Tygers Of Pan Tang: "The best is yet to come"

Robb Weir of the legendary NWOBHM survivors, speaks to Rocking By Spyros Koukas, 31/03/2021

The collection that will be released in a few days may not have anything substantial or new, but Tygers Of Pan Tang, however, need no further recommendations, being one of the most important names in the NWOBHM movement. So, we contacted Robb Weir, the founder and the only remaining member of the band from the first, classic years, for a conversation that dived into their legendary past, at the same time that it brought out much newer things about their future.

Tygers Of Pan Tang - Robb Weir

The collection that you will release in a few days, gives us the opportunity for a conversation, which I would like to have in the form of a historical retrospective of your deeds. So let's start with the first years of the band and, specifically, the period before and after your iconic debut, "Wild Cat". What can you remember from those years?

First of all, thank you very much for your questions. I started playing the guitar around the age of twelve, listening to Status Quo's "Dog of Two Heads" in 1971. My God, it makes me feel old! Anyway, I made my first band, Trick, in 1976 and that led me to create the Tygers in late 1977. Our first 25 shows, we gave them to a singer named Mark Butcher, who left to join a cover band, saying, in fact, that we are not going to achieve anything! Soon after, Jess Cox replaced him and our luck smiled, after a local owner of a recording studio suggested we cut our first single in his studio, the so-called Impulse Recording Studios. Our first single, "Don't Touch Me There" was released by Neat Records in early 1979. At the end of that year, MCA wanted to sign us and that's when our careers took off. In the early 1980s we toured with Magnum, Saxon, Scorpions, Def Leppard and Iron Maiden. Five British tours in four months and then we recorded our debut, "Wild Cat". We played at the Reading Rock Festival, which was John Sykes' first live with us, and a week later we embarked on a month-long headline tour of the UK to promote our record, which sold out. Admittedly, we had a great career start and I loved every moment of it then.

Turning to your influences as a musician, what would you say were those bands that led you to the decision to become a guitarist and write your own music?

There were many bands that I listened to and influenced me. Status Quo, Black Sabbath, Deep Purple, Uriah Heep, Free are just some of the many bands I liked. I can say that I love music and I used to go to various live shows at every opportunity I could find. I learned a lot, watching these artists, both in terms of technique, as well as stage and costume presence!

The singer of your debut, Jess Cox, was a persona similar to Paul DiAnno, having a harsher voice and a street attitude that your later singers did not have. What went wrong and left the band then?

In fact, nothing went wrong. We did a great album together, "Wild Cat", which has gained a legendary status within the NWOBHM conspiracy. At that time, however, the thought of our record label was that the band had to succeed in the American market, so we needed to become even more melodic. So, Jess was replaced by the awesome voice of Jon Deverill.

1981 was a milestone year for the band. You hired John Sykes and Jon Deverill and released not one, but two classic NWOBHM records, "Spellbound" and "Crazy Nights". What do you remember from the selection process of the two musicians and why do you think these two albums stood as fan favorites all these years?

Essentially, for both of them there was a process with auditions, but at different times. Fortunately for us, we chose two world-class musicians, with whom we wrote great music together, in an excellent timing to release records based on the situation on the stage at that time. After all, most of the songs from these albums have stood the test of time, as we still play many of them in our live performances.

In my mind, with the departure of John Sykes, you missed a huge opportunity to become a name just as popular, at least with the Saxons. I can understand, of course, that auditioning for the position of guitarist in Ozzy's band or the Whitesnake was important at the time, but I wonder, did you not try to persuade him to stay in your ranks? The story may have been very different for your really charismatic lineup back then ...

I cannot blame John who wanted to jump into a bigger shape, who could? But I guess it's like your partner is going out with someone else - would you like her back then? As a band we went ahead and hired the very talented Fred Purser, recording "The Cage".

So, going through this strange period for the band, we do have the release of the likeable "The Cage", but also your departure from the band and its dissolution, a little later. In 1985, however, the Tygers would return without you, only to end up disbanding again after just two years. How did you leave the band then and how did the Tygers reactivate in 1999?

It would take days to answer this question in detail, so I will tell the short version of the story! Brian (Dick - the original drummer of the band) and I left the Tygers around the same time, in June 1983, to form a new band called Sergeant. We did a demo for CBS but before we could normally record the material that was there, I left the band because of a dispute that could not be resolved. About a year later, we recorded some things with Jess and a song, "Small Town Flirt" was released by Neat Records, but without the material I intended to create a regular album to ever be recorded properly. Somewhere there I left the music industry, as I felt completely lost and needed a break. Rock 'n' roll, however, is the most incurable disease and once it enters your bloodstream, there is no cure. I was asked to be part of an anniversary show for the 20 years of the Tygers at the Wacken Open Air in 1999 and after our appearance I knew I had to get back in shape and move on together!

The NWOBHM movement had many talented bands back in the '80s. You, Diamond Head, Satan, Cloven Hoof, Angel Witch, are just some of the names that come to mind and had tremendous potential, but also fantastic releases to present then. What do you think is wrong with most of you failing to show what you can do?

You are right, the talent that existed then was incredible but everything happens for a reason. That's why people leave different bands, that's why many musicians were looking for something else along the way, while the record labels were not very supportive. Who knows what went wrong? The thing is, most of the bands you mentioned managed to come back one way or another, and that's a good thing. Each shape has its own story, with its ups and downs, and each story, no matter how interesting, is just as unique and incomparable to someone else's story. The most important thing is that our music is still out there, available for anyone who wants to enjoy it ...

Entering the new millennium and with the resumption of your activities, you managed to release some very interesting albums, with "Ambush" being probably the best you have released since "Crazy Nights" and every new work with Jacopo being at least fun and interesting, at least. I think Jacopo Meille is the key factor in this rebirth of the band, but I would like your point of view on his offer all these years ...

Jack - as we call him - is the most precious gem in our crown, in my opinion. It was a terrific discovery for the band and it has established itself as a distinct singer in the world of hard music. I can also tell you that he is one of the best people you will ever meet, a very talented musician, who writes lyrics and melodies with Craig, our drummer, for all our songs now.

I discovered that you have a new guitarist since last year, the Italian Francesco Marras of Screaming Shadows. How did you end up working with him and what can we expect from your new line-up?

Micky McCrystal, our last guitarist, had played an important role in the sound of the band and when he left, there was a big gap that had to be filled by the next one. We searched globally to find our new guitarist, with Francesco being suggested by Bonfire's Frank Pane, who is a friend of mine. Francesco sent a video for the audition, what we saw and heard was fantastic, so we knew he was our favourite. We have been writing together for many months, during this pandemic period for the whole world. The songs for the new album are ready and - although I did not think it was possible - they sound even better than those of our previous album, "Ritual". This year, we will record our new album, scheduled to be released in 2022. Finally, during the year we will release an EP of three songs, which will include two new compositions and an older track from "Wild Cat" .

A few years ago, I had a chat with Brian Tatler, asking him, among other things, about the possibility of working with Sean Harris again, in a reunion of the classic composition Diamond Head. I cannot say that he was excited about this idea, so I come to ask you the same, in a slightly different way ... I can understand that things that happened in the past are right there, but I also understand why many fans would like to see major bands reunite with their classic line-up, including the nostalgic factor. In your case, will you consider reuniting with one of the members of your "golden" period?

Unfortunately, not, for too many reasons. Why look at and reminisce about the past, after all, when you have a present and a future that are equally interesting?

The situation with Covid-19 has shaped a very volatile landscape about the future of concerts, tours and festivals. What are your predictions for the concert "life after"?

I hope we all come out of it stronger and wiser and return to what each of us does best. The industry is fragmented, but the power of music is strong and it will survive one way or another. All that is needed is support from the fans as normalcy returns, returning and supporting the concert events.

Do you ever stand out with the band as the one you feel most proud of? Is there anything you regret?

I do not regret anything. On the contrary, every moment I get back on the board with the Tygers is a moment of pride for me.

Finally, and thank you for this great conversation, what would you say is your favourite NWOBHM album - other than, of course, those on your discography?

Saxon "Wheels of Steel". A great album full of well-written songs - what more can be said about that?



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