| |
|
|
|
|
| |
Soundhouse
Testimonials>>
|
|
|
|
| |
|
|
|
|
| |
A selection of
Soundhouse testimonials throughout the years>> |
|
| |
|
|
|
|
| |
|
"I
am really impressed by this place. In America we don't have
disco's like this. I didn't think that this many people would be
here, or that it would be so intense. We have a place opening in
America, but I don't think that it would be as good." |
 |
|
|
|
"I
suppose the most important thing was the demo tape was being
played at the
Soundhouse by Neal Kay, so that really was the first break... It
was with Neal Kay"
|
 |
|
|
| |
Sammy Hagar |
|
Steve Harris
- Iron Maiden
|
|
| |
|
|
|
|
| |
|
“The actual term
'NWOBHM' came from this one night at the legendary Neal Kay's
Heavy Metal Bandwagon when Angelwitch and Samson played and
some journalist (Geoff Barton) wrote in Sounds that 'it was a
new wave of British HM' hence NWOBHM”
|
 |
|
|
"This
place is where it's at,
it's fuckin' A!" |
 |
|
|
|
Ted Nugent |
|
At The Wagon,
there's no 'if' about it. The kids are united. |
| |
Kevin
Heybourne - Angel Witch
|
|
Geoff
Barton - Sounds |
|
| |
|
|
|
|
| |
|
Unable
to solicit a response from record companies, Iron Maiden sent a
three-track tape to Neal Kay, DJ at north London's hard rock
disco, the Kingsbury Bandwagon Soundhouse. Kay's patronage of
Iron Maiden won them an instant welcome. |
 |
|
|
|
Neal Kay reminds me of a seafaring
captain who stands on his bridge, exhorting one last mighty effort for king and country, from a crew who would willingly follow
him to the depths, because they know
he is one of them. His rapport with the fans is based on mutual
respect and brotherly love. |
 |
|
|
| |
MTV |
|
Malcolm
Dome - Record Mirror 1980
|
|
| |
|
|
|
|
| |
|
The New Wave
Of British Heavy Metal (NWOBHM)
phrase was first coined by Geoff Barton at Sounds, but much
credit is also due to DJ Neal Kay, whose help in giving bands
like Iron Maiden and Praying Mantis (as well as many others)
their first break was crucial. EMI Records were quick off the
mark and with Kay's help they produced the compilation album,
Metal For Muthas, which put many bands on the road to fame.
|
 |
|
|
|
The
music from this period was even louder and harder than before,
and the 1980s would produce some of the heaviest metal bands
ever. Venues like the Hammersmith Odeon and the Marquee in
London, Castle Donnington and Neal Kay's Bandwagon became Meccas
for fans. |
 |
|
|
| |
80’s Pure Pop Website |
|
The BBC h2g2 website
|
|
| |
|
|
|
|
| |
|
“Neal Kay's
Bandwagon HM Soundhouse was a meeting place for the entire
NWOBHM movement in the early '80's,” |
 |
|
|
|
A turning point in
their (Iron Maiden) fortunes came with the opening of Neal Kay's
Soundhouse Club in London which specialised in HM.
|
 |
|
|
| |
Matthias Mader-Iron Pages-German
Rock Magazine |
|
Bob McGrath -
Record Collector |
|
| |
|
|
|
|
| |
|
The Soundhouse, with Kay's huge sound
system and light show taking
the place of a band, air guitars are brandished to the sounds of Rush, ACDC and crucially to
the tapes of struggling young groups. Under
Kay's benevolent dictatorship, the Soundhouse has become something
of a heavy rock shrine.
|
 |
|
|
|
Gigs
at the Kingsbury club were followed by a general mellowing in
the me(n)tal attitudes of the owners of the various other London
venues, with the result that Iron Maiden were at least able to
work regularly, graduating quickly from the pubs to halls of the
size and status of the Music Machine.
|
 |
|
|
| |
Paul
De Noyer - NME 1980 |
|
Geoff Barton - Sounds
Oct 1979
|
|
| |
|
|
|
|
| |
|
|
Top>>
|
|
