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For anyone who vaguely recalls the Woking / GU postcode area music scene.

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  • The Embers

    The Embers

    (c’64-’71) Terry Sherring (vocals), Gary Cooper (?), Dave Porter (bass) and Everett Cresswell (drums).

    The Embers agency sheet. Picture courtesy of Richard Prest of http://kernowbeat.co.uk/

    Under Bob Potter’s management they often double billed with Sweet Life and gigged across the south, including The Barn, Penzance; Atalanta, Woking; and White Buck, Burley. They were also booked for a season or two at Sunshine Holiday Camp, Hayling Island. Alan ‘Algie’ Watkin (drums /vocals) replaced Cresswell; and Kirk Riddle (bass) replaced Porter, then Brian Smith replaced Riddle; and Seb Smith (?) was a member at some point.

    Advert from Melody Maker 15 April ’67

    The Present Tense and The Pityful supported The Embers at Tiles, Soho on 15 April ’67. Two years later we find The Embers, along with Third Ear Band, supporting The Who at Poole College’s Rag Ball held on 2 April ’69 at the pavilion Ballrooms, Bournemouth. On 1 October ’69, The Embers were one of the many bands, including Sky, Wishful Thinking, The Late, Canterbury Tales, Crazy Paving, Chimera, and Magic Alice that played a benevolent concert at Samantha’s Club, as the Agincourt, Camberley was called for a time. This was compered by Dave West and also featured the Radio 1 D.J. Ray Moore.The Village Hall, Hartley Witney hosted The Embers on 18 December ’70, and the next year, on 6 March ’71, St. Luke’s Hall, Overton did the same. At some point after 2009 the bands track “Looking Glass” appeared on Pop Cycles Vol.12, as the opening track on the second disc.

    “Looking Glass” appeared on Pop Cycles Vol.12

    In ’72 Sherring, who was based in Ash, Cooper, and Porter, with others, formed Farnborough Firework Factory. Watkin had been in Aldershot based Grapevine, before The Embers; he then joined agency band Rubber Duck, had the occasional appearance in House, joined Jackie Lynton’s Happy Days Band and then become a Bloodhound. Riddle passed in November 2017.

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  • Guilfest, Guildford

    Guilfest, Guildford

    Guilfest was started as the Guildford Folk Festival in ’92 by Tony Scott in Stoke Park, Guildford. Originally a one-day event, it grew and grew over the proceeding 20+ years to a full three-day ‘medium’ sized festival with multiple stages and a range of genres including rock, folk, blues, and in later years pop; until financial troubles ended its run.

    31 August 1992: Guildford Folk Festival Programme cover.

    Performances by Peter Sarstedt, John Otway, Macavity’s Cat were witnessed by 500 people in 1992, across two stages. They all shared festival toilets that had piped music and flowers! In ’93, the Guildford Folk Festival added blues; becoming the Guildford Folk & Blues Festival and doubled in audience size and had The Blues Band and Wilko Johnson Band topping the bill. 1,500 people turned up to watch the acts, that included Tom Robinson Band, Ralph McTell, John Otway Big Band, and local bands such as Womb, across three stages in ’94. Then in ’95 Chris Evans auditioned to play at the festival on his Radio 1 show. The audience doubled again to 3,000 and the event moved to Loseley Park and became a two-day event with onsite camping and Richard Thompson, Peter Sarstedt, Chumbawamba, The Hamsters and Oysterband.

    17-18 August 1996: Guildford Folk & Blues Festival flyer.

    It was back to Stoke Park for the 5th Guildford Folk & Blues Festival in ’96. The ~6,000 attendees watched as a man in black took to the stage and launch into Otis Rush’s “It Takes Time”. Nigel Watson led the first few songs, but Peter Green started to come alive during Jimi Hendrix’s “Can You See Me”. The encore (Freddie King’s “Goin’ Down”) was described by Martin Clemens in The Independent as “one of the happiest musical spectacles of the year.” In addition to Green, the was Eddi Reader, The Hamsters, Shane MacGowan & The Popes. The event was to remain at Stoke Park, expanding to three-days in ’97 under the Guildford ’97 Festival moniker and headlined by Jethro Tull. It was also officially supported by Guildford Borough Council, CMR Radio and 96.4 Eagle Radio with Scott later saying it was the year people started to take GuilFest seriously. 8,000 people occupied Stoke Park that year with The Levellers, Saw Doctors, Carter USM and Dreadzone. ’98’s festival, just called Guildford ’98, saw BBC GLR getting onboard and Space, Shed Seven, The Lightning Seeds, Asian Dub Foundation, Bentley Rhythm Ace, Beth Orton, and The Levellers on the bill, entertaining just over 9,000 punters at what was now the UK’s 6th largest outdoor music festival. Guildford Live ’99, continued the events connection to BBC GLR and added BBC Radio 2, with Stoke Park reverberating to the sounds of James, The Saw Doctors, Bob Geldof and Jools Holland & His Rhythm and Blues Orchestra across the four stages for 10,000.

    Guildford Live 2000 Weekend Ticket. Source: Chewtonia.com

    Still going by the Guildford Live sobriquet, the 9th (2000) and 10th (2001) festivals continued to expand the events status. 12,000 people attended to see Van Morrison, Joan Armatrading, Jools Holland, David Gray, Culture Club, Motörhead and Rolf Harris in 2000. The following year Pulp, James, Reef, Dreadzone, Lonnie Donegan, Catatonia, The Wurzels, Bentley Rhythm Ace and Dead Men Walking did the same. 2001 also saw the first Comedy Tent introduced and the number of stages increase to five, with 13,000 people in attendance. Jools Holland was back in July 2002, for the first festival officially called Guilfest, with the likes of Fun Lovin’ Criminals, Echo and The Bunnymen, Billy Bragg, New Model Army, The Stranglers, and The Pretenders. Uncut Magazine supported Guilfest 2003, rocking out to Madness, Alice Cooper, The Darkness, Atomic Kitten, Skin and Daniel Bedingfield. The phalanx of sponsors continued to grow over 2004 and 2005 as the event reached towards its zenith. Blondie, Simple Minds, and UB40 were the headliners in 2004, with an ever-expanding number of supporting acts across the six stages; that included Ocean Colour Scene, Katie Melua, The Damned, Midge Ure, and Steve Harley & Cockney Rebel. The 2005 event, the biggest in the event’s history, featured 6 stages and a comedy tent. 15,000 people turned up to watch Paul Weller, Status Quo, The Pogues, The Subways, The Proclaimers, Chas and Dave, Nizlopi, and The Storys. Also in 2005, The Surrey Advertiser sponsored the Guilfest 2005 Unsigned Heroes CD featuring: Black Night Crash, Get Amped, Ariel X, Kovak, The Roosters, Who Will Miss Mary?, Epuldugger, The Citadel, Daybreak, This is Seb Clarke, Stylus, Big Wednesday, The True Deceivers, Intervurt, and United Stoats Of America. The Storys were back in 2006 with Embrace, Gary Numan, A-ha, Billy Idol, The Wonder Stuff, Kosheen, Blue Oyster Cult, Newton Faulkner, Sandi Thom, Nizlopi, The Lightning Seeds, The Stranglers, and Gary Numan. This was the year GuilFest won the Best Family Festival Award, introduced a Theatre Tent, and members of Sammy Rats Big Big Blues Band, having reformed in 2005, appeared at Guilfest under the name Sammy Rat and The Resonators.

    In 2007 the BBC Radio 2 main stage was headlined by Supergrass, Squeeze and Madness, who were supported by The Magic Numbers, over the three-days. The second, Ents24, stage featured Richard Thompson, The Saw Doctors, and Uriah Heep. Morcheeba, Jimmy Cliff, The Ordinary Boys, and The King Blues also appeared on one of the ten stages. While we are not sure which stage they were on Sammy Rat and The Resonators returned and Redwood, who reformed in 2006/07, played at GuilFest that year, releasing a collection of B-sides and unreleased tracks, titled “Roadtrip” [GTR001MCD] on 15 July 2007 especially for Guilfest 2007. Redwood returned in 2008 for the University of Surrey, Guildford sponsored festival that secured The Levellers, Blondie, The Australian Pink Floyd Show, Kula Shaker, Cerys Matthews, Bowling for Soup, and Seth Lakeman. On the Rock Cave stage, sponsored by Rock Sound, Fightstar, The Ghost of a Thousand and The Blackout played. Now marketed as a three-day camping festival set in the idyllic grounds of Stoke Park, Guildford; Guilfest ’09 included: Motörhead, Goldie Lookin’ Chain, You Me at Six, Nouvelle Vague, Brian Wilson, Joe Bonamassa, Happy Mondays, The Wailers, The Charlatans, Athlete, Toploader, Will Young, Eureka Machines, DJ Yoda, Rusko, The Love Band, The Fins and Andrew Morris, Pendulum and local band Hundred Reasons. The event rolled on. 2010’s 20,000 attendees saw Status Quo, N-Dubz, Hawkwind, The Blockheads, 10cc, Orbital, The Human League, Level 42, Just Jack, Tinie Tempah, Chase & Status, The Blackout, Rock Choir, and Hadouken!, among others.

    15-17 July 2011: GuilFest 2011 Programme cover

    2011 saw Roger Daltry, Razorlight, James Blunt, Adam Ant, The Farm, Erasure, Ziggy Marley, The Rifles, DJ Fresh, Funeral for a Friend, and Peter Andre take the stages. And 2012’s line-up included Olly Murs, Bryan Ferry, Gary Numan, Ash, Alvin Startdust, Slider, Tim Minchin, Cher Lloyd and Ash; but a plethora of competing events, including the London Olympics, and some pretty poor weather, that turned Stoke Park into a quagmire, took their toll.

    After 21 years, Guilfest shut down. Tony Scott reported that the company had been left with debts of about £300,000 after 2012 and matters were in the hands of an insolvency practitioner. The event owed taxes and money to Surrey Police and Guildford Borough Council amongst many others. Reasons cited by organisers included the abundance of competing major events in that year, most notably the London Olympics. Poor weather also contributed with the rain turning Stoke Park into a “quagmire by Saturday – and by Sunday it had turned into sticky bog”. Two events popped up to fill the gap in 2013: Magic FM’s “Summer of Love” held at Stoke Park, headlined by Jamiroquai and Bryan Adams; and the protest event, standing against the “corporate takeover” of the former Guilfest by Magic FM’s promoters Live Nation, called “GU1 Free Festival” at the Holroyd Arms. The line-up at The Holroyd included The Feathers, Louise Distras, Shakespearos, Anarchistwood, The Unbelievable Freeloaders From Mars, P45, Unexpected Item in the Bagging Area, Archive 45, Gobsausage, Black Anchor, Collage of Sound, Snork and Kerb.

    18-20 July 2014: GuilFest 2014 Programme cover.

    Guilfest was back in 2014 with The Boomtown Rats, Kool & The Gang, The Human League, Fun Lovin’ Criminals, Boney M., and The Blackout. It went into insolvency again shortly after on the back of late permissions/licensing, a bad weather forecast, and low ticket sales.

    WE are also aware that the GuilFin Ambient Lounge, a 24-hour performance and campaign venue that toured a number of UK festivals appeared at GuilFest one year, led by event producer Liam Rich. Eight years would pass before GuilFest returned again, still being run by Scott, on 16–17 July 2022 at Hurtwood Polo Club, Cranleigh, headlined by Peter Hook and Sister Sledge. Although this was on a much smaller scale to earlier event, 2022 enabled the festival to gear up for its return to Stoke Park in 2024, and a surprise announcement was made in December 2023 with the line-up.

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  • Ghost Studios, Send

    Ghost Studios, Send

    Ghost Production Studio’s was established in ’85, offering audio production, recording and rehearsal studios. Over the years Ghost, based out of the Old Riding Stables, Send Hill, have worked with Paul Connelly, Ben Lovejoy, Sue Macmillan, Social, Satellite State, Go West, Tony Hadley, Heat Wave, Charlie Morgan, Mark Brizickey, Adam Wakeman, Victoria Beckham, Elton John, and Draven.

    1990’s “Good Night Danny” recorded and mixed with Pete Mills at Ghost Studios, Send.

    More locally orientated; in 1990 Who Moved the Ground?‘s “Good Night Danny” was recorded and mixed with Pete Mills at Ghost. That same year, The Sack released a six-track demo cassette titled “Oh, No!”; which had been recorded and mixed at Ghost over three days in July. In November ’91 Thieves of Dreams released the 4-track demo cassette “Florence Ain’t No Nightingale!”. This was also recorded at Ghost Studios, and carried “Children of the Night”, “Smiling Game”, “Am I Happy Now?”, and “Shelter”. TOD recorded a further two demos at Ghost, including “We Were in Love”.

    The Sack’s “Oh No!” cassette EP. Picture courtesy of Sid Stovold

    Blue Velvet were joined by Jim O’Neil on keyboards for the recording of the eight tracks of “On the Eve of Tomorrow”, with its electric and acoustic sides, in November / December ’91; after which Island Records offered encouragement but no contract. Frantic also used the studio to lay down the “Blue” demo cassette, with its hand painted sleeve.

    Mills was the bassist / vocalist with The Click before becoming the owner and in-house engineer at Ghost / Send Hill Studios.

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  • Cambridge Hotel, Camberley

    Cambridge Hotel, Camberley

    The Cambridge, originally erected in 1862, is now flats. Built by Captain Charles Raleigh Knight, a property speculator, in association with the development of the Military Academy across the road, the area around the hotel was/became known as Cambridge Town but was renamed “Camberley” in January 1877 to avoid the General Post Office getting confused. But back in the ’60s there was a regular Jazz Club at the hotel every Sunday night, run by David Saunders.

    22 April 1966: High Curley Stompers at Cambridge Hotel, Camberley Source: Camberley Photographs from the 1880s to the 1980s.

    In ’55/’56, the High Curly Stompers had a Sunday night residency at the Cambridge Hotel, which lasted into the mid-60’s; the band were certainly still playing there on 22 April ’66. Memphis Express played at The Cambridge on either the 10 or 17 October ’68. At some point that same year, the appearance of The Modern Art of Living at The Barn, held at The Cambridge, was delayed briefly when bassist Roger Carson broke a fluorescent tube while putting on his bass, spearing his hand in the process. The performance awaited the glass to be extracted, but ultimately Brian Smith took over playing Carson’s right-hand bass, left-handed. The venue also played host to the likes of Kenny Ball and Acker Bilk, and in addition, the Tremelos are known to have played there.

    3 October 1984: Controls played Splinters, Cambridge Hotel, Camberley. Source: Stupid Rabbit Tapes

    On 31 May ’72, The Montanas, the Wolverhampton band whose “You’ve Got to Be Loved” reached number 58 on the U.S. Billboard Hot 100 in ’68, made an appearance at the venue and, on 24 August ’74, Jigsaw, who had a UK Top 10 with “Sky High” the next year, stepped up to play at The Cambridge. Bands, including Thane and The Mode, were still playing at The Cambridge into the ’80’s. On 17 March ’81, Lethal Dose, supported by Strontium 90 (not the Police precurser), played at the venue. Splinters was a club held at The Cambridge and Controls played there on 3 October ’84. The last gig, of which we are currently aware, was Supermodel on 16 October ’96.

    The Cambridge during demolition in 2022. Source: Mark Naylor via Camberley, Frimley & Bagshot & surrounding areas, Some Serious History

    The venue closed for good in 2016 and was demolished in 2022, with construction starting shortly after of the residential Cambridge Court.

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  • Backhurst

    Backhurst

    (c’73 -’77) Chris Brayne (drums), Tony Backhurst (guitar/vocals), Dave Tarn (guitar/bass), Sandy Henderson (flute/vocals), Dave Sinclair (keyboards) and Dave Solari (guitar).

    Tony Backhurst’s eponymously named band are known to have played at the folk club in Farncombe a few times, exhibiting Lindisfarne influences. The appeared at the Stag Folk Club organized free concert at The Guildford Show on 1 September ’73 along with Derek Sarjeant & Hazel King, Rod Bayton, Ian Russell, Mountain Line, Fred Hayes, and Damien. A couple of years later, on 18 March 1975, Backhurst appeared at the International Folk/Blues Club at the Half Moon Tavern, Herne Hill.

    They recorded some material at the University of Surrey, Guildford; where they met Sev Lewkowicz (keyboards/backing vocals), a friend of Tarn and then of Asylum. Lewkowicz was only going to stay for a couple of hours but liked what they were doing and stayed until the session finished in the morning and contributed harmony on one song. Sinclair and Solari both left the band shortly after the University session. The band supported Asylum at the Marquee, London during a month-long residency in early 1976. Asylum’s drummer, Greg Terry-Short, along with Lewkowicz, would join then for a couple of tracks. At the last of the Marquee gigs Dave Reading (acoustic guitar) joined the line up.

    At the end of the Marquee residency Backhurst and Lewkowicz formed House. Backhurst would also play in The Famous Rondini Brothers and Poker, before going on to join Mungo Jerry. Brayne, who’d done a stint with Nashville Teens and The Stormsville Shakers, also did his time in Mungo Jerry, The Famous Rondini Brothers, Poker, Manhole, and Cryin’ Out Loud. He was nicknamed “Wheelbarrow” and played drums in the Jackie Lynton’s Happy Days Band for quite a while and is the subject of the bands “The Worlds a Wheelbarrow”; but has now sadly passed. Tim Wheatley joined House in May 1976. Tarn would also appear as a solo folk musician. Sinclair, who was the cousin of Caravan bassist Richard Sinclair, joined his cousin in Camel for the album tour promoting “Breathless” in ’78, co-replacing Peter Bardens with Jan Schelhaas.

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  • CUT

    CUT

    (c’92-’95) Mark Charles (vocals), Steve Smith (guitar), Steve “Jammo” Jameson (bass), and Pete Chichone (drums).

    Jameson had been the bass player with World Domination Enterprises, Smith was from The Vapors, Shoot! Dispute and 1ST, and they got together with Charles of UBz, Shoot! Dispute, 1ST and many other bands, and Chichone to form CUT.

    A still from the video for CUT’s “Pickapocket”

    On 19 January ’95, CUT, along with Headrush and Sil, supported headliners Blameheads at Interspace, held at The Bull & Gate, Kentish Town. In 2012 Mick Mercer’s book “C is for…” was published, which included a number of images of the band playing at the Marquee, London on 12 December 1994; we are also aware of an appearance at University of London Union, Bloomsbury.

    Jameson passed in early 2019. From ’98 to 2006, Chichone drummed for Breed 77.

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  • Tenth Planet

    Tenth Planet

    (c’92-’13) Tenth Plant, along with sub-label Wooden Hill Records formed in ’95, were based at 13 Barricane, St, Johns, Woking and specialized in rare / hard to find psychedelic rock re-issues and compilations, specifically the Syde Tryps series. Between Tenth Planet and Wooden Hill, they re-issued some 65+ titles.

    Front of sleeve to 1992’s “Standing Stones” by Oliver on the Tenth Planet label.

    The first was, a limited 500 numbered copy run, of the LP “Standing Stone” [TP 001] by Oliver (aka Oliver Chaplin) in ’92, a rarity that had originally been self-released in ’74, with liner notes credited to David ‘Dog Man’ Wells. We know that the test pressing occurred on 19 August ’92, so we assume that the runs printing and pressing schedule, which was done in France, would have led to a September/October release date. A CD version was issued on the newly established Wooden Hill, then based at 48 Armadale Road, Woking, in ’95.

    Front of sleeve to Tenth Plant’s “Syde Tryps One” compilation released in 1992

    Syde Tryps One” [TP 002] was also released in ’92 and featured 14 tracks by The Pleasure Garden, Giorgio & Marco’s Men, Whispers of Truth, Free Expression, The Purge, The Poets, The Maniax, Tidal Wave, Blackthorn Winter, Euphoria, and Kat. Wells handled the liner notes and Steve McCarthy the cover art, as he had on ‘Standing Stone‘. The production run was once again 500 copies and Wooden Hill dropped a CD version, with an additional track by Fringe Benefit, in ’95.

    In 2016, Wells compiled Grapefruit Records [CRSEGBOX033] “Let’s Go Down and Blow Our Minds: The British Psychedelic Sounds Of 1967” 3-CD compilation box set, that included The Late’s “Family Tree”. The Late also recorded, around ’69, several acetates, demos and private recordings, some recorded in Bob Potter’s studio in Mytchett, Surrey, on an Ampex 4 and many are now included on Wooden Hill Records compilation “Songs from the Family Tree” [WHCD021].

    (Ed – So much more to add when we get to it…)

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  • Hot Vultures

    Hot Vultures

    (c’73-’79) Ian A. Anderson (guitar/slide guitar/vocals) and Maggie Holland (bass/banjo/guitar/vocals).

    This Farnham based duo were popular on the UK and European folk scene and college circuits. They were often at The Copper Family’s Sussex folk nights and played early Cambridge Folk Festivals, and they released three LPs.

    “Carrion On” was released in 1975 by Hot Vultures

    The duo were at Sheffield University’s Folk Club on 17 October ’74, billed as ian A. Anderson’s Hot Vultures. The next year “Carrion On” was issued in the UK and Belgium and was recorded with help from Dave Griffiths (fiddle/mandolin), Dave Peabody (harmonica), Al Jones (guitar) and John Pilgrim (washboard). Late in ’76, we find the pair at The Cob & Pen Folk Club, Swan Pub, Sherborne St. John on 10 December. “The East Street Shakes” [RRR 015] named for East Street, Farnham come out in ’77 on the Reg Rag Recordings label, having been recorded at Riverside Studio, London and engineered by John Gill. The duo returned to The Cob & Pen Folk Club on 20 January ’78 and were at Crofter’s Folk Club, The Wheatsheaf, Alton, along with Earthforce, and John Lathey, on 13 September ’78.

    Early the next year there was another return visit, on 19 January, to the The Cob & Pen Folk Club. Also, in ’79, “Up the Line” LP [PLR 018] was released on the Plant Life label and by Sierra Briar Records [SBR 4212] in the US. It was once again engineered by John Gill, but recorded at Leader Studios, Halifax with Pete Coe (mandolin/vocals), Chris Coe (hammered dulcimer/vocals) and Martin Simpson (banjo/guitar/acoustic bass/vocals) making appearances.

    In ’80 they were invited to the States by Al Stewart, not long before their third and final album was released in the US (a rare occurrence for English folk artists of the day). While stateside they appeared on the Folk Scene show on KPFK Santa Monica, where they played live and were interviewed by the host, the late Howard Larman, about their music and the UK folk scene of the day. shortly after their stateside sojourn Hot Vultures joined the Tannahill Weavers, on 22 March ’80, at The Haymarket Theatre, Basingstoke.

    Hot Vultures in Germany…

    Around this time Anderson and Holland had started performing with Simpson as The Scrub Jay Orchestra. In 1980 the Plant Life label carried “The Preacher’s Blues” [PLRS 002] 7″ vinyl single; taken from the “Up the Line” LP. Eventually the duo expanded into The English Country Blues Band with the addition of Rod Stradling, Sue Harris (who was later replaced by Chris Coe) and later the ’80s electric country dance band Tiger Moth and then Orchestre Super Moth. In ’98 the Hot Vultures best of anthology CD titled “Vulturama” [WEBE 9031] was released on Anderson’s own The Weekend Beatnik label, pitched as ‘The best 74 minutes of Hot Vultures, ever!’

    Hot Vultures

    Latterly, Anderson has been in the duo The False Beards with Ben Mandelson. In ’82, he founded Farnham Folk Day, an annual event at The Maltings, Farnham running it until ’88. From ’87-’89 he directed the Bracknell Folk & Roots Festivals at South Hill Park, Bracknell and many other folk events in London and Bristol from ’87-’16. He organized tours for other artists and acted as agent for other folk and world music artists via his Farnham based Folk Music Services. Anderson also contributed to Blues Unlimited, the Western Daily Press, Melody Maker, Folk Review and Folk Scene. In ’79, he co-founded The Southern Rag, a local quarterly folk music magazine that grew to a 12,000 worldwide circulation. He founded an independent record label Rogue Records which became The Weekend Beatnik. Anderson presented a weekly folk, roots and world music show on County Sound in the mid ’80s and a weekly folk show on the BBC World Service for 12 years from 1987; and appeared on many other stations.

    Holland pursued a successful solo and songwriting career with songs recorded by June Tabor and Martin Carthy. She released her first solo album, Still Pause, in ’83. In ’85 she was the female lead singer in the National Theatre’s three-month run of Tony Harrison’s Mysteries trilogy, and she toured the far east as a duo with Chris Coe. She moved from Farnham to Oxford in ’86. Holland won the BBC Folk Awards ‘Best Song of 1999’ with “A Place Called England” and was last heard playing in The Broonzies with Jez Lowe and living in Jez Lowe.

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  • Duke Of Wellington, Farncombe

    Duke Of Wellington, Farncombe

    We know that Innocent Bystanders had gigs at this Farncombe Street location in 1987. They had just lost their regular slot at The Talbot Hotel, Ripley and the band secured two or three gigs at the Duke after persuading the landlord at short notice. The Flying Tigers played the venue in 1988/89 – and a recording of one of these gigs exists somewhere – as did The Piccadilly Mudmen, many times a few years earlier (c’85-88).

    1987: Innocent Bystanders at the Duke of Wellington, Farncombe. Picture courtesy of John Hudson

    We know more about The Duke’s history than we do its live music pedigree: It was a beerhouse on Farncombe Street in 1841, having opened in the 1830s, as a direct result of an Act of Parliament passed by the Duke of Wellington’s government. In 1851 it was run by 27-year-old Alfold man, Charles Boxall and his wife Mary. The original pub burnt down in 1880 and was replaced by the building in the photo and was owned by the Guildford’s Friary Brewery. Pheasant Griffith was landlord here from 1898 or possibly slightly earlier. His license was transferred to George Smith in 1908. During the Second World War the local ARP wardens command post was situated in the pubs back yard.

    The Flying Tigers at the Duke of Wellington, Farncome in ’89. Picture courtesy of Ben’s Collectors Records

    It closed in 1997, was demolished and replaced by houses.

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  • Chestnut Studios, Churt

    Chestnut Studios, Churt

    The Surrey Sound Hub That Defined an Era (1976-1986)

    Nestled in the Surrey countryside, Chestnut Studios became a cornerstone of the local, and broader, music scene during its decade of operation. Owned by Tim Wheatley—a musician and producer with ties to bands like Good Earth, Taggart, House, Gracious, Cryin’ Out Loud, and Poker, as well as being the engineer at Keynote Studios, Frensham—Chestnut Studios played a vital role in shaping the sounds of punk, new wave, and experimental music. Though frequently cited as being in Churt, the studio’s location has also been linked to Guildford, Frensham, and Farnham, adding an air of mystique to its storied history.

    The Birthplace of Iconic Tracks

    Chestnut Studios first rose to prominence in 1976 when Headwaiter recorded early demos featuring Camel’s Andy Latimer on guitar and flute. That same year, Anthony “Dyl” Meynell, under the moniker The Numbers, recorded ten tracks with his brother, catching the attention of Sniffin’ Glue fanzine founder Mark Perry. The Numbers however never made it onto Perry’s Step Forward label, as Meynell joined Squire. Worthing based punk band The Bats also entered Chestnut in ’77 to record a demo.

    By 1978, Chestnut had become a haven for emerging punk and new wave acts. The Vapors, who would later achieve international fame with “Turning Japanese,” recorded their original demos at Chestnut and nearby Shalford Village Hall. The studio also contributed to Who Invited Them?, a compilation showcasing Guildford-area bands: Poker, Jackie Lynton’s H.D. Band, House, and Headwaiter, reinforcing its reputation as a creative nucleus. Squire would also record four tracks at the studio: ‘Modern Love’, Get Ready to Go’, Getting Better’ and ‘Living in the City’ during ’78.

    Cover of 1979’s Dogs, Women and Walnut Trees LP

    In September ’79, Graham Cooper entered Chestnut Studios and ably assisted by Greg Terry-Short on drums and fellow Soho member Terry Campbell on bass, who split those duties with engineer Wheatley, recorded nine rock and blues tracks, including Cupcakes Boogie. There were also backing-vocals provided by Tammy and Teri Collins on the title track, with the Bloodhound‘s Mick Hogsden, along with Greg Watkins and Terry-Short doing the same on Lar-De-Dar. These would be released as the solo vinyl LP: Dogs, Women and Walnut Trees on Fat Toad Records [FTR001]. There were also two bonus tracks on the B-side: Rollover Beethoven and Tamel recorded live with The Jackie Lynton Band and the Golden Lion, Fulham on 18 November ’78.

    Camberley punk band, Lethal Dose received their master tape from Wheatley in the control room at Chestnut Studio an image that made the local press in 1980.

    A Studio for All Genres

    Beyond punk, Chestnut Studios supported a diverse array of artists:

    • Richard Ashworth: The singer-songwriter’s M3 Revisited EP (1978) was produced by Sev Lewkowicz, a frequent collaborator in Ashworth’s backing band White Dub, at the studio.
    • Warrior: Their Trouble Maker LP (1980) featured Lewkowicz on keyboards and was produced by David Clifton, who later worked with Tanita Tikaram and Julia Fordham.
    • The Cast: Their album In Order of Appearance [CS 001], which was partly mastered at the studio, became the first release on Chestnut Studios’ label in 1981.
    • Voltz: Laid down most of the “Knight’s Fall” LP there in 1982; which was re-released in 2019.
    • The Click: Recorded three demos at the studio in 1982, and while there got the call from manager John Glover that they were being signed to A&M records.

    Tim Wheatley’s connections also extended to custom pressings. Under the “NUT” label series, the studio released Twenty Flight Rock [NUT-1] by Starchase, and Sounds of The Penthouse Dance Band [NUT-2] by The Penthouse Dance Band. In early ’81, Tumbling Dice’s Thing Called Love [NUT-4] and Hipnosis’ Shaping Up [NUT-5A] were produced. This practice appears to have stopped toward the middle of ’81 with the Round Tower [NUT-6] by Truffle.

    Front cover of Louise Tucker and Charlie Skarbek’s Midnight Blue (1982)

    After the demise of Soho, Tim Smit and Charlie Skarbek got together with opera singer Louise Tucker. Tucker’s Midnight Blue (1982) became a European chart-topper, co-produced by Wheatley and Smit. The album also featured Guildford sax player David Sherrington.

    A Hotbed for Talent

    The 6-piece Bloodhound spent time in Chestnut Studios in late ’79 early ’80 with Tim Wheatley producing their demo cassette. Polaris are also known to have recorded tracks at Chestnut, as are Out of Order, Matrix, T. T. Transmission, The Desotos, Pushmepullyou (produced by The Vapors Steve Smith there), The Linx, Panther, and Umpty’s Balcony / UBz who invoked a plague of frogs, that leapt about the live room, on their second visit.

    T. T. Transmission, outside Chestnut Studios. Picture courtesy of Mark Terry.

    Throughout its run, Chestnut Studios attracted an eclectic mix of artists. Folk musicians Maggie Holland and Jon Moore recorded the A Short Cut EP in 1986. Twickenham Streaker, Erika Rowe recorded a single “Remember Then” [PVR/CM/1] in November ’82 with Joker. The Soul Agents produced their independently released single Red Car / The Way I Feel, marking one of the studio’s final projects before its transformation into The Music Room in Farnham.

    Also recorded at Chestnut in ’82 was “The Fishing Song” – Theme From “Go Fishing with Jack Charlton” issued on EMI [5286]. Written by Smit, it featured ex-The Rivals singer Stuart Reffold (vocals), Dick Middleton [guitar / banjo] and was co-produced by Smit and Lewkowicz, under the ‘band’ name Banjax (after a word used by Terry Wogan). Smit and Skarbek also produced The Reactors “Walking Wounded” at Chestnut, and photographer Herbie Knott used the studios’ location as the backdrop for a photo shoot of the duo.

    The Reactors outside Chestnut Studios in 1984 by Herbie Knott.

    The Legacy of Chestnut Studios

    Susie Wadey and local journalist / songwriter, Dave Reading laid down some very 80’s sounding tracks – now lost to time; and John Hine recorded Silver and White, his only LP, in 1984.

    In ’85, after adding real-time duplication, two Yamaha DX7’s, a Linn 2 and Linn 9000, and air conditioning, the studio started offering full residential facilities in the farmhouse adjacent. As much as Chestnut Studios symbolized a specific moment in British music history, it also served as a launchpad for significant careers. Tim Smit, who co-produced several projects at the studio, would later achieve global recognition for founding the Eden Project. Artists like Lewkowicz and Clifton carried the studio’s spirit into their future endeavors, contributing to its enduring influence.

    While its doors closed in 1986, the echoes of Chestnut Studios remain, enshrined in the records and memories of those who passed through its hallowed rooms. From punk anthems to folk ballads, its contributions to the Surrey music scene—and beyond—are undeniable. But while Chestnut was no more, the studio lived on, after a refurb, as The Music Room, Churt.

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  1. Human beings takes me back to 1981. Followed them all over the Surrey reading area for a year a great band and 3 good guys playing well written songs of the era. I wish john Tim and steve well what ever they are doing now. Should reform for a few shows just like Oasis but do the wooden bridge.

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