Joined the band in 2011
First acquainted with The Enid in 2009, Joe met his future collaborators whilst recording with other projects at the Lodge, Northampton. His love for the band’s music began with an invitation to a show near his home town of Tring, Hertfordshire. On first listen, the music hit a chord with Joe whose background and interests included concert piano, pop and progressive music, abstract theatre and admiration for ambitious performing artists such as Freddie Mercury, David Bowie, Kate Bush and Peter Gabriel.
In 2010 The Enid launched a new album, “Journey’s End”. Shortly followed by an extensive tour, the band decided to manufacture a small male choir including Joe named “The Northampton Decibels”. After almost a year of working together, Joe was invited to sing lead vocals on a new studio recording for the band’s third album of revisits, “Arise and Shine III: Shining”. The potential could be seen for a creative relationship from this moment onwards as the band encouraged Joe to apply his love of lyric writing to some of the revisited instrumental pieces such as “Autumn” from 1984’s “The Spell”.
At this time Joe was studying a Business Management degree at the Clare Business School, Buckinghamshire. His new insight into brand management fuelled an ambitious dissertation which challenged the possibility of rebranding The Enid into a more sustainable format. Though met with some hostility from fans, Joe pushed forward to transform The Enid from a poorly presented and dated instrumental band into a vocally led and visually ambitious outfit. Maintaining the band’s integrity and trademark sound, the evolution was successful, attracting a much wider demographic and expanding their audience substantially.
Joe now co-writes on all of the bands new material, writing melodic content and lyrics in collaboration with Robert John Godfrey and Max Read. His influence to create more visually dynamic and conceptual live shows have led the band to be recognised for their events as much as their music, gathering wide acclaim from the rock press and a “Live Event” nomination at the 2015 Progressive Music Awards.
Voted “Best Male Vocalist” two years running in the Prog Magazine Readers’ Poll, Joe is now coached in operatic vocal technique by one of the world’s leading Classical Voice teachers, Paul Farrington (currently vocal consultant to the Royal Opera House Covent Garden, New National Theatre Tokyo, and Göteborgs Operan in Sweden). He is also directed in stagecraft by TV Illusionist Simon Drake, best known for his Channel 4 show “Secret Cabaret” and performance and production role in the Kate Bush “Tour of Life”.
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
Max is The Enid’s engine room – a skilled composer, arranger and producer, he’s also the man who brings Robert John Godfrey and Joe Payne’s visions to life.
Max grew up in a remote, picturesque Buckinghamshire village called Adstock. Here he spent much of his time adventuring in the great outdoors; hunting, fishing and camping with his dad and two brothers. When he wasn’t out in the countryside, he’d be found playing with electronics and computers, or entertaining the locals by performing on his cello and parents upright piano.
As a boy he was not very interested in pop music or popular culture. Creating music or innovating sounds with electronics and gizmos was far more interesting to him. Ironically failing his A Level in Music, Max went to Sunderland University armed with qualifications in Maths and Computers. Unable to behave himself in the wider world, he discovered LSD, Talking Heads, Magazine, Wire, They Might Be Giants and The B-52s whilst enjoying a completely wild couple of years, finally getting kicked out for not doing any work.
After a two month trial as an estate agent in Banbury, Max was quickly fired for being too honest with customers. He did, however, manage to hold down a job at Halliburton Geophysical Services, Bedford running their huge computer systems. There he could spend night shifts all alone in the dark-room singing and playing music as loud as he liked. In the meantime, he moved to Northampton and formed a band called“Diversion”with his best friends.
Work soon started to suffer as Diversion’s touring schedule grew. Fortunately, this was when Max bumped into The Enid’s Robert John Godfrey, who’d just moved his recording studio only 200 yards from Max’s zebra-painted bachelor pad. RJG needed somebody to help run the studio, so Max jumped at the chance and quit his rather conventional job to learn how to be a sound engineer instead. As his work with Diversion fizzled out, Max decided to focus primarily on engineering and production.
Meanwhile, The Enid’s productivity ebbed and flowed during the 1990s as Max helped out engineering their live and studio sound. He contributed guitar and bass parts to the 1997 album “White Goddess” and played a few sporadic shows with them. In the late 90s The Enid downed tools for nearly a decade, and it was during this hiatus Max built up an excellent reputation as a much sought-after engineer, producer and mixer when managing the Lodge Recording Studio. When not slaving over a hot mixing desk he also applied his skills as a handyman to completely re-build the Lodge’s recording and mastering facilities, transforming it into an exclusive purpose built recording space.
In 2008 Max began working with RJG, Jason Ducker (guitar), and Dave Storey (drums) to re-work some of his Diversion material into what is now “Journey’s End”, catalysing a new era for The Enid.
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 founding member of The Enid and has remained at the centre of the band’s activities for more than forty years.
Raised in the grounds of Leeds Castle in Kent, Robert was schooled at Finchden, a "community for delinquent, disturbed or disturbing boys" founded and led by British educationist and psychotherapist, George Lyward. Fellow students at Finchden Manor also included Tom Robinson, Alexis Korner and Matthew Collings.
RJG’s entry into the world of music came late. He didn't start playing the piano until he was twelve years old, whereupon a freakish and hitherto undiscovered talent began to emerge - a talent sufficient to earn him a place at The Royal College of Music, London. 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. Also taught by William Lloyd Webber (father of Andrew and Julian Lloyd Webber), RJG claims to have learned all the “naughty chords” and everything he knows about harmony from this composer.
Life as a concert pianist was not to be. Instead RJG was offered an opportunity to work with Norman Smith (Pink Floyd producer) at Abbey Road Studios. This subsequently led him to be planted as music director and co-writer to Barclay James Harvest, aiding their rise to fame with hits such as “Mockingbird”.
After a fall out with Barclay James Harvest, RJG signed to Charisma Records and released his debut solo album, “Fall of Hyperion”. This album led RJG to the realisation that he was better suited to collaboration, and in 1974 he returned to his old boarding school Finchden to seek the talents and ideas of co-founders Francis Lickerish and Steve Stewart. Together these young men developed the ideas first written for a school play to become one of The Enid’s most famous works, “In the Region of the Summer Stars”.
After 4 albums, The Enid ceased their relationship with EMI in 1980, also splitting with lead guitarist Francis Lickerish. At this time RJG and Steve Stewart founded a recording studio, The Lodge in Clare, Suffolk. This attracted pop artists such as Katrina and the Waves and Kim Wilde, for whom RJG and Stewart remain uncredited as arrangers and performers on records such as “Kids in America”.
With no support from the record industry, RJG and Steward decided to revive The Enid in 1983 launching the first ever completely crowd funded album, “Something Wicked This Way Comes”. Despite the lack of support from large record labels the band continued to have success equal to that of the 1970s, entirely supported by their fan club, The Stand which had over 2000 members.
RJG has been acknowledged by the music industry in numerous ways over the last few years, highlighting the contributions he has made to the arts. This year he was voted “Best Keyboardist” by readers of Prog Magazine, and in 2014 he was presented with the critics choice “Visionary Award” at the Progressive Music Awards. At the event he gave an inspirational speech about the importance of legacy and investing time towards the nurture of new artists, receiving a standing ovation from an audience of high profile guests such as Peter Gabriel, Rick Wakeman, Steve Hackett and Fish. RJG was also included as one of the top 100 composers of all time in the Classic FM Hall of Fame, 2012-14.
"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"
Zachary Bullock, born a mere 20 years after the band formed in 1974, is the newest member of the fold. His love for music was clear from the get go and almost inevitable, with all his older siblings being musicians with the biggest inspiration for them all being their father.
There had always been a piano at home, that being dad’s main instrument. Zach was always able to mess about on it and just do whatever sounded nice to his ears.
At school he had lessons on the trumpet. His instrument of choice was actually the trombone but his arms just weren’t long enough at the time! With lessons on the violin and viola as well, Zach felt his music education had become too structured, leaving him without the freedom to express himself as he felt. The lessons ceased and he began to noodle around on the piano and guitar again. It certainly wasn’t theoretically based but it was fun!
After years of not taking music too seriously and watching many of his friends play in bands, Zach formed his first proper band with a childhood friend. Able to jam for hours on end in a home studio, this is where Zachary’s ear and abilities really developed; there were no boundaries.
It was inevitable that Zach’s involvement with various local band’s in Northampton would bring him into contact with The Enid. When he walked through the door of The Lodge Recording Studio offering himself as a spare pair of hands, he was quickly spotted by Robert John Godfrey as musically gifted. Zach was given a room in The Enid household and offered the role of a trainee live sound engineer for the band.
Zach says, “My first impressions of The Lodge Recording Studio and The Enid HQ were ones of awe and amazement. The Lodge was like nothing I’d seen before. Everyone inside was incredibly friendly and welcoming.”
It soon became clear that Zach had far more to offer and he was asked if he would like to be on the other side of the sound desk and join the band on stage. It has been a big leap of faith by all but seems to be paying off.
Since joining he has had to rethink his view towards music and is currently teaching himself harmony and music theory, and with Robert John Godfrey and Jason Ducker as mentors his abilities continue to increase. There is still a long way to go but living with everyone in the band and working side by side, Zach feels he learns something new every day.
Says Zach, “The band have put a lot of faith in my potential and I feel it is of the utmost importance that I repay that faith and live up to the promise they see in me.”
Specialising in catching sticks, Max is a valuable and faithful asset to the band.