The 1990's


RJG and Steve Stewart decided to split up during the recording of The Seed And the Sower which was completed at the end of 1987. They decided to go out with a bang and planned two last back to back shows for the following autumn at the London Dominion.

These were to be the most ambitious and costly events ever embarked on by The Enid and The Stand. In order to fund it, a live recording together with a video recording of the two concerts was planned. Then, after a difficult time for them both, in the new year, Steve Stewart decided to move out of Claret Hall Farm effectively putting all their plans in jeopardy.

Apart from agreeing to show up at The Dominion, Steve Stewart walked away from The Enid, playing no further role in the band's affairs. RJG excepted this situation stoically, set about losing several stones, and plodded on.

The shows duly took place, both sold out and that was that. But there was an awful aftermath which few are aware off. The band's debts and liabilities were huge. Although RJG and Steve Stewart were mildly estranged, RJG did not wish him to have to bear the possible consequences of the financial storm brewing. Accordingly, he took steps to protect him and make sure that he was never exposed to what was bound to follow.

Robert John Godfrey found it necessary to give up the rented farmhouse in Clare where the band were based and moved himself and what remained of The lodge Studio to a house in Northamptonshire. He pinned his hopes on the forthcoming video and live album to balance the books. Whilst the recording (Final Noise) did see the light of day, the video project did not.

Much of the money taken in advance sales was used to fund the Dominion shows and the video production. The video master recordings turned out to be unusable. In the end, with much argument and recrimination, the project was abandoned. RJG, was now on his own, very broke and unable to make good his bargain with his fans. "There are going to be a lot of angry, upset people out there and there is absolutely fuck all I can do about it", he said whilst on the phone to me. I could tell he was near to breaking down.

In an effort to try and remedy the situation, RJG formed a young band with a more commercial appeal Come September. This very nearly succeeded with the band on the brink of a major record deal. However, it was not to be. The band, so near to having all their dreams come true embarked upon violent and destructive argument with each other over money, and the band split.

RJG took all the blame for this sorry state on the grounds that he was too easy going with them and should have foreseen these types of problem and nipped them in the bud.


RJG now had to survive. He moved The Lodge Studio into a rundown area of Northampton town, lived above the shop and opened for business with a young colleague, Max Read. And for a while, The Enid went quiet.

Enter Nick May. Nick was a well-meaning average prog guitarist; middle-aged and comparatively rich. He persuaded RJG to let him "resurrect" the band with himself in the starring role. It was a disaster and from there on in, RJG's mental health began to deteriorate.

There have been many false starts, raised hopes, new initiatives, failed compositions and broken promises. Yet in all this confusion, two albums appeared during this decade, Tripping The Light Fantastic and White Goddess, and though they are flawed they nevertheless contain some of the most sublimely beautiful music ever composed by RJG.

Over the years RJG and his business partner Max Read built The Lodge into a successful business with a good reputation.


1990's Albums

The Seed and the Sower

Tripping The Light Fantastic


Anarchy of 45 A-Sides

Anarchy of 45 B-Sides

The White Goddess