Leslie West and Del Bromham Newcastle Opera House 21st April 2004
An evening with two great guitarists and two heroes of mine. The ticket lists the support act as Stray, but it was actually their frontman Del Bromham on a solo outing, as was Leslie West. The concert was in the bistro bar (again, the ticket doesn’t quite match this as it lists a seat number, which suggests that the concert was originally intended for the main hall, and moved into the more intimate setting of the bistro, perhaps to reflect ticket sales).
Leslie West was quite a regular visitor to the North East at the time, with his band Mountain, who often played the Opera House. This particular event featured West alongside the guitarist from Sheryl Crow’s band, Todd Wolfe. Leslie had just released his “Blues To Die For” solo album and likewise, Del had recorded his first solo album, “The Devil’s Highway”.
Del opened the show with a set of songs from “Devil’s Highway” which is a blues-based album with a combination of old songs which Del remembered from his childhood and some self-penned songs in the style of the old blues masters. He also threw in song Stray favourites. A great opportunity to see a legend close up and an excellent start to the evening. “In the late 60s the first wave of heavy guitar idols were usually Jimmy Page, Eric Clapton and Jeff Beck. Bromham’s past work should be reappraised as he clearly slipped through the net.” (Encyclopedia of Popular Music, 2002)
Leslie West has a unique guitar style, which can effortlessly move from the sweetest, gentlest tone to the deepest heaviest rock. His advice to Joe Bosso on MusicRadar (2011): “Tune your guitar. So many people who don’t like their sound aren’t in tune. So tune your damn guitar already, that’s the first thing. After that, take off any effects you have going on. 
Play straight into the amp. That’s the only way to do it. Work with your hands. Play right into that amp. You’ll find a sound. It might take time – a couple of years or whatever – but that’s all right. The important thing is to get there.” “West was affectionately nicknamed “The King of Tone” by his legions of fans, referring to his influential and world-renowned guitar tone” (WikiPedia). Leslie’s set was a mix of blues from his current album and a few Mountain classics. In 2011 Leslie West had his lower right leg amputated as a result of complications from diabetes. He continues to play and tour, although he hasn’t visited the UK in recent years.
This was a great opportunity to see two legends close up. The following night I was back in the Opera House with a group of mates to see the late great Alvin Lee, with Edgar Winter and Tony McPhee. Happy days 🙂
Posts Tagged ‘blues’
6 Feb
Leslie West and Del Bromham Newcastle Opera House 21st April 2004
25 Jan
Wishbone Ash New England tour Newcastle City Hall 14th November 1976
Wishbone Ash New England tour Newcastle City Hall 14th November 1976
Support from Supercharge
Wishbone Ash released their sixth album “Locked In” in early 1976. It featured much softer rock songs, and wasn’t as successful as their previous lps. They soon, however, followed this with their seventh album “New England” which was released later in 1976 and was a return to the traditional Wishbone Ash style. “New England” was recognised by fans and critics as classic Ash and was a much bigger success than “Locked In”. “New England” contained much harder rock songs along with soft rock ballads, and the classic twin guitar style returned in force.
Wishbone Ash toured to promote “New England”, calling at Newcastle City Hall on 14th November 1976. Support came from Supercharge; a great Liverpool band fronted by singer and sax player Albie Donnelly. Supercharge built up quite a following in the mid-70s gigging a lot on the college and club circuit; I remember seeing them several times, at Newcastle Poly and Middlesbrough Town Hall Crypt, I think. They were always good fun and guaranteed a good night. 
Andy Powell from my “New England” tour programme: “We’ve finally pulled all the elements together. We finally got back to what Wishbone Ash is all about…For a while we lost direction and had an identity problem. This band has never been hyped. Anyone with longevity has substance.’New England’ will confirm that substance.”
The programme goes on: “Like six years beofe, Wishbone Ash will provide a pleasant musical change from recent bands more adept at applying eye mascara and spitting blood capsules into the audience than playing musical instruments. The return of the guitar hero awaits your viewing pleasure. Although Wishbone Ash now live in America, they have retained those distinct British characteristics that have always been the trademark of their music. Upton will undoubtedly address the audience from centre stage, exposing his latest footwear [Now that rings a bell, Steve Upton would always show off his new shoes and colourful socks]. Turner will still split out vocals with fierce aggression while laying down the firm foundation of rhythmic support with drummer Upton. And another generation of aspiring guitarists will soon discover two idols to mould their styles after. Powell and Wisefield have taken those initial twin guitar relationships into untrodden territory….Wishbone Ash are blowin’ free once again.” And indeed they were.
When I opened my programme yesterday, possibly for the first time since the concert almost 39 years ago, I discoverd a flexi disc had been popped safely inside. This must have been given away on the night, and features snippets of four tracks from “New England”: “Outward Bound”; “Runaway”; “Mother of Pearl”; and “(In all my dreams) You Rescue Me”. I put it on my record player and played it, possibly for the first time. Straight away the music took me right back; the record started with some quite heavy rock, but soon the familiar twin guitar sounds came, weaving their way towards the melody. Classic stuff 🙂
The 1976 Newcastle concert was another excellent Wishbone Ash performance. The set featured old favourites, several songs from”New England” and a couple from “Locked In”.
Based on published setlists it is likely to have been something like this: Jail Bait (from “Pilgrimage”); Time Was; Blowin’ Free; Warrior; The King Will Come (all from “Argus”); Rest in Peace (from “Locked In”); Runaway; (In all my dreams) You Rescue Me; Lorelei; Outward Bound (all from “New England”); Bad Weather Blues (live favourite); Mother of Pearl (“New England”); Persephone (“There’s the Rub); It Started in Heaven (“Locked In”)
24 Jan
Wishbone Ash Reading Festival 24th August 1975
Wishbone Ash Reading Festival 24th August 1975
The Reading Festival hit its peak of success in the mid 1970s, and the 1975 festival sold out in advance, largely due to the appearances of headliners Yes (Saturday) and Wishbone Ash (Sunday) who were both massive bands at the time. DJs for the weekend were John Peel and Jerry Floyd. The weather was cold, with some rain, and beer can fights became constant throughout the weekend.
Following their experience of recording in the USA, Wishbone Ash decided to make the country their base, and all four members moved to Connecticut in early 1975. In April and May 1975 they undertook a US tour with Aerosmith, and then in July and August they went out on a major festival tour of Europe as part of manager Miles Copeland’s “Startrucking” package tour. The “Startrucking” tour featured Wishbone Ash, Mahavishnu Orchestra, Lou Reed, Soft Machine, Caravan, Climax Blues Band and Rory Gallagher and played major festivals in Germany, Belgium, Holland, Spain, France, Switzerland, Austria, and Reading in the UK. The tour ran into problems when headliner Lou Reed pulled out at the last moment, and became a financial disaster which resulted in Copeland having to liquidate his management company. At Reading the line-up featured “Startruckers” Wishbone Ash, Mahavishnu Orchestra, Soft Machine, Caravan, and Climax Blues Band. Lou Reed was billed to appear but did not. Wishbone Ash took out full page adverts in the UK music press saying “Welcome back to Britain. Steve – Andy – Laurie – Martin. Wishbone Ash. See them at the Reading festival”. We were all looking forward to it.
It was a cold and dark as Wishbone Ash took to the stage to close the festival. A capacity crowd gave them a welcome befitting returning heroes. Their visits back home were becoming less frequent and the fans had really missed seeing them. Wishbone Ash’s set was, as always, musical perfection and included tracks from current album “There’s the Rub” alongside old favourites like “Time Was” and “Blowin’ Free”. They started with the introduction to Pheonix, and the set closed by returning to the ending sequence of that epic song. Hearing the opening riff of “The King Will Come” cut through the air and drift across the packed field was pure magic. A great way to end the weekend, with the twin guitars of Andy Powell and Laurie Wisefield soaring through the late Sunday evening. Then it was back to our tents and a last night under the stars to the shouts of “Wally”, which continued until the early hours.
Setlist: Phoenix (intro), Rest in Peace, The King Will Come, Warrior, Persephone, Half Past Lovin’, Trust In You, Time Was, Blowin’ Free, Bad Weather Blues, Phoenix (closing section)
Thanks to David Major for allowing use of his picture of the Reading “Village Stores” through the Wikimedia commons licence. I remember the “Village Stores” very well. I can still feel the cold and the dew now. I would rise early at dawn; I could never sleep well in a tent, and the ground was so hard. At perhaps 5 or 6am I would leave my tent and walk around the site until the stores opened. I would then buy some fresh bread and milk. Luxury 🙂 It all seems so long ago now; a different age, a different place and almost a different world. Happy happy days.
13 Jan
Steve Winwood York Barbican Centre 3rd March 2004
Steve Winwood York Barbican Centre 3rd March 2004
The next time I saw Steve Winwood was more than 20 years later at a concert at York Barbican Centre. David was a student at Leeds at the time, and I drove down to York and met him at York station. This was my second visit to the Barbican, having been there once before to see Jethro Tull. The concert was all standing with a modest crowd gathered to see Winwood. Although the ticket lists “Special Guests”, I am pretty sure that this wasn’t the case and that there was no support act, with Steve playing two sets. The concert was very much a run through his career from the ’60s onward, with selections from his time in The Spencer Davis Group, Blind Faith, Traffic and his solo work. The concert came at the time of his eight solo album “About Time” and he was accompanied by an excellent band with heavy use of percussion, which reminded me of the Rebop era Traffic. A great show and a chance to get very close to a legend.
Based on a setlist from the London show on the same tour it is likely that the set was something like this:
Set 1. Pearly Queen (Traffic); Different Light; Cigano (for the Gypsies); Empty Pages (Traffic); Can’t Find My Way Home (Blind Faith); Crossroads; I’m a Man (Spencer Davis); Glad (Traffic); Freedom Rider (Traffic).
Set 2: Talking Back to the Night; Bully; Higher Love; Who Knows What Tomorrow May Bring (Traffic); Keep On Running (Spencer Davis Group); Back in the High Life Again; Dear Mr. Fantasy (Traffic); Low Spark of High Heeled Boys (Traffic).
Encore: Why Can’t We Live Together?; Gimme Some Lovin’ (Spencer Davis Group)
Band: Steve Winwood (vocals, Hammond), José Piresde de Almeida Neto (guitar), Walfredo Reyes, Jr. (drums, percussion), Karl Vanden Bossche (congas), Richard Bailey (timbales), Karl Denson (sax, flute).
I’ve seen Steve Winwood a couple of times since then, once at the Sage and once at Wembley Arena when he toured with Eric Clapton, and I’ve already blogged about those concerts.
19 Nov
Robert Plant Newcastle Academy 18th Nov 2014
Robert Plant Newcastle Academy 18th Nov 2014
You just know that Robert Plant is enjoying himself.
The Newcastle Academy was completely packed last night; packed to the walls, so you couldn’t move at all; probably the fullest I’ve ever seen it. I was right down at the front crammed close to the stage, and there were lots of Zeppelin veterans around, everyone talking about their memories of that legendary band. One guy was relating stories of Zeppelin gigs at the Mayfair and an early City Hall show in 1970. Two other guys were talking about Earls Court and Knebworth. The respect for Plant remains solid, immovable, deep and immense. But a Plant performance these days isn’t simply a Zeppelin tribute act; far from it, The Sensational Space Shifters are a band, and each of the members are great musicians in their own right. The set is a mix of tracks from the new album, blues, folk (“there is lots of folk music tonight”) and Zeppelin classics reworked (a little, but not too much). Shape Shifter music is an eclectic mix: the world music side is clear and exemplified by Gambian Juldeh Camara’s contribution to the performance on the “riti” (a single-string fiddle) and Robert and the others playing those large tambourine-like instruments (are they called a “daf”?), but it isn’t as simple as combining african instruments and rhythms with rock. 
There is also rockabilly, particularly from crazy rock-out guitarist Justin Adams, psych, and the blues runs through everything, and screams from Liam “Skin” Tyson’s guitar. Oh, and of course, those familiar Zeppelin rock riffs come thundering through every now and then, as if we needed to be reminded where this guy’s roots lie. Plant looks great, his lion’s mane of hair intact and swaying, his voice as soulful, powerful and gentle as ever. You can feel that he is enjoying life and the music; he smiles and chats and jokes with the crowd, who give the band a roaring reception. The Sensational Shape Shifters give Plant the freedom, opportunity and space to safely bend the blues, rock, world music, mix it with excerpts from his back catalogue, and throw in all of the other musical influences which obviously run through his head, within a safe environment. The crowd know what to expect, and love it. We even get a snippet of House of the Rising Sun which prompts a massive singalong from the Geordie crowd. Amazing. Possibly the best time I’ve seen Plant in recent years.
Setlist was something like this: Friends; Spoonful; Turn It Up; Going to California; Embrace Another Fall; Rainbow; What Is and What Should Never Be; No Place to Go; Babe, I’m Gonna Leave You; Little Maggie; Fixin’ to Die; House of the Rising Sun; I Just Want to Make Love to You / Whole Lotta Love. Encore: Rock and Roll
12 Nov
John Mayall 80th Anniversary Tour Sage Gateshead 11th November 2014
John Mayall 80th Anniversary Tour Sage Gateshead 11th November 2014
John Mayall at 80! Wow.
Blues legend John Mayall is out on the road again for his 80th, yes you read it right, 80th anniversary tour.The ‘Godfather of British Blues’, founder of the Bluesbreakers, who launched the careers of Eric Clapton, Mick Fleetwood, John McVie, Peter Green and Mick Taylor, was back in the north east last night to play a concert at the Sage Gateshead. Support came from top blues band King King.
Mayall has dropped the Bluesbreakers name for his current band to signal a slimmed down new line-up which features Rocky Athas on guitar, Greg Rzab on bass and Jay Davenport on drums.
The set went something like this: “You’re Too Lazy” (great start with white haired pony-tailed Mayall up front playing mouth harp from the word go), “Where Did You Go Last Night?” (Mayall on rolling piano and great guitar solo by Rocky), the lights dim and John picks up guitar for “Early In The Morning” which is a slow moody blues song “early in the morning and we ain’t got nothing but the blues” and which sees John and Rocky trading riffs, “The Sum of Something” (Mayall back to piano and powerful mouth harp solo ), 
“A Special Life” (the title track of Mayall’s latest, and 45th!, album), Mayall explains that the band are playing a different set each night on this tour to “keep things alive and keep us on our toes”, “Moving Out and Moving On” (Mayall back on guitar for some great guitar work and a stomping blues), then an old familiar tune: “Parchman Farm” (great chugging mouth harp and bass and drum duel/solo from Greg and Jay), “Speak of the Devil” (here he comes after you 🙂 – amazing mouth harp solo which receives a loud and well deserved round of applause), Otis Rush’s “I Can’t Quit You Baby” (“we are going to do a blues” with an amazing guitar solo from Rocky to loud applause), and then a very welcome surprise – my favourite (and which I don’t believe he plays that often now) “Room To Move”, and a 100% amazing mouth harp solo from the master Mayall, drum solo from Jay and a tremendous bass solo from Greg. Then it’s back to Mayall’s harp and the familiar “Room to Move” riff. Took me right back. It really don’t come much better than this. The concert was pure class. Top blues played by the master. But you wouldn’t expect anything less. Long may he continue.
17 Oct
Ten Years After Newcastle Mayfair 5th Oct 1973 & Newcastle City Hall 21st April 1974
Ten Years After Newcastle Mayfair 5th Oct 1973 & Newcastle City Hall 21st April 1974
Friday night at the Mayfair, 1973, and Ten Years After were playing! There was a special buzz about this gig. It wasn’t that often that we got the chance to see Alvin Lee and Co. in a ballroom setting. We went through early and joined the queue which curled right down the length of Newgate Street. Once inside we wandered around the balcony, visited the many bars and then tried to get a good spot on the dance floor, ready for when TYA came on stage. To say the place was packed was an understatement. You could hardly move. The band rocked that night, and the Mayfair crowd gave them a hero’s welcome. A great gig. Support came from a band called Ruby (?) We emerged hot and sweaty into the cold night air sometime after midnight and walked the 15 miles home. We got home in the early hours, exhausted. Well worth it; those were the days.
Come 1974 and TYA released their eighth album Positive Vibrations. It wasn’t their best and reviews weren’t very positive. Rolling Stone said of the lp: “TYA have changed musical directions so often in the past that they’ve never been able to develop a comfortable sound within any field, so now they sound as though they’re merely dabbling in various styles. …. Alvin Lee & Co. have stuck their fingers into so many musical pies that they’re now as confused as anyone attempting to follow their music. ”
Things weren’t so good in the TYA camp. Alvin was launching a solo career, and live reviews of TYA were not so hot. Reviewing a London Rainbow gig in the NME, Tony Stewart wrote: : “Competent musicians TYA may be, entertainers they certainly are not. Their stage presence was as flat as a Woolworth’s portrait reproduction. Alvin Lee’s delivery of notes at an immense speed resembled a production line worker knocking rivets into a car body: precise motions, but without any other purpose than holding something together until it’s time to go home (I’m Going Home that is). Sorry, but it was a relief when it was.”
I think Alvin was just tired of playing Going Home and of an audience who just wanted to relive Woodstock. “The stopping point came when I felt I’d written every song I could think of with Ten Years After and played every solo…all I was doing was pinching bits from this and that and putting them together differently and it was starting to get repetitive….Ten Years After aren’t functioning at the moment.” (Alvin Lee speaking to Lorna Read, Beat Instrumental Magazine, 1974).
I saw Ten Years After once more at the City Hall in April 1974. In my eyes they were still great. But it was almost over. The following night, Ten Years After played their last UK gig in Manchester. Officially the band was resting, mothballed, but there were no more TYA appearances for 10 years or so when the band reunited for some shows. Alvin focused on his solo career from then on.
Ten Years After setlist at the time was something like: Rock & Roll Music To The World, Nowhere To Run, Good Morning Little School Girl, It’s Getting Harder, Hobbit, Love Like A Man, Slow Blues In C, Look Me Straight Into The Eyes, Classical Thing, Scat Thing, I Can’t Keep From Crying Sometimes, I’m Going Home, Sweet Little Sixteen, Choo Choo Mama
Thanks to John for the poster image.
I saw Alvin Lee several times over the years. He remained an amazing guitarist, powerful performer, and I always enjoyed seeing him play. But there was a magic about Ten Years After in the early 70s that could never be recreated. Never the most fashionable band, and often the victim of some unfair press, on a good night (and they mostly were good nights) Alvin Lee was incredible, and Ten Years After were one of the best rock’n’roll and blues bands in the world.
RIP Alvin Lee.
16 Oct
Ten Years After Newcastle City Hall 29th October 1972
Ten Years After Newcastle City Hall 29th October 1972
“Who is the best guitarist?”
We would have endless discussions like that at school, debating about our personal favourites and almost coming to blows with friends. The music press wasn’t much better, with the Melody Maker polls, and articles which discussed in great detail the technique of all our idols. It was, of course, accepted that Hendrix was the master, but then what was the ranking after that? Eric Clapton was the blues “god”, the standard by which we measured blues guitar; Jimmy Page was pure rock and riffs, Peter Green was all emotional blues and “feel”, Jeff Beck was the elusive genius, and Alvin Lee? Alvin was fast, speed, technique, flash, and rock’n’roll. Alvin wasn’t into any sort of show. He strapped on his red Gibson, walked on that stage, and played. And boy how he played.
“Who is the best guitarist?”
It was silly really. All of those guys had their own style, their own brand, and they were all so different and so excellent in their own way. The debate was ill-founded, futile, and only caused arguments and bad feeling.
I saw Ten Years After again on 29th October 1972 at Newcastle City Hall. Support came from the excellent Frankie Miller who was backed by Brinsley Schwartz. 
This was another great gig. John reminds me that loads of us went. Everyone I knew from school who was into rock was at this gig, we ran into loads of mates; there must have been 20 or 30 of us. Ten Years After were once again, great. The setlist was probably something like this: One of These Days; You Give Me Loving; Good Morning, Little Schoolgirl; Rock & Roll Music to the World; Turned Off TV Blues; Standing at the Station; I Can’t Keep from Crying; I’m Going Home; Choo Choo Mama; Baby Won’t You Let Me Rock ‘n’ Roll You, and will likely also have included a classical guitar piece and a scat guitar jam.
I do remember several encores that night, and us all rushing right down to the front, cramming the area near the stage. When it looked like it was all over, they would come on again, while we nervously looked at our watches, in fear of missing the last train, which I think we did, incidentally. However, all was not lost, there was a later bus, which took us all over the place. We then had to walk a few miles, arriving home in the early hours.
“Who is the best guitarist?”
If you had asked me that night, I would, of course, have said “Alvin Lee”. 100% and no contest 🙂 Happy Days.
Thanks to John for the image of his poster.
15 Oct
Ten Years After Newcastle City Hall 16th September 1971
Ten Years After Newcastle City Hall 16th September 1971 
Back in the late ’60s we carried our lp sleeves almost as badges of honour. I looked up to the sixth formers who would come to school wearing their great coats or afghans, proudly clutching their latest albums under their arm for all to see. It was a way of showing everyone exactly what sort of music you were into. The coolest of the sixth formers would walk around carrying Cream’s Wheels of Fire, Tyrannosaurus Rex’s Beard of Stars, Led Zeppelin 1 or 2, The Mothers’ We’re Only in it for the Money or Lumpy Gravy (very cool), or Beefheart’s Trout Mask Replica (even more cool). Two other albums which featured were Ten Year’s Afters’ Stonedhenge and Ssssh (which had a great red fuzzy blurred semi-psychedelic picture of Alvin Lee on its front cover). The sixth former’ had a record club where they played these lps on an old Dansette player. As a younger student, I wasn’t allowed to bring my own lps, but they did let me sit in once or twice. They all sat cross-legged, listening intently, nodding their heads, looking knowingly at each other. I was totally in awe of them and of the magic sounds which came out of their old record machine. Some of that music was the sound of Alvin Lee’s guitar, and it just blew me away. 
One of the first times that I heard Ten Years After was the track Speed Kills which appears on a sampler album The World of Blues Power Volume 2. The track, as the title suggests, features some amazingly fast fretwork from Lee. I was trying desperately to master the guitar at the time, and Alvin Lee was one of my idols. I tried, usually without success, to learn those licks. I would play the lp at slow speed and try to work out what Alvin was playing and how he did it. I then had to transpose the key because of the difference in speed; it hardly every worked, much to my frustration. I guess it was never really meant to be. I ended up going to see my guitar heroes, always secretly wishing I could have been one of them. My other early experience of Ten Years After was the hit single Love Like a Man, which was a big favourite of all my friends. The other event which sticks in my mind when thinking of Ten Years After, and which I have to mention, is of course the Woodstock film. We all trooped down to Studio 1 cinema to see Woodstock on the first day that it was shown in town, wearing our best weekend hippy gear. Now the film has many great moments, but the one that had the greatest impact on me was Alvin Lee performing I’m Going Home, which was simply breath taking. The performance, the speed, the energy, the crowd reaction, the way the images cleverly flashed from one view of Alvin to another; to a young teenager sitting in the third row of the cinema it was mind blowing. That was the moment that confirmed me as a big fan of Ten Years After, and in particular, of Alvin Lee. 
The first time I got to see Ten Years After in concert was in September 1971. Support came from (pre massive fame) Supertramp (the cover of their album seemed very rude to a young guy) and folk singer Keith Christmas. Both supports were excellent. Those were the days before I discovered the temptations of the bar, and watched ever minute of the support acts. But I was there to see the man who had amazed me in Woodstock; Alvin Lee. And he, and Ten Years After, rose to the occasion and gave us a blistering performance. TYA had just released their sixth album (they had been busy guys) A Space In Time. I think they started with One of These Days, which was also the opening track of the album, and a very powerful song. One Of These Days starts with the sound of Alvin’s guitar gradually increasing in volume, he then cuts the chord, and his lone voice launches straight into the first line “One of these Days Boy!”, Leo Lyon’s bass thunders in and away we go, Ric Lee gently touching his cymbals, and the song takes off, Chick Churchill’s swirling Hammond provides a backdrop for Lee’s guitar, which is quite restrained compared to some other songs. Great! And on stage in front of me was Alvin Lee, playing his famous red Gibson 335; yes it was the same one he played at Woodstock. 
I don’t remember exactly what they played; I think it included the moody, lurching and doomy I Can’t Keep From Crying, Sometimes, their great cover of Good Morning Little Schoolgirl, and of course they played Going Home; I watched Alvin’s fingers intently, trying to pick up some tips. But there was more to Alvin Lee than speed and technical guitar flash, the guy understood the blues, was a master of light and shade, used dynamics of sound and speed to great effect, and could play rock’n’roll just like Chuck. And he had a perfect rock voice. One song, I don’t know which, featured Alvin scat singing along with his guitar, showing his jazz influences. And Ten Years After weren’t just Alvin Lee. Lee Lyons pounded away at his bass, head hung over his instrument, speeding along with Lee. Chick Chruchill provided that classic ’60s swirling Hammond sound, and drummer Ric Lee understood the light and shade of blues drumming. I next saw Ten Years After when they headlined the Sunday night of the 1972 Reading Festival. I stood in that field, as close to the stage as I could get. They played Going Home and I thought I was at Woodstock 🙂 Happy days. We will never ever see the like again. I saw Ten Years After a few more times and I’ll spend the next few days reflecting on just how great they were, and how sadly missed the great Alvin Lee is. Many thanks to John and Mitch for their images of posters from the City Hall gig.
8 Oct
Pat Travers Newcastle City Hall 30th March 1980
Pat Travers Newcastle City Hall 30th March 1980
Canadian guitarist Pat Travers was one of the hardest working guys in the music business during the late 70s and early 80s. He took the power trio concept of Cream and Hendrix and developed it further, playing in his own unique style which mixed technical flash with hard rock, blues and jazz. And this guy just gigged and gigged. He seemed to pop up everywhere at the time, always full of energy, and guaranteed to grab an audience by the scruff of the neck. I remember seeing him at Reading Festival in 1976 and 1980, supporting Journey at the Mayfair, at Redcar Coatham Bowl, and I’m sure I saw him support one or two people at the City Hall too. By 1980, Pat Travers was touring in support of his seventh album “Crash and Burn” and the three piece format had been expanded by the addition of a second guitarist. Support for this gig at Newcastle City Hall was Diamond Head. The concert was poorly attended, which was a shame, because Pat and his band delivered a blistering and loud set, which showed what a great guitarist and showman he was. Pat Travers live was fast, loud and rocking. Very under-rated, he often seemed on the brink of massive success, but it never quite materialised. He was, of course, gigging away at the time of punk, which won’t have helped, and his brand of bluesy jazzy rock’n’roll didn’t quite jell with NWOBHM fans. He continues to play to this day and has been over to the UK in the last year or so. Writing this reminds me how great his music is. Another guy I really should catch up with again.
Just watched him playing “Snortin’ Whiskey” from “Crash and Burn” on Youtube. Awesome. Reminded just how electric rock can be. Have a look if you get the chance.
Setlist from Reading August 1980: Rock ‘n’ Roll Suzie; Your Love Can’t Be Right; Life in London; Born Under a Bad Sign; Boom Boom (Out Go the Lights); Snortin’ Whiskey; Hooked On Music; Hammerhead; It Makes No Difference
“Snortin’ whiskey, drinkin’ cocaine
Got this feelin’ I’m gonna drive that girl insane
Insanity!”
(Snortin’ Whiskey, Pat Travers, 1980)
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