The Teardrop Explodes Newcastle Mayfair 25th June 1981 & Newcastle City Hall 2nd February 1982
The Teardrop Explodes were a great pop group. Although they emerged as part of the post-punk / new wave scene of the late 1970s, their music was very clearly influenced by ’60s psychedelia, and was labelled “bubblegum psych” or “bubblegum trance” by the music press. Led by charismatic, and fascinating, front man Julian Cope they exploded out of the Liverpool scene; friends of Wah! and the Bunnymen. I loved the singles “Treason” and “Reward” which remain classics of the genre and continue to influence bands today. I saw The Teardrop Explodes on three occasions, at Newcastle Mayfair on 25th June 1981, at Newcastle City Hall on 2nd February 1982, and supporting Queen at Elland Road on 29th May 1982. I have strongest memories of the Mayfair gig. The Teardrop Explodes had been high in the charts with “Reward” and the band, and Julian Cope in particular, were on top form. Julian was on the brink of becoming a major pop star. He was his usual exuberant, fearless, unashamed, “little boy lost” blonde bob self. And why wouldn’t he be; after all he was on the verge of becoming his hero Scott Walker. “The whole idea of the Teardrops to me is nice, nice melodies and lyrics that, while they’re always sung hopefully, have dark secrets in them when you start listening to them.” (Julian in Record Mirror, 1981). 
A packed Mayfair crowd gave the band a crazy reception; it was a great night; swirling, whirling waves of sound and colour lifted us all and taking us along for the ride. The 1981 programme proclaims the tour “Out of the Culture Bunker”. Julian explained what this was about in Record Mirror (1981): “I have a new song called ‘Culture Bunker’ that’s about the way we all reacted to other people trying to make it in Liverpool. We’d say we really want you to make it but we don’t, the whole thing is so smiley, smiley, stab you in the back. David Balfe is always slagging me off for smiling at people, and saying hello when I’m not interested in them but it’s just the way I’ve been brought up. I’m not one of, those people who declare ‘I’m honest, I’m frank, I tell people that they’re shits’.”
By the time I saw the band again at the City Hall things didn’t seem quite the same. Don’t get me wrong, it was still a great, enjoyable gig, but it lacked the edge and power, and joy, of the Mayfair concert the previous year. This was due, in part, to the lack of craziness which results when moving from a ballroom to a concert hall, but also I suspect because things weren’t too good in the band; there had been several line-up changes, and there was ill-feeling between Julian and some of the other members. The music was changing as well, and according to reports Julian was experimenting heavily with LSD. Julian’s mood felt darker; he was no longer Scott Walker, and was becoming a moody Jim Morrison. The evening before in Edinburgh the gig had ended on a dark note: “What I do recall very clearly is the interminable nonsense of the final encore: Sleeping Gas. Never a tune I have ever had much time for, the piece degenerated into an embarrassing ten minute Cope rant. The singer ended up on the floor towards the end burbling on about savaging the audience, and I am sure I was not the only one in the place thinking “Julian! For F**’s Sake. Behave yourself” (from http://therockandrollknife.blogspot.co.uk/2012/04/teardrop-explodes-edinburgh-1982.html ). Such was Julian Cope at the time. 
The last time I saw The Teardrop Explodes they supported Queen at Elland Road. It wasn’t a great day for them. The crowd started hurling bottles and cans at Julian and he spent a lot of time arguing with everyone. “Not sure who was first on, probably Teardrop Explodes, Julian Cope, I remember while they were throwing bottles at him, picked one up and started hitting himself with it and stretching his arms out saying he was an Argentinian bomber or something. It was during the Falklands war, remember.” (from a Queen fan forum). It was like watching a band self destruct in front of your eyes.
I like to remember The Teardrop Explodes as they were that night at the Mayfair; joyous, uplifting; a celebration of a young guy from Liverpool who was living out his dreams, and let us come along for the ride.
Julian Cope continues to perform and remains a unique, highly creative, individual.
Posts Tagged ‘gigs’
12 Oct
The Teardrop Explodes Newcastle Mayfair 25th June 1981 & Newcastle City Hall 2nd February 1982
11 Oct
Tangerine Dream Newcastle City Hall 23rd March 1978 and 2nd November 1980
Tangerine Dream Newcastle City Hall 23rd March 1978 and 2nd November 1980
I saw Tangerine Dream on two more occasions. It is difficult to describe the concerts, as each time the band performed it was so different. In 1978 the line-up was Edgar Froese (keyboards), Christopher Franke (keyboards), Steve Jolliffe (saxophone, flute) and Klaus Krüger (drums, percussion). By the time I saw them in 1980 the line-up had changed again and had reverted back to a three piece, keyboard based, ensemble featuring Froese, Franke and Johannes Schmoelling. Their concerts continued to feature unique improvised soundscapes, loud and swirling music; psychedelic, spacey, rhythmic, sometimes dark and moody. They sometimes performed in cathedrals, I can imagine that the space and surroundings fitted the music well. One of those performances was in York Minster; I recall considering going and didn’t, which I regret to this day; I would imagine that it will have been an unforgettable experience.
The 1978 tour featured the Laserium light show which were produced live by a “laserist”. The Laserium projector (from the tour programme) “uses a one-watt Krypton gas laser as its light source, and refracts the tiny beam into four primary colors which travel through a series of optics to emerge as laser snowflakes or cloud formations suspended in space. This Laserium projector was especially designed for Tangerine Dream, and the custom made rear projection screen enables the live laser images to appear three-dimensional.” I was, and remain, intrigued by the band. 
I found their concerts fascinating, challenging, interesting at times uplifting, and yet at other times tedious and tiring. Looking back they were, and remain, a unique and hugely important and influential band. Edgar Froese drew his influences from the Rolling Stones: ”The first time I heard The Rolling Stones was in the middle of a rehearsal with a rock ‘n’ roll group. I was first of all attracted by their looks. Their faces were absolutely damaged. They were the absolute opposite of The Beatles… ” and the surrealist painter Salvador Dali, who he met also played in his villa: ”This was the biggest change I ever had in music…..By seeing the way he was working, talking and thinking, I found that everything was possible. I thought that I would do the same as he did in painting in music.” He explained his approach to Paul Morley in the NME (1978): “We never do anything just for success….We could do all the Donna Summer things, and make a lot of money. But what do you do in the end? If you’re interested in being rich, the record industry is very much part of the world’s commercial activity, and it’s very easy to be successful by doing your own thing, without compromise.”
I remember for one of the performances I attended the band played the entire concert from behind a new curtain. There was never any set numbers, no “act”, no props other than the light shows. Everything was improvised directly on stage, in the moment. The performance was fed by the musicians, how they were feeling that day, but also by the venue, the acoustics, and the audience and their reaction. The musicians would walk on stage, tune, explore and calibrate their synths and then sit behind their futuristic consoles in the dark and create sounds and music. They would be no interaction with the audience. Each piece would last an hour or so, and a concert would feature a couple of such pieces, followed by, if it felt right to do so, an encore of 20 minutes or so. Then they would leave the astounded, bewildered, fascinated, perplexed audience until next time. Because of the uniqueness of the events many were bootlegged. I’ve just listened to a recording on YouTube which was made from a 1978 live show in Berlin. Fascinating stuff, and it reminded me of what the experience was like. The music from that show includes some scary screaming vocals., which isn’t something I can remember from the gigs I attended. Tangerine Dream continue to perform to this day.
Thanks to Mitch for his picture of Edgar Froese taken at Newcastle City Hall on 23rd March 1978.
9 Oct
Tangerine Dream Newcastle City Hall 4th December 1974
Tangerine Dream Newcastle City Hall 4th December 1974
Or “Is This The End Of Rock As We Know It?” (Max Bell, NME, 1974)
Or “Is This The End Of Rock As We Know It?” (Max Bell, NME, 1974)
Tangerine Dream were formed in Berlin in 1965 by Edgar Froese. Fascinated by technology, and influenced by rock, pop and classical music, he formed a psychedelia band which would prove to be hugely important in the development of Krautrock, electronica, and trance music. Tangerine Dream’s haunting and transcendental soundscapes paved the way for many other bands to follow. By 1974 Tangerine Dream consisted of Edgar Froese (keyboards, guitars), Christopher Franke (keyboards, drums) and Peter Baumann (keyboards). They had signed to the new Virgin label, and released the highly acclaimed album “Phaedra” which was “an amazing record, the most effective mating of the mellotron and synthesizer to date, and its lush employment of rich sonic textures makes it an immensely enjoyable experience.” (Gordon Fletcher, Rolling Stone).
Tangerine Dream set out on their first UK tour in autumn 1974. The 20 date tour started in London at the Rainbow Theatre on 26th October, and closed at Newcastle City Hall on 4th December. The music was visually supported by a “Video Synthesizer” which controlled the visuals in synch to the music, so that the sounds made by the band determined the images and patterns which were displayed on the screen at the back of the stage. 
The concerts were hailed unique and “fascinating experiences” (Melody Maker). Tangerine Dream gigs (were they “gigs”?) were unlike any other rock (and were they “rock”?) concerts I had seen, and consisted mainly of lengthy improvisations with zero interaction between the band and the audience. The band set themselves a challenge of never playing the same piece twice, and the concerts were often performed in complete darkness.
From the tour programme: “Tangerine Dream do not play conventional instruments. Their mass of synthesisers and electronic keyboards are probably the most sophisticated in the world…..their commitment to total improvisation moulds their concerts into an unusual form: at the beginning there has to be a period of attunement – musicians to each other, and then musicians to the audience. Finally the band tries to sensitize itself to the particular acoustics of the auditorium.” The tour also featured a quadrophonic sound system, all of which promised a very different and interesting experience.
“Don’t categorise us. We’re influenced by everything; sound, pictures, a walk in the woods, looking at clouds from a plane even. Without Debussy, Presley, Beatles, Pink Floyd, Tangerine Dream would be impossible. Our music is the end result of these things in that we become a filter, our instruments, the keyboards, moogs and VCS3’s are just the ones with which we can best express our sensations” (Pete Baumann) “Because we never repeat a concert it’s hard to define whether we get excitement or satisfaction from it. After a good presentation, we may not do an encore – there’s nothing left to give.” (Edgar Froese).
I found the City Hall concert interesting, very different and, to be honest, simply strange. The stage was set with banks of synthesisers, and there was, as described in the programme, a period at the start of the evening where the three band members seemed to be setting up their instruments. I think the analogue equipment that they used at the time needed to warm up. Once the music got started it filled the City Hall with swirling rhythmic soundscapes, and the visuals, although quite basic compared to today’s effects, flashed and swirled in sequence with the music. I found the lack of audience interaction and the length of the pieces challenging, to say the least.
An experience like no other, at least until I saw them again, back at the City Hall four years later.
PS I found a voucher (above) which entitles me to 50p off the price of “Phaedra” at my local friendly Virgin store. Is it still valid ? 🙂
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)
7 Oct
Robin Trower South Shields Customs House 17th April 2005
Robin Trower South Shields Customs House 17th April 2005
Roll forward 25 years, and I was seeing Robin Trower again. I wasn’t quite sure what to expect, and had all but forgotten many of the songs because, although I have a few of his albums on vinyl, the only one I played was “Bridge of Sighs” and to be truthful, I hadn’t played that for a long time. I needed have worried. Trower walked on stage, waved at the audience, and launched straight into “Too Rolling Stoned”. I immediately recognised the riff, and the years melted away. The guitar playing was as excellent as ever, with the familiar heavy use of wah-wah, and the usual twisting of the face, as Robin squeezed the notes out of his strat.
The singer was Davey Pattison, who I’d seen before many years ago in Ronnie Montrose’s band Gamma, and he did a great job, sticking closely to the original vocal. He has a soulful voice, which matched somewhat the original vocals of the late and very under-rated James Dewar. The mix was a little murky at the start of the set, with the vocals lost in the mix, but things improved as the set progressed. Trower and his band were great, playing a mix of tracks from throughout his career. It was great to see him again.
The gig was reviewed Rahul Shrivastava for the BBC website: “There are no gimmicks, no light show, just four men playing great, bluesy rock ‘n’ roll….there was no denying the passion with which he played his instrument.” The review sparked a few comments from others who attended the gig: “It’s over 25 yrs since I saw Robin at Hammersmith Odeon; always wanted to do so again. So good was this gig that both me and my wife were lost for words… Awesome” (SteV1Da).
“To experience Robin Trower is to be a witness to the mastery of true artistry created on the electric guitar. How rich in talent Robin, and a great few are part of an incredible music history…” (Michael Gibbs). “They used to say that this guy was a ‘Hendrix clone’ Well all I can say is that if Hendrix could play like that he must have been some guitarist! The control and pure artistry were a delight and I hope that this is the first of many returns to the North East.” (Chas Thomason).
Setlist: Too Rolling Stoned; Sweet Angel; What’s Your Name; Rise Up Like The Sun; Daydream; Living Out Of Time; Breathless; Day Of The Eagle; Bridge Of Sighs; Close Every Door; I Want You To Love Me; Please Tell Me; Another Time, Another Place; Little Bit of Sympathy
Encore: Come To Me; Secret Place
Thanks to John for the poster image and for the photo which he got signed for me at a Trower gig in the States.
I’ve seen Trower once more since, and have already written about that gig.
6 Oct
Robin Trower Newcastle City Hall 12th February 1980
Robin Trower Newcastle City Hall 12th February 1980
In 1980 Robin Trower released his seventh studio album “Victims of the Fury”, and went out on tour to promote it. Support for the tour was NWOBHM band Samson. I saw the tour was it called at Newcastle City Hall. It was a few years since I’d seen Robin Trower in concert and I was really looking forward to seeing him again. It was the last night of the tour and the band were on their usual amazing form.
It is unfair to draw too many comparisons between Trower and Hendrix. Although Trower has undoubtedly been influenced by the master, and has said so himself on several occasions, he has his own unique guitar style, and is himself a true master of the guitar. Sadly whenever conversation turns to classic guitar greats the names of Jimmy Page, Jeff Beck, Eric Clapton, Richie Blackmore, Alvin Lee and Peter Green will be mentioned, but it isn’t that often that Trower gets a mention. That’s a shame because his playing stands up their with those greats.
Robert Fripp, another guitar great, recognises this and says so in the liner notes on the reissues of one of Robin’s solo albums (1996): “Robin Trower is one of the very few English guitarists that have mastered bends and wobbles. Not only has he got inside them, with an instinctive knowing of their affective power, but they went to live inside his hands. It is the rare English guitarist who has been able to stand alongside American guitarists and play with an equal authority to someone grounded in a fundamentally American tradition. Trower has been widely criticised for his influences. This has never bothered me. I toured America in 1974 with Ten Years After top of the bill, King Crimson second, and Robin Trower bottom. The chart positions were the opposite….. Nearly every night I went out to listen to him. This was a man who hung himself on the details: the quality of sound, nuances of each inflection and tearing bend, and abandonment to the feel of the moment. He saved my life. Later, in England, he gave me guitar lessons.”
Back to the City Hall concert. It was classic Trower drawing for throughout his solo career and starting with the beautiful “Lady Love”. They also played my favourites “Bridge Of Sighs” and “Too Rolling Stoned”. Great stuff.
I found a review of the concert on Robin Trower’s official site, by Alan Howard, who drove with his friend from London especially to see the last night of the tour, having already seen the show at Hammersmith a few days before: “The good people of Toon town just went absolutely mental, so delighted they were to see the band. What a great start! So it continued. For some reason, this audience were much more appreciative and vocal than their southern counterparts….It was a great show featuring once again the ‘Victims’ lightshow visuals with their distinctive neon barbed wire icon, as featured on the album cover.”
Set List: Lady Love; The Ring; Day Of The Eagle; Bridge Of Sighs; Jack And Jill; Too Rolling Stoned; The Shout/Hannah; Daydream; Victims Of The Fury; Only Time; Madhouse; Little Bit Of Sympathy.
Encores: Messin The Blues; Rock Me Baby.
Thanks to John for the image of his Trower “flash”.
Tomorrow I’ll roll forward and write about a more recent Trower gig.
5 Oct
Robin Trower Newcastle City Hall 22nd Feb 1976
Robin Trower Newcastle City Hall 22nd Feb 1976
Come 1976 and Robin Trower was one of the most popular acts in the country. He toured the UK in February and March calling at the City Hall for two nights this time, and closing the tour by playing to 8,000 fans at Wembley Empire Pool. Support for the tour was local north east pop rock act John Miles. I remember driving through to the City Hall to buy tickets the day they went on sale. It had been snowing heavily and the roads were quite treacherous. My mate and I watched in horror as the car in front of us slid off the road and into the trees at the side of the carriageway. We made our way safely to the box office and bought tickets for the first night.
The concert was excellent, with Trower on top form, his feet surrounded by an array of effects pedals which enabled him to create some unbelievable sounds with his trusty Fender Strat. 
The Trower band had changed slightly with a new drummer Bill Lordan playing alongside Trower and Dewar. They were tight and loud, and delighted the City Hall crowd with classics like “Bridge of Sighs”, “Lady Love” and my fave “Too Rolling Stoned”, tracks from their current, third, album “For Earth Below” and a couple of new songs which would feature on the fourth album “Long Misty Days”. Brian Harrigan reviewed the Wembley gig for Melody Maker: “There ain’t nothing like Robin Trower at full blast……in the 
cavernous Wembley Empire Pool, they thundered like a three-man blitzkrieg.”
Typical 1976 setlist: Day of the Eagle; Bridge of Sighs; Sailing; Lady Love; Long Misty Days; The Fool and Me; Too Rolling Stoned; Daydream; Same Rain Falls; I Can’t Wait Much Longer; Alethea; Little Bit of Sympathy; Rock Me Baby; S.M.O.
Many thanks to Mitch for his photo of Trower which was taken at this concert and to John for his image of the poster for the concert the following night.
4 Oct
Robin Trower live 1973, Newcastle City Hall 11th Feb 1975, and Reading 1975
Robin Trower live 1973, Newcastle City Hall 11th Feb 1975, and Reading 1975
I first became aware of Robin Trower in Procol Harum and then when he played Sunderland Poly’s Wearmouth Hall in the band Jude. Jude also featured Frankie Miller, ex Jethro Tull drummer Clive Bunker and bassist Jimmy Dewar who had just left Stone The Crows. I have very vague recollections of that gig, and can’t be certain I was present or whether I simply heard about it from mates, but I’m pretty sure that it happened. Jude didn’t last long, and Trower soon formed his own band, retaining Dewar as his bassist and lead vocalist, and drummer Reg Isidore. The first time I can definitely recall seeing Trower live was when he supported Nazareth at Sunderland Locarno in June 1973. My mates and I were big Nazareth fans and went to see the tour at Newcastle Mayfair a couple of weeks later, and saw Trower again. We watched Trower on both occasions; this was at the time of his first album “Twice Removed from Yesterday”. I was impressed by his Hendrix-like guitar playing and the faces which he pulled, which looked like he was in pain, as he squeezed riffs out of his Stratocaster. You could tell that the guy was playing from the heart. 
Trower speaking to Steven Rosen (Los Angeles Free Press, November 1973): “It’s not just a trio, it’s the right trio with Reggie and Jimmy. It’s not just because I’m the lead guitarist that it’s gonna happen; I mean I’m not just into guitar, I’m into making good music . . . great music. And I wouldn’t do it if I didn’t think it was a lot better than what I’d done before……I’m very influenced by Hendrix, and I’m the first to admit it; everything I do is inevitable and I can’t not be influenced by him. Anybody who’s got any ears and plays the guitar or who’s got any musical sense at all could not but be influenced by Hendrix. It’s like you can’t write unless you learn A-B-C. Everybody else was just f***ing about. He made real music on guitar and not just licks on top of somebody else’s music.” Robin Trower took Hendrix’s music and moved in to the next level. He blended Hendrix’ guitar style and technique with moody blues-rock and a little funkiness. It was as if we were witnessing the music that Hendrix might have played if he hadn’t passed away so early. And Jimmy Dewar had a great soulful voice. Trower’s most famous album is, of course, Bridge of Sighs, which he released in 1974, and the title track is a classic of atmospheric rock. 
The next time I saw Trower live in concert he was headlining at Newcastle City Hall and it was February 1975. This was classic Robin Trower, the guy was at his best during this period, and the set will have included “Day of the Eagle” (often the opening song, and a track that features in his live sets to this day), the excellent rocker “Too Rolling Stoned” (another great live classic), “Lady Love” and of course “Bridge of Sighs”. My unofficial programme contains a flyer for Rainbow Cottage, so I suspect they may have been the support act for the City Hall concert.
John’s memories of the City Hall gig: “Even though I only saw Robin Trower once in the 70’s I was fortunate to witness a fantastic gig with Robin at the height of his prowess and playing the Bridge of Sighs material with passion and power. 
I was siting downstairs fairly near the stage and was overwhelmed by the material and his talent. The set opened with Day of the Eagle, featured Bridge of Sighs, Too Rolling Stoned, Lady Love and Little Bit of Sympathy which I think closed the set. While I am less certain I think he also played Rock Me Baby and a slower blues number which might have been I Cant Wait Much Longer. I also remember that he wore a green jumpsuit with the pants tucked into some fringed brown suede boots which I was not sure was too cool at the time. James Dewar’s vocals were also a highlight and the show and his performance on About to Begin remains one of my favorites to this day.”
I saw Trower again at the Reading festival in August 1975, where he delivered a blistering set and was called back for several encores.
Typical Trower setlist from 1975: Day of the Eagle; Bridge of Sighs; Gonna Be More Suspicious; Fine Day; Lady Love; Spellbound; Too Rolling Stoned; I Can’t Wait Much Longer; Alethea; Little Bit of Sympathy
Many thanks to Mitch for his photo of Trower onstage at the City Hall on 22nd February 1976, and to John for the image of his poster from the period.
3 Oct
Talking Heads Newcastle Poly 27th Jan 1978 and Newcastle City Hall 27th Nov 1979
Talking Heads Newcastle Poly 27th Jan 1978 and Newcastle City Hall 27th Nov 1979
I first saw Talking Heads at a concert at Newcastle Poly in January 1978. They were touring with Dire Straits as support at the time. Dire Straits were starting to become known as a result of their single “Sultans of Swing” and Talking Heads were the darlings of the US new wave, with rave reports of their concerts in the States coming through the UK music press. I watched Taking Heads on TV performing “Psycho Killer” on the Old Grey Whistle Test and was hooked. The quirky jabbing rhythms and the strange lyrics (who would write a song about a psycho killer?) intrigued me. By the time they came to play at Newcastle Poly they were performing songs from their first album and the yet-to-be-released “More Songs About Buildings and Food”. Live Talking Heads were excellent. There was a feel of an art school band about them; very different to the punk of the Ramones or to any of the UK new wave. David Byrne was the eccentric school teacher, whose manic stage manner held us all transfixed, and Tina Weymouth bobbed away playing a bass that looked bigger than she did. I remember there being mutters that Dire Straits would outshine them; not so, Talking Heads were great and the crowd loved them.
Roll on a year or so and Talking Heads were back in Newcastle playing to a packed City Hall. By now they had released their third album “Fear of Music” and were massively successful, their popularity transcending the new wave tag. Human League were billed as support but I think they were pulled from the tour because they wanted to play a recorded set? I think A Certain Ratio were support in the end. It was another great performance by Talking Heads, with the packed hall giving the band a great reception.
Talking Heads Newcastle City Hall 27th Nov 1979
Setlist for the Newcastle Poly show: Love-> Building on Fire; Uh-Oh, Love Comes to Town; Don’t Worry About the Government; Take Me to the River; The Book I Read; New Feeling; The Big Country; Artists Only; Tentative Decisions; Stay Hungry; Thank You for Sending Me an Angel; Who Is It?; Psycho Killer
Encore: No Compassion; Pulled Up; I’m Not in Love; 1, 2, 3 Red Light
Setlist for the City Hall show: Artists Only; Stay Hungry; Cities; Paper; Mind; Heaven; Electric Guitar; Air; Animals; Love-> Building on Fire; Found a Job; Memories Can’t Wait; Psycho Killer
Encore: Life During Wartime; Take Me to the River
2 Oct
T Rex Newcastle City Hall 10th March 1977
T Rex Newcastle City Hall 10th March 1977
1977 was, of course, the year of punk rock. Marc was well aware of this and, in an interview in The Sun (February 1977) said that he had been waiting ‘for something like punk rock to come along…..I consider myself to be an elder statesman of punk” and declared himself “The Godfather of Punk.” Unlike many stars, he wasn’t afraid to put his money where his mouth was and “picked The Damned to tour with me because I wanted to put the best of the established bands against the best of the new wave bands, so we‘ll see who can out-punk the other every night” (The Journal, March 1977). A new T Rex album “Dandy in the Underworld” was released to fan and critical acclaim, and the band went out on tour with, as alluded to above, punk rock band the Damned as support. The tour was our chance to see a new, rejuvenated, slimmer Bolan, sharp-suited with smooth elfin looks, and a new band featuring Dino Dines (keyboards), Tony Newman (drums), Herbie Flowers (bass) and Miller Anderson (guitar). Although not every show was quite sold out, attendances were good, and the UK tour gained positive reviews. Bolan and T Rex were back on form and the future looked bright. From the tour programme: “Bolan today is a genuine star – the man who put magic back into pop music; seldom heavy and most often playful….Marc is a global super-star who has toured over 500,000 miles in the last two years….I am a teenage idol I suppose”. Big statements, but actually Bolan could live up to them.
I saw the tour at Newcastle City Hall on 10th Macrh 1977. The Damned were their usual crazy manic selves; it was quite brave of Marc to invite them on tour with him, as it could so easily have back-fired. In fact, the pairing worked well, with the Damned warming the audience up, and T Rex playing a set containing a good mix of old and new and which showed just how good a live act Bolan and his band could still be. Bolan was enjoying a new surge in popularity, and he even talked about the possibility of performing again with Finn and Took, as well as reuniting with producer Tony Visconti.
Set List: Jeepster, Visions Of Domino, New York City, The Soul Of My Suit, Groove A Little, Telegram Sam, Hang-Ups, Debora, I Love To Boogie, Teen Riot Structure, Dandy In The Underworld, Hot Love, Get It On
While driving home early on the morning of 16th September 1977, Marc Bolan’s purple Mini crashed into a tree, after failing to negotiate a small bridge near Gypsy Lane, Barnes, in southwest London, a few miles from his home. Bolan was killed in the crash, which took place two weeks before his 30th birthday.
Thanks to Michael and his excellent http://www.dandyintheunderworld.co.uk/ site of the tour for helping refresh by memories and providing pointers to some of the reference material of the time.
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