Our Soundscene

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

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  • Beautiful People

    Beautiful People

    (c’89-’98) Du Kane (guitar / backing vocals), Luke Baldry (keyboards / drum programming / backing vocals) and Robin Goodridge (drums / percussion)

    Kane, Baldry and Goodridge were the core members, with Kane and Baldry handling writing and a raft of session musicians / friends contributing.

    In the late 80’s, to get by, the members of Beautiful People ran clubs, DJ’d and busked, with songs like “Hey Joe” and “Little Wing” by day, and were involved with Lax Lifetime. Eventually the techno-dance group Beautiful People emerged from rehearsals at the Ewhurst Cricket Club, and on 8 December ’90 played the Wonderful World event at Farnham Art College.

    Members of Beautiful People with James Sunquist (AKA Jimi Hendrix Jr.) Source: Beautiful People If 60’s were 90’s

    Beautiful People were granted permission to sample any Jimi Hendrix song they wished. The result was 1992’s single “If 60’s Was 90’s” and the similarly named album, “If 60’s Were 90’s” on Castle Communications [432014] and Essential [ESS CD 200] in France on which Gavin George (bass), Phyl D’Bass (bass), David Maskrey (guitar) and Christell (French voice) contributed and the sampled voice and guitar of Hendrix was used extensively. The group also sampled the voices of Mitch Mitchell, Brian Jones and Mike Bloomfield and the guitar work of Frank Zappa.

    The album was promoted widely, including ads on MTV:

    Later in ’92 and into ’93, various pressings of “Rilly Groovy” were released, which reached No. 3 in the US Billboard Hot Dance Club Songs chart. On the back of this “If 60’s Was 90’s” was re-released and peaked at No.74 on the UK Singles Chart, and No.5 on the Hot Dance Club Songs chart. On 27 November ’93, Beautiful People supported Hawkwind at Hastings Pier.

    The album was re-released in the US, UK, Canada and Europe in 1994. Of the re-release Jim Washburn of The Los Angeles Times called it an “inspired piece of grave-digging”. Beautiful People were supported by The Little Green Men at The Works, Corby on 10 June ’94. At some point in ’94 the band meet up British music video and film director Richard Heslop, who’d produced videos for the likes of Queen, The Cure, and New Order, to film for the band. The video was recorded of 16mm film and in 2017, Heslop posted that the video was shot “in and around West London. The house interior was my old house in Ravenscourt Park, and we also shot in and around Portobello Road and Goldborne Road.”

    On 18 August ’95, Beautiful People performed at the Splash Club, held at The Water Rats, King’s Cross. In 2012, Beautiful People had a No. 100 hit with a pre-release cover version of “Turn Up the Music” by Chris Brown.

    Anton Daniels (?), Chris Chunn (?), Philip Rich (?), and Tuggy Lane (?) were also involved at some point.

    Goodridge is now with Bush. Kane was a contributing editor for Front magazine for a few years and runs session recording outfit Replicant. With Maskrey, Kane can now be seen in The Shakespearos, along with The Vapors‘ Steve Smith, mostly gigging in the Worthing area. Baldry set up Earth Terminal Studios in ’93.

    (Ed. There’s a lot of info to add and tweak here, but this is a start)

    Links:
    Writewyattuk’s post “The Rilly Groovy Return of the Beautiful People in Conversation with Du Kane

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  • The Bandits

    The Bandits

    (c’59-’63) Malcolm ‘Rocky’ Weston (drums), Alan ‘Kerry Rapid’ Hope (vocals), Brian ‘Chubby’ Williams (guitar) and Martin Dry (bass).

    It all started at the Palais, Aldershot when Brian Allender asked Tony Robson, then under the stage name Tony Angelo, to form a group and be the vocalist; and Robson and Allender formed The Bandits.

    They were Bob Potter’s first touring band, but unfortunately Allender couldn’t do the tour, so he was replaced on drums by Brian “Rocky” Ford of The Blue Stars. As with many of the bands Potter managed in the early days, members were ‘swapped’ / ‘interchangeable’ and dropped pretty quick if they were not ‘professional’. We know that on a tour of the West Country, the line up of the Bandits included brothers Ted and Martin Dry.

    In 1960 a 16 year old Jeff Beck, under the name Jeff Mason, auditioned for The Bandits, who had a contract to back a tour of Elvis and Vincent impersonators. Beck played six gigs including the Atlanta Ballroom, Woking; Agincourt Ballroom, Camberley; and The Corn Exchange, Newark. The latter being memorable for the brawl that broke out. Beck’s contract was only for a summer and he went back to school, studying art.

    The Bandits pictured flanking Bruce Channel, Delbert McClinton and Cal Danger at Agincourt Ballroom in 1962.

    Brain Sell, having been replaced by Ritchie Blackmore on lead guitar for Mike Dee & The Jaywalkers in May ’61, joined The Bandits, whose lineup had expanded to the trifecta of Kerry Rapid, Cal Danger and Mel Turner on vocals; Dick Scott (lead guitar), Pete Wilson (bass); and drummer Ford.

    At sometime in ’62, The Bandits backed Bruce Channel and Delbert McClinton at Agincourt Ballroom. America singer Channel, which was shə-NEL; had a successful solo career and is best known for his 1962 million-selling number-one hit record, “Hey! Baby”. McClinton played harmonica on this record, and it’s said to have inspired John Lennon’s playing on The Beatles’ “Love Me Do”, as well as later Beatles records, and the harmonica break on Frank Ifield’s “I Remember You.”

    When the band decided to relocate to Plymouth, Sell opted to stay in London and formed a new version of The Bandits with guitarist Ted Dry, Ted’s brother Martin Dry on bass, and drummer Malcolm “Doc” Randall. The Bandits re-signed to Bob Potter’s Agency and frequently played the Agincourt and Atalanta. The Bandits or a member/s of the band later became The Soultones, and were booked as the support band to The Yardbirds at Farnborough Tech, on either 20 March or 9 July 1965; which also featured a brawl.

    The members that went to Plymouth for Summer changed name to The Plymouth Sounds. The group came back to Aldershot and ran their own dances for a while, maybe this was when they were photographed at the Central Club, Aldershot. Then they were offered work in Germany – the band went, but Angelo stayed. A while later, one night at New Central Ballroom, Aldershot, the band playing asked Angelo if he would sing with them, the guitarist was a young Alan Elkins from Tongham. They became the next Plymouth Sounds. Eventually the band members changed to include Topper Clay, John Hirst and Mick Douglas and become Tony Angelo and The Regents until around ’64.

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  • Threewheel

    Threewheel

    (c’71-’82) Dave “Lofty” Reng (guitar / steel / banjo), Richard “Jet” Hodgins (piano), Mike Riley (drums), Brian “Bill” Weller (bass), and Alan “Kerry Rapid” Hope (vocals).

    Freewheel: (LtoR) Reng, Hodgins, Riley, Weller and laying down Hope.

    This Camberley / Farnborough country music combo toured Britain with lots of American country Music stars in the early 70’s and appeared at Lakeside Country Club a few times.

    When Riley left he was replaced by ex-Natural Gass drummer Chuck Pengilly and Weller was replaced by Barry Williams. In ’75 Threewheel released an eponymous LP on Westwood Recordings [WRS068] produced by Gordon Davies. A second LP followed in April ’77, titled “At The Eleventh Hour” on the Sweet Folk And Country [SFA 057] label. This was recorded at Mid-Wales Sound Studios, Castle Caereinion and engineered by Alan Green.

    Hope’s last gig with the band was New Years Eve ’77 at Newbury Football Club, with John E Regan taking over vocals in ’78. They were voted one of top country bands in England between 1977 and 1980 by the clubs.

    Before Threewheel, Hodgins played with Grapevine and The Knack (not that Knack), and was last seen with Mick Douglas’s Bill Haley tribute band Razzle Dazzle with Pengilly.

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  • Daniel Boone and The Renegades

    Daniel Boone and The Renegades

    (c’62-64) Barry ‘Bo’ Williams (bass), Dave Luther (guitar); Roy Daniel “Boone” Spreadborough (vocals); Graham ‘Topper’ Clay (drums), and Pete Foster (rhythm guitar).

    Daniel Boone & The Renegades: (LtoR: Williams, Luther, Spreadborough, Clay, and Foster.

    Spreadborough and Luther formed The Blackjacks at Farnborough Grammar School in ’58. They recorded two songs “I love Her” and “Little Jennie” at a studio in Denmark Street.

    They then changed their name to Daniel Boone & The Renegades, although they often just went by The Renegades, in ’62 and were taken on by Bob Potter’s Bob Potter Entertainments. They recorded four more tracks, releasing them on 78 acetate: “Country Girl” and “She” on the A-side, and “Forever And Ever I Do” with “I Miss You” on the B-side. The band were also represented by Southampton based Barrie James Enterprises.

    The Renegades, in grey jackets, with The Spotnicks, from Sweden in pink, at The Agincourt, Camberley in 1962.

    In ’62 the band supported Chart topping Swedish instrumental band The Spotnicks at Agincourt Ballroom, Camberley. The next year, along with The Nite Riders, Daniel Boone and The Renegades opened for Kenny Lynch, who’d just released his top ten hit “Up on the Roof”, on 14 April ’63 at Agincourt. The band also filled the supporting role with Tommy Bruce and The Bruisers on the 29 September ’63, at the same venue. Interestingly, Peter Lee Stirling, the guitarist with Tommy Bruce and The Bruisers, went on to have a one-hit wonder in the United States with the single “Beautiful Sunday” in 1972 under the name Daniel Boone. A few months later, on 6 December ’63, Daniel Boone & The Renegades were supporting Wayne Fontana and the Mindbenders at Lido Ballroom, Winchester.

    The Renegades disbanded and Daniel Boone found himself backed by The Emeralds, another of Potter’s bands, and were for a time billed as Daniel Boone and The Emeralds. Eventually the Daniel Boone stage name was dropped and Spreadborough went by Roy Daniel, and we see the band listed as Daniel and The Emeralds. This new lineup would became Wishful Thinking.

    Having joined The Knack in ’65, who were originally known as The Londoners, Clay moved onto New York Public Library in Spring ’67. They had originally been The Cherokees, but their producer Micky Most persuaded them to change their name and suggested New York Public Library.

    Allen passed away at his home in Salignac, France on May 23, 2012.

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  • The Golden Age of Metro

    The Golden Age of Metro

    (c’78-80) Sophie “Sis” Montague (vocals), Jamie Legg (drums), John Hudson (bass), and Alan Clutterbuck (guitar).

    The Golden Age of Metro: (LtoR) Montague, Legg, Hudson, and Clutterbuck pose in the new underpass to York Road, Guildford 1978. Picture courtesy of Fred Pipes.

    Formed from the remnants of punk band Strange Cult they were managed by a guy called Mac ?, and were once described as playing psychedelic new wave – The Golden Age of Metro really combined old and new.

    On 18 February ’79 the band played at The Royal, Guildford and connections with the New Wave Society at the University of Surrey, Guildford secured them a gig at the University Hall Bar on 26 February ’79. Golden Age of Metro also auditioned to perform at the Cockneyland Club, London; which was near Tower Bridge.

    Golden Age Of Metro auditioning at Cockneyland Club, London. Photograph by and courtesy of Fred Pipes

    At some point Steve Crawford (guitar) joined the band, bringing their number to five. There were also mentions in Barbed Wire of Victoria ?, from Crewe, joining on keyboard and sax, buts her parents intervened. The band’s van was often borrowed by The Vapors.

    After The Golden Age of Metro, Montegue and Legg – having picked up the nickname “Breezeblock” – joined others to form Matrix. Legg also joined Hudson in Luxury Glass Town and Ill At Ease; after which he would go on to be a member of Innocent Bystander, again with Legg; who would appear in Eat the Sofa a few years later and has since joined forces with others to form The True Deceivers. A few years after Golden Age of Metro, Clutterbuck would be found in Piccadilly Mudmen.

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  • Majella & Dawn

    Majella & Dawn

    (c’79) Majella and Dawn Hetherington, daughters of Harry Hetherington, produced one LP in 1979. Titled “We Should Be Together” and released on Guildford based label Ringtone Records [RTE 1000] it encapsulated the singers folk, world and country influences and carried the Majella penned “I Am A Traveling Man”. The sisters recorded 6 tracks each for the LP on 26 March ’79 at Big Tom’s Studios in Ireland, which Basil Hendricks arranged and produced. The cover image was taken by T.A. Wilke in Stoke Park, Guildford.

    Both Dawn and Majella have recorded CDs in Donegal recently; Dawn’s EP is titled “Steel Wings” and Majella’s “Majella”. Majella Yorston has toured as lead vocalist/guitarist with bands across the UK and Europe and as a solo artist performs regularly, including at Guildford Fringe Fest, The Boileroom Acoustic Stage, GuilFest and Armed Forces Day National Event. Majella has recently recorded the “Friends Like YOu And Friends Like Me” LP and released a single and has been commissioned by A + C Black to record a series of educational material​.

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  • Les Reed

    Les Reed

    (c’35-’19) Les Reed (songwriter, arranger, musician and band leader)

    Often seen in The Cricketers, Westfield; Woking Born songwriter Les Reed wrote hits for Tom Jones and Engelbert Humperdinck and had his songs recorded by Elvis, Bing Crosby, Frank Sinatra, Lulu, Shirley Bassey, Petula Clark, Sandie Shaw and Otis Redding to name a few. Reed was a songwriter, musician, composer, conductor, arranger, producer and record-label owner of world renown.

    He grew up in Granville Road and at age 6 took his first piano lesson with Rita Row, who took him through all of his grades over the next few years, including the London College of Music exams. Les’ cousin, Denis Edward Sines, who also played piano and accordion, got him his first piano and he and young Les would often play at family do’s together. In ’45 Les was part of his father Ralph Henry Reed’s local troupe of child entertainers, called “The Westfield Kids”, that entertained troops in hospitals and working men’s clubs; playing piano and accordion. It was at this time that he wrote his first songs, called “Oh Mother Dear” and “Nirvana”.

    Les Reed (far right) in the Weysiders in 1950 with fellow members (LtoR) Gerry Cheeseman, Fred Gardner, and Derek Potter. Source: Christine Turner via WOKING when we were young

    Les’s mother used to be the caretaker at the Atalanta Ballroom, Woking and introduced venue owner Bob Potter to piano playing Les. A season playing piano at the Nab Club, Hayling Island was his first professional gig in ’49. In 1950 Les was in a combo called The Weysiders, with Gerry Cheeseman, Fred Gardner, and Derek Potter. That same year The Les Reed Trio was formed with Les on piano, Bob Wooler (bass) and Johnny King (drums) doing nightclubs, weddings and parties. The house on Granville Road became where the band/s rehearsed on a Sunday. In the early 50’s he worked at Kenwoods, Woking, and briefly at Sorbo fixing bicycles, as well as playing in a skiffle group; but also undertook his National Service.

    Joining the Royal East Kent Regiment in ’54 and serving in Germany, The Balkans and Denmark, he was in the regiments band, The Buffs, and learnt to play the clarinet. Demob was in ’56 and by ’58 Les, a jobbing pianist playing with Woking based The Jimmie Cole Band up and down the country and held a residency at Park Ballroom, Southampton with the Frank Joynson Orchestra. He also accepted an offer from guitarist Vic Flick to play at Butlins for a summer season, along with Cliff Richard and The Drifters. John Barry auditioned Les and he join the The John Barry Seven for a period in which they appeared on BBC’s Drumbeat and recorded the immortal ‘The James Bond Theme” for Dr No, released in ’61. In addition he formed and was a member of Les Reed and his Orchestra, Proffer, Marmelzat & Reed, The Les Reed Brass, The Les Reed Combo, and The Sounds of Les And Barry.

    In ’64 The Les Reed Combo released the 7″ instrumental single “Spanish Armada”

    In ’64 The Les Reed Combo released the 7″ instrumental single “Spanish Armada” which became the theme to the ITN-TV Production “People In London”; in the early 70’s it was the Odeon’s ‘Showtime’ film trailers theme; and it was used in a Peek Freans cinema advert. The easy listening Les Reed Combo was worthy in itself, but he went on to be one of the writers of the 60’s and 70’s; penning over 2000 songs and was involved with arranging/producing some 5000 tracks in all.

    “Here It Comes Again” written by Barry Mason and Les Reed in ’65; was recorded by The Fortunes and released on 10 September 1965. It reached number four on the UK and Canadian Singles Charts and 27th in the US Billboard Hot 100 chart that same year. A cover version by Rita Pavone with Italian lyrics entitled “Qui Ritornerà” went to number one in Italy, and a version was used as a jingle for BBC DJ Tony Brandon in the early 1970s. Englebert Humperdinck recorded “The Last Waltz”, by Les Reed and Barry Mason, releasing the 7″ single on Decca [F 12655] around the world in 1967.

    Les Reed with Connie Frances

    Connie Francis recorded “Connie Francis sings The Songs of Les Reed” [SE-4655] over the 6, 8 and 9 September ’69 at Wessex Studios, London; with additional vocals and overdubs laid down on 25 September in New York. The album was released in November, Francis’ last on MGM.

    In 1970, Reed’s daughter’s guinea pig displaces his new Lamborghini Espada. Source Richard Knotek via WOKING when we were young

    In 1970 the local newspaper (4 April ’70) carried a short story on Reed. His daughter, Donna’s guinea pig was pregnant and housed in the garage. The result was that Reed’s new Lamborghini Espada sat in the drive of their home in Cedar Road, Hook Heath; along with his Rolls Royce and Mercedes. That same year, Reed presented and arranged some of the songs on a recording of The Epworth Choir supported by The Choir of Woking Grammar School for Boys on the Chapter 1 label [CMS 1003] as part of the Choirs of Britain Series; which was recorded at Trinity Church, Woking by the Pye Mobile Recording Unit.

    The Les Reed Orchestra’s last LP was released in 1973 on Chapter 1 [CHS 815] and titled “The New World of Les Reed”. In 1979 Polydor Records released a two-record set of “Connie Francis sings The Songs of Les Reed” and “Connie Francis Sings Bacharach & David”.

    Les died on 16 April 2019 at the age of 83.

    Links:


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    Here is a brief sample of some of the tracks Reed wrote/co-wrote/composed:
    “Delilah” – Tom Jones
    “Here It Comes Again” – The Fortunes
    “It’s Not Unusual” – Tom Jones
    “Leeds, Leeds, Leeds” – Leeds United
    “Man of Action” – Radio North Sea International’s
    “The Last Waltz” – Engelbert Humperdinck
    “There’s A Kind of Hush” – Herman’s Hermits / Carpenters’
    “What New Pussycat” – Tom Jones

    [Ed – As we gather more information, comments and images we will expand this bio]

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  • Somewhere In Europe

    Somewhere In Europe

    (c’83-’92) Andrea James (?) and David Tiffen (?).

    Shortly after the demise of Basic Essentials, James and Tiffen began to formulate Aldershot based Somewhere in Europe. This groups tracks were often initiated with a piece of “found” sound or TV audio clip, then other elements layered on and around it, using synth.

    1986 “Somewhere In Europe” cassette [TST3]

    Recorded from ’83 to ’86 the tracks for the eponymous “Somewhere in Europe” cassette came together in mid ’86 and released on the duo’s own These Silences [TST3] label. At times they’d take existing songs, strip them down and reassemble. “Blood of Martyrs” for example was based on Death in June‘s “Rule Again” and used Aleister Crowley slogans. This appeared on their second cassette “Dark Days” which was released in ’88. Tiffin and James did collaborate quite a bit with Death in June and particularly Douglas Pearce. They were both credited on Death in June’s 1989 LP, “The Corn Years”.

    1990 “Know Your Enemy” cassette [TSR5] sleeve.

    On their 1990 cassette release “Know Your Enemy” – again on These Silences [TST5] – Somewhere In Europe identified with the European avant garde tradition: the “anti-art” of Dadaism, the beauty of the unexpected and unconventional within Surrealism, and the Situationist’s belief that behavior is determined by set of circumstances in which one finds oneself.

    “Liturgy Of Anguish” [TST6] followed in ’91 continuing the bands industrial/experimental electronica. A reviewer for the EST Fanzine described it as ‘Tasty’, continuing their neo-surrealist musical fragments style; portraying an absinthe-scarred view of the world. In theory, the music stopped for Somewhere in Europe in 1992. This coincided with the release of the compilation CD “Gestures” on Douglas Pearce’s New European Recordings ‎label [BAD VC CD 45] with tracks from each of the previous cassette releases and “To Cross The Bridge At Dusk” which first appeared on the “Realidade Virtual” compilation CD in ’91.

    1994 “The Iron Trees Are In Full Bloom” CD [TSCD1]

    Experimental noise-rockers, Splintered sampled Somewhere In Europe for their track “The First Threat” released on “The Judas Cradle” LP in ’93. The following year they did it again on “S.H.C.” which was on the B-side of the 7″ “Comparatively Mainstream” EP. “S.H.C.” was also included on 2015’s compilation of out of print Splintered pieces titled “Turned Inside Out”.

    In ’95, the CD, “The Iron Trees Are In Full Bloom” on These Silences [TSCD1] appeared and was distributed by World Serpent. This was a precursor to ’96’s “Savage Dreams” [TSCD2] which presented a more ambient sound in places. Again distributed by World Serpent; on this releases track 8, which was titled “Assault”, the voice on Basic Essentials colleague Stewart Home appeared.

    Tracks by the band have also appeared on numerous compilations cassettes: Smile Smile Smile Smile (Canada, ’85), Mail Art Manifest (Norway, ’87), Leiv Traumas (France, ’89), Dreams From Within (Britain, ’89), Moto Perpetuo (Italy, ’89), Partners in Music (Italy, ’89), Neither Good Nor Evil (Germany, ’90), Goodbye Forever Annie Wilkes (Italy, ’90), Mjölnir (Germany, ’90), Iberico (Portugal, ’90), Eat Your Pets (Germany, ’90), Shake the Foundations (Britain, ’91) and the aforementioned Realidade Virtual (Portugal, ’91).

    Both James and Tiffen were featured on Death In June’s “Brown Book” released on 19 December 2007, after which we lose track.

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  • The Modern Art of Living

    The Modern Art of Living

    (’68) Alan Harvey (drums), Scott Crawford (guitar) and Roger “Paddy” Carson (bass).

    This Farnborough band supported The Late at Bourne Youth Club’s Midsummer Night’s Dance on 21 July ’68. An appearance at The Barn, held at the Cambridge Hotel, Camberley was delayed briefly when 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 band also played Rev’s Youth Club dances at St. John’s Hall, Farnborough on a number of occasions.

    At some point Tony Duncan joined The Modern Art of Living.

    Harvey went on to play in Magic Alice. Carson went into estate agency and property development. Duncan, who had also been in The Four Dimensions and The Dwarves during the ’60s, now lives in Tenerife and currently performs with the Pete Downes Trio, aka PD3.

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  • Just So Stories

    Just So Stories

    (c’81-82) Kaz Jones (vocals), Alan “Archie” Bishop (bass) Ian Patterson (drums), and Nigel Spaughton (guitar).

    Early, Just So Stories, with Binns on vocals and Bishop on bass, at University of Surrey SU Bar in June 81. Picture courtesy of Fred Pipes

    In June ’81, Just So Stories appeared at the Student Union Bar at the University of Surrey, Guildford. Jones, who’d been in Matrix, replaced Simon Binns on vocals, sometime in the later half of ’81. While this Guildford band gigged locally they also journeyed up into London. They practiced in their own rehearsal room in a house, owned by Mark Charles’ parents, in Llanaway Road, Godalming; with his band, UBz, rehearsing in the next room.

    On 12 November 1881, Godalming was the first place to have both private and public electrical supply. As part of the centennial celebrations, Just So Stories performed at the Borough Hall, Godalming in November 1981; the band also appeared at The Wooden Bridge, Guildford that month. Another venue that hosted the band was West Surrey College of Art and Design, Farnham. Also in ’81 the band released a five track demo cassette titled “Catch 44”. Just So Stories appeared at the Starlight Room at The Railway Tavern, West Hampstead on 3 Feb ’82; were they deployed a PA supplied by Ray “Bonza” Bradman.

    3 Feb 1982: Just So Stories at Starlight Room, Hampstead. Picture courtesy of Kaz Jones

    Jones would later played sax and piano in Funtime and subsequently Casual Sax, performing with Holy Durex and Steel Bill & The Buffalos. Patterson and Spaughton were among the musicians who’d join Funtime to flesh-out the sound when performing live.

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One thought on “Home

  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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