Hooleygan by Terri Hooley and Richard Sullivan

Music impresario, punk raconteur and bar room philosopher Terri Hooley has just published his life story in a book that captures the essence of his character – anarchic, dishevelled and hugely entertaining.
Probably the most surprising thing about Terri Hooley’s autobiography is that it has taken so long to be written.
The man who discovered The Undertones and whose record label put Northern Ireland back on the musical map in the late 1970s has never been too shy when it comes to talking about his own life.
But then someone who once punched John Lennon at a party, was told to ‘eff off’ by Bob Dylan and – ahem – smoked with Bob Marley, definitely has a story to tell.
Hooleygan, co-written with Richard Sullivan, recounts all those incidents but also gives much more depth to one of Belfast’s best-known characters.
Interspersed with Hooley’s own reminiscences are first-hand testimonies from those who have worked with him, who know him best and those whose lives and careers became inextricably linked with his.
Brian Young from Rudi, Greg Cowen from the Outcasts, Gary Lightbody from Snow Patrol, John O’Neill of The Undertones and director John T Davis, who made the film Shell Shock Rock, all contribute.
Sitting last week in his Good Vibes record shop in Belfast’s Wine Tavern Street ahead of the book’s publication, Hooley admits that telling his life story quickly became something more than simply recounting anecdotes from his past.
“I found it very difficult talking about friends who had died,” he says.
The early chapters of the book will contain the most surprise for those who thought they knew Hooley. His mother was a deeply Christian woman whose brothers were members of the Orange Order.
By contrast his English-born father was a life-long socialist and atheist.
“He was a staunch trade unionist and proudly boasted that he was the first person to sing The Red Flag in Belfast City Hall,” Hooley says.
“But his trade union activities caused problems for me and my brother. We used to get beaten up when he was standing as a Labour candidate in East Belfast. People thought Labour were a republican party.”
Hooley says his own political radicalisation was driven by global events, rather than those closer to home in Belfast.
“The Cuban missile crisis [in 1962 when the world stood on the brink of nuclear war] really affected me,” he says.
“Then later in the 1960s I became involved in campaigns for nuclear disarmament and against the war in Vietnam.”
“I definitely got caught up in the whole hippie thing and started producing magazines with poetry and articles that tried to capture that.”
It was the Sex Pistols singer John (Johnny Rotten) Lydon who said “never trust a hippy” but Hooley says the punk movement, which emerged a decade later after ‘the summer of love’ was a natural progression.
“A lot of the people who used to go to the first punk gigs in Belfast at the Harp Bar, where former hippies,” Hooley says.
In 1977 he opened his first record shop in Great Victoria Street and it became a gathering place for many of the young punk bands that were beginning to form in Belfast.
“In the 1960s there were about 60 clubs in Belfast were you could go and hear live music from bands like Them with Van Morrison and Taste with Rory Gallagher but that all ended with the Troubles,” he says.”
“But in the 1960s there was never a record industry here. Bands had to sign to English labels and many ended up being exploited. I wanted to put Northern Ireland back on the musical map in the 1970s and give the bands that were emerging an outlet here in Belfast.”
Hooley set up The Good Vibrations record label and began releasing records by Rudi, The Outcasts and, most famously, Teenage Kicks by Derry band The Undertones.
Hooleygan co-author, Sunday World deputy editor Richard Sullivan, says that Hooley’s influence was an entirely positive one during the height of the Troubles.
“Belfast was a very dark place in 1977 – literally. There was not a light on in the city centre,” Sullivan says.
“It is no exaggeration to say that Terri and Good Vibrations kept a lot of people, on both sides, out of jail by pointing them towards music instead of getting involved with paramilitaries.”
Sullivan says the whole tone, design and layout of Hooleygan is an attempt to reflect its subject – pictures, text, ink scratches and scraps of graffiti nestle side by side on the pages.
He has done his job well and perfectly captured Hooley’s tone and his sometimes rambling sentences when he veers off from what he was first talking about into a totally different anecdote before eventually coming back to his main point.
“I didn’t want a standard book, with picture galleries in the middle. Terri’s life has been chaotic. He is a person to whom things just happen and I wanted to reflect that,” Sullivan says.
Hooleygan – Music Mayhem Good Vibrations, by Terri Hooley and Richard Sullivan is published by The Blackstaff Press, £14.99.

I wrote this for the Irish News and it was published on Friday October 1. www.irishnews.com.

For an interview I did with John O'Neill from The Undertones and various others, including Terri, about the Good Vibarations record label click here.

Brazil, Belfast punk and Celtic Rock

I bought Welcome to Gomorrah by Niall Quinn (not the soccer player) in a Dundalk bookshop 15 years ago after reading the blurb. I was very taken with it at the time and read it three or four times but haven't read it in maybe 10 years.
Yet when I was setting up this blog last year and compiling my favourite books it was one of the ones I immediately included.
Reading it again I would have to argue that it is not a great novel but it is a fine piece of writing. Publishers would probably reject it now because it is too self-consciously literary, too much tell and not enough show and the author's voice constantly drowns out the action with interjections and polemics.
It tells the story of an unnamed narrator who arrives by ship from Europe in Brazil. He is a 'broken man', a mental wreck and with just $60 in his pocket believes that he will not survive long in South America.
He meets Lia, a young prostitute, who tells him he will be mugged and killed before he gets to the end of the street and she escorts him from the docks.
The story is probably predictable, the bitter, damaged man who finds salvation through a 'tart with a heart'.
Lia and the narrator, who is an Irish writer, become lovers. Their stories unravel along with Quinn's critique of the sort of society that brings girls like Lia to the street and others to the point of such absolute poverty that they crawl on a park bench to die while the better off turn their heads to ignore them.
It is an angry novel which Quinn uses as a vehicle to prosecute global capitalism for its crimes against huge swathes of the world's population.
It also follows the downfall of its narrator whose single book was lauded and praised in Dublin and earned him a literary prize which would allow him to study in the US for two years with all fees paid and a living allowance.
Yet when he gets to the university they have never heard of him. I tried goolging Niall Quinn to find out more to see if this element of the novel was autobiographical (it does have the feel of a lived story) but could find few references between the hundred for the soccer player of the same name.
He is soon living hand to mouth in abject poverty with no-one seeming to accept blame for his situation. Even when he is given an airfare back to Ireland he is regarded as a pariah (what had he done to offend the university he was sent to and abuse the literary honour he had been given?). He is not even able to claim the dole because he is regarded as having left his job in the US.
He goes to England, at the time of the miners strike, where he sees thousands of once-proud working people reduced to demonised jobless in Thatacher's Britain. He tries to take his own life but although he is saved he regards the man he was before as dead and the person who was pulled from the exhaust fume-filled car as a distortion of what he once was.
It is this wreck that arrives in Brazil and through Lia creates manages to re-engage with the world.
Welcome to Gomorrah is a novel of the underbelly of society and the narrator makes money by agreeing to launder money... some good tips here on how to forge passports (before the days of digitalisation), steal identities, and to wash illegal money through casinos, buying and selling jewellery and used cars.
It is a novel of attitude and Quinn is as concerned with making his sociological observations as he is with telling a story.
Tonight I bought another book to add to my already teetering unread pile but since the author and two of the main protagonists were in the vicinity I thought why not.
I first saw Stiff Little Fingers when I was 15 and have seen them half a dozen times since in various incarnations. I don't think their music as aged as well as The Undertones, or even The Sex Pistols or The Clash but maybe that is because their lyrics were so much of a time and place.
Some of the main participants of that time in place where in the John Hewitt bar in Belfast for the launch Roland Link's "Kicking Up a Racket - The Story of Stiff Little Fingers 1977-1983 inclduing the band's first drummer Brian Faloon (who played on Inflammable Material) and his successor Jim Reilly, who played on the next two studio albums and the still-superb live album Hanx.
Other faces, were Good Vibrations impresario Terri Hooley, Outcast Greg Cowan and Rudi's Brian Young.
At more than 350 pages the book looks as if it might give details of what brand of guitar strings the band were using in 1978 but SLF were the soundtrack to my youth so I can take that sort of indulgence.
I will of course now have to dig out my various SLF albums to listen to while I read which fits in with current musical mood as I've been listening to the compilation John Peel: Right Time Wrong Speed.
Alternative Ulster by SLF is on there, as is You've Got My Number by The Undertones. Other stand-out tracks are by The Wedding Present, Killing Joke, The Fall, Misty in Roots, Joy Division, Half Man Half Biscuit and even Ivor Cuttler.
Mind you there will be a distinct change in musical genres this week. I've already started dipping into The Tain, The Book of Invasions and the obscure and rather good Drive The Cold Winter Away by Horslips ahead of their reunion gig in the Odyssey Arena in Belfast.
Eamon Carr, who is for me probably the most interesting - he went on to become a journalist and also wrote a travelogue following the journeys of the Japanese haikuist Basho – has said he won't be playing, yet when I saw them on TV at the weekend he was behind the kit. See the footage here.
Will have to almost change my mindset from punk and post-punk to the glam infused absurdity that was Celtic Rock. Ach, sin scéal eile

The Undertones, Terri Hooley, Outcasts and Rudi

These were a series of articles I wrote for The Irish News earlier this year to mark the 30th anniversary of Teenage Kicks by The Undertones. It includes interviews with Undertones guitarist John O'Neill who wrote the song and Terri Hooley who founded the Belfast punk label Good Vibrations which released the single. It also includes interviews with Greg Cowan from the Outcasts and Brian Young from Rudi, who also released records on the Good Vibes label.

JOHN O’NEILL FROM THE UNDERTONES

Teenage Kicks has endured for 30 years as one of the best known songs to come out of Ireland but it took less than an hour to write.
Undertones guitarist John O’Neill was 18 at the time and while he acknowledges its place in popular culture, he doesn’t actually think it is the best song he has written.
The Undertones were formed in Derry in 1976 by O’Neill, his brother Damien, drummer Billy Doherty, bass player Mickey Bradley and singer Feargal Sharkey.
“I was strumming on my guitar and was trying to write a song in the style of the Ramones who were our big influence at the time,” John O’Neill said.
“The whole chord structure is in the style of a 1950s rock song by Eddie Cochrane or the Shangri Las. Once we had the chords in place it all came together fairly quickly.
“When we first played the song it probably took about 10 minutes to find the right key to suit Feargal’s voice.
“The Undertones had actually been on the verge of breaking up when they were signed to the Good Vibrations label by Terri Hooley.
“We sent demos to different independent record labels and they were either rejected or else we got no reply. Then a friend of ours who knew Terri Hooley offered to take him a copy of the demo.
“We owe everything to Terri Hooley.”
Teenage Kicks was the fourth single to be released by Good Vibrations and The Undertones and Hooley set about trying to get it some radio play, with little
success.
It was drummer Billy Doherty who set in motion a series of events that would change the lives of The Undertones and ensure that the song would forever also be associated with one of Britain’s best-known and most influential radio DJs.
“Billy sent John Peel a copy of Teenage Kicks and rang him up to say we had released a single and asked him to play it,” O’Neill said.
“I don’t know what he thought of these weird Irish people who kept ringing him but he played it on his show and, famously, immediately played it again.”
Peel always maintained that Teenage Kicks was his favourite songs and when his death was announced on BBC Radio One in 2004, it was the first song played immediately afterwards.
O’Neill and other members of the Undertones attended Peel’s funeral.
“It was very sad and strange because there were so many famous people there. Robert Plant (singer with Led Zeppelin) was sitting behind us and Jack White (from the White Stripes) was in front,” he said.
“There was some great music played during the service but then when they were carrying the coffin from the church they played Teenage Kicks.
“It really gave me goosebumps.”
Following the success of the song, The Undertones went on to record four albums and a handful of successful singles.
In 1983 the band split. Singer Feargal Sharkey went on to have a successful solo career and the O’Neill brothers formed That Petrol Emotion.
However, in 1999 The Undertones reformed featuring four of the original members and with fellow Derryman Paul McLoone taking over as vocalist. The band has continued to tour and released two new albums.
O’Neill said he had written dozens of songs since Teenage Kicks but doesn’t resent being remembered for something he did when he was 18.
“I think the songs that I wrote for That Petrol Emotion were better than the ones I wrote for the Undertones,” he said.
“I don’t think Teenage Kicks is one of the greatest songs ever written but it does have a great atmosphere and somehow everything clicked together. I think that
is what appealed to John Peel.”

TERRI HOOLEY SPEAKING ABOUT GOOD VIBRATIONS

THE words punk and explosion often sit side by side but the actual date when punk first exploded depends on who you are talking to.
In England it is generally accepted that the Sex Pistols were to the forefront of the movement but their early success and notoriety in 1976 was more of an angry fizzle driven by the use of naughty words on television.
It wasn’t really until the summer of ‘77 when they released the provocative single God Save the Queen, in which the British monarchy was described as a “fascist regime” and whose cover had a picture of Queen Elizabeth with a safety pin through her nose, that they really exploded onto the scene.
There were punks in Northern Ireland from the start of the movement and dozens of bands were formed in 1976 and the following year, but for many it was 1978 when punk really exploded in the north when the record label Good Vibrations was set up.
According to the label’s founder Terri Hooley, it came into existence almost by accident.
Hooley was running the Good Vibrations record shop in Great Victoria Street in Belfast city centre where many punks had begun to gather to listen to records and occasionally even buy the latest releases from Britain.
“I went to see Rudi and the Outcasts in the Pound. I loved Rudi but hated the Outcasts – which was ironic because a year later I was managing the Outcasts and releasing their records,” he said.
“I asked Rudi if they fancied putting out a record. We were initially going to make a flexi-disc which we could give away with fanzines but then it turned out that it would only cost 6p per record to release a proper single.”
The release by Rudi was followed up by a host of other bands including Victim, The Outcasts and Protex.
“I wanted to try to put Northern Ireland back on the musical map. At that time the only thing that Northern Ireland was known for was the Troubles,” he said.
“The whole label was run on a shoestring but within months we were getting demos from all over the world.”
One of those tapes came winging its way from Derry from a band called The Undertones and it would ultimately give Good Vibrations its best known release.
“I got the demo through a friend and listened to it for about two weeks. I kept playing it to other people and bands but no-one else seemed to get it,” Hooley said.
“I had to make a decision between signing up the Undertones and another band, because I didn’t have enough money to put out records by them both.
“Then someone told me that the Undertones were about to break up so I decided to bring them on to the label– I’ve always felt sorry for the other band.”
The Teenage Kicks EP was recorded in Wizard Studios in Belfast, behind the Duke of York bar.
It was recorded in a day. There were four tracks – Teenage Kicks, True Confessions, Smarter Than You and Emergency Cases.
Hooley said despite the subsequent international success of the title song it did not immediately set the record industry alight.
“I took it over to England and persuaded one of the hippest independent record labels of the time to distribute 500 copies, even though someone on the label told me it was the worst record he had ever heard,” he said.
“I also took it to other major labels but they just threw me out. Then John Peel got a hold of the record and the rest is history.
“A senior executive for Sire Records heard Peel play it and immediately wanted to sign up the Undertones and release Teenage Kicks in the States.
“The next day other record labels were on to me asking if I had any more bands that they could sign up.”
Hooley is still running a record shop, Phoenix Records, in Haymarket Arcade off Royal Avenue and there are plans to make a film based on his life story, with an impressive production team.
“Snow Patrol singer Gary Lightbody and David Holmes (record producer and DJ) are executive producers and the script is being written by (novelist) Glen[n] Patterson and (poet) Colin Carberry,” he said.
“I was a bit worried at first because people might actually finally find out if I’m a taig or a prod but they have told me that they won’t mention that.”
A concert celebrating the 30th anniversary of the Good Vibrations record label was held in the Mandela Hall, Belfast, on Friday April 25.
Headliners were The Undertones and support was ‘punk supergroup’ Shame Academy, which includes former members of The Outcasts and Rudi.

OUTCASTS AND RUDI

FAR too often the vibrant Northern Ireland punk scene of the late 1970s is summed up by name-checking just two bands, the Undertones and Stiff Little Fingers.
However, there were hundreds of other groups playing at the time some lasting barely a few days but others who gigged regularly and put out records.
Two bands who were also tipped for major success were Rudi and The Outcasts. Both released singles on the Good Vibrations label.
Shame Academy features members from both bands and their set combines their best known songs.
Brian Young was guitarist with Rudi and Greg Cowan was bass-player and vocalist with The Outcasts. Another punk veteran Petesy Burns, who played with Stalag 17, is on drums.
Young was 18 when he and a group of friends formed Rudi, the first band to release a single, Big Time, with Good Vibrations in April 1978.
“The music being made by bands here was much more original than bands in England,” he said.
“There were no bands coming here to play so we couldn’t go and see them and when it came to writing a song we just made up our own rules.”
While Young agrees that the music was an important aspect of punk, he said the attitude and self confidence it generated for thousands of young people during the worst decade of the Troubles has often been overlooked.
“I don’t want to be too naive about hands across the barricades sort of stuff but there were people coming together and sharing something in common. Maybe if it
hadn’t been for punk they would’ve got involved in some organisation or other,” he said.
Young now plays with rockabilly band the Sabrejets, with Shame Academy being dusted down for the occasional gig.
Greg Cowan from The Outcasts hadn’t played for more than 20 years until he agreed to join Young and Burns in Shame Academy.
He was bemused that his musical comeback should be with associated with a band he once derided.
“If you had told me that 30 years ago that I would be playing in the same band as a member of Rudi, playing their songs and that I would still be playing Outcast songs, I would have laughed at you,” he said.
Cowan formed the The Outcasts with his brothers Martin and Colin and guitarist Getty after they heard the Sex Pistols in 1976.
“It was more a case of ‘Right, we’re going to be in a band’. We couldn’t actually play any instruments,” he said.
“People still ask me how we got that strange slightly out of tune effect on our guitars for our first album. They think it is a sort of punk thing when really we couldn’t properly tune our guitars.”
Cowan agrees with Young that punk helped a lot of people define who they were.
“Nobody could have imagined that decades later we would be sitting trying to analyse the music and its effects on society,” he said.