My ticket no.27,070 from the day with original headliners Black Sabbath on the bill.
A dozen teenage metallers from South Shields dressed in bike jackets, denim and long hair jumped on a coach to travel 200 mile south of Tyneside.
In honour of our Viking ancestors, we burned down the highway, raised mighty hell and invaded… Stoke on Trent.
The Heavy Metal Holocaust was on 1 August 1981 at Port Vale football ground, but from the off the neighbours tried to get the festival banned.
The Stoke council gave the go ahead after the promoter offered a free coach trip to Blackpool for elderly residents.
In the first issue of Kerrang, the all-day metal extravaganza was originally planned for Milton Keynes Bowl, in what would have been the first of two shows at the Bowl that year.
Rock at the Bowl on 8 August ’81 featured headliners Thin Lizzy, the Ian Hunter band and the mainstream sound of Judie Tzuke and Q Tips. Reviews say the gig was poorly attended.
Sounds advert issue 11.7.81
A full page in Sounds had Black Sabbath and Motorhead advertised as double headliners at Port Vale on Saturday August 1st – with a monster PA in tow.
A ‘major band’ was to be announced with rumours circulating that Ted Nugent was being added to the bill – now Ted isn’t exactly the Ken Barlow of Metal so backstage refreshments with Lemmy and Ozzy might get messy.
The Nugent rumour appeared in the first issue of Kerrang, but it was just that, a rumour, and the eventual axeman who played on the day was Frank Marino & Mahogany Rush.
A week later Sounds ran a story that Sabbath had pulled, and a full page advert read Ozzy Osbourne’s Blizzard of Oz had stepped in. No surprise a deal had been struck as that summer Motorhead were opening for Ozzy on a North American tour.
But with only one album behind the former Sabbath frontman, the band might have to rely on old Sabbath favourites to stop a (crazy) train wreck coming down the track ?
Why did Sabbath pull out ? Tony Iommi doesn’t talk about it directly in his biography, but he mentions that summer the band were in Los Angeles recording new album Mob Rules, the follow up to the very successful Heaven & Hell.
The day was propped up by NWOBHM band Vardis, on stage they were hot, frustrated and looking for a groove.
But as the gears began to click, suddenly it was all over, while out in the field the disciples gathered around the stage, sensing something special was in the air.
Then up came two Canadians and one American band fighting it out between each other. The slick American rockers Riot glide through their set with guile and finesse.
Next up Triumph searched for magic only to get caught in the crossfire and manage to hang on bravely during the bottle wars. A solid performance from Frank Marino earned a glowing respect from the sweltering hordes gathering at the altar.
Lemmy & Ozzy backstage at Port Vale.
As the sun set the High Priest of Rock n Roll, Lemmy, invites Ozzy and Randy Rhoads to plug in for the ride and amp it up high and loud. They leave no room for doubts delivering a blistering set, hot enough to light a bonfire.
Then an eerie silence falls and dark clouds gather overhead while lights spark in the night sky. Through the smoke headliners Motorhead arrive and steal the show opening with Ace of Spades – but the night belonged to Overkill.
Research: Sounds, Set List, Kerrang & UK Rock Festivals.
Heavy Tales is the story of how one American couple who ran a flea market stall, helped create the golden era of Heavy Metal and released the most important albums in its history.
Marsha Zazula and husband Jon founded Megaforce Records in New Jersey, USA in 1983, and were instrumental in the careers of Metallica and Raven.
By the early ‘80s Raven had released two albums ‘Rock Until You Drop’ and ‘Wiped Out’ on the Neat record label based in North East England. But when Neat got a call from Zazula, Raven knew their future was Stateside not Tyneside.
Zazula has documented the story in his new book where he remembers listening to Raven’s first album Rock Until You Drop.
‘That album was recorded for about 1,000 pounds with a group of the greatest fucking musicians. You’ll hear the greatest jam, grooves and change up’s.I saw a number on the back of the cover and called David Wood, head of the label’.
I asked Jon if he can remember meeting Wood.
‘Yes the mastermind. This man had the key to the pulse and Neat records was his Kingdom. He came to the US and stayed at my home and we discussed the breaking of Raven and Venom in America’.
‘Venom were a crazy lot. They stayed with me in the States. Abaddon burnt down my kitchen and Cronos ate my glassware. There was blood and glass in my sink from when he spit it out. Mantas was quiet but always held the centre. No Mantas no Venom. But he had two maniacs at his side’.
Raven and Metallica.
Around this time, Zazula unexpectedly received a demo tape from an unsigned band.
‘As soon as I heard it I was blown away. I thought this was America’s answer to the NWOBHM.When I came upon Metallica it was like mounting a lightning bolt’.
‘We also worked with Raven on releasing their album and had them headlining a summer tour with Metallica.
When Raven hit the stage, nothing can compare. They tore it up. I can honestly say that Raven were heavily on the rise. When they toured with Metallica as their opener, they were still able to maintain headline status every single night’.
‘The Raven/Metallica tour was a success. We sold a lot of band merchandise and people took notice. Raven and Metallica played an amazing show in Chicago which we filmed in case they would ever use it for promotion’.
‘I spent some time in Newcastle. I stayed in a flat with Raven drummer, Rob Wacko Hunter. I was fortunate to meet John and Mark’s (Gallagher) parents. They were wonderful people’.
Zazula remembers offering the bands a place to stay when they were out on America’s east coast gigging.
‘There was a point when Raven, Venom and Metallica were all hanging at Casa Z ! I was trying to work in the basement with my desk surrounded by sleeping bodies snoring away’.
In 1983 Megaforce released Metallica’s debut album Kill ‘Em All and became the label in America for Heavy Metal. The book also includes stories of managing and releasing albums by Anthrax, Ace Frehley, Overkill, Ministry and more.
HEAVY TALES: The Metal, The Music, The Madness.As lived by Jon Zazula – out now on kindle or paperback.
As a mark of respect this post was held back due to the death of Marsha Zazula, on 10 January 2021. Rest in Peace.
On line interview and book extracts by Alikivi December 2020 & June 2021.
Guardian Sound Studios were based in a small village called Pity Me in County Durham, North East UK.
There are various theories on the origin of the unusual name of the village – a desolate area, exposed and difficult to cultivate or a place where monks sang ‘Pity me o God’ as they were chased by the Vikings.
Whatever is behind the name it was what happened in two terraced houses over 30 years ago that is the focus of this blog – they were home to a recording studio.
From 1978 some bands who recorded in Guardian were – Neon, Deep Freeze and Mike Mason & the Little People.
A year later The Pirahna Brothers recorded a 7”, 1979 saw an E.P from Mythra and releases in 1980 from Hollow Ground, Hellanbach and a compilation album, Roksnax.
From ‘82 to ‘85 bands including Red Alert, Toy Dolls, Prefab Sprout, Satan, Battleaxe and Spartan Warrior made singles or albums.
On this blog there is a number of musicians who have memories of recording in Guardian including stories of a ghost of a young girl who was knocked down outside the studio.
Dave King (vocals, Battleaxe): Yeah, still remember the story of the Guardian ghost sitting at the piano. Terry would say can’t you see it lads ? No was our answer (laughs).
He told us to be quiet and still and then go and sit on the wall outside while the ghost was sat at the piano in the live room playing a silent tune. He would then disappear for half an hour to his other house next door. He was recently married at the time so was a young virile bloke like all of us back then (laughs).
His stories were great, he told us he had been given a guitar from Paul McCartney, and an old flying jacket of John Lennon given to him from the Beatles. Terry liked nowt like taking the piss (laughs).
I found him a really nice guy, very helpful with young and naive bands. But for recording he could never get the drum sound we were asking from him and that was with all the fantastic gear he had in there – although we did have a crap kit at the time.
We never stayed overnight as some bands did cos we only lived a few miles away.
We recorded our single Burn This Town and Battleaxe in one long day and Terry took half a day to mix it. Think it cost us around £200, we all chipped in £50 quid each and Terry pressed 500 x 7 inch singles.
It was an amazing feeling to have the band’s music published and out on vinyl.
Roger Lewis, a great Heavy Metal DJ pioneer at Radio Tees, was first to let rip Burn this Town over the airwaves. For some unknown reason Alan Robson from Radio Metro never took a shine to us at all, in fact blatantly slagged us off live on his Hot and Heavy Radio show.
However that single and the Burn This Town album got us a BBC Radio One session with Tommy Vance and interest from a host of other radio stations.
On 28 May 1983 two car loads of hairy teenage metallers left South Shields and travelled down the M1 to see an all-day gig at Leeds. I remember we arrived in the city and the first thing I saw was massive blue posters for the gig.
For me Anvil stole the day, and a month later confirmed their metal credentials when the Canadian band supported Motorhead at Newcastle City Hall. Still got my ticket from Leeds.
Also on the bill were Twisted Sister, Girlschool, Anvil & Spider.
One of the bands playing that day were Battleaxe from the North East. Vocalist Dave King remembers the time….
We supported Saxon as special guests on their Crusader tour in 1983/4, and again at the Leeds Queens Hall Festival with Saxon, Twisted Sister, Girlschool, Anvil and more. Good old Noddy Holder from Slade was presenting the show.
I remember after the show Dee Snyder and Mark Mendoza from Twisted Sister came on board the Battleaxe bus to have a look around and thought it was fantastic. They saw a large cooking pan in the compartment under the stairs and asked what it was for.
Brian the bass player told them it was for making vegetable broths in the kitchen on the bus cos we don’t wanna get scurvy on tour – that’s the god damned truth. We really did stop off near farmer’s fields to dig out potatoes, cabbages and carrots to make food on the tour bus – it saved us a fortune (laughs).
In 1981 the King family from Sunderland were restoring an old empty pub they owned called The Albert Inn, in Shotton Colliery, Durham.
A local band called Warrior, not to be confused with the NWOBHM band from Newcastle, used to rehearse in the ground floor room of the pub. A young Dave King was roadie and driver for the band.
When Warrior broke up there was a vacancy for a singer, and Dave hoys his hat in the ring – after an audition, he gets the job.The band changed the name and Battleaxe was born.
With help from Dave’s father Derek and promotion manager Rob Stuart, within a year Battleaxe had signed a deal with Roadrunner Records and Music for Nations, plus Tommy Vance invited the band to record a session on Radio One’s Friday Night Rock show.
Dave takes up the story…..
BATTLE BUS
The first gig Battleaxe performed was Heighington Village Hall in Bishop Auckland in 1981, then we played venues like Thirsk Town Hall, Spennymoor Recreation, Country club in Saltburn and Leeds polytechnic.
Sunderland Mayfair is probably the best gig we played back then and the only time we ever got paid to cover the costs of the massive show we carried with us.
Back then we used a double decker bus to travel about in. A week before the Radio One session with Tommy Vance we had bought the bus and I remember parking up in BBC Maida Vale studio car park with ten of us on board – and all the p.a. plus backline equipment loaded on because at the time we were doing a UK tour with Madame X (American hard rock band).
The bus had accommodation upstairs with the stage gear down stairs. We carried an 8k rig with loads of lights, pyros, smoke machine, the lot. Plus a four stack Marshall wall and a two stack Trace Elliot bass rig for Hardies and Brian’s backline, with full double drum kit and riser for Ian.
Unbeknown to us the bus was actually a classic from the Ribble coach company on a Leyland chassis. One of the first double decker bus models to have the front cabin built over the engine creating a flat front like all double decker buses are now.
We sold it to Leeds Bus Preservation Society, and I’ve been told it’s now in a museum somewhere.
‘Burn This Town’ album cover.
BURN THIS TOWN
Our first recording was in Guardian Studios in a village called Pity Me, County Durham. Terry Gavaghan was the producer and owner of the studio. We recorded two tracks – Burn This Town and Battleaxe. We self-released them on a single on the Guardian record label.
500 units were pressed which are now very rare and quite valuable in record collectors guides. The quality of the tracks were very basic but they got us a deal with Roadrunner Records and we recorded an album for them called, Burn This Town.
I remember we were sent the contract to sign at our base in Kensington Hall in Sunderland. The original member’s were me, Brian Smith (bass) Steve Hardy (guitar) and Ian Thompson drums.
A year after recording Burn This Town in Guardian studio, Ian was attacked by a thug and obtained a serious injury. He couldn’t carry on, so Ian McCormack came in who recorded the next album with us.
SO BAD IT’S GOOD
Cees Wessels, the record company boss, asked us what we wanted for the art work on the album cover.
We had a friend and local artist called Arthur Ball who come up with a basic idea of a biker on his motorbike wielding an axe with a town in the background burning down – it looked like Sunderland (laughs). We sent that off in the mail to head office at Roadrunner in Holland.
You’ve got to remember there was no internet or social media at that time and things took a bit longer to arrange. We waited weeks and really needed to know from Cees Wessels what his thoughts were on the idea that Arthur had come up with.
Two months later the album was released worldwide, we couldn’t believe they had gone and used the draft cover idea as the finished art work. Since then there has been constant comments in media articles as it being one of the worst Heavy Metal album covers – ever.
Yet even today after 39 years, metal fans and journalists are still talking about it. Personally, it’s worked out as a marketing marvel. Over the years the Burn This Town cover has had a face lift four times and we are very happy with the latest upgrade drawn by Louise Limb.
AUTUMN ATTACK
Now we are really looking forward to getting out on tour and the Halloween date in Newcastle, but more so the release of our fourth album Rezonator.
We have a great new set of songs for the upcoming October dates including many from our back catalogue. It shouldn’t be too long now before the new material gets to be heard as tasters before the big release.
We really hope some of the metal followers and Battleaxe fans reading this can get out and see us play in October, we are looking forward to seeing some of your there.
Battleaxe are: Dave King (vocals) Brian Smith (bass) Mick Percy (guitar) & session drummer from Colombia Mauricio Chamucero (drums).
In the third part of Steve Thompson’s story he is working at Impulse studio/NEAT records and recording with Tygers of Pan Tang.
FIRST OUT THE BLOCKS
They had no sophistication then but I guess they made up for that with raw energy. I was looking at this from a songwriter’s perspective and suggested they shorten intro’s and reduce repetition of dead wood and get to the hooks quicker.
I mixed the tracks and worked on the drum sound and a few other bits and pieces, we got it ready and the A side of their first single was Don’t Touch Me There. We put it out and it started to really sell.
MCA got interested so they picked it up, re-released it and went on to do their first album.
I was also signed to MCA in their stable of writers and my mentor was Pete Waterman, he was crackers. It was Pete who suggested the Tygers should do Love Potion No 9 as a single. Great idea.
At that time I was sharing a rented flat in Whitley Bay with the band, it’s a sitcom waiting to be written. Bizarrely the original Tygers vocalist Jess Cox and his replacement Jon Deverill both lived at the flat. Lead guitarist John Sykes lived there as well.
So, I would go off to Impulse studio in the mornings and John would stay in the house playing guitar constantly.
FOR THE RECORD
When I’d come back from the studio he’d still be playing. He was a really friendly guy and he’d ask what I’d been doing that day and sometimes I’d have rough mixes and play him stuff.
That particular day Tygers bass player Rocky Laws was there, and I played them Paris by Air and Rocky loved it, the song stayed with him a few years.
Coming up to start recording their fourth album The Cage, there’d been a few changes in the Tygers camp and that made a big dent in the song writing team. Jon Deverill was already in, and Fred Purser from Penetration was brought in to replace John Sykes.
The band were looking for some songs and Rocky suggested we should do the track I’d played to them a few year ago called Paris By Air. OK I said I’ll re-write the lyric as it was originally for a female.
I also played a brand new song called Lonely at the Top to their managers. It was unfinished and I played it on acoustic guitar, stamping my feet and vocally trying to make noise that indicated how it would become a loud rock song.
They asked me to make a full demo and I did. It was also selected for the album.
I also asked the Tygers management if anyone wants to come along to my new gaff in Tynemouth for co-writes. Jon Deverill said yes so we knocked off a few tunes. Letter to L.A. was put together using a Casio synthesiser played through a fuzzbox.
That song was just prior to them going into the studio so it really was down to the wire with unfinished lyrics.
DEADLINES
They were in the studio when I got a call from Jon Deverill, he said in his lovely little Welsh accent ‘I’m having a bit difficulty with these lyrics’. I said ‘ok what you got’.
Well, it turned out he didn’t have much at all. I said I’ll put some lyrics together, how long you got ?
‘Oh well, we’re having a little break then I’m going in the studio to sing it in 20 minutes’. So phoning in a second verse in double quick time was challenging.
The Cage was a success but sadly the band broke up. I don’t know why, maybe some of the guys thought we had been a touch too much in the commercial arena.
OLD FRIENDS, NEW SONGS
After that I started working with Jon Deverill on a solo album. To begin with I was using a little porta studio but decided to go large with an eight track demo studio in my new house in Whitley Bay.
I met up with John Sykes again when we used his studio to record the album. He had this huge place in the middle of a housing estate in Blackpool, where he was originally from.
So, when we were there he popped in and met everyone. I co-wrote all the songs on that album with Jon Deverill.
TOKYO CALLING
WhenJohn Sykes was touring Japan with Whitesnake we got a call from him saying the Tygers are huge in Japan why not get out here and tour.
Well at the same time we were about to get a record deal from Music for Nations, so we decided to make this the fifth Tygers album, rather than a Deverill solo album.
Because it was going to be a Tygers album we needed another Tyger to validate the band, who wants to see a band with no original members ?
So original drummer Brian Dick came back in, there was Jon, and on guitar was a guy brought in called Neil Sheppard. I was asked to play keyboards.
I didn’t tour with them but we did a live TV rock show called ECT, Gary Moore and Robin George were also on – I was heavily disguised.
I was reminded of the night the New Wave of British Heavy Metal came in to South Shields. What happened was I was flicking through my records and I come across the Hollow Ground EP which was kindly given to me by Lou Taylor (Satan/Blind Fury) after I lost my copy.
I originally bought one from Second Time Around Record Shop in South Shields after watching Hollow Ground play live at Tyne Dock Youth Club in 1980 – my very first LOUD gig.
They certainly gave the place some welly and was one of the first NWOBHM gigs I went to – Hellanbach and Satan followed over the years.
Glenn Coates was vocalist that night, but later he left the rock hard granite sound of Hollow Ground, and became frontman for another South Shields plug in an’ play no frills outfit, Fist…
Yeah, we used to play so loud, one gig I jumped onto the drum riser at the very same time that the drummer hit his crash cymbal and I nearly lost my balance, I think I have tinnitus now (laughs).
I saw Fist at venues like South Shields British Legion, and Newcastle Mayfair on 4 June 1982 on the Y & T Earthshaker tour….
I remember they brought all their gear in flight cases. One of the cases was like a very tall chest, and when they opened it, it was full of cans of beer. We had a great time opening for them, good memories.
Later that year I saw Y & T again, this time opening for AC/DC in Newcastle. The Americans warmed up the City Hall enough for DC to land on stage with their huge backline.
They were fronted by ex-Geordie singer Brian Johnson. During the ‘70s & ‘80s a lot of rock/metal bands came from the North East – The Animals, Geordie, Raven and the Tygers of Pan Tang….
I remember Fist supported the Tygers at Warrington Park Hall, which is the same set up as Newcastle City Hall…said Glenn.
The Tygers were doing well at the time with arctic’s full of sound gear parked outside. But our van with all our gear decides to pack up on the M62. We eventually got to the hall just in time – we pulled up outside at 6pm with our backline in a horsebox (laughs).
If we go back to the start, how did the job in Hollow Ground come about ?
You mentioned that Tyne Dock gig, well we have fond memories of playing there because before Hollow Ground I was in a band that used to rehearse in that youth club.
There was Brian Rickman (bass) and myself in a band with guitarist Steve Dawson (Saracen/The Animals/Geordie). That fizzled out around ’78 so Brian and me got together with Martin Metcalf (guitar) and John Lockney (drums), that was the beginning of Hollow Ground.
We also rehearsed in a backroom at the Adam & Eve pub in South Shields and all day on a Sunday in a hut in West Park. We used to give the caretaker a fiver and he’d let us in.
We’d always record our rehearsals then listen to it back during the week, then rearrange the songs.We had started to write our own stuff and went in a studio to get it down on tape.
Studio work was financed by playing covers in pubs and working men’s clubs around the North East. The first studio we went into was Impulse Studio where Neat records were based, and we recorded an hour long live demo.
It turned out quite good, I thought the vocals and drum sound was better there than at our other recording for the EP at Guardian Studio in Durham.
What was your experience of Guardian studio ?
Terry Gavaghan was owner and producer there and it was exciting to make a record at Guardian. We were still pretty naïve about it all you know – making a record to get noticed by a record company.
Then we put some tracks together for a compilation album called Roksnax. Other bands on the record were Saracen from South Shields and Samurai who I think were Newcastle based. We all contributed four tracks each.
How did joining Fist come about ?
At first Hollow Ground were like sponges taking everything in, playing gigs wherever and whenever we could, at pubs and clubs doing covers to pay for the studio time. Learning all the time, it was a great energy to write the songs and it came about quite easy and quickly.
But thing was Terry Gavaghan said EMI were interested in signing us so we were waiting for that, but really I didn’t believe it and I’ve heard he told lots of bands the same. The band had stopped playing live so with no gigs happening I wasn’t doing much.
Fist came along and asked about me joining, I took it because they had things to offer. This was around ’81 and in the summer we played the Rock on the Tyne festival at Gateshead Stadium with Rory Gallagher and a few others. U2 were on the day before us.
The night before we played in Manchester and someone had smashed the whole back window of our car. I remember being freezing cold travelling on the motorway finally getting back to the North East about four in the morning. Not the best preparation cos we had to do a soundcheck and the first band on stage at 12 noon.
With hindsight shouldn’t have played Manchester but had a good time the rest of the day playing to a very large audience at Gateshead stadium.
Did you go in the studio with Fist ?
Yes we recorded the Back With a Vengeance album and the feeling then around the band and the songs was great. There was magic in the air.
We also recorded a single on Neat records in 1982, it was an easy going pop song called The Wanderer with Too Hot on the b side. The Wanderer was just a laugh really, I don’t think we even played it live. But some people thought we had mellowed and gone poppy by releasing it, but no, it was never meant to be a serious record.
Then about a year later Status Quo recorded a version and got it in the charts. The picture on the front cover is me with my long hair – I haven’t got that now but I still think I’ve got that jacket (laughs).
When did Fist call it a day ?
We didn’t call it a day as such, it just kind of fizzled out. We were still rehearsing new stuff in Harry’s pub (Hill, drummer) as he had got into the pub game by then. But I don’t think any live dates were coming in. It’s a hard game to keep going.
But Fist played some memorable gigs. On 7 May 1984 we opened for Motorhead at Hammersmith Odeon on their No Remorse tour. It was great they had the Bomber lighting rig. I just remember seeing the first two or three rows singing along to songs we had wrote, it was such a buzz.
Afterwards we were upstairs in the Green Room drinking, Motorhead were there and Young Blood, the other band who were on. Lemmys son was also there, who is a good looking lad – all the lasses fancied him (laughs).
What are you doing now ?
Fist are still active. We’ve got Mark Jackson in on drums because unfortunately Harry Hill had to retire due to health problems. Last year we were still gigging and ready to go in the studio, but the March lockdown came so that put a stop to it.
We’ve got an albums worth of new material so when we can, Covid permitting, we will go in the studio and record the songs cos they can’t be left on the shelf.
I was in the band just over 12 years. After Robb (Weir), I’m the longest serving guitarist.
Why did you leave ?
At that time I wanted more from the band including more gigs and I felt my writing ideas were stifled by the Tygers style. I could write typical Tygers style songs but a lot of my songs needed a different outlet – but the grass ain’t always greener and all that. I’ll always be grateful for my time with Robb and the Tygers.
Dean has an impressive list of recordings from his time in the Tygers – Mystical (2001), Noises from the Cathouse (2003), Animal Instinct (2008) and Ambush (2012).
Two live albums, In the Roar in 2003 and 2005’s Leg of the Boot, recorded in Holland. Plus a couple of EP’s, Back and Beyond in 2007, Wildcat Sessions in 2010 and the Spellbound Sessions in 2011.
There was also a compilation album produced in 2003, Second Wave – 25 years of NWOBHM, which included five songs each from Tygers, Girlschool and Oliver/Dawson Saxon.
What was your experience of studio work ?
Everything with the Tygers was fun – studio, rehearsals, travelling and gigs. It all seemed fairly relaxed to me. The days working with producer Chris Tsangarides in his studio was fun and a memory I’ll cherish.
I worked with Chris at a studio in London for the Second Wave album with Girlschool and OD Saxon. Plus we recorded the album Ambush in his own studio in Dover.
He was a great guy, up for any suggestions and would give his advice when he thought it was needed or asked for.
His walls were covered in gold and platinum discs by some great inspiring bands, plus a few strange ones – I remember him making a point of showing us the Samantha Fox one (laughs).
I remember him sat at his desk with a guitar in his hand while we were recording, and when we would come back in, he would be playing a version of the riff or wanting to know a part he couldn’t work out.
We could have easily spent the first week just chatting, he had some amazing stories.
The best for me was Judas Priest, he talked about how Rob Halford was just incredible and had perfect pitch every session and the music from the metal gods was intense.
But he would listen to the band chatting in the studio and their Brummie accents made him laugh.
When did you pick up the guitar & what were your early days like in music ?
I live in the North East now, but I’m originally from London and I got my first guitar when I was around 9 year old from my cousins future husband.
At the stag party I pestered my Dad all day for him to buy it, he waited till the groom was drunk and offered him £10. Then he came home with a Zenta Strat copy and a Leo 6 watt amp. It was nice he came to see me in the Tygers years later.
Playing live in bands in the early days was the usual pub and club circuit, then I joined a club rock band where I met up with Craig Ellis (drums) and Brian West (bass). Eventually our friendship took us into the Tygers.
How did the job come about ?
Brian West was the first of us to join the Tygers, who at that time were just Robb Weir (guitarist) and vocalist Tony Liddle. Brian got a call from Tony who he knew and had worked with before.
The Tygers had almost completed the Mystical album (2001) and needed second guitar and drums for live work. I came in and played a couple of solos for the album.
When I ran through a few old tracks with Robb in the studio he seemed quite pleased that I had done my homework on the songs. We then booked a rehearsal studio for a week and jammed through most tracks.
I’m not sure Robb was that interested in spending time auditioning after that cos basically we hit it off instantly and he was happy with my playing. Gigs were already lined up and Robb wanted to get out there again.
Where was your first gig in the Tygers ?
I always reminded Robb that my second gig I ever went to was the Tygers/Magnum and Def Leppard concert at Newcastle City Hall – I still have the ticket stub. (Wild Cat tour April 20 1980).
We were signed to Z Records who asked us to headline a Z Rock festival in Wigan. Robb had asked if we could be further down the bill with it being our first gig and at short notice, but it was already advertised as a Tygers comeback show.
Our singer Tony was also working in another band and was in Russia while we were in rehearsals. Therefore we only had one day with Tony and he wanted to change the songs and order. It was a shambles – definitely one to try and forget.
Set list.com have the gig on 26 August 2001 featuring Tyketo, Contagious, Jaded Heart.
Blimey ? Can’t remember the date, somewhere I have a video from the show. I think the gig was at a venue called Maximes, I only remember Tyketo being on the bill, Danny Vaughan is such a good vocalist.
A few weeks later we went to Germany for another Z Rock Festival and that was a lot better. However Z Management were not happy with Tony on vocals, so after two gigs we were looking for a new singer.
Gav Gray, Robb Weir, Jack Meille, Craig Ellis & Deano.
Have you any road stories from gigging with the Tygers ?
I’ve so many great memories, and met so many great people. We used to get up to a lot of mischief in hotels, even two minutes before walking onstage there was always something going on.
Once Robb nearly crashed our van in Germany and almost ended up fighting with the other driver because of Craig. Craig and I were always the last to bed and our ‘Tygers Night Game Compendium’ became famous for all the wrong reasons – say no more about that.
Robb, Craig, Gav and Me sat with our trousers round our ankles watching the 50 second beat the clock Babestation challenge as a set up for our Manager and vocalist Jack – don’t think they were impressed !
Were there any songs you looked forward to playing in the live set ?
I liked playing Hellbound and when we put a new album track into the set. Unfortunately never got to play any Ambush tracks live, would have loved to play the song I wrote Rock n Roll Dream.
What are you doing now and do you keep in touch with the Tygers ?
I was playing in top AC/DC tribute Live Wire – The AC/DC Show for a few years after I left the Tygers. I started playing bass and singing in a trio where we rehearsed up a few of my Tygers tracks and wrote new material but it never made it to the stage.
I speak regularly to Craig and Robb, and Micky (Crystal) who took my place in the Tygers. When this year finally gets going again I hope to meet up with the Tygers again at a venue and say hello to the new boy Francesco, be nice if you were there too Gary.
But yeah I’m still writing, mainly lyrics and the odd riff. I have a few old ideas that might rear their ugly heads at some point, you never know.
Finally, what does music mean to you ?
It was an escape. Really, just a way of life.
Interview by Alikivi February 2021
Check the official Tygers of Pan Tang website for a full discography:
We’re in a fast moving situation with a pandemic that changes daily – nothing is certain resulting in no hard planning. Live events cancelled or tour dates rescheduled for later in the year, or in some cases 2022.
The entertainment industry is being starved and left in the red.
Bands are waiting for a message to ping – it’s back on, off you go – or maybe not. Like being stuck in a holding pattern waiting for permission to go. Forever amber?
The Tygers are preparing themselves for a green light. After the departure of guitarist Micky Crystal in April 2020 – a member for seven years and releasing one of their best albums in Ritual – time has come for someone else to step up, and into the cage.
Welcome Francesco Marras originally from the warm Meditteranean island, Sardinia, but now based in Germany…
Yes, I live in Germany now. I love my country but it’s not the best place to live for a musician. Everything happened for me in Sardinia, I was born and raised there. I got into music at first because of my older brother.
I started to listen to heavy metal with Iron Maiden’s Piece of Mind album when I was only eight. The music inspired me to learn to play guitar at eleven. I’ve been playing for 27 years now.
Francesco started playing guitar by jamming with friends then formed a band….
I always wrote my own music and founded a classic metal band that later became Screaming Shadows and we recorded four albums.
In the Name of God (2006)
So you know your way around a studio ?
Yes the first album Behind the Mask was released in 2003 and was self-produced.
Both In the Name of God (2006) and New Era of Shadows (2009) came out for the Italian label, My Graveyard Productions, and were recorded mainly in my recording studio in Sardinia.
Night Keeper was recorded between my studio and Mattia (drummer), Elnor Studio. We mixed the album, and it came out in 2011 for Jolly Roger Records.
Then in 2011 I started my solo career where I recorded two more albums and worked as a session musician.
Now you’ve joined the Tygers will you be looking to use that studio experience ?
Yes in the last few month we have worked very hard writing new songs for the next album and I can say that we are very happy about the results. We will start the production soon and we are going to release an EP to open the road towards the new album.
How did the job in the Tygers come about ?
Growing up listening to English heavy metal I knew of the band, and thanks to a dear friend of mine, who told me they were looking for a guitar player, I read the post on the Tygers’ official Facebook page and sent in a video of the two songs they requested – Don’t Stop By and Hellbound, both from the Spellbound album.
For a long time I didn’t get any answer so I wasn’t expecting to get the job – but here I am in the end.
How do you feel about following in the footsteps of Sykes/Purser/Robertson/Crystal, and what will you bring to the table ?
It is a great honor for me to follow them, the band has a long tradition of great guitar players and I’m here to keep the tradition alive. The basics of Tygers music are great solos and powerful guitar riffs, and that is what the fans will have with the new album.
At this time I am recording a lot of new material as I have the possibility to work from home but the thing I miss most is playing live. I really can’t wait to share the stage with my new band mates and meet all the Tygers’ fans around the world – Rock’n’roll!
Check the official Tygers website for new releases and news:
This post takes the blog over 175,000 views – a BIG thanks to ALL the readers not just the top views from UK, USA, Germany, Spain and Australia plus the 37 readers last month from China!
Back in September I wrote about Metal City the new album from Raven….
The week of the album release saw my social media timeline bunged up with Metal City reviews streaming out media outlets like a virus. The word was out.
Czech, Italian, Dutch and especially the number of German reviews dialled in. Ears were popping across the globe. This record was making all the right noises. And Fast.
‘In a class of their own’ (Classic Rock)…‘Metal City is an explosive and exhausting affair’ (Metal Hammer)…‘Raven remind fans that they were one of the early progenitors of the thrash/speed metal’ (Metal Express)…’A definite contender for album of the year’ (Frenzy Fire).
I got in touch with Raven main man John Gallagher and asked him about the response to Metal City…
‘The reaction to the album has been overwhelming really. Basically, every review has been positive and more importantly the fans ‘get it’ and it’s reaching new listeners too which is great!
We are also gonna’ put out another video within the next two weeks so that’s something to watch out for!’
If you haven’t got your copy of Metal City what yer waiting for !
Check the official website for latest merch/albums/video/tour news:
New single Metal City with a glorious big chorus is quickly followed by a ballsy, catchy Battlescarred, with a cry of ‘Raise your hands, to the sky, stand and fall, You and I’.
Added to a Gallagher trademark scream the song builds and reaches out for better times. Surely a future live favourite?
Slick, tricky guitar from Mark Gallagher with balanced precision drumming by Mike Heller rattle and crunch tracks and pound them into submission.
It’s all tightly packed like a mighty coiled spring. There’s even a Motorhead/Lemmy tribute – nice touch lads!
The wide and expansive closer, When Worlds Collide with ‘You meet your maker on the other side’ has turned a potential plod into a triumph. The trio look back over Metal City and watch the sunset. And the credits roll.
On this evidence Raven consolidate their title of Chief Headbangers.
ALIKIVI UK : NORTH EAST MUSIC & CULTURE 