Tom Hill of Geordie – image courtesy of Tom Hill/Geordie
To many, Geordie will forever be known as the band that Brian Johnson was a member of before joining AC/DC, but for longtime fans, the Newcastle veterans are oh-so-much more.
Geordies original lineup – Brian Johnson (vocals), Brian Gibson (drums), Vic Malcolm (guitar), and Tom Hill (bass) – was a seismic bunch insistent on creating fresh-faced yet bone-crushing rhythms. While the band was “glam rock” at face value, deep beneath the surface resided a raging volcano akin to a rock ‘n’ roll supernova, just waiting to be unleashed.
Unleash it they did, across four quintessential records – Hope You Like It (1973), Don’t Be Fooled by the Name (1974), Save the World (1976), and No Good Woman (1978) – garnering a cult following in the process. But label tensions and a lack of steady commercial success plagued Geordie, leading to the original lineups fracture in 1978.
With Geordie now searching to replace lost members, the commercial freefall continued. In 1980, lead singer Brian Johnson famously departed Geordie for AC/DC, changing the course of both acts forever. In the ensuing years, Geordie moved through various lineup changes before Gibson, Malcolm, and Hill reunited Geordie, only to change its name to Powerhouse in an act of ’80s-inspired desperation.
Undoubtedly, the years that followed were challenging, seeing the band back-peddle as Geordie, only to falter and fold. But in 2018, a stroke of luck came in the form of an unexpected reformation with old friend Terry Slesser on vocals, and as the band prepares to move forward, albeit, without Vic Malcolm, Geordie is out to prove once and for all that they belong amongst the canyon of heroes.
With renewed focus and a second chance at a musical life in hand, Tom Hill beamed in with ClassicRockHistory.com to recount the turbulent history of Geordie, his current relationship with Brian Johnson, the status of Vic Malcolm, the band’s latest music, and what makes Terry Slesser the person vocalist for the band today.
From an early age, what first gravitated you toward rock music? Where and how did the bass guitar come into the picture for you?
I tended to listen to bands like the Beatles and the Stones and then to bands like Zeppelin. As soon as I heard those bands, I was hooked. I bought my first bass guitar from a second-hand shop at the bottom of Brian Gibson’s street; it was a Hofner Artiste and very similar in shape to a Fender Precision. It’s crazy to think that it cost me the grand sum of £14. [Laughs].
Geordie formed amongst a bustling Newcastle rock scene. Paint a picture of that scene for me.
Back in the day, Newcastle was full of talented musicians all looking to work and make their way up the ladder, some did, but unfortunately, a lot didn’t. But the way Geordie formed was that Vic [Malcolm] came looking for me and asked if I would be interested in forming a band with him to do original songs. Initially, he had guys in mind, one of which was Billy Elliot, who ended up in Splinter, a band that signed to Dark Horse, which was George Harrison’s label. So, one day, after a rehearsal, I told Vic I was working with a better singer and drummer and that he should check us out. So, Vic came to see us play and agreed. If you haven’t guessed, the singer and the drummer were Brian Johnson and Brian Gibson. With that, Geordie was formed.
What was the sequence of events leading up to the signing with EMI Records and the subsequent recording of Hope You Like It and Don’t Be Fooled by the Name?
Vic and I had gone to London with our demos, and we went into what would end up being our management company on Wardour Street, Red Bus Records. Our first single came out on a subsidiary of EMI and then was transferred to the EMI label. With Hope You Like It, all of the material on that album was written by Vic and the recording side came quite naturally to us. What came next was better because Don’t Be Fooled by the Name was a statement to the public that we weren’t just a glam pop group. We were trying to tell people that we sounded like a lighter band based on our name; basically, don’t let our name fool you.
What led you to depart Geordie?
The typical things that plague bands. Fighting, being young, and a lot of arrogance. Things weren’t going the way we’d hoped they would, and we weren’t having the type of success one would have hoped for, so it made all the sense in the world at the time for me to leave. Looking back, in some ways, I wish I’d stayed, but hindsight is always 20/20.
While watching from afar, were you surprised by Brian’s ascent with AC/DC?
I always knew that Brian had the goods, and I figured that it must have been hard for Geordie at the time. But no one could blame Brian for taking the chance that he did. Geordie was going nowhere at the time and was missing several original members. Brian was given a chance at greatness, and he took it. I was never surprised by his success at all. Brian has always been great. What’s interesting is that Terry Slesser – our singer now – was called in after Brian left. Terry was also a name on the northeast scene, but it must have been a funny time for the band as no original members were left.
How did the three remaining original members of Geordie end up regrouping with Rob Turnbull on vocals?
We got tired of watching Geordie II perform and decided to give it another go. We hadn’t had much success in the ’70s, but we had a strong following in the underground. We hoped that we could run with that while reclaiming what was ours. It’s hard to watch something from afar, knowing that it’s you that should be up there. Vic, Brian [Gibson], and I all shared that mindset, and so we reformed with Rob, who we felt could carry the legacy of what Brian had done onward.
What was the sequence of events which led to Geordie’s rebranding as Powerhouse?
We recorded No Sweat with Rob and then toured the album, and we had little success. It was the ’80s, and we knew that if we wanted to make a mark, we would have to try a different approach. So, we called ourselves Powerhouse and continued onward with a renewed mindset. We also thought it was time to try another direction musically, so Powerhouse was now in the studio for the album. Ultimately, that was not the correct decision, as we alienated our older fans and didn’t gain many new ones. I can tell you that we rode those years out with incredible difficulty. But when it’s in your blood, it’s hard to let go when you know you still have something left to give.
Geordie was an essential part of the hard rock/glam rock scene that would manifest in the 80s, yet Geordie remains underrated. What are your musings?
As to a lot of our peers and ourselves, this is a mystery. This has always been the question for us. It’s why the lineup didn’t stay together in the ’70s. It’s why Brian Johnson left for AC/DC. And it’s why we tried something new as Powerhouse in the ’80s. We’ve always been chasing the notoriety that we deserved. I guess it’s possibly due to a lack of representation back in the day, but who knows?
Walk me through the initial conversations to reform Geordie. Was Vic Malcomn considered?
We were approached by a friend and agent to see if we would be interested in putting the band back together. And after talking it over with Brian [Gibson], we decided to give it a go. I called Vic, who I had always kept in touch with, told him the situation, and asked him if he fancied the job. But Vic suffers from Vertigo, so he can’t really fly anymore, so he declined to tour and play shows. But having said that, Vic is still a big part of the new material we intend to release.
What makes the current lineup, including Terry Slesser, capable of carrying Geordie forward?
Terry has a history with Geordie, so that helps. That familiarity certainly made us more comfortable because we knew he could handle the material. Terry was a great singer back in the day with Becket, Charlie, Back Street Krawler with Paul Kossof, and Micheal Schenker’s band. So, we knew he could handle the challenge.
Of course, Brian is busy with AC/DC, but is there a chance we ever see Brian Johnson fronting Geordie again, even if just for a few shows?
I haven’t spoken with Brian in a very long time. His life is very different than mine, and we lost touch long ago. And so, with Brian being as busy as he is with AC/DC, it’s hard for him to do anything else. But regarding working with him again, I never say never. Geordie always was and always will be a band that isn’t frightened to go forward and try new things, so why not?
With a revitalized lineup ready to go, what can you tell us regarding the next Geordie album and tour?
We have been doing a few rock festivals up and down the country and still have a few coming up. We are now looking to rehearse and record a new album which will include songs written by Vic Malcolm, who may even play on some tracks. We don’t have a release date, but I can say that we’re working on it. We’ve waited 40 years for this, so what’s a bit more time? [Laughs].
Tom Hill of Geordie: The ClassicRockHistory.com Interview article published on Classic RockHistory.com© 2022
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![Rob De Luca of Spread Eagle, Sebastian Bach & UFO: 10 Albums That Changed My Life From humble East Coast origins to grandest stages worldwide, veteran bassist Rob De Luca has seen and done it all. De Luca first hit the local Boston rock and metal scene in the late 80s after meeting guitarist Paul DiBartolo, bonding over Van Halen before forming Bang. Regional success came quickly, but eventually, the members of Bang went their separate ways, with De Luca and drummer Tommi Gallo heading to NYC and hooking up with Ray West and, later, DiBartolo to form Spread Eagle. By 1990, Spread Eagle was on the fast track, with a contract through MCA Records and a self-titled debut album poised to crush skulls. But poor timing and MCA's sad indifference left Spead Eagle out in the cold despite being a hard-boiled answer to Guns N' Roses's West Coast sleaze. Spread Eagle's first chapter came to an end in '95. As for Rob De Luca, his nimble fingers and gift for melody and songwriting kept him moving forward. Soon, he found a gig with former Skid Row frontman Sebastian Bach and the legendary outfit UFO. And in 2010, after coupling up with Ray West and his cousin Rik De Luca, Spread Eagle retook flight. During a break from Spread Eagle's increasingly busy touring schedule, Rob De Luca dialed in with ClassicRockHistory.com to run through the ten albums that changed his life. But only after adding, "I made a playlist of these songs, including some I've written or co-written. Do you hear any of these albums' influence on me?" Listen here: https://open.spotify.com/playlist/3LWJuhDrE8JmzhsmTeIDUq 10) Gentlemen by Afghan Whigs (1993) Here's an entry that was so important to me. This may be the darkest break-up album of all time. Greg Dulli has been in many projects, but I feel Gentlemen is his zenith. Somewhat undefinable at times but always profound and honest. Listen to "Gentlemen," "Fountain and Fairfax," and "What Jail Is Like." 9) In on the Kill Taker by Fugazi (1993) By this time, I had been sucked in and spit out by the major-label record industry. Glam came and went; grunge was history, too. I was searching for new sounds. When I heard Fugazi's twin guitar approach, I knew this was what was missing. Fugazi may be considered a less polished sound than the albums above; however, once you "get it," it hits you like a ton of bricks, and there's no going back. From the moment I heard Fugazi, I went to every NYC show after. It's easily some of the best concerts of my life, and possibly my favorite bassist in Joe Lally. And their DIY ethics refused to charge us more than $5 a show! In on the Kill Taker is a powerful album demonstrated in songs such as "Smallpox Champion," "Great Cop," and "Public Witness Program." 8) Appetite for Destruction by Guns N' Roses (1987) I discovered many of these albums (sometimes long) after they were released. However, I was at the right place at the right time for this one. Steve Ostromogilsky had a Berklee College of Music lunch card and used to sneak out sandwiches for me. One day, he invited me to hang out at his place and listen to music. As we got off the train, he put Sony Walkman headphones on my ears and said, "Hey, check out this brand-new group." A song like "It's So Easy" was so different from the popular Sunset Strip sound at that time. Me and about 499 other informed rockers were lucky enough to see them on their first East Coast tour at the sold-out Paradise on Commonwealth Avenue, Boston (the same street Aerosmith started on). I saw Gn'R every tour after until I took a break when Buckethead joined. Gn'R is the band I've been lucky enough to see the most times live, almost 100! Everyone on this album is just stellar. Axl [Rose] had the tones, power, melodic sensibilities, and foresight to do what no other singer did then. Slash's playing was beyond memorable. Duff [McKagan] is one of the most underrated bassists in rock history, and learning his Appetite basslines is a masterclass. Steven [Adler] had the natural swing, and Izzy [Stradlin] was the secret weapon songwriter. Everything that's been heralded about this gem is deserved and true. Check out "It's So Easy," "Out Ta Get Me," and "Mr. Brownstone.' 7) Wish You Were Here by Pink Floyd (1975) Another contender for my favorite album and band of all time. Using The Beatles machine (same recording studio, engineer, record label), Pink Floyd made what I feel is their strongest, most cohesive album (my second favorite of theirs would be Animals). This list mainly consists of bands with an instantly recognizable sound. Floyd is certainly no exception to that! This album included a solid handful of undeniable rock radio classics, bookended by two halves of the mind-blowing song "Shine on You Crazy Diamond.' That song was written about former band member and founder Syd Barrett. It would be hard to live in a world without this album. Check out "Welcome to The Machine," "Shine on You Crazy Diamond (parts 6-9),' or even better yet, listen to the whole thing in one sitting! 6) Decade by Neil Young (1977) About this time, I started playing guitar. As a beginner, it was comfortable jamming to this album because the chord changes were simple—a great "first ten years" retrospective of Neil's stunning, unique songwriting. Neil is a treasure who always writes from the heart and stands up for what's right. Check out "Southern Man," "A Man Needs a Maid," "Down by The River," and "After the Goldrush." 5) Highway to Hell by AC/DC (1979) When I heard this album, I was firmly "me." My life would be 100% focused on hard rock music forever. AC/DC are like air; they're ubiquitous. Everyone knows them and their incredible songs. However, as a young teen in Wilmington, Delaware, I only had WMMR 93.3 FM Philadelphia and a few friends to inform me about the world of Rock outside my bedroom. AC/DC had not gone mainstream, and their albums were available primarily in the USA as imports. To put things more in perspective, I only knew two people in the world who had heard of AC/DC. A friend had an import that we played in Steve Buckley's basement, which sounded ripping. When Highway to Hell was released, WMMR started spinning the title track, and I immediately bought the album, listening to it every single day after school. Then WMMR announced AC/DC was coming to the Spectrum in Philly, supporting Ted Nugent! I liked Ted but loved AC/DC, so my good friend Mick Cummins and I bought tickets, and he drove us up to the Spectrum (where we saw most of our concerts). Bon Scott was in fine form, and the band went over great. Although the crowd knew Ted better, Angus [Young] wouldn't let anyone upstage him. I'll never forget it! Unfortunately, Bon would be gone in 6 months. Check out "Walk All Over You," "Touch Too Much," "Shot Down in Flames," and "If You Want Blood (You Got It)." 4) Toys in the Attic by Aerosmith (1975) By the time I heard this, I was now in my teens. I had a childhood friend up the street, Jim Linberg (we're still good buddies). His older sister had a great album collection, including Toys in The Attic. Once I heard that groove, my taste changed. I lost interest in rock music that didn't have some sort of "swing" feel to it. I think Rocks is a slightly better Aerosmith album (and possibly my favorite album of all time), but both are perfect or very close. Check out "Uncle Salty," "Adam's Apple," "No More No More," "Round and Round," and "You See Me Crying." 3) Alive! by Kiss (1975) When I was still a little kid, I asked for Cheech and Chong's Up in Smoke album for Christmas. The entire family came over for an enormous feast, and I dropped the needle. When my mother heard the content, she turned off the album and said I had to exchange it. My mom was cool, but I was young and knew much more about life than she suspected. Anyway, the next day, she drove me back to the store. In the music section, promoted on an "endcap" was a Kiss Alive! display. I had never heard of Kiss, but that cover picture told me I had to have it! My first foray into hard rock. Check out “Strutter.” I went through my Kiss phase very quickly, I believe in a matter of months because I discovered the previous entry, Aerosmith's Toys in the Attic. 2) Honky Chateau by Elton John (1972) When I was a wee lad, my parents bought a used Volkswagen camper van from my uncle Ozzie. My favorite Elton John album is Yellow Brick Road, but Honky Chateau is great and easily one of his best. It sent me down a lifelong rabbit hole of loving everything about the 1970s partnership between Elton and lyricist Bernie Taupin. The simple beauty of voice, the master songwriting, the perfect backing band, the clear, unobtrusive recordings, and always Bernie's incredible lyrics. The day this album was released, Elton became an unstoppable force that conquered the music industry. Check out "Mona Lisas and Mad Hatters" and "Rocket Man." 1) Sergeant Pepper's Lonely Hearts Club Band by The Beatles (1967) Another tape that was included in the VW Camper. The van had a bunch of music tapes, and one was Sgt Pepper. I was too young to understand the sophistication of the music, but that was one of the many skills of The Beatles. They attracted listeners at every level, even little kids. I still feel that immediate connection to Sgt Pepper; now, I hear so much more. It's an album that changed the world and the world of music. Check out "Lucy in The Sky with Diamonds," "A Day In The Life," and "Fixing a Hole."](http://www.classicrockhistory.com/wp-content/uploads/2023/11/Shutterstock_1815495569-1-300x200.jpg)
