A night of memories, all connected, all intertwined and all came together for a special occasion at the glorious Sage Concert Hall, Gateshead. It is 50 years since Mike Oldfield released his unique ground-breaking LP Tubular Bells. To mark the occasion a tour, orchestrated by Mike Oldfield’s long-time collaborator and musical director Robin Smith has been gracing concert halls across the UK performing the work in its entirety.
But first the memories.
Memory 1. This first memory is a little hazy. A group of friends and I made the trip to Newcastle in 1973 to see one of the first showings of the film The Exorcist. I think, local councils had the final say as to whether this controversial horror epic could be shown in their city. Sunderland decided to ban the film, but nearby Newcastle decided to allow it to be shown. It was a Sunday afternoon showing, we had all read a lot about the movie, and how scary it was. The film was showing at the Essoldo cinema in Newcastle (see image from Wikimedia Commons of the film opening in the USA). At this stage I had not heard Tubular Bells but, from that day on, the movie and the recurring piano theme from Mike Oldfield’s classic album are linked forever in my mind. To say the film was scary is an understatement. The impact the film had upon me and my friends cannot be underestimated. We were terrified, especially by the scenes where the possessed Regan lay on the bed spewing green slime, emanating smoke and screaming expletives including “your mother sucks c***ks in hell!”. I can watch the film now and it doesn’t seem too bad, but on that Sunday afternoon as a teenager it seemed to be the most frightening thing I ever saw!
Memory 2. Having heard Tubular Bells in the above film, and read about the album in Sounds, I decide to go out and buy the LP (I still live in the land of vinyl and like to call records LPs!) I play it to death and becomes, and remains one of my favourite albums of all time. The mix of piano music, orchestral, Viv Stanshall’s announcements of the instruments including the tubular bells themselves, electronica and jazz remains an entrancing experience for the listener. I still possess a copy and play it now and then.
Memory 3. Newcastle City Hall 1974 (see ticket). The progressive rock/psychedelic band Gong go out on tour along with a film of the recording of Tubular Bells. Another hazy memory. I think the film was shown last, after performances by Hatfield and the North and the aforementioned Gong who were well into their crazy pothead pixies phase. I seem to recall quite basic graphics with a projector showing the hour-long film on to a quite simple screen. The film followed the recording through the phases of the album, showing the musicians playing each part. It was the closest we would get to any sort of performance of Tubular Bells at the time and was very entertaining.
Memory 4. Newcastle City Hall again. 1975 (see ticket). This time an orchestra is performing Tubular Bells to a very empty hall. The support act is Last Exit to feature on bass guitar, Gordon Sumner, otherwise known as Sting, who would, of course, go on to achieve international fame with his later band The Police. Interestingly, the guitarist in the orchestra performing Tubular Bells was none other than Andy Summers, who would later join Sting in The Police. Did they meet that night and forge an early friendship? Who knows. Such is the stuff of legend. An interesting evening spent with a couple of hundred other attendees.
Memory 5. The City Hall yet again. The 1980s and Mike Oldfield has decided to go out on the road with a band and perform selections of his material including Tubular Bells and segments from his other albums. He had also achieved singles chart success with the lovely song “Moonlight Shadow” sung by Maggie Riley who, I think, joined him on at least one of the two performances I attended (See example ticket: there were two concerts in different years). Two great evenings with a true genius.
Now, I take the opportunity to see Tubular Bells performed once more, this time by a small orchestra/band in the Sage Gateshead. No appearance by Mike Oldfield on this occasion. The performance is advertised thus: “To celebrate the 50th anniversary of Tubular Bells, the iconic masterpiece will be performed live with a full band at Sage Gateshead next Spring, conducted and arranged by Oldfield’s long term collaborator Robin Smith. Tubular Bells was the debut studio album by English multi-instrumentalist, composer and songwriter Mike Oldfield conceived in 1971 and finally released in 1973. Oldfield who was just 17 years old when he started composing the music, recorded and played almost all of the instruments on the album. It gained worldwide acclaim when the opening theme was used for the soundtrack of the horror film, The Exorcist and went on to become the highest selling instrumental album of all time. A bold and progressive fusion, Tubular Bells is a journey through classical, jazz, folk, prog rock and electronica.”
The performance is in two segments. The first short 30 minute segment comprises short sections from Mike Oldfield’s other works including the aforementioned “Moonlight Shadow” performed exquisitely by a female singer. They also perform “Family Man” which was a hit for Hall and Oates. I was not aware that Oldfield wrote that song. You learn something every day. After a short interval the ensemble returns and performs Tubular Bells in its entirety, authentically, and just like my old LP! It starts, through a fog of dry ice, with The Exorcist accompaniment piano piece, performed by Robin Smith on a grand piano. He then moves on to conduct the band through the remainder of the piece complete with excellent twin guitars, fuzz guitar, Viv Stanshall (his voice, that is) introducing the instruments and first class vocalists. An hour later and the performance concludes with “the sailors Horn Pipe” just as on the album. Mike Oldfield used to perform this when he was a member of New World, a band led by Kevin Ayres. Another hazy memory: I remember New World performing at Sunderland Top Rank around 1970 supporting someone like Quintessence. Sadly, I was too young to go along to that show. And it is all over, on time at 9:30 PM. No photography was allowed hence no images of the show on this blog entry. An excellent performance and a very pleasant evening for my carer Jackie and me.
Another memory created, each of them having a great piece of music as the common thread.
Setlist: Theme from Tubular Bells 11; Theme from Ommadawn; Theme from Return to Ommadawn; To France; Moonlight Shadow; Family Man; The Gem.
Second-half: Tubular Bells
A bit of an adventure. I always try and get to see 
The Royal Hall is a wonderful, exquisite, old, building (see image courtesy of Wikimedia Commons). I have been there twice before, once to see Camel and on another occasion to see the Groundhogs, Martin Turner’s Wishbone Ash and Focus as part of a Classic Rock package tour. When we arrived, Fairport were already on stage, just starting their first set.
Their official site promised: “Fairport Convention have been entertaining music lovers for over half a century, having formed in 1967. During that time the band that launched British folk-rock has seen many changes, but one thing has remained the same – Fairport’s passion for performance. This year’s Winter Tour will present a mix of long-established Fairport favourites and some surprises from albums old and new.”
The current band features founding member Simon Nicol on guitar and vocals, long-time member Dave Pegg on bass guitar, Ric Sanders on violin, Chris Leslie on fiddle, mandolin and vocals. This time round Fairport Convention were also joined on stage by former member Dave Mattacks on drums. Sadly, we arrived too late to catch the opening act 
Fairport always guarantee a pleasant evening with a mixture of fun stories, and songs old and new. The first set was exactly that with songs from their latest album and closing with “Sloth” from the 1970 Full House LP. “Stuffing their set with a surprising amount of new material for a vintage act, Fairport are still clearly having fun and brought the house down.” (The Guardian)
During the interval I picked up a programme, signed by the band. Dave Pegg was, as usual, at the merchandise desk greeting fans and signing items. He kindly signed two programmes for me, one for me and one for my friend John in the USA. I also purchased a lovely little book which Peggy had produced to accompany a box set some years ago. The cover is full of images of him over the years (see picture). It was good to meet up with Richard Houghton, the publisher of 
After a glass of red wine, we took our seats for the second half of the show. Once again, we were treated to a selection of songs old and new culminating in the traditional folk song “Matty Groves” and the always highly anticipated encore finale “Meet on the Ledge”. The vocals of Hannah Sanders from the opening act added an extra dimension to the song which of course was originally sung by the sadly missed Sandy Denny.
We left via the exit (see sign, courtesy of Wikimedia Commons) and were greeted by our taxi driver. The drive north was equally scary with a true pea souper fog that limited our speed. We eventually picked up carer number two, Elaine, close to 1 AM and they put me to bed just after 1:10 AM. An interesting, exciting, scary, yet worthwhile evening.
“Fairport is an institution, a festival, purveyors of memories, and keepers of the folk flame. But most of all they are a brilliant live band.” (Folk & Tumble magazine)
Wow! Sometimes there are gigs where everything comes into place and you have an unforgettable evening. Well this was one such occasion. The Cluny is a tiny pub venue in Newcastle. It cannot hold more than a few hundred people. So when the 
We came into the concert part and were faced with a jampacked room, filled with a sea of people. We couldn’t move and couldn’t see a thing. Now usually I don’t take advantage of being in a wheelchair. But this was one occasion I broke my rule and used my disability to my advantage. I slowly moved forward asking people to let me through to the front. Slowly but surely, everyone was so kind, and I reached a spot almost at the front of the crowd, one person between me and the stage. I had a wonderful view of everything. Thank you so much Cluny crowd! Elaine followed nervously behind me. I asked her to go to the bar and get me a drink and a T-shirt. “I can’t possibly move at all” she explained “and if I do get to the bar there is no way I can get back!” And she was right. We were completely crammed in and could not move at all. The entire venue was completely full and there was no room to move anywhere. Wonderful. It felt just like the old days when I was used to being crammed down close to the front.
I recall seeing the Pretenders at the Mayfair around 1977 and that they were pelted with pints of beer by the traditional heavy rock crowd. So we get “Back on the chain gang”, “Talk of the town” and “Don’t get me wrong”. All played at full volume, with great raspy vocals from Chrissie. At one point she asks “did any of you see the New York Dolls?” A big cheer. “And Johnny Thunders. He’s dead now. But so is everyone these days.” Says Chrissie. “We can play arenas if we wanted to, but we want to come back and play little venues. We are losing a f***ing fortune!” Chrissie also talks about the Grammys: “what happened to real music and great rock ‘n’ roll?” More rock ‘n’ roll follows. And then they are gone.
The 
The Residents hail from the USA and never reveal their individual or collective identities. They always wear masks on every appearance, album cover or indeed on their website. So, there is an air of mystery and intrigue about this band. I delved further into this strange collective and found their music interesting, sometimes hard to come to terms with, but ultimately enjoyable. Now every album, and there have been many of them, is different. I have listened to some of their music but I am not familiar with all of it and can’t claim to be a true “fan”.
From their website: “Alternately seen as a rock band, an arts collective, and a spirit, THE RESIDENTS have been regarded as icons in the world of experimental music for almost fifty years. In addition to their ground-breaking work in the areas of trance, world fusion, electronica, punk, industrial and lounge music, the group has also been credited with being among the originators of performance art and music video, with their videos included in the permanent collection of the Museum of Modern Art. Their lengthy career has also taken them into the world of film and television music, having scored numerous films and TV series as well as several projects for MTV. In addition, the group is also thriving in the world of digital media having released ten DVDs, and two internet series. “Wow! Eclectic, super productive and genre crossing or what!
So, I was determined, throughout the last 50 or so years, to keep my promise to myself and go and see this band if they ever came to the North-East. Now, to my knowledge, The Residents have never appeared in the North-East of England before. They have played in the UK on a number of occasions, Often at prestigious venues such as the Royal Festival Hall, London and Hammersmith Odeon, London; but have never ventured close by. I guess I have been lazy, and never travelled to see them in the past. More fool me! So, when I saw that they were coming to the Boiler Shop in Newcastle, I just had to go.
Bad timing of the night. I read on the Boiler Shop website that there was a support act so I figured the main act would be on stage around 8:30 PM to 9 PM. So, I asked my taxi driver to arrive at 8 PM to get me there just in time (I thought) to see The Residents. Big mistake. When we arrived at the venue and made our way up onto the wheelchair platform, our USA friends were already on stage. My carer for the evening (and thanks for the photos) Jackie, kindly went and purchased a fine pint of Guinness for me and asked at the bar what time they had taken to the stage. Apparently, they started at 8:15 PM so we had missed around 15 minutes. Anyway, their performance was fantastic in the true sense of the word. They had a great light show and behind them was a screen displaying images which, I assume, related to the songs and the bands mythology. I bought a T-shirt with their signature bubble eye mask displayed on the front, a couple of badges and a book which is an A-Z Encyclopaedia of The Residents (it will take some reading!).
The singer would do a crazy little dance moving his (?) arms up and down and bobbing up and down at the same time. Difficult to describe. They all had masks over their faces and instead of eyes appeared spooky lights. The crowd was a mixture of ages and different types drawn from their fan base: hippies, punks and those who were probably there out of interest and curiosity like myself. The place was reasonably full but by no means packed. I can’t begin to describe their music. Every song is very different with sometimes shocking and spooky lyrics. “Curiouser and curiouser!” cried Alice (she was so much surprised, that for the moment she quite forgot how to speak good English).”(Alice’s Adventures in Wonderland, Lewis Carroll, 1865).I distinctly remember some of the songs: “Die! Die! Die!”, ” Kill Him!” and “Constantinople”.Definitely leading us further and further down that rabbit hole.
I was drawn into it. The crazy, spooky, music. Indescribable. New wave? Trance? Psychedelia? Labels don’t work for The Residents. A challenging, strange, difficult to describe yet ultimately enjoyable evening. 50 years too late, but worth the wait.
I have wanted to see 
“One of his (Mills) earliest musical memories was “Puff, the Magic Dragon” by Peter, Paul and Mary, which he believes “summed up [his] childhood… However, it was hearing “You Really Got Me” by…The Kinks that inspired him to become a guitarist. “It was like walking into a temple, a moment when my life changed… Chung! This is your destiny! …I was a guitar worshipper.” Through the guitar, Mills also discovered Deep Purple, and has cited their lead guitarist Ritchie Blackmore as a major influence on his style. Later, Mills started to delve deeper into psychedelic music, and spent most of his A-Level years taking LSD and listening to The Doors. … but he soon realised that drugs alone would not bring him the enlightenment he sought.“ (From Wikipedia)
I even recognised several songs: the John Lennon classic “Gimme Some Truth” the lyrics spat out by Mills with appropriate venom, the Kula Shaker signature tune, “Tattva” and the Deep Purple (originally Joe South) classic and closer “Hush”. Along the way we were treated to songs with references to the 60s: “Grateful When Your Dead” and “Jerry Was There” (Jerry Garcia?) A compelling and quite bizarre take on “Ginger Bread Man” (yes, the lyrics were actually “Run, Run As Fast As You Can, You Can’t Catch Me, I’m the Ginger Bread Man”: just wonderful). Add some appropriate namedropping. Crispian: “I stole the next riff from George Harrison. I rang George one evening (you would, wouldn’t you, after all your mum is Hayley Mills) “Hey George, I hope you don’t mind I borrowed that riff from you”. George: “of course that’s okay, Crispian, but actually it’s not my riff, it’s Eric’s (Clapton, of course). Surreal., Then they were gone. It was almost 10:30 PM.
They were soon back for a trio of encores concluded with the wonderful “Govinda”, very similar to a Quintessence song of the same name. I loved every minute of it. Then things started to get crazy. A friendly guy, completely off his head, got me a set list (see image) from the stage. He then went on to offer to steal a guitar pedal for me.” No!” I shouted. He persisted “hey man, it’s cool”. I replied “it’s okay, I’m cool. The set list is just fine for me”. The guy gave me a couple of peace signs and disappeared into the crowd. Elaine and I made a hasty retreat through the crazy throng and got into our taxi, which was there waiting for us. The craziness continued, we drove through a tunnel where groups of young people were congregated making fires and settling themselves down for the evening, a couple of guys entertaining them with fire sticks which they were twirling around their heads.
Now in this post, and the ticket pictured within, lies a mystery. Was this a concert I attended at Newcastle Mayfair? My friend found the ticket on eBay and bought it for me (thank you John). I did not already have the ticket but that is not to say I was not at the concert! Indeed I may well have been there. I would go to Mayfair with my late wife Marie on many Friday nights during the 1970s and other nights when there was a good band playing. I was also a massive 
At the time the band were playing such classics as the great rock ballad “Love to Love”, and other rockers including “Lights Out”, “Rock Bottom”, “Too Hot to Handle”, “Shoot Shoot” and the amazing rocker “Doctor Doctor”, one of my favourite rock songs of all time. They also of course played the aforementioned “Only You Can Rock Me”. A clutch of catchy rock songs that should have ensured massive success for the band. Although UFO did become very popular in the UK, and worldwide, they never quite reached the levels of success of some of their contemporaries. I never understood why they are not seen as seminal as other bands of the time such as Judas Priest. On a good night, after a few drinks, in a nightclub such as Newcastle Mayfair there was nothing better than witnessing UFO at the height of their powers. The line-up at the time was the classic collection of Phil Mogg (vocals), Michael Schenker (amazing Flying V guitar), Pete Way (bass guitar around his knees), Paul Raymond (keyboards and second guitar) And Andy Parker (drums).
I was lucky enough to see UFO many more times over the years. In recent years it seems the band may have come to the end of their long road. “In May 2018, vocalist Phil Mogg announced that UFO’s 50th anniversary tour in 2019 would be his last one as the frontman of the band, who may also either split up or move on with a replacement for him. Mogg explained, “This decision has been a long time coming. …. I don’t want to call this a farewell tour as I hate that word….” (From Wikipedia). I was lucky enough to see them on that particular tour. However, the run of concerts also saw the passing of several current and former members of the band.
Then, in August 2022, Phil Mogg himself suffered a heart attack. Phil was advised by doctors to stop performing and this resulted in the remainder of the tour being cancelled. Does this mean the end of the great rock ‘n’ roll band that was UFO? If so, their like will never be seen again.
My search for Rob the Mod continues. Or, to put it another way, has Rod the Mod survived Las Vegas and returned to the UK intact? 
Every time I go to see Rod, I go in the hope that he will return to some of the old classic songs. And he never lets me down. Newcastle Arena is packed with 10,000 Rod Stewart fans on a cold winters evening. Christmas looms and everyone is out to have fun. The set list is a mix of old and new, as always. The show is clearly a paired down version of his recent Las Vegas run, complete with big stage set including screens, a first-class backing band suited and booted and great girl backing singers. The introductory music is the classic Depeche Mode track “Just Can’t Get Enough” (great choice) followed by “Scotland the Brave” (as usual Rod includes a lot of Scottish flags, and Celtic icons throughout the concert, displaying his allegiances to the joy of the Scottish contingent within the crowd).
Rod opens the show with an excellent cover of the late, great Robert Palmer’s “Addicted to Love” complete with girls in black dresses and playing white guitars, emulating Palmer’s video. Classic! A great opener. Then the years roll back and Rod sings “You Wear It Well”. See, I told you, the mod is still in there! Another Faces classic follows: “Ooh La La”, you know the one that goes “I wish that I knew what I know now, when I was younger” and was written by Ronnie Wood and the late, sadly missed looner Ronnie Lane. Memories of seeing the Ooh La La tour at Newcastle Odeon, surrounded by the Newcastle football team, flood back. A few more classics follow: an excellent cover of the Isley Brothers “This Old Heart of Mine”, “Forever Young” and Rod’s version of Cat Stevens’ “The First Cut Is the Deepest”. Now Rod looks great, sounds great and is as active as ever. The guy is simply 110% energy, dancing along while he sings those great tunes. The crowd loves it and sings along, hanging on to every word.
Then what I’m waiting for comes, as I knew it would and always does. Rod sings “Maggie May” and explains it was about his first encounter with an older lady at a folk Festival in the early 1960s. And he can still do the song justice. “I’d Rather Go Blind” is dedicated to Christine McVie and her days in Chicken Shack, the lady sadly having recently passed. Too many of our heroes are leaving us. The first set ends with the girls singing Donna Summers’ “Hot Stuff” while Rod has a break and a costume change.
An acoustic set follows with everyone taking a seat at the front of the stage, Rod in the centre. This includes “I Don’t Want to Talk about It”, “Tonight’s the Night” and “Have I Told You Lately”. Rod leaves the stage for another break and final costume change while the girls deliver an excellent version of “Lady Marmalade”…… “Voulez-vous coucher avec moi ce soir?”. You know the one.
We are on the home straight now. Rod do you really need to sing “Da Ya Think I’m Sexy”? Is it still appropriate today? I think not, but anyway he does sing the song opening with a typical late 70s picture of Rod “back in the day” on the screen. “Baby Jane” (still a favourite of mine) follows and the inevitable singalong “Sailing” closes the proceedings with the curtain dropping around Rod and his band. In a few moments the curtain rises and the years roll back once again for “Stay with Me”. Everyone sings along. And then it is over. Everyone finds out, happy and fully satisfied by a great performance.
So, in conclusion, Rod the Mod remains intact and didn’t let me down. The guy is a powerhouse who just keeps on going. Till the next time. Thanks to Jan for the photography for the evening.
Now this guy is a bit of an enigma. I guess you would say he has a very dedicated cult following. And rightly so. However, everyone I told I was going to see 
The last time I saw Richard Hawley was probably over 10 years ago when he was the support act for one of my personal heroes (and his apparently), Nancy Sinatra at the Sage Gateshead. I have missed the last few times he has been in the north-east and I thought it was about time that I picked up on him again, particularly when the show was local and in such an intimate, new, lovely, purpose-built concert venue. We arrived in time to catch the support act 
“Uk progressive folk singer-songwriter & guitarist. And using the words of others: 
But there is much, much more to this guy than a simple 50s/60s influenced singer. Sure you can hear those influences now and then, but Hawley has his own style transcends easy description and blends rockabilly, 60s music and blues, with more modern sounds. 
Now with collaborators like that, you really can’t go wrong, can you? The only song I really know is “Tonight the Streets Are Ours “, but the rest of the set is excellent. Hawley has surrounded himself with an excellent band including a second guitarist who complements Richard’s own style and a great blues harp player who emerges from the side of the stage at various times to add his rasping harmonica. Some of the songs are quite dark and the lighting in the venue is set up well to emphasise this. My carer for the evening, Jackie, sees some of Nick Cave in Hawley. I don’t disagree. Hawley, like his support act, is a true northern guy, wearing his Sheffield style and accent proudly on his chest.
On the way out I buy some merchandise which is also quite individual and quirky. As you can see, I get a tea towel, a couple of badges and a natty little musical box which, when turned, plays a Richard Hawley tune (you can choose which one). No programme or T-shirt for this guy. Too conventional, I guess! A great show by a wonderful artist whose cult following is no doubt growing and at one stage we may see him break through to the mainstream. But maybe Richard Hawley is just fine the way with things the way they are.
Another night of memories and revisiting a band I followed many years ago. 
I first saw The Sweet live back in 1973 or 1974 when they were at the height of their fame and success, at Newcastle City Hall along with a good friend, Dave, who I have lost touch with and a hall full of screaming teenage girls. It really was a “Teenage Rampage” and lots and lots of fun! A few years later, after the hits had started to fade away, I saw them with my friend Norm and a few others on a very cold, wet evening at Sunderland Locarno. The venue was far from full but the show was excellent, very loud and quite heavy. Next time I saw them I was with my late wife Marie in a very empty City Hall. This was around 1981, and singer Brian Connolly had left the band to pursue I think a solo career. The Sweet continued as a three-piece band with Steve Priest taking on vocal duties and fronting the band. They still sang all of the hits but it wasn’t quite the same.
Roll-on 10 years or so and I saw Brian Connolly’s Sweet performing at Sunderland Polytechnic Students Union Wearmouth Hall at a packed Saturday night dance. This was Brian’s version of the band with a completely new set of musicians. Nevertheless, and of course, all the hits were performed well and the crowd went crazy. Then move forward another 20 years or so I saw Andy Scott’s Sweet performing as part of a 70s package tour alongside Slade (minus Noddy and fronted by guitarist Dave Hill alongside original drummer Don Powell).
The Boiler Shop is exactly what the name suggests, an old warehouse which in the past was an industrial workplace, situated behind Newcastle train station. My carer Jackie and I had a great view of the proceedings, sitting on a wheelchair platform overlooking the crowd with a direct view of the stage. Well by now, Andy Scott has achieved his dream and transformed The Sweet into a heavy rock band with new musicians around him all of whom look like they could have come from a true Hard Rock heavy metal band. Andy is the only surviving member of The Sweet. Brian Connolly sadly passed away in his early 50s, from alcoholism. Drummer Mick Tucker sadly passed away recently as did bassist and he of the bright ginger hair and crazy voice Steve Priest, who fronted his own version of the band situated in the USA.
So, Andy remains out on his own, to fly The Sweet flag high, having rejuvenated the band as out and out rockers, no longer closet heavy metal contenders. I buy a T-shirt and a couple of signed posters, one for me and one for my friend John in the USA. Soon the band take the stage and they are loud, heavy and I mean very LOUD. Great! They crash into “Action” and then follow this with a couple of heavier tunes. And that is the format for the evening: a hit followed by one or two heavier album or new tracks followed by another hit and so it goes onward.
Andy Scott looks great. All the heavy-metal hero with a long mane of pure white hair. Respect. He bangs away at his red Fender Stratocaster. “The Sixteens “(my particular favourite) soon follows and then we are treated to hit after hit. “Wigwam Bam”, “Little Willy”, “Hellraiser” and another classic “Love Is like Oxygen”. Just fantastic. Each one delivered in a new heavier, louder manner. These are no longer pop classics they are heavy metal songs!
All of my blog entries are tinged with memories which linger from many, many years ago. This was the 50th anniversary tour of 
A year later. Wishbone Ash have just released Argus. I am at the Lincoln Festival and standing high up on a lighting tower, the breeze blowing in my hair, watching the band perform a clutch of new songs which were to become classics: “Blowin’ Free”, “Time Was” and the tremendous “The King Will Come”. Other tracks from the album such as “Warrior” and “Throw down the Sword” took us back to the days of knights, battles and days of mediaeval England. Magical, powerful, stuff.
A few months later. I am upstairs on the balcony in Sunderland Locarno with a group of friends looking down at the majestic Wishbone Ash performing Argus again. Such happy days, carefree and exploring new sounds and experiences.Roll forward 50 years, and I am in Whitley Bay Playhouse. Only Andy Powell remains from the original band. There have been so many twists and turns along the way, with Andy waving the Wishbone Ash flag high and proud. His latest incarnation of the band does all of the old songs proud. I think sometimes they have become a little too heavy and rocky, losing some of their melodic magic along the way, but hey that is a minor concern about what remains a relevant and epic rock band. Wishbone Ash remain great and are out on the road playing a clutch of songs which they weave around the Argus album in its entirety. This is a night of reminiscences and reunions. I bump into some old friends Ian, Ian and Pete as I arrive. We have a chat about the old days and happy times from so many years ago.
I take my seat close to the front with my carer Jackie (thanks for the photographs). The band are on stage a little later than promised, I think there have been some technical sound problems. Nevertheless the sound is great and Andy is clearly the front man, still sporting his wonderful Flying V guitar. We are treated to a clutch of songs old and new including the classic “Rock ‘n’ Roll Widow”. Then the years roll back again and “Time Was” (one of my all-time favourite songs) heralds the start of the Argus
album. The classic songs follow: “The King Will Come”, the (almost hit) “Blowin’ Free”. The album closes with “Throw down the Sword”. Wonderful. Magical. Thank you so much Andy for taking us all on a journey which you yourself have travelled on so many roads along the way. The encore is F.U.B.B. (F**ked Up Beyond Belief!). Sadly, probably because of the late start, we are not treated to “Jailbait” which the band have been playing on other nights of the tour. Still, this does not detract from what was a perfect performance of a wonderful, landmark album which I bought back in 1972 and played played and played. I still have a copy.
And then another reunion! To top a great night I hear a cry “Smithy” and soon I am being hugged by my old friend Pete who I have not seen for probably 30 or 40 years. We spent so many days and nights travelling up and down the country together seeing classic bands. Memories of us together at the Reading Festival and in Charlton football ground witnessing a classic Who performance flood back. It is great to be in contact again, my good friend. A lovely touch to a wonderful evening. Thank you Andy for making this all possible and for selling a signed copy of your autobiography. It doesn’t get much better than this! Happy days.
Setlist: In the Skin; We Stand as One; Coat of Arms; Rock ‘n Roll Widow; Standing in the Rain.
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