An original 14cm x 14cm flyer for the Grand Opening of the 24 hour Vortex Record Shop and Basement Hangout. A brainwave of the ever repugnant Jock McDonald. The shop and hangout never happened and the Grand Opening only resulted in Jimmy Pursey being arrested after Sham 69 played on the roof of the building.
I secretly go to ‘rival’ Studio 21, next to Tottenham Court Road station, on Saturday nights. It was a large subterranean club with a sprung dance floor and a mixed crowd. Run by Jock McDonald and DJ Dave Archer, who attracted a sort of ‘clan’ comprising Richard Jobson and Russell Webb from the Skids, John Keeble from Spandau Ballet, John Lydon from Public Image Ltd, Mark Tiplady from Then Jericho and Barry O’Dea, a man from Balham. At one after-party my friend Wendy and I found ourselves sitting cross–legged on the floor of a high-rise apartment with Lydon, aka Johnny Rotten, quoting us the lines: “Little girls with painted faces should be seen and not heard” from X-Ray Spex’s “Oh Bondage, Up Yours!”
The Blitz exerted a powerful influence on many of us, particularly because we were so assuredly young at the time. In hindsight, it might have helped my future to have gone to school more often. I remember when Wendy and I scuppered our sixth form chances at 6am in St James's Park by bunking our exams later that day after a particularly good night out. Yet, I cannot deny that those incredible nights in London during 1979-81 continue to inform my life in so many ways.
My name is Pat Pattyn and I was the drummer of Nacht und Nebel in 1984 and 1985. I met the band in Gistel, playing at the local festival.They were still a trio then. Their soundengineer, Pierre, a good friend of mine, told me they were looking for a drummer and a guitarist. A lot of big festivals were coming up,and Patrick wanted a full live band. So we were introduced, and we hit it off really well from the moment we met. A few weeks later, I went to Antwerp for the audition, they were trying out quite a few drummers. And Patrick was very observant, being a drummer (and a good one too) himself. He called me that same night, and told me I couldn't get the job, not because I wasn't good enough, but his friend from Germany had turned up (Patrick had promised him he could play the drums). I was choice number one, but the German had left his job and country, and Patrick couldn't say no.He was that kind of guy, a big mouth but a very,small heart. Imagine how surprised I was, when he called me back two days later.The german guy just wouldn't do, and could I please come to Antwerp for three days of solid rehearsals, because on the fourth day we were playing a really big festival (Festivalcatraz in Zonhoven). I said "I'll see you in the morning", and that was the beginning of a beautiful friendship.
One small anecdote: During the three days rehearsal, I stayed in Patrick's house,he insisted,he wanted to get to know me better.So we went out for a beer one night.He turned round and said: "Pat,do you want to know why you got the job?", and looked me straight into the eyes. "You can play Billy Jean, Pat, " he said", and not many drummers can play it." I knew exactly what he meant,and I will never forget that moment as long as I live...... In the winter of 1986, Patrick joined the Bollock Brothers. He still play now in this group. We met at Festivalcatraz (my first gig with Nacht und Nebel), and we kept in touch. So when their drummer died in 1986 (asthma-attack), I got a call from Jock Macdonald , the singer. They had a big european tour coming up. So I've been in the band ever since. During the first tour on a day off,we went into the studio in Paris and we recorded "Beats of Love". It's on one of our cd's,and I do the voices on it.
OXFORD Street, London, on an Arctic-summer Saturday night. The pubs are emptying, the tourist trade is thinning out; hands clutch sky every time a cab comes into a view. Up by Tottenham Court Road tube station something different is coming to life Studio 21 : the discreet nature of the sign conjures visions of some pornographic den, beneath flights of stairs. But the music emerging from the speaker positioned above the entrance is The Human League´s ´The Path Of Least Resistance´. Every pleasure has its price. For this you part company with 2.45 pounds, sign your name, which automatically registers you as a member, collect your meal ticket ( this entitles you to a plate of about a dozen chips, a beefburger and a dollop of relish) and descend the stairs to the basement 4 Be 2´ ´One Of The Lads´. This is the Saturday night residence of God´ nocturnal pretty-ugly things. Gathered in groups under red lighting, observing and waiting to be observed. Doesn't matter if you´re male or female, here you can be what you want and nobody gives a toss. the wilder the better : these barnets are constructed with the same architectural precision as nearby Centrepoint. Joy Division´s ´She´s Lost Control´. A drink in the bar area - larger 80p a pint, spirits 70p a tot - not as extortionate as you might expect - then into the disco chamber. Barely sweating bodies twitch the night away to anything that sounds credibly posey . Telex to T. Rex, Roxy Music to Manicured Noise. The D.J. spot rotates between Dave Archer who tries hard to be noticed and fails, and Jock McDonald, who tries hard and succeeds. The air is strong with the stench or stale hair spray and deodorant. The dancers hold hands and slide to and fro careful not to dishevel a hair on their heads. The atmosphere is friendly, even if there is a certain rivalry between the ´odd couples´ For every Clark Gable there´s two David Bowies. Magazine´s ´Back To Nature´. At 2.30 the music slows down. Cabs queue outside for the homeward bound. The clientele of Studio 21 appreciate more than most the dangers of walking home
words - VAUGHN TOULOUSE / photos - VIRGINIA TURBETTI / September 1980 - THE FACE