Born in the backyards and high schools of late 70s Melbourne, Bengal Tigers have long been one of Aussie metal’s best-kept secrets. Mixing NWOBHM grit with suburban swagger, they carved a place in the scene with wild stage shows, tiger-skin boots, and a sound as ferocious as their name.

Now, after years of laying low, the Tigers are back with a new album “Cry Havoc” and frontman G is here to tell the tales. From early gigs with Rose Tattoo to studio sessions powered by black powder and dad jokes, this is a band that’s done it all, lost none of the fire, and still lives by one motto: If it’s worth doing, it’s worth overdoing.

Interview

TheNwothm: Can you introduce Bengal Tigers to any of our readers who might not be familiar with the band? Where are you all based out of currently?

G: Ladies and gentlemen, may I present to you as you have been living under a rock for 45 years (and possibly the fact we haven’t produced any new product for 25 years), the mighty Bengal Tigers, affectionally known as the Bengals, to intrepid long suffering metal maniacs. Based in Melbourne Australia. The nation’s hub of music talent and reasonably priced aural enhancements and a decent pub meal. Lockdown capital of the world

TheNwothm: How did Bengal Tigers originally come together? What drew you all into forming a heavy metal band at that time?

G: 3 of the original members Steve Tyler, Phil Green and myself (you can call me G) met at school, Steve and I were big Slade fans at the time, we both had electric guitars and no amps, which, now that I think about it, was a parental plan to reduce noise pollution, obviously well ahead of their collective time. We played locally at high school gigs and parties ya know the drill, we were called KING RAT back in the 70’s. 

You could see AC/DC at the local high school gig back in those days, young angus would climb to the top of a double 4-way PA with his little ball sack poking out the side of his shorts and a huge glob of slimy snot a metre long hanging from his nose, doing those f*cking amazing solos, ahh the good ole days LOL.

I digress, Steve E Tyler, Bengal’s bassist, not to be confused with the other Steve Tyler  had found a new guy who could pull off eruption note for note, ladies and ladies let me present barney  F, not his real name but in those days  he called everybody barney. I was singer barney, bass player barney, constable front bottom barney, get my drift and he then got stuck with barney. Van Halen were huge, we were big fans, if I get in sticky situation I always default to what would DLR do, then do that. We found a like-minded skin smith, Michael Egan, and founded Bengal’s on the NWOBHM In late 79, we were listening to Def Leopard, Priest, Maiden with Diano of course, Diamond Head, Motley Crue had just released their independent EP.

We had a pedigree slogging it out; however, this was well planned. The LOGO, the image, mostly from Steve E Tyler who passed away a few months ago sadly. We won a battle of the bands heat, went all the way to the grand final at festival hall but did not get a place along with Men At Work who also disappeared into obscurity lol.

TheNwothm: What was the music scene like in Melbourne back in 1979 when the band first formed?

G: F*cking awesome! Punk was still going strong the NWOAHM was now in full swing. We were the forerunners of this genre, Aussie rock has always had a big showing. 

TheNwothm: Where did the name “Bengal Tigers” come from? Was there a story or meaning behind it?

G: Def Leopard (a fast spotted animal with a hearing problem) was a cool name, but we figured the most ferocious, beautiful and dangerous animal alive was a Bengal tiger. We had all the leather and fur gear we wore; we created ourselves, just being a natural extension of ourselves, our motto: if it’s worth doing its worth overdoing. We had the coolest thigh high tiger skin boots, made by Dick Sizenhare.

TheNwothm: How has being an Australian band — specifically from Melbourne — shaped your sound or influenced your approach to heavy metal?

G: We have always been a bit tougher in Melbourne, boys from burbs and were very proud of that. We always wanted a more British metal sound not the Aussie pub rock. Rose Tattoo are a Melbourne band; we toured with em in oz back in 80’s. We supported them up the East coast all the way to Queensland.

After Sydney shows the roadie minder for the tatts told us in no uncertain terms to stop using pyros, black powder back in the day. Angry did not like the smell and taste, not good for his voice ya know. Next gig CABOOM more bombs. We got bailed up and physically threatened, got to gold coast CABOOM CABOOM this time he sidles over and goes, “you blokes are from Melbourne right,” yep mate, thought so, we had a laugh and bought him a beer, it was Kaboom every f*ckin’ nite till the tour ended LOL.

TheNwothm: I want to briefly go over your music. Let’s go back to your debut EP, “Metal Fetish” (1982). What were the inspirations behind that release, and how was it received in the scene at the time?

G: Our 12-inch man sized plaything independent release, there was a lot of hype, we created most of it lol, we were packing shows and there was a bunch of young bands coming along behind us, we had changed management, and we are pumping out new songs weekly. We got signed about 2 weeks after we pressed the album, with mushroom records. 

And they forbade us to sell them. They added another version of break and bend recorded in Sydney, so they had some gravitas, I dug them out (original vinyl) still had la few hundred left 10 years ago and been selling them. They be quite a collector’s item, a bit dogeared and the rats got to the covers, however the records are mint, still a few left.

TheNwothm: You dropped “The Demo’s” in 1989 — what led to that release, and how did it reflect where the band was musically at the time?

G: The Demos, an early release on cassette, a teaser a really. I’m working on a side project now, a compilation, with all the missing songs from the demos, In One Ear and other recordings, to get them on one recording, it’s work in progress.

TheNwothm: In 1992, you released “Do It!” — what was the recording process like for that demo, and how did your sound evolve by then?

G: Loved DO IT we perfected our sound, the songs were getting more stripped back Raw feeding  the groove  rather than complex rhythms and tempos. I don’t recall the studio, but we normally do a lock in weekend get all the tracks down, I think it still sounds good today. We opened with To the East for 30 years as the first song playing live.

TheNwothm: Painclinic (1995) is a standout EP — what themes or messages were you exploring with that one?

G: Yeah, some out there dark lyrics, Barney was writing a lot of the lyrics on this album. We did the 5 piece experiment with duelling guitars ala Priest with Keith Peter Budge on guitars along with the barnstormer, he wrote a couple of songs, we don’t play them since that line up dissolved. Keith brought in the finished item and that’s not how we roll. We’re sampling the opening refrain TOOL and using that as our intro for live gigs on the Cry Havoc tour.

TheNwothm: Breaking away from the music for a moment what can you tell our readers about yourselves?

G: I’m the last man standing from the original line up, I’m sure there’s a song in there somewhere, my best friend Steve E Tyler has passed to Valhalla  though he hasn’t been a Bengal officially for 15 years, our friendship remained 52 years. Yuri replaced barney just before we were about to explode  after recording (cheat on) our second single release with film clip. Barney had some sort of personal melt down. Now that sort of thing very much accepted these days, then it was more like, “you c*nt!, we are brothers we are about to go massive.” Yuri on that recording doing the solo and in the film clip.  

TheNwothm: Then came “In One Ear” in 1997. How did that EP differ from your earlier material? 

G: We had a bit of a formula; this was an extension to this, those quirky guitar riffs on that one. If metal fetish was a hamburger well this was a burger with pineapple, oh yeah that’s a thing. 

TheNwothm: 1998 saw a big moment with the full-length album “In the Blood.” Can you tell us about the making of that album and what it meant for the band?

G: In the Blood, love that song, we’ve added it to the set, it really has more relevance since the covid farce, and it pumps fast paced, great live number too. 

TheNwothm: What has be your favourite  very song from that release?

G: In the blood 

TheNwothm: Your last body of work was “Fight for Your Right.” What made you want to drop another EP so close to your full-length?

G: Another teaser, I’m not sure why we did that, we just mucked about with it at rehearsals really was a bit of a laugh.

TheNwothm: From what I have heard on the grapevine new music is oe the way! That is really exciting considering there has been such a long gap since your last release. What has made you decide that this is the time to release new music?

G: Juzzman, LOL he’s been the driver, he’s a pushy c•nt! I say that in a loving way. We’ve been playing live for 15 years doing live shows after a split for about 10 years. I went to rehearsal one day and no one turned up, that’s true, and no one called me back. I digress, after Michael (drummer) departed the band, we searched about looking for the right fit, and Justin joined for our first euro tour.

TheNwothm: And what can you tell us about what is on the way?

G: It was a shock at first, the songs really came together like going bankrupt, slowly at first then quick. The last time I recorded it was analogue 2-inch tape, I really enjoyed the recording process with the new tech and these guys.No pretension from the brothers, we all play nicely with others. There is only one prima dona in the band and that’s me! I have no difficulty dealing with my temper tantrums and sulking lol.

We recorded some earlier work, Penetrator one of Yuri’s tunes from 30 years ago, Taken by force, almost 40 years old and never recorded, low hanging fruit possibly but ya need to get some of this stuff down for posterity yeah! Some of the solo work on this by Yuri is sublime. Our one cover “Diamonds and Rust,” Joan Baez Classic covered by priest, with our own spin on it, tell me what ya think people. We reckon the single if there is such a thing these days is “Cry Havoc,” which coincidentally on purpose is the album name.

A sphincter clencher with lots of call and response, get on board mother f*ckers’ excitement that you can’t get out of your head.There is an impressive track that just came together, called “Under The Tower.” We did our own Gregorian chants, and juzzman loves his growls, bells, and cannons LOL. It builds like a f*cking skyscraper, we had to shorten it to 6 minutes it when it was 7 and a half! A f*ckin’ epic opus to the sky man.

“Heartbreak in Belgium” is a bit more fun, take the piss and some cool vocal outros. “I Am The Machine;” it’s about me ha-ha cause I am. It oozes globs of excitement. “Ride The Storm” started as a lilting rocking riff around us for a bit and when we finally got the right feel for the lyric,  it came up a treat.

TheNwothm: I also understand that you have big touring plans. What can you tell our readers about that?

G: We did the Keep it true fest in Germany, the Germans know how to run a gig man, like a Swiss watch. The gear to choose from for the musicians in the band was diverse and comprehensive, however no one asked me how much fold back I wanted and I sort of got glued to a few meters of stage or could not hear myself. I’m f*cking around with ear monitors now, I’m not a fan but it’s better than not hearing myself. I tend to break every ear piece I try, must have unusual ears!

TheNwothm: How do you approach live shows now compared to back in the early days?

G: From the back door, with a limp. Well, it toned down a bit, not so many bombs these days, the black powder affects my voice lol not really. We still give it 100%. All 4 of us run around and pose like a bunch of demonic neolithic lunes, I love my costume, ya get ya metal and studs’ leather and design all my own shit. Once ya gear is on its all systems go brothers, flick the switch, hit the gas!

Bengals have always been theatrical, it’s a show not just a gig, we love to perform it’s in my DNA and my brothers are of the same like Juzzman of course can’t run anywhere when he’s strapped onto the skin throne. I personally own a f*ckin shit load of dangerous flame units and fog machines and things that go Kaboom. I like to take the toys where practicable. 

TheNwothm: What’s one dream location or festival you’d love to perform at that you haven’t yet?

G: Wacken , Hellfest, Sweden Rock 

TheNwothm: How can our readers buy your music and merch?

G: TBA

TheNwothm: Where can fans follow you online?

G: Facebook and Insta and soon to be announced new website currently under construction.

TheNwothm: Anything else you would like to mention?

G: Well our new album “CRY HAVOC” is about to drop, should be available from all your favourite stores, been 25 years for me since recording and this line up has brought a new spin and if I must say so it’s my favourite ever. Multiple song writers, Justin Linkins on drums and vocals has brought a breath of fresh air after the departure of Michael Egan 12 months ago, Yuri the new guy been in the band for 25 years on guitars has done some f*cking cool tasteful and friggin’ original guitar work. 

Not to mention Rob, the only other blond in the band… we look like Elven lords without pointy ears. Let me present not only a great talent on bass, with his other superpower of perpetual awful dad jokes, the most beautiful bass player in the world Rob Bodger,we call him Robo.

“CRY HAVOC” Ya got to take this baby out for a test drive, it will surprise some, I’ve channeled my best Tom Jones. Bass and drums are in ya face where they f*ckin’ belong man.

Killer songs, it’s a departure from some of the hot, hurt, heavy, heaving, heat and hotter lyrics from the Barney era. Don’t tell anyone but I’m 66 just keep that between you and whoever reads this article. I’m still the f*cking machine, that is on the album friends. 

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