INTERVIEW: IAN FAWDON

Too Far North, published by Newcastle’s Tyne Bridge Publishing, seeks to uncover the secrets of the region’s music scene. The book, written by Ian Fawdon, asks a pertinent question: is it possible to make it big in the music business in the North East? We’d argue the answer would be a resounding yes (and can provide plenty of examples to prove it). Comprised of interviews with the likes of Nadine Shah, Lindisfarne, The Futureheads, Richard Dawson, Paul Smith, Field Music, Penetration, The Unthanks, Martin Stephenson and more, Ian’s own findings are entertaining and informative.

Here, he gives us an insight into the stories he uncovered and the conclusions he draws. Join the author and special guests for the launch of the book at Newcastle City Library on Thursday 26^th September.

Can you tell us a bit more about yourself, and your connection to music in the region?

I have been a music fan since childhood and went to my first gigs back in 1979 seeing Thin Lizzy and The Jam at Newcastle City Hall. Since then I have always played in bands but also been particularly interested in the music of the North East.

What was the impetus for you to begin writing this book?

I have read many, many music biographies and music books and have read about musical scenes from Liverpool, Glasgow, Sheffield, Bristol but never about the North East of England. I felt there was a story to be told, whether it was of actual, thriving scenes that didn’t get the deserved exposure or to look at the reasons why scenes had not developed. I wanted to ask people in North East bands about their stories and get their opinions on why the North East is special for music but what were the drawbacks of starting their musical journey in this region.

How did you choose the artists to include within the book?

Rather than picking artists I started with what I perceived to be scenes or distinct periods for music in the region. So, I started with the 1960s and the Animals and talked to people from bands such as The Junco Partners, The Chosen Few and The Elcort, as well as the Animals, and they told me of an incredibly vibrant period for Newcastle and the North East. I then looked at folk music with Lindisfarne and The High Level Ranters but also later folk acts such as The Unthanks. Then it was punk, heavy metal, the Kitchenware bands and finished with a more current scene that centres around Sunderland with The Futureheads and Field Music, among others. The book was not intended to be about the likes of Sting and Mark Knopfler, as brilliant as they are, because they left the region to find fame whereas I wanted to talk to people who were part of scenes that began here.

Did you uncover any surprising or unusual tales?

There were many funny stories but also quite a bit of heartache and regret. Brian Bond, lead singer of Punishment of Luxury, told me the rather absurd way he left the band in the early 1980s. They had lost their major record label deal with United Artists and were doing what could be their last European tour. They were doing the final gig of the tour in Holland and the tour manager challenged Brian to do ‘something special’. As they always ended with a song called Jelly Fish, Brian decided that it would be a good idea to get a bucket of raw fish and throw this at the audience, which he proceeded to do. As you may expect the audience didn’t take too well to this and started throwing the fish back at the band covering their instruments, the sound desk and so on. Brian parted ways with the band soon after this. Fortunately a few decades later apologies were made and the band are back again playing together 40 years on.

Without wishing to give the conclusions of the book away, what did you discover about the region’s music scene?

Well, each scene was different. As you might expect the experiences of the punk bands were generally short, sharp and exciting, whereas most of the heavy metal bands who started around the same time, in the late 1970s, are amazingly still travelling the world playing to packed venues. It was also apparent talking to the bands that their experiences reflected the arc of the music industry. In the 1960s there was naivety and exploitation of artists. In Lindisfarne’s case and stretching up to the Kitchenware bands there were big record contracts to be had and a lot of money about. When you get to The Futureheads and Maxïmo Park they entered the industry at the time of change when CDs were on their way out and streaming was coming in. Those bands, along with Field Music, have been pretty successful in working out how to survive and prosper when record royalties and streaming incomes are a relative pittance.

After having spoken to so many influential musicians for the book, what would be your advice to a new musician starting out in the region?

As mentioned, bands like Field Music and also bands like the heavy metal band Raven, have worked out a model of how to survive in an industry that doesn’t offer great revenue streams for recorded output and it’s worth looking at just how they do it. Another clear lesson from the 1960s onwards was that a good manager is a massive advantage. Keith Armstrong, who was one of the founders of Kitchenware Records in Newcastle, was a fantastic manager for his bands and got great deals for the likes of Prefab Sprout and The Kane Gang with major record labels. Similarly Tom Noble, manager of the Tygers of Pan Tang got his band a four album deal with MCA, whereas other bands may have got a one album deal and then were cast off. However, what is apparent now is that there is a great community spirit here in the North East music scene with great venues like Pop Recs Ltd., Little Buildings, NE Volume Music Bar and The Cluny and more recording studios and small festivals etc. It’s a great time to start and get involved. The book ends with an interview with the amazing Nadine Shah who has just been signed to EMI North which is looking to develop talent in the North of England. So, maybe if Nadine hears your music she may pass it on.