘Tygers Night Game Compendium’ became famous for all the wrong reasons – say no more about that.

Robb, Craig, Gav and Me sat with our trousers round our ankles watching the 50 second beat the clock Babestation challenge as a set up for our Manager and vocalist Jack – don’t think they were impressed !

Were there any songs you looked forward to playing in the live set ?

I liked playing Hellbound and when we put a new album track into the set. Unfortunately never got to play any Ambush tracks live, would have loved to play the song I wrote Rock n Roll Dream.

What are you doing now and do you keep in touch with the Tygers ?

I was playing in top AC/DC tribute Live Wire – The AC/DC Show for a few years after I left the Tygers. I started playing bass and singing in a trio where we rehearsed up a few of my Tygers tracks and wrote new material but it never made it to the stage. 

I speak regularly to Craig and Robb, and Micky (Crystal) who took my place in the Tygers.  When this year finally gets going again I hope to meet up with the Tygers again at a venue and say hello to the new boy Francesco, be nice if you were there too Gary.

But yeah I’m still writing, mainly lyrics and the odd riff. I have a few old ideas that might rear their ugly heads at some point, you never know.

Finally, what does music mean to you ?

It was an escape. Really, just a way of life.

Interview by Alikivi  February 2021

Check the official Tygers of Pan Tang website for a full discography:

Tygers Of Pan Tang – The Official Site

TALK SHOW – in conversation with former TV director Michael Metcalf

/ Alikivi

Colin Rowell, Chris Phipps and Michael Metcalf.
Michael with pop band Bros.

Michael talked earlier on this blog about his career in TV, but knowing he had a few more stories we met up in Newcastle again…

I remember working on North East music show TX45 when we filmed AC/DC singer Brian Johnson in a working men’s club near the River Tyne. We had a great afternoon with him because what ya’ see is what yer get.

He asked me if I do this all the time, but I told him I work on drama as well and one of them was called ‘The World Cup – A Captains Tale’.

We filmed it all over the North East and in Turin where the final was played. Tim Healey was in it, Nigel Hawthorne, Richard Griffiths, and the captain was played by Dennis Waterman.

Brian said I know that drama and yer not gonna believe this, but we’ve got ‘A Captains Tale’ on video and we always play it on the AC/DC tour bus.

Now we’ve seen it so many times we put it on without the sound and we all take the parts. The thought of AC/DC playing these Geordie characters is amazing.

Another time we heard about a heavy rock band that were getting popular so Jeff Brown (producer) and I went to see them, not my type of music but thought they would be great for the show.

We met them after the gig and one of them asked ‘How much will it cost to be on’? We answered ‘It doesn’t work like that. We pay you. We pay you the Musicians Union rate’. They couldn’t believe they were going to be on telly and getting paid for it (laughs).

The name of the band escapes me, hey it was over 30 years ago but I remember on the day of recording they brought us a crate of Newcastle Brown Ale.

TX45 was broadcast from Studio 5 at Tyne Tees TV and hosted by Chris Cowey who features on this blog.  I was in the audience for one of the shows in 1985 that featured Newcastle glam punks Sweet Trash, at the end of the show the singer dived off the stage into the audience….

Yes, I directed that one. We were working on it all day, setting the stages and lighting. After the show we had to edit the program ready for broadcast.

The show was like a baby Tube and all the bands and audience were excited to be there in this inner sanctum of the same studio where The Tube was recorded.

We also had some comedy on. Bobby Thompson was the man in the North East for that but he had stopped working by then. Jeff Brown tracked him down and we went along to his home and had a chat, we didn’t film it.

We felt so privileged to be with this icon of Northern Comedy. Bobby had some well documented problems with alcohol, so he wasn’t drinking but his housekeeper brought us a bottle of whisky to drink.

We sat for hours talking, laughing and of course Bobby was a great storyteller. Tyne Tees had recorded a whole show of his from Percy Main Club so I think we used a bit of that in the feature.

But a Northern comedian that we did get on was Roy Chubby Brown. I think it was his first TV appearance. Off camera a completely different person but as soon as he is on stage and performing – I don’t know who was shocked the most. We were saying in the control room that a lot of editing was needed for this show!

Michael also directed editions of live music programme The Tube and I asked him what was the impact of that show…

It got all around the world. I once went for an interview to do some work for New Zealand TV and they looked on my cv and said, ‘Oh you’ve worked on The Tube’. When you have worked on something so iconic it becomes your calling card.

We went to Belfast at the height of the troubles in Ireland. It was a surreal experience filming bands over there when all that was going on. We stayed in the Europa which was known as the most bombed hotel in Europe.

Housekeeping kept the curtains closed all night so snipers couldn’t see in. There was dimmed lighting in the corridors. We were terrified but had a fantastic time. Every day we filmed a different band and afterwards they’d invite us back to their homes for a sing song and a few drinks.

When we got back to London the team went out and got drunk because we were so relieved to get back because the stress of actually having to be frisked before you went into places, standing with your arms up and seeing armed soldiers everywhere.

The opportunities to travel to places was fantastic, we went to Berlin before the wall came down. As we flew in the pilot said we know when we have hit west Berlin because we see lights, the East will be in darkness.

We went on a recce through Checkpoint Charlie to see some bands. We ended up being told to film in a sports centre in East Berlin. A young band were playing with not much equipment.

When we got back to the West we met Christiane F. in a club. It was great getting those opportunities, looking back, just incredible.

Christiane F. was the focus of a cult bio film made in 1981 capturing the drug scene in West Berlin. The film starred David Bowie who also recorded the soundtrack.

What other music shows did you direct ?

The Roxy Chart show. CBS were ready to drop the boy band Bros, things weren’t working for them. But I thought they looked gorgeous and would be great for the show so we booked them.

When they played the audience went wild. Sometimes something a bit special happens and it did on that night. The senior cameraman said to me ‘I’ve never seen a reaction like that since the likes of The Beatles’.

But we had a policy like Top of the Pops, if a song went down in the charts, we didn’t transmit it. We got in touch with their management and asked them to release another single. They did but again we couldn’t transmit it because Tyne Tees went on strike.

We eventually got them on a third time with ‘When Will I Be Famous’ and as they say the rest is history.

We had a wide range of artists coming on and one of them was Shakin’ Stevens another CBS act. He had a manager called Freya who had a reputation as being very tough. You didn’t cross her.

In rehearsals we were in the studio and as usual I was on the studio floor watching his performance and working out how to film it. He also had four dancers on stage with him. Freya appeared next to me and said ‘What you gonna do here then’? I said ‘I haven’t got a clue’.

Eventually I worked out a routine and plan for the cameras to do multiple passes. Which are recording the same song from different angles. After the performance the CBS plugger Robbie McIntosh came up to me and said you are coming to dinner with us.

‘Freya was so impressed with your work, and you are the first director to tell her that you didn’t have a clue what you were going to do! She loved my honesty, and we became great mates over the years.

Were there any awkward performers on the show ?

There was an Italian singer called Spagna who had one hit ‘Call Me’. She wanted to call the shots. Her idea was for a white out on the stage, white backdrop and white sides, like being in a white cube. She also had spikey blonde hair so it would all look burnt out. We were reluctant to do this because we thought it would take ages to do.

But she insisted on doing it, the toys were out of the pram you know, it wasn’t as if she was a well-known singer with a rack of hit singles. But we did do it in the end, and it looked good (laughs).

I directed Big World Café from Brixton Academy for Channel 4, we had Mariella Fostrup and Eagle Eye Cherry presenting. It was a pretty eclectic music show and the line up on one of them was Soul to Soul, New Order, Diamanda Galas and a young indie guitar band who I can’t remember the name of.

We were in rehearsal and the indie band would turn their backs on the camera whenever I was getting a shot and the red light was on them. So, I came out of the outside broadcast truck and told the floor manager I’m coming onto the studio floor. Which to the crew means I’m not happy.

The band said that turning their backs was just their style. I told them that their style ‘Was better suited to radio and stop fucking about or you’re off the show’.

When you have an artist performing and getting the best out of the time they have on screen it’s magical, they’ve really got to work it even if they are miming.

In rehearsal I give them a few simple tips that if they want to play to the camera I will stick with the shot. If they take the mic off the stand they are to take the mic stand away from the front of the stage because an empty mic stand looks awkward for the camera.

I also directed for Hits Studio International for Fujisankei Television all done live in a studio in London. It was the first time the studio was used, and the program was going out to 28 countries linking up with a studio in America and Japan.

We got the countdown to start and just as we were going live the cameras went off one by one. Now you’d think it would be pandemonium in the control room but as a director of live TV you’ve got to be so calm. The cameras were fixed but for 40 seconds I only had two working cameras.

Why did the North East have a reputation for producing quality music TV ?

Tyne Tees had a reputation for showcasing Northern talent and having passionate production team members to achieve that. Part of their regional brief was to support and document local talent, and up here there is such a wealth of talent going back to Eric Burdon and The Animals who played at the Club a Go-Go in Newcastle. The murals on the walls were designed by Bryan Ferry who of course was singer with Roxy Music, but everybody who said they saw Jimi Hendrix play at the Club a Go-Go, well the club would be the size of St James’ Park (laughs).

Interview by Gary Alikivi    September 2019.

ROOT TWO AMPLIFICATION with owner and Geordie guitarist, Steve Dawson

/ Alikivi

‘The electric guitar is still the coolest instrument  and there will always be a market for amps, albeit boutique in my case as opposed to mass production, but who knows what might happen’.

IMG_0539 (1)

It’s a warm summer day and the town hall clock chimes as I enter a large terraced house (pre-Victorian) on Beach Road in South Shields. I’m here to meet Steve Dawson in his workshop and find out more about his business…

I’ve been working on amps for more than 40 years. I started tinkering with them in the ‘70s, then privately repairing and modifying them throughout the ‘80s and ‘90s.

I ended up working for Marshall from 2005-14 as an electronic design engineer. I designed and brought out some highly regarded amps in my time there, such as the ‘Astoria range’, ‘Class 5’, the ‘Vintage Modern’, ‘JMD range’ as well as various reissues from their back catalogue like the Hendrix ‘Super100JH’ and 2012 anniversary ‘Bluesbreaker’ and more.

When did you start Root Two ?

I started in August 2015. I believe it’s going to take a good four to five years to get properly established in repairing, servicing, modifying and upgrading amplifiers and working on the electronics in guitars. Many people still think I work for Marshall!

Are you happy with the way the business has developed so far?

I’ve clocked up over 300 customers in four years so I’m doing alright. It’s a sustainable business despite this current economic climate…although I won’t be taking any holidays in Hawaii just yet (laughs).

Have you got any future plans for Root Two?

When I’m up to altitude I’ll start producing new products I have already designed.

I’ve been talking to an OEM (original equipment manufacturer) who will build the design and take care of that side. I’m thinking of contacting a few other people who I hope will be interested in getting involved in the project, especially the promotion side.

That’s my goal, as well as repairing and servicing etc. because it’s a tough world out there and being able to offer a few things will work out better.

I’ve got a good reputation all over the world from my days at Marshall with a lot of people familiar with the amps I designed, which is worth its weight in gold when I bring out my own product.

Scrolling through the Root Two Facebook page I come across messages left by satisfied customers….

I have an old Watkins Westminster amp which was in need of some TLC. Steve serviced and repaired this amp and I was in contact every step of the way. I am extremely happy with the results and the costs were very reasonable. I fully recommend Steve and will contact him again if I have any problems with my electrical equipment. (Tommy Scott)

My Bugera amp went in dead and came back alive as a spring chicken. Steve is a very knowledgeable and amenable chap with a professionalism, heritage and CV that some can only dream about. I whole-heartedly recommend Root Two for any service/fix/mod/upgrade. (Andrew McCann)

A very fast and efficient service at a reasonable price. Steve understands the importance of getting your gear repaired as soon as possible for your gigs. His enthusiasm comes across about his passion for music and for this reason you’re guaranteed to get your equipment a full MOT before it leaves the workshop.

Can’t thank him enough for the excellent job he did on my gear and the professional service I received. (Chris Banderas)

We had a PA problem with our LD Maui 28 line array system. Took it to the Aladdin’s cave that is Root Two’s workshop. Steve worked his magic on what had been a manufacturing problem of several dry joints. He was meticulous, diligent, persistent and an all-round good guy.

I honestly don’t know what we would have done without him. Thanks also to Newcastle’s GuitarGuitar shop for their recommendation. It’s not until you get problems that you appreciate dealing with excellent local businesses. (Tim Brown)

Contact Steve at Root Two Amplification on 07931 359 364

Or on the official website: root-two.co.uk

email info@root-two.co.uk

facebook.com/root2two

 Interview by Gary Alikivi    August 2019.

CENTRE STAGE in conversation with North East entertainer Pete Peverly

/ Alikivi

Have you ever had a proper job ?

I’ve never done a day’s work in my life as me da’ would say (laughs). I’ve never worked in a bar, or had a day job, there were times when I maybe should have. It’s tough not knowing when or if the next job is coming. I’ve always earned enough.

I’m not rich but I’ve got a house, a family, four kids. I’ve managed. When things have got tough, I’ve tried busking a few times, and that gets you your £25 or so in really difficult times.

I’ve had some great jobs, I keep positive and always have something nice to look forward too. Keep optimistic is how to go on.

In the ‘80s did you watch live music show The Tube ?

Yes definitely. I look back at clips of the show on You Tube. One night I had a ticket to see Ozzy Osbourne at Newcastle Mayfair and beforehand he was on The Tube.

I watched it with me dad and Ozzy can be a bit ropey singing live. Well me da’ said ‘How much did ya’ pay to see him !’ (laughs).

I remember watching a show with the Tygers of Pan Tang and Twisted Sister, I was still at school and on that night we had a rock disco and a heavy metal band playing. It was wow you know. Loved it.

When I started working on dramas in Tyne Tees TV it was great to just be in the same studio where all those iconic performances happened.

When were you at Tyne Tees ?

It was the early ‘90s. I had trained as an actor at Newcastle College from ’88 -’90 and there was quite a lot of TV and theatre happening in the region. Writers were working, Byker Grove was starting and a season of new dramas were scheduled so I ended up doing a couple of those.

They were like period crime dramas, and some were filmed at Beamish Museum. I done a few seasons on Byker Grove, a few days here and there on Emmerdale and Spender but TV’s not something I’ve been able to get a foothold in because I got really busy with theatre.

I was with the Northern Stage Ensemble for 15 years, working on big tours for months at a time rather than being a jobbing actor getting work here and there. That’s the choice I made while being a jobbing actor has worked well for others.

In 2004 I was at a Sunday for Sammy concert at Newcastle City Hall and you performed a tribute to Bobby Thompson. How did that come about ?

A bunch of friends got together and formed the Red and White Theatre Company, and we produced a musical about Bobby’s life. We were young and looking back we might cringe a bit (laughs).

We toured it around clubs and community venues, and we were nominated for a Northern Arts award in 1990. We appeared on the Northern Arts awards show. It was hosted by Melvyn Bragg in Tyne Tees studio.

Previous to that we put together a show about the history of Sunderland and in that I performed a tribute to Bobby. It was very popular so that’s where the idea came from to do a musical about his life.

For research we met Bobby’s family, it was just after he died, and started a friendship with Keith his son.

How is the show received by the family ?

Bobby had two sons. Sadly, Michael passed away about five years ago, but Keith supports it fully. I always ask him about any new stuff going into the show, it’s important to let him know what I’m up to with his dad’s memory.

Do you think the Bobby Thompson story would travel to audiences around the country ?

I’m putting together a short project for the Tyne Idols bus tours around Newcastle, so I’ve been thinking about the whole Bobby story again and his accent wasn’t just Geordie it was Pitmatic.

That’s very strong and yes it was a barrier but one of the reasons why he didn’t make it outside the region was because I think he didn’t want to, he had everything up here.

He might have had more ambition in the early part of his career when he was doing Wot Cheor Geordie for the BBC. Maybe he thought about pushing it further but certainly not during the ‘70s.

All of the other regional comics and entertainers who made it nationally were all- rounders, actors, comedians, song and dance men, Bobby wasn’t. He was a pit comedian from the Durham coalfields talking specifically to that community.

Over the years the tribute show has been very popular but lately the audiences are not there as much now, they are getting much older.

He will survive in North East culture as The Little Waster, just like Cushy Butterfield and all those characters, but as for a modern audience I haven’t got the skills as a comedy writer to create strong enough material to bring him up to the modern era.

Somebody could do that, the last Sunday for Sammy concert, with the help of writers Jason Cook and Steffen Peddie, we had him as an angel talking about modern day stuff like Brexit and Donald Trump. So who knows it might work.

How did you start in entertainment ?

My dad was in bands playing the clubs, so I just got into playing in bands when I was a teenager. There was a brilliant scene down at Washington Arts Centre of a music collective, a vibrant theatre group and talented writers.

So, as well as being a musician I got involved in theatre and really enjoyed it. But it was like spinning plates, I was making a living playing music in the clubs and enjoying the theatre side of things.

In the end I decided to go to college and do drama because in 1988, I got invited for a month to perform in the Furness Mystery plays at Furness Abby in Barrow and really enjoyed, it so that swung it for me.

Still kept my hand in playing in bands and after finishing the course I got my first job at Live Theatre.

Who were you listening to when you were younger ?

In my teens I was playing guitar and it was rock music, typical ‘80s stuff like Ozzy, Y&T, Journey but then started learning other instruments like clarinet so went through a sort of Jazz phase.

Then harmony stuff like The Beatles and The Eagles, today I like a bit of modern country music that’s out now.

As a songwriter I try to listen to modern stuff to see what’s going on. Music has always been there, and I write, record and perform today.

What made you want to play guitar ?

When I was young, I wanted to play the drums. I’d mime along with knitting needles to War of the Worlds (laughs). But then I heard Queen and Brian May’s guitar had an amazing sound. The big Brighton Rock guitar solo with the echoes. I just fell in love with it.

Who was your first gig ?

AC/DC in ’82 at Newcastle City Hall. For Those About to Rock tour when they played three nights. But I remember seeing Gary Moore around ’84 and he had a sideman called I think Neil Carter. He played guitar, keyboards, backing vocals, he was really good and I thought that looks a good gig. He done loads of sessions with other musicians and bands.

I thought that would be great working with lots of different people. So subconsciously that’s always been there so that’s why I do lots of different projects now.

Once_152

That can keep you ticking over….

Yes when the theatre work slackens off, I can jump into playing working men’s clubs and do acoustic gigs. Last year was a good run-on theatre work with various jobs around the country then back up north at the Theatre Royal for panto.

Next year I have a big tour with a show called Once the Musical. It’s the first time it’s toured the UK since its West End run four years ago.  It’s playing Newcastle Theatre Royal in June 2020

There are actor/muso shows happening now which are popular in theatres where actors play the instruments. Colleges have added specific courses now to specialise in this type of performance, so the players are now at such a good standard.

Do you think theatre is still a big gamble though ?

Yes, you have to duck and dive, it’s hard to make a living, it’s not easy. I’ve done a bit drama teaching in collages and community groups with young and older people, that’s rewarding, but you have to be dedicated to do it.

Luckily, it’s worked for me although at my age I couldn’t do much else now (laughs).

I was an audience member of live music show The Tube filmed in Tyne Tees studio. After a few weeks I noticed the camera, lights and stage set up’s and thought I would love to be involved in something like this. Have you had moments that you can look back on that have affected your life in a big way ?

Yes, they happen without you realising it at the time. Those big moments in your life are only realised years later. That big year for me in theatre, 2018, they do happen, but you have to be ready for them.

There have been opportunities in the past which haven’t worked out, but I think I wasn’t ready for them. You’ve got to learn to take the opportunities.

Around 30 years ago I was in a darkroom working on a black and white picture that I had taken, I saw the image on the photographic paper coming through the chemicals and thought it was magic. Have you had any magic moments ?

This sounds horrible and pretentious so forgive me because I’ve read accounts from actors who’ve said things like this, and I thought ‘What a wanker’. (laughs)

I was at the Royal Shakespeare Company for three years and you get understudy roles. I was on a production of Romeo and Juliet in Stratford and was playing Friar Lawrence. Understudies get a full run as well.

So, we were playing to a full house, and I was going full throttle Shakespearean actor, giving it the welly and I had that feeling that I’d read about, the wanker actors saying, ‘I was shaking with emotion, with those words, how they were coming out, they were just so’. You know how pretentious is that. But it did happen to me. It really was an amazing moment.

Last year I did a show called Beyond the End of the Road with the company November Club, touring village halls in Northumberland. Stripped backstage, a couple of lights, I mean where’s the glamour in that ? (laughs).

But we had some really amazing moments on that tour. The sharing of telling stories is really magic no matter where you are. It doesn’t have to be profile job that gives you that magic.

Another time was when I put together a Playhouse Theatre band for one evening.  One of our guests was Brian Johnson from AC/DC. He was there with the late Brendon Healy and Paul Thompson, who was the drummer from Roxy Music.

I had just worked with Brian on the Sunday for Sammy concert and when he arrived, he was very complimentary about the band which was nice.

Later in the evening he said ‘Pete I might fancy getting up and doing a couple of songs with ya’ if you don’t mind‘. Wow! Absolutely!

So, towards the end of the night Brian, Brendon and Paul got up. It was a rock and roll dream come true to play with Brian ‘Johnna‘ Johnson from AC/DC. The first band I’d seen live. Amazing!

Have you had any nightmare moments on stage ?

I think we’ve all had moments on stage when we’ve thought we’d rather not be there. I was doing The Lion, the Witch and the Wardrobe in London in 2012, I was having a bad time cos I lost my dad not long before that. You’ve got to go on and do the biz tho’. Audiences have paid for it.

Don’t get me wrong I’ve had some great times, but the working men’s clubs can be tough. Sometimes you think it’s not where you planned to be, but you have to be disciplined enough to give it your best it terms of your vocals and sound, production.

You can just be tired or have a cold, or it’s a Sunday night gig after a long week and in your darkest moment you think I’m 50 I don’t wanna be here, but you are so you have to deliver.

Have you noticed the changes to working men’s clubs ?

I played the clubs in the ‘80s and saw the changes when I came back around 2007. They are still changing now. I played the Whitley Bay Comrades club last Sunday afternoon. People don’t want to be out on the night now, they have the bingo on, an entertainer, yeah it’s good.

Have you any last thoughts ?

As you get older you value the good times even more.  Working in theatre you more often than not are working with amazing people. The company becomes like a family. Those jobs might not come around again for a couple of years, so you have to make the most of them.

The Stratford job was great but I was away from home for three years, but my kids came down for holidays and loved it. You value those times.

Contact Pete on the official website:

petepev.com

Interview by Gary Alikivi    September 2019.