The Police Milton Keynes Bowl 26th July 1980
Rockatta De Bowl
Support Acts: UB40; Squeeze; Tom Robinson’s Sector 27; Skafish
DJs: John Peel (who else) and Jerry Floyd
Not one of the best one day festival events that I’ve attended, but by no means the worst. It’s a long drive from the North East to Milton Keynes, and it seemed an even long drive back after standing all day getting soaked….
I went with a car load of mates; we had all recently discovered the Police and were quite big fans at the time, having seen them several times in Newcastle. This was the first big concert at the Milton Keynes Bowl, and it was organised by the same people that ran the Reading Festival. The Bowl is, as the name suggests, a natural round amphitheatre; “the site was a former clay-pit…filled in and raised to form an amphitheatre using sub-soil excavated by the many new developments in the area and it has a maximum capacity of 65,000. The arena is open-air grassland, without seats.” (Wikipedia). It was by no means full for the Police concert; reports suggest that around 25,000 people attended. There had been a lot of rain in the days leading up to the event and as a result, the bowl was a bit of a quagmire…. 
The line-up was interesting. I don’t recall whether or not we arrived in time to catch Tom Robinson and his new band Sector 27. I do remember SkaFace who were greeted by a hail of cans, and retreated after a few songs, the singer’s face was quite badly cut. Squeeze were good, as always; they can’t be anything other than good with those catchy pop songs like “Up The Junction”, and great hooks. UB40 were a big hit, with their reggae rhythms drifting around the bowl. There was then a long wait before The Police hit the stage, during which it poured down. The weather and the wait put a damper on things, and I remember that the Police were good, but I couldn’t really get into it for two reasons; first I was soaked (no tents or anywhere else to hide from the rain) and secondly I knew that I had a long four hour drive home. Sting had a pretty classy looking new upright bass (was it hanging from the roof on a wire? Or did I just imagine that?) and he led us all through lots of Yo Yo Yo..ing which started to annoy me after too long….
Some reviews from the time:
“The show by The Police in the hitherto rock and roll backwater of Milton Keynes, proved that there are still few greater thrills available anywhere than to witness a group playing at the absolute peak of its prowess and confidence… One is always astonished at any show The Police perform, by the remarkable power they manage to create with the basic line-up of bass, guitar and drums…” (Evening Standard)
“…they showed a move towards a more varied and mainstream approach, while retaining more than a hint of the white reggae style.” (The Guardian)
“They achieved a better overall sound with three musicians than anyone else did with eight… The white reggae beat was certainly conducive to the festival atmosphere, and the tribal chants brought out the football supporter in all of us.” (Sounds)
Police setlist: Voices Inside My Head; Don’t Stand So Close to Me; Walking on the Moon; Deathwish; Fall Out; Bring on the Night; De Do Do Do, De Da Da Da; Truth Hits Everybody; The Bed’s Too Big Without You; Driven to Tears; When the World Is Running Down, You Make the Best of What’s Still Around; Message in a Bottle; Roxanne; Can’t Stand Losing You; Reggatta de Blanc; Next to You; So Lonely
Posts Tagged ‘new wave’
19 Feb
The Police Milton Keynes Bowl 26th July 1980
6 Feb
Public Image Ltd Newcastle City Hall 1983 and 1986
Public Image Ltd Newcastle City Hall 15th November 1983 and 10th May 1986
I next saw PIL at Newcastle City Hall in 1983. The line-up of the band had changed completely since the early days are now featured John Lydon (vocals); Martin Atkins (drums; I’d seen him a few years earlier in his band Brian Brain); Louis Bernardi (bass); Joseph Guida (guitar) and Arthur Stead (keyboards). By 1983 PIL had released several singles and three albums, including ‘Metal Box’. The set featured a mix of tracks from the albums, the singles and, surprisingly, The Pistols’s ‘Anarchy in the UK’. Gone was the strange discordant band I had seen in 1978; this version of PIL were more of a straight rock band, which was ok in some ways, but disappointing in others. A great show; the crowd went crazy when they played ‘Anarchy’.
Set List: Public image; Low life; Annalisa; Religion; Memories; Solitaire; Flowers of romance; Chant; Anarchy in the UK; This is not a love song; Attack.
Public Image Ltd were back in Newcastle three years later on 10th May 1986. This time the line-up was John Lydon (vocals); the late great John McGeoch (ex Banshees and Magazine, and simply excellent; guitar); Lu Edmonds (ex-Damned and a member of the current PIL line-up; keyboards, guitars); Allan Dias (bass); Bruce Smith (drums). Another great gig. On this occasion I felt that PIL were much truer to the original spirit of the band, partly as a result of John McGeoch’s amazing guitar work. This time they played The Pistols’ classic ‘Pretty Vacant’. Setlist (from a gig in Edinburgh the following evening, but I think Newcastle was similar; I certainly remember them playing Pretty Vacant): Kashmir (I assume this is a different song to the Zeppelin track?); FFF; Annalisa; Fishing; Poptones; Pretty Vacant; Banging the Door; Flowers of Romance; Bags; Tie me to the Length of That; Round; Home; Public Image; Rise; Low Life; World Destruction; Ease.
5 Feb
Public Image Ltd, Creation for Liberation Benefit Gig, Manchester Belle Vue, 23rd February 1979
Public Image Ltd, Creation for Liberation Benefit Gig, Manchester Belle Vue, 23rd February 1979
This was Public Image Ltds 5th gig, and their first in the North of England. I’d been a massive Pistols fan, having seen them twice in 1976 and 1977, so I was looking forward to this one. I’d bought their first album, and found it quite strange and rather disconcerting, it was so different to the Sex Pistols. Marie and I went to the concert which was in the massive Kings Hall our at Belle Vue Manchester. We drove down and stayed at a hotel in the city centre (the Portland I think).
The concert was entitled ‘Creation for Liberation’ and was a benefit gig in aid of the ‘Race Today Friendly Society’. Also on the bill were Bristol’s The Pop Group (punky/jazzy/art-rock), Merger (a great reggae band), and poets Linton Kwesi Johnson and John Cooper Clarke. We arrived early to see all the bands. I remember seeing a lot of people from the Manchester punk scene; a couple of members of the Buzzcocks were in the crowd. Everyone had turned out to see what John’s new band was like. I remember both dub poet Linton Kwesi Johnson (“England is a bitch’ was a stand-out) and local hero John Cooper Clarke (super fast) going down well, and then there was a long wait for PIL. 
The line-up of PIL was: John Lydon (vocals), Keith Levene (guitar); Jah Wobble (bass) and Eddie Edwards (from the Vibrators sitting in on drums for this one gig). There was a long, cold, ait before PIL came on stage. When they did, they wandered on and Lydon famously said to the waiting crowd, “No gimmicks, no theatre, just us. Take it or leave it”. They then launched into ‘Theme’ and played a set which featured songs from their first album, and the controversial Pistols songs ‘Belsen Was A Gas’ (this was the last time that PIL would ever perform the song, and the last time that it was performed live until the Pistols played it again during their reunion tour in 2002). The sound was poor and murky and you couldn’t hear Lydon’s vocals very well at all. John was as scary and engaging as ever, but overall the band’s performance was a little shaky, and lacking the power and depth that PIL can achieve on a good night. I was hoping we would get a Pistols hit for the encore (I should have known that was never going to happen), but they simply played ‘Annalisa’ again. It was great to see Lydon on stage again, and in a strange way, this was a memorable concert. It represented everything that PIL was about at the time: challenging, strange, not quite what you would expect, noisy and discordant.
Set List: Theme; Annalisa; Low Life; Religion; Attack; Belsen Was A Gas; Public Image; Annalisa
Thanks to Paul B. Toman for allowing the use of his image of the PIL button badge through the Wikimedia Commons licence agreement.
23 Jan
Mogwai Newcastle Tyne Theatre 22nd January 2014
Mogwai Newcastle Tyne Theatre 22nd January 2014
Support from Aidan Moffat
Its a long time since I’ve been to see a band who I’m not familiar with at all. Thanks to David’s friend Dan, for giving Laura the chance to see Mogwai last night. I really didn’t know what to expect from this band; I’d heard of them, but to my shame I can’t pretend to know any of their material. The Tyne Theatre was packed, and I can see why. Mogwai’s music is powerful, intense, a little dark, very loud at times and just fascinating. They are a five piece from Glasgow who play largely instrumental pieces; I think I counted two songs with vocals. They are celebrating the launch of their new album, ‘Rave Tapes’ and last night was a special warm up gig for a tour, which includes two sold-out concerts at the Royal Festival Hall later this week. Their songs are lengthy and guitar-based pieces; on several of them there were four of them all playing guitar at the same time. Lots of strong, simple, repetitive, mathematical, patterned rhythms. Loads of distortion, dynamics, fuzz and reverb; quite difficult to categorise. I thought I heard shades of Pink Floyd, Joy Division, Kraftwerk, and even Hawkwind. Laura was reminded of Nirvana. Great stuff.
Setlist: Heard About You Last Night; Rano Pano; Master Card; I’m Jim Morrison, I’m Dead; Travel Is Dangerous; The Lord Is Out of Control; Friend of the Night; Ithica 27ø9; Ex-Cowboy; Blues Hour; How to Be a Werewolf; Remurdered. Encore: Deesh; Mexican Grand Prix; Batcat
Mogwai are Dominic Aitchison (bass), Stuart Braithwaite (guitar, vocals), Martin Bulloch (drums), Barry Burns (keyboard, computer, guitar) and John Cummings (guitar, computer).
18 Jan
Pink Fairies live in the mid-’70s
Pink Fairies live in the mid-’70s
I was a big fan of the Pink Fairies in the early and mid ’70s and went to see them a number of times in concert. Those guys represented everything that was great about rock music; attitude, far-left politics, anti-establishment views, freedom and some great underground tracks. My mate had a copy of their “Kings of Oblivion” album which we played again and again, especially “City Kids” and “When’s the Fun Begin” (which was co-written by hero of the counter-culture, Mick Farren, who sadly recently passed away). Another favourite of mine was their version of “Walk Don’t Run” from the “What a Bunch of Sweeties” album, which adds vocals to the Ventures instrumental, and bends it into a piece of psych-tinged surf guitar grunge. 
You got the feeling that these guys lived on the edge, on the outside, and were 100% authentic. The line-ups that I saw featured Paul Rudolf and/or Larry Wallis on guitar, Duncan Sanderson on bass, and Russell Hunter on drums. The legendary Twink had departed some time before. My ticket stubs included here are for gigs at Middlesbrough Town Hall Crypt and Redcar Coatham Bowl, probably around 1975 or 1976. I also saw the Pink Fairies at Newcastle Mayfair a couple of times; in 1976 and 1977. These guys were pure raw rock’n’roll live and LOUD. Amazing. It seems a reunion of some sort is in the air; as the 100 club is advertising a Pink Fairies gig in May, although its not yet clear who will be in the line-up. Something for me to watch out for.
13 Jan
Orchestral Manoeuvres in the Dark live 1979 to 1983
Orchestral Manoeuvres in the Dark live 1979 to 1983
I first saw Orchestral Manoeuvres in the Dark on 21st September 1979 when they supported Gary Numan on tour at Newcastle City Hall. This was the original two piece band featuring Andy McCluskey on vocals and bass and side-kick Paul Humphreys on vocals and keyboards. Oh, and not to forget “Winston”, their friendly four track tape-recorder, on backing tracks. My memories are of crazy (or cool; all depending upon your point of view) dancing by Andy and that great first single “Electricity”. 
This was before the release of their eponymous first album in early 1980. OMD hit the chart big-time later in 1980 with the very catchy “Enola Gay”; an anti-war song entitled after the plane which dropped the bomb on Hiroshima on 6 August 1945, during the final stages of World War II. By the time they played Newcastle Polytechnic on 18th November 1980, OMD were massively popular and tickets sold out immediately. By now Andy and Paul had augmented the OMD line-up with the addition of Martin Cooper (saxophone) and Malcolm Holmes (drums). This tour was to promote Organisation which was their second album, and support came from Fatal Charm. The students union ballroom was packed to the walls that night; and the band got a great reception, with “Enola Gay” and “Electricity” being stand-outs. Exactly one year later to the very day, on 18th November 1981, OMD were headlining at Newcastle City Hall on the Architecture & Morality tour, to promote their their third album. Support came from Random Hold. 
I saw the band once more, on 23rd April 1983, when they returned to the City Hall as part of their the Dazzle Ships tour (to promote their fourth album). Support came this time from the Cocteau Twins, featuring the beautiful voice of Elisabeth Fraser. The Cocteau Twins were on the cusp of success at the time (this was just before the release of “Pearly Dew Drops Drop”). The classic four-piece OMD line-up split in the late ’80s, and they reunited in 2005.
A setlist from the 1981 tour: Architecture & Morality; The Romance Of The Telescope; Sealand; Pretending To See The Future; Messages; Almost; Mystereality; Joan of Arc; Motion And Heart; Joan of Arc (Maid of Orleans); Statues; Souvenir; New Stone Age; Enola Gay: Bunker Soldiers; Electricity. Encore: She’s Leaving; Julia’s Song; Stanlow.
7 Jan
Orange Juice The Soul Kitchen The Bier Kellar Newcastle 22nd Feb 1982
Orange Juice The Soul Kitchen The Bier Kellar Newcastle 22nd Feb 1982
The Soul Kitchen promoted many gigs in the early 80s featuring, among others, Scottish bands from the Postcard label, and upcoming local ats such as Prefab Sprout and Hurrah! Soul Kitchen was a moving night club, with took up residence at various venues around Newcastle. It also spawned Kitchenware records which currently has Editors, Prefab Sprout and others on its rosta. This gig was by Orange Juice, and was held at the Bier Keller, which was, as the name suggests, a German style beer house in the 70s (and the scene of lots of drunken nights). It later became Dingwalls and then Rockshots. Orange Juice came from the Postcard stable, and were on the brink of chart success at the time of this gig. This gig was before they released their second album “Rip It Up”, and the single of the same name, which was a hit in the following year. I’m sure I remember also seeing them at the time of “Rip It Up”; I think I went to see them again in the same venue the following year, by which time the Bier Keller was Dingwalls. What I do recall is a great jangly pop band who moved closer to disco/funk and added deeper bass and synth; particularly on “Rip It Up”. Line-up: Edwyn Collins – guitar, vocals; Malcolm Ross – guitar; keyboards; David McClymont – bass guitar; Zeke Manyika – drums.
4 Jan
John Otway & Wild Willy Barrett in concert in the late ’70s and early ’80s
John Otway & Wild Willy Barrett in concert in the late ’70s and early ’80s
One of the many good things about the emergence of punk and new wave in the late 70s was that it allowed a series of fresh and, in some cases maverick, artists to break through and kick start their career. Many of the bands and singers who were bracketed in with the scene were not truly punk, but they shared a sense of enthusiasm, passion, energy and craziness with the movement. John Otway, accompanied by his partner in madness, Wild Willy Barrett, was one such act. Otway is one of the most authentic performers I have ever seen. He can’t sing well in any traditional sense of the word, and his stage act was at times, bizarre to say the least. But there was always an honesty about his performance; with Otway what you saw was what you got, and he would always put 110% into a gig. It was a manic performance on The Old Grey Whistle Test in 1977 which propelled John Otway & Wild Willy Barrett to success. 
The single “Really Free” was popular at the time, and I saw him on several occasions including a gig at Maxwells club in Tynemouth (15th March 1978), Reading Festival (August 1978), The Cooperage Newcastle (16th July 1980) and Sunderland Poly Wearmouth Hall (17th January 1981). I think I may also have seen them asa support act at the City Hall (perhaps for Madness in late 1980?), but can’t be sure. The gig that sticks in my mind most of all is the performance at Maxwells (note miss-spelling of “Barrett” on the ticket). Maxwells was (it doesn’t exist anymore) a club along the coast in Tynemouth and hosted a few gigs at the time, the most notable being this one, and an appearance by Siouxsie and the Banshees. Otway was on top form that night; simply buzzing, manic and crazy. The place was packed; punk was really starting to take off in the North East, and there was lots of beer being thrown about, and some spitting at the stage. John took it all in his stride; winding us all up between songs and at one point he ran around the venue, chasing a guy who had been spitting at him. 
My favourite songs at the time were “Really Free” (of course) and his truly unique and amazing version of Bob Lind’s “Cheryl’s Coming Home”. I must also mention John’s companion, Willy Barrett. He would stand quietly alongside Otway, playing a beat up guitar that looked home-made, a silent foil to John’s madness. The other gig that I’ll mention is the Cooperage concert, which I remember for another reason. By 1980 Otway was looking for another hit record, and devised a cunning plan. At the time only certain selected shops counted towards the charts and although their identity was meant to be kept secret, the record companies worked out where the shops were. Otway decided to do a tour of towns where the shops were, and announced that you were only allowed to come and see the gig (for free) if you bought a copy of the single. It certainly worked; I remember loads of us queuing outside the Cooperage, each of us holding our copy of “DK 50/80”; I still have mine somewhere. 
From the programme: “You may have asked yourself on the way to the gig, if you are in your right mind traipsing down the road clutching a single. That I cannot answer, but what you are doing is taking part in something that is unique and will probably be part of rock history.” Indeed; and well said Otters. Also from the programme: “To cut the costs of touring the Otway/Barrett party will be staying in tents on local camp sits, hiring biy scouts for road crew etc.”
The record managed to reach the lower region of the single charts.
John Otway continues to perform up and down the country and retains a sizable cult following. He has tried a series of stunts over the years; which has seen him hit the charts again with “Bunsen Burner” (he wanted a new hit for his 50th birthday in 2002), play and fill the Albert Hall, and most recently premier “Otway the Movie” at a full red carpet event at the Odeon Leicester Square. The guy’s ingenuity knows no end.
2 Jan
The Only Ones Redcar Coatham Bowl 15th October 1978
The Only Ones Redcar Coatham Bowl 15th October 1978
I’ve just played “Another Girl, Another Planet” to remind myself how great The Only Ones were. The Only Ones were led by singer and guitarist Peter Perrett along with guitarist John Perry, drummer Mike Kellie (ex-Spooky Tooth) and bassist Alan Mair. I saw the band twice, at this great gig at Redcar Coatham Bowl and at Newcastle City Hall, as support for Television. The Only Ones were a strange and unique mix of punk and psych, with Perrett looking (a little) and sounding (a lot) like Syd Barrett. Their best known song “Another Girl, Another Planet” even has the line “I look ill, but I don’t care about it” which just about summed it up. Peter Perrett went on to develop a well-publicised drug habit, and disappeared from the public eye for many years. In recent years The Only Ones have reformed, and have been playing concerts again.
31 Dec
Gary Numan Newcastle City Hall 1983, Warriors Tour, and 1984, Berserker tour.
Gary Numan Newcastle City Hall 27th September 1983, Warriors Tour, and
4th December 1984, Berserker tour.
Gary Numan’s retirement from live performance didn’t last and in 1983 he was back on tour, playing again at the City Hall to promote the Warriors album. This saw a departure from his previous style, with the involvement of several other notable musicians, including Bill Nelson, and other influences, including jazz. The album was not as successful as his previous releases, and is recognised as the beginning of a decline, including by Numan himself: “I thought that by getting in some of the best players and singers around I could make the albums more ‘musical,’…..What I actually did was progressively bury the very style that my fans had enjoyed….. I swamped my own performances in huge layers of backing vocals. ….with Warriors I was lighting the fires of what came close to being my funeral…”. The show was still good, and included all ofmthe usual favourites (and a long set), but I must admit that I was beginning to lose faith a little. Support came from Tik and Tok.
Setlist 1983: Sister Surprise; Warriors; Remind Me to Smile; Metal; This Prison Moon; Down in the Park; Films; She’s Got Claws; Love Needs No Disguise; I Die: You Die; Love Is Like Clock Law; The Iceman Comes; The Rhythm of the Evening; This Is My House; I Am Render; War Songs; My Centurion; The Tick Tock Man; We Take Mystery (To Bed);Cars; Are ‘Friends’ Electric?; Tracks; We Are Glass
I saw Gary Numan once more, when he returned to the City Hall in 1984 to promote the Berserker album. The Berserker Tour featured a “high-tech Roman temple” stage set to complement Numan’s white leather jacket/white make-up/blue-hair look. A double-album, White Noise, was recorded live at the Hammersmith Odeon show in December 1984. Support was from Hohokam, who were on Numan’s own label.
Setlist 1984:Berserker; Metal; Me! I Disconnect From You; Remind Me to Smile; Sister Surprise; Music for Chameleons; The Iceman Comes; Cold Warning; Down in the Park; This Prison Moon; I Die: You Die; My Dying Machine; Cars; We Take Mystery (To Bed); We Are Glass; This Is New Love; My Shadow in Vain; Are ‘Friends’ Electric?
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