Tag Archives: Apollo

THE WAITING GAME.

“What are you doing, dear?” my Mum asked upon seeing me sat on the living room floor while my pals played out on the street.

“I’m going to watch Thunderbirds.”

“You’re a bit early – it’s not on for another ten minutes.”

“I know – but I’m waiting for the television to warm up.”

This would have been the mid to late Sixties, and our temperamental  14” black and white TV set behaved like a reluctant old dog being forced out for a walk on a windy and wet winter’s day. Grudgingly, it would eventually do what was asked of it, but not without putting up an obstinate fight.

At nine or ten years old, I just went with it. This was the way things were. ‘Instant’ was a word only just creeping into my vocabulary – mainly because my Mum persisted in serving up the disgusting, powdered, butterscotch or strawberry ‘Instant Whip’ for our evening meal dessert.

Butterscotch Instrant Whip

That television experience, though, taught me the virtue of patience at a very early age. You know: ‘good things come to those that wait,’ and all that. It stood me in good stead for my early teen years in the Seventies.

For instance, when I first started going to gigs (1973) I‘d turn up at the venue, usually The Apollo, a few weeks before the show and queue up for tickets. Concerts by the popular bands of the day, invariably meant queues for tickets would form well before the Box Office opened. Like hundreds of other kids, I’d happily wait in the rain (it was always raining in Glasgow in the Seventies) my loons becoming progressively more saturated from the top of my platform shoes up to my crotch. But the shared anticipation of seeing our heroes perform and the communal spirit that engendered made the waiting worthwhile. The wait heightened anticipation.

Overnight queue at The Apollo, Glasgow.

Not like today when any prospective gig-goer logs in to some online Ticket Agency from the comfort of their home and then makes a contactless card payment for some inordinate amount of money for a show in perhaps eleven months’ time.

Letters. We were quite happy to wait a couple of weeks for replies. Maybe, as an alternative to queuing up at The Apollo, we’d send a postal order and S.A.E. to the Ticket Office and hope upon hope we were successful in our application. Again, the wait heightened the anticipation.

Airmail envelopes for our pen pals.

Remember ‘pen-friends?’ Cub Scout and Brownie packs readily promoted the concept; comics and magazines also carried adverts from kids living in what were to us, strange and exotic places the world over. They would ask we write to them, and if Kenji from Tokyo hadn’t outgrown the notion of having a ‘pen friend’ from the UK by the time your letter arrived, then you might receive a reply some many weeks down the line.

On the other hand with no reply forthcoming, you eventually realised Kenji was just a timewaster. At least though, you’d had twelve weeks of excitedly greeting the postman at your door in the hope he brought news from the Far East. If nothing else, at least the wait heightened anticipation for a while.

We’d also happily wait till the following Saturday teatime for the latest episode of Batman – same Bat time ; same Bat channel. Not like today, when we can binge on series Box Sets streamed instantaneously into our homes or mobile device.

Best tv show of The Sixties / Seventies

We’d wait keenly on the sound of the ice cream van chimes – mentally salivating at the thought of a couple Bazooka Joes, a bag of Salt ’n ’Vinegar crisps and if the ‘icey’ was in benevolent mood, some free broken biscuits.

In those days, Time was not pressing; the wait was expected and accepted.

Now, everything is pretty much instant – or close to. We want something? It’s available at the flick of a switch or press of a button.

There are though, some instances where the trend is completely skewed; instances where what used to be quick and efficient are now unnecessarily burdened by delay. Rather than the wait building anticipation, it has now become a source of angst.

In The Seventies, getting an appointment with your doctor was pretty quick. Now …?

In The Seventies, if your favourite top division football team scored a peach of a goal, you could celebrate instantly as the ball crossed the line. Now …?

Aaaargh! VAR check!

In The Seventies, if you were stood at a bar behind some bloke ordering five pints of ‘Heavy’ for his mates, you knew, with confidence, you’d be served within the next few minutes. Now …?

Now, you’re stood behind some geezer ordering five Porn Star Cocktails for his mates. Comprising vanilla-flavoured vodka, Passoã, passion fruit juice, and lime juice, they each take five minutes to prepare and must be mixed by bar-staff with a degree in Chemical Engineering and an eye for artistic detail.

Now, that particular wait heightens agitation!

Porn Star cocktail

Maybe though, the technological advancements of the past five decades have spoilt us somewhat? Perhaps our expectations of ‘instant’ are unreasonable? Will Future’s youth appreciate the concept of patience?

You know, I have many things for which to be thankful about my life. Who’d have considered though, that for instilling an acceptance of The Wait all those years ago, a small, battered, old black and white tv set would be one of them?

(Post by Colin ‘Jackie’ Jackson from Glasgow – March 2023)

(Only three songs beginning with either the word ‘Wait,’ or ‘Waiting’ entered the UK charts in the 1970s. Here’s two of them – the third, ‘Wait Until Midnight’ by Yellow Dog, is pretty crap, I’m sad to say.)


Apollo Mission

Apollo, Glasgow

Did I ever tell you about the time I was on stage at the legendary Apollo Theatre in Glasgow, the Mecca for all serious touring bands ? The Second City’s leading live music venue from the early seventies until the mid eighties as reviewed by our own Colin Jackson in his No Apologies – Apollo’s The Best article.

It was the 16th of February, 1979 on a quiet afternoon in McCormack’s Music Store where I worked. My boss Freddy was looking for a volunteer to help deliver a Fender Rhodes to the theatre. I was certainly up for it because I knew The Jacksons were coming to town. Not the Jackson Five or Michael Jackson, The Jacksons ! It’s easy as 1,2,3 !

The Jacksons

A Fender Rhodes is an electric piano popular in the seventies. Unlike a standard piano it has tines instead of strings which resonate next to a pickup where the sonic goblins carry it to the ample flyer who ……………………look, I’m a saxophone player. I don’t know all that technical stuff ! All I know is, it has a warm pleasing bell like tone and it takes two people to carry it.

Fender Rhodes

These days you don’t have to sell your car or your grandmother to get a decent electronic keyboard with hundreds upon hundreds of sounds and samples, bells and whistles that you can easily carry under your arm. You can bet that the first presets people search for are the vintage sounds of the seventies – grand and honky tonk pianos, Rhodes and Wurlitzer electric pianos, Hammond organ, clavinet, moog and mellotron.

I digress.

Freddy and I carried the piano, gingerly stepping over electric cables trying to avoid knocking cymbal stands over on one of the most hallowed stages in the world. There was a rabble of roadies frantically moving stuff about, plugging things in. One two, one two. Some scampering up lighting rigs like frightened baboons. There were a couple of guys on bass and drums laying down a killer funky groove. I don’t know if they were backing band members or some frustrated technicians but it sounded sweet to me.

The din around me started to fade as I looked into the empty auditorium from my elevated spot on that stage. Yes, it was high up there.

Johnny, Johnny.

The chants were getting louder.

We love you Johnny.

As I bent down to pick up the scattered flowers and discarded panties an enormous explosion shook me out of my reverie. Some unfortunate stagehand had unwittingly stepped on the trigger that detonated a firework display. It would have been mightily impressive in a dimly lit packed theatre at the end of a noisy gig but in an empty auditorium in the afternoon it was like a sonic boom. I don’t think I was the only one adjusting my underpants fearing the worst.

It turned out the gig was cancelled as the band were apparently snowed in in Geneva. At least they didn’t blame it on the boogie !

So I can’t even say I was testing out the stage for Michael and his brothers Jesse, Action, Glenda and…………………Colin.

Apollo, Glasgow

(Post by John Allan from Bridgetown, Western Australia – March 2023)

Live From The Apollo – It’s Star Time…

Paul Fitzpatrick: December 2022

By late 1974 my record collection was starting to take on a different complexion.

Whilst my album collection in the main, remained loyal to Zep, Bowie, Roxy, Stones, my singles collection was being supplemented weekly by tracks absorbed at the discos of the day – Clouds & Shuffles (I was only 16!).
The likes of George McCrae, Barry White, and Hamilton Bohannon.

Cut forward a couple of years and the sounds of – Earth, Wind & Fire, Parliament, Isley Brothers, The Crusaders and Stevie Wonder had taken over my stereo.
Even the non R&B artists grabbing my attention had somewhat of an R&B flavour – Hall & Oates, Little Feat, Boz Scaggs, Steely Dan.

Around this time a crowd of us would go to certain bars and clubs in Glasgow like The Rooster on Glassford St, or Joannas on Bath St, primarily for the music, (but to be fair the talent wasn’t bad either!).

There was something missing though – live music.

Being a regular at the Greens Playhouse/Apollo since my first gig in 1972 to see Humble Pie (supported by Peter Frampton), my frustration in the mid 70s was that it was nigh on impossible to see any decent R&B bands, live in Glasgow.

Which is kind of ironic given the Apollo was named after the home of live R&B – the famous Apollo Theatre, in Harlem, New York,

The absence of live soul acts in the west of Scotland was no fault of the Glasgow Apollo though – a lot of visiting US bands didn’t travel any further north than London on their whirlwind European tours, and the Apollo with its 3,500 capacity probably scared off a lot of promoters.

Unfortunately, we weren’t blessed with a plethora of live venues in the mid 70s, and traditional Glasgow theatre’s like the Pavilion, with capacities of c.1,500, were already kept busy with a steady diet of….
Robert Halpern’s hypnotist show – Residencies by Sydney Devine and Christian, and of course, Pantomimes…. oh yes they were!

A few decent soul/funk bands did make it to the Apollo though and I went to see most of them….

First off, I saw the Average White Band in May 1976, supported by the excellent Kokomo on a balmy Saturday night.

The highlight of the show according to everyone who witnessed it was a 20 minute encore of “I Heard it Through the Grapevine”, with Kokomo joining AWB on stage.

No doubt it would have been my highlight too if I hadn’t have been kicked out the venue.

Let me explain – the crowd were still on their feet after a rip-roaring version of “Pick up the Pieces” and a few of us ambled towards the front of the stalls in readiness for the upcoming encore, only to be turfed out via the fire-exit, stage left, by some meathead stewards.

I went to see The Clash’s first Apollo gig the following year when spitting at punk gigs was de rigueur (despite the height of that stage!) so I had zero sympathy for the shell-shocked stewards, covered in collateral phlegm – karma’s a bitch.

I loved AWB but they were local lads, we also wanted to see the the bona fide American funk bands, and we’d need to wait 18 months before the Brothers Johnson, hit the Apollo in 1977.

The Brothers Johnson – I’ll Be Good To You

LA natives, The Bros Johnson were fronted by siblings, Louis “Thunder Thumbs” on bass and George “Lightnin’ Licks” on guitar.
Mentored by Quincy Jones the band enjoyed a meteoric rise in the States with their first four albums going platinum.

When the band came to town they were promoting their second album. As part of their first trip to Europe they only had two UK gigs planned – Wembley Arena and the Glasgow Apollo.

To be honest I don’t remember a whole lot about the gig apart from the bass playing of Louis “Thunder Thumbs” Johnson.

I was used to bass players like Entwhistle or Wyman who stood impassively on the side of the stage, rooted to the spot, so to see a bass player move his feet was a revelation.

“Thunder Thumbs” solo

Also, this was the first time I had seen anyone play ‘slap-bass’ and not only was Louis centre stage, he was a one man funk machine.

Louis would go on to play bass on most Quincy Jones productions including Michael Jackson’s Thriller.

The last 70’s R&B band I can remember seeing at the Apollo was the Commodores, a funky collective formed whilst studying at Tuskegee University, Alabama, before being spotted and signed by Motown.

They played the Apollo in April 1978 just before “Three Times A Lady” became a global hit and changed their course from funkateers to balladeers.
Fortunately the set they played that night was based on their recent Commodores Live album which is what we wanted to hear.

They were excellent live, put on a great show and went down a treat with the Glasgow audience.


After the gig a few of us gathered at the stage door because a couple of girls we knew said the roadies had mentioned something about an after-party.
We waited with them and sure enough the band came out to get into their limousines and Lionel Richie himself, invited all and sundry back to the Hotel where they were staying.

As we trudged through the Glasgow rain, we speculated about who would be there, what the spread would be like and whether there would be a piano in the suite so Lionel could play “Easy” (like a Sunday morning).
It was all very exciting until we got to the hotel to be met by a roadie resembling Mr T who duly informed us that the invite was for ladies only – how did we not see that coming!!??

So when old Lionel belts out “Three Times a Lady” lamenting about how he adores his missus, I hope she knows what was going on in the Albany Hotel that wet Wednesday evening in 78!

Apollo Stewards and Lionel Richie you just cannae trust them…..

Glencoe

I bought Glencoe‘s debut album shortly after its release in 1972 and could never understand why, despite some high profile support slots with likes of Deep Purple, Argent and Wishbone Ash, they never seemed to receive the public acclaim they so deserved.

Why they never broke into a theatre-filling headline act in their own right, I’ll never know.

That said, when opening for Argent at Glasgow Apollo in September 1973, the crowd demanded and was rewarded with an encore. That’s something pretty rare indeed, especially in my fair city!

Their roots lie in London based band Forever More, who recorded two well received albums between 1970 and 1971, and counted among their number, three Scots: Onie Mcintyre, Alan Gorrie and Stewart Francis, who had formerly played together in Hopscotch.

Album cover (USA) – FOREVER MORE:’Yours.’

The group disbanded in 1972 shortly after changing their name to Glencoe, when McIntyre and Gorrie left to form Average White Band (together with another former member of Hopscotch, Hamish Stuart.) One of those recruited as a replacement was Graham Maitland on keyboards, who had played with Francis in … yes, you got it – Hopscotch.

The world of music has always been a bit incestuous.

Following an audition, bassist Norman Watt-Roy joined up and completing the new line-up was guitarist John Turnbull, formerly of the excellent Newcastle band Skip Bifferty.

The eponymous debut LP was released in 1972, and followed a year later by ‘The Spirit of Glencoe.’

Although, the albums differ in feel, both ooze class. The first is loud and in the main a mix of heavy rock and blues, though slower numbers like ‘Look Me In The Eye,‘ and ‘Questions,‘ illustrate Glencoe’s versatility. There’s plenty excellent and very distinctive guitar work from John Turnbull, while Graham Maitland’s keyboard playing dances all over the tracks and is an integral, identifying feature of the band.

Airport‘ is probably the best known track on the album, but I think ‘It’s‘ edges it as my favourite on the album. Slower in pace, and with a bluesy feel, it highlights the talents of each player.

The 1973 follow-up, ‘The Spirit Of Glencoe,’ isn’t quite so ‘instant.’ I was initially unsure as to how I felt about it. But it’s a grower, believe me!

‘Is it You?‘ is very much in he vein of the first album, chunky and beat heavy, it features John and Graham dueling guitar licks and bar-room, honky tonk piano. ‘Born in the City’ is another of the old school formula, and the one minutes and nine seconds of ‘Arctic Madness‘ shows a playful side, incorporating (I think) an accordion led eightsome reel.

(Album cover, front and back, ,for ‘The Spirit of Glencoe.’)

The two ballads, ‘Strange Circumstances‘ and ‘Song No. 22‘ are absolutely captivating, though I have to say I prefer their louder stuff.

What this album does, though is show that Glencoe were no one-trick pony. My research has not turned up one negative comment about the band.

The fact they had the quality of ex Steve Miller Band keyboard player, Ben Sidran, ex Osibisa percussionist Kofi Ayifor and ex Steve Miller Band bassist, Gerald Johnson all guest on the second album, shows the respect they had already garnered from their peers.

Indeed, after the band split in 1974, bass player Norman Watt-Roy and guitarist both had spells playing with Ian Dury & The Blockheads.

Yeah – I’ve most definitely got Glencoe filed under ‘One That Got Away.’

GLENCOE
Stewart Francis – Drums / Vocals
Graham Maitland – Keyboards / Vocals
John Turnbull – Guitar / Vocals
Norman Watt-Roy – Bass / Vocals

RELEASES BY GLENCOE

TITLEFORMATLABELRELEASE YEAR
Airport / It’s7″ singleEpic1972
Look Me In The Eye / Telphonia7″ singleEpic1972
Friends Of Mine / To Divine Mother7″ singleEpic 1973
Roll On Bliss / Nothing7″ singleEpic1973
GlencoeLPEpic1972
The Spirit Of GlencoeLPEpic1973

(Post by Colin Jackson of Glasgow – November 2022)

memories of the apollo, glasgow – david bowie.

Apollo, Glasgow.

I’d love to say my first Apollo, Glasgow memory is of Rory Gallagher standing front and centre of that high stage on the evening of 2nd March 1973, tuning his guitar before launching into ‘Laundromat.’

Rory Gallagher

Unfortunately, I can’t. Instead my first recollection is of ex Colosseum member Dave Greenslade in the guise of his new band, erm … Greenslade, boring me rigid as the strangely inappropriate support band.

Greenslade

Still, Rory and the lads more than made up for the purgatory I’d endured the previous forty minutes or whatever.

Throughout the remaining years of The Seventies, I’d get to as many Apollo shows as my meagre finances and other interests would allow. Suffice to say, I now have a great many exciting and happy memories from gigs in the hallowed hall – though some of these may be a tad addled by Carlsberg Special and Newcastle Brown Ale.

 Rory (five times over); The Sensational Alex Harvey Band; Lynyrd Skynyrd (twice); Man (two or three times); Jethro Tull (twice); The Runaways; Black Oak Arkansas; Ozark Mountain Daredevils; Baker Gurvitz Army; Ted Nugent; Queen; Devo and Gary Numan all spring to mind. I’d have to check my ticket stubs for others.

Rather surprisingly though, one of my most enduring memories surrounds a show I was not even at.

It was in the summer of ’78 and for some reason, I’d been up town for a drink with a couple of pals on a midweek evening. Even more surprising, we were still (relatively) sober as we made our way down West Nile Street to catch our bus home. As we passed Renfrew Lane at the back of The Apollo, we noticed a bit of a commotion.

We waited and we watched. Suddenly a blacked-out police van turned out the lane, followed by a horde of screaming and shouting fans. We watched as the van ignored the red traffic lights and eventually sped away from even the fittest of pursuing diehards.

Then, just as were getting back on our way, a chauffeur driven, black, limousine smoothly purred out Renfrew Lane. Only a few savvy fans who hadn’t been suckered by the decoy police van were in pursuit.

As the car slowed to a brief standstill right by us before turning left up the hill, the passenger, wearing a black fedora hat, leaned forward in his seat, smiled and waved.

David Bowie! David Bowie waved. To us! There was nobody else around.

Sure, I liked David Bowie – didn’t everybody? But I certainly wouldn’t have classed myself a ‘fan.’ And yet – Holy crap! There I was, a twenty year old bloke, feeling like a fourteen year old female Bay City Rollers fan. I suppressed the urge to scream and politely waved back.

Isn’t it funny how fate and circumstances shape the future? As a result of that spontaneous and momentary personal interaction, I became fan. Consequently David Bowie managed to sell several more albums than he would have done, had I not been passing the Apollo that night in 1978.

I bet he was so glad he took time to exchange pleasantries!

David Bowie album selection (CD)

______________

the big yin and me.

(Post by Paul Fitzpatrick, of London – February 2021)

I’ve always had a curious relationship with Billy Connolly.

Not that we’ve ever met.

I call it Christopher Columbus syndrome – You find an artist, hear a song or read a book that hardly anyone else knows about, you become an early adopter and spread the word, and before you know it everyone loves them – with people even asking you if you’ve heard of them!

It drives you mad because you’re obviously the one that DISCOVERED THEM, and if it wasn’t for you unearthing their great talent and spreading the word, they’d be nowhere (without you!).

In some instances you can even begin to resent their newfound fame – they’re getting greedy or they’re overreaching or they’re forgetting where they come from, or some other daft notion.

Welcome to my relationship with Billy Connolly.

The first time I heard Connolly utter a word was on the Pavilion stage in February 1974.

There was a buzz around the relative unknown who had sold out several nights at the Pavilion Theatre in Glasgow, something only Sydney Devine (Scotland’s answer to Elvis) could do back then.

Billy promoting his stint at The Pavilion.

My pal Barry Smart suggested we get tickets and despite the fact we were both 15 part of the plan was to find a pub and go for the full Friday night Glasgow experience.

We duly found a wee working mans pub round the corner from the venue, and foraged for a seat out of view. Being a Friday the pub was busy with artisans finishing their shifts for the weekend.

We must have stood out like sore thumbs.

I think Barry braved the first approach to the bar and I was amazed but delighted when he came back with 2 halves of lager and 2 vodka and oranges’.
A ‘hawf and a hawf’ was the working mans tipple, so who were we to challenge the established order of things.

The drinks were downed pretty quickly, and our confidence grew as we enjoyed a few more bevvy’s before floating off down the road to the Pavilion Theatre in good spirits.

Stand-up comedy in the 70’s was dominated by middle aged men who wore suits and bow ties and told gags about their mother in law or minorities or Germans bombing their chip shops.

Billy Connolly was different though he was younger, he spoke our language and looked like a welder on acid.

A bit like listening to the first side of Led Zeppelin IV for the first time, Connolly literally took our breath away.
I had never laughed so long or so hard before, and I’m pretty sure I haven’t since, although Jerry Sadowitz has come close a couple of times.

Connolly was loud, gallus, hilarious and the audience loved him because his stories were relatable, he was one of us.

I remember hearing the Crucifixion sketch for the first time that night, it was the funniest thing I’d ever heard, he was irreverent and didn’t give two hoots about poking fun at religion or sectarian taboos or bodily functions or the establishment, no topic was off limits to the Big Yin.

It was a memorable evening; from the nervous bus-journey into town wondering if we’d get huckled for underage drinking, to the journey home, fish supper in hand, trying to recount all the jokes and patter and remembering we had to be up early as we were both playing football for the school the following morning.

We were so smitten by Connolly that we spent the next couple of weeks spreading the gospel, telling everyone we knew how great he was, mostly to blank faces…. no one had heard of him.

Billy takes over The Apollo.

His career started to take off after a live album of the Pavilion material was released and within a year Connolly had sold out an unprecedented 12 nights at the Glasgow Apollo, and appeared on Parkinson for the first of his record breaking 15 appearances.

The guy was everywhere and also showed off his acting chops by appearing in a powerful Peter McDougall TV play called ‘Just Another Saturday’ which was about West of Scotland culture, beliefs and sectarianism.

Showing that his popularity wasn’t confined to Scotland, Connolly headlined a London gig for the first time

There’s a picture that was taken in 1975 by Ronnie Anderson, a well known Glasgow newspaper photographer, that is my favourite Connolly portrait.

The occasion was an after-party in The Dorchester for the first of Billy’s sell out shows at the London Palladium in 1975, and it features – Billy, Alex Harvey, Jimmy Reid the shop steward, Hamish Stuart from AWB, Frankie Miller and Jimmy Dewar (a musician from Stone the Crows and Robin Trower Band).

A motley crew of 6 Glaswegians toasting their mate’s success in a foreign land.

The Glasgow Mafia – 1975

It was an archetypal rags to riches story, the guy had gone from zero to hero in the space of 18 months, but it was around this point that I started to think the Big Yin was overreaching.

The catalyst was probably when Connolly appeared on TOTP with a number one single, a parody of Tammy Wynette’s Divorce.

A parody single? That was for Benny Hill and Rolf Harris but not for the Big Yin!

I’d also noticed that his accent had started to soften, replacing his harsh Glasgow brogue with a ‘Lulu style’ mid-Atlantic inflection.

Of course, I look back now and understand that he wasn’t over-reaching, he was just ‘reaching out’ to a wider audience. The guy was a welder turned folk singer turned comedian, he had no idea how long this gravy train was going to run for.

He was simply making the most of his opportunities

As Connolly got bigger so did his global reach, hanging out with Hollywood celebs and Royalty and appearing in big budget movies and hosting TV specials.

Billy, Robin Williams & Dudley Moore.

There was a point where he seemed to be everyone’s favourite comedian, but he probably wasn’t mine anymore.

I had discovered American stand-up, guys like Richard Pryor, Steve Martin and Bill Hicks, and I liked the cut of their jib.

Richard Pryor doing his thing.

I still liked Billy and I would go the odd gig, but comparing his newer, more mainstream material to his earlier stuff was like comparing Stevie Wonder’s “I Just Called to Say I Love You” to “Superstition”.

There’s no doubt that Connolly has had a fantastic career, he’s adored by millions and he is and always has been a wonderful ambassador for Scotland.

As he’s got older, I think he’s got back to being a bit more irreverent and a bit more outspoken, and that’s the Billy I like.

I’ve loved stand-up comedy since I was 15 thanks to the Big Yin, he was my first and one of the best.

The Tale of Two Keiths and the No.64 Bus

Mark Arbuckle: Glasgow, May 2021

Inspired by the recent Apollo posts I’ve decided to share some of my own gig memories.

On 12th of May 1976 myself and my friend Peter attended The Rolling Stones concert at The Glasgow Apollo. 

I don’t remember too much about the gig but apparently it wasn’t their best as it was beset by sound problems all night.

It’s what happened after the gig that is etched on my mind however.

As we were leaving there was an altercation on the street right outside the main doors.
Peter and I decided to cut along Renfield Lane to avoid whatever was happening. Just as we got to the side door it burst open and a figure hurtled out, slipped on the cobbles and crashed to the ground. I reached down to help him to his feet.

‘Scrag-dab Groog Slubdabahoo!’ spluttered the man and I suddenly realised that the skinny figure I was propping up was a totally wasted Keith Richards!
Almost immediately a black limo screeched to a halt in front of us and a very large man jumped out, removed KR from my arms, opened the back door and threw him onto the back seat!
He grunted ‘Thanks man’ jumped into the car and sped off! The entire incident lasted about 40 seconds!

Peter and I just stared open mouthed at each other and then burst out laughing!

A few weeks later, on 5th June 1976 I was very fortunate to be asked to be part of the security team at ‘The Who Put The Boot In’ all day gig at Celtic Park.

My brother was friendly with a guy (MR) who booked all the bands for Glasgow Tech and he was asked to provide some bodies for the day.
MR was very well known in the UK music industry and even had Pans People at his 22nd birthday party at the old Albany Hotel, where I danced with my long time crush, the gorgeous Cherry Gillespie……but I digress.

My brother and I and 4 other friends duly turned up at Celtic Park at 8.00am and along with 60 other ‘security’ guards were given a briefing on our duties for the day.
We were issued with our yellow ‘Harvey Goldsmith’ security jackets and split up into teams of six.
We were then taken on a tour of the ground’s fire exits, toilets, catering and first aid points.
We were also shown the No Access areas and told that in no uncertain terms that the large, bulky figures sporting the blue ‘Rock Steady’ jackets were the REAL security and we were to assist them whenever asked to!

Our team of six was then told to report to the front of the stadium where the crowds had been gathering for the last few hours. We were to assist the Police confiscating the fans’ alcohol before they entered the stadium! ‘Either drink it where you stand or give it to us!’
We had to open and empty the beer cans and smash the glass bottles into large brick bins. The smell of alcohol was eye watering! People were attempting to consume their entire kerryoot there and then! Especially the ones at the back of the huge queues as the word quickly spread.

I watched a skinny wee guy down a bottle of vodka in the five minutes it took him to get to the turnstile!
I doubt if he saw much of the day’s entertainment!

Though I imagine quite a lot (hunners) of half and quarter bottles of alcohol were missed by our untrained searches and smuggled into the stadium.
(I’m also sure quite a few made it into Yella Jaikets’ zipped pokits!)
After about 2 hours confiscating booze, I was partnered with an older guy and sent to guard the pylon on the right side of the stage. 

We were there to prevent anybody trying to climb up it, but as you couldn’t see the stage from there, nobody did! After a boring half hour my partner announced that he was ‘Offski’ ‘F#€K This’ were his exact words.
I later found out that he was ejected for drinking. I lasted another 15 minutes then abandoned my post and decided to have a wander back stage. Little Feat were on stage and I was enjoying Lowell George’s superb slide guitar work.

Little Feat’s Lowell George

I was talking to a long haired denim clad guy next to me who turned out to be the bass player (Frank O’Keefe… I had to google him) of The Outlaws who had already played their set. 

The Outlaws, Frank O’Keefe second from right

A man approached us and said to Frank ‘Excuse me, this is Alan Longmuir of The Bay City Rollers….’Alan also plays bass’ Frank stared right through him, shrugged a ‘So what?’ and returned to talking to me! I felt really sorry for Alan Longmuir.

A Rock Steady Security Guy shouted ‘Right you! Follow me!’ So I did.

I followed him down a back staircase and emerged outside in a courtyard.

A few weeks before the gig a Sunday newspaper ran a competition to win a gig ticket and the chance to meet Keith Moon and help him smash up a replica of the organ used in Rock Opera, Tommy!

There stood Keith Moon dressed in a leather bikers jacket with tasseled sleeves and brandishing a sledgehammer!

Keith Moon

After posing for press photographs, cackling Keith dealt the first mighty blow to the poor keyboard sending black and white keys flying in all directions! Then he handed his sledgehammer to me and said ‘Your turn’ The competition winner and I then set about the helpless instrument with glee! After 15 minutes our ‘Appetite for Destruction’ waned and we put down our weapons. Keith reappeared and invited us onto The Who’s tour bus for a drink. We were greeted by a stunning 6′ 2″ woman dressed in a black leather basque, fishnet stockings and thigh length leather boots with 4″ stiletto heels! Oh and she was carrying a whip!
The bus had been converted into a fully functioning bar with beer pumps, spirit optics and high stools! We took our seats and Miss Whiplash served our drinks. I had an ice cold beer (very welcome after our exertions) and a Jack & Coke. I did feel a pang of guilt for all the poor sods that had had their carry outs destroyed earlier…but not for long.

Keith was laughing and talking nonstop and it was obvious that he was already quite drunk and had probably partaken of other various substances. It was around 4pm and The Who weren’t due on stage for at least another 5 hours!

Keith offered us a second round but I declined and said I’d better, very reluctantly, get back to work. The competition winner (we never did introduce ourselves) left the bus with me. We were both still on a high after this amazing encounter with one of the legends of rock!

I returned backstage and watched SAHB’s amazing set.
Nobody questioned why I was there and I had a brilliant view!
The crowd went wild at Alex Harvey’s mad antics and Zal and the rest of the band pounded out song after song!

SAHB’s elaborate Vambo set then had to be dismantled and The Who’s much heralded outdoor laser light show (the first in Scotland) was set up.

The crowd were getting a bit restless by the time The Who took the stage about 9.30pm but they played a magnificent set.

However the laser show didn’t really work as intended as it was still pretty light until around 10.30pm.
Then the show was over and I met up again with my brother and his pals as we queued up to be paid.
The deal was ‘Hand in your Yellow Jacket and get paid £1 per hour cash or keep the jacket and get zero. Now if I’d known then that eBay would exist in the future then I would’ve kept the jacket and sold it now for £500!

However I took my  £14.00  handed out by Harvey Goldsmith himself sitting in a little wooden booth. 

HG was beaming as he handed over the little bundles of cash obviously calculating the tens of thousands that he’d personally made from the tour!

I can’t even remember how we all got home from that exhausting but exhilarating day!

Now this last story may not be true…..It was told to me by an older guy who regularly attended gigs throughout 70’s

Fun and substance loving band Dr. Hook were partying hard with their crew and local security at The Central Hotel after their gig at The Apollo.

Dr Hook

One of the band overheard a local guy mentioning ‘Hocken-Shoe-Gal! 
and in their spaced out, inebriated state the sound of this, strange, mystical place must’ve appealed to them and they decided they must visit, so they enquired how to get there.
The local guy suggested a taxi but the band insisted on travelling ‘like the other pilgrims do’ 
‘Then get the No. 64 bus from under the bridge’ They were told, so off they went to Argyle St. and got on the No. 64 bus…. 

Unfortunately they boarded it on the wrong side of the road so instead of travelling east to the magical, mystical Auchenshuggle, they headed west through Finnieston, Partick, Whiteinch, Yoker, Clyebank and arrived at the large concrete terminus of Dalmuir West! 

The band were very confused and didn’t appreciate these surroundings at all! They clambered back on the bus for the return journey back to the city centre to continue their par-tay! Hahaha

True or Not… It’s a great story!! 

teenage kicks – Catriona Cook

April 2021:


Name: Catriona Macintyre (Macintyre-Beon, Cook)

Where did you live: Monreith Ave, Kilmardinny Cres – Bearsden;
Kings Park Rd – Kings Park, Glasgow

Secondary school: Bearsden Academy, Kingspark Secondary

Best mates at school: Sandra McGregor, Fiona McLeod

Funniest memory from school: The school going on fire and being off for several weeks.

First holiday with your mates: 1982, Palma Nova with Wendy a fellow nurse from my year group. I met Phil from Birmingham (who was my boyfriend for a couple of years), first time on a moped, lots of alcohol.

First job: Cut n Dried hairdressers Sauchiehall Street (Saturday job), NHS nurse, midwife, neonatal intensive care.


Musical hero in 70s: Bay City Rollers, David Cassidy, Leif Garret, Pink Floyd.

Favourite single: If you Leave Me Now – Chicago (reminds me of discos at Westerton Tennis Club)

Favourite album: Parallel lines – Blondie

First gig: Blondie or The Police at The Apollo

Most Disappointing Gig: Whitney Houston at SECC (Sound was terrible)

Favourite 70s movie:  Carrie (sneaked in aged 9) RIO cinema, Bearsden.
(Admin – Wow 😳 )

Rio Picture House, Canniesburn Toll, Bearsden

Who was on your wall in 70s: Bay City Rollers, Leif Garrett, David Cassidy

What do you miss most from the 70s: My big brother Graham

What advice would you give your 14yr old self: Go girl have some fun!

Fantasy 70s pub session: Centre Court in Glasgow with Pat Cash, Debbie Harry, Marc Bolan & David Bowie. 

No description available.
That’s me in the blue wellies

rory gallagher – a taste for the blues

(Post by Colin ‘Jackie’ Jackson, of Glasgow – February 2021)

Eleven vinyl LPs; one vinyl EP; two ‘box set’ CDs; one triple CD set; twenty-one CDs; five DVDs and four Taste CDs.

You’d be correct in assuming I like Rory Gallagher!

I recall the very first time I heard Rory’s music. It was sometime in 1972. I was playing Subbuteo at my pal’s house. I was Chile, that day – red shirt, blue shorts. I can’t remember what team Derek was, but it wouldn’t matter – he’d have whooped my ass anyway. I was rubbish.

Derek shared a large bedroom with his older brother who at that time was a long-haired, senior school student, about four years older than me. He’d been doing paper rounds for several years and so was ‘minted,’ as we’d say in Glasgow. And all his money it seemed, he spent on records, particularly the heavy end of the musical spectrum. Deep Purple and King Crimson I vividly remember being played. I know this because as a Slade, Sweet and John Kongos fan, (yes, John Kongos) I just couldn’t get into this new fangled ‘progressive’ music.

Anyway, as my Chilean right winger was about to take a corner, something new burst out the record player. It went on for ages, too. Wow!

“That’s ‘‘Catfish,’ my mate said. “By a band called Taste. Alan’s just bought it. Like it?”

‘Like it?’ That was me. Hook, line and sinker.

So – this is the Blues? A fourteen year old kid had just been enlightened.

The LP was ‘Taste. Live At The Isle Of Wight.’ With a little more prompting, I was told the band were no longer together, but the guitarist, Rory Gallagher, had embarked on a solo career. In fact, he’d already released three albums. Always late to the party, me.

A few weeks later, I’d saved enough from my paper round to send away, through a ‘small ad’ in the ‘Sounds’ paper, for a copy of Rory’s latest release, ‘Live in Europe.’ (Going to watch football on a Saturday normally accounted for most of my earnings.)

As it happens, I was fifty pence short in payment for the post and packing, but the nice record store still sent me the LP. They asked I just send a postal order for the shortfall, something I never got round to doing. I read a month or so later that the company had gone bust. I felt ever so guilty.

That was late 1972 and I still have that album. It remains my favourite of all my Rory recordings, although I have to say, the ‘Check Shirt Wizard – Live in ‘77’ triple album pushes it very close.

The next stage in my Gallagher development was to see him play live and that opportunity came in March the following year, when my parents finally acceded my pleas to be allowed to go to a concert. And so shortly after the release of his fourth solo album, ‘Blueprint‘ (my second favourite) I trooped up to Glasgow with a couple of pals to the Green’s Playhouse (later to become the world famous Apollo.)

My seat was about eight rows from the front, just left of centre. Perfect. Until Rory came on stage and everyone jumped to their feet. I was a short-arse then, still am, and suddenly I was struggling to see my musical hero.

But the bouncers at Green’s and even more so when it changed to The Apollo, had a fierce reputation. There was no nonsense. If you were told to sit down, you sat down. If not, you’d only be able to hear the gig from the alleyway at the back of the theatre. (This heavy handed approach always worked … until The Clash came to town on 4th July 1978. But that’s another story!)

The concert was everything I hoped it would be. And more. The relationship Rory had with the crowd was amazing. It was like a personal friend was putting on a show. There was no posturing. No garish showmanship. Just straight-up, blues infused rock ‘n’ roll with a tiny touch of folk influence.

Rory was dressed simply, in his trade-mark check style shirt and jeans, and although he wore a denim shirt on the cover of ‘Blueprint,’ I always associated him with the checks. It must be a ‘first impressions’ thing, for I don’t recall seeing him wear that again on any of the other four occasions I was lucky enough to see him.

In the early to mid-seventies, bands would generally only hit your town maybe once a year although I was fortunate in that Rory did return to Glasgow later in ’73, at the end of November. After that though, it was December only, and ’74, ’75 and 1976 were my last shows. It’s interesting to note that the most I paid for a ticket was the £2.50 in 1976.

I wonder how much you’d have to pay these days? I’m sure Rory would have done all in his power to keep prices at a sensible level, but what with ticketing agencies these days …. aargh! Don’t start me!

While my love of Rory Gallagher has been unflinching, I am not one of those fans who listens exclusively to their hero and that particular style of music.

Although I still rushed out to buy his immediate subsequent releases, ‘Photofinish,’ ‘Top Priority,’ and ‘Stage Struck,’ I was, from 1976 onward, more into the punk and second wave rockabilly scenes.

The only groups, however, that even then could come close in my overall ‘favourite band’ list were / still are, The Sensational Alex Harvey Band and The Rolling Stones. (Over forty albums of the latter in my collection.)

And of course, there is a close connection between all three bands with SAHB‘s late great Ted McKenna latterly taking over on drums for Rory, and Rory himself famously auditioning for The Stones back in 1975 when Mick Taylor left.

I must say, I’m so glad Rory decided not to hang around and wait for Mick and Keith to get back to him, and toured Japan as he had planned. I just couldn’t see Rory as anything other than a front man. Ronnie Wood is perfect for the role in appearance and style.

It doesn’t always follow that a group betters itself by absorbing ‘the best.’ Look at The Eagles. Did Joe Walsh really add to what was already one of the most popular bands in the world? Did Joe Walsh lose a bit of his identity by joining The Eagles?

‘No’ and ‘yes’ would be my two answers.

But back to Rory.

It pained me to see him on The Old Grey Whistle Test or wherever as the rather large and bloated musician he’d become by around 1990 as drink and various prescription medications, administered to deal with the rigours of life on the road, had prematurely and noticeably aged him.

In the end, 1995, he perhaps cut a sad image – the archetypal solo rock star, not necessarily fading as such, or clinging to past glories, but perhaps lonely and just sheer exhausted from all he gave.

And he gave so much. The vast majority of his fans, like me, never met him, but Rory came across on stage, and in media interviews, as a very personable and likable bloke. There were no frills. You got what you saw.

He was genius on guitar. He could literally turn his hand to make it gently weep; or laugh; or sing. He could make an audience dance – in an ugly, uncoordinated, shaking-head, rocker style, maybe, but it still counts.

Best guitarist in the world? Many of us would say so.

I guess it’s all a matter of Taste.

a packed lunch for a vampire and dennis neilson’s freezer – a who odyssey

(By Alan Fairley – Edinburgh)

To many people, going to a gig and ending up in hospital would be regarded as an occupational hazard but to go through that experience while carrying out the comparatively mundane and harmless act of purchasing a ticket has to be regarded as something of a rarity.

It was an adventure I experienced back in October 1971.

The Who had just announced that they would be returning to Glasgow for the first time in over a year to play a show at Greens Playhouse and interest in the gig was sky high, coming as it did on the back of the band’s highly successful and unique Rock Opera Tommy which had been kicking around for a couple of years.

On top of that, Who’s Next, which is widely regarded as the bands finest ever piece of work and which featured the anthemic single Won’t Get Fooled Again, had just been released

The announcement came that tickets would go on sale at 10am on the Sunday before the show and plans began to develop as to how these sought-after pieces of paper could fall into the hand of myself and my two fellow Who fans from school, Angus MacAulay and Nicky Mawbey (both now sadly deceased).

Long before the days of Ticketmaster and online/telephone booking, anyone looking to attend a gig would merely trot along to the House of Clydesdale electrical store in Sauchiehall Street and proceed to the oasis-like ticket desk which was crammed in between the fridge freezers and the twin tubs. 

With demand expected to be high the best option to guarantee success for a high profile show like The Who was to camp out on the pavement overnight which, bearing in mind the onset of a Glasgow winter would have been a course of action palatable only to the foolhardy and the supremely dedicated.

None of us fell into either of these categories (although we perhaps verged on the borderline of foolhardy) so we devised a plan to wake up early and rendezvous at 6am on the day of the sale prior to making the six mile journey into Sauchiehall Street.

What we didn’t allow for, however, was the non-availability of public transport at six o’clock on a Sunday morning so, with no buses or trains running at such an ungodly hour, we resorted to the noble art of hitch hiking.

It was an activity in which none of us had any prior experience and as a result, we stood by the road with thumbs outstretched hoping that some passing driver would be daft enough to pick up three long-haired, denim clad teenage boys.

After getting some strange looks from the occupants of the few vehicles who sped by, a car finally stopped and our spirits were lifted when the driver shouted “ur yees gaun intae toon for Who tickets, boys? In ye get.”

This kindred spirit kindly dropped us off in the city centre before looking for a parking space but when we we turned into Sauchiehall Street we were met by what only be described as a seething mass of humanity with a queue from Clydesdale, four deep on the pavement, snaking all the way round to Hope Street then into Renfrew Street.

The Famous Apollo Queue

We trudged gloomily in search of the end of the queue when an almighty scuffle broke out amongst those in line. Police were soon on the scene, manhandling everyone in the vicinity, the outcome being Angus, Nicky and myself being pushed into the queue by the said officers.

This episode of police-enforced queue jumping led to us gaining a foothold at least 100 yards further up the line from where we should have been and raised our expectations of a successful outcome to the trip. Every cloud and all that.

We then heard that, on police advice, the ticket desk was to open at 9am and it wasn’t long before we were slowly shuffling round with the Holy Grail of Clydesdale Electrical within our distant sights.

Then, disaster struck.

A rumour began circulating (allegedly by the police) that the tickets were almost sold out, panic set in and an almighty crush developed as the four-deep queue grew to six or seven-deep, with people desperate to move forward in what was now beginning to look like a forlorn quest of seeing Townshend, Daltrey and co in the flesh.

By this time, the three of us, along with many others were pushed up tight against the plate glass window of Graftons, a ladies clothes shop.

As the crush increased, there was no means of escape and the window began to creak with the weight of bodies trapped against it.

The scene of the incident but in gentler times!

Before long the inevitable sound of breaking glass became apparent as the window gave way and I found myself lying on the floor amongst the Graftons mannequins with deadly looking shards of glass raining down on my head.

The cops again appeared, hauling bodies out of the carnage and I recall one senior office shouting “get this dealt wi’, we don’t want another Ibrox”, a poignant nod to the Ibrox disaster which had claimed 66 lives earlier that year.

I was lucky… I only suffered a few minor scratches, as did Nicky but Angus wasn’t so fortunate. When we found him he was lying on the pavement with blood pouring from a wound in the back of his neck.

By this time a fleet of ambulances had arrived, and we hauled him over to the nearest one before we were all bundled in and carted off to the Royal Infirmary.

Glasgow’s Royal Infirmary – in all its Gothic glory

Now, on, say, a Friday or Saturday night, the emergency department of Glasgow’s Royal Infirmary is not a place for the faint hearted as the hard-pressed medics deal with the never-ending stream of drunken casualties but Sunday mornings? -that was time for the doctors and nurses to relax a bit and review the events of an eventful night shift over a well-earned coffee and a bacon roll.

Not this time. Their peace was shattered by the sight of several dozen blood-soaked rock fans coming through the doors for treatment. I actually felt quite embarrassed taking up a space in the waiting area with my puny little scratches while the guy beside me, a hippy dude called Stevie, held his kaftan tightly against his head to stem the blood from the area where an almighty shard of glass was embedded.

Stevie addressed the situation with the classic black humour for which Glaswegians are famed, uttering a line which has has stayed in my psyche until this day – I feel like I’m a packed lunch for a fuckin’ vampire.”

After several hours in casualty, Angus emerged with an impressive row of stitches in his neck and the three of us went home ticketless.

I did get to see The Who twice in the years that followed, firstly at Charlton Athletic Football Ground (The Valley) in 1974 and again at Celtic Park in 1976.

Moon & Harvey on the same bill? – Madness!

The Charlton gig, which I attended with my mate Mike Rooney from Temple, was an all-day event and featured a stellar supporting cast of Humble Pie, Lou Reed, Bad Company, Lindisfarne, Maggie Bell (who took great delight in informing the 60,000 crowd that Scotland had just beaten England 2-0 at Hampden) and Montrose.

The last-named band had been called in as last-minute replacements for The Sweet who had been scheduled to open the show but were forced to pull out after singer Brian Connolly had his head kicked in by some neds after a gig the previous night.

The show had its high points and low points. One of the high points was, when sitting in the blistering sunshine on the terracing steps, the bra-less girl beside me graciously decided to whip off her t-shirt and remain topless throughout Humble Pie’s set. That vision always returns to my mind when I dust off the cover of the Pie’s epic double album Eat It which was around at the time.

One of the highlights of the day…

The low point was the fact that The Who were 40 minutes late in taking the stage and it was inevitable that the show would continue beyond its 10pm curfew.

As the last train to Glasgow would be departing Euston Station at 11pm Mike and I made the reluctant decision to leave the gig early and, after negotiating the complex route across the capital from Charlton, we managed to jump on the train with seconds to spare.

In hindsight, it proved to be smart move. Had we stayed for the encores and missed the train, the alternative would have been to spend the night in that particular corner of hell known as the Euston concourse.

Reflecting on stories which have emerged since then regarding young lads who were in similar situations, who knows, it could well have been our lifeless, severed body parts which were found stashed in the dark recesses of Dennis Nilsen’s freezer.

In the words of Bob Dylan – ‘a simple twist of fate.’

My Top 5 Who songs

  1. Squeeze Box
  2. Won’t Get Fooled Again
  3. I Can’t Explain
  4. 5:15
  5. Baba O’Reilly