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Rockit Men
(c’89-?) – Ben Darnton (drums), Chris Turner (vocals / guitar), and Steve Keen (bass).
Rockit Men at the White Lyon, Worplesdon 1989. Picture courtesy of Ben’s Collectors Records This sound 3-piece covered the likes of Iggy Pop to Buddy Holly; with ex-Dark Paradise Turner pitching the collaboration, that included ex-The Flying Tigers‘ Darnton and Keen as a “good pub band, good entertainment”.
The band’s first gig was at The Cricketers, Farncombe in ’89. The Rockit Men were also rocking it at The White Lyon, Worplesdon in ’89 and appeared at The Lion Brewery, Ash a few times. On 16 December ’89 the band played The Compasses Inn, Gomshall.
The Rockit Men at Lion Brewery, Ash at Christmas. Picture courtesy of Ben’s Collectors Records The Rockit Men rocked the White Hart, Farncombe again on 21 January ’90 with the band back at The Lion Brewery, Ash on 17 March ’90. The White Hart, Farncombe welcome the trio back on 18 March ’90. On 26 April ’91 they played Flicks, Guildford; returning on 30 June for the princely sum of 60 quid; and back again the month after on 26 July ’91 to support Yellow Darkness at the Guildford venue.
While all the members of Rockit Men would appear in The Flying Tigers at some point; Turner and Darnton both performed as two thirds of Wildfire in parallel to being Rockit Men. Turner, as well his stint with Dark Paradise, had been in ‘Arf Cut.
Gallery:
Rockit Men at the White Lyon, Worplesdon 1989. Picture courtesy of Ben’s Collectors Records 
The Rockit Men at Lion Brewery, Ash at Christmas. Picture courtesy of Ben’s Collectors Records 
Dylan reviews the bands first gig at The Cricketers, Farncombe. Picture courtesy of Ben’s Collectors Records 
Picture courtesy of Ben’s Collectors Records 
Set List for Rockit Men’s last gig. Picture courtesy of Ben’s Collectors Records 
Picture courtesy of Ben’s Collectors Records 
16 December 1989: Gig List (from unknown local rag) puts Rockit Men at The Compasses, Gomsall. Picture courtesy of Ben’s Collectors Records 
17 & 18 March 1990: Rockit Men were at Lion Brewery, Ash and White Hart, Farncombe respectively. Picture courtesy of Ben’s Collectors Records 
21 January 1990: Rockit Men rocked the White Hart, Farncombe. Picture courtesy of Ben’s Collectors Records 
30 May 1991: Rockit Men received 60 quid for playing Flicks, Guildford. Picture courtesy of Ben’s Collectors Records 
26 April 1991: The Rockit Men’s setlist for Flicks, Guildford. Guildford. Picture courtesy of Ben’s Collectors Records 
26 April 1991: Rockit Men were at, the old cinema, Flicks, Guildford. Picture courtesy of Ben’s Collectors Records 
26 July 1991: Gig Listing (from unknown local rag) has the Rockit Men supporting Yellow Darkness at Flicks, Guildford. Picture courtesy of Ben’s Collectors Records -
Funtime
(c’82-’85) – Kaz Jones (sax/piano), Andi McInnes (vocals/bass), and Pete Martin (guitar).
Funtime gigging at Dunsfold Barn in November ’84. (LtoR: Patterson (drums), Jones (sax), and Martin (guitar). Picture courtesy of Kaz Jones This Guildford 3-piece, influenced by early Birthday Party, The Cramps, and The Gun Club, were joined by Xan Phillips (bass), Ian ‘Patsy’ Patterson (drums) and Nigel Spaughton (guitar) and sometimes Poodle (guitar) to flesh-out the sound when performing live. The band rehearsed in a storeroom on Walnut Tree Close, and at the same house as Just So Stories – in which Jones was a member – and UBz; a squat on Llannaway Road, Godalming.
Over the 27 to 28 May ’84 the band recorded three track at Livingstone Studios, Wood Green, London: “And If…Stolen”, “Pool of Laughter” and “Tailfin Boulevard”. These were produced and engineered was Tony ‘Nod’ Harris who subsequently went on to produce/engineer the likes of The Jesus and Mary Chain, Yazz, Coil, X-Ray Spex, Sisters of Mercy and REM.
In November ’84 the band played at a Dunsfold Barn and later in the year supported LongPig at The Royal, Guildford on Christmas Eve 1984.
Jones would later be found performing with Casual Sax, Holy Durex, and Steel Bill & the Buffalos. McInnes had come from Disruptive Patterns and was also in Imperfect Hold and was the designer for The Vapors “Turning Japanese” single cover.
Tracks:
Gallery:
Funtime’s Pete Martin during a recording session at Livingston Studios. Picture courtesy of Kaz Jones 
Funtime’s Nigel Spaughton rehearsing in Godalming. Picture courtesy of Kaz Jones 
Funtime’s Ian “Patsy” Patterson rehearsin in the storeroom on Walnut Tree Close. Picture coutesy of Kaz Jones 
Funtime’s Pete Martin rehearsing in the storeroom on Walnut Tree Close. Picture coutesy of Kaz Jones 
24 December 1984: Funtime playing The Royal, Guildford; supporting LongPig. Picture courtesy of Andy Davis 
24 December 1984: Kaz Jones of Funtime, supporting LongPig at The Royal, Guildford. Picture courtesy of Kaz Jones Andi McInnes, Casual Sax, Coil, Disruptive Patterns, Funtime, Godalming, Holy Durex, Ian Patterson, Imperfect Hold, Just So Stories, Kaz Jones, Livingstone Studios, London, LongPig, Nigel Spaughton, Pete Martin, R.E.M., Sisters of Mercy, Steel Bill & the Buffalos, The Jesus and Mary Chain, The Royal, The Vapors, Tony Harris, UBz, Wood Green, X-Ray Spex, Xan Phillips, Yazz -
Luxury Glass Town
(c’81) – David Rose (guitar/vocals/mandolin), John Hudson (bass/vocals/stylophone), Jamie Legg (drums), and Neil “Fingers” Henderson (keyboards).
Luxury Glass Town’s “Through The Looking Glass” 7″ EP [SR 001]. Picture courtesy of Ben’s Collectors Records This Guildford band’s only release was the 7″ Through The Looking Glass” EP [SR 001] on their own Through The Looking Glass label. It carried four original songs: “Someone Like Sara”, “Name and Number”, “Confusions, Illusion of Happiness”, and “Woman and Boys” written by either Rose or Hudson.
It was recorded at Jacob’s Studios, Runwick near Farnham, on 20 November ’80 and 27 February ’81 with engineering by Ken Thomas – who’d go on to work with other local bands such as Big Sun. To add depth and texture to their songs, the band called in Sandra Benningsen to add backing vocals. Only 500 copies were pressed by SRT Productions, with a few escaping quality control featuring labels on the wrong sides.
In ’81, Rose was a founding member of Sammy Rats Big Big Blues Band. Five months after departing Sammy Rats, Rose got together with others to form The Ant Hill Mob. Hudson and Legg, who’d both been on Strange Cult and The Golden Age of Metro, would go on to be members of Ill At Ease and Innocent Bystander. Legg would also appear in Eat the Sofa a few years later and has since joined forces with others to form The True Deceivers.
Gallery:
Luxury Glass Town outside Bellows Antique shop on Woodbridge Road, Guildford. Picture courtesy of Ben’s Collectors Records 
Side One of Luxury Glass Town’s 7″ “Through The Looking Glass” EP. 
Side Two of Luxury Glass Town’s 7″ “Through The Looking Glass” EP. 
Information insert from Luxury Glass Town’s 7″ “Through The Looking Glass” EP. Picture courtesy of Ben’s Collectors Records Big Sun, David Rose, Eat the Sofa, Farnham, Guildford, Ill At Ease, Innocent Bystanders, Jacob’s Studio, Jamie Legg, John Hudson, Ken Thomas, Luxury Glass Town, Neil Henderson, Runwick, Sammy Rats Big Big Blues Band, Sandra Benningsen, SRT Productions, Strange Cult, The Ant Hill Mob, The Golden Age of Metro, The True Deceivers -
Iain Ballamy
(c’80 to date) – Iain Ballamy (saxophone)
Iain Ballamy with Bill Leru (double bass) and John Nuttall (drums) at what’s thought to be Bisley Pavilion. Picture courtesy of Inga Leru-Kelly Jazz musician Ballamy was born in Guildford and educated at George Abbot. His piano playing father Mark was probably who drove his piano lessons from age of 6 to 14. He found the saxophone in ’78 playing his first gig age 16 in 1980, appearing in his father’s band at the likes of the Guildford Jazz Club at The Stoke Hotel, Guildford (his father’s band being the house band there).
In ’84, as the Iain Ballamy Quartet he played Ronnie Scotts, London. Then in October he joined The Guildford Jazz Club’s house band of Martin Drew, John Critchinson, Dick Morrisey, Jim Mullen, and Ron Mathewson; on 14 and 28 October ’84. That same year he was also a founding member of Loose Tubes, releasing three albums with them between ’85 and ’88. In ’85 he won the John Dankworth Cup, Best Soloist and toured Romania on a British Council tour. From ’85 he also started working with Billy Jenkins, appearing on “Greenwich” that year and a further seven albums through to ’06.
By ’87 he had team up with Bill Bruford and Django Bates to form Bill Bruford’s Earthworks, supposedly first meeting at the Guildford Jazz Club, with whom he recorded five albums, including “Dig?” in ’89. Also in ’87 he appeared on Ray Russell’s “Childscape” and another two album recorded over proceeding years. On 3 March ’88 he returned to the Guildford Jazz Club, now in the bar at the Civic Hall, Guildford backed by his father again in the Geoff Rideout/Mark Ballamy Quartet.
His solo album, “Balloon Man” was released in ’89; which was awarded the BT British Jazz Award, Best Ensemble in ’95. Continuing his connection to Django Bates, he appeared on ’93’s “Summer Fruits (and Unrest)” on the JMT label and a further five collaborations that finished with “You Live and Learn…(Apparently)” in ’04. Six years after “Balloon Man”; “All Men Amen” and “Acme” came out, with Bellamy taking on the ‘Leader’ role. It was also in ’95 that he found himself on another British Council tour, this time of Morocco, and starting to take on commissions; the first entitled “Estuary English” for the Apollo Saxophone Quartet. They commissioned him again in ’96 for “Mirror Signal Manouvre” as did Birmingham Jazz for “Acme” and the British Council had him touring India
China and Senegal were on the British Council’s itinerary for ’97 as was a commission for “Oblique” from SAMPAD/Birmingham Jazz. Another two commissions in ’98: “Four and a Half Minutes Late” for Jane Chapman (solo harpsichord) and “Walpurgs Night” for Joanne MacGregor (duet for piano and tenor sax); and British Council tours of India, Lithuania, and Colombia. In ’99, he founded the record label Feral Records with Dave McKean.
In ’01 “Pepper Street Interludes” (with Stian Carstensen, Norma Winstone, Martin France and Matthew Sharpe) and “Signal To Noise” (a BBC Radio 3 play adaptation of the graphic novel by Neil Gaiman and Dave McKean) were recorded. That same year he was presented the BBC Jazz Award for Innovation. “Veggie” followed in 2002 (with Thomas Strønen, Arve Henriksen and Mats Eilertsen). Teaming up with Stian Carstensen again he lead “The Little Radio”, released in ’04.
“Little Radio” released in 2004. Picture courtesy of Ben’s Collectors Records The following year the “MirrorMask” original motion picture soundtrack came out, which Ballamy had composed; and later Luna. “Molecular Gastronomy” (with Thomas Strønen) and “Aware” were released in ’07. Somewhere in all the gigging and recording he also managed four albums with Ian Shaw, another 17 albums with various jazz greats, and three compilations. Over the years there were also numerous TV, radio, and film sessions and theatre work; as well as teaching at the Royal Academy of Music, Birmingham Conservatoire, Trinity College of Music, Rhythmic Music Conservatory Copenhagen, and the Royal Welsh College of Music & Drama.
He is also an agony uncle for Jazz UK Magazine with his column “In the Saxophonists Chair”
Gallery:
3 March 1988: Iain Ballamy returns to the Guildford Jazz Club. Source: Heather Tipton via Guildford Town Past & Present 
Source: Heather Tipton via Guildford Town Past & Present Apollo Saxophone Quartet, Arve Henriksen, BBC Jazz Award, BBC Radio 3, Bill Bruford, Bill Bruford’s Earthworks, Bill Leru, Billy Jenkins, Birmingham Conservatoire, Birmingham Jazz, British Council, BT British Jazz Award, Civic hall, Dave McKean, Dick Morrisey, Django Bates, Feral Records, Geoff Rideout/Mark Ballamy Quartet, George Abbott, Guildford, Guildford Jazz Club, Iain Ballamy, Iain Ballamy Quartet, Ian Shaw, Jane Chapman, Jazz UK Magazine, Jim Mullen, JMT, Joanne MacGregor, John Critchinson, John Dankworth Cup, John Nuttall, London, Loose Tubes, Martin Drew, Martin France, Mats Eilertsen, Matthew Sharpe, Neil Gaiman, Norma Winstone, Ray Russell, Rhythmic Music Conservatory Copenhagen, Ron Mathewson, Ronnie Scotts, Royal Academy of Music, Royal Welsh College of Music & Drama, SAMPAD, Stian Carstensen, The Stoke Hotel, Thomas Strønen, Trinity College of Music -
Wildfire
(c’88-’13) – Chris Turner (guitar) Ben Darnton (drums), and Kerry Bassett (double bass).
Wildfire at the Lion Brewery, Ash around ’89. Picture courtesy of Chris Turner The band, who often rehearsed in Collectors Records, Guildford; appeared at The White Hart, Farncombe in the late 80’s and played a Christmas gig at The Lion Brewey, Ash in ’89.
20 April 1991: Big Town Playboys supported by Wildfire were at Flicks. Picture courtesy of Ben’s Collectors Records On 20 April ’91 the Aldridge brothers booked then to support Big Town Playboys at Flicks, Guildford – for which they were paid £60; and again on 3 June to support Manfred Mann’s Earthband. They also supported Chicken Shack at the venue. The band were last seen playing Scratchers (Three Lions), Farncombe on 25th May 2013.
Other members have included James Hammond and at least 3 other drummers. Turner and Darnton could also be caught in The Flying Tigers.
Gallery:
WildFire played a Christmas gig at Lion Brewery, Ash in 1989. Picture courtesy of Ben’s Collectors Records 
Wildfire rehearsing at Collectors Records c’89. Picture courtesy of Ben’s Collectors Records 
Wildfire rehearsing at Collectors Records c’89. Picture courtesy of Ben’s Collectors Records 
Wildfire rehearsing at Collectors Records c’89. Picture courtesy of Ben’s Collectors Records 
Wildfire at The White Hart, Farncombe in late 80’s 
Wildfire, on stage at Flicks, Guildford. Picture courtesy of Ben’s Collectors Records 
20 April 1991: Wildfire got paid 60 quid for supporting Big Town Playboys at Flicks. Picture courtesy of Ben’s Collectors Records -
The Four
(c’89) Ben Martyn (guitar), Dominic Coles (drums), Richard Hatcher (?), and David Bush (?).
The Four released a demo in August ’89, that they had recorded in New Orleans. In February ’89, while in New Orleans, they appeared at The Blue Nile on Frenchmen St.
Coles was also in Sugar Mountain at the same time. Both Martyn and Coles would join forces again in Something Religious. Cole went on to join The Outcast Band.
Gallery:
Martyn and Coles of The Four at The Blue Nile, Frenchmen St., New Oreans, in Feb ’89. Picture courtesy of Ben Martyn-Godfrey 
The Four get mentioned in PG Tips from August 1989. Picture courtesy of Daniel Hiscocks -
Guildford Jazz Club, Guildford
(c’82-08) The Guildford Jazz Club was held at The Stoke Hotel, Guildford and subsequently monikered Jazz at the Stoke for it’s first 5 years. The monthly gigs and club were run by husband and wife duo Colin and Heather Tipton, and it is believed that Bill Bruford met Django Bates and Iain Ballamy at the Guildford Jazz Club, going on to form Earthworks.
In October ’84 the club’s house band consisted of Martin Drew, John Critchinson, Dick Morrisey, Jim Mullen, and Ron Mathewson. They were joined by Iain Ballamy on 14 and 28 October ’84; and held their own on 24 October. On 24 April ’85 the Clark Tracey CT3+2 performed at The Stoke Hotel. The following year, British jazz saxophonist Art Theman, who’d featured in Channel 4’s documentary ‘Hoarded Dreams’ the year before, was supported by The Waite/Wickens Trio on 24 February ’86. A month later, on 28 March, the club held a Good Friday special featuring Meantime, previously known as Morrisey / Mullen; this was followed by the Cliff Burchell Simkins Quartet on the 25 April ’86.
24 April 1985: Clark Tracey’s CT3 + 2. Source: Heather Tipton’s post in Guildford Town Past & Present After about 5 years at the Stoke Hole, it moved to the bar at Guildford Civic Hall. On 10 February ’88, New York based singer Joe Lee Wilson was accompanied a Touch of the Blues, formed by Terry Seabrook (piano), Ron Parry (drums), Adrian Kendon (bass), Geoff Hearns (tenor sax), and Stevie Smith (harmonica). The following month, after not visiting the club for over two years, Guildford’s Iain Ballamy was joined on stage by the Geoff Rideout/Mark Ballamy Quartet. The Siger Band entertained club members on 14 April ’88, and The Jim Mullen Quartet followed suit on 4 May. In 1 June that year Julian and Steve Argüelles, both members of Loose Tubes at the time, formed The Julian Argüelles Quartet with Steve Watts and a pianist for a show in Guildford Civic Hall’s bar room. The club kicked off The Guildford Festival in ’88 with a performance by The Ronnie Scott Quartet on 13 July, followed two days later by ex-The Animals’ Alan Price Band on 15 July.
The Tina May Quartet palyed the Guildford Jazz Club on 3 April 1997. Source: Heather Tipton’s post in Guildford Town Past & Present The club moved to The Electric Theatre and starting using the Jazz at The Electric moniker. The Tina May Quartet played on 3 April 1997 and on 20 March 2001 the Clark Tracey Sextet – CT6 no less – dropped in. Here, at The Electric Theatre, it continued to programme live jazz gigs until 2008.
The Jazz Club was resurrected by Marianne Windham in 2012 with monthly jazz nights at The Freeholders pub in nearby Farncombe. When the pub changed hands in the Spring of 2014 the club moved to the Pavilion of the Guildford Rugby Club. Since 2012, Windham has also put on a monthly Jazz Cafe night at The Electric Theatre. Since its re-inception, Guildford Jazz has welcomed over 1700 musicians and 32,000 music lovers to a total of nearly 450 events.
Colin Tipton, who succumb to decades-long battle with MS in late November 2012, was a lecturer of political sociology at the University of Surrey. Heather Tipton is a former associate lecturer in Sociology at the University of Surrey, was a Labour Councillor for Stoke Ward for 13 years and a local artist. Windham is a professional jazz bassist.
Gallery:
20 March 2001 and the Clark Tracey Sextet played Guildford Jazz Club. Source: Heather Tipton’s post in Guildford Town Past & Present 
Source: Heather Tipton’s post in Guildford Town Past & Present 
February to July 1988’s Jazz at the Civic Hall season. Source: Heather Tipton’s post in Guildford Town Past & Present Source: Heather Tipton’s post in Guildford Town Past & Present Adrian Kendon, Alan Price, Alan Price Band, Art Theman, Bill Bruford, Channel 4, Civic hall, Clark Tracey CT3+2, Clark Tracey Sextet, Cliff Burchell Simkins Quartet, Colin Tipton, Dick Morrisey, Django Bates, Earthworks, Farncombe, Geoff Hearns, Geoff Rideout/Mark Ballamy Quartet, Guildford, Guildford Jazz, Guildford Jazz Club, Guildford Rugby Club, Heather Tipton, Iain Ballamy, Jazz at The Electric, Jazz at the Stoke, Jazz Cafe, Jim Mullen, Joe Lee Wilson, John Critchinson, Julian Argüelles, Loose Tubes, Marianne Windham, Martin Drew, Meantime, Morrisey / Mullen, Ron Mathewson, Ron Parry, Steve Argüelles, Steve Watts, Stevie Smith, Stoke Hole, Terry Seabrook, The Animals, The Electric Theatre, The Freeholders, The Guildford Festival, The Jim Mullen Quartet, The Julian Argüelles Quartet, The Ronnie Scott Quartet, The Siger Band, The Stoke Hotel, The Tina May Quartet, The Waite/Wickens Trio, Touch of the Blues -
Disruptive Patterns
(c’78-’81) Andy McInnes (vocals), Simon Raymonde (bass), Simon Godfrey (drums), Paul Cummins (guitar), and Adam Peters (keyboards).
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes The band was initiated by Peters with Cummins and then Raymonde. Their first gig was at a Prior’s Field, the all-girls school in Godalming playing Sex Pistols covers. McInnes joined and Godfrey became the drummer. The band would often rehearse at The Manor, Tuesley Lane, Godalming; the home of Peter’s then girlfriend, Janet Astor – she now lives at Goodwood House and is the current Duchess of Richmond.
21 July 1980: Disruptive Patterns supported by Consenting Adults played The Wooden Bridge, Guildford. This new wave group are recalled for a song with the chorus refrain of “pleasure never hurt anyone”, which may have also been the name of the song. They gigged locally at venues such as The Wooden Bridge, Guildford; appearing there on 21 July ’80 supported by Consenting Adults. Late 1980 saw the band perform a demonstration gig at The Garden for record companies, at which an A&R man showed interest. There were also rumours of a German tour in early ’81.
In late ’81 McInnes was replaced by American Angela Jaeger (vocals) who was brought in to front the group, which also changed its name to Drowning Craze. Both changes possibly instigated by indie label Situation Two with whom the group had signed a record deal.
Raymonde went on to become a Cocteau Twin and now owns / runs the Bella Union label. McInnes went on to join Imperfect Hold and Peters joined Displayed.
Tracks:
Gallery:
Short piece from the Bitch Bitch fanzine on reformation of Disruptive Patterns as Drowning Craze. Picture courtesy of John Hudson 
Disruptive Patterns c’80 at The Wooden Bridge, Guildford. Picture courtesy of Fred Pipes 
Disruptive Patterns c’80 at The Wooden Bridge, Guildford. Picture courtesy of Fred Pipes 
Disruptive Patterns c’80 at The Wooden Bridge, Guildford. Picture courtesy of Fred Pipes 
Disruptive Patterns c’80 at The Wooden Bridge, Guildford. Picture courtesy of Fred Pipes 
Disruptive Patterns c’80 at The Wooden Bridge, Guildford. Picture courtesy of Fred Pipes 
Disruptive Patterns c’80 at The Wooden Bridge, Guildford. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes 
Disruptive Patterns rehearsing at The Manor. Picture courtesy of Fred Pipes Adam Peters, Andy IcInnes, Angela Jaeger, Bella Union, Cocteau Twins, Consenting Adults, Displayed, Disruptive Patterns, Drowning Craze, Duchess of Richmond, Godalming, Goodwood House, Guildford, Imperfect Hold, Janet Astor, Paul Cummins, Prior’s Field, Simon Godfrey, Simon Raymonde, Situation Two, The Garden, The Maner, Wooden Bridge -
The Stormsville Shakers
(c’61-’67) Phillip Goodhand-Tait (keyboards / vocal), Paul Demers (drums), Ivor Shackleton (guitar), and Michael Francis ‘Kirk’ Riddle (bass)
Philip Goodhand-Tait and The Stormsville Shakers. Year and location unknown. Phillip Goodhand-Tait – who used to live on Bushy Hill Estate, Guildford and went to Pewley then George Abbot schools – joined forces with Demers, and Goldalming Grammar students Shackleton, and Riddle to form Phil Tone & The Midnighters. The band rehearsed at the Youth Club, Merrow and played their first gig at the Town Hall, Eastleigh, Hampshire on the 2 September ’61.
Riddle was the band’s driver to these early gigs, getting them to venues like the Village Hall, Effingham; Youth Clubs in Farncombe, Merrow, and Charlotteville; the Congo Youth Club that was held on North Street, Guildford; the Odeon, Guildford; and Friary Brewery, Guildford.
In Dec ’62 the band, now going by The Stormsville Shakers or Phillip Goodhand-Tate and the Stormsville Shakers monikers, signed with the Michael G. Burton Agency to be represented by Mike Gee. The band graced the NAAFI Club, Aldershot on an almost weekly basis in ’63 and were hired by Brian Howard to appear on 21 September ’63, as Phill and the Stormsville Shaker at Peace Memorial Hall, Ashtead, supported by the Echolettes. They were at the Village Hall, Churt on 7 December ’63 and only advertised a few days later on 22 December ’63 the band performed at the Holy Trinity Hall, Guildford in aid of Oxfam. On 25 January and 8 May ’64 the group returned to the Village Hall in Churt and then went on to win The Surrey Rock Competition on 25 May ’63, held at Shalford Park. They also won the 1st heat of the All England Beat Competition, held at the Plaza Ballroom, Guildford on 24 Sept that year. The prize was a recording session at Decca, publicity in the Surrey Advertiser and the titles of “Surrey’s Top Group”. Towards the end of ’63 they were starting to get gigs further afield in Ipswich, London (inc. the Flamingo Club) and The Jazz Cellar, Kingston-Upon-Thames. Meanwhile they were still busy on the local circuit supporting the likes of The Yardbirds, John Mayall, Alexis Korner and The Rolling Stones at The Wooden Bridge, Guildford. On 4 November ’63, Phil and The Stormsville Shakers headline opening night of the Rock & Twist Dances at the Civic Hall, Guildford, with The Original Dominos, The Condors and The Age Beaters in support.
Early January ’64 the band expanded with the addition of Steve Howard (tenor sax). The next month Dick Forcey (drums) replaced Demers. A few days later they had there first official recording session in West Hampstead. A couple of days after that there was a recording audition for Decca followed, within a few weeks, by a Recording Test in Studio 1. Brian Howard booked the band again, this time as support to Alexis Korner’s Blues Incorporated on 7 March ’64 at Epsom Baths Hall, Epsom. On 4 July ’64 they supported the Paramounts at the Civic Hall, Guildford and John Lee Hooker at the Ricky Tick Club, Windsor on 11 July. It was around this time that Patrick Martin of The Late approached Riddle and asked how he achieved the ‘really punchy sound’, with Riddle crediting “La Bella Flatwound” strings. Mid-July they became a 6-piece with the addition of Peter ‘Greg’ MacGregor (tenor sax).
It was around this time The Surrey Advertiser titled them the “Go ahead Generation – Number one group” and they became a regular feature at Ricky Tick, Guildford and Windsor. On 10 August they enter a studio again, this time Central Sounds, Denmark St, returning on the 18 August. Shortly after the first recording session Mick Douglas (guitar) ‘temporarily’ picks up the axe for Shackleton. In early September, duties change again when MacGregor leaves to be replaced Geoff Cooke (tenor sax). The band are now playing nationally including Stringfellows’ The Mojo Club, Sheffield; The Place, Stoke on Trent; ; Crawdaddy at The Star, Croydon; California Ballroom, Dunstable; Blue Moon Club, Hayes; and the Whisky A Go Go, Newcastle. On the 1 October ’64 the combined Farnborough Tech & RAE Rag Ball was held at R.A.E.’s Assembly Hall, Farnborough and featured The Art Woods, Reading based The Moquettes, and Phillip Goodhand-Tate and the Stormsville Shakers. Two weeks later they were at the Locarno Ballroom, Swindon supporting Wayne Fontana and The Mindbenders on 15 October. On 13 December the band were the headliner at Ilkley D.J. Club at the Troutbeck Hotel, Ilkley, supported by Thimble Riggers, and in mid-December ’64 there was a 4-day tour of Scotland followed by a recording session at the Marquee Studios with Georgio Gomelski on the 23 December, with a gig at the Flamingo Club with Zoot Money straight after. To close out ’64 and hail in ’65 they played Ricky Tick, Windsor supporting Georgie Fame and The Blue Flames. A portion of Fame’s performance was introduced by Brian Matthew with June Imrat and broadcast live from Clewer Mead as part of BBC Radio’s “New Year Revels”, which also featured Mark Wynter.
15 October 1964: Wayne Fontana and the Mindbenders with The Stormsville Shakers at Locarno, Swindon While signed to The Rik Gunnell Agency the band pretty much gigged every other day through ’64 and the schedule didn’t change entering ’65, which included touring with The Larry Williams Show. More recording in the first week of January ’65 at IBC Studios, London, but why waste a trip to town; getting booked to play the Marquee Club that night and running down to Reading the day after to join The Animals at the Olympia on the 7 January. Around mid-February ’65, David Sherrington (tenor sax) and Tony Hurley (tenor sax) join as Cooke and Howard leave. In March The Stormsville Shakers are recording again, this time at Regent Sound Studios, London. They were back on local turf on 31 March ’65 performing for The Guildford School of Art Students Union at the Village Hall, Merrow with The SmokeStakks in support.
31 March ’65: Poster, designed by William Neal, for gig at Merrow Village Hall. Finally, on the 5 and 6 April ’65, they enter the studios to record an LP with Larry Williams at Decca Recording Studios and Marquee Studios, London respectively. The bands time with The Larry Williams Show and these recording sessions led to their appearance on the snappily title “The Larry Williams Show Featuring Johnny ‘Guitar’ Watson With The Stormsville Shakers” LP, the cover of which carries an image taken at The Plaza, Guildford. On 19 April ’65, The Stormsville Shakers were supporting Downliner’s Sect at the Rendezvous Club at Oddfellows Hall, Portsmouth, shortly before the club stopped operating. THe band arrived at The Scotch of St.James, Mayfair at 7:30pm on 7 May ’65, performing three 35 minute long spots across the night and finished at 2:00am. They were subsequently booked to appear at the venue on both the 14 and 15 May. Jammed between their constant gigs come more recording sessions: 18 May at Regent Sound Studios, London they lay down “Long Live Love” and “I’ll Do The Best I Can” with Chris Andrews; 23 June at Regent Sound Studio, London for “Do What You Wanna Do” and “There You Go”; 4 August and 13 September recording at Rayrick Studios, London; 15, 27 and 30 September and 1 October at Advision Studios, that included recording “It’s A Lie”; and 23 December at R.G. Jones Studio, Morden, to record “Number One” and “There You Go”. In late ’65 Ian Jelfs (guitar) replaces Shackleton. As a result Shackleton misses out on the bands first international gigs on the 18 and 19 December at La Locomotive, Paris before returning to The Wooden Bridge, Guildford for a Christmas Eve gig.
A Stormville Shakers promo card. Picture courtesy of Ben’s Collectors Records The band returned to R.G. Jones Studio in January ’66 to finish “There You Go” and “Number One” and again on the 4 February for “I’ll Do The Best I Can” and “Gonna Put Some Hurt On You”, again on the 14, and once more on 17 February when they worked on “Gonna Put Some Hurt On You” again, but this time with The Marionettes vocal group and Gus Galbraith on trumpet. They were still playing, almost every other day, and sometimes twice a day, everywhere from pubs, clubs, colleges/polytechnics and wedding receptions up and down the country. On 29 January ’66, The Stormsville Shakers appeared with Lee Dorsey at the Flamingo Club, Wardour Street in the evening staying on to re-appear supporting Geno Washington and the Ram Jam Band at the Allnighter Club at midnight. Then on 20 February they began a tour of France starting off in Paris with a gig at the Weekend Club (which was recorded), two at the Sims Club, and the Locomotive Club on the first day alone. Over the next five days they played eight gigs at the Palladium, Poparama, Television, Top Ten, New Palladium and a private party. The crazy schedule didn’t stop when they moved onto Nantes, with four performances on the 26 February and another on the 27 February. Back to Paris and another private party on 1 March and eleven more club gigs over the next five days at Top Ten, La Plantation, Whisky A Go Go, Potel Etoile, Le Club, Weekend, Locomotive and Les Chateaux. Mid tour they return to London for recording sessions at Rayrick Studios laying down “The Bear” and Advision Studios, London for more work on “Gonna Put Some Hurt On You”, then it’s back off to Paris for the rest of March and all of April, with a quick trip to Marseilles’ Club L’Omnibus on 26 and 27 March. On 1 April they take on a month long residency at Paris’ Palladium, playing every night of the month through 1 May.
Released in 1966, “Gonna Put Some Hurst On You”. Picture courtesy of Ben’s Collectors Records On 6 May ’66 “Gonna Put Some Hurt On You” backed with “It’s A Lie” is released on Parlophone Records [R5448]. As their single hits the charts in early May ’66 they are back gigging in the UK. Mid-May saw Goodhand-Tate signing a publishing contract with Dick James Music and the band engaged Tony Brainsby as Publicist; Mel Collins (sax) also joined the band. The single enters the Melody Maker Pop 50 chart by 21 May and they close out the month with The Who at Morecambe, Winter Gardens. By 4 June the single has reached No.40 in the Melody Maker Pop 50 chart and the almost daily gigging continues. In June, news breaks of Sherrington having an incident with a British Rail policeman. On 15 July they find time to hit the studio – R.G. Jones Studio again – and record “No Problem”, “What More Do You Want”, and “Where Were You”. “No Problem” is assigned to Dick James Music on 1 August and the band work on the track at R.G. Jones Studio the next day. Towards the end of August ’66 “No Problem”, produced by Chris Cassup, who also managed the band in the early to mid-sixties, backed by “What More Do You Want” is released on Parlophone Records [R5498].
Poster promoting 1966’s “No Problem” by Phillip Good-Hand Tait and the Stormville Shakers. Picture courtesy of Ben’s Collectors Records A meeting with producer Roy Pitt in September results in a number of recording sessions at Maximum Sound Studios on: 11 and 12 October “You Can’t Take Love” is initially laid down; on the 19 October, with The Carols as backing, they work on the track some more; and then on 2 and 9 November ’66 they wrap it up. In the middle was another one week tour of France. On 2 December, Parlophone Records released “You Can’t Take Love” backed by “J.C. Greaseburger” [R5547]; and “I’m Gonna Put Some Hurt On You” appeared on a compilation by Columbia [SX6062].
Early ’67 and the gigging schedule continues at it’s usual rapid rate, including two week long trips to Belfast in March and April. There’s a break in the gigging on 30 January to record “The Society For The Protection Of Love” at R.G. Jones Studio. The 13 February ’67 sees the band at the Marquee, London supporting The Herd, a role they repeated at the venue a month later on 13 March. The 30 March is used recording “One And One Is Two” and “There You Go” at CTS Studio; 4 April back at R.G. Jones Studio, 18 April at IBC Studios, London, 17 May at City of London Recording Studios recording “Sink Or Swim” and “Gone Are The Songs Of Yesterday”.
Then in April ’67 rumors started of a name change. In ’67 we know that Doreen Pettifer, of Godalming, was the official secretary of The Stormsville Shakers Fan Club and Chris Cassap from Guildford was their manager. On 28 July ’67, The Stormsville Shakers closed out the month with a gig in Ostend, Belgium on then took a break before hitting Switzerland mid-August en-route to Italy to play the Piper Club, Rome on the 15 August, then the Piper Club, Viareggio on the 21 August. They finished out August back in Rome recording a scene playing “You Got Me Humming” for the Italian movie titled “Main City”. On 1 September ’67 the band changed their name to Circus.
In June 2003: Phillip Goodhand-Tait and the Stormsville Shakers, The Switch, The Phantom Four and Razzle Dazzle got together and played a final gig at the Civic Hall, Guildford. 2015 saw the release of “One And One Is Two – The Stormville Shakers and Circus with Phillip Goodhand-Tait, Complete Recordings 1965 – 1967” [RETRO967] which carries 27 tracks including the five Parlophone singles. This was also the year that John Reed and Paul Robinson of Cherry Red Records worked with 23 Ears to compile the CD that accompanied the June 2015 issue of MOJO Magazine titled ‘My Generation – 15 Tracks of ’60s Beat-Filled Teenage MOD Angst‘ that included The Stormsville Shakers ‘Number One’ as the fifth track.
The 2015 released “One And One Is Two – The Stormville Shakers and Circus with Phillip Goodhand-Tait. Picture courtesy of Ben’s Collectors Records Other members not yet slotted into the timeline are Graham “Cupcake” Cooper (guitar) who went on to play in Strange Brew and Jackie Lynton’s Happy Days Band, and Chris Brayne (drums) who would later join Backhurst, Manhole, and Cryin’ Out Loud. Copper would be later found performing solo under the Graham “Cupcake” Cooper moniker, and some recall Eric Clapton joining him and other local musicians onstage at The Royal, Guildford for a charity gig in the early ’80s with Bruce Foxton of The Jam in the audience. Chris Cassup, who is listed as the producer on the “No Problem” single and was the band’s manager opened the Unit Three burger bistro in Jeffries Passage, Guildford around 1974, opposite the Horse and Groom. Cassup was working the night that the bomb went off, he was unhurt. He went on to run a guest house on the coast and died around 2006. Riddle, who lately played in the Staubanzee skiffle band, sadly passed away November 2017. Dick Forcey was last heard of in Australia. Sax player Sherrington passed in early March 2022 with sax all set up just 6 feet away.
Gallery:
The Stormsville Shakers ‘horn section’ 
The Stormsville Shakers 
Ivor Shackleton and Kirk Riddle of The Stormville Shakers at the Plaza, Guildford. Picture courtesy of Pat Conroy 
21 September 1963: Phill and the Stormsville Shaker with Echolettes. Image courtesy of Brian Howard 
7 March 1964: Alexis Korner’s Blues Incorporated with Phill and the Stormsville Shaker. Image courtesy of Brian Howard 
1 October 1964: The combined Farnborough Tech & RAE Rag Ball at RAE’s Assembly Hall eatured The Art Woods, The Moquettes, and Phillip Goodhand-Tate and the Stormsville Shakers. 
Rik Gunnell Agency advert from Melody Maker (29 Jan 1966) listing The Stormsville Shakers as one of their ‘exclusive’ bands. 
29 January 1966: The Stormsville Shakers appeared with Lee Dorsey at the Flamingo Club, staying on to re-appear supporting Geno Washington and the Ram Jam Band at the Allnighter Club. Advert from Melody Maker 29 Jan 1966 issue. 
Towards the end of August ’66 “No Problem” is released on Parlophone Records [R5498] 
13 February 1967: Philip Goodhand-Tate and The Stormsville Shakers supported The Herd at the Marquee, London (Advert from Melody Maker 11 Feb 1967) 
8 June 2003: Poster for “Let The Good Times Roll” featuring Phillip Goodhand-Tait with The Stormville Shakers, The Switch, The Phantom 4, and Razzle Dazzle played the Civic Hall, Guildford. Picture courtesy of Ben’s Collectors Records 
Record Mirror, 2 January 1965: The Stormville Shakers, along with Georgie Fame and The Blue Flames, played the Ricky Tick, Windsor New Year’s Eve Party. 
Record Mirror, 16 January 1965: The Stormville Shakers played the Rick Tick, Windsor on 20 January. 
Record Mirror, 17 October 1964: The Stormville Shakers are at Rick Tick, Windsor on 18 October. 
22 December 1962 – This handwritten ticket got you in to see the band at Holy Trinity Hall, Guildford. Ticket from the collection of Mary Fereday, picture courtesy of Ben’s Collectors Records 
In 1965 The Larry Williams Show featuring Johnny ‘Guitar’ Watson with The Stormsville Shakers LP was released. The cover picture was taken at the Ricky-Tick Club at The Plaza Ballroom, Guildford. Picture courtesy of Ben’s Collectors Records 
August ’66 release “No Problem” backed by “What More Do You Want”. Picture courtesy of Ben’s Collectors Records 
August ’66 release “No Problem” backed by “What More Do You Want”. Picture courtesy of Ben’s Collectors Records 
The Stormville Shakers with Phillip Goodhand-Tait. Picture courtesy of Ben’s Collectors Records 
Stormsville Shakers “What More Do You Want”. Picture courtesy of Ben’s Collectors Records 
Stormville Shakers in 1960’s 
15 & 22 November 1964: Stormsville Shakers at the Ricky Tick, Windsor. Picture courtesy of Ben’s Collectors Records 
19 April 1965: Stormsville Shakers supporting Downliner’s Sect at the Rendezvous Club at Oddfellows Hall, Portsmouth. Picture courtesy of Ben’s Collectors Records 
The Stormville Shakers backing Screamin’ Jay Hawkins at a Ricky Tick on 10 Feb 1965. Source: rickytick com 
8 June 2003: Page 1 of the programme for the ”60’s Return” gig at the Civic Hall, Guildford featuring Phillip Goodhand-Tait and the Stormsville Shakers. Source Tina Lambley via Guildford Town Past & Present 
8 June 2003: Page 2 of the programme for the ”60’s Return” gig at the Civic Hall, Guildford featuring Phillip Goodhand-Tait and the Stormsville Shakers. Source Tina Lambley via Guildford Town Past & Present 
8 June 2003: Page 3 of the programme for the ”60’s Return” gig at the Civic Hall, Guildford featuring Phillip Goodhand-Tait and the Stormsville Shakers. Source Tina Lambley via Guildford Town Past & Present 
8 June 2003: Page 4 of the programme for the ”60’s Return” gig at the Civic Hall, Guildford featuring Phillip Goodhand-Tait and the Stormsville Shakers. Source Tina Lambley via Guildford Town Past & Present 
8 June 2003: Page 5 of the programme for the ”60’s Return” gig at the Civic Hall, Guildford featuring Phillip Goodhand-Tait and the Stormsville Shakers. Source Tina Lambley via Guildford Town Past & Present 
8 June 2003: Page 6 of the programme for the ”60’s Return” gig at the Civic Hall, Guildford featuring Phillip Goodhand-Tait and the Stormsville Shakers. Source Tina Lambley via Guildford Town Past & Present 
13 December 1964: Ilkley D.J. Club, Troutbeck Hotel, Ilkley. Source: www.bradfortimeline.co.uk 
June 2015 MOJO magazine compilation CD included The Stormsville Shakers ‘Number One’ 
June 2015 MOJO magazine compilation CD included The Stormsville Shakers ‘Number One’ 
June 2015 MOJO magazine compilation CD included The Stormsville Shakers ‘Number One’ 23 Ears, Advision Studios, Aldershot, Alexis Korner, Alexis Korner's Blues Incorporated, All England Beat Competition, Allnighter Club, Ashtead, Assembly Hall, Backhurst, BBC Radio, Belfast, Belgium, Blue Moon Club, Brian Matthew, Bruce Foxton, Bushy Hill Estate, California Ballroom, Central Sounds, Charlotteville, Cherry Red Records, Chris Andrews, Chris Brayne, Chris Cassup, Churt, Circus, City of London Recording Studios, Civic hall, Clewer Mead, Club L’Omnibus, Columbia, Congo Youth Club, Crawdaddy, Croydon, Cryin’ Out Loud, David Sherrington, Decca, Decca Recording Studios, Dick Forcey, Dick James Music, Doreen Pettifer, Downliners Sect, Dunstable, Eastleigh, Echolettes, Effingham, Epsom, Epsom Baths Hall, Eric Clapton, Farnborough, Farnborough Tech, Farncombe, Flamingo Club, Friary Brewery, Geno Washington & The Ram Jam Band, Geoff Cooke, George Abbott, Georgie Fame and The Blue Flames, Georgio Gomelski, Godalming, Godalming Grammar, Graham Cooper, Guildford, Guildford School of Art, Gus Galbraith, Hayes, Holy Trinity Hall, Horse and Groom, Ian Jeffs, IBC Studios, Ilkley, Ilkley D.J. Club, Ipswich, Italy, Ivor Shackleton, Jackie Lynton's Happy Days Band, John Lee Hooker, John Mayall, John Reed, Johnny Watson, June Imrat, Kingston-Upon-Thames, Kirk Riddle, La Locomotive, La Plantation, Lacarno Ballroom, Le Club, Lee Dorsey, Les Chateaux, London, Manhole, Mark Wynter, Marquee Club, Marquee Studios, Marseille, Maximum Sound Studios, Mayfair, Mel Collins, Melody Maker, Merrow, Michael G. Burton, Michael Riddle, Mick Douglas, Mike Gee, Mojo, MOJO Magazine, Morden, Morecambe, NAAFI Club, Nantes, New Palladium, Newcastle, Oddfellows Hall, Odeon, Olympia, Ostend, Oxfam, Palladium, Paramounts, Paris, Parlophone Records, Patrick Martin, Paul Demers, Paul Robinson, Peace Memorial Hall, Peter MacGregor, Phil and The Stormsville Shakers, Phil Tone & The Midnighters, Phill and the Stormsville Shakers, Phillip Goodhand-Tate, Phillip Goodhand-Tate and the Stormsville Shakers, Piper Club, Plaza Ballroom, Poparama, Portsmouth, Potel Etoile, R.G. Jones Studio, RAE, RAE Assembly Hall, Rayrick Studios, Razzle Dazzle, Reading, Regent Sound Studios, Rendezvous Club, Ricky Tick Club, Rome, Roy Pitt, Scotland, Shalford Park, Sheffield, Sims Club, Staubanzee, Steve Howard, Stingfellow, Stoke-on-Trent, Strange Brew, Studio 1, Surrey Advertiser, Swindon, Switzerland, Technical College, Television, The Age Beaters, The Animals, The Art Woods, The Carols, The Condors, The Herd, The Jam, The Jazz Cellar, The Larry Williams Show, The Marionettes, The Mojo Club, The Moquettes, The Original Dominos, The Phantom Four, The Place, The Rik Gunnell Agency, The Rolling Stones, The Scotch of St.James, The Smokestakks, The Star, The Stormsville Shakers, The Stormville Shakers, The Surrey Rock Competition, The Switch, THe Who, The Yardbirds, Thimble Riggers, Tony Brainsby, Tony Hurley, Top Ten, Town Hall, Troutbeck Hotel, Unit Three, Village hall, Wayne Fontana and the Mindbenders, Weekend, Weekend Club, West Hampstead, Whisky A Go Go, William Neal, Windsor, Winter Gardens, Youth Club, Zoot Money -
Combo A Go Go
(c’63-’66) – Freddie Green (lead guitar/vocals), Alan Willis (bass/vocals), Jim “Jock” Edmunds (drums), Chris Minnet (rhythm guitar), Arthur Trussler (alto sax), and Pete Styles (trumpet)
Combo A Go Go, sometimes listed as Combo Agogo, were a local band, with members mainly emanating from Aldershot, that played R&B, Stax Soul & early Motown. In 1965 they secured a weekly residency at the Harvest Moon, Guildford.
Combo A Go Go at Harvest Moon, Guildford c’65/’66. Picture courtesy of Georgina and Fred Green via Guildford Town Past and Present Enugu, Nigeria-based guitarist and producer Goddy Oku bought his band The Hygrades to the Harvest Moon on 12 March ’66, where they were supported by Combo A Go Go, while the band held their own a couple of weeks later, in the evening of, 27 March ’66.
Gallery:
March 1966: Press Ad for The Harvest Moon Club, Guildford. Picture courtesy of Ben’s Collectors Records 
March 1966: Press Advert
Our Soundscene 
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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