NORTH EAST MUSIC

SLICE OF LIFE part 2 with musician Clive Jackson

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Clive Jackson (2019).

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 :

ABOUT | singer-song-writer (clivejackson8.wixsite.com)

Interview with manager Sue Wilkinson :

MAKING PLANS in conversation with former BBC/Generator/Evolution & Honorary Geordie, Sue Wilkinson | ALIKIVI : NORTH EAST UK (garyalikivi.com)

Alikivi   June 2023

A SLICE OF LIFE in conversation with ex Greedsville songwriter & guitarist Clive Jackson.

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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:

Clive Jackson | singer-song-writer (clivejackson8.wixsite.com)

Alikivi   February 2023.

SHOCK TACTICS with Ronnie McLean from Newcastle doom metal outfit The Reign

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left to right Mick Storrie, Ronnie McLean, John Cook, Mark Robinson

In the ‘90s a weekend in Newcastle Mayfair was packed with musicians thinking they’d be the next big thing. As it turns out many were short lived said Ronnie.

Bands like XLR8R had a huge local following but didn’t do much outside the area and others like Whatever and For Gods Sake were making serious in roads.

We were largely doing different stuff so it wasn’t competition, most were good friends – and still are.

What we had in The Reign was mutual respect, you need that. It’s not just about writing and recording, you’re on tour together getting up in the morning traveling all day to the next gig and repeat. So if you don’t get on, it won’t work long term.

When I was younger I was drumming in extreme metal band State of Shock. By the time I was 20 I’d played all over the country supporting bands playing great gigs. We were even lucky enough to play a session at BBC Radio One’s Maida Vale studios.

Following the demise of that band our guitarist Mark Robinson joined The Reign who had been formed by John Cook (bass, vocals) and Mick Storrie (guitar) out of the ashes of Vox Populi. They recorded a demo (Act of Penance, 1991) and got established on the underground scene.

Act of Penance demo 1991

Around this time I went to the USA, I’m lucky enough to have an older brother working in New York so I had somewhere to stay. His contacts helped me get involved jamming in the clubs.

It was a great experience, playing everything from jazz to rock n roll, meeting and playing with some famous and established players. The most amusing to me was Gerry Velez who played percussion with Jimi Hendrix at Woodstock. I also met a few famous folks including a few of Bon Jovi and even Nile Rodgers.

When Ronnie returned from the States he was hungry to get involved in a band again.

My intention wasn’t to play any more extreme metal, so when Mark Robinson (guitar) called me up and asked me if I’d join The Reign who were rehearsing for a tour, I was sceptical.

They had drummer problems and I presented a quick fix. I said I’d do the tour but wasn’t interested in it long term. The tour was with other unsigned bands starting in Liverpool and concluding at The Marquee in London.

But we had so much fun and played some blinding gigs that when I was asked to get involved in recording another demo  I was all in.

The songs had mainly been written by John and Mick but Robbo and me brought some experience and a different dynamic to the band which helped add a bit of colour to the music.

This Silent Nation demo 1993

After recording the demo management and record companies started showing an interest in the band.

We signed to a German based management company but not long after fell out with them! I don’t think we were difficult we just had a pretty good idea of what we wanted to do.

After a couple of false starts The Reign eventually signed to European based Mausoleum, a subsidiary of MMS.

The line up for the first two albums was John Cook bass/vocals, Mick Storrie lead guitar, Mark Robinson rhythm guitar & Ronnie McLean drums.

We were largely dealing with the Amsterdam and Frankfurt parts of the company. They were established and had good distribution – it seemed a good move.

We recorded the debut album Embrace in December ’93 and went out on tour in Europe as support to Australian band Mortification, this was to coincide with the album release in June ’94. By then for legal reasons the band was called just ‘Reign’.

First album Embrace released in 1994

At that point we’d played everywhere in Britain numerous times so getting on the road in Europe was exciting and the chance to play bigger crowds.

The album was also released in the USA at a time when the college radio scene was big and it exploded for us. Suddenly we were topping playlists and getting immense feedback across the States.

A series of radio interviews made us think we were really onto something and we’d be on tour imminently. But we heard the record company were having financial problems and couldn’t front the money to get us over there – a real kick in the teeth.

Their immediate idea was to get another album out on the back of the vibe. This wasn’t ideal but you’re powerless when under contract to record companies.

We had a Danish management at the time and surprise, surprise, we fell out with them too. Legal paperwork and hot air led to them being out of the equation.

We decided to look after ourselves and by 1995 went into Rhythm Studios near Stratford to record album number two.

Again we made the best of the situation and Mausoleum rushed the album into the shops in America. It was released so quickly that people had bought it before we had seen the end product.

Second album Exit Clause released in 1995

After a brief UK tour supporting Swedish band At the Gates the band decided to tour Europe again.

We got involved with a European tour manager who enabled us to get back on the road in early ’96. We were having a great time – but in the end it took its toll.

Robbo quit and was replaced and his subsequent replacement replaced!  We even did two shows as a three piece before bringing in Andy Metcalf on guitar.

The Reign on tour somewhere in the Italian Alps.

We saw a lot of places, from the ghettos of eastern Europe to playing in front of scary crowds of neo Nazis, all this while travelling through the beauty of the Italian and Austrian Alps with their snow-capped mountains. You can’t buy these experiences – but the gigs weren’t making us any money.

Inevitably they fell out with MMS and the band walked away free after the company were found to be in breach of contract.

Next up was Bleeding Hearts/Demolition records based in Newcastle, home of Black metal masters Venom.

They were fresh from the reformation of Venom and had money and a new recording studio in Barnard Castle. It was a difficult recording because we were not allowed to stay at the studio.

Although we were pleased with the end product – Control Over Anger (1998), again we got pretty much zero help from the record company and what was our best album, was our last.

Third album Control Over Anger released in 1998.

But it didn’t stop us getting back on the road in Europe again. We saw a lot of places played a lot of great gigs and made not a bean along the way – you can’t take away the memories though.

But I felt the attitude and discipline had changed by then and I left at the beginning of 2000. The last line up we had we tried to change things by bringing in a different singer Chris Morrison, who sadly took his own life in 2006.

I also recorded with North East band Whatever on their second album Lies and Gold Dust. I believe it sold well enough in the UK and Japan, but they too had their dreams killed by record company changes. It seems so many of us did.

Looking back we pretty much ticked all the rock n roll boxes, a deceased member, one busted for a drug charge on tour and trouble in so many hotels. We got stopped by police looking for guns, drugs, everything.

We played gigs where the support band showed up with guns because they were scared of the crowds we pulled, and we drank enough foreign beer to fell a herd of rhinos – but we just ploughed on enjoying it all.

The first time experiences like hearing yourself on the radio, seeing your album in the shops, first time you hear yourself on a pub jukebox or have something on TV –  as I’ve said you can’t take away those memories.

And now in my 50s I’ve never stopped playing, maybe never will. I just love playing. I’ve been on stage with so many great players. I think I’ve played Newcastle Trillians more than any other drummer. It’s almost a running joke now.

Can’t remember how many bands over the past thirty years I’ve played with in Trillians – I did five gigs last year and there’s a couple in the calendar for this year.

I think the ones that got into it for the attention, the girls, the image an’ all that, they never last. Those of us that love playing just keep going. It’s still fun.

Alikivi    May 2023

Like this ? You might like these –

SPEED KINGS in conversation with Newcastle music tutor & former XLR8R guitarist, Ed Box
A SLICE OF LIFE

BARK AT THE MOON  – with Hexham musicians, Slobo & Azere

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24 year olds Slobo and Azere from Hexham, Northumberland will be releasing Moonbeams, the lead single from their new EP Open & Endless on 16th June.

It’s an indie-folk/experimental electronic project, we are looking to arrange some gigs this year to promote it explained Slobo.

Slobo taking a break from recording outside Planet Telex, Northumberland.

The biggest influences on my playing style are Nick Drake, John Martyn and Joni Mitchell. I also love some other artists that are not quite as obvious in my sound like D’Angelo, Earl Sweatshirt and War on Drugs.

The last band I saw was The Bagdhaddies in York, a wicked Geordie ska group. Had a proper good wiggle to them with some mates.

Azere

After years of trading ideas, the two friends were looking for somewhere peaceful and quiet to record their songs, they found a place in the wilds of Northumberland.

Azere and I went to an old telecommunication station called Planet Telex in Great Whittington, it’s been converted into an Air BnB. It functioned as a brilliant escape to the countryside for the recording process.

It was the climax of many years of song ideas then finally getting to experiment and smash them all out. Old ideas were sharpened and new potions were put into motion, the perfect blend of two crazy visions. The guitars barely left our hands.

Slobo recording in Planet Telex, Northumberland.

Slobo added…Traces of indie, folk, downtempo, breakbeat, and Indian ragas can be found across the seven tracks. The EP Open & Endless is due to be released on July 21st.

I hope the songs can be listened to around the world, personally I like the idea of them bringing comfort and meaning to people in every quiet nook and cranny of the world.

Further info contact:

https://www.instagram.com/__slobo/

https://www.instagram.com/rowanlees/

Alikivi   May 2023

ATLANTIC CROSSING  – with USA Indie Collaborative founder Grant Maloy Smith & Newcastle bluesman Trevor Sewell.

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The international debut of a unique musical variety show featuring a combination of award-winning artists from every genre of music will be held at The Cluny in Newcastle on 3rd July 2023.

The show is produced by Top 10 USA Billboard artist Grant Maloy Smith and Emmy winning producer, author and lyricist Eileen Bluestone Sherman.

Eileen Sherman

Although I grew up in the American south a few miles from Alabama, I now live in Rhode Island in the northeast of the USA. Eileen Sherman is based in New York City, she works in Broadway, so that’s the right place for her explained Grant.

We have about 20 artists performing in the show, most travelling to England from the USA. We’re coming in from Tennessee, New York, Pennsylvania, Michigan, Connecticut, Texas, and North Carolina, with several from your area in North East UK including bluesman Trevor Sewell.

Grant Maloy Smith & Trevor Sewell

Trevor featured on this site back in June 2017.

STILL GOT THE BLUES – with guitarist Trevor Sewell | ALIKIVI : NORTH EAST UK (garyalikivi.com)

Trevor talked about the forthcoming show and how he got involved with the IC.

I’d become friends with Eileen and Grant through the Grammys, and was around when they set up the IC. I played at their first event at Kulaks Woodshed in North Hollywood. After playing numerous times in LA and New York at IC events, I asked them why don’t you have one closer to my house – I didn’t really expect them to do it, but now they have.

I just hope the event is a huge success as Grant and Eileen have worked very hard to build the IC into what it is today and there’s really not many places you can get to see so many different acts on the same bill and all for a mere tenner – should be a good night.

Grant Maloy Smith explained…

There will truly be something for everyone at the Cluny when the IC comes to town. The Indie Collaborative is made up of independent musicians and entertainment professionals located around the world. Many members are Grammy nominees and winners, Billboard charting recording artists, Emmy winners, and more.

On the night Grant will perform from his critically-acclaimed album, and award-winning artist Natalie Jean will perform a musical theatre work by Eileen Sherman and her sister Gail Bluestone.

Grant added…There’ll also be Mexican/American singer, songwriter and pianist, Leti Garza, who appeared at the IC’s most recent show at Carnegie Hall in New York.

Jazz Fusion guitarist and composer Noshir Mody will perform. He was originally from Mumbai but now based in New York City. We have Hip-hop/R&B group Levels with Keith ‘Wildchild’ Middleton playing, he rose to fame performing for 20 years in the hit show ‘Stomp’.

Grammy Award nominee Judy Pancoast will take the stage, also pianist Ed Bazel from Nashville who recorded his recent album at Abbey Road studios.

Keith ‘Wildchild’ Middleton

Other artists include Las Vegas Headliner Cecil Parker, Classical concert pianist Lynn Yew Evers, Detroit Gospel vocalist Lawrence Hancock and North Carolina’s Gospel powerhouse, Tanya Diaz.

I’m really looking forward to The Cluny as it means I’ll get to see a lot of my American friends and also showcase my new single ‘Yellow Dog’. An album will follow later in the year said Trevor.

Grant added… Our goal is to spread the word about the IC beyond the USA. We have more than 2000 members, hundreds of whom are located outside of the USA all around the world. We would like to get new members from the UK and become more active internationally.

Tickets are available both on the IC and Cluny website:

https://www.indiecollaborative.com/tickets

https://www.ticketweb.uk/event/the-indie-collaborative-showcase-cluny-2-tickets/13224248

To purchase tickets visit: https://www.ticketweb.uk/event/the-indie-collaborative-showcase-cluny-2-tickets/13224248

To join the Indie Collaborative visit: https://www.indiecollaborative.com/join

For more information contact: Grant Maloy Smith grant@grant-maloy-smith.com or grant@indiecollaborative.com

Alikivi   May 2023

THE GREAT NORTH EAST METAL RAID – Satan, Raven, Tygers of Pan Tang & Mythra

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Don’t know if you’ve noticed but lately Tyneside’s metal bands are warming up ready to hoy the whole kit and caboodle into the pot, taking everything with them and leaving nowt and no one behind. Are you ready for the Great North East Metal Raid?

They first plugged in around the 1970s and never in a million years did they think they would still be dancing with the devil 50 years later. So a quick update on where they are now and what they are doing is in order.

Firing off instant messages and communicating directly to followers on social media is used to full effect by the Tyneside Metal Raiders with a message from Raven loud and clear…‘The album has to be all killer no filler, no messin’ around with 19 minute epics, its smash yer face in with an ice pick. The title sums up everything we do. We wanted to tear it up, which is what Raven are all about’.

The forthcoming album from the Godfathers of Thrash, ‘All Hell’s Breaking Loose’ is released on 30th June 2023. Contact for sales, tours, photos & info: Raven | Official Raven Lunatics Website

After releasing three singles ‘Back for Good, Fire on the Horizon’ and the epic, ‘Edge of the World’, Tygers of Pan Tang officially release their ten track album ‘Bloodlines’ on 5th May 2023.

‘A week after its release we’ll be celebrating Bloodlines at the Nordic Noise Festival on 12th May in Copenhagen with our record company who are of course, based in … Copenhagen. They have promised us that the drinks are on them’.

Contact for sales, tours, photos & info: Tygers Of Pan Tang – The Official Site

After six albums and countless UK & European tours, battle hardened Satan reached out to the United States again this year.

‘After kicking off the Hell’s Decibels tour at the legendary Whiskey a Go-Go on the Sunset Strip in April, Satan had a blast touring the USA with Night Demon and Haunt. You guys were a pleasure to work with, brothers forever and a piece of my heart will be with you until the end of time’.

Satan frontman, Brian Ross

Contact for sales, tours, photos & info:

SATAN

Mythra are one of the original New Wave of British Heavy Metal bands. They recorded their legendary ‘Death & Destiny EP’ in 1979.

‘The new album ‘Temples of Madness’ is out now and has been available in Brazil and USA for a week or so. We’ve started to sell them through our on line shop and business is pretty brisk’.

Contact for sales, tours, photos & info: Home | Mythra (bigcartel.com)

Alikivi  April 2023.

FAMILY & FRIENDS – in conversation with former Southbound songwriter & guitarist George Lamb

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Southbound were active around the North East in the 1970s. The Sunderland band were regulars on the workingman’s club circuit, supported New Wave of British Heavy Metal bands Raven and Tygers of Pan Tang at Newcastle Mayfair, and had a residency at the Gosforth Hotel in Newcastle.

Southbound have already featured on this site, interviews with Mick Kelly and the late Alan Burke have proved to be popular. To discover more of the Southbound story and find out what he is up to now, I met up with George at The Littlehaven Hotel in South Shields.

Growing up it was a very musical house. Although I knew that my Dad’s voice was classically trained, I never found out till late that he went to lessons for ten years. My mother used to sing and my brothers and sisters were also into music. We had a guitar and piano in the house, I took a few piano lessons and changed to guitar when I was 11 year old.

I served my time as a sheet metal worker in Jarrow and worked for another year, but it was too much with the amount of work Southbound were getting on the North East circuit.

Southbound had three sets, one all original material, then another playing Eagles, America West Coast stuff, and then more poppy stuff to get paid in the clubs. We were out regularly every week, in fact a few times we played nine gigs in one week!

The Ivan Birchall agency had us in the clubs till 10.30pm, get your gear off stage then double up and go do a night club, then a Sunday afternoon gig.

But our stomping ground was The Gosforth Hotel where we took over the residency from Sting’s band, Last Exit. Sting went to London and joined The Police, we were fortunate to get the residency.

He came to one of our shows around the Roxanne days, he had the dyed hair, the leather jacket, he’d be stood at the bar and we had a few words with him – nice fella. Playing the Hotel was good for us, it would get packed, the queue to get in would sometimes be out onto the street.

There were a few line ups of Southbound but when we were becoming popular there was myself and Alan Burke on guitars and we wrote the songs. Mick Kelly on drums, bassist was Dave Giles and Mal Troughton used to sing with the band. There is a photo of us standing against a van, this was taken around 1975 or 76.

I’m racking my brains here but Mick Kelly was great for all the names and dates, a real memory man for the venues we played. (Interview with Mick on this site – All Right Now 13th March 2019)

When punk came in 1976 the record companies saw us as old hat, they all wanted punk bands. But we still packed venues out and had a good following.

We played Newcastle Mayfair with Tygers of Pan Tang, we played with Raven and headlined there in our own right. Obviously, played the Sunderland Mecca a few times, some good gigs at Newcastle Guildhall and the Bedrock festival.

Bob Smeaton, who is a very successful film maker now and a great lad, used to be singer in Newcastle band White Heat and when they weren’t gigging he often used to jump in the van with us and help out with the gear.

Tom Noble, who manages Tygers of Pan Tang now, used to work on the Bedrock BBC North East radio programme during the 70s and 80s, he worked alongside Graeme Thomson. They managed a band I was in with Phil Caffrey called The Lions Share and then Caffrey. We got a publishing deal on the back of that band.

Graeme’s brother Steve, was engineer at Impulse Studio in those days and he recorded four songs on a Southbound demo. Actually, he released them on Cherry Red label not long ago. We also recorded at Linx studio in Newcastle.

In hindsight if we had more of our heads screwed on and business focused it might have been different, but we were just having a good time spending most of our money on brown ale and curries after gigs in the restaurants on Ocean Road in South Shields.

George and his musical brother Alan Burke at Newcastle Mayfair.

Looking back to those times we just took it in our stride and loved being with our mate’s playing music. You know Southbound never really fell out, we might have had an argument here or there but no, we were all good mates having a lad’s night out and getting paid for it.

After Southbound I teamed up with Phil Caffrey in a song writing partnership, we had a publishing deal with Axis music which was a subsidiary of EMI. We used to write songs and go down to London and record them. We were signed and managed by a guy called Nigel Thomas.

Nigel also managed the Heavy Metal band Saxon, Joe Cocker and Kiki Dee who recorded one of our songs and put it out as a single. This went on one of Kiki’s albums, Angel Eyes, with the likes of Dave Stewart and Daryl Hall, it was just nice to get our names to something like that. Nigel also managed Keith Emerson and Lynsey De Paul so we did some work with them.

It was late 80s when Saxon were recording a new album at Hook End Manor Studio in Berkshire, which had been Dave Gilmour’s house. It was a residential studio with horse stables in the grounds, a great facility, we were down there about a week. The Saxon lads were great.

Def Leppard had a huge album at the time (Hysteria, released 1987) with big sounds and plenty vocals on. The Saxon album (Destiny, released 1988) was nearly finished they just wanted to experiment with block harmonies using four male voices.

Through our manager Nigel Thomas, Phil Caffrey and I got the job, we got paid the session fee. There was another guy managed by Nigel called Steve Mann, who now plays with the Michael Schenker group.

We were waiting in the studio for the fourth male vocalist when in walked an old Sunderland friend of mine – Dave Taggart. I said ‘what you doing here?’ he said ‘what you doing here?’! I couldn’t believe it. Just a massive coincidence.

(Formerly in Danceclass, Dave now plays in the Belinda Carlisle band. An interview with Dave features on this site – Music Still Matters, 15th April 2018).

Dave told me that Stephan Galphas produced the album by Sunderland band Well, Well, Well and he had recorded some backing vocals on it. Stephan’s next project was producing the Saxon album and he asked him to come down and put some backing vocals on Destiny.

Don’t know how successful the album was but I heard the single Ride Like the Wind on national radio a few times.

Actually, we asked Dave to join Southbound at one time but he was playing with Tony McAnaney. Later I did record some backing vocals on the Jimmy Nail album they were working on, Crocodile Shoes.

What am I doing now? Well during lockdown I invested in a home recording set up, I’ve always worked with a porta studio facility writing and recording songs, but this was an upgrade to a digital studio. So late in life I learnt how to record properly and put down a lot of songs.

I originally had 50 then whittled that down to 12, I was doing  drums, guitar, vocals, all recorded solo, a one man band. I hadn’t thought about releasing them.

Then I lost two musical brothers, Alan Burke, original guitarist in Southbound and Richard Archibald, who also played in a late Southbound line up. He also played in the Big Picture, a band from Sunderland amongst others.

This made me think profoundly differently. Why not release these songs on an album and why not ask friends of mine if they want to get involved? So I did, and was absolutely blown away when they all said yes. The album is called Family and Friends because that’s who’s on it!

Family & Friends album inner sleeve.

It includes North East musicians Dave Ditchburn, Phil Caffrey, Don Airey, George Shovlin, Archie Brown, Terry Slesser, Emma Wilson and more, plus my brothers and sisters. I got some great performances.

The album got some great reviews and was in the blues charts at number two – Buddy Guy pipped me to the post!

At first I thought the logistics of playing it live would be too difficult, but after a longer think I went ahead and touch wood, after getting all our diaries synched up I’ve booked The Fire Station in Sunderland on the 10th June 2023. I’m really looking forward to it.

The Fire Station auditorium is a fabulous place. I had the tour looking on stage, checking the sound system and back stage – it’s a great place.

As a house band I’ve got ex Showbiz Kids guitarist Pat McMahon, Paul Wilson on keys, ex Circus and Lucas Tyson bassist John Taylor on bass, Jim Bullock on harmonica and not one but two drummers, Ian Hamilton and Barry Race.

Everyone on the album apart from Don Airey can make it – he’s touring with Deep Purple that night. Don’s a lovely bloke he still keeps in touch with his Sunderland roots.

Looking back at the Southbound days, we weren’t striving to make it we were just enjoying the journey, making it wasn’t the main focus. We were young kids playing in our bedrooms, wrote a few songs then took it to the next stage and it was great fun. We were just dead lucky.

I never thought in a million years that here I am 66 year old and still doing it …I still feel that I’m dead lucky!

Click here to buy tickets for The Fire Station on 10th June 2023

George Lamb – Family & Friends

To buy Family & Friends CD contact the official website at: georgelambmusic.co.uk

The album is available to stream on Spotify, I-Tunes, Apple Music & Amazon music.

Alikivi   April 2023

MAKING PLANS in conversation with former BBC/Generator/Evolution & Honorary Geordie, Sue Wilkinson

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Having taken voluntary redundancy from the BBC after 25 years, Sue’s last job was as TV Development Producer, she is now semi-retired and working freelance.

But during the 90s Sue was involved with the North East music scene working at Generator and managing bands in Newcastle.

‘I guess I’m a bit of a career chameleon’ said Sue.

Originally born in Liverpool, the family then moved to Manchester where her father was a Graphic Artist.

‘I picked up my creative side from him. At school there was a group of us reading the music press, I went from listening to poppier sounds of Cat Stevens to serious stuff like Led Zeppelin.

When I completed my A levels punk was just on the cusp and we went to see bands like Buzzcocks and The Adverts at sweaty clubs like Eric’s. I was really into the whole punk thing listening to the Pistols and The Clash.

After University I started work as a Graduate Town Planner with North Tyneside Council. I didn’t have long term plans to stay in the North East but I loved the vibe of Newcastle. Now I’m an honorary Geordie!

My patch was North Shields, Whitley Bay and Tynemouth, things have changed dramatically down the riverfront area, it was fascinating working there.

I also worked at Sunderland Civic Centre and Newcastle on the planning team – this is a weird way of starting to talk about the North East music industry. But I wanted to make a difference in terms of helping communities, living in a better environment, helping people make a better life, and hopefully did that through music.

When I left planning, I started work at Newcastle University in the Centre for Urban and Regional Development, a research unit rather than teaching. Northern Arts funded a project there called Cultural Industries Research Unit, helping communities through the arts.

My colleague James Cornford and I were asked to look at a new project and we chose popular music. Sheffield had been flying the flag providing rehearsal space and studios so we thought we could give that a go as James had been in bands and I loved music.

Plus, I had already written a published article around culture in the North East and done a lot of research around the subject. We spoke to a few hundred musicians and people who ran recording studios and record labels – small or large.

We found there wasn’t enough venues or rehearsal space for bands, they couldn’t get out on tour it would cost an arm and a leg and there weren’t any showcase gigs. Investment was needed to support DIY musicians – they needed a leg up.

We put the findings together and put forward a plan called Sound of the City. This was three events across Tyneside, hundreds of people attended which created more ideas. One was for an umbrella organisation to pull it all together, a one stop shop for support, advice and help – that’s how Generator came about’.

‘The name was perfect because the aim was to generate a profile of the North East music scene which had been non- existent up till then – apart from big names like Sting and Mark Knopfler.

As well as Generator Management Committee meetings, Dave Cross and I met several times weekly to do behind the scenes work at the Riverside live music venue. What came from our meetings was a need for showcase gigs and working with promoters to develop a venue in their area, we covered the North East and Cumbria.

Generator was there to help musicians kick start their career, we wanted to be central in supporting emerging talent and artists, or just be creative and have better facilities to enjoy what they were doing’.

The first event billed as Generator Live Music Explosion was at the Riverside in Newcastle on Saturday 25th January 1992 included Candleman Summer from South Shields, The Hangarounds from Gateshead, Procession from Teesside, Greedsville and This Is This from Newcastle.

‘The event went on all day generating a lot of press, many thanks to all the sponsors who came onboard donating time, money and facilities.

All of the bands were original not tributes, and although some didn’t get record deals the members went on to do other stuff. Dave Denholm from This Is This ended up in Lindisfarne’.

‘Around 1992 Greedsville fell in my lap (interview with  guitarist Clive Jackson on 22 Feb 2023). I loved them, very creative in their outfits especially Pete Turner the singer. One outfit was a Chinese mandarin hat and shoes with curly toes.

They had their own way of doing things and were always good on publicity and presentation getting a review in Kerrang and local mag Paint it Red. They also had the idea of slotting their cd album into tiger print bags and sending them to press and media.

By now we had been working on Generator a few years and were based in the Black Swan Arts Centre on Westgate Road. We’d publish regular newsletters promoting bands and events including tips for how to plaster your name across the media, developing a press strategy, even make sure you arrive on time for an interview on radio or TV. Basically, how to get on in the music industry.’

‘Bands would submit demo tapes and we’d choose from them what bands to have on the showcase gig, and we were becoming more ambitious adding art, design, films and music seminars.

The more events we put on the more interest we created with label scouts popping into gigs to see what we had. Rather than a regular weekly gig, we spread out the dates of gigs to make them an event’.

Northern Exposure was held 11th-19th June 1994 including Profundo Rosso, Crisis Children, Blyth Power and the wonderfully named Delicate Vomit.

The MPS and Musicians Union were involved in the seminars dealing with publicity, royalties and copyright.

‘We became good at publicity. North East music journalist Ian Penman who sadly is no longer with us, worked for Sounds and other music papers and magazines, he gave us good advice about publicity and how it needed to be spot on.

Generator were really ramping it up and had demonstrated that we were capable of delivering stuff. In 1998 the peak was Sound City, around then Jim Mawdsley came onboard.

When we became a funded organisation, Wayne C. McDonald joined Jim Mawdsley and I on the professional team. A week later we were awarded £250,000 from the National Lottery’.

Generator’s successful National Lottery bid was given massive national profile on BBC One TV’s National Lottery Show when Sue and her Generator colleague, Wayne C McDonald, appeared live in front of 16 million people. Their cause was championed by none other than The Spice Girls.


‘Wayne thought I was joking when I told him we were going to be live on stage – and thought we were just going to be sitting in the audience. When it came to the crunch, we were called on stage and he hadn’t prepared a speech – so he performed a completely improvised rap which everyone loved! 

We had spent three years talking to BBC Radio One about bringing an event to Newcastle. We worked with the Council to put a document together which included main stage, a number of venues and a Fringe festival, the BBC accepted it.

After my work at the University on the Cultural Industries project, I got some part time work as a researcher at the BBC which I combined with the Generator work.

Looking back, it was around 1999 when I left Generator, I had just run out of steam. After Sound City I went on to work on various music festivals in Newcastle attracting bigger, signed names and by the 2000’s I was at Evolution sponsored by Orange telecommunications’.

Paloma Faith (pic Sue Wilkinson).

‘Iggy Pop was on a bill, we had Amy Winehouse, Paloma Faith, Maximo Park and one year we had Public Enemy on. I remember for their rider we were sent to KFC for forty boxes of chicken – we weren’t very popular with the rest of the customers.

We ended up with expensive headliners with Generator running alongside with showcase gigs for North East bands and arranging music seminars. Evolution went on for years but our riverfront site on the Tyne was earmarked for redevelopment and we decided to take a break which became permanent. We had a great time seeing the audiences enjoying the event.  

Generator still exists today, it embraced the new digital agenda and pushed it really hard. It’s helped create long lasting partnerships and connections across the music sector.

It’s now the UK’s leading music development agency and a beacon for those looking for help with their musical ventures. Something we’re really proud of because it’s made a huge impact on musicians in the region and shone a light on the North East through showcases and events.

It’s been involved in national initiatives, helping influence arts and government policy. Has it been important? You bet’.

More information about the work of Generator at the official website:  

Generator: Business Support in music, creative, and tech

Alikivi     March 2023.

SPEED KINGS in conversation with Newcastle music tutor & former XLR8R guitarist, Ed Box

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XLR8R in 1992 Martin Douglas (top), Al Barnes (bottom), Simon Douglas, Mark Savage, Ed Box (middle).

Following on from Clive Jackson’s interview (Slice of Life, 22 Feb 2023) this post looks at the 90s music scene in Newcastle and focuses on guitarist Ed Box.

Originally born in Kendal, Cumbria, Ed moved to Newcastle in 1988 to study Popular Music – a big year in Ed’s life as he ended up making his home in the Toon.

But his pivotal year was 1979… That’s when I was drawn to music. First album I bought was Replicas by Gary Numan & Tubeway Army, while my older brother was recording songs off the Friday Rock Show on BBC Radio One.

Also that year, heavy bands like Rainbow, Motorhead and Judas Priest were getting on Top of the Pops. These were my gateway bands.

For me that was the start of heavy metal and then NWOBHM formed. The passion and energy in the music was a window to the outside world to a boy from out in the sticks in Cumbria. Then I got a guitar for Christmas 1980 – and away I went.

With some friends from Newcastle college, we formed XLR8R (pronounced Accelerator), and started writing songs. I knew it would take a lot of patience, practice and dedication but I was prepared for that.

We started to gig regularly around the Newcastle area. A buzz was going around and the gigs were getting packed out. We were members of North Tyneside Music Collective at Buddle Arts Centre in Wallsend, they organised gigs at venues like the Old Eldon Square during the summer.

Every band around then were doing demo tapes, Greedsville, who you interviewed a few weeks ago, were busy in the studios. XLR8R recorded three, one of them got demo of the month in Kerrang and a bit of interest from a label but that fell through. So we put our money together, made an independent album and got it pressed on CD.

We heard there was a music collective over in Deckham village in Gateshead that had a studio so we joined up. A guy called Gary Clennell ran that and set us up on a cheap studio rate. £30 per day was a lot less expensive than the others charging over £100 a day.

We spent six days doing four tracks. They were all done on reel to reel half inch tape, I think it was a 16-track desk. We designed our own covers and used the Print on Tyne shop for typesetting. We would make fold out covers with pictures and credits on, just trying to make the tapes look interesting. Pretty naïve, but a start.

Our next tape was recorded in Linx Studio, that was run by Tony Bray (Venom drummer) and Eric Cook (Venom manager) previously owned by Brian Johnson (Geordie, AC/DC). They had a 24-track using two-inch tape. This was a step up in quality, the engineer was Kev Ridley who also sang in Newcastle bands For Gods Sake and Skyclad.

Our third demo was in Trinity Heights, what happened was Tygers of Pan Tang manager Tom Noble got us a deal recording in the studio with the owner Fred Purser, who was ex-Tygers guitarist.

Linx studio was good but Fred’s was another step up, with his experience of being in the band and working in studios in London gave us a lot of confidence and pushed us on. After we had recorded the first track, we played it back and it sounded great, really polished, really pleased with it – if you’re reading this, thanks Fred!

Arch Stanton album cover.

In 1996 I was still in XLR8R when ex-Greedsville guitarist Clive Jackson got in touch. He had made a three-track solo demo and was offered a radio session on BBC Newcastle. There was also label interest but they were looking for a band not just a solo performer.

So, Clive got a band of solid musicians together who we knew had been on the 90s Newcastle scene. We went in and played the session at the BBC, then recorded a few more tracks and done a gig as Arch Stanton.

Things were coming together when Sue Wilkinson from local music agency Generator got involved, Sue was also Greedsville manager. She got us some Lottery funding to go into a studio and make a four-track demo.

Sue also got us some local TV coverage on BBC North East News and a brief clip on the National Lottery Show. Another band around then called Undergroove, got a slot on East Coast Main line.

Over a two year period we done around 15 gigs, we played on the Twang Nights at The Bridge Hotel which was promoted by music agency, Bright Orange Biscuit, I remember they also did work with Uncle Sam’s Studio in Newcastle.

Sadly, Arch Stanton came to an end, but I’d developed my guitar and vocals a lot. I was in my late 20s by then and felt I was playing better than ever.

130R album cover.

The last album I worked on is out now, it’s called 130R. The name came from Formula One racing that I was into, the hardest corner on the track in Japan is the 130R.

The idea came at the time of Covid lockdown when I wasn’t doing much guitar teaching because of restrictions. I put together a few demos then asked mates to get involved, it was totally organic.

It built from there and we added a few more tracks until we had a full album. I sing on a couple of tracks but the main singer is Newcastle based Ian Humphrey. We might do some gigs in the future but we are really happy being studio based.

130R

A lot of the rock and metal bands that I saw many years ago are still recording and gigging especially with the Festival circuit around Europe. The NWOBHM bands can make great recordings with the studio equipment and access to technology that is available now. It’s still alive and kicking.

Guitar playing has been my passion for over 30 years. Across that time I’ve been running a number of guitar lessons in schools and workshops playing Rock, Pop and Jazz, to Country, Blues and Metal, I always learn new things when teaching – you’re never too old!

For more information about Ed Box check his official website:

http://www.edwardbox.com

Alikivi   March 2023.

WHERE WERE YOU IN THE SIXTIES ? with Jools & Paul Donnelly

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North East couple Jools and Paul Donnelly have a huge passion for promoting the North East’s recent cultural heritage, they also run the Handyside Arcade publishing company, and the Club A’Gogo dance events named after the famous Newcastle venue.

From 1962-68 Club a’Gogo hosted a number of amazing gigs from legendary bands The Who, The Animals, Rolling Stones, Eric Clapton, plus from America – Jimi Hendrix, Sonny Boy Williamson and John Lee Hooker.

‘We successfully lobbied Newcastle Council for a heritage plaque at the site of Club a’Gogo – we are incredibly proud of this. We’ve also published our first book ‘Club a’Gogo & The Mod Scene of 1960s Newcastle’ which is on sale now, more books are planned’.

Both Jools and Paul are passionate collectors of 60s mod culture which includes vintage clothing, shoes, magazines, records and books, now the couple have combined their extensive collection for an exhibition held in Newcastle City Library.  

I asked Jools what was the catalyst for the exhibition?

It actually came from two sources, last year we visited the Punk No.1 exhibition at Newcastle City Library and this year we were in London for a private viewing of Contemporary Wardrobe, a supplier of costumes to the film and music industry.

This huge collection of vintage clothing is owned by former mod and stylist Roger K Burton. Roger has done a number of exhibitions and we were so inspired we thought we could do that.

I asked Paul what’s the response been to the exhibition?

Amazing, and to be honest far better than we expected. We’ve done regular ‘meet and greet’ events at the library – next one is Saturday March 11th from 2-4pm, where people can chat with us about the exhibition and share their memories of those glory days.  

People have brought their own memorabilia to show us, it’s been a fantastic experience. We’ve also had a good turn out from a younger generation who have been fascinated by how cool the youths of the North East were back then.

Lots of original mods and Club a’Gogo members have turned up to see the exhibition, they’ve shared their stories of seeing the likes of Jimi Hendrix, The Who and of course The Animals.

We’ve encouraged them to come along to our monthly Club a’Gogo Dance Party events where I play the Club a’Gogo sounds on vinyl.

What next for the exhibition?

This ends on 31 March 2023 and we are aiming for more exhibitions. Our next one is early 2024 that will celebrate the history of the Handyside Arcade.

(The sorely missed Arcade was a glass roofed horseshoe shaped building which housed a number of independent and alternative shops including Kard Bar. It was also the place where tribes of young people – mods, hippies, punks – would meet and hang out on weekends).

Jools added….We want to highlight the Arcades importance and promote the North East’s sub cult heritage.

For more info check the official website:

It’s my life… An exhibition of Mod & 60s culture FREE ENTRY | Club a’Gogo (clubagogo.co.uk)

To buy the Club a’Gogo book visit:

Club a’Gogo & The Mod Scene of 1960s Newcastle | Club a’Gogo (clubagogo.co.uk)

For more information about Club a’Gogo events visit

Mod club | Club a’Gogo (clubagogo.co.uk)

Alikivi   March 2023.