Lisa Dominique is the ultimate tease. Initially erotic yet ultimately frustrating. Plenty of sweat but no flesh. Straight from the pages of a Jackie Collins novel.

This is the special event. The LD Xmas bash. First five through the door get a choice of Durex, scotch, knickers. . . There’s a lot of lonely people in London,” Lisa comments backstage.

There are a lot of old men in the audience. Spilling their lager to the simple beat. Oh yeah, this is rock ‘n’ roll! They are from record companies. One day Lisa will have a deal, there is no doubt. She has star quality. She haunts a stage and tries, I mean really tries, to kick ass. Yet tonight’s show is hollow. Without depth.

Do you wanna f**k? she screams.

This is not sexy. This is crass. Chrissie Hynde has more sex in one throwaway phrase than our Lisa has in her lurex and flesh flash.

Yet Lisa Dominique has potential. Tonight she preached to the converted. They groped and grabbed and invaded the stage to hug their temporary heroine. She gave each a kiss. It is probably their first kiss. She pouts as they are forcibly thrown back into the crowd.

“I feel like its Saturday night…

Wherein lies Lisa’s problem. Songs such as ‘Tear Me Apart’, ‘Big Kiss’, ‘Some People’ and the ‘Saturday Nite’ medley are pure Metal convention. Nothing but well-trodden turf. She has the voice. She has the presence. Lisa is not the write-off many would have you believe.

She needs material (soon to be rectified). She needs a solid, stable band within which to develop. Tonight’s was a collection of passing-through sidekicks and, I’m afraid, looked it. But more power to baby-faced guitarist Mike Gray, who stepped in with just six hours’ rehearsal. The man is a star! I hope he finds whatever gig he is looking for.

Two encores and Mum is backstage. Lisa is going home to Hull for Christmas. The converts had a ball.

I hope Lisa Dominique can break through the publand cabaret. She is prepared to wait. She’s a diamond gal and knows exactly what she’s doing. Lisa knows what you want. Rock ‘n’ roll, yeah? For the time being please don’t expect much more.


JUNE 1988


Whereas most bands sell music enhanced with a little image and nice glossy packaging, Lisa Dominique simply sells sex.

Lisa walks, Lisa talks, Lisa pouts, Lisa throws a rose to her adoring following and pushes her cleavage together for the benefit of the drooling front row.

A besotted fan is allowed the reward of a kiss.

Lisa skilfully skips past the outstretched male arms like a professional and seductively slips her shoulder strap a little further down her arm. What you see is most definitely not what you get.

Although Lisa certainly wasn’t the awful vocalist I’d been led to believe she was (no Judie Tzuke but pretty good all the same) it was a little sad that music should take such a minor role in the final gig at the Marquee before the bulldozers move in.





Eh ooop lads, it’s Trash from Yorkshire! Young Dave (vocals) turns in a reet grand performance, and if you are into meat pies and make-up, get stuck in. Our Alison avows they are ‘brilliant’ and this is indeed a tasty scoop of vanilla fudge. And do you know I have a strange feeling it could be…..a hit!

JULY 1988



PICTURE THE scene – Edinburgh Venue packed wall to wall, floor to ceiling with sweaty bodies swaying in time to the dirty rock ‘n’ roll sound of Cry.

A triumphant debut appearance in Edinburgh, marred only by the fact that dozens of latecomers were locked out.

But hang on! Listen to the reality – no publicity, no advertising . . . no people, well, almost. Let’s just say the headcount didn’t amount to what could be described as a crowd.

What chance would any band stand in this situation? Some would pull the gig, some would crack up, but some, like Cry for example, really don’t care. Enter vocalist Dave Pearsall, the man who makes Rod Stewart’s sandpapergrowI sound like an Andrex whine, announcing the show goes not.

‘Star’, the B-side of the current single, opened the set, to sincere applause as the puny audience realised Cry are no mugs when it comes to hauling musical ass. As ‘Don’t Get Mad’ and the titanic single ‘Give Her An Ice-cream And Watch Her Melt’ followed, the ice soon broke. Poison’s ‘Talk Dirty To Me’ crawled off stage to an enthusiastic reception and ‘Tattooed Love Boy’ (a special dedication) showed a depth of arrangement not always evident in Cry s songs which tend to be direct. They don’t grow on you, you’re either infected or you’re not.

The best of the rest? ‘Friday After Work’, ‘Juke Box Drives Me Crazy’ fthe next single?) and the encore. . . yes, encore and first single ‘Party After Dark’ which can only be described as immense. A fitting end to what was a pretty good gig under the circumstances.

Contrary to what you may have heard, Cry are not a glam band. They’re a rock ‘n’ roll party band whose dirty fingernails aren’t………….

Richard Heggie

I was at the Venue how – I seem to remember them being quite good – and smiling when I heard how they managed to fit the words into the chorus of “Give Her an Icec Cream (And Watch Her Melt) – no other specific details spring to mind, tho.



TRADEMARK – Venue, Edinburgh 1988

Trademark are by no means the most essential or inventive band I’ve ever seen and they are not setting new standards in image, but they do have some pretty nifty songs.

Sounding at limes like Heart, they reach peaks with ‘Who Pays For Love’, ‘Take It To The Limit’ and ‘Crying In The Dust’, though some songs could do with more space as the intensity of most of them tends to be constant. A bit of light and shade is vital and would allow Dave Webb (guitar) and Mike Arthur (keyboards) to exhibit their talents.


SHELLSHOCK FESTIVAL – Glen Pavillion 1988

The bands certainly gave value for money, starting with Sidewinder who played a sharp set dominated by covers but delivered with guts and ability. They really should forget the covers and concentrate on their original stuff which sounded pretty impressive.

Lothian suffered from a messy sound which blurred any subtlety their material may have had. Despite working in a new bassist and being severely displeased by the reaction from the docile punters they worked hard and revealed some encouraging new songs in a short set.

Probably not the best gig they’ve played but certainly not the worst.

The real action began with Ransom. a young Edinburgh outfit who look and sound like real contenders. Ransom are a bit like Dokken, with guitarist lain Gordon a bit of a Lynch-man but topless frontman Brian Tait looking much more comfortable than Don Dokken onstage.

With songs like ‘Dirty Dealin” (Or was that ‘Dirty Squealin”) ‘Get Down’. ‘Little Angel’, ‘Explode On Impact’ and Def Leppard’s ‘Woman’, Ransom provided many of the evening’s highlights and deserved more than the mildly appreciative response they got.

By the way did you know Ransom bassist Dave Leslie appeared in the last Heavy Pettin’ line-up?

What any crowd needs to shake off rigor mortis symptoms is a blast from Trident

These guys are just crazy, chasing around the stage and audience like Tigertailz on heat while continuously pumping out bouncy rock ‘n’ boogie in the ZZ/DC meets Status Cult mode.

Fresh from headlining Radio Clyde’s Kelvingrove Festival in Glasgow, Trident have an infectious spirit and humour which earned them a wild reaction from the mental Moshers down the front,

I’ve seen Trident several times now, often in oppressive circumstances but on every occasion they’ve managed to raise a cheer.

Trademark had the good fortune to be local and thus received an enthusiastic reception despite arriving onstage at an unholy hour.

Looking confident and sounding like Pat Benatar jamming with Bonnie Tyler, they have two best shots: several good songs and female vocalist Yvonne Morrison.

Personally, I find Trademark’s Americanised keyboard rock a bit tame but they’re beginning to look like they could do something given suitable guidance.