Filming Fugazi

By Michael Sanderson


Fugazi playing at the Riverside in Newcastle upon Tyne on Sunday 26th November 1989, without a doubt changed my life! It seems a grand and ridiculous statement but it really is true.


Fugazi's whole outlook on playing live and their approach to the music industry was and remains to this day quite simple but radical and I admire them more than words can describe.


Riverside, as a venue, felt similar with friendly door staff and an atmosphere unlike any other club I had been to or have been to since.

Fugazi ticket from Riverside Newcastle

Before the gig I approached the band as they walked around the venue and they were only too happy to have the show filmed and then be interviewed afterwards. At which my position for the night was taken on - a hastily moved table in front of one of the mighty brick pillars, which I must say that I always liked!


God's Ultimate Noise and Crane warmed the crowd up and by the time Fugazi walked on stage the room was heaving and already dripping with condensation! They played a mixture of songs from their first two EPs plus some newer songs from their forthcoming album Repeater. 'Waiting Room', 'Glue Man' and 'Margin Walker' never sounded better. It was a combination of the band being on top form and playing in what was to become one of their favourite venues. This remains one of my most memorable gigs ever.


When I heard that there was to be a documentary made about Riverside, I got in touch with one of the producers and offered them my footage of this and other Riverside gigs I filmed around the time. I am really pleased to have my work included in the trailer, which can be found on their indiegogo crowd funding page this month. The campaign runs for 30 days. If enough funds are raised, the team will go out to interview Ian Mackaye in Washington DC, to add his recollections of Riverside to the live footage in the completed documentary.

The campaign is at www.indiegogo.com/rivfilm and embedded below.

Teesside Blues

By Martin Craig


Tyneside bands who went out through agents like Beverley Artistes, Birchall's, West End or JKR Theatrical (the legendary Jimmy King) will remember how we were often sent down the motorway to gigs in Teesside & North Yorkshire on Friday & Saturday nights during the Seventies.  Meanwhile, Teesside & Yorkshire bands would slog up the opposite  Northbound carriageway on their way to dates in Tyneside & Northumberland.  We used to flash our headlights to each other as we passed.


This exchange arrangement was done so that the Concert Chairman could announce, "Ladies & Gentlemen, put your hands together for a great group who've come all the way from...."  The theory was: the further we'd come, the more exotic it made us seem to the punters.


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During the decade-plus we spent doing this north-south journey it found its way into my songwriting, probably as a form of self-therapy, in songs like 'Living on the A19', 'M62' and 'Teesside Blues'.


After our first vinyl EP came out, I got a publishing interview with Chappell Music in London's Bond Street.   It was late summer in 1979.  The bloke I met wore a curved moustache and a frilly shirt with long pointed collars and billowing sleeves, looking very like Peter Wyngarde as Jason King in the cult tv series 'Department-S'.  I wore my usual black leather bike jacket.


I told Jason King that my new songs were about actual places I knew and real experiences I'd had, rather than made-up stories.  I also said my songs were often about movement, with lots of car and bike images.


Jason King took our precious quarter-inch stereo demo tape, played a few bars of each song and fast-forwarded through the rest, making us sound like the Chipmunks.  I started to bristle.


'Rockin' at the Ace Café' came on.  "I wanted this one to have a Chuck Berry sound," I pointed out helpfully, in case he'd missed it.  "Ye-e-s-s, well, we already have Chuck Berry himself on our books... you know, Jewel Music? I shut up.  He pointed to a grand piano.  "Roy Orbison was writing songs on that piano yesterday. He's with us too."  I shut up some more.


'Teesside Blues' got underway.  "I like this one," said Jason King, "but you need to change the lyrics to 'L.A. Blues.'  No-one cares about, what is it called, Teesside?  Where's that, for God's sake?  Somewhere up North?  No WAY!!"


Lynn was with me and she said afterwards that I looked as if I was going to chin Jason King. I can remember arguing that it HAD to be Teesside, because that was the WHOLE BLEEDING POINT!


Jason King was quite nice about it really.  He took us downstairs from Department S to the Chappell record shop, pulled out some albums and gave them to me, saying, "Have a listen to these, let them soak in for a while, then write me six new songs."


The albums included Ricky Lee Jones, Tom Waits, Springsteen's first album and a fantastic reggae compilation.  I think Jason King must have been good at his job (despite that shirt) because, after I'd soaked up those great LPs, the next song I wrote had no trace of a car or a motorbike in it.


It did feature a bus, though.  A bus in a Northern town, quite possibly in Teesside.  The North's gonna rise!!

L’Anarchie and the Bunnymen

By Neil Stonehouse

A diary entry from 1st May 1981 as a raw 16 year old.

The day after Echo and the Bunnymen at the City Hall, Newcastle upon Tyne.

“Thursday is finally here - The Undertones were brilliant on Monday but tonight's was the one that I'd been waiting months for.  Work was a blur - don't think I actually did anything all day - mind was elsewhere.  Straight home - wolfed the tea down quick wash then washed the hair - almost looks like Mac's, on with the Camo gear and away we go.

Rob was on the bus upstairs waiting - doesn't look like anyone else on the bus is going to the Bunnymen.  Get into Worswick Street for 7.10 - going to go to the Jubilee for a pint if I can get Fatty in with me - success I get served.

Get into the City Hall and down to the bar just as the support band (the Blue Orchids) start their set - heard them on Peel a few times but they're not really my scene.  2 more pints of Exhibition and I'm starting to feel a bit pissed - I go into the queue for the t-shirts.  I get both colours one is mauve the other is pale blue.  The kid who looks like Julian Cope that was at The Undertones is here again and he's got the Vive L'Anarchie t-shirt on again.  B*stard won't tell anyone where he got it from.  Get into my seat 3 or 4 minutes before the bell goes.  Here we go - just as the band are coming on I make my break for the front row - Get in - the bouncer let me past - Fatty didn't get past though.

Set was:

With a Hip - off the new album
All That Jazz
A Promise - new album
That Golden Smile (Show of Strength) - know this from the Peel session
Pride
It Was a Pleasure - off new album - brilliant
Over the Wall
Zimbo
Heaven up Here - know this one from the Peel session
Pictures on My Wall
No Dark Things - off new album
Villiers Terrace
Crocodiles
Rescue

Best gig of my life – ever.

Can't wait for the album now - from what I've heard tonight it's going to be far better than Crocodiles.”

Phaze, 44-46 High Bridge Street, Newcastle upon Tyne
Discussion on the NEMH Facebook group revealed this shop to have been the vendor of that coveted Vive L'Anarchie t-shirt. Photo by Neil Newton

Electric Ladyland – Jimi Hendrix in Jesmond

By Ian Currie

I was a 12 year old at the time, as I was born in December 1954. My family had experienced hardship as my father, suddenly and unexpectedly, had left the family home to start a new life in London. I lived with my mother Margaret Currie, my sister Sonia Currie and her young son, Mark, then aged about 2, in the upper flat at 72, Fern Avenue in Jesmond, Newcastle upon Tyne. 

The black door is 72 Fern Avenue, Jesmond, Newcastle upon Tyne, photographed by Hazel Plater, April 2012

Determined to survive the shock blow of my father’s departure, my sister was employed at the ‘La Dolce Vita’ as a croupier, and managed to get my mother a job working in the chip exchange there. To assist with childcare, my mother sub-let a room in the flat to my sister’s friend Linda who looked after Mark and I when my mother and sister worked in the evenings. There were many evenings when Sonia and my mum brought back friends to party. These gatherings became well-known locally. Our living room, I remember, was decorated in typical 60s style, but with an amazing wall that had been papered entirely with cooking foil! The 'paper' was not pasted on and I remember when you opened the living room door, the draught would make the entire wall move and rustle – amazing how some things remain in your memory.

Regularly, there would be David Findlay (a doorman at La Dolce Vita); Keith Crombie (doorman at the Club A Go Go) and many other friends of theirs including other croupiers, acquaintances and a sprinkling of celebrities. Often the celebrity would be the current act that was booked at ‘La Dolce Vita’. I would often use the excuse of not being able to sleep to get up and see what was happening.

One such occasion, in February 1967 I believe, I was woken up to hear loud partying going on. I was very interested in music myself, and had been bought my first electric guitar, a Futurama 3 and a Vox Domino amplifier the previous year. Although I hadn’t realised it at the time, this guitar was not particularly easy to play. I investigated the commotion in the living room, full of people laughing and drinking. Sitting in an armchair was Jimi Hendrix who I immediately recognised from the TV! I was very impressed, but a bit overwhelmed, as was he, with the party-goers ‘thrusting’ my Futurama guitar at him requesting, “Play something Jimi, play something.” He was attempting to oblige but although the instrument may have somewhat resembled a Fender Strat, this guitar certainly was NOT that! I have to admit that I was slightly disgruntled to see my prize possession being used without my permission. Bloody cheek! 

Jimi Hendrix was photographed just before going on stage at The Imperial Hotel in Darlington on 2nd February 1967. 


Jimi Hendrix, Darlington, England 1967 | Ian Wright

Jimi seemed very quiet, with a calm aura about him. He was dressed in military attire, but I’m not sure if it was just the jacket or military trousers as well. I went to the bedroom to dig out the latest gadget I’d bought that weekend at the joke shop. It was a particularly nasty joke that consisted of a grey plastic playing card box, with a card glued on the cover with a raunchy looking lady on it, but inside was a coil and battery, which when the trick pack was opened, delivered a nasty shock. I hated it! I returned to the living room to give Jimi a look at it. And duly electrocuted him! He seemed to take the joke quite well, but I can’t believe now that I actually did it! I think the trick then went on to do the rounds at the party. On reflection, did this occurrence influence the title of his 1968 album, ‘Electric Ladyland’?

I heard an additional tale about this night, which is that in my sister’s room upstairs - the front attic, The Moody Blues and a few others had locked themselves in, and were smoking a particular substance. Apparently, and I believe this to be true, Jimi was knocking to be let in and The Moody Blues and several other people were laughing away at the fact they weren’t letting him in!

The Moody Blues had played at La Dolce Vita on 2nd February 1967.  That same night, Jimi Hendrix had played the Imperial Hotel in Darlington

I also heard that a few weeks later, Jimi had returned to Newcastle, and requested another party at our house, however, my sister’s son Mark was very poorly with tonsillitis, so an alternative venue in Jesmond was sorted for the party. 

Even though these parties would often go on until very early in the morning, there was always a pleasant atmosphere, probably because there were a lot of regulars who knew my family quite well. As I was a schoolboy at the time, I frequently managed to ‘duck’ school after getting up to a living room with guests still sitting around, or asleep with all the lights left on!


NEMH notes:


With thanks to Marshall Hall for his post on the North East Music History Facebook group which led to Ian Currie's blog post here.


Prints of Ian Wright's fantastic Jimi Hendrix image above can be ordered at https://www.morrisonhotelgallery.com/photo/default.aspx?photographID=2414

Rocking the Joint

By Hazel Plater and contributors.


The Cooperage, on the Quayside in Newcastle upon Tyne has a long history.  Built in the 14th Century, it was used as a cooper’s workshop (hence the name) in the 18th Century, and only became a public house in the 1970s.  Although reputed to be haunted, this did not put people off and a large number of our North East Music History Facebook group members recall attending, or playing gigs in the upstairs venue.


Robert John Waters: “That's where I played my first gig in Newcastle.  One of my favourite looking buildings anywhere in the world, especially from outside.”


Martin Craig: “The Sabrejets had a 15-month residency there in the late 70s.  We took over the Monday slot from our Blueport label mates the Young Bucks when they left for London.  The longest running line up was us on Mondays, the Famous Five (AKA The 45s) Tuesdays and The Junco Partners on Wednesdays.  There was a volume point at which the building's timber frame vibrated in sympathy with the music and dancing; literally 'rocking the joint.'  Fabulous venue, should never have closed.” 

The Sabrejets at The Cooperage, Newcastle upon Tyne in 1978.  
L-R: Carlos Magee, Sandie LaRocque, Diesel , Mad Dog Lupé & Antoine Legris. 
Photographed by Rik Walton for Blueport Music

Jude Murphy: “I played in a post-punk band, a jazz-funk band, and a folk duo (not all at once) in there.”


David Mooney: "I saw Otway & Barrett play there in 1980 on their DK50/80 tour; the gig was free but you had to bring along a copy of that single (another Otway idea to get them into the charts). They underestimated the turnout, and there were loads who couldn`t get in, so they put on two performances."

Tim Readman: “Arthur 2 Stroke and the Chart Commandos did Thursday nights there in the early 80s for a couple of years. Packed to the gills every week. the audience were literally in our faces but what a great atmosphere!”

Lucy Falkenau: “I used to dread setting up the gear at the Cooperage - we had a residency with the band Fat Chance in the late 70s.  The stairs were a nightmare to take cabinets and instruments up, and worse to bring back down.   Inside was usually heaving.  It was a great venue with a fantastic atmosphere.   It was possible to generate a lot of feel good music there as the crowd was always very supportive.   Superb nights.  A lot of people met their life partners there.  Happy times.”

The Cooperage, Newcastle upon Tyne, March 2012

The Cooperage did close, but recently reopened.  The picture here was taken in March 2012 and while the bar was closed by day, a poster was in the window for a forthcoming dubstep/drum 'n' bass night.  For many more recollections of The Cooperage and other North East venues, please see the North East Music History Facebook group.

References:

https://www.facebook.com/groups/northeastmusichistory/
http://www.pubsnewcastle.co.uk/TheCooperage.html

Red Wedge at Newcastle City Hall, January 1986

By John Hardy 


"The Red Wedge gig at Newcastle City Hall was one of the best things we ever did.” - Johnny Marr


On a cold Friday night in January 1986, the Red Wedge bandwagon rolled into Newcastle upon Tyne for what was to be the final night of a week long series of concerts aimed at raising political awareness amongst the UK’s young voters.  Also on the agenda was the drumming up of support for Mr Kinnock’s ailing Labour Party: a sort of Band Aid for the proletariat.

Red Wedge ticket - Newcastle City Hall, January 1986 - photo  by John Hardy

Refreshed by The Farmer Rest’s finest and resplendent in our GPO issue overcoats recently purchased from the Army & Navy Store in the Handyside Arcade, my mate and I thought we were the embodiment of disenfranchised working class youth when in fact what we really were was a couple of immature, nerdy sixth formers with big hair, fresh out of the country, little fish in a big pond.  I do believe that we were aware though, that this was to be no ordinary evening at the City Hall.


The 7.30 start caught many of the gig-goers on the hop and Billy Bragg was already partway through his set of firebrand rhetoric as we took our seats in the stalls.  The evening passed by in a bit of a haze, as act after act were wheeled out to do a short two or three song set, such were the time constraints in place.  Chart acts such as Junior, Dee C Lee and The Communards went shoulder to shoulder with up and coming groovers like Lorna Gee, who delivered her memorable tune ‘Three Weeks Gone Mi Giro’ with great aplomb.


The North East was well represented too, particularly by the Kitchenware acts The Kane Gang and Prefab Sprout, whose two song set consisted of ‘Dublin’ and ‘Cruel’.  Paddy gave a little tease of what was to come when he introduced ‘one of the Smiths… Wendy Smith!’


Local hero Alan Hull was introduced as ‘probably one of the most political acts on the bill tonight’, since he was at that time standing as a Labour party candidate for Gateshead Council.  The late Lindisfarne leader took us through an acoustic set which featured the topical ‘Cruisin’ to Disaster’.  Another highlight was Tom Robinson performing a couple of his own excellent acoustic numbers.  Red Wedge was the brainchild of Bragg, Jerry Dammers and Paul Weller; another memory that remains was the latter two jamming on a great version of The Style Council’s ‘Walls Come Tumbling Down’.


Johnny Marr and Andy Rourke had played on several of the previous Red Wedge dates and, after encountering what they felt was indifference and hostility from several of the other acts, had returned to Manchester to rally the troops and, with Morrissey and Mike Joyce in tow, headed forth to Newcastle for an unannounced surprise appearance.


“The other bands were a little bit perplexed as to what we were doing there.  We had no instruments, so we borrowed The Style Council's equipment and just tore the roof off the place.  In the middle of the set we just walked on to this announcement and the place went bananas.” - Johnny Marr.


Morrissey and co. delivered a rocking four song set featuring ‘Shakespeare’s Sister’, ‘I Want The One I Can’t Have’, ‘The Boy With The Thorn In His Side’ and ‘Bigmouth Strikes Again’.  For once, the ever quotable Morrissey was not exaggerating when, in a 1986 interview with NME, he remembered;


“We made a very brief, but stormy appearance.  When we took to the stage the audience reeled back in horror.  They took their Walkmans off and threw down their cardigans.  Suddenly the place was alight, aflame with passion!"


With the chimes of ‘Bigmouth’ still ringing through the auditorium, the band exited stage left, Morrissey’s shirt, or rather blouse tossed to the baying hordes, leaving my mate and I, the pretend postmen, astonished and open mouthed: did that really just happen?  January 31st 1986 was one of the final Smiths appearances as a classic four piece line-up.  Things were never to be this pure or spontaneous again.


 Anything that was to follow was to be an anti-climax, for myself at any rate, although I do remember a Band Aid style finale of ‘Many Rivers to Cross’ as a fitting end to a wonderful evening.    My mate and I, along with 2,000 fellow Thatcher’s Children, left the City Hall that night uplifted by the thought that we could make a difference, all through the power of rock music… the heady wine of youth.  I wish I knew where I put that postie’s coat… 

Red Wedge Tour Programme, January 1986 - photo by John Hardy

Reference: http://www.passionsjustlikemine.com/live/smiths-g860131.htm 

Beach Blonde - Deborah Harry live in South Shields

By David Mooney

I took this photo of Deborah Harry onstage at Temple Park Leisure Centre, South Shields on 1st June 1990.

Deborah Harry at Temple Park Leisure Centre, South Shields 1st June 1990 copyright David Mooney.

The support act were Goodbye Mr. Mackenzie, featuring singer Shirley Manson, who would go on to have further success with the band Garbage.  I didn't see them though, as I was in the bar!

I don't remember too much detail about Deborah Harry's set but I do recall her doing a lot of Blondie numbers.  I remember that there was a lot of interplay between Debbie Harry and Chris Stein on the night, and you could tell that they were still pretty close.  He had played a big part in her last album, Def, Dumb & Blonde, which had been released about 8 months previously.



Set list (from http://www.deborah-harry.com/dh/setlists/060190.html)

01. The Hunter Gets Captured By The Game
02. Dreaming
03. Rapture
04. I Want That Man
05. The Tide Is High
06. Bugeye
07. Heart Of Glass
08. End Of The Run
09. Maybe For Sure
10. Kiss It Better
11. Danger
12. Comic Books
13. Detroit 442
14. Bike Boy
15. Cautious Lip
16. Brite Side
17. Hanging On The Telephone
18. Call Me
19. Stroll On
20. In The Flesh
21. One Way Or Another