Joined the band in 2011
Always destined to perform, Joe’s ambition began as a toddler, with dreams of running off to join the circus and becoming a clown! However, a life of wearing onesies lost its glamorous appeal around the age of three. Still, a theatrical root was the way forward.
So, while other boys played hoopla in the street, Joe was gaily singing, acting and dancing his way to adulthood. Always a thespian of sorts, his first taste of performing Rock music didn’t come until the age of 17. The band Tramp Etiquette - a group of talented teens from Joe’s home town, Tring – swept across the London Indie circuit, playing famous venues such as The O2 Islington, The Water Rats, and The Dublin Castle. Catching the interest of Sony record labels and BBC Introducing. Tom Robinson, BBC6 Music described them as “Pretty Damn Good!”
Since first using The Lodge Recording Studios back in 2009, Joe was invited to an Enid show which knocked him so far sideways, he never truly recovered. It is therefore not at all surprising that his opportunity to sing backing vocals for the band was seized with both hands without delay. Thus, The Enid’s very own Northampton Decibels were formed, an eight piece (though they began a ten piece) choir of young men.
Currently completing a full time degree in Business Management at The Clare Business School, Joe just happened to mention to RJG that he needed a part time job if he were to make ends meet. To his surprised, a role working for the bands label Operation Seraphim arose. Let’s face it, that’s going to be more fun than a till job at Tesco!
Joe’s theatrical but soulful voice sealed the deal, with his ability to hit notes that some opera singers would kill for. He also plays the keys. RJG has told fans that Joe is to be the Freddy Mercury of the 21st century... No pressure!
Joined the band in 2007
I was born on 24th September 1982 in Northampton. Just at the time that Robert John Godfrey and Steve Stewart were completing Something Wicked This Way Comes.
I had my first guitar lesson when I was about six years old, I remember my Mum being there as I held the guitar for the first time, I couldn't concentrate, only sit in awe of the instrument "Mum! Look! WOW!! I'm holding a real guitar" after which, not having lessons seemed inevitable, and when I finally did get my first guitar, I smashed it out of frustration. I needed to learn.
At school I became interested in musical instruments and fascinated by making sounds. I started playing in bands and having various lessons in and out of school.
I also had lessons with an older pupil (Drew Sheffield) who ended up introducing me to virtuoso guitar playing, with the likes of Steve Vai, Yngwie Malmsteem, and Joe Satriani in mind, but when I turned fifteen, I joined a friend's band known as UK Waste. I wanted to be a guitarist in a band, but this was not to be. (Ironically, when Robert did first asked me to join The Enid, it was as a bass player, which I turned down and insisted if I was ever going to join another band it'd be as a guitarist)
Mat and Ali (UK Waste) were looking for a bass player, I gladly took the role and stuck with them for many years, and gradually became an accomplished bassist. This was a turning point of when I knew I wanted to become a professional musician.
The band drifted in and out of existence with drummer trouble until we got to know Robert and Max. With us working in their studio cafe on a 'quid-pro-quo' basis, (as Robert always liked to put it) we were given the opportunity to use the studio facilities and develop the band in a creative environment. I’ve been here ever since.
Since being a teen, and later being an engineer for the studio, my appreciation for music has grown immensely, from having a big love for bands like; Sonic Youth, The Buzzcocks, Metallica, Opeth, The Residents to loving the expressive playing and compositions of Jeff Beck, Betty Carter, Frank Zappa, The Beach Boys, Claude Debussy, Ennio Morricone and Richard Wagner, to name only a few.
Music is meant for everyone and it’s everyone’s right to have the chance to appreciate it.
Member since 1997
I was born in the rather nondescript town of Aylesbury, Bucks, famous only for its ducks. My first 15 years were spent in the beautiful and tiny village of Adstock, where I played with knives and made camps and dammed streams and went hunting and fishing and camping with my dad and two brothers – happy memories. When I wasn’t out in the countryside, I spent a lot of time playing with electronics and computers, plenty of time bashing the hell out of an old upright piano and not quite enough time practicing the cello.
At the age of 15 I sold my computer and with some money I’d saved from a gardening job, bought a guitar and motorbike. I had an old organ that my aunty Elizabeth had left me but dreamed of owning one of the flashy synthesizers that the snotty blokes in the music shops reluctantly let me touch.
Not really very interested in pop music, I was in my own little world most of the time. Creating music or any kind of sound with electronics and gizmos was for me far more interesting. I behaved myself at school and got two A Levels, then went to university, didn’t behave myself and got chucked out for not doing any work, discovered LSD, Talking Heads, Magazine, Wire, They Might Be Giants, The B-52s (Whammy is one of my favorite albums) and had a completely wild couple of years.
I had however, managed to hold down a great job at Halliburton Geophysical Services in Bedford running their huge computer systems. I could spend night shifts all alone in the dark-room singing my head off with my music as loud as I liked. Unfortunately, I got promoted to an office job where I soon got bored. In the mean time, I’d moved to Northampton and formed a band called Diversion with my best friend “Stunt”.
Work soon started to suffer as we gigged quite a bit, but fortunately I bumped into Robert John Godfrey who’d just moved his studio 200 yards from where I lived. He needed somebody to help run the studio so I jumped at the chance and quit my rather respectable and fairly well paid job to learn how to be a poor sound engineer instead.
My heart wasn’t really into my band for reasons that I cannot quite fathom; I just wasn’t that interested. Although I’d written some songs that I was very happy with, Diversion fizzled out and I concentrated on being a sound engineer.
Meanwhile, The Enid had been coming and going and I’d helped out with live and studio sound, contributed guitar and bass parts to the album White Goddess and played a few gigs.
Then something clicked and I dived into writing and recording again, working with Robert, Jason, and Dave to re-work some of the melodies from my old songs into what is now Journey’s End. And we all lived happily ever after..
I am The Enids original drummer. Through an advert for a drummer in Melody Maker, which at the time ran gig ads that absolutely everybody read, I hooked up with the very first Enid line up in the autumn of 1974. The band was living in Maidstone at the time and had recorded some demos without drums earlier in the year, (The Cranbrook Tapes). It was on the basis of these very basic recordings that I decided to join.
After intensive rehearsals and further demos, we recorded the original version of In the Region of the Summer Stars at Sarm Studios in Whitechapel, East London. The band had moved to Royston and during rehearsals for live shows I left to pursue other musical interests in the summer of 1975.
Time passed and after a year or so travelling and playing around Europe I rejoined the band, just before the great equipment heist of 76 (Im sure you know the story) remaining until late 1979.
During this time the band rehearsed and toured constantly, playing bigger and bigger venues (including our first Reading Festival performance) culminating in the Hammersmith Odeon show in 1979. During this period we recorded Aerie Faerie Nonsense and Touch Me and of course also the Live at Hammersmith albums, after which I again parted company with the band.
I then spent a couple of years pursuing an interest in jazz and improvised music in various projects before returning to the fold in time to record The Spell. The mid to late 80s was a busy time, including some Hammersmith Apollo performances with the band augmented by extra musicians and dancers and the recording of Salome.
I also found time during this period to further develop a lifelong interest in Philosophy, gaining an Honours Degree at Middlesex Poly and then a Masters at the University of Essex. When not working with Robert or reading Hegel I spent the time touring with American blues legend Johnny Mars in a band featuring ex Gillan guitarist Ray Fenwick and of course my long term rhythm section brother Terry Thunderbags Pack, playing endless festivals and performing regularly on TV.
Since our first chance meeting in 1976 Terry and I have toured and recorded together many times and in many different line-ups over the years. Since recording White Goddess in 97 I have been involved in various projects, often working as a session musician at The Lodge. I have also fairly constantly been involved in teaching both 1:1 and to larger groups in drumming and other performance related areas. Recent album releases have included the latin jazz of What Happens Now with the Terry Pack Group featuring among others exceptional guitarists Enrico Pinna and Phil Hudson, and an electronica album by Michael Manning entitled Public (I am very interested in the combination of computer/dj produced music with live improvised playing).
My involvement with The Enid now spans well over thirty years and its not over yet! I am as excited by the new album as I was by the first.
ROBERT JOHN GODFREY
Robert John Godfrey, concert pianist, composer and philosopher was born on the 30th of July 1947. He is the father and founder member of The Enid and has remained at the centre of the bands activities for more than thirty years. As in the case of any dedicated composer, it is impossible to separate the musical talent from the greater person. The images and ideas contained in his music are not directly inspired by the compositions of others but rather from his interests in the deeper issues of our existence and our place in the cosmos. His life has been one long quest to try and understand these things.
His entry into the world of music came late. He didn't start playing the piano until he was twelve years old. A freakish and hitherto undiscovered talent began to emerge - a talent sufficient to take him into first the Royal College. He studied under the great British concert pianist Malcolm Binns, and found himself drawn into a circle which included such musical heavyweights as Sir Michael Tippett, Benjamin Britten and the German composer Hans Werner Henze.
However, life as a concert pianist was not to be - instead and opportunity to work with Norman Smith (Pink Floyd producer) at Abbey Rd lead him via Barclay James Harvest and a few subsequent failures to The Enid.
"Science is the only true religion; everything else is mere slight of hand"
"I seem to spend half my time telling myself that God doesn't exist and the other half talking to Him about the problem"
"If I am talking to myself there's got to be at least two people in here"
"The only eyes you can never look into are your own - and when you look into the eyes of another, all you can ever see there is yourself"
Details to follow..
Specialising in catching sticks, Max is a valuable and faithful asset to the band.