Alison Moyet Newcastle City Hall 1984
Alison Moyet is one of our best soul/R&B singers. Her voice has great range, and a soulful, bluesy feel. I have seen her live four times; once with Yazoo (I will write about that concert when I eventually get to covering the letter “Y” which still seems a long way off right now), at the Sage a few years ago in a concert with Michel Legrand (I have already written about that gig), at Live Aid, and on her first solo tour in 1984 in a concert at Newcastle City Hall. At the time of the 1984 tour Alison had just released her first solo album “Alf” which contains the great singles “All Cried Out” and “Love Resurrection”. The album and those singles were the first signs that Alison was more than just a pop singer, and her strong soul and R&B voice were really starting to emerge. The programme tells us that she was influenced by Janis Joplin, and you could see this side of her starting to come through. 
She is of course still successful 30 years later. In those years she has sung many different song, in many different styles. Alison said at the time (from the programme): “Oh, I don’t see myself as a great singer…I’d just like to see myself as an all-rounder. I couldn’t stand just to do one style. I want to do it all. One day I’m going to shock everyone and do a Jack the Lad song. [? strange choice :)] I don’t see any necessity to limit yourself to one thing at all. I’d just get frustrated. Variety’s the spice of life and all that and I believe I can sing anything. If I sang folk you’d think I’d come right out of that period. If I sang jazz you’d think I’d been brought up on that. If I sang r’n’b you’d think I’d lived with that all my life. I just adapt well. I just think that whatever you sing you’ve got to really believe it. If I’m singing a song I can make myself feel really sad….I can make myself cry by singing.” Support for the 1984 tour came from Person to Person.
Posts Tagged ‘pop’
26 Nov
Alison Moyet Newcastle City Hall 1984
25 Nov
Bob Dylan 24th Nov 2013 Blackpool Opera House
Bob Dylan 24th Nov 2013 Blackpool Opera House
This was my first visit to Blackpool, and it was for a pretty special occasion. Laura and I were going to see the one and only Bob Dylan in concert at the Blackpool Opera House. This was my 16th Bob Dylan concert experience, and Laura’s second. For the first time, I’d struck real lucky and managed to score front row seats. I bought the tickets the minute that they went on sale, and was amazed to find that we were sitting right down front :). We set off for Blackpool around 3pm and arrived just before 6pm, after a nice drive over the A66 and down the M6. I could see the Blackpool tower lit up from miles away as we drove in. The Opera House was quite easy to locate, being part of the Winder Gardens Complex, right in the centre of town. We ran into some old friends, had a chat about Dylan, and there was just time for a quick Italian meal before show time. We also spent a little time hunting for a stick of Blackpool rock to take back for Marie, but everything was closed on a Sunday night, so we sadly failed in that task. Dylan is on a short tour of the UK, calling at Glasgow, Blackpool and the Albert Hall; playing three nights at each venue. This is his first visit to Blackpool, and it seemed a little strange, but very welcome choice. Actually having said that, it does sort of fit. There is a feeling of old grandeur about Blackpool, a mix of greatness, tradition and the past, yet a validity within the present; all of which sits well with the legend that is Dylan. I can imagine him wandering the streets and arcades. I wonder if he did ….?
Last night was the final night of Dylan’s three consecutive shows in the venue. The Opera House is a lovely ornate hall, which holds just short on 3,000 people, and reminded me of the Odeon cinemas I would visit as a kid. Its a small intimate venue, compared to the arenas which Dylan normally plays when he comes to the UK. In recent concerts, Dylan has been playing a lot of tracks from his latest album, Tempest, with a few classics thrown in; so Laura and I knew what to expect.
Dylan and his band came on stage at 7.30pm prompt without any introduction. The opening song was “Things Have Changed”, a song from the film Wonder Boys, which was released as a single in 2000. It was clear from the start that Bob was on good form and in good voice, and the sound was crisp and clear from where we sat (there had been reports of poor sound on the first night in Blackpool). It was great to have such a close and unobstructed view of Bob and his Band. Dylan alternated between standing at the mike centre stage (no guitar this tour), and playing a small grand piano which was to stage right. His band are excellent and feature three guitarists; Stu on acoustic rhythm, Charlie on electric lead, and Donnie on pedal steel, mandolin, banjo and violin. On the last couple of occasions I’ve seen Bob Dylan in concert, his voice has sounded stronger than it has for many years. He seems to have a settled into a deep, snarling raspy groove, not unlike Tom Waits. This gives the songs a dark, bluesy feel. There is more emotion in his voice, you know that he means every phrase. 
The set was, as expected, drawn largely from Tempest. I have the album, and have played it a number of times, but I can’t say that the songs are yet familiar to me. However, last night they sounded good, as did old favourites “She Belongs to Me”, “Tangled up in Blue” and “Simple Twist of Fate”. The encore was a great version of “All Along the Watchtower” with a slower, moodier arrangement than the usual rockier version that Dylan has been playing recently, and a new song “Roll on John”, which is about John Lennon. This was a surprise, as the last song has been “Blowing in the Wind” on other nights of the tour. The crowd cheered loudly when he started “Roll on John”; its a crowd favourite already and the end of each verse was the cue for another cheer. Bob spoke to the crowd only once, to announce the intermission. He seemed in a good mood and quite animated at times, with some staccato leg movements while he was at the mike, and some little twists while at the piano. A great performance, by a legend that just continues to please. The show finished around 9.45pm, and we were home shortly before 1am. 
Setlist: Things Have Changed; She Belongs To Me; Beyond Here Lies Nothin’; What Good Am I?; Duquesne Whistle; Waiting For You; Pay In Blood; Tangled Up In Blue; Love Sick. Intermission. High Water (For Charley Patton); Simple Twist Of Fate; Early Roman Kings; Forgetful Heart; Spirit On The Water; Scarlet Town; Soon After Midnight; Long And Wasted Years. Encore: All Along The Watchtower; Roll on John.
Bob Dylan – vocals, piano, harp. Band: Tony Garnier – bass; George Recile – drums; Stu Kimball- rhythm guitar; Charlie Sexton – lead guitar; Donnie Herron – banjo, electric mandolin, pedal steel, lap steel, violin
“Doctor, doctor, tell me the time of day; Another bottle’s empty; Another penny spent; He turned around and he slowly walked away; They shot him in the back and down he went.
Shine your light, move it on, you burn so bright, roll on John.
From the Liverpool docks to the red light Hamburg streets; Down in the quarry with the Quarrymen.”
(Bob Dylan, Roll On John, 2012)
23 Nov
Manfred Mann’s Earth Band Newcastle City Hall 1978 and 1979 (and Reading 1976)
Manfred Mann’s Earth Band Newcastle City Hall 1978 and 1979 (and Reading 1976)
Manfred Mann’s Earth Band were, to some extent, a natural progression from the highly successful Manfred Mann band which had all those 60s hits. The Earth Band saw a complete change of line-up, apart of course for Manfred himself, and a change in a style from straight pop to a rockier more progressive style. A hint of Manfred’s jazz influences, which he explored more fully in the predecessor band Manfred Mann’s Chapter Three, also emerged now and then. The Earth Band retained Manfred’s approach of reinterpreting the songs of other great artists (eg Dylan and Springsteen). I first saw Manfred Mann’s Earth Band at the Reading Festival in 1976. That was at the time of the “Roaring Silence” album. 
They had just released Springsteen’s “Blinded by the Light” as a single, which was to be their second UK chart entry (“Joybringer” was a hit in 1973). The line-up at the time was: Manfred Mann (keyboards, backing vocals); Colin Pattenden (bass); Dave Flettz (lead guitar); Chris Thompson (vocals, guitar) and Chris Slade (drums). Live favourites during this period were their interpretations of Springsteen’s “Spirit in the Night” and “Blinded by the Light”, and “Davy’s on the Road Again”. Manfred still played Dylan’s “Mighty Quinn” from his 60s catalogue, usually as part of the encore. 
I saw the band again at concerts at Newcastle City Hall in 1978 and 1979. The 1978 tour was promoting the “Watch” album and the 1979 outing was at the time of “Angel Station” (these were the Earth Band’s 8th and 9th albums). The line-up had changed a little by 1978 with Pat King playing bass. By 1979 John Lingwood was on drums, and Steve Waller was on guitar. My 1979 programme contains a flyer for a band called “Darling” who I imagine must have been the support act that year. Manfred Mann’s Earth Band were a great live act, and massively successful during the 70s. 
Manfred Mann’s Earth Band continue to play to this day, largely on mainland Europe with occasional visits to the UK; only Manfred remains from the 70s line-up. They are another band who I really need to make the effort to see again.
Typical set list (from a show in 1979): The Good Earth; Angels at My Gate; Davy’s on the Road Again; Chicago Institute; Spirit in the Night; Don’t Kill It Carol; Father of Day, Father of Night; Martha’s Madman; You Angel You; Blinded by the Light. Encore: Quinn the Eskimo (The Mighty Quinn); Eastbound Train (Hobo Bill); Step by Step.
15 Nov
Mott the Hoople Buxton July 1974; or how I survived the mud and watched Mott reveal a Golden Age of Rock’n’Roll
Mott the Hoople Buxton July 1974
I’ve relived the nightmare that was Buxton 74 in an earlier post on my blog. Terry Battersby puts in well on the UK Festivals site: “I managed Buxton in 72/73/74.They should have been campaign medals issued”. Well I managed 73 and 74 and know what he means. I hold my medal with pride; the Buxton festivals were a real endurance test.
Buxton is a town high up in the peak district and the festival was sited up on a moor. You couldn’t imagine a worse place to hold a pop festival. All the Buxton festivals suffered from poor weather, lots of wind and rain, and after 1974 the organisers abandoned the idea of holding any further festivals. Buxton 74 was a very wet and cold two-day event and Mott headlined the first (Friday) night, topping a bill that featured Man, Horslips and Lindisfarne. Compere was Bob Harris. Mott played an excellent set, and were one of the highlights of the weekend, along with Humble Pie and Rod and The Faces. The line-up of Mott the Hoople at the time was Ian Hunter (vocals, guitar, piano), Pete “Overend” Watts (bass), Dale “Buffin” Griffin (drums), Morgan Fisher (keyboards), and Ariel Bender (guitar).
Mott had just played a legendary week-long residency at the Uris theatre on Broadway, and the Buxton set definitely had shades of a Broadway performance. The set was similar to that which they’d played on Broadway, but I can’t be sure that it was exactly the same. I’ve reproduced the setlist from the Uris theatre below anyway, for reference purposes. I’m certain that they started the show with the first verse of Don McLean’s “American Pie” which was a big surprise to me. Hunter was in his element; he had grown into the ultimate showman, a cross between a rock star and a ringmaster, and he was on top form that night. He was playing a grand piano with a massive candelabra on top (maybe I imagined that; but please don’t tell me I’m wrong and spoil this great memory :)) and when he got to the line “the day the music died”, he declared: “Or did it? Ladies and gentlemen, The Golden Age Of Rock’n’Roll”…Then it was straight into “The Golden Age of Rock n Roll” and we were off at high speed into a great Mott performance. Hunter became a cross between Little Richard and Jerry Lee, and we forgot how cold and damp we were. 
Other memories: “All the way from Memphis became “All the way from Buxton” and during “Marionette” lots of marionettes appeared on stage. This was a great set, and managed to liven up all our spirits after such a cold, wet day. Although we didn’t know it at the time, Hunter had already decided to call it a day and leave the band. As my mate and I walked back to my car, where we tried to get some sleep (with little success I fear) we were unaware that we had just witnessed Mott’s last performance on the UK mainland for 35 years (they played a gig on the Isle of Man the next night). It was a fitting performance to end things on.
From the Buxton 74 programme: “Mott’s Rock’n’Roll journey is almost over [did they know something we didn’t ? 🙂 ]. They’re home now….top of the bill on the Rock’n’Roll Circus. Right where they’ve always meant to be. They’ve fought hard and sometimes they’ve had to fight dirty. Don’t talk to them about ‘compromise’ because Mott don’t know what it means. Ask then instead about the hard times, the rough times…..when nothing’s been easy, and only optimism, nerve and aggression have pulled them through…..They’ve proved it now….that they can take more than enough to finish a lesser band, and come through it all to take their place at the top of Rock’n’Roll’s ladder with their heads held high”.
Setlist from the Uris show, on Broadway, New York in May 1974: American Pie; The Golden Age of Rock ‘N’ Roll; Sucker; Roll Away the Stone; Sweet Jane; Rest in Peace; All the Way from Memphis; Born Late ’58; One of the Boys; Hymn for the Dudes; Marionette; Drivin’ Sister; Crash Street Kids; Violence; All the Young Dudes; Walkin’ with a Mountain
Thanks to John (who is also a Buxton 74 campaign medal holder) for the photo of his poster showing the line-up for the weekend.
14 Nov
Mott the Hoople and Queen Newcastle City Hall November 1973
Mott the Hoople and Queen Newcastle City Hall November 1973
Mott the Hoople’s success with All the Young Dudes was followed by a string of hit singles Honaloochie Boogie, All the Way From Memphis,and Roll Away the Stone all in 1973. These were to be followed by further hits Foxxy Foxxy and Saturday Gigs in 1974. They also enjoyed two major album successes with Mott and then The Hoople. There was however disquiet in the band. Mick Ralphs left to form Bad Company with Paul Rodgers, allowing him to explore the bluesier aspects of rock. And Phally left to be replaced by Morgan Fischer from Love Affair (via his own band Morgan). So when we saw them in 1973, with strong support in the form of Queen, everything was very different. It was the height of Glam, and the gigs were attracting a younger audience and had a much more pop feel, as opposed to the raw rock and roll excitement of those early shows. My friend John writes of his feelings towards the new poppier Mott: “I think I saw them one more time in 74 and by then they had run their course.I had lost interest and think they had too. Commercial success is nothing to be sneered at, and after all it is a business, but whether I thought the band had sold out or there music has changed I don’t know.It just wasn’t the same.” I agree. The band gained in stature and success, and many of their hit singles from that period remain my favourites to this day. Ariel Bender was a crazy foil to Hunter; they would literally push each other to gain centre stage, and their 1973 City Hall gig was great. But it was so different, and so removed from the rock n roll band of just a year or so earlier. There was a buzz about this tour for two reasons. First, because Mott were at the height of their success, and we were looking forward to seeing the new line-up, particularly this mad Ariel Bender guy. 
And secondly we were all looking forward to seeing Queen, who had just released their first album and were being hailed as the “next big thing”; a prophecy which for once turned out too true. Queen’s first single Keep yourself Alive was played a lot in the local Mecca ballroom that we all frequented. “Would Queen blow Mott off the stage?” was the question we were all asking. Well of course not. Both bands were great; Freddie was very clearly a star in the making; Bender was as impressive OTT and Glam as promised, and Mott lived up to all expectations, showing just how much they deserved their chart success. A great and memorable gig, and a legendary tour. I went on to see Queen 8 more times; and will reflect on those gigs when I (finally 🙂 ) reach letter “Q”.
John’s views on Queen at the time: “This was the first and only time I saw them, and I though they were sensational. Really a glam version of Led Zeppelin with some great straight ahead rock songs in Keep Yourself Alive, Liar and Son and Daughter. I immediately went out and bought the album – I had to order it from Bergs [a local record shop at the time]. I told everybody I knew how great they were and that they would be a big success. I felt a very personal connection with them. I can recall being very confused by Seven Seas of Rye as a single, but when Killer Queen was released I was so disgusted that I gave my album away and vowed never to see them again. I lived up to that promise. Aaah the impetuousness of youth.”
Queen setlist: Procession/Father To Son, Son And Daughter, Ogre Battle, Hangman, Keep Yourself Alive, Liar, Jailhouse Rock/Bamalama Bamaloo. Encore: Hey Big Spender.
Mott set list: Drivin’ Sister, Sucker, Sweet Jane, Hymn For The Dudes, All The Way From Memphis, Sweet Angeline, Rose, Roll Away The Stone, All The Young Dudes, One Of The Boys, Rock And Roll Queen. Encore: Walkin’ With A Mountain.
Things in the Mott camp were however not good, and the pressures of success, years on the road and big egos were soon to come to a head. I saw the band once more before the end came, at that hell-on-earth endurance test of 1974, otherwise known as the Buxton pop festival. Tomorrow I’ll attempt to recall as much as can of their performance at that festival.
Thanks to John for the scan of his poster of Mr Hunter, and Mitch for the setlists.
13 Nov
Mott the Hoople Newcastle City Hall 20 September 1972
Mott the Hoople Newcastle City Hall 20 September 1972.
1972 was the year of the miners’ strike, three day week and power cuts. I remember being at two gigs during that period where the power went and the show had to be abandoned. The first was a Free concert at the City Hall, and the second was a Mott the Hoople show at the same venue. By process of elimination, I think it must have been this gig.
By late 1972, Mott were finally getting the success they deserved. The famous story, chronicled in the Ballad of Mott describes how they split up on March 26 1972 only to be rescued by David Bowie who initially offered them Suffragette City as a single. Bowie then specially wrote All the Dudes for them and it reached No.3 later in 1972. Dudes had been in the charts by the time the guys returned to the City Hall for a concert on Wednesday, 20th September 1972. They had also released an album entitled “All the Young Dudes”, and the tour featured a lot of the new songs. Support for this tour came from the wonderful melodic rock band Home, fronted by Laurie Wisefield, who was soon to join Wishbone Ash. The Home songs “Baby Friend of Mine” and “Fancy Lady, Hollywood Child” are classics and were great favourites of mine at the time. 
My recollection of this gig was that the power went a few songs into Mott’s set. The band tried to continue acoustically for a little, but the gig was eventually abandoned. They talked about returning to play the gig again, but I don’t think that happened, although they were soon back at the City Hall. The set list from the London show of the tour at the Rainbow theatre was: Jupiter Theme; Jerkin’ Crocus; Sucker; Hymn For The Dudes; Ready For Love / Afterlights; Sweet Jane; Sea Diver; Angeline; One Of The Boys; All The Young Dudes; Honky Tonk Women; Rock’n’Roll Queen; You Really Got Me. I’m pretty sure that Mott only performed the first few songs at Newcastle before the power went. This was the last time I was to see the original, and best, Mott the Hoople line-up. Verden (Phally) Allen was soon to leave, with Mick Ralphs not long also departing not long after him. I’ll blog on the next chapter of the band tomorrow. Thanks to John for the scan of his picture of the original band, which has been signed by Mick Ralphs.
12 Nov
Mott the Hoople memories of Saturday gigs in early 1972
Mott the Hoople memories of Saturday gigs in early 1972. 
Mott don’t get the respect they deserve. When you mention Mott the Hoople most people immediately recall All the Young Dudes. But there is much much more to Mott than that. Before they had the hits and became some sort of pop glam band, they were one of THE live acts on the circuit. Mott the Hoople in the early 70s were wild, heavy, funny and loud and Ian Hunter and the rest of the band had a rapport and bond with the audience that was like no other. The 5 or 6 times I saw them are fast becoming faint memories, but I do remember just how good they were.
I first saw Mott the Hoople live in February 1972 at Sunderland Locarno. This was the original and best Mott line-up of Verden Allen, Dale Griffin, Ian Hunter, Mick Ralphs and Pete Overend Watts. This was some special gig, with the excellent and up and coming (at the time) Genesis as support act. Mott had a reputation for causing pandemonium at their concerts, and that night was no exception. The ballroom was packed to the walls and the place went just crazy for Mott. I remember Ian Hunter had his iron cross guitar and was totally wild. At one point he was pulling an organ around the stage, literally throwing it about. He hit one of my mates on the head with his guitar, and came down to rub his head and check that he was ok. My favourite songs at the time were Thunderbuck Ram, which we all knew from the Island Bumpers sampler, Sweet Angeline, their great version of Honky Tonk Woman and Rock ‘n’ Roll Queen. Their version of Darkness, Darkness was also excellent.
After the gig we walked across to Sunderland Poly Wearmouth Hall and sneaked into the student union dance. Shakin’ Stevens and his early band the Sunsets were on stage playing. Shakey was wearing a great silver lame jacket; he was very much the rock n roller in those days. There was a massive fight at the front of the hall; we sneaked back out and walked home.
I was back to see Mott two months later in April 1972 when they played Newcastle City Hall on their Rock n Roll Circus tour. The tour concept was pretty crazy. Support came from comedian Max Wall, Ray Major’s band Hackensack and a collection of comedians, jugglers, dogs, and knife throwers which entertained us during the break. It was an electric performance, with the Newcastle crowd living up to the craziness I was coming to expect of a Mott concert. The Wolverhampton gig of the tour was recorded, and the track listing is: One Of The Boys; The Ballad Of Mott The Hoople; Darkness Darkness; Sweet Angeline; Thunderbuck Ram; Mr Bugle Player; Honky Tonk Woman; Till I’m Gone; The Moon Upstairs; Rock ‘n’ Roll Queen; Midnight Lady. I would guess the City Hall gig featured a similar set.
My friend John is a big Mott fan and recalls his own memories of the band in the early 70s: “I first saw Mott the Hoople on Nov 22 1971 at the City Hall with Peace as support.Can’t remember if I knew a lot about the band but I was just starting to really get into music, was a big Free fan and wanted to see Peace. I don’t remember ever having any Mott albums, even though they released four between late 69 and 72, and so knew very little of their material except for Rock and Queen and Thunderbuck Ram but it didn’t matter.They were a sensational live band and one of my favourites of the less successful bands from the early 70’s together with Atomic Rooster and Hawkwind. They looked great, Ian Hunter certainly looked like a star and had the distinctive Iron Cross guitar and were a great live show.Rock and Roll Queen was great live and really should have been their route to success, but the studio version is a bit light and does not have the manic energy that it did live.The only other song I can really remember live was the lengthy Rock and Roll medley which closed the show, features a number of tunes but I seem to recall had You Keep A Knocking as the main theme holding it all together. After this first show I was hooked and saw them again the next year. Memories can be deceptive but I think at the second gig I can recall a human pyramid being formed at the front of the hall near the stage which got to be quite high before collapsing and smashing some of the seats. [wow! 🙂 ] It was only time I saw anything like that at the City Hall and it captured the fun and chaos that I associate with their shows. I think they were banned form the Royal Albert Hall after a similar incident.” Thanks to John for the scan of his ’71 tour programme and the period poster.
Mott were threatening to split around this time. But they had already met Bowie and were about to release Dudes, and everything would soon change for them. It would change for us, the fans, too. As Mott became more popular, and hit the charts, we were about to lose the crazy, mad, rock n roll band who gave us those great Saturday gigs. The next time I saw Mott was later in 1972, after Dudes changed everything. I’ll reflect on that gig tomorrow.
10 Nov
John Miles in concert in the 70s
John Miles in concert in the 70s. 
I first became aware of John Miles in the early 70s. At that time, he was playing in ballrooms and workingmen’s clubs in his native North East. The John Miles Set were one of the best and most popular club bands of the time. I saw The John Miles Set support many bands, including The Kinks at the City Hall. I also remember a gig by David Bowie at Sunderland Locarno, where Bowie didn’t show and John Miles became the headliner. I also recall gigs at local clubs; one in particular sticks comes to mind at Ryhope Poplars club, where the packed concert room gave him a reception like nothing else I’d experienced at the time. In 1972 he appeared on the TV programme “Opportunity Knocks”, hosted by Hughie Green, and won, singing Bridge Over Troubled Water”. By then he was starting to gain a reputation outside the North East. From the early days, he had this song “Music”, which was pretty middle of the road, but none the less catchy, and it was obvious it was going to be a big hit at some stage.
The next time I saw John Miles in concert he was headlining at Redcar Coatham Bowl. This must have been in 1976, as it was around the time of his debut album “Rebel”, and the “Highfly” single. “Highfly” was his first hit, reaching No 17 in the UK charts. “Music” followed; reaching No 3, and becoming a standard, which must have been performed by hundreds on artists. I saw John Miles at the Reading Festival in 1977, where he appeared on a very muddy weekend; headlined by Think Lizzy. Come 1979 John was out on his own UK concert tour, which I caught at Newcastle City Hal, where he was supported by Bandit, featuring fellow North East musician Mick Grabham. John says in the “In Flight ’79” programme: “Hello. I was born 29 years ago in Jarrow. My musical education followed the usual pattern of events. Piano lessons from the age of 5 (which were boring) and then trying to persuade my dad to buy a guitar for me when I was still at Grammar School. It was about this time that I joined my first semi-professional group “The Influence”. 
As a band we didn’t last that long, so when “The Influence” split up I decided to form the “John Miles Band”. We went down really well in clubs in the North and Midlands, so well in fact, that we decided to try and get a recording contract. Bob Marshall [Bob was the long standing bass player with John Miles] and I travelled down to London with our manager Cliff Cooper. While Cliff visited the record companies, Bob and I stayed at home and wrote songs. Eventually we signed a deal with Decca Records. Our first album was called “Rebel” and produced by Alan Parsons. Now three albums later Alan and I have been working together on a new one; “More Miles Per Hour”. Finally on behalf of the Crew and myself, have a good flight. John Miles.” John Miles live was always guaranteed to be a good show. As well as a singer, keyboard player and songwriter; John is also an excellent guitarist. Since the 70s John has gone on to sing and play with many big names. He has played with Joe Cocker; I saw him with Jimmy Page on his Outrider tour in 1988, and with Tina Turner. John is still playing, and recently appeared (June 2013) at a charity event at Newcastle City Hall.
3 Nov
Toy Dolls North Shore Sunderland 2nd Nov 2013
Toy Dolls North Shore Sunderland 2nd Nov 2013
Last night mackem heroes the Toy Dolls made a long awaited return to Sunderland to play a concert in local venue North Shore. Its 30 years since they last graced a stage here, when they played a gig at the much missed Old 29 in 1983. As you might imagine, anticipation was high for last night’s homecoming, with tickets selling out in a day or so. North Shore (previously known as Manor Quay, or Close Encounters, or The Boilermakers Club, depending upon which era you are from) is a club venue which now plays host to the events of Sunderland University Students Union. But last night it was packed to the walls with punks young and old who had come to see the return of Olga and the Toy Dolls. 
Well Olga and the guys didn’t let us down, and played a blistering, crazy set of their fast punk anthems, which chronicle Olga’s life and tales from mackem legend, including Cloughy Is a Bootboy!; Dougy Giro; Dirty Doreen; Spiders In The Dressing Room; The Ashbrooke Launderette; Olga… I Cannot; Tommy Kowey’s Car; Queen Alexandra Road Is Where She Said She’d Be, but Was She There to Meet Me… No Chance; Harry Cross (A Tribute to Edna); hit single Nellie the Elephant. Fine stuff, great fun. The vibe of the night was friendly good hearted fun, with the crowd singing along to every word, and Olga running back and forth across the stage, chopping away at his Telecaster. Old friendships were renewed, and a good time was well and truly had by all.
31 Oct
John McLaughlin and the Mahavishnu Orchestra 1974 & 1975
John McLaughlin and the Mahavishnu Orchestra 1974 & 1975. 
I was lucky enough to see the second Mahavishnu Orchestra three times. The first time was at the Knebworth Bucolic Frolic concert in 1974 where they shared the bill with The Allman Brothers, the Doobies, Van Morrison, SAHB and Tim Buckley. The setlist from Knebworth was: Wings of Karma,Sanctuary, Vision is a Naked Sword, Hymn to Him. This was a big band and the line up was: John McLaughlin – lead guitar, Jean-Luc Ponty – electric violin, Gayle Moran – keyboards, Michael Walden – drums, Carole Shive – drums, Marsha Westbrook – viola, Phillip Hirschi – cello, Steve Frankewicz and Bob Knapp – trumpet, fluegelhorn, flute, and Steve Kindler – violin. I remember that the band were all dressed in white and that McLaughlin started the set with a short reading, or it could even have been a prayer. 
My next Mahavishnu experience was at Newcastle City Hall in 1975, and the programme comes from that gig. I looked up the meaning of Mahavishnu out of interest, and found this on Wikipedia: “Mahavishnu (Devanāgarī: महाविष्णु) is an aspect of Vishnu, the Absolute which is beyond human comprehension and is beyond all attributes. The term Mahavishnu is similar to Brahman and Almighty Absolute Supreme Personality of Godhead”. Pretty deep mystic stuff; eh?! And that about sums up their music; heavy, deep, with superb musicianship, jazz-rock, fusion, challenging, enjoyable, frustrating, exciting, boring; all of those things in part. Like nothing I have seen before or since. The last time I saw John McLaughlin and his Mahavishnu Orhestra was at the Reading Festival in 1975, where they shared a bill with Soft Machine, Robin Trower and headliners Wishbone Ash. McLaughlin is an intriguing character, and undoubtedly a musical genius. He still plays today, and I have just added him to the list of people I intend to try and see again in the next few years.
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