The
Prigs: Spring 1978-February 1980
John Hird; guitar, vocals
Adrian Ragsdale; bass, vocals (left Sept 79)
Colin Hair; drums (February 79-September 79), bass
(September 79-February 80)
Paul Wilkinson; guitar (February 79-February 80)
ALSO
Steve Wilkinson; bass (1978)
CO2:
March-September 1979
Trev Robinson; vocals
Scone; drums
Creckas; bass / guitar
???; guitar
Emergency
Exit: October 1979-July 1981
Trev Robinson; guitar
Dave Williams; vocals
Russ Kehoe; bass
Paul “Podge” Kehoe; drums
ALSO
Geoff Johnston; guitar (October 79-January 80)
Garry Blythe; vocals (October 79- January 80)
Group 4: September
1980-December 1982
John Hird; guitar
Geoff Johnston; guitar
Gord McGrath; vocals
Gordon
McGrath (Gord): vocalist in Group 4. Born May 1965. Now a painter and
decorator, living in Christchurch, New Zealand.
I was only just turned 12 when punk happened, so it
took me a while to get into it, as I before then I was only listening to the
kind of ordinary stuff you’d hear on Top
of the Pops. My elder brother Steve had the New Wave album and I immediately loved the sound and the attitude
of the bands on that record. Being a rebel was a big part of it for me.
Eventually I’d say I decided my favourite bands were The Skids and The Ramones.
One of the first live bands I ever saw were The Prigs,
who were a couple of years older than me and I just really wanted to be
involved in music after seeing them. I wrote them a song called Psycho Ward, but spelled it wrong; 50
year olds in Felling still remember me as the composer of Pycho Ward. Anyway, The Prigs broke up in 1980 and so we started
Group 4 after that. Of course the big joke was that there were only 3 of us:
me, John Hird, who had been in The Prigs, and Geoff Johnston, both on guitar.
We never really had a bassist or drummer, though we did gigs with Andrew and
Rob from ian cusack’s band Pretentious Drivel helping us out. The best gigs we
ever did were supporting Pretentious Drivel at Balmbra’s in March 82 and an open air one on Eldon Square Green
that summer.
I don’t think any of us really expected to be rich and
famous. In fact I don’t think we ever got a mention in any local fanzine, but
we did do a demo tape which we sent to John Peel. He said it was ‘derivative,’
which we had to look up in a dictionary. That sort of knocked the wind out of
our sails and the band drifted apart at the end of 1982. Geoff was knocking
around with this lass Debbie, who became his wife and mother of his kids. He
had the real talent in the band and made a wonderful demo tape of his solo
stuff, but it never saw the light of day, which is a real shame. John had
joined some left wing organization and moved to London with them. I went to
America in 1985 and from there to Australia, before settling in New Zealand
where I am now, so that was that, but I loved every second being part of the
FPX and the North East Punk scene in general.
To this day, I still listen to bands from that time.
I’ve never been disillusioned by punk. It changed music for the better, for
good.
Adrian
Ragsdale (Raga): bass / vocals The Prigs, temporary drummer Group 4. Born July
1963. Now a telecommunications engineer, living in Gateshead.
The earliest musical favourites I had were just what was on Radio 1 or Top of the Pops: Slade, Mud, Sweet,
Bowie, though the first record I remember buying was in fact Tell Him by Hello, which I got from Pop
Inn Records in Felling Square. Later came Queen, Thin Lizzy, Alex Harvey Band,
The Who; the sort of rock acts who were still played on ordinary radio, but by
then I’d progressed to listening to albums. I recall sharing the cost of LP’s
with my sister. Influences I had were mostly family, though some peers at
school brought some things to the table via their older siblings.
I recall becoming aware of the punk movement late in 1976 just after the iconic
Filth & the Fury front page. As a
paper lad I saw all the headlines, not on the actual day, but the Sunday after.
The Sunday Mirror was still on its
high horse about it weeks later. As far as punk music was concerned, Go Buddy Go by The Stranglers was the
first punk record I bought. I don’t think I was listening to John Peel by then,
but I’d probably heard ‘taped’ from the radio punk songs at the Boys’ Brigade,
as some of the older lads had started recording Peel on cassette.
I was not an easy convert and at first resisted punk musically and as a
movement, I guess between Christmas 76 and the spring 77, but like smoking your
first Number 6 or drinking your first
Woodpecker, it was partly the
attraction of doing something that was largely frowned upon. I suppose I also
saw it as a rite of passage. Musically it was nigh on impossible to even
consider getting to see anyone live. I did manage to catch Thin Lizzy several
times, but Queen and The Who by then were stadium rock, joining the likes of
Led Zeppelin, Pink Floyd and all the other bands I’d not heard, as they never
produced records that were played on the radio.
The Prigs’ first outing was as a pastiche of punk rock as part of a musical
cavalcade at the Boys’ Brigade Christmas Fair in December 77. Ironically Johnny
Nerd (John Hird) mimed and sneered along to Frank Sinatra’s My Way, probably because it was his
dad’s favourite song, long before The
Great Rock & Roll Swindle. Dressed in safety pin adorned BB uniforms
and spiked hair, the band consisted of only one of The Prigs when they became a
real band. At the very beginning you were only identified as punks at
‘punk’ events, though having straight leg trousers instead of ‘bags/flares’ was
noted at school, but dismissed in a mocking fashion for wearing
“cacky-catchers”.
In those days punk’s nemeses were supposed to be Ted and Rockers. Avoiding
those blokes in Felling who wore drapes and had DA haircuts was as easy as not
being near the door of The Jubilee or
Blue Bell at opening or closing time.
I recall couple of incidents at school, one where a kid who claimed his dad was
a Ted (though later proclaimed himself as always being a punk) and another at a
school disco. Later I found that was due to me pogoing into his lass and not for
being a punk. By 1978-79 most kids who were interested in music at school (as
opposed to anti-social behaviour and petty crime, which were real growth
industries in NE10 and still are) were listening to or were self-professed outright
punks, with most of those who were our real enemies, the Northern Soul crowd,
being old enough to take their grievances to The Cordwainers or The Canny Lad. Again, easy places to
avoid…
Musically The Prigs emerged from those members of the BB that had an
interest in punk and survived the leap from youth club to pub age in the late
70’s without dropping out; basically it was a show of strength from the
Coldwell Street Boys’ Brigade. Instruments were bought or found and Saturday
night jamming sessions in the Wilkinsons’ attic on Rochester Terrace, while
their parents were out on the pop up the hill at the Columba Club, were a
continuation of youth club and Boys’ Brigade friendships. This glorified,
weekly jamming session went on for a while, until the older originals sloped
off to drink in pubs and chase lasses. By early 1979, the classic line-up was
in place as we were all aged 13-17 and too young for pubs on a regular basis,
which allowed us to concentrate on adding accompaniments to songs written
by John Hird, instead of covering other people’s songs. Assisted by the school
caretakers strike during the Winter of Discontent, we used this bonus holiday
to become proficient enough to think “this sounds alright”. Originally we’d got
together to fill some time, but we suddenly felt we could show people that you
don’t have to have be a musical genius or have ££’s worth of equipment to be
creative. Musically our main influence had to be The
Buzzcocks, whose three verse songs telling a start-to-finish story with twin
guitars and harmonies were something we always wanted to emulate. We wanted to
be the kids who played pop punk in a haphazard way. Style wise you’d probably
say we looked like a cross between The Undertones and The Fall. Farnons was our Seditionaries.
I recall only 3 gigs by The Prigs with the classic line up (Ragsdale, Hird,
Hair and Wilkinson Junior). There were numerous attic sessions with people
watching, but the actual gigs were firstly at Eldon Square, at a Battle of the Bands contest in June
1979. We played three songs near the end of the event. We’d only found out
about the show when we’d come in to town, as usual, on Saturday, so we went
home to get our guitars and borrowed the drum kit of the heavy metal band who
were booked on to go last (and who would win). There were about 2000 people on
Eldon Square Green, with about 20-30 FPX encouraging us to get up. We were
introduced strangely enough as being “all the way from Scandinavia”. The week
after the Eldon Square gig, watching the soundmen set up for the event that
weekend, one of them asked another if anything good came out the Battle of the Bands. The first one said
“you should have been here last week; there was a group of kids in school
uniform singing a song, telling their headmaster to fuck off.”
The second one was a month later, which was a benefit gig for the National
Union of School Students (NUSS), who were a Socialist Workers’ Party youth wing
front organisation. It was in a place called the Attic, near Spectro Arts. We
supported a reggae band called Hepatitis and played a full set of all the songs
we had, concluding with a version of Borstal
Breakout, which was a crowd pleaser but not indicative of what we actually
liked listening to; also it was dead easy to play. The show ended with Scone, the drummer in
CO2, picking up the mike and pronouncing Giz
a Blow Job which became the title of the bootleg recording we made of
everything we did.
Finally, for me at least, was Heworth Miners, Welfare Hall, (as U2 would
say was a sort of homecoming), at the end of the usual Friday night teenage
disco. By now the four of us had nearly all
agreed on which songs worked, though because he wrote them, John was allowed to
insist we played some of his more precious
ones, even though the rest of us didn’t like them. Everyone in the audience
knew us and we went down a storm, helped by the fact the support act CO2
weren’t quite there yet. I believe we finished this one with Mr Pickering a ditty about our
headmaster at school, even though I’d just left and John hadn’t gone there at
all, telling him where to go. Given that the audience consisted mostly of
pupils from that school, we left the stage to great applause.
Ironically, that was as good as it got for me. I got a job in Sept 1979,
had money in my pocket and quit The Prigs. I dabbled in a few other things but never
really committed to anything. There was a subsequent swan-song in Nov 1979,
after I’d left The Prigs, when they supported The Proles at the Welfare, as
part of a Labour Party Young Socialists benefit gig, after John Hird had joined
this organisation called Militant, who were involved in the LPYS. Full of encouragement
from the cans of lager I’d consumed and fellow members of FPX, I got up and sang
the 3 song encore with the new line-up. I was helped by the fact these were the
better songs, so we got a great reception, but it was still over for me.
The Prigs played one last gig with their final line-up, again supporting
The Proles at the Welfare in February 1980. It was a bit of a disaster to be
honest and the band split up after that. Little Wilka and Hair Bear formed
Truth Drugs with Anthony James, while John put Group 4 together. Both bands would climb musically higher on the ladder of proficiency than
The Prigs had, though still remained gloriously obscure. With Group4 I don’t
recall anything apart from being asked to drum as an interim arrangement, but
I’d made my point that being a rock-star was not on my career plan long before
they asked me.
I don’t think we left much of a legacy. We never made it into print, other
than something in the NUSS bulletin after the July 79 gig. Though I recall The
Prigs being painted on the rocks at the Bankies in Felling and on a few garages. When
we first started calling ourselves punks, it was nigh on impossible to see any
band, as there was nowhere to play. Hearing records was limited to what you
bought, often by word of mouth or because of reviews in Sounds or NME, or what
was played by John Peel. The great thing was everyone seemed to know everyone;
being punks helped to expand our horizons, through meeting punks from other
areas. Personally I don’t think punk was something you can ever be disillusioned
with. To me, it’s not a type of music or fashion, it’s something that’s part of
your history, your environment and how you use those experiences you learned at
that time in the future. I don’t think
punk ever set out to achieve anything, it just was and I’m glad I was part of
it.
Trevor
Robinson (Trev): vocalist in CO2, guitarist in Emergency Exit. Born October
1962. Now a screen printer, living in Gateshead.
I suppose you could say I was a glam rock fan before I
discovered punk; The Sweet and T Rex were particular favourites, but I also
liked Status Quo. Everyone knew about the Sex Pistols, but getting to actually
hear them was another matter. My first exposure to them was walking through
Felling Square and hearing God Save the
Queen blasting out of Pop-Inn Records in summer 77. The energy just knocked
me backwards. This was something I wanted to know more about, but it took a
while before anything happened other than just listening to bands.
We all used to go to this teenage disco on a Friday
evening at Heworth Miners’ Welfare and I managed to win the Best Punk Rock Dancer title, for my
interpretation of Sid’s My Way. As a
result, I got the job of being the singer with my first band CO2. Not that I
could sing like. There was a lad called Creckaz, who couldn’t play guitar and a
kid called Scone whose parents owned a chip shop and lived in a big house. This
meant he was the only one who could afford a drum kit. He couldn’t play either.
After a few months, we got a gig, supporting The Prigs
at the Welfare. It was great being on stage. One of the FPX gang Simpa was a
butcher and he got some pig’s blood to throw at us, as well as a trotter which
I took a bite out of. The set didn’t go down brilliantly with everyone in the
audience and I ended up offering Fossy out round the back, as he had heckled
us. This wasn’t the end of CO2 though.
Amazingly this mate of John Hird’s joined on guitar and he could actually play,
as well as having written a few songs. We did a gig at the Gosforth Hotel,
supporting the Noise Toys, but split up straight after as John’s mate was away
to be a student in Sheffield.
Having had a taste of the being in a band, I wanted
more. I loved playing gigs; I’d got myself a guitar and was learning to play
it. Basically, we started a band with
just about everyone from the FPX who wasn’t already in a group. The Kehoe
brothers, Paul (Podge) and Russ were possibly the most deranged drum and bass
outfit you could imagine. Another lad we knew Dave Williams (known as Shavey
Legs, on account of a foolish teenage experiment with a Bic disposable) became
the singer, though he was a bit shy and didn’t jump around like I did. Garry
Blythe was supposed to be a singer as well, but he came to 2 practices and fell
asleep both times, knackered after work. Geoff Johnston was guitarist for a
while, but I think he wanted a more melodic, less shouty sound and so he left
to start Group 4 with John and Gord.
So, once the line-up was settled, we started to
practice weekly at St. Patrick’s Church Hall in Felling. It was opposite the
copper station and we used to just break in, make a horrible noise and leave.
We did a few gigs, especially with Total Chaos at The Basement, next to
Spectro. However, I started to get a bit sick of the rest of them. I’d moved
over to Whitley Bay as my parents were running a pub there, so getting across
to Felling after work before the Metro opened was hard work. Especially as when
I got there, the other three of them would be off their heads on glue.
Things fell apart in around July 81 and I never did
anything musical after that. In fact, a year later I was married with a
daughter, so other things became my priority. Mind I still love The Clash and
The Upstarts even now.
Garry
Blythe (Magic Marker Heed or Sex Dwarf); vocals in Emergency Exit. Born
February 1963. Now a bricklayer, living in North West Durham.
Right, let’s get this out the way straight off; I had
absolutely no musical talent whatsoever. This is why I got asked to sing in
Emergency Exit, because not one of us, apart from Geoff and he left pretty
sharpish, could play or sing a note. The final straw for the rest of them was
when I fell asleep at a practice on a Saturday morning, but to be fair I’d been
up since 3 delivering milk. I got asked to leave and Geoff quit in protest, but
he was probably knackered as he worked on the same milk round as me.
Shame really, as from the first time I’d heard punk,
which was probably Looking after Number 1at
the St. Patrick’s Youth Club disco I’d thought, I’m having some of that… There were these lads a bit older than us,
but not much, who’d left school and were pogoing in their ridiculously small
old school blazers, wearing those cheap Captain Sensible sunglasses. The whole
energy, the rebellion; everything. I mean The Boomtown Rats were never any
good, but that 3 minutes hearing that song changed my life forever and probably
influenced how my own kids listen to music.
The first two records I’d bought were Sorrow by Bowie, which I’m proud of, and
The Wombling Song, which I never used
to mention. Especially after I discovered the one band that I have loved for 40
years without interruption; The Clash. They are still my band. They made me believe I could fight back against the
bosses, teachers, the Royal Family, the Army, politicians, everyone. I believed
I could change the world. When I listen to Stay
Free I still do.
However, the saddest night of my life was seeing The
Clash at the Mayfair in 1980. I’d not got in to either of the Poly shows in 77
and 78, so I queued up all afternoon and was one of the first few in when the
doors opened. By the time they played Jail
Guitar Doors, second song in, I was in wonderland. I jumped on stage to be
with my heroes, but the bouncers threw me off. Normally that would be it and
you’d end up at the back of the crowd and have to fight your way forward, but I
gave one of them a mouthful, so four of them picked me up and carted me out
through the fire door. Broke my heart that did. Mind a few weeks later I had
one of my best ever nights, seeing The Fall at the New Tyne Theatre. We
commandeered one of the royal boxes in the balcony and had a whale of a time.
That was the night ian fell in love with The Fall.
I loved how punk broke down barriers; people from
different backgrounds, home towns, ages even, all came together and there was
no threats, no anger. Bear in mind that one of the worst cases of hassle we had
for being punks was a pair of teddy boys in a transit van trying to run me and
Geoff over walking along the Felling bypass, coming home from a night out. They
clipped Geoff and he went about six feet in the air. Poor sod spent a week in
the Queen Elizabeth after that.
Sure there were egos and celebrity punks in the scene,
but it felt like a proper democratic movement.
We’d go to places like The Gosforth Hotel
to see The Noise Toys, The King’s Head in
Marlborough Crescent for Treatment Room and the Willus Bnad or The Garage for Total Chaos. You were on
nodding terms with everyone else there. I suppose it was the Oi generation that
turned me right off. I’d never had much time for Sham 69 or the UK Subs, while Discharge
and The Exploited did absolutely nothing for me.
Still, I’ve got some wonderful memories and I’m as
anti-establishment as I was when I first fell for punk. I don’t suppose that
will ever change. Hope not anyway!