The Enid Home

<body style="margin: 0" bgcolor="black"> <p> <img alt="" src="images/news_banner.jpg" width="138" height="58" />This page uses frames, but your browser doesn't support them.</p> <p> <strong><span class="heading">The Enid in Concert:<br /> <span class="style48">Birmingham Town Hall Fri April 16th 2010<br /> </span><span class="paragraph">A special one off concert with members of The Chandos Symphony Orchestra including World Premier of Journeys End and a new performing version of Fand with special guest appearances. Tickets at £24 with concessions for Senior Citizens and young people on benefits or in educations. On Sale shortly.<br /> <br /> ***<br /> </span>Big Bad Wolf:<br /> </span><span class="style48">A sorry tale about a devious man for whom deceit and subterfuge seem to be a way of life.</span></strong><br /> <span class="paragraph">Robert John Godfrey terminates his contract with Innersanctum (Atlantic Motion Ltd) for The Enid back catalogue </span><span class="style50">as</span><span class="paragraph"> Gerald Palmer, the label's owner, attempts to take possession of "The Enid" trade mark by stealth and against the express wishes of the band. Legal action is ongoing.<br /> <br /> ***<br /> </span><strong><span class="heading">Operation Seraphim:<br /> </span><span class="style48">Emergency Release November 16th</span></strong><br /> <span class="paragraph">New album of short piano compositions by Robert John Godfrey is being composed and recorded now and will be released in a fortnight.<br /> <br /> Operation Seraphim is the code name for the fighting fund needed to defeat Gerald Palmer in the courts and protect the band's future.<br /> <br /> ***<br /> <br /> </span><strong><span class="heading">The Story of In The Region Of The Summer Stars:<br /> </span><span class="style48">A 2CD Set for Christmas</span><span class="heading">.<br /> <br /> </span><span class="paragraph">Taken from the original masters donated to The Stand in 1985, this release by the band's fan club, The Enidi, will contain all the demo's and various versions which still exist of this music.<br /> <br /> There will be extensive notes on the compositional approach - a detailed account of how the music came to be written and by who. Also included is a frank and full audio commentary by Robert John Godfrey concerning the life of the band at the time. Released Dec 14th.<br /> <br /> A similar release dealing with <em>Aerie Faerie Nonsense </em>will be released in the new year.</span></strong><span class="paragraph"><br /> <br /> </span></p> <table border="0" cellpadding="13" cellspacing="9" style="width: 850px;" id="AutoNumber1" class="style1" align="center"> <tr> <td width="69%" style="width: 100%"> <div class="style2"> <span style="background-color: #666666"><font size="7" face="Amerigo BT"> WHO ARE THE ENID?</font><font face="Arial" size="7"> </font></span></div> <p align="right">  </td> </tr> <tr> <td style="width: 78%"> <H1 class="style1">Beyond the Hall of Mirrors: A History of the Enid</H1> <H4 class="style5">by Mike Ezzo</H4> <font face="Arial"> <P><font color="#FFFFFF"><BR> <font size="2">To put into perspective The Enid's background we need to be acquainted with the soil in which the seeds of their history were sown. <A NAME="Finchden"></A>This place was called <a href="http://www.finchden.com">Finchden Manor</a> and was situated on the edge of the Romney Marshes in England.</font></font> </P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/finch.jpg" ALIGN="RIGHT" HSPACE=15 VSPACE=20 WIDTH=312 HEIGHT=200 ALT="finch.jpg - 176.8 K"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">Finchden was very unorthodox. A cross between an informally structured boys boarding school and Boys Town in America. It was here, in 1973, where the nucleus of Robert John Godfrey, Francis Lickerish, and Steve Stewart, met and later formed the group. Let's pick up the story a few years before The Enid came into existence.</font></P> <P><font color="#FFFFFF" face="Arial" size="2">After leaving Finchden, and an abortive attempt at a career as a classical pianist, Godfrey hooked up with <A HREF="about/rjg/tkamb.html">Barclay James Harvest</A>. From 1969 until 1971 he worked with them, developing and helping to compose some of their early classic songs. He also directed and conducted their accompanying orchestra.</font></P> <P></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/ashesgr.jpg" ALIGN="LEFT" HSPACE=10 VSPACE=25 WIDTH=150 HEIGHT=210 ALT="ashesgr.jpg - 15.7 K"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">Upon leaving this situation he was asked to join a band called Siddartha. While playing at one of their concerts he was discovered by Charisma Records mogul Tony Stratton-Smith, who soon signed the very talented keyboardist onto the label's roster. Late in 1972 Robert went to work and produced "The Fall Of Hyperion" for Charisma. If ever there were such a thing as Pre-Raphaelite music, this is probably what it would resemble. Certainly it addresses similar themes. Lyrics are based upon the poems of Keats, and the whole affair has an air of the mythological.</font></P> <P></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/gl.jpg" ALIGN="RIGHT" HSPACE=15 VSPACE=20 ALT="gl.jpg - 17.4 K" width="248" height="194"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">The music is rapturous and majestic, featuring mellotron and piano extensively setting the stage for much of what would come later. Dante, Gabriel Rossetti and Edward Burne-Jones would have loved this! "The Fall Of Hyperion" was dedicated to George Lyward, the founder of Finchden Manor, who had passed away a year prior. His death inspired in Godfrey a concern for Finchden's fate.</font> </P> <P><font color="#FFFFFF" face="Arial" size="2">Destiny brought him back there, and what he found upon visiting was that Finchden was in the throes of closing up for good leaving many of the boys with nowhere to go. By this time, Steve Stewart and Francis Lickerish were both "students" there.</font> </P> <P><font color="#FFFFFF" face="Arial" size="2">They were busy preparing the music for Finchden's final theatrical production, "The Quest For the Holy Grail". Robert, eager to pay homage to his alma mater, put his expertise to work in aiding the two young guitarists on the project.</font> </P> <P></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/nac1.jpg" ALIGN="LEFT" HSPACE=15 VSPACE=20 WIDTH=200 HEIGHT=225 ALT="nac1.jpg - 105.8 K"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">He later reminisced on the whole venture as the most important religious and emotional experience of his life. Certainly it was important in that it signified The Enid was born - June 1973.</font></P> </font> <H3 class="style6">BIRTH AND A YOUTHFUL SPIRIT</H3> <font face="Arial"> <P><font color="#FFFFFF" size="2">Adding a fourth member, the band moved into a house together and eagerly commenced writing original musical material (some of which was based on the music for "The Holy Grail"): a concept album relating to tarot cards and psychology, to be called "The Voyage Of The Acolyte." Tony Stratton-Smith was approached with the idea, but Charisma had to balk at signing The Enid for what must have been financial reasons. Subsequently Tony Stratton-Smith told Steve Hackett about The Enid's concept, who based his own first solo work on it. (Another connection to Hackett is his one-time, keyboardist, Nick Magnus, who was also an early Enid member for a short time,).</font></P> <P><font color="#FFFFFF" face="Arial" size="2">Re-titled more poetically as "In the Region of the Summer Stars," The Enid's debut was recorded in late 1974 and early 1975, but not released until a year later. Joining them for this project were drummer, Dave Story; Glen Tollet, as second keyboardist; and bassist Neil Kavanaugh.</font></P> <P><font color="#FFFFFF" face="Arial" size="2">By this time they were signed to Buk Records, which was later distributed by EMI. EMI, and later Pye Records, would play a very implacable Goliath to The Enid's David in their early years. Furthermore the band would be dogged by internal and external problems that seem straight out of a Dickens novel. Unscrupulous managers, unfortunate timing and record company impropriety would all take their turn in trying to break the spirit of a group who steadfastly maintained their artistic integrity in the face of the reductionism of punk/new wave, even during the wasteland of the 80's. Few other 70's bands managed that feat.</font></P> <P><HR> <P></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/merl.gif" ALIGN="RIGHT" HSPACE=15 VSPACE=20 WIDTH=300 HEIGHT=175 ALT="merl.jpg - 104.5 K"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">"In The Region Of The summer Stars" is a study in archetypes, with titles like "The Devil", "The Flood" and "The Fool". The Enid's debut paints a very vivid cinematic picture full of romantic classical theme treatments, and sweeping grandeur of a par that no other progressive band had attempted before. "The Loved Ones" shows Godfrey composing a sort of Rachmaninov-style piece for piano. Elsewhere the concept uses biblical references to tie together themes that link the title track and "The Last Judgement". Their career was off to an auspicious start.</font></P> <P></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/fran.jpg" ALIGN="LEFT" HSPACE=10 VSPACE=20 WIDTH=180 HEIGHT=220 ALT="fran.jpg - 40.6 K"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">No sooner had the band begun to enjoy the success of "In The Region", and a series of well received concerts, than they had to wrestle with managers who tried to sabotage them by seizing all the band's equipment. The ensuing turbulence and litigation destroyed all the momentum they had built up and it put off the prospect of their next production until late in 1977. By this time Terry Pack had become the bass player while Charlie Elston (soon to be replaced by Willie Gilmour) took Glen Tollet's position.</font> </P> <P><font color="#FFFFFF" face="Arial" size="2">Fortunately perseverance and fortitude prevailed and thanks to new manager Terry King, The Enid's relationship with Buk was re-established, allowing them to get on with producing "Aerie Faerie Nonsense". This second effort revealed a slightly less serious side of The Enid. All romance and fantasy, the album bears no weight of a ponderous message or concept. Nevertheless, it is heavily steeped in Arthurian and Celtic legend. The tone poem, Fand, which occupies side two, and "Childe Roland To The Dark Tower Came" breath new life into the myth of Parsifal that Wagner made so famous.</font> </P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/bandafn.jpg" ALIGN="RIGHT" HSPACE=10 VSPACE=25 WIDTH=301 HEIGHT=171 ALT="bandafn.jpg - 48.6 K"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">The music's direction actually proceeds from an orchestral foundation; the result is more authentic than is the case whereby a simple veneer of classicism is melded onto rock forms ... "Not the Moody Blues" .... is probably how the Duke of Prunes would describe it! These first two recordings symbolise the birth and youth of the Enid, and as such are marked by a wide-eyed and gallant spirit.</font></P> </font> <H3 class="style6">TROUBLE</H3> <font face="Arial"> <P><font color="#FFFFFF" size="2">Trouble with Buk soon spelled out the need for a label change, however, and Terry King stepped in to secure a very lucrative deal with Pye records. Elation soon turned to grief as the executives responsible for their signing left Pye within weeks of the band's arrival. In the hands of a company that was unfit to guide them, The Enid soldiered on into their second period of work.</font> </P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/st_rfest.jpg" ALIGN="LEFT" HSPACE=10 VSPACE=10 WIDTH=250 HEIGHT=190 ALT="st_rfest.jpg - 25.9 K"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2"><BR> This very troubled time ironically culminated in the release of two masterpieces: "Touch me" (recorded in the autumn of 1978); and "Six Pieces" (from exactly one year later).</font></P> <P><font color="#FFFFFF" face="Arial" size="2">Given a little time for recording these albums, it wasn't possible to develop a theme. But what they lack in conceptual direction they more than make up for in sheer musical content, the most elaborately complex music of their career. "Albion Fair" and "Humouresque" (both from "Touch Me") so beautifully depict the metaphor of a group leaving the nest of their childhood years. "Gallavant" takes a lugubrious theme from Bruckner and makes it soar! Making his debut with the band as second keyboardist, was Willie Gilmour. An oboist, Tony Freer, was added as well, making a seven-piece lineup. But he left during the making of the follow- up.</font></P> <P><font color="#FFFFFF" face="Arial" size="2">"Six Pieces", from late 1979, presents musical cameos; one for each member. It is one of the few examples of small scale works in their whole career. "The Ringmaster" and "Punch and Judy Man" are frantic, schizoid workouts, where new percussionist Robbie Dobson (a former member for a brief period in 1975) leads the musical charge. "Sanctus" (Robert' s piece) is an august, stately interpretation, while the inward-looking "Once She Was (Scarborough Fayre)" and "Hall of Mirrors" are so chilling, something that could only have been composed by an English group. A little bit of every side of The Enid's personality is captured here, which accounts for its strong appeal. Robbie's tenure as "Ringmaster" of the band, however, was again short lived. This time he was replaced at the drum chair by Chris North.</font></P> <P><font color="#FFFFFF" face="Arial" size="2">The Enid had almost completely shed any connections to rock music by now. Sounding even more so like an orchestra, they continued to utilise more and more classical forms: the funeral march (see "Cortege"); the Elegy; the Tone Poem; the Theme -and- Variations. The intricacies and subtleties of performance and arrangement they achieved here are unparalleled in the genre.</font></P> <P><font color="#FFFFFF" face="Arial" size="2">The protean nature of "Six Pieces" unfortunately manifested a darker side, that would have dire consequences. The unceremonious non-event of its release, not to mention the amateur cover design, pretty well betrayed Pye Records' cynical attitude towards the Enid. In 1988 they parted company with Pye after an acrimonious dispute. The virulent atmosphere was echoed internally as well, as Robert and Francis came to loggerheads over musical direction. This tore apart the founding triumvirate. At year's end, upon completion of a lengthy tour, Francis Lickerish and Willie Gilmour took their leave. Later, in 1981, Martin Russell left as well, though amicably. And Chris North followed in 1982. It seemed the doldrums were to grow ever nigh. This was the absolute nadir for Godfrey and Stewart, emotionally speaking, and accounts for their inactivity during the intervening two years at the beginning of the 80's. The new decade went about as an omnivorous fiend, ruthlessly ripping apart any British progressive band who had an ounce of ambition. Late in 1982, after Robert' s recovery from illness and yet more legal wrangling, the two burned their bridges and decided to go it alone, independently.</font></P> </font> <H3 class="style6">SOMETHING WICKED THIS WAY COMES</H3> <font face="Arial"> <P><font color="#FFFFFF" face="Arial" size="2">"Something Wicked This Way Comes", released in 1983, crystallizes all the virtues of The Enid into a potent, hard- hitting musical statement, the most immediate and accessible of their career. Reduced to just the two (of three) original core members, joined by Chris North (as a session drummer), they had grown into a powerful force. Thematically "Something Wicked" treats the threat of nuclear war in very ambiguous terms; a god's-eye view expressed in a way that neither pontificates nor takes up sides, but very poetically tries to unmask the reality behind the situation and its potential impact on life as we know it.</font> </P> <p><font color="#FFFFFF" face="Arial" size="2">  </font></p> <P><font color="#FFFFFF" face="Arial" size="2">Bitterness and melancholy permeate. It is the only song oriented album they ever created, and for the first time, vocals appear. Furthermore, their voices are unique and instantly identifiable: Stewart the haunted child, Godfrey the doomsayer. The vocal-chorus-sound they hit upon became their trademark in much subsequent work.</font></P> <P><font color="#FFFFFF" face="Arial" size="2">Thus marks the beginning of the band's most active period. With no airplay (apart from a very well-timed plug from "Radio 1" DJ Tommy Vance) or record companies to support them, Robert and Steve turned to their fans. They formed the Stand, their alternative to a record company for the years to come. Each year a special recording was produced for the members: the first was a live recording from their 1983 tour; the next year saw a collection of singles from the Pye era, plus selections from the long lost "Fall of Hyperion". 1986 featured a cassette of music composed by a friend, painter/composer William Arkle. Robert arranged and performed the work on synthesizers.</font></P> <P><font color="#FFFFFF" face="Arial" size="2">The project that occupied them was the re-release of their entire back-log of 70's work. A bitter battle ensued between The Enid and EMI over the rights to the first two, for which the group hadn't received a penny in royalties. "In the Region" had to be half re-done, so they took the opportunity to improve on the original, changing the titles and topping it off with a beautiful new cover designed by William Arkle. A live recording, in two separate volumes, recorded in 1979 also appeared.</font></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/rjgimp.jpg" ALIGN="RIGHT" HSPACE=10 VSPACE=10 ALT="rjgimp.jpg - 17.9 K" width="343" height="240"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">Returning to their new work, they very quickly followed "Something Wicked" with "The Spell" in 1984. This double LP project forms a catalyst with its predecessor. It puts into perspective the harsh realities of "Something Wicked" and by using the seasons as an allegory, reflects on the observation that everything in life is cyclical. "The Spell" acts as natural development from what came before it, and this is the light in which it must be seen in order to be truly appreciated. Never before had The Enid been so self assured. Godfrey's compositions had matured greatly by this time. A grandiose, epic-scope work, but in a way much different from "Touch Me" and "Six Pieces", it reflects his love of opera, which is what gives his music its drama and pathos. Wagner-inspired leitmotif is used as a unifying force and some of his most beautiful melodies can be found here. "The Spell" embraces with serenity the vicissitudes and mysteries of existence, thus representing a big step forward in their career.</font></P> </font> <H3 class="style6">A FOND FAREWELL</H3> <font face="Arial"> <P><font color="#FFFFFF" size="2">1986's "Salome" is where The Enid probably broke way from much of their earlier following. It begins the last phase of the partnership of Godfrey and Stewart. Taken together with "The Seed and the Sower" it symbolises the full maturity of The Enid; the authority attained by one who has achieved a singular and unique musical voice. Side two's "The Change" is monumental in how modern synthesizer technology is used to portray the savage, relentless surge leading up to John's decapitation. The tension is mitigated however, by the mystical "Flames of Power" that follows, and the more recognizable "Sheets of Blue" of side one. The vocalizing is of a disturbing, spoken intonation, as befitting this look into the dark, psychological forces at play in the drama. "Salome" was scored for a ballet, and subsequently performed as such in concert.</font></P> <P></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/mntlcd9.jpg" ALIGN="RIGHT" HSPACE=10 VSPACE=10 ALT="The Enid Salome" width="180" height="180" longdesc="The Enid Salome"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">During The Enid's final days, they produced two cassettes that, while perhaps subconsciously, seem to point to the imminent dissolution of the Godfrey/Stewart partnership. "Reverberations" was a commissioned work which Robert completed for healer Matthew Manning, and originally slated for inclusion on "The Seed & the Sower". The piece consists of basically one haunting melody, floating in a liquid, effervescence of synthesizer sound. Here, Godfrey dispenses with allegory and euphemism. "Reverberations" is more like a living, breathing beast. A palpable sense pervades it in a manner like nothing he had ever done previous. Still more unorthodox was "Joined by the Heart". Meant as a musical portrait, and to generate funds for their final project, "The Seed & the Sower", it allocates one side to each member. Robert's reminds me almost of sculpture in that you never get the full picture of it all at one time. It is somehow serene and agitated simultaneously; clearly indicative of a spirit ill as ease........ his biggest departure, even more so than "Reverberations". Steve's pulsates with a steady musical heartbeat that reestablishes us on terra firma. The subterranean mood it creates is a perfect palliative to the restlessness of Robert's piece. It is not difficult to see this as the progenitor of a whole new era. Ironically, it seems to present, in hindsight, the roots of the split.</font></P> <P></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/mntlcd3.jpg" ALIGN="LEFT" HSPACE=10 VSPACE=10 ALT="The Enid Final Noise" width="180" height="180" longdesc="The Enid Final Noise"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">"The Seed & the Sower" was produced and recorded in full knowledge that it would be the last. Steve Stewart had for many years hankered after a more commercial direction, and it was probably to appease his needs that the split came about. More than anything, I feel this album expresses the melancholy of accepting with grace and dignity, the end of the musical "quest" that began fifteen years prior at Finchden Manor. The concept, based on Laurens van der Post's book of the same name, deals with two fundamental issue: firstly, the conflict between man's tribal and individual identity; secondly, the way in which tragedy and misfortune are necessary in galvanizing the human spirit. Throughout most of the album, a dreamy languid mood predominates. Nevertheless it is perhaps the most mature musical statement to emanate from the duo. "Chaldean Crossing" builds and builds, to evermore dramatic heights, an incontrovertible classic. The album bows out with indomitable spirit on the climax, "Earthborn", which reads like a fond farewell to Steve Stewart. Formal adieu, however, would be bid at their final concert together in November 1988. "Final Noise" honours the event with a set of music spanning their entire career. Going their separate ways, Steve continued to work as an in-demand engineer, while Robert had other ideas up his sleeve. He teamed up with some younger musicians who formed "Come September",</font> </P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/cosep.gif" ALIGN="RIGHT" HSPACE=20 VSPACE=20 WIDTH=300 HEIGHT=330 ALT="The Enid - Come September" longdesc="The Enid"> </font> </p> <P><font color="#FFFFFF" face="Arial" size="2">and served as their mentor, helping to compose the music and advise them. Though without a doubt less ambitious than the Enid of old, it nevertheless bore the identifiable mark of Godfrey's presence: a very elaborate and lush soundscape, with beautiful melodies, but in a simpler song setting. However this left open quite a gaping void which could only be filled with "... the proper thing - pure undiluted Enid".</font></P> <P><font color="#FFFFFF" face="Arial" size="2">In late 1992 rumours began to spread about a new configuration of The Enid. Indeed Robert John Godfrey had embarked on a series of small-scale concerts with new musicians, under the pseudonym "Aerie Faerie Nonsense", to test the waters. The group seemed to be keeping a low profile than in the years past, but finally in 1994 a full-blown album did emerge. Godfrey had promised a no-holds-barred classic Enid ..... and that's just what he delivered.</font></P> <P></P> <p><font color="#FFFFFF" face="Arial" size="2"> <IMG SRC="images/rob.jpg" ALIGN="LEFT" HSPACE=10 VSPACE=10 ALT="rob.jpg - 14.2 K" width="256" height="375"> </font></p> </font> <H3 class="style6">A NEW STORY BEGINS?</H3> <font face="Arial"> <P><font color="#FFFFFF" face="Arial" size="2">"Tripping the light Fantastic" is a concept album which is informed by the welcome conviction of man-as-a-conscious-being, at the centre of all scientific endeavor. This came about as a result of his study of quantum mechanics. Musically it is somewhat a bridge between the 70's and the more rhythmic drive of Godfrey's newer direction (which began with "Salome"); even taking in elements of the "Come September" sound, but places it in a context that is richer and full of ambiguities and depth we have come to expect from Godfrey's music. This instrumental opus is a watershed album, in much the same way that "Something Wicked ", and "In The Region" were. Along with "Sundialer", (which comprises mainly remixes), "Tripping The Light" to a new departure for The Enid. The maestro has integrated synthesizers with the music much more thoroughly, akin to the electronic sphere of Tangerine Dream, et al. This adds a whole new dimension of ethereal warbly textures and colours and eschews much of the classicism from days of yore. It takes in a variety of references some of which harken back to the 86-88 days. The music is upbeat, urgent and vital.</font></P> <HR style="width: 437px"> <p> </td> </tr> <tr> <td valign="top" class="style46" style="width: 504px"> <span class="style14"> <img alt="The Enidi" src="enidi/Images/enidi_logo_2009_smaller.jpg" width="134" height="74" longdesc="The Enidi - The Enid's Fan Club" /><br /> </span><span class="style15"><span class="style16">INCORPORATING</span><br /> <strong><span class="style17">THE STAND</span></strong></span><br /> <span class="BodyText"><br /> </span> <span class="style29">The Enidi is more than just a fan club.<br /> <br /> It has an ever growing membership of private individuals who share a common love for The Enid and the unique musical style the band have pioneered over more than three decades.<br /> <br /> The aims are to help promote and support the band in its efforts to be able to put on the best possible shows in the finest venues in front of an ever growing audience.<br /> <br /> The members desire to protect and consolidate their eventual legacy for posterity.</span><span class="BodyText"><br /> <br /> <a href="http://www.enidi.org/">www.enidi.org</a></span></td> </tr> </table> <script type="text/javascript"> var gaJsHost = (("https:" == document.location.protocol) ? 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