Out of the ashes of Shader comes
Bloodshot Eyes, they released the LP "On My Knees" in 1984, now a
days considered one of the rarest hard rock LPs. We talked with drummer William
Hayter about this underrated band.
Q. - Hello William! Tell us a bit
about the beginning of Bloodshot Eyes, how did it all start? How did you get in
touch with the other members?
William - The band came together
out of the ashes of Shader. We were all local friends whilst Shader was active.
When Shader called it a day, Bloodshot Eyes was effectively the continuation of
that band.
Q. - Who were your principal
influences at that time?
William: Pink Floyd, Hawkwind,
Gong and lots of other progressive rock.
Q. - How did the band name came
up?
William - Because of the bands
drinking habits!!
Q. - What about shows? Did you
play regularly in the UK back then? Did you share stage with some well known
bands?
William - No. Shader toured
extensively supporting Budgie and several other shows under their own steam.
After a recording contract with Polydor Records fell through Shader split up.
Bloodshot Eyes was then formed to keep the momentum of Shader running. At this
point, no shows were booked so it was decided to go and record enough songs to
do an album first. When the album was released, the band split up before any
shows could take place despite interest being generated among promoters to
stage Bloodshot Eyes gigs. The individual members moved into other projects
with me and Matt Russell joining Sudden Afternoon and Hanif Bulbulia going to
Hitchhiker. George was left to pick up the pieces.
Q. - Do you recall the songs you
were playing in the beginning? Did you play any covers too?
William - No, no covers as we
just concentrating on getting the album songs developed.
Q. - The Lp "On My
Knees" was released in 1984, what do you recall from these recording
sessions?
William - There were three
sessions at Recession Studios in Hackney, London. Memory is a bit vague now but
I do recall George shouting at the sound engineer who tried to suggest
something with the recording but George was quick to point out that he was
paying for the sessions so was boss and had the final say. Quite amusing
really. It all sounded good after the overdubs and mixes and no bad feelings
were had by anyone. The final sessions sounded good in the end.
Q. - Did you tour supporting
"On My Knees"?
William - No.
Q. - Are there any other
recordings by Bloodshot Eyes (demos or live recordings) besides the LP?
William - Yes. The band reformed
at the end of 1984 with Ian Secombe on guitar and John Prine on bass plus me on
the drums. We rehearsed and then recorded six new songs ready for a new album
which was going to be called Bad Blood. This eventually never got released due
to the band splitting for the last time so eventually got shelved.
Q. - The "Bloodshot
Eyes" adventure didn't last much, what led to the end?
William - Frustration at not
being able to maintain a regular line up or agreeing on anything finally split
the band, sadly. Lives were changing and other bands were taking members away.
I was starting the knowledge to become a London taxi driver and it took up a
lot of time. I got in to a folk rock band called Caliban that were influenced
by Fairport Convention, they played a lot of local gigs around London but never
developed beyond recording a cassette album before splitting up.
Q. - Did you stay in touch with
each other all over the years?
William - George and I have
stayed friends even though there have been lengthy spells where we didn’t see
each other. We played together at local blues jams and so forth. Hanif went to
Wales so we don’t see so much of each other. Matt is in a punk band called The
Outbursts. They gig a lot around London. John and Ian have disappeared and we
have no contact with them.
Q. - What do you think that
lacked to "Bloodshot Eyes" to have a successful career?
William - Stability.
Q. - So what are you doing these
days? Do you still play in any band? Tell us a bit about it.
William - George is now a member
Howlin’ Mojo Bones. They are gigging a lot including The Bish Bash festival in
Bishops Stortford and the Harlow Summer Link Fest this summer and a blues
festival at Butlins in Skegness in January next year with Savoy Brown, The
Animals, Climax Blues Band and Nine Below Zero topping the bill.
They also had their CD reviewed
by Blues Blast in the USA and were recommended for an award.
I run my own studio now and have
a lot of music released. I had a single by The Flaming Gnomes released by
Fruits de Mer Records. I have recently worked with a lot of artists like Nick
Haeffner, The Revenge and am currently helping in a small way with a
forthcoming box set by well known Canterbury band Caravan.
There are loads of other things
that are too long to list but one other notable event that I took part in was
entering the Guinness book of records when I joined 600 drummers all playing
together at the National Indoor Arena in Birmingham in 2009.
Q. - Are there any plans to
reissue "On My Knees"?
William - Yes. We have been
approached by High Roller Records in Germany to have the album released. The
remaster is sounding very good and will be out next year
Thank you for your time, and wish
you all the best for the future!
Shader was formed in London at
the end of the 1970’s, and last till 1983/84, they did many tours all across
the UK and played to a variety of audiences. The single "Bad News
Blues" was recorded in 1981, and after the split George Whitter formed
Bloodshot Eyes releasing the LP "On My Knees".
Q. – Hello George! Tell us a bit
about the beginning of Shader, how did it all start? How did you get in touch
with the other members?
George - All local
friends/musicians who got together. I was already a local music celebrity. The
band just got together to jam and play gigs.
Q. - Who were your principal
influences at that time?
George - Jimi Hendrix and other
blues rock bands also prog and psychedelic rock.
Q. - How did the band name came
up?
George - Good question.......I
can’t remember.
Q. - What about shows? Did you
play regularly in the UK back then? Did you share stage with some well known
bands?
George - Yes, toured supporting
Budgie and spent three years travelling up and down the M1, mostly playing to
large rock audiences up the north of England.
Q. - Do you recall the songs you
were playing in the beginning? Did you play any covers too?
George - No covers. The Pimp and
another song called The Jungle also Bad News Blues, Don’t Treat Me Like a Fool,
Banging Like a Shit House Door and other songs that eventually ended up on the
Bloodshot Eyes album On My Knees.
Q. - How was the single "Bad
News Blues" received by the fans? Did it have airplay on radio stations?
George - Quite a few were sold
with a repressing needed. The fans loved it.
Q. - When did you release the
demo tape "Rock ‘n’ Roll ‘n’ Toast"? Did you try to find a record
deal after that demo?
George - Yes, there was interest
from Polydor Records who were keen to sign Shader. The A&R representative
that was about to sign Shader got the sack. His replacement didn’t want to sign
Shader and the rest is history as they say.
Q. - When did "Shader"
split up exactly? What happened that led to the split?
George – 1982. Too many
disagreements. Too many chiefs and not enough Indians. Dispute over direction
and band leadership.
Q. - What do you think that
lacked to "Shader" to have a successful career?
George - The A&R man at
Polydor Records keeping his job!!
Q. - Did you formed Bloodshot
Eyes right after the split of Shader? How did it all start?
George - Yes. It sort of
continued on with other friends who were musicians.
Q. - The Lp "On My
Knees" was released in 1984, what do you recall from these recording
sessions?
George - Not much. Memory is
vague but it was good to be back doing something.
Q. - The "Bloodshot
Eyes" adventure didn't last much, what lead to the end?
George - Instability, like
William said.
Q. - Did you stay in touch with
each others all over the years?
George - Yes with William but
lost touch with earlier members.
Q. - So what are you doing these
days? Do you still play in any band? Tell us a bit about it.
George - I play with Howlin’ Mojo
Bones which is blues based rock. We have had two CDs out. The second CD Voodoo
She Do has got a lot of good reaction from fans and press alike. We have also
played a number of gigs and festivals in the summer and a big one at Butlins in
Skegness in early 2020 which is a blues and rock festival.
Q. - Have you ever thought about
doing a compilation with all the recordings made by Shader or Bloodshot Eyes?
George - Not really because High
Roller Records in Germany are dealing with that as we speak.
Q. - How do you want to end up
this interview? Anything more you want to say?
George - It’s great to see after
all these years that there is still an interest in the songs that I wrote and
recorded. Rock n Roll n Toast n Coffee is still a very popular song and has
been cite s the one that got away.
Thank
you for your time, and wish you all the best for the future!
Francisco Dias have been in the
music business for a long time, started as a Hardcore singer, moving later to the
metal scene. Nowadays he manages the label Progaor, and sub label Dyamond Roxx,
based in the UK. Before Progaor, he managed the label Blood and Iron Records,
and was the lead singer for the Doom Metal band Dawnrider. We had a chat about
his past bands and current labels.
Q. - Hello Francisco, tell me a
little bit about you, how did your interest in hard rock and heavy metal music
start?
Francisco - Hi Paulo, i am from
Lisbon, Portugal but moved to the UK in 2014 and married last year living in
the beautiful countryside of Suffolk and expecting our first baby very soon. My
interest in Heavy Rock music started about 1985/86 when i saw on TV clips from
AC/DC and Iron Maiden plus my interest in going to the local record shop where
i lived (in the suburbs of Lisbon) the owner was friend of my parents and
eventually i saw the very first hard n heavy record covers in his shop. Live
After Death was the most striking since i saw it i felt extremely attracted to
it. An older guy who lived in my building (only 3 years older but when youre 11
its a big deal a guy with 14 years old it seems a big gap) he was a proper
headbanger and he taped me the first stuff...Maiden, WASP, Motorhead. I was
already turned on to Queen and AC/DC then came Europe with Final Countdown
album and as soon as i started to tune in the Metal/Hard Rock radio shows, it
opened me a door to a wonderful new world...Saxon, Priest, Warlock, Deep
Purple, Sabbath, Accept and a few more that was i was tuned in in my year zero
along with the ones i mentioned earlier. Maiden seemed to be my favourite band
of them all.
Q. - Did you start your activity
as singer with Subcaos? How did the band start?
Francisco - With the decadence of
Metal (death metal, black metal) i lost interest and started to tune into
Hardcore. This was 1990. I already was listening Crossover stuff and i was
skating. I was listening to a lot of Thrash, this was 88/89...then i started to
try to reach the Hardcore scene. Eventually i ended up singing (screaming) in
the first Portuguese Straight Edge Hardcore band. Then i moved on the band
finished and i started my own back in the spring of 91: Subcaos. It started as
a Punk/Crust type Hardcore band. For me it was like Thrash Metal but more
straightforward and with better lyrics (for my teenage mind at the times). Not
all thrash metal had silly lyrics Megadeth always had great lyrics. Anyway...those
were the days...trying to catch up with the Hardcore scene of the 80s mainly
U.S. and UK bands. Initially Subcaos live was quite an experience the first
times we played in Lisbon back in 1992: the punk rockers didnt like it. People
into Hardcore liked it and slam danced and thrashers were banging their heads
in the front row. It was a great feeling for a teenage kid!
Q. - When did you join
"Crise Total"? How did that happen?
Francisco - I had these biker
punk friends who were friends of the original Crise members. Some of them were
thinking in making a return and record in a studio the songs they were playing
in the 80s live. They were considered the Portuguese Discharge. As a fan of
Crise and Discharge i immediately said i had interest in sing for them and
another Subcaos member came with me to try the bass guitar. We got into the
band and we performed live in shows with Portuguese and foreign bands plus we
recorded in 96 the CD with all the 80s classic songs. A shame that some of our live recordings sounded powerful and better than the studio recording. Try to
put a guy who listens to Dream Theater and Steve Vai recording a Punk band and
shit comes out.
Q. - How did the idea to create a
label came up? Was Blood and Iron Records your first label?
Francisco - I had a label before
Blood & Iron but it was to promote my band at the time and a few friend’s
bands from the Lisbon area. The No-Counts D.O.M., Brainwashed by Amalia and We
were Wolves. I was a bit naive and eventually lost a lot of money and finished
the project after two years. But it was great fun...i did a few festivals for
the label and it was a great Rock brotherhood we had around the label bands.
Carlos from B.B.A. ended up with me in Dawnrider. When i started Blood &
Iron in 2005 i already had a bit more experience and some contacts to get the
ball rolling. But the label got more serious 3 years later when i started to
release a bunch of LPs. This idea of doing Blood and Iron came from the
frustration of having had a record shop for 6 years, that youre stuck in a
place 7 or 8 hours a day creating a routine that was not exciting anymore. So i
decided to start to envision editions for bands i liked that was lacking in the
market a reissue of their out of print album or a compilation of unreleased
recordings. I would also make on CD version albums that never came out on that
format before or the other way round. I tried to add bonus tracks and even some
had bonus DVD to make it better than the previous CD editions. This was very
exciting for me and was more rewarding for the soul as youre contributing to
the Heavy Metal scene with some releases that are going to cause an impact on
people. Some of my favourite releases were Place of Skulls, Dammaj, Taist of
Iron, Nitro, Tyrant (U.S.), Tytan, Force, and the Black Rose (UK) ones. 12
years, 47 editions. Two of these i repeated on Dyamond Roxx recently (Nitro and
the first Black Rose album) but the NITRO one i just envisioned a retro styled
cover design more suitable to the band and added the 83 demos that previously
had been included in the Lethal reissue made by Skol, but out of print for some
time.
Q. - Tell us a bit about the
early days of Dawnrider, was it hard to find the right people to play this kind
of music?
Francisco - Oh yes, but as i was
an underground rat and always meeting people and talking about music so i could
find the right people for the project. Not all were full on Doom Metal fans but
it didn’t matter as long as half the band was into it, we could do something.
We had many line-up changes. We could have done so much more but anyway im glad
the band is still going without me. With this recent line up i can say that the
band is finally stable and Hugo one of the former members deserves that
stability because hes a true underground crusader.
Q. - Dawnrider recorded three
albums with you as singer, did you feel support from radios or magazines?
Francisco - Honestly not much
from abroad. But we had support from the main Metal radio show in Portugal,
Hypertensao from Antonio Freitas. For the third album he made us an interview.
It was good fun in the studio with him. Also we had great support from Loud
magazine which is the main Metal mag in Portugal.
Q. - How did the idea to create
the traditional heavy metal band Leather Synn came up?
Francisco - Well, he had time on
our side...i envisioned that project with Ze Rockhard (Inquisitor) as we were
partying a lot together drinking and watching Priest shows on dvd and listening
to a lot of underground 80s U.S. Metal. Also in 2010 one year before Leather
Synn was formed i had a project with Hugo (Dawnrider) called simply Leather. We
were trying to emulate this U.S. Power Metal archaic sound of Ruthless, Omen
and a few more. It went nowhere so me, Hugo and Ze Rockhard started Leather
Synn then Faria (Non Nobis Prod) joined for the bass and finally on drums, the
original Dawnrider drummer Victor Silver joined the ranks because it was more
his thing because of the Priest influence. Unfortunately Rockhard left and i
was shattered because this project was our drunken fantasy we all dressed up
leather and studs onstage, swords, axes, fireworks...it was true U.S. Epic
Power Metal spirit.
Q. - Was it hard to move to the
UK and adapt to a different reality?
Francisco - It was hard in the
beginning. But whenever i was visiting London i was doing ok. I have several
Portuguese friends there and foreign too. Later, when i moved to the West
Midlands, it was rare to visit London i was in Nottingham for a year and it was
OK lots of music events to attend on weekends...but when i moved near
Birmingham for the biblical studies college that’s when i felt more isolated.
But it didn’t bother me that much i had already a different mentality and a
different purpose.
Q. - After you moved to the UK
did you try to continue as Dawnrider and Leather Synn singer? Do you miss both
bands?
Francisco - Before i left i quit
Leather Synn. I tried to continue with Dawnrider but it was like 1 gig or two a
year. Eventually we all agreed that it couldn’t continue like that. To be honest,
being in a band was not so important to me anymore. I’ve been doing it since
1990 and i gave my last gig in 2016: Dawnrider and Ironsword. Double bill in
Lisbon. Legendary night!
Q. - And have you tried to find
another band since you are in the UK?
Francisco - I did, right before i
married...but I’m glad i didn’t found the whole line up. We moved to Suffolk
after a year of being married. Now I’m settled here, but I’m busy with my
label, holiday rent management and personal life. I still don’t miss it and
probably wont miss for the next few years. I’ve been actively 25 years on stage
with several bands. That was a lot of shows and parties.
Q. - Blood and Iron Records was a
stable label, what made you feel like start a new label like Progaor, instead
of continue with Blood and Iron Records?
Francisco - I wanted a more CD
based label and was noticing that there was a lack in the market for a label
centered in Prog Rock, Pomp Rock and AOR in general (from melodic rock to
melodic metal). My initial aim was having a label with a smaller mailorder, no
vinyl and mostly based in wholesales and selling via my distributor. But the
bands i release are not Journey or Bon Jovi haha so i ended up with a big
mailorder, selling second hand again, doing trades with other labels...just
keeping busy shooting all directions from Melodic Rock to Prog Power Metal and
everything inbetween. On my mailorder i even go beyond that you can find bits
and pieces of thrash, hardcore , 60s psychedelia or blues rock.
Q. - Do you feel there's still
many "treasures" out there, to be found?
Francisco - Oh yes, definitely!
And honestly, sometimes it’s the band's fault the recordings keep in the dark.
The band members want money upfront or some kind of great deal that you cannot
offer. Its 500 copies editions...they don’t understand how low is the market
nowadays for underground music. Some of these bands i release i can’t even move
300 copies. It will take a few years more for me to sell out some releases. But
it’s not just the demo stuff that’s unheard of the underground public. There’s
many privately released albums that were forgotten in time and there’s a new
whole potential audience out there to discover them. I’m sorting deals now with
a few of these for the 2020 releases. Incredible bands!
Q. - -Do you use any special
standard to sign with a band?
Francisco - As long as i like...i
don’t need to be a big fan but most of the cases, i am. Sometimes i just
discover a musician or I’m going after someone from the band to propose a
release. Several years before the greeks released Medieval Steel and Emerald i
was on it, the first never replied me because they wanted to sell their self
released CD Dungeon Tapes and the second the drummer wanted to ask the band
members if they could record new stuff to make a comeback. I was on the race to
Glacier but they said they would not involve the 88 demo i wanted as bonus. Then
they licensed to No Remorse, but only the EP, I presume for a big sum of money. You can do a lot
of it selling the box sets but i don’t care about box sets for me they’re a bit
useless and a big investment. Another band i really was disappointed that they
put me on hold (like Emerald), was Child Saint. But i think they’re waiting for
a big bucks contract because of the Megadeth riff polemic. Anyway, i have great
stuff coming for 2020 in the area of Pomp Rock. And a great Southern Hard Rock
band too. I’ve been wanting to include Southern Rock and this will be the first
time after 2 years of PROGAOR/DYAMONDROXX. In the meantime just came out
LUST-Hollywood Roxx 1976-80: Studio Sessions CD...this is Keith Deen (RIP) from
Holy Terror on vocals waaayyy before his Thrash band. It’s a late 70s melodic
Metal band perfect if you like very early Dokken and 70s Riot. The drummer was
on Warrior (Fighting for the Earth classic album!) and Rhino Bucket.
Q. - Is there any band that you
saw a lot of potential to release, but in the end failed the agreement?
Francisco - Yes a few, Some
stories i already told in the question before and let me tell you that i was
also sad that i couldn’t proceed with the first SYRIS album (great U.S. Power
Metal from the 90s) because the band member in question was being lazy. On
PROGAOR i tried a few bands from Canada that gave different arguments. One of
them i was close to do..FIST/MYOFIST but their manager didn’t reply to me
confirming anything. I would love to do STREETHEART's Quicksand Shoes, an album
that doesn’t exist on CD (save for a dodgy cdr version) but the band doesn’t
have the rights of the album then you have to try to reach which label has the
rights its a bureaucratic process that i like to avoid and deal with the bands
directly. I don’t respect major labels. Only independent labels.
Q. - In your opinion what are the
main differences between the eighties and the reality of today?
Francisco – It’s all different!
The 80s were the times of the tribes on the streets, the times where you
proudly wear your outfits, the time of larger than life attitude, the times of
buying vinyl when a new hot release just came out, reading paper mags, it was
all about physical formats. It would take years in the 80s to learn about 40 or
50 different bands. Nowadays you can become a metal expert in 2 years on
youtube and have a huge collection of mp3 in your laptop...and its not
real...its just shallow. You dont absorb 50% of the 100% you absorb with the
physical objects. And the sound quality...lets not even talk about that, I like
to get a CD with photos of the band, a band history and maybe even the lyrics
if theyre not silly. We live in the age of information but nothing seems to be
deep. And its too much bombardment in a short time. Im glad i still enjoyed a
bit of the 80s, headbanging around a ghetto blaster outside school to Slayer,
being in a sweaty violent show around guys with patched jackets in the moshpit
like if their lives depended on it. It was crazy fun. Everybodys trying to
recreate these environments in the new millennium and the good thing now it’s
they’re much safer and there’s more civilised people nowadays in the Metal
scene than back in the 80s. There’s always pros and cons when we discuss the
then and now.
Q. - And are you still a heavy
metal fan these days?
Francisco - Oh yes! Heavy Metal
Forever! I do not consider myself a Metalhead i am not stereotypical in that
sense but i love my traditional Heavy Metal. Specially American Metal.
Q. - Anything more you want to
say, to end up this interview?
Francisco - I want to shout out a
huge blessing for those who took their precious time to read this interview,
God bless you brothers and sisters!
Thank you for your time, and wish
you all the best for the future!
All
the best my good friend and congrats for the great work with the webzine!
Lyadrive started out in May 81,
in Watford, England, and were active til spring 85, recording the single
"Anytime / White Dress" in 1983. In 1995 they reunited and recorded
the album "Another Time, Another Place" in 1997.We had a chat with drummer Lee Burrows, about
this underrated band.
Q. - Hello Lee! You started as Tempest Ride around 1981, how did you got
together? Who would you cite as your major influences at that time?
Lee - The band started to come
together in the spring of 81. The core of the band met up @ Neal Kay’s famous
HM Soundhouse in NW London. We were all just major Heavy ROCK fans, bought up
on all the classic 70’s bands & excited by the emergence of NWOBHM.
Q. - What were the main difficulties you faced at that time? Practice
rooms? Availability to rehearse? Some lack of material? Or other?
Lee - One problem we faced
initially was the fact that I had not ever actually played a kit in anger for a
start! Taking my cue from the UK Punk ethic. We never had issues around
rehearsing.
Q. - At that time did you play some covers too, or was it only your own
songs?
Lee - As with must people in
their 1st bands, covers was the way in. You start there & see if you gel as
people, gel in musical taste, attitude, outlook & take it from there. After
that we started writing songs.
Q. - In April 82 comes the "Bridge Records" compilation album,
with the song "Another Time, Another Place", how did that happen?
Lee - We did a couple of local
gigs @ the end of 81 & were not entirely happy with how it went. We had
decided to do a private Christmas gig for us & some friends & to cut a
long story short, due to some gossip, we actually split up! Come March 82 we
got word from the guy who owned our rehearsal studio, he wanted us to do a song
for a compilation he was putting together. It didn’t take too much effort for
us to say yes, after all who knew if we’d ever record again.
Q. - Was there any promotional mini tour, after the release of the
compilation album?
Lee - Not a tour as such, we
played a few gigs for this guy (Al Bartlett was his name). He also did a one
off promo gig featuring most of the bands on the compilation in I think August
82 @ Brunel University. It was well attended & all a bit of a blur
actually.
Q. - Why did you change the name to Lyadrive?
Lee - We found out there had been
a band called Tempest who had made a few LPs so thought we’d better change it.
Not as easy as you’d think! Lyadrive was just a combination of 2 words (Liar
given the Lynyrd Skynyrd treatment). The fact it meant absolutely nothing
appealed to us. In hindsight we could’ve done better I guess.
Q. - In 1980 you worked as drummer roadie in the UK tour of Iron Maiden
and Praying Mantis, how did that happen?
Lee - Because I was hanging out @
Neal Kay’s thing on a regular basis, I heard that Praying Mantis were looking
for roadies to help out. Sounded like a great idea to me & I ended up
helping them out @ the end of 79. When they asked me to roadie for the Maiden
tour I gave up my job @ British Airways & did it. An experience I will
always cherish but again in hindsight not the smartest move I ever made.
Q. - What memories do you keep from that tour?
Lee - Meeting up with the tour
bus @5am in central London to be taken to the famous Shepperton Studios for a
gig set up run through, an enormous hanger! From there we had a 17 hour trip up
to the 1st gig in Aberdeen (the bus was an old relic & could barely do
50mph). Loading in flight cases of gear up 30 stairs covered in ice was
interesting. Being frightened out of my wits when Maidens pyro cut the power
& set off the klaxon fire alarm, right above my head, as I was dismantling
Mantis’s drum riser @ the top of a now blacked out staircase. How’s that for
starters for a 1st day. I did ask the sound guy to do me a Mantis bootleg for
me to keep as a momento, alas I suspect one of the Maiden crew nicked it.
Q. - In march 83 came out the single "White dress / Anytime",
did the single have air play on radio stations, at that time?
Lee - Apart from a local pirate
radio station (Radio Floss 222MW) we were not aware of any. We did get a couple
of reviews in Kerrang & New Musical Express where we were called ‘a pub
rock Blue Oyster Cult’, what they call a back handed compliment, we were ok
with being mentioned with such a great band that we were kind of happy with
that.
Q. - A single were planned for 1985, why did that single never got
released?
Lee - We’d signed a deal with
Loose Records in the Autumn of 84 to release a 12 inch 3 track single &
went ahead with the recording, if I remember correctly @ our own expense. Loose
we’re a small independent label & I think they just over stretched
themselves & @ some point pulled out of the deal.
Q. - With the great talent and potential you guys had, what do you think
has failed to achieve a real success?
Lee - Well thank you for the
compliment Paulo. I guess yes, we had some potential & a few half decent
songs, however you never know from the outside what is going on. Lyadrive got
to where we got without ever really knowing how to play the game, without the
utter ruthless commitment or determination needed. By mid 1985, 2 of us were
married, me with a kid on the way, we hadn’t written a decent song in over a
year, we’d gone through 4 bassists in that time when we should’ve stuck with
Dennis O’Leary, we’d Organised a 16 date tour & ended up playing just 6 of
the dates ... we were just getting bogged down & I think actually Loose
pulling out was kind of the final straw.
Q. - What made you feel like reunite Lyadrive again back in 1995?
Lee - That was quite strange
actually. Myself & Nick John (vocals & occasional keys) had kept our
name alive whenever anything came up & we were both still doing stuff, Nick
taking over his fathers music business & me still banging out a beat in
cover bands. Within 1 week in 95 we were contacted by as it turned out a
bootleg maker in the States & an obscure label called Vinyl Tap in the UK
asking about our single & the Bridge album. Within probably a month or so
of that there was serious chat with the UK people about releasing old demos
etc.
Q. - How did the idea of recording the compilation "Another Time,
Another Place" came up?
Lee - Well the Vinyl Tap thing
kind of fell by the wayside but it had reminded us that we did have some kind
of profile amongst what you would call the NWOBHM Anoraks which might be worth
exploring. Thanks to Nicks connections through his budget record label, we found
the guys @ Minority One who were willing to release it. Also thanks to Nick we
had a studio where we could get a decent quality recording @ a knock down price
(Nick used it a lot when doing his budget CD collections). Luckily he knew a
great guitarist (Keith Thompson) who in a past life had been in a band with
Wurzel from Motörhead. I also @ the time had just finished a stint in a metal
covers outfit so roped in the bassist & guitarist from them. We were ready
to go!
Q. - About ten years ago, the compilations "Post Millennium Blues
Compilation", "The Sands of Time: Sessions 1982-83" and
"One Night in London… (The Denmark Street Sessions & ‘Live Alive’
Bootleg)" were released, how do you feel about these compilations?
Lee - Well 1st we’d like to say
big thanks to Steffen Boehm & High Roller Records for putting those 2 LPs
out. The guy is definitely an Anorak of the 1st order & was very kind to
put out our demo material. I think ‘Sands Of Time’ is a worthy effort showing
how far we progressed in such a short space of time. If I’m honest for ‘One
Night’ I guess maybe we were milking it a little. ‘Post Millennium’ I’m quite
proud of because it coincided with another spike in our story. After the
relative success of ‘Another Time..’ we went back into the studio to record a
few more songs for fun, having made a few hundred pounds of profit we thought
it was the best way to spend it. All went quiet for a bit & the songs just
sat there but as the Internet age had reached the Facebook era, I took it upon
myself to move the Lyadrive My Space page there. Interest from unexpected
quarters started to happen. Couple that with myself getting married again &
original band member Steve Jones coming over for the wedding prompting us to do
yet more recording, which included 2 more members from the 80’s Steve
Christiansen & Graham Bellmaine. We then got invited to play @ British
Steel Festival 3 with believe it or not Praying Mantis! This prompted Nick
& myself to get our own compilation of new & cover recordings together
in time for the gig. We had both Post & Sands available on sale that night
& an audience of metal maniacs too. Special thanks to Rys ‘Devra’ Miller
from New Yoik for getting us on the bill
Q. - What expectations do you have for the future of Lyadrive?
Lee - None to be honest, we had a
spurt of live energy as a 4 piece around 2011/12 but not the will or to be
honest energy to push on from there. I keep the Facebook page ticking over
& it’s great that new people keep finding us but unless someone comes up
with a way of doing something without us losing money on it, we are quite happy
that we gave it a go & have made a small contribution to the juggernaut
that is Heavy Metal.
Q. - How do you want to end up this interview? Anything more you want to
say?
Lee - Thanks for the interest
Paulo. People can check us out on Facebook & Reverbnation, we have a
website which is kinda dormant, thanks to Jon Hinchliffe for keeping that
alive. Also thanks to all former members of Lyadrive including Paul ‘Rhino’ Ryan,
Guy Wilson, Barrie Fleming, Lee Redding’s R.I.P & last but not least to
Malcolm MacMillan for his fantastic feature on us in his Encyclopedia Of
NWOBHM.
Thank you for your time, and wish you all the best for the future!
Michael Jackson was the lead singer for Satan and Pariah in the middle
and late 80's, having recorded the Ep "Into the Future" and the Lp
"Suspended Sentence" with Satan, and "The Kindred" and
“Blaze of Obscurity” with Pariah. We had a chat with this great singer about
his days in Satan and Pariah.
Q. – Hello Michael, when did you join "Satan"? Was it around
85? How did that happen?
Mike- I joined Satan in early
1986 if I recall correctly it was a l not time ago. It all came about when I
was playing in a local band called Rough Edge and working in the merchant navy
and really wanted to spread my wings outside of my home town. So I answered an
advert in the NME asking for a singer. So I sent a demo tape got the audition
and ultimately the job and then joined up with the band in London to start work
on another album.
Q. - What other bands did you play before "Satan"?
Mike - I played in a
band called Rough Edge before I joined Satan.
Q. - Who were your main influences at that time? -
Mike - I was and still am a
massive Queen fan. I was also very much into Judas Priest, ELO, Zeppelin, Pink
Floyd.
Q. - What memories do you keep from the recording seasons of "The Dirt"
demo from 86? Was it your first experience in studio?
Mike - It wasn’t my first
experience in a studio but it was a great thing meeting likeminded lads who
became great, great friends writing and recording music we All loved.
Experimenting as co-writers for the first time.
Q. - After the edition of the EP "Into the Future", Satan
played Dynamo Open Air alongside with Angel Witch and Laaz Rockit, do you have
any special memories from that festival?
Mike - The Dynamo festival was a
fantastic experience for me definitely the biggest stage I had played at that
time. We became great friends with Angel Witch and also ended up doing a small
tour with the lads In Europe shortly afterwards all sharing a battered mini
bus. It got wild at times but great fun. Laaz Rocket where also fantastic lads.
It was most defiantly a crazy week that week we stayed for the festival.
Q. - Why did you change the name of the band to "Pariah",
after the edition of "Suspended Sentence"? Maybe the name
"Satan" was a little scary to some labels?
Mike - When we supported German
band Running Wild on yourto promote
Suspended Sentence it sort of happened then. We would sometimes turn up at
venues and religious groups would be burning our shirts and protesting that a
band called Satan where in town. So we decided to take a change in direction
and change the name.
Q. - At that time you worked for the band Sabbat, as roadie, how did
that happen?
Mike - We met the band at a gig
and became friends and when the bands first album came out we had just recorded
Blaze Of Obscurity and waiting for its release.So they needed some mates as support so we offered to go on tour with
them as roadies. Steve was road manager and me and Graham did the driving crowd
control and PA. That was also a very drunken tour but so many laughs.
Q. - The first Pariah album "The Kindred", had a heavier sound
comparing to Satan albums, what made you change the sound in a heavier way?
Mike - That is a difficult
question. I really don’t think it was really intentional if I remember rightly
there was a lot of heavier thrash coming out that could have influenced us a
little. And we wanted to just experiment although It wasn’t a favourite album
of mine at all. Going back to more melodic metal was the only way forward after
The Kindred although the album was received well by metal fans.
Q. - Why did the band split up after such a great album as “Blaze of
Obscurity”? What made you feel it was time to call it a day?
Mike - It wasn’t the band it was
me I will hold my hands up to that. At the time I wasn’t happy with the lack of
record company help and no real quality management.I felt Blaze was our best work and it just
wasn’t being promoted the way it should have been and no decent support tours
coming our way.. To many record company promises with little actionSo I went back to Morecambe for a short break
and decided I didn’t want to pursue making another album. Sad times but life
moves on and so did the boys so all was well.
Q. - At a certain point, after the edition of "Blaze of
Obscurity" there was talk about the recording of a live album, why did
that album never see the light of the day?
Mike - I’m not sure where that
story comes from but the only way we would have done a live album was if we had
been on tour after the album. The songs on the album never got a lot of live
exposure unfortunately and we did very little touring after the album release.
Q. - After the split, did you stay in touch with each other’s over the
years?
Mike - I still chat to Russ every
now and again. But no we never really kept in touch.
Q. - By 1997 "Pariah" did a comeback, recording the album
"Unity", were you invited to come back at that time? If yes, why
didn't you accept?
Mike - No I didn’t get asked but
I had made it quite clear I had really had enough.
Q. - The same related to "Satan", when they came back, some
years ago?
Mike - No the lads already had
contact with Brian and we had not spoken for many years so it was inevitable
that Brian would sing on the future albums. I am so pleased the lads have made
new music under Satan. I wish them all the best for the future.
Q. - How do you see the heavy metal scene nowadays? Do you keep interest
on what "Satan" has been releasing lately?
Mike - I take a look every now
and again to see what the lads are doing but I don’t really keep up with the
metal scene anyone to be honest.
Q. - So what are you doing these days? Do you still play in any band?
Tell us a bit about it please.
Mike - No I joined a couple of
bands but it didn’t work out so I went into cabaret to make my living. I don’t
sing anymore just DJing, photography work and various promotions and different
entertainment.
Q. - Looking back in time, did you have some fun with Satan and Pariah,
do you miss those days?
Mike - I had some of the best
days of my life with the lads. It’s quite scary to see how many years have just
disappeared it’s almost like a life time ago and another person who sang on the
albums lol.
Q. - How do you want to end up this interview? Anything more you want to
say?
Mike - Thank you for asking the
question as it’s such a long time ago and is still quite strange when people
are still interested in what has to be said.
Thank you for your time, and wish you all the best for the future!
