In a NWOBHM jungle of Jaguars, Def Leppards, and Praying Mantises, it was the Tygers of Pan Tang who reigned supreme in 1980. Their hard rocking debut, Wild Cat, caught the attention of headbangers all across the UK. And this was only the beginning. Enter Jon Deverill. It was the powerhouse vocals of Deverill that cemented Tygers’ status as apex predator come the release of Spellbound (1981). He remained their singer until their 1987 dissolution. We sat down with the legendary singer to discuss his story…so far.
Who were your favorite bands and singers growing up?
Jon Deverill: The first album I ever bought was Killer by Alice Cooper. It still remains a favourite. I have an older sister and I used to hear her play her records through my bedroom wall. Luckily, she had great taste and at a very early age I was listening to some of the very best music of the early 1970’s. My favourite bands included Led Zeppelin, Genesis, Deep Purple, Yes, Jethro Tull, Pink Floyd, Queen, Black Sabbath, The Rolling Stones, David Bowie, Judas Priest….to name but a few! Needless to say that I sang along to all these great bands. My favourite singers included Robert Plant, Peter Gabriel, David Coverdale, Glenn Hughes, Freddie Mercury and David Bowie.
When did you first meet Tygers of Pan Tang and how did you get the gig replacing original singer Jess Cox?
JD: In early 1980, I saw the Tygers supporting Magnum in my home town of Cardiff. Later that year, I saw them again at Reading Pop Festival. I thought they were great! In November they advertised in all the National Music Papers to say that they were looking for a new singer to replace Jess Cox. I sent my tape and was asked up to Newcastle Upon Tyne to audition for the band. As soon as I started singing, it felt right. I got the job! It was a dream come true. In December of 1980 I recorded my first single, “Hellbound”, with them. My life had changed forever and yes…I was living the dream.
The inclusion of yourself and John Sykes greatly impacted the band’s sound. Spellbound sounds much sharper, refined, and melodic compared to its predecessor, Wild Cat. Musically, what do you think yourself and Sykes brought to the table that wasn’t there previously?
JD: The sound of the Tygers changed totally after John and myself joined. We now had two guitarists so it became much fuller. I’m a completely different singer to Jess Cox. I have a bigger range and yes, a more lyrical approach. I clicked with John on a songwriting level. We both liked good melodies and dynamics. Light and shade, but also powerful delivery. He’s a great guitarist. For me, the best by far to come out of the NWOBHM. I love his playing on Spellbound and it remains an album I’m very proud of.
My favorite Tygers album, and I believe I’m speaking for many here, is Spellbound. What are your memories of those recording sessions? How long did it take to record?
JD: It was incredible recording Spellbound. It was my first album. Up until this point, I’d only recorded rough demos in small studios in Cardiff. So to find myself in Morgan Studios in London, where some of my favourite albums had been made, was unbelievable! Morgan was a three studio complex. We were recording in Studio 1, Gary Moore was in 2 and Rick Wakeman was in 3. Gary was John’s favourite guitarist, so it was wonderful for him to have his hero next door. He lent John his very famous 1950’s Les Paul. The pedigree of this guitar is amazing having been owned by Peter Green, Jeff Beck, Dave Gilmour and Keith Richards. I know he played it on “Gangland” and “Mirror”. Maybe a few other tracks. I must give credit to Chris Tsangarides, our producer. He was great and was very much in tune with what we wanted. He caught the bands energy and raw edge, but also encouraged our pursuit of a good melody. I loved the creativity of the process and I was very pleased with my vocals. The album took about a month to record. Or was it three weeks? It all passed in a euphoric haze. It was my favourite memory of my time with the Tygers and the most united we ever were as a band. I believe Spellbound is one of the best albums to come out of the NWOBHM.
On both Spellbound and Crazy Nights, all songs are credited to Tygers of Pan Tang as a whole. What was the band’s songwriting approach in those days? Did everyone bring in music and lyrics or did certain members focus on music while others focused on lyrics?
JD: We had a totally open approach to the songwriting. I wrote most of the lyrics and all the vocal melodies. Most of the riffs and musical ideas came from Robb (Weir) and John, although Rocky came up with ideas and had an input. We demoed everything before the actual album recording, so things constantly changed and developed. I’ll say this about Crazy Nights. We felt under pressure from our record company to deliver another album and it was rushed. We weren’t ready and we were also exhausted due to constant touring. Plus, it was a mistake to split from Chris Tsangarides. For me, it’s work in progress and an unfinished album. It could have been so much better if we had been given more time and support from MCA. There’s some good tracks, but it’s not a worthy successor to Spellbound.
The Cage was a radical shift for the band. For one, it saw the departure of John Sykes. It also saw the band go from metal to a more polished hard rock sound. Was this change caused by record company pressure, an urge to explore a new style, or both?
JD: The Cage really was “all change”! Yes, it was and still is controversial. It kind of split our fans. For and against. A love or hate sort of album. Firstly, John leaving had a huge impact. He plays on two tracks. “Love Potion No. 9” (our most successful single) and “Danger in Paradise” (For me, a song we never should have recorded). Yes, our record company totally interfered and pushed songs on us. That “hit single” thing that was so prevalent in the 80’s rock scene. Everyone suddenly had to be Bon Jovi! Having said that, I listened to The Cage for the first time in about ten years a few months ago and I loved it! It’s a departure, but some of the material is excellent. If I could replace a few tracks, it would be a plus, but it has an identity and is a development for us. I also love the production. Pete Collins was radical in many ways. We were one of the first hard rock bands to use a mixture of acoustic and electronic drums. The album influenced a lot of bands, Def Leppard included. Fred Purser was a worthy replacement for John. He’s a multi talented musician and great songwriter. At this time, I began my collaboration with Steve Thompson. We had songs coming from different places for the first time. So yes…material…direction…musicians…producer…input…our way of working…everything changed and out of it came The Cage!
What are your favorite memories of Tygers playing live? Are there any particular shows that stand out to you?
JD: My favourite gig with the Tygers was Reading Pop Festival in 1982. What an incredible experience. Nearly 60,000 people and we were one of the headline bands. The Cage was no. 9 in the charts and we felt we had finally arrived. It was a truly great gig. I loved playing live with the band. Despite the obvious exhaustion, sometimes it was just amazing. The Spellbound tour stands out. My first. Crazy and life changing. Hammersmith Odeon on The Cage tour was another incredible show. I must also mention my very first gig with the band at the legendary Marquee Club in London, now gone of course. November 1980. Totally intoxicating and never to be forgotten!
One album I’ll always champion is Burning in the Shade. It features one of my favorite Tygers songs, “Are You There?” What was the inspiration behind this song?
JD: I very rarely get asked questions about this album. I wrote it with Steve Thompson and it was my last involvement with the Tygers Of Pan Tang. “Are You There?” is about someone deliberately avoiding someone else. Being elusive. Hard to get if you like. I like the song very much and there’s some great guitar work from Steve Lamb who’s an amazing guitarist by the way. Certainly up there with John and Fred. I’m very proud of this record. My favourite track is “Dream Ticket”. It’s kind of my solo album. Against the odds, I made it happen.
Of the five Tygers albums you sang on, do you have a favorite? If so, which one is it and why?
JD: My favourite album is Spellbound. It’s just so true. No pretense or compromise. It rocks! My first album. I found my voice. I love everything about it. We were young and unafraid. Everything felt within our grasp. I know it’s a very important album for John Sykes too. It’s energy, excitement, and dynamic. I’m very proud of it.
After Tygers broke up in 1987, you pursued a successful career in acting, which you’ve led ever since. What led to this change in careers?
JD: I had wanted to be an actor from childhood. No question, it was my vocation. I also wanted to sing and always hoped I could combine the two. Which I have. Burning in the Shade wasn’t a commercial success and the time felt right to leave the music business and concentrate on acting. I auditioned and got into The Royal Welsh College Of Music And Drama and trained there for three years. Some of the best years of my life. I graduated in 1992 and I’ve been acting ever since. I never stopped singing and I’ve done a lot of musical theatre.
Have you ever considered reuniting with Tygers for one more album or tour?
JD: To be honest…no. My Tyger years were incredible and I’m so grateful for them, but that chapter in my life is closed. I’m now a very different person and artist. I do wish Robb Weir continued success with his Tygers though. They’re doing great I believe and the very best of luck to them. I will also say this…never say never!
2018 saw the release of a collaboration with fellow ex-Tyger Fred Purser entitled Square One. Musically, it seemed very much a continuation of The Cage era. Is it possible we’ll hear more music from you and Fred in the future?
JD: Yes. Square One was the follow up album to The Cage in a way. It’s how the Tygers would have progressed if our record company had let us. There would have been some Deverill/Thompson songs too maybe? Fred is the most talented man I’ve ever worked with. Musician, songwriter, producer and engineer. He also owns a recording studio which made Square One possible. I love the album. It’s some of my best vocal work and has great songs. It was a joy to do and has a prog rock direction. I’ve always been a prog rocker at heart so yes. It felt right. It was also wonderful to be free of outside pressure and influence…ie…no involvement from MCA. I’m so delighted that this album finally got released. It does bring the Tygers Of Pan Tang to a close. I would very much like to continue my partnership with Fred. We have no definite plans as yet, but we shall see.