Robert Plant, Johnny Cash, Bob Dylan and Jerry Lee Lewis are just a few names that have recorded in Sam Phillips Studio in Memphis, USA – a new name to be added to that impressive list is Teesside Rhythm & Blues Singer & Songwriter Emma Wilson…….
“Sam Phillips studio breathes, it has an immense presence. The Phillips family have kept the rooms the same. The live room is awesome, huge, beautifully designed, it took me everything to hold it together. I let my emotions out on the recording”.
Her second album Memphis Calling, scheduled for an October release, with first single What Kind Of Love released on Friday 1st September 2023.
What Kind Of Love was co-written by legendary singer and songwriter Don Bryant (Hi Records) and Scott Bomar, who also produces the album.
“Don Bryant collaborated with his then wife, my idol Ann Peebles, on many huge songs such as the iconic ‘I Can’t Stand The Rain’. For him to offer me one of his songs and then join me in singing was a dream come true…he is so vibrant and such a great singer!” explained Emma.
“When I asked him how he thought I should perform the song he took hold of my two hands and said “Just sing it honey”.
“The band on ‘Memphis Calling’ are spectacular we have members of the HI Rhythm section Leroy Hodges bass, Charles Hodges organ, Hubbie Turner piano, the greatest drummer in the world Steve Potts and young Memphian cats Joe Restivo guitars, Kirk Smothers saxes and Marc Franklin trumpet”.
“Scott Bomar produced the record and is one of the greatest, he restored the STAX desk that we recorded through, it was just a beautiful experience”.
Emma won 2022s Emerging Blues Artist of The Year in the UK Blues Awards, her debut album Wish Her Well, made the finalist in Blues Album of The Year category in UK Blues Awards 2023.
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”saidTom.
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”.
The starting gun fires on Friday 4th August on old school NWOBHM at Trillians. They won’t be nights full of half arsed tunes. Expect red hot, heavy, driving sounds topped with power vocals – just the way you like it.
First up is Kev Riddles’ Baphomet, Kev was an original member of NWOBHM band Angel Witch who released their first album in 1980.
The record, along with the track Baphomet, always feature on any ‘Best of NWOBHM’ lists. On their last visit to Newcastle, Kev Riddles’ Baphomet played original Angel Witch classics to a packed house. Expect the same on a loud start to your weekend.
Another night of old school metal is a triple bill on Friday 1st September with Avenger, Abaddon and Spartan Warrior.
Spartan vocalist David Wilkinson explained“2023 has been a milestone year for Spartan Warrior as we celebrate 40 years since the release of our debut album, ‘Steel n Chains’, on the Guardian label”.
“We’ve played some well received anniversary shows where we’ve played our debut album live in its entirety”.
“As we have two shows at the same venue quite close together we want to give people something different each time. The 1st September set will be exclusively from the ‘Steel n Chains’ album and the second album only. November’s set will draw material from all four albums”.
That November date is set for Friday 3rd, a pre-Bonfire night with Kev Riddle’s other band Tytan. What to expect from Tytan? Chunks of melodic, epic rock with screaming riffs and Tony Coldham’s soaring voice. At the time of posting the band are on the road back from Germany after playing the Headbangers Open Air Festival.
Joining the bill are Millennium, frontman Mark Duffy explained“The first time Millennium played in Newcastle was when we were asked to do a reunion show for the Brofest festival in 2016 and we’ve played Newcastle a number of times since”.
“We know Spartan Warrior as they were on the Guardian records compilation ‘Pure Overkill’ along with Millennium. Although we didn’t get to meet them till around five years ago, we’ve since played gigs on the same events. Wehaven’t played any gigs with Tytan before so we’re looking forward to that”.
Spartan Warrior’s Wilkinson added“We’re very excited to be co headlining the November show with our dear friends Tytan. We’ve shared stages before and it’s going to be a great night for sure. We also have a long history with Millennium who were our Guardian label mates, so in our 40th Anniversary year that’s a bit special too”.
Millennium’s Duffy added “I think the NWOBHM scene has lasted so long because it has produced so many good bands who recorded some great records. There’s also a younger generation who are now listening and discovering these bands for the first time and appreciating their music”.
“We’re looking to do some gigs with other NWOBHM bands and hoping to play festivals in Europe having played in Athens this year. But it’s always good to play home shows at Trillians – really looking forward to it”.
If that isn’t enough for ya’ on Thursday 23rd November at Trillians is a hometown visit from the Tygers of Pan Tang. After trekking around mainland Europe during summer they have arranged extra dates to support new album Bloodlines.
Launched in Holland in 1981 and focused on releasing Heavy Metal records, the label then expanded and opened offices around the world including UK, USA, Germany, Japan and Australia.
A documentary about the company is currently in production, the idea for the project started during lockdown when 34 year old Bill and his friend from Leeds started a podcast called Temple of Bleh.
The idea for the podcast was for the pair of us to reconnect with heavy music in a more meaningful way explained Bill.
This would be done through projects such as The Hunt for the Secret Channel 4 Metalhead, then we finally arrived at looking at The History of Roadrunner Records.
Being a metal guy of my age, I noticed a thread that connected my favourite bands – Trivium, Killswitch Engage, Sepultura, then the likes of Mercyful Fate and Type O Negative. So I toyed with the idea of a book on the subject.
After writing a brief report on the topic for the podcast, by complete chance, I crossed paths with former PR for Roadrunner UK, Michelle Kerr. She told me she’d like to see the finished product.
This was a sign to take this project to an academically accurate standard – so as not to look a complete twat in front of Michelle, who had kindly taken an interest.
I spent about a month creating a monster spreadsheet, detailing every original Roadrunner release since its formation in 1981 – conventional wisdom says Roadrunner formed in 1980, this is a lie.
After finishing this, I set about contacting every band, with mixed success, for a Zoom interview – which would be put up on the Temple of Bleh podcast and You Tube channel.
Then the idea was to roll them up into three documentaries of 60-75 mins each and detailing the three core ‘eras’ of the record label – 1981-1986, 1987-2001 and 2002-2012 explained Bill.
Andreas Kisser of Sepultura, pic BillSaxton, 4th November 2022, at KK’s Steel Mill, Wolverhampton.
Research can always bring up a number of unusual stories, and Bill found a few about Roadrunner.
A good story I found is that Roadrunner’s first Gold single wasn’t metal at all – it was a 1995 gabba song called I Wanna Be a Hippie by Technohead.
Also, in this period Roadrunner was trying to edge away from heavy metal, and in the UK specifically were trying its hand at Britpop.
If you were to ask Franz Ferdinand singer Alex Kapranos who first signed him, he’d say Roadrunner, with his early outfit The Karelia.
Another story is the range of artists Roadrunner licensed to Europe from the rest of the world. There are albums from Sinead O’Connor and Cliff Richard bearing the Roadrunner label.
Bill emphasised that the main point of the documentary is to illustrate that once upon a time, death metal hit the top of the Billboard charts, and had a seat at the table with the perceived top industry ‘players’.
It’s important to my generation to understand exactly how that came about. Who better to ask than those responsible at Roadrunner Records.
It’s also insanely convenient that you can’t answer the ‘how’ question without showcasing the stories and legacies of the key artists on the label such as Mercyful Fate, Type O Negative, and Slipknot – as well as the less mainstream bands like Deicide, Gruntruck and Blue Mountain.
Madball being interviewed, pic by TheFinalCut, 7th February 2023, at Manchester Club Academy.
After six months, 150 hours of interviews, one mini and one full documentary complete, Bill was contacted by Mrs X – who would prefer to remain anonymous.
She favoured the project so much she came up with the finance to form a production company and elevate the quality to broadcast standard.
Big thanks to our Mrs X where would I be without her! said Bill. So far I’ve filmed 32 interviews for the project, across six countries, both artist and Roadrunner personnel alike. I’ve still got a lot to go before I can call this thing even close to complete.
Bands from North East UK are represented by stories from Battleaxe and Dark Heart. It’s a dense mix of music business learnings, interwoven with rock n roll regalia.
As it stands at this moment, ‘The History of Roadrunner Records’ has no distributor or broadcaster interest as yet– so this will likely be hitting YouTube.
The documentary is being exclusively filmed in the UK and I’m managing the time with my day job, so I can’t put a final deadline on the production. I’m considering crowdfunding to quicken it up.
For more info or if you dealt with the Roadrunner label contact Bill at templeofbleh@gmail.com or @HistoryOfRoadrunnerRecords on Instagram.
I still get some freelance camera work and this job was at a four day event set in a fantastic location inside the grounds of Tynemouth Priory & Castle where the river Tyne meets the North Sea.
First day a smooth load in and five camera set up with three operators and two remote to feed the large video screens, after a few tweaks the set up was ready to go live.
The return of headliners The Proclaimers, they were canny back in 2019, stage time called and the Reid brothers marched on towards the sun and a full crowd, not a bad place to work.
Of course they played Letter From America and 500 miles, they make the camera job easier for framing when they’re planted next to the mic. Think it might be different for Siouxsie tomorrow – and it was.
Opening band LYR were mere lambs to the slaughter as a sold out sunny Friday evening saw Siouxsie casting spells and spinning her web in the perfect goth setting of the Priory, Castle ruins and graveyard.
The Ice Queen majestically skipped around stage singing Spellbound, Cities in Dust and Arabian Knights. Played last, and not on the set list, was a triumphant Hong Kong Garden. Letting the crowd know she went for a dip in the North Sea earlier in the day brought a cheer and more love from the goth hordes.
Set list for Siouxsie at the Mouth of the Tyne festival 2023.
Camera set up 4pm on Saturday in place for the openers from 6.30pm, former Housemartin/Beautiful South vocalist Paul Heaton & special guest on at 8.15pm. Cameras went undercover on a soggy evening.
Trouble in the crowd was just handbags, and the rain never dampened the Saturday night sing a-long. Heaton’s songs are great little stories, and a nice touch when introducing band members he told the crowd what football team they supported!
The show ended with four encores, yes that was four, and a sparkly finish, compared to barely an hour on stage from Gabrielle on Sunday.
It was a long filming day with early camera set up from 10am for six acts and over six hours video screening scheduled. Gates opened 11.45am and saw Newcastle band Clear Blood first on at 12noon.
Gabrielle sauntered on stage for 5pm, but after a few songs disappeared for 15mins leaving her backing vocalists singing random pop hits. What’s this about? A costume change? No, when she returned just a few more songs and no encore.
After enjoying the show the crowd looked deflated – was that it? And who thought of booking a Thin Lizzy-lite rock band to go on before her? As tight as they were, maybe a better fit would of been Friday before Siouxsie.
Thankfully, earlier in the afternoon the suited and booted Big Red & the Grinners landed on stage, tuned in and turned on the crowd to their brand of blistering banjobillypop – and saved the day, excelling from their 2019 performance with Big Red observing the Priory ruins ‘I see you still haven’t repaired the windows’.
With sold out shows another successful event organised and delivered by North Tyneside Council. See ya next year.
50 year old Foster Neville is catching his breath as his new double album The Edge of Destruction is making ambient sound waves in Japan via Durham, Netherlands, Hungary, Italy, Norway, Australia and the USA.
Originally from Consett, Foster has always been a big fan of German electronic band Kraftwerk, but started off as a singer/songwriter in a punk band in the 1980s.
While the music on the new album is mostly electronic, Foster’s starting point for all of the tracks was simple piano improvisation.
He explained “I manipulated these sketchy jazz-like improvisations using aural patterns taken from poetry and architecture. Once they were in the bag, I re-recorded them using electronic treatments.”
“Ambient music is about a different kind of listening, it has to be taken at another pace and is perhaps more suitable to our lives today and the problems we face”.
“I like to think of it as ‘green’ music – sound structures with plenty of space for sunlight or moonlight to percolate through. Thanks to the internet this sort of music is finding an audience everywhere in the world” added Foster whose music and lyrics are inspired by the landscape around him.
“It’s a northern landscape, often reclaimed from, and bearing the scars of, heavy industry and pollution”.
“The opening track, ‘A Change in the Air’ alerts the listener to the threats hidden in idyllic rural scenes and draws on my own childhood memories of playing out after the Chernobyl nuclear accident.”
The title track, The Edge of Destruction, features a girl’s voice counting down in Chinese to imminent disaster before safety is reached in the album’s remaining tracks.
The double vinyl also has a hidden song, which is a homage to the late electronic music pioneer Delia Derbyshire, who is best known for her version of the Doctor Who theme.
“I went from living in a former mining village to curating art in galleries in the West End of London and at Durham Uni was a founder of one of the largest collections of modern art in any UK university”.
“During this time I became friends with the Maharaja of Baroda Shrimant Ranjitsinh, who was to prove an important spiritual and musical influence. It was ultimately through Ranjit that I re-engaged with music-making on my own terms.”
On the new album Foster teamed up with producer John Pilgrim, one of the founders of the folk horror revival movement.
“The folk horror movement celebrates British movies with a connection to rural traditions and folklore, like The Wicker Man and The Blood on Satan’s Claw”.
Foster continued “As an undergraduate at Oxford, I was taught poetry by Seamus Heaney. While dropping out of academia, all of my experience in life provides the album with a literate and artistic background”.
The Edge of Destruction is released on SubExotic Records and distributed through among others, the legendary Rough Trade label. The eleven-song discs plus hidden track are on sale in major record stockists in the UK.
The Fauves are fronted by vocalist Mick Smith, Allen Hughes on guitar, drummer Bob Rowland & bassist Bri Smith.
Their new album is not exactly a snoozefest. Throughout are overtones of French alt. rock band Trust and twisty riffs alike to New York’s King of the punks, Ramones – make no mistake The Fauves are on the hunt.
We’re quite busy at the moment. This is our fourth album really, but we count it as our third because most of the songs on the second album Back Off World were redone with Micks vocals, he gave the songs a bit more aggression than the original version explained bassist Bri Smith.
Universal themes of money, war, drugs and love are delivered with seething anger and frustration.
Resistance 22 is obviously a pro-Ukrainian song, No Escape describes the first stages of war in the Ukrainian city of Mariupol, while Sanctuary is about wanting to retreat to a quieter world explained frontman Mick Smith.
Who else is in the firing line?
We have a track about the so called social warriors, the compassionate narcissistic types in Shower of Fanatics – while the track Tax me when I’m Dead is about the lazy work shy being financed at the expense of the workers.
Mental health and the darker side of life is examined on Looking in the Mirror and Inject the Poison… That’s about someone overcoming drug addiction while Chemical Curfew is about the overuse of medication and alcohol to keep us in line.
Poverty of Thought is a song about judging and being judged and Sleeping Rough is someone who seeks love on the street because there’s no love at home.
‘You cannot sleep tonight, there’s a face right up close, try to close your eyes again, want to shake off this old ghost’
Among the chaos and debris of life The Fauves retain a sense of humour in the track Where’s Bob.
That’s about a man who will go to any lengths to get the right sound for his band – even killing several soundmen!
For Resistance 22 the band entered Garage Studios in South Shields and again employed the services of Kyle Martin.
Kyle is great, he engineered the album, we’ve recorded all our albums there and it’s also a great place to rehearse. Kyle knows our style of music and knows what sound we like.
He also throws a few ideas in as well. It’s a great little studio, ideal for us and it’s got all the facilities we need added Bri Smith.
We also did a gig at the Bunker in Sunderland in March where it was recorded live. The recording was that good we decided to release it as a live album which will be released soon. It also has a bonus track on, a new version of Slightest Push an old song from years back.
This summer The Fauves are looking to get back on the road to promote their new album.
We are going to break the new songs in gently, maybe introduce three or four songs at a time, we’ve already played a few of them live explained Bri.
We have a few gigs lined up over the coming months, The Black Bull punk festival 30th June, The Underground in Bradford 8th July, Angels Place Sunderland 22nd July, Trillians Newcastle 23rd July then we’ve got the big one on August 6th at The Rebellion four day festival in Blackpool. Really looking forward to that one.
The Winter Gardens stage Rebellion from 3-6 August, bands include The Damned, New Model Army, Big Country, UK Subs, Exploited, The Only Ones and many more. The literary stage features an interview with South Shields born Wildheart, Danny McCormack.
That’s followed by The Punk and Ska Festival in Redcar 7th September, other gigs are being lined up for later in the year at Manchester and other Northern areas.
The new album on CD released on 1st July 2023 costs £10.00 + £2.00 postage in UK and a free exclusive badge until stocks last.
The CD will be available at all gigs from 30th June.
For details including merchandise, contact Phil on thunderbirdsport885@hotmail.co.uk or
Phil Rowland on Facebook Messenger.
From July 1st 2023 the album will be available on all usual online platforms including BandCamp, Spotify, iTunes, Amazon Music, Deezer and many others.
Alikivi June 2023
Check out Ground Zero for more about The Fauves via South Shields punks Angelic Upstarts.
So far, this year has been golden for Raven who’ve been inducted into the Metal Hall of Fame, recorded a new album ready on the blocks for release, awarded a front cover on the highly respected International Rock & Metal magazine Aardschok and preparing for an upcoming tour. Bassist & vocalist John Gallagher explains the positive mood in the Raven camp…
The new album ‘All Hells Breaking Loose’ will be our 15th full studio album. The album name is one of the tracks and it’s always nice to have a title track. This one stuck out as a great title to build the album around and sparked the cover idea too.
But lately at gigs we’ve been playing the ‘All for One’ album as it’s reached it’s 40th anniversary.
Raven at Newcastle Mayfair 16 June 1983 pic Duncan Butterfield.
1983 was a big year for Raven – they hoyed the kitchen sink and both taps at a major USA tour, previously there was a gig at London’s Marquee and a few nights later they landed on Newcastle Mayfair.
The biggest bands on the planet including Zeppelin, Queen, Nirvana and The Who had played the venue, then on one red hot sweaty night in June ‘83, Raven played on home turf.
John remembers that night…I do seem to remember doing a ‘runner’ during my bass solo. Jumping offstage, running up to the balcony, round and back on before most people knew what happened!
John Gallagher Newcastle Mayfair 16 June 1983 pic Duncan Butterfield.
It was a great night, I was doon the front as were many from Sooth Sheelz as the show was opened by local metallers Hellanbach.The red hot atmosphere of the night was captured in these excellent live pics by music fan Duncan Butterfield.
Mark Gallagher, Newcastle Mayfair 16 June 1983 pic Duncan Butterfield.
Sadly, the Mayfair was demolished in 1999 only to be replaced by a shiny pub and restaurant block with some bonny lights.But here we are many moons later and Raven have been busy in the studio mixing up the latest concoction.
It’s 10 songs, about 40 mins of all killer no filler – 1000% pure mania!So far we’ve put out two video singles, ‘Go for the Gold’ and ‘Surf the Tsunami’ and there will be one more when the album comes out.
The Godfathers of Thrash release their new album All Hell’s Breaking Loose on 30th June 2023. Check the official Raven website for merch/album/video & upcoming European gigs in July & September 2023.
It’s 1996 and Greedsville were splitting up after the five years that I’d been in the band. I was exhausted cos I had a day job as well plus I was getting interested in just song writing rather than being in a full-on band all the time.
Me and Pete the singer lived in the same flat and we had discussions about it not working anymore. We felt we had taken it as far as we could and our manager Sue Wilkinson had exhausted herself.
So, I wasn’t going off behind anyone’s back when I went to the studio and recorded a few songs looking at trying to get a publishing deal.
Fred Purser ex Penetration & Tygers of Pan Tang (1982)
The studio was Trinity Heights in Newcastle run by Fred Purser (ex guitar Penetration/Tygers of Pan Tang) who I love, he’s great. I was in three days playing all the parts with keyboards by ex-Greedsville man Mark Burton.
(Check the interview ‘Square One’ with Fred Purser 30 December 2018).
Sue agreed that she would be point of contact for the demo that I’d sent to a number of record companies. After only a few days Sue called me and said that Chrysalis A&R were interested.
They liked the songs but they wanted a band not just singer-songwriter. So, after a few phone calls I got in Ed Box who was guitarist and Gary Foalle who played bass in XLR8R, keyboardist Mark Burton was already in.
I also got Graham Hattam in on drums – he was second Greedsville drummer – when I formed the first version of the band. We called it Arch Stanton, a name featured in the great Clint Eastwood film The Good, The Bad & The Ugly.
Arch Stanton publicity photo (1998)
To put two songs together we went into Sams Studio in Newcastle because Trinity Heights was booked. Sue sent the tape to the A&R guy but we never heard anything back! The Chrysalis receptionist told us it’s on his desk. Still nothing. This was all annoying after the money and time spent.
This was all in the summer of ’96, we wrote a few more songs and done some gigs. Nothing was happening really apart from our manager Sue Wilkinson applying for a National Lottery grant. (Check the interview ‘Making Plans’ with Sue Wilkinson 25 March 2023 link below).
Well things were fizzling out and the other guys went back to XLR8R until I got a call from Sue ‘get the band back together’! The Lottery grant had been successful and we gathered a four piece band with me, Ed Box, Gary Foalle and Mick Robson on drums and wrote some new material.
Then we went into Trinity Heights and recorded four songs and it was the best feeling, it all just clicked. The lovely Sue got us loads of publicity in the media, TV slots on BBC Look North, cable, radio and newspapers.
The timing was great for the band, we all felt good about it. With the Lottery grant we didn’t need to worry about how much the studio would cost – we could relax into it you know.
Greedsville & Arch Stanton manager Sue Wilkinson
Then the BBC contacted Sue and said they were coming up to Newcastle to film us for a National Lottery show and it was going to be a Spice Girls special! A camera guy came up and filmed us miming in Fred’s studio (Trinity Heights).
Along with Sue I was going to be in the TV studio on the night, live TV, millions of people watching. Night before leaving for the Lottery show Sue called and said the BBC have been in touch and they want a girl singer on because it’s all about girl power with The Spice Girls on. There was a female vocalist in a band from Sunderland who also got a grant so she got the gig instead!
On the night it was broadcast I had a ticket to see the comedian Bill Bailey so my mam video-taped the live show. To be honest when I watched it back it didn’t look good with a video montage of Newcastle, Tyne bridge, Ant & Dec that sort of thing you know.
The 10 second shot with us in Trinity Heights studio didn’t have our name on, or music, or any other bands who were awarded grants. But it was memorable for the night that Geri left The Spice Girls.
For the record, I found the BBC Lottery clip on YouTube, the girl who ended up on the show, instead of me, was called Lara – least that’s what I think they said! Her band was called K9. I heard the backstage gossip was you could cut the tension with a knife (laughs).
The whole point was that the grants were awarded to help bands, but none of us were mentioned. Audience was around 12 million – one of them could have made a difference to any of the bands, but it wasn’t to be.
We, Arch Stanton, carried on for another few year playing gigs at venues like The Riverside, and we recorded a seven track album in Fred’s Trinity Heights studio which was eventually released in 2015.
Also a further five songs were recorded in Sam’s Studios and Octopus Studios. This made up the twelve tracks that were released as an album The Stanton Files in 2015, this was also the year I released my first solo album Life Off Line.
Fred Purser (2021).
I was employed at Trinity Heights, by Fred Purser as a video editor/production assistant, with some assistant sound engineering as a second role. The first music videos I worked on were for what become the album Square One by Fred Purser and Jon Deverill – both ex Tygers of Pan Tang.
When the band The Cockney Rejects were recording their album in Trinity Heights, Out of the Gutter, they asked Fred if they knew someone who played harmonica, he said yes, there’s one sitting upstairs doing some video editing!
I had met them when they came in, great bunch of lads, and ended up playing harmonica on the track Collar Felt Blues. The video for this song was shot in the studio with me in it, it was broadcast on MTV Europe at the time.
Evan Dando of The Lemonheads, UK, 1994. (Photo by Denis O’Regan/Getty Images)
Arch Stanton had split by 2000, and that’s when me, Ed Box and Gary Foalle ended up in New York. We were on holiday and our friend Elizabeth from Newcastle lived there as she was engaged to Evan Dando from The Lemonheads. She was a model in London, Paris then New York where she met Evan. She started off by winning a competition in the Newcastle Chronicle.
We were invited to their wedding in New York and we met a few celeb’s, one of them was Anthony Langdon from the band Spacehog. I first met Anthony – originally from Leeds – in March 2000, when I first went to New York City.
We were hustling around passing our demo to people but nothing really come of it. Evan came over to the UK and played the Wylam Brewery in Newcastle in 2017 where I supported, it was a great gig.
Evan Dando & Clive Jackson at the Wylam Brewery (2017)
With the experience working on video at Fred’s studio in 2004 I set up my own company, Automatic Films, where I went to New York to film Evan in a Day in the Life documentary called One Day in New York.
Chanel Four were looking at it but never took it up but this led me to working on other film projects like short films, music video, comedy and entering them into film festivals.
What am I doing now in music ? I ‘m just completing a new album called Distortion and hopefully release it by September 2023.
For more information/albums/photo’s check out Clive’s official website :
Clive is a singer/songwriter who released two solo albums, Life Off Line (2015) and Rocket Science in (2019). He is currently working on a new album for release this year.
A veteran of rock bands who were part of the Newcastle music scene in the 1990’s, he was a member of Greedsville who released an album in 1994.
Greedsville promo pic with Clive on the right.
The main thing that motivated me to get a guitar and become a songwriter in a band was when John Lennon died in 1980, they played tons of Beatles songs on T.V and Radio. I was already aware of a lot of it, but when I heard A Day in The Life on ITN news, I was hooked.
I joined various bands in the 80s, one being Twelve Angry Penguins – it was the era of daft band names! Then I was guitarist in a band called Dark Roads, and in 1991 we recorded a demo at Linx Studio with Mond Cowie (ex Angelic Upstarts) engineering. I was really pleased with my vocals, song writing and guitar work on that but unfortunately within six weeks everyone left Newcastle!
The drummer went to be a policeman in Leeds, the other guitarist went to live with his girlfriend in Wakefield and the bassist moved to Scotland to manage a hotel. In the midst of all that I got a phone call from Andy Carpenter who was bassist in Greedsville.
We sort of knew each other because we rehearsed in the same place, the 244 Rock club on Westgate Road here in Newcastle. There was a car repair shop in the back and in front was an old navy club, it was a very underground set up.
I handed Andy the Dark Roads demo and he asked me to join Greedsville as a song writer, that worked out and I became rhythm guitarist. Other bands on the scene were XLR8R, Strange Thing, 2000 and Roswell.
Greedsville live at London’s Marquee.
We gigged a lot and played in Newcastle, Hull and Leeds, we went down to London Marquee seven times. I had a full-time job in the Civil Service so ended up using all my annual leave when we had to travel to gigs in London. We couldn’t knock back gigs in the capital.
Sometimes I had to arrange a half day here, and a full day there. For one London gig work wouldn’t give me a half day. I pleaded with them as we had reviewers from Kerrang and NME coming along, it was important, one gig could make all the difference.
So, I decided to get the train from Newcastle to Kings Cross, legged it to the Marquee, did the gig, ran off stage, missed the last train, so jumped on the all-night bus from Victoria – still sweating and stinking with my stage clothes on. It was a long night as the bus stopped off everywhere.
Finally got home, showered, then made it to work just in time. But I was knackered, more of this wasn’t doing my health any good.
Around the early 90s we met a London guy called Sean Worrall who reviewed our demo, he ran a fanzine called The Organ and was connected to record companies. He would promote showcase gigs at the Marquee or Camden Monarch where A&R guys would turn up. Sean set up one for us.
There was Geffen records, EMI and MCA hanging at the back of the hall. It wasn’t like a gig more like a jury with them not clapping. Sadly, nothing came of it.
Then London Records saw us play in The Broken Doll, Newcastle and paid for a 4-track demo which we recorded in Hi Level studio. They asked us to ‘grunge’ the sound up.
Then we recorded a rough demo on a four track recorder in the Greedsville rehearsal room. Sean took it to MCA and the first song on it, one I’d written, was more like what they were looking for.
But the rest of the band didn’t want to go in that direction. At the time we were being compared to REM and Roxy Music – quite a wide spectrum.
Greedsville manager Sue Wilkinson
The Greedsville manager was Sue Wilkinson, who has just retired from the BBC. In the 90s she was running Generator here in the North East, she got us loads of publicity, articles and reviews in the press, plus radio and TV slots on local and national TV.
She got us on Tyne Tees, you can watch it on You Tube, Greedsville – Local ITV News, UK (Tyne Tees Television) 21st June 1993. That’s footage from a showcase gig at Newcastle’s Riverside. Ian Penman (Ravendale, music journalist) is also on who was a really nice guy and supportive of the North East music scene. Sadly, he passed away not long ago.
One time we were on the bill at Camden Monarch with Skunk Anansie. There was a chalk board outside the venue with the bands names on – they were billed as Skunk and Nancy and we were Green Sleeves!
I was staring at the board when their singer Skin, she is beautiful by the way, came up to me and asked if I was in Green Sleeves. I said ‘it’s Greedsville’ we were both laughing at the mistakes. They got a record deal. We didn’t.
Our guy in London, Sean Worrall backed off in the end because he explained to us that he’d met the record companies, they’d sent A&R men, heard the demos, he felt that he’d done all he could. It was an amicable parting, no hard feelings he’d just run out of road for us.
There was still a lot of Newcastle connections around that time, like Kev Ridley, engineer at Linx Studio. There was a band I knew called For Gods Sake with guitarist Steve Wallace, there was Steve Charley the Canadian, he was studio engineer for a while. There were connections to the Music for Nations label with Venom and Skyclad.
Then Greedsville signed to North East independent record label Bleeding Hearts run by Eric Cook and Tony Bray, Eric was manager of Venom and Tony was the drummer.
What happened was Sue Wilkinson got a call from Eric Cook asking would Greedsville be interested in a deal? ‘Great’ we all said. At the time we were recording in Trinity Heights studio run by Fred Purser (ex Penetration and Tygers of Pan Tang).
Greedsville album released in 1994.
The singer Pete Turner was involved in all the conversations between Eric Cooke and Sue Wilkinson, and the rest of the band, including myself, were all present at meetings when major decisions were made. The contract was for distribution in Europe and Asia, we had it checked out and it was ok. We signed on the dotted line around 1994.
We had originally planned to record an EP with four songs but with the deal happening it turned into an album. We recorded in three studios – Linx, Trinity Heights and a place in Chester le Street with Frankie Gibbon. It was all mixed and mastered at Fred’s Trinity studio.
Eventually we released The Casino Royale Collection. We made 10,000 copies and it was on sale in shops like Our Price and Virgin stores.
We were due to play in Middlesbrough, then onto the Heineken Music Festival in Gateshead Stadium. But a few weeks before that we played in London and on the way back in the van our drummer Doug Hayes said he was leaving.
So, we quickly had to get someone else in, that was Graham Hattam. We were really up against it, but Graham learned quick in a small time frame and the Heineken gig went well. The Stranglers and Jools Holland big band were also on, it was a great time and Sue got us lots of press.
But we started to lose momentum, Britpop had taken over, the band were falling apart. In 1996 it was all over for Greedsville.
Clive Jackson
Looking back the 90s had loads of different bands playing folk, blues, metal, psychedelia, it wasn’t just one genre. That’s one of the many reasons I think the A&R thing didn’t really happen here.
In one night, they would see a band dressed like they were in a pantomime, others playing Frank Zappa, and in the next pub there would be a full on metal band playing. There just wasn’t a load of bands playing one type of music where they could watch and give a definite yes or no, or maybe sign a band to a development deal.
Back then we sold around 5-6,000 albums but never received a penny. The Greedsville album is still on sale now through outlets like Amazon. If people are getting something out of listening to the songs that’s great – but did I make a living out of the music business? Absolutely not.
In the digital age copyright goes out the window. I do get royalty cheques now and then from my latest solo albums, the last was from Spotify for around $400.
There’s lots more to add to the Clive Jackson story, and that will be added to the blog later, but for more information check the official website:
ALIKIVI : NORTH EAST UK CULTURE 