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Lopez and the Waveriders
(c’79) Patrick ‘Paddy’ Carroll (bass/vocals), Clive Parker (drums), Martin Whittaker (guitar/vocals)
Parker, who’d played with rock n roll, show, and rocks bands on the Old Dean Estate, along with Carroll had both been in The Members. Carroll being Jean Marie “JC” Carroll’s brother, who’d joined The Members in ’77.
Their band, with Whittaker, started out as The Planets. On 19 May ’79, T. T. Transmission headlined at the Technical College, Farnborough and were supported by The Planets – a purposeful juxtaposition where the Waveriders’ well performed opening was incongruous to the audience’s prog-rock leanings. There was however another band going by The Planets moniker, and they had a record deal and a manager and a fruitless argument with that manager by Parker led to a change of name.
19 May 1979: T. T. Transmission, supported by The Planets, headlined Farnborough College of Technology. Picture courtesy of Mark TerryInitially thy changed to Walkies Talkies, then going by Lopez, a moniker under which they were supposed to support Thieves on 18 December ’79 at The Tumbledown Dick, Farnborough, but to the best of our knowledge Thieves didn’t show and the support became the headliner under the longer moniker Lopez and the Waveriders, with Matrix Numbers opening the show. The poster for this gig and many of the bands’ others were surreptitiously photocopied at RAE, Farnborough where Parker worked.
The band gigged across the area including Guildford, Bracknell, Farnborough, and Reading and they supported The Members and Eddie & The Hot Rods further afield. They rehearsed in the basement of Whittaker and Carroll’s rented house in Reading, a location that led to gigs at Bones Club, Reading as well as Bulmershe College, Reading and Northeast to Oxford pubs. They also rehearsed in the hall next to Cornwallis Primary School on the Old Dean Estate, nipping to the The Highwayman, Camberley after for a drink or three.
Not long after Lopez and the Waveriders dissolved, Parker joined Athletico Spizz 80. Big Country’s Stuart Adamson then auditioned Parker in ’81 at The Members’ rehearsal room in Ladbroke Grove, London. The next day he was called on to play on demos for CBS Records and subsequently joined the band. Parker was also a member of Scary Thieves, Kingfishers Catch Fire, Holy Trinity, Barra, and Marshall Star; and toured with Nik Kershaw, Pop Will Eat Itself, Crazyhead, and Living Colour. More recently, Parker has played in The Expressway with ex-Jesus and Mary Chain guitarist and drummer, John Moore. He went on to production and management, forming the Furry Records UK label. In ’92, Parker along with Oswin Falquero and Kasie Sharp wrote and produced Pulling the Strings, which became a minor dance hit. The Camberley lad now lives in East Sussex.
Gallery:
Picture of Lopez and the Waveriders in their basement rehearsal space in Reading. Photo taken and courtesy of Clive Parker-Sharp 
Lopez and the Waveriders clipping from Pop Scene in 14 December 1979 issue of The News. Photo taken and courtesy of Clive Parker-Sharp 
18 December 1979: Lopez and the Waveriders supported by Matrix Numbers up at the Tumbledown Dick. Athletico Spizz 80, Barra, Big Country, Bones Club, Bracknell, Bulmershe College, Camberley, CBS Records, Clive Parker, Crazyhead, East Sussex, Eddie & The Hot Rods, Farnborough, Furry Records UK, Guildford, Holy Trinity, Jean Marie Carroll, John Moore, Kasie Sharp, Kingfishers Catch Fire, Ladbroke Grove, Living Colour, London, Lopez, Lopez & the Waveriders, Lopez and the Waveriders, Marshall Star, Martin Whittaker, Matrix Numbers, Nik Kershaw, Old Dean, Oswin Falquero, Oxford, Patrick Carroll, Pop Will Eat Itself, RAE, Reading, Scary Thieves, Stuart Adamson, T.T. Transmission, Technical College, The Expressway, The Highwayman, The Jesus and Mary Chain, The Members, The Planets, The Tumbledown Dick, Thieves, Walkie Talkies -
Co-Operative Concert Company
(c’1920) Ethel Robinson (contralto), Madame A. Watts (mezzo-soprano), Archie Fielding (comedian), Reg Gaston (humorist), Ewart W. Nicholas (barritone), and Leslie Fly (vocals / piano).
Accompanied by Fly, who was also involved with The Dennis Orchestra, on the piano, the Co-operative Concert Company performed their somewhat restrained variety shows throughout the area covered by The Guildford & District Co-operative Society, which was established in 1891.
To mark the opening of the new Co-op at Woodbridge Hill, the Co-Operative Concert Company were in action on 20 February ’20 at the Church Room, Stoughton. Five days later, on 25 February ’20, the group were the musical portion of a ‘concert-meeting’ regarding education in Guildford at the Borough Hall, Guildford.
Gallery:
20 February 1920: Clipping dated 27 February 1920, has the Co-Operative Concert Company performing at the Church Room, Stoughton to mark the opening of the Co-op Stores branch at Woodbridge Hill, Guildford. Picture courtesy of Philip Hutchinson 
Clipping dated 3 March 1920, has the Co-Operative Concert Company performing at the Borough Hall, Guildford. Picture courtesy of Philip Hutchinson -
Poise
(c’92-93) Jo Bartlett (guitar / vocals), Danny Hagan (bass), Ches ? (drums), and Rudy ? (guitar)
Bartlett front and centre for Poise c’93. Source: Indie Through the Looking Glass Bartlett and company may have relocated Camden, but their musical endeavors are forever embedded in the GU. In late ’92 Poise formed around Bartlett and Hagan, and although short live made a sizeable impression.
In January ’93 the band supported Fret Blanket at The Falcon, Camden. Later that month The Buzz Club, at the West End Centre, Aldershot, had Poise and Flavour supporting Cornershop on 30 January ’93. The following month, on 24 February ’93, they returned to The Falcon to support Flower Sermon.
The Buzz Club, nepotistically, welcomed the band back for a supporting role on 2 October ’93. The Afghan Whigs had been booked but they reneged and were replaced by San Francisco-based power pop band, The Loud Family. Meanwhile, Poise were supposed to be joined in support by Jacob’s Mouse, who also went back on their promises and were replaced by Elastica. The final Buzz Club ran later that year, on 4 December ’93, and Barlett and Hagan’s Poise opened for Shed Seven and headliners Dodgy; just as their band Go! Service, along with Zaz Turned Blue, had opened for The Blow Monkeys, seven years earlier, at The Agincourt, Camberley on 1 December ’85.
Gallery:
Source: Indie Through the Looking Glass 
January ’93: Poise reviewed in Melody Maker’s 31 Jan ’93 issue by Michael Bonner. Source: Indie Through the Looking Glass 
30 January 1993: Cornershop, Poise and Flavour were the Buzz Club, West End Centre, Aldershot.
Lime Lizard review from early ’93. Source: Indie Through the Looking Glass 
24 February ’93: Poise were at The Falcon to support Flower Sermon. Source: Indie Through the Looking Glass 
2 October 1993: The Afghan Whigs were replaced by San Francisco-based power pop band, The Loud Family, and Jacob’s Mouse were replaced by Elastica. Poise still appeared. Source: The Surrey & NE Hampshire Music Scene
4 December 1993: Dodgy, Shed 7, and Poise. Source: Indie Through the Looking Glass 
Poise. Source: Indie Through the Looking Glass Agincourt, Aldershot, Buzz Club, Camberley, Camden, Cornershop, Danny Hagan, Dodgy, Elastica, Flavour, Flower Sermon, Fret Blanket, Go! Service, Jacob’s Mouse, Jo Bartlett, Poise, Shed Seven, The Afghan Whigs, The Blow Monkeys, The Falcon, The Loud Family, The Vertigo Club, West End Centre, Zaz Turned Blue -
Last Chance to Dance
(c’83-’85) John Proctor (guitar), Paul Dando (drums), Dave Reece (guitar), Paul Thane (vocals), and Ronnie Johnson (bass).
Last Chance to Dance were formed from the ashes of several local bands in the Frimley area, primarily Out of Order, Thane and Fear of Flying. All the named origins featured the vocals and songwriting of Thane. Reece was the original guitarist in Out of Order, and had played with Proctor in The Ansell Dukes. Dando and Proctor had played in several local bands in the mid 70’s, and Johnson was the bassist in jazz funk band Crosswinds.
As Last Chance to Dance they performed mostly original songs from the three different songwriters: Thane, Reece and Proctor, mixed in with a few covers. Out of step with the musical trends of the 80’s made them hard to categorize. The Farnham Herald notoriously labelled them as “a cheerful boogie band”. They played at various venues across the Surrey/Hants borders (Farnborough, Farnham, and Bordon area), especially the Royal Oak, Hollywater; The White Hart, Frimley, and the Robin Hood, Standford.
The band were certainly at Robin Hood, Standford on 29 August ’83, and in ’83 or ’84, they supported Dave Dee, Dozy BM&T and The Tremeloes at the Recreation Centre, Farnborough. On 21 April ’84, Last Chance to Dance joined In Hill House and Zero Zero at the Easter Disco, held at the Community Centre, Frimley.
Many of the band played together again in various bands from the late 90s onwards, and continue to do so today. Proctor is currently in Debris with Phil Longden and Paul Trew.
Sadly, Thane died in January 2020.
Tracks:Gallery:
Last Chance To Dance outside The White Hart, Frimley (l-r: Proctor, Dando, Reece, Thane, and Johnson). Picture courtesy of John Proctor. 
Adrian Creek features Last Chance to Dance in his Pop Scene column from the 26 August 1983 Camberley News. Picture courtesy of John Proctor 
21 April 1984: Last Chance to Dance, In Hill House, and Zero Zero played the Easter Disco at the Community Centre, Frimley. Picture courtesy of Steve Excell Bordon, Community Centre, Crosswinds, Dave Dee Dozy BM&T, Dave Reece, Debris, Farnborough, Farnham, Fear of Flying, Frimley, Hollywater, In Hill House, John Proctor, Last Chance to Dance, Out of Order, Paul Dando, Paul Thane, Paul Trew, Phil Longden, Recreation Centre, Robin Hood, Ronnie Johnson, Royal Oak, Standford, Thane, The Ansell Dukes, The Tremeloes, The White Hart, Zero Zero -
Big Muff
Neil Boyd started and wrote the Big Muff fanzine, named after the Mudhoney LP, in the early ’90’s. He was originally based in Fleet, before moving up to London. The fanzine ran to 10 issues, if you count the halves and renamed releases, and often included a flexidisc or cassette. Each included interviews and reviews which are listed below with a link to the .PDF version hosted on the www.BigMuff.org website – so you can read the whole thing or choice morsels at your leisure.
Big Muff
At a time when cut & paste meant scissors and glue and word processing was a typewriter or very early Brother WP, Boyd knocked out a 24 pages banger of pure fanzinery. It featured articles and interviews with Clare Grogan, Fat Tulips, Motorcycle Boy, Parachute Men, Patsy Cline, PO!, Popguns, Shop Assistants, and Spinning Jennys. The Flexidisc carried Fat Tulips’ A Girl Called Suicide and Spinning Jenny’s Splendid.
The cover of the first issue of Big Muff. No issue number Big Muff No.2
Boosted to 36-pages Big Muff No.2 hits a broad swathe of indie and unsigned bands from ’90: Bleach, Blur, Lush, Mayomberos Alive, Screaming Custard, The Bollweevils, The Charlottes, Th’ Faith Healers, The Fat Tulips, The Groove Farm, The Joyce McKinney Experience, The KLF, The Love Buttons, The Popinjays, Vicious Kiss, Who Moved the Ground?. The attached Flixidisc carried Th’ Faith Healers’ Domehead, Who Moved the Ground?’s Pretentious, The Love Buttons Banging My Head and Screaming Custard’s Ashtray.
Cover for Big Muff No.2 Big Muff No.3
A rather condensed 16 pages, but it did come with a 22-track compilation tape. There were interviews with The Butterflies, Bubble-Eyed Dog Boys and Daisy Chainsaw; and articles on Heavenly and Babes in Toyland. It also carried a short review of Pretty Green and Frayed Edge‘s gig on 28 March ’91 at The George, Ash Vale by none other than Sid Stovold of Who Moved the Ground? It’s also the first-time reviews appear for releases by A.C. Temple, The Infant God, Ruth’s Refrigerator, Love Dolls, Shlonk, Hush Palace, The Chemistry Set, Nautical William, plus a look at some other fanzines.
The cover for Big Muff 3. Big Muff No. 3 1/2
Boyd himself states that there “must have been in a lull when there were less bands around. It’s kind of half-sized.” It’s still 8 pages bigger that No.3 but didn’t come with a compilation cassette or flexidisc. It still packs a punch with interviews with The Primitives, Whipped Cream, Hole, A.C. Temple and Ween. The review section is much expanded, covering releases from Flood, Tonyall, Phobia, Orzic Tenticles, Some Have Fins, Thin White Rope, Our American Cousins, Jello Biafra, Spitfire, Dead Allison, Trotsky Icepick, Poopshovel, SKAW, Skin Yard, Big Drill Car, No Man, The Cranberries, Chemical People, Flower, The Frames, Great Northern Electrics, Nine Inch Nails, Upsidedown Cross, Young Fresh Fellows, Basinger, Ramblin’ Johnny Stomachpump and The Village Idiots, Big Sun, Pop Am Good, Beat Happening, Hayfoot Strawfoot, Blind Justice, Imaginery, and Spasmodics, as well as a couple of compilations including the Guilford band focused Parafornia ’91.
The cover for Big Muff 3 1/2. Big Muff No.4
Boyd had moved to London by the time No.4 was [published and this may be the reason it focused on a number of American bands who’d visited the UK in the proceeding months. It continued the expanding trend with 32 pages dedicated to interviews with Action Swingers, Blake Babies, The Wedding Present, Our American Cousins, Sunshot, Dharma Bums, Young Fresh Fellows and Zu-Zu’s Petals; and articles about Nina Hagen and The Emotionals. But it was once again Flexidisc free…but the review section literally covers everything Boyd was sent after No.3 1/2 – it’s exhaustive – with his assessment of releases from: The Hair & Skin Trading Company, The Leaving Trains, Fairfield Parlour, Big Wheel, Gobblehoof, Main, Headcleaner, The Death Folk, Sun Dial, Love Battery, Afghan Wigs, theMonkeywrench, Robin Casinader, This is Serious Mum, Jack Brewer Man, The Bedflowers, Endino, Chemical People, All, King Missile, Ed Kuepper, Sproton Layer, Cod, This Replica, Rollins Band, Spitfire, Swans, Jellystone Park, The Marmite Sisters, Trains and Boats and Planes, Love Blobs, Sun Dial, Lydia Lunch, Buffalo Tom, Chicken Scratch, The Daytrippers, Terminal Power Company, Jacobs Mouse, Spinners, 100 Days Like This, Chainsaw Kittens, Dillan Dance, Godflesh, Band of Susans, Moist, Float, Cruel Frederick, The Spectrum Zero, Machines of Loving Grace, Calamity Jane, Roachmill, No FX, The Tony Head Experience, The Hypnotics, The Dylans, Slunk, Passing Clouds, The Mabuses, Nikki Sudden, Moonflowers, The Aints, Hungry I, Pray TV, Dash Rip Rock, Gallon Drunk, Hard-Ons, Daisy Chainsaw, The Bollweevils, The Would Be’s, The God Machine, The Fish John West Reject, Maria Anjelica, Violet Town, American Music Club, Edsel Auctioneer, Darkside, Green Magnet School, Six Finger Satellite, Come, Ozric Tenticles, and Melting Eskimos; plus a number of compilations, of course. Then there are gig reviews for Blowfish and Huggy Bear.
The cover for Big Muff 4. Big Muff No.5
A ‘mediocre issue’ according to Boyd, but the Flexidisc was back with tracks from the Action Swingers and Love Blobs. The cover featured the London home of Big Muff, Boyd’s bedroom in Clapham. But Big Muff was getting the attention of labels press agents, and this saw a number of interviews with Headcleaner, Heavenly, The Scum Pups, Ed Kuepper, Henry Rollins, Milk, Pavement, Senseless Things, All and Antenna, some of which were perhaps were pushed by these PR pros. There is also an interesting piece on The College Music Journal seminar in New York with God Is My Co-Pilot, Velocity Girl, Best Kissers in the World, Holy Rollers and Th’ Faith Healers. But it’s the seven pages of often acerbic one-liner reviews that really take you on a time trip and test your memory and have you undertaking quick Google, covering releases from: Bettie Serveert, Poverty Stinks, The Wanadies, Bad Actors, Tabitha Zu, The Flesh Eaters, Pat Snear, Chainsaw Kittens, Tumbleweed, Polyphenus, Whipping Boy, Blowfish, Beat Happening, Vertigo, Weird Sex, Lovehappy, Lunachicks, Dillon Fence, Naked Truth, Presents of Mind, Buffalo Tom, Carter USM, Sunshot, Poppinjays, Sprinkler, Codeine, Mercury Rev, Scissormen, Monster Zero, Supersuckers, Crazy Alice, Headcleaner, Billy Childish, Passing Clouds, Earwig, Rubicon, Buffalo Tom, Ned’s Atomic Dustbin, Whipped Cream, Eggstone, Freefalling, Peach, Mint 400, Strangelove, Bark Psychosis, Come, China Drum, Neurosis, Daisy Chainsaw, Antenna, No Man, The Haywains, Space Cowboys, Whipped Cream, This Perfect Day, Rein Sanction, Smashing Pumpkins, Cudgels, Young Gods, Hyperhead, Walt Mink, Seconds Out Round One, Mudhoney, Naked i, Juliana Hatfield, Overwelming Colorfast, Afghan Wigs, Poverty Stinks, Eggstone, Ultraviolence, Big Ray, Throwing Muses, Strangelove, Razorblade Smile, Gorgeous Space Virus, James T Rao, Nevertheless, Musical Chairs, Her Tears, Parasites, Our American Cousins, Chainsaw Kittens, Action Swingers, Wat Tyler, The Chameleons, Sunshot, Foam, Sun Dial, Tumblweed, Belly, Radiohead, Seaweed, Cerebral Corps, Hypnolovewheel, X-Tal, The Beastie Boys, This Perfect Day, Freefalling, Cats Pav, Blind Mr Jones, Surgery, Alice Donut, Swineherd, Bel Canto, Flop, Drop Nineteens, Juliana Hatfield, and Antenna.
The cover for Big Muff 5. Big Muff No.6
Described by Boyd as the riot grrl issue, he’d also reportedly stopped letting press agents influence him. No.6 carried interviews with Velocity Girl, Even as We Speak, and Credit to the Nation; an article about Huggy Bear; and the flexidisc gave us tracks by Drugstore and Ventilator. The review section still stretched to six pages, but with fewer one line disses and a little more mainstream, giving us Boyd’s impression of releases from: Hole, Lois, Revolver, Sugar Shack, Mother Goose, Thin White Rope, Mega City Four, PJ Harvey, Cows, Fastbacks, Radial Spangle, Pavement, Antenna, The Fall, Hearts Throbs, Truly, Solace, Lighthouse, Ice-T, Laurels, Hazel, Rocket from the Crypt, Furnace Face, Nice, Gallon Drunk, Animals That Swim, Swineherd, Creaming Jesus, Molly Half Head, Bridget, Maxine, Common Language, DOA, Seefeel, Th’ Faith Healers, Ringmaster, Skyscraper, Sunshot, Young Fresh Fellows, Vanilla Traintrack, Steroid, American Music Club, Blood Sausage, Sudanese Witch Hunt, Dreamscape, Avocado Baby, Capital Wow, Witchdocters, Junk Orange, Sandira, Sloan, Superchunk, Earth, Walkabouts, Crane, Madder Rose, Gumball, Scaredycat, Flinch, Trumens Water, God Machine, ZuZu’s Petals, Osmium, Mint 400, G.W. McLennan, Fastbacks, Chia Pet, Janitor Joe, Delicious Monster, Waking Hours, Pram, Belly, Lovechild, Unsane, Lovechild, Grenadine, Fifth Column, and Lois. Plus there were a smattering of compilations reviews, that included Snakebite City Vol.1.
The cover for Big Muff 6. One of Us Should Remove the Shades No.8
There was no No.7, although technically No.6 was No.7, and Boyd changed the fanzines name to One of Us Should Remove the Shades, taken from the French film Subway. There were also changes in style in an attempt to get away from what he described as ‘a factory-produced image.’ The record reviews were now the “pull out and throw away” centre pages called “the shit” section – A dig at the agents who were sending records his way. There were interviews with Pram, Luscious Jackson, Madder Rose, Drugstore, Trumans Water and The Muffs. The attached flexidisc carried tracks by Peach and Flinch. The shit covered, with often just a star rating, way too many releases to list. There was also a letter from Andrea of Garden of Delights.
The cover for One of Us Should Removes the Shades No.8 One of Us Should Remove the Shades No.9
The double flexidisc issue, was only 16-pages, but was packed with gig reviews, forgoing the interviews of prior issues, covering Madder Rose at Dingwalls, Camden on 24 June ’94, Tripmaster Monkey, Helium at Dublin Castle on 11 July ’94, Cuckooland and Xerox Girls at the West End Centre, Aldershot on 9 July ’94; God Is My Co-Pilot; and Emperor Julian and 18th Dye at Russell Arms on 22 July ’94; and a very long record review section, that does include a rather nice synopsis of Aldershot’s Who Moved the Ground?’s The Chase / What’s That single; and once again as a centre pullout.
The cover for One of Us Should Removes the Shades No.9 Dog Eared No.10
There was a considerable gap between No.9 and No.10, Dog Eared, Boyd’s latest moniker for his ‘zine, and a return to form, crammed into 14 pages, rekindled by the Go-Go’s!!! In addition to the Go-Go’s, he looked at Persecution Complex, Pink Kross, Yummy Fur, there’s an interview with Butterfingers by Clive Gedge, he of the Waaaah! fanzine, a review of the Slampt label’s Electric Jet Mission compilation, The Muffs, Sky Cries Mary, and Cub.
During the height of Big Muff and at the point where the name changed, Boyd was interviewed for Xerox Heaven, the fanzine for fanzines, in which he admits to starting Big Muff in the hopes of ‘speaking’ with Alex Taylor, vocalist with The Motorcycle Boys and formerly of Shop Assistants. Boyd also spent some time writing for early ’90s music magazine Siren.
Gallery:
Page 2 of the first issue of Big Muff, which vaguely lays out Neil Boyd’s approach. 
Part 1 of the Who Moved the Ground? interview from page 24 of the Big Muff fanzine No.2 
Part 2 of the Who Moved the Ground? interview from page 25 of the Big Muff fanzine No.2 
Big Muff 2 Flexidisc Info, featuring Who Moved the Ground? 
A rather bad pic of The Big Muff Fanzine #2 FlexiDisc featuring WMTG’s “Pretentious” 
Big Muff 3 Page 4 Bubble Eyed Dog Boys 
Big Muff 3 Page 5 Bubble Eyed Dog Boys 
Big Muff 3 Page 5 Frayed Edge Pretty Green Gig Review 
The front cover of the Big Big 3 cassette, featuring “99 (Is Not Enough)” available with the Big Muff fanzine. 
The pre-cut sleeve of the Big Big 3 cassette, featuring “99 (Is Not Enough)” available with the Big Muff fanzine. 
‘Advert’ from Big Muff 3 for Big Muff No.2 and Big Muff. Picture courtesy of Pete Cole 
Advert from Big Muff 3 1/2 for Big Muff No.3 and No.2. Picture courtesy of Pete Cole 
Big Muff 3.5 Page 3 Phobia Release Review 
Big Muff 3.5 Page 22 Big Sun Release Review 
Big Muff 3.5 Page 23 Parafornia compilation review 
Big Muff 4 Page 30 Gallon Drunk release review 
Big Muff 6 Page 18 Mega City Four release review 
Big Muff 6 Page 22 Snakebite City Vol.1 release review 
Big Muff 6 Page 20 Gallon Drunk release review 
Page 1 of Big Muff creator Neil Boyd’s interview with “Xerox Heaven”, a fanzine about fanzines 
Page 2 of Big Muff creator Neil Boyd’s interview with “Xerox Heaven”, a fanzine about fanzines. 
Page 3 of Big Muff creator Neil Boyd’s interview with “Xerox Heaven”, a fanzine about fanzines. 
Big Muff No9 Page 5 WMTG Release Review 
Big Muff No9 Gig Review Cuckooland and Xerox Girls Weszt End Centre, Aldershot on 9 July 1994 100 Days Like This, A.C. Temple, Action Swingers, Afghan Wigs, Alex Taylor, All, American Music Club, Animals That Swim, Antenna, Ash Vale, Avocado Baby, Band of Susans, Basinger, Beat Happening, Belly, Best Kissers in the World, Big Drill Car, Big Muff, Big Sun, Big Wheel, Blake Babies, Bleach, Blind Justice, Blood Sausage, Blowfish, Blur, Bridget, Bubble Eyed Dog Boys, Buffalo Tom, Butterfingers, Calamity Jane, Capital Wow, Chainsaw Kittens, Chemical People, Chia Pet, Chicken Scratch, Clapham, Clare Grogan, Clive Gedge, Cod, Come, Common Language, Cows, Crane, Creaming Jesus, Credit to the Nation, Cruel Frederick, Cub, Daisy Chainsaw, Darkside, Dash Rip Rock, Dead Allison, Delicious Monster, Dharma Bums, Dillan Dance, DOA, Dreamscape, Drugstore, Earth, Ed Kuepper, Edsel Auctioneer, Endino, Even as We Speak, Fairfield Parlour, Fastbacks, Fat Tulips, Fifth Column, Fleet, Flinch, Float, Flood, Flower, Frayed Edge, Furnace Face, G.W. McLennan, Gallon Drunk, Go-Go’s, Gobblehoof, God Is My Co-Pilot, God Machine, Godflesh, Great Northern Electrics, Green Magnet School, Grenadine, Guildford, Gumball, Hard-Ons, Hayfoot Strawfoot, Hazel, Headcleaner, Hearts Throbs, Heavenly, Henry Rollins, Hole, Holy Rollers, Huggy Bear, Hungry I, Hush Palace, Ice-T, Imaginery, Jack Brewer Man, Jacob’s Mouse, Janitor Joe, Jello Biafra, Jellystone Park, Juliana Hatfield, Junk Orange, King Missile, Laurels, Lighthouse, Lois, London, Love Battery, Love Blobs, Love Dolls, Lovechild, Luscious Jackson, Lush, Lydia Lunch, Machines of Loving Grace, Madder Rose, Main, Maria Anjelica, Maxine, Mayomberos Alive, Mega City Four, Melting Eskimos, Milk, Mint 400, Moist, Molly Half Head, Moonflowers, Mother Goose, Motorcycle Boy, Mudhoney, Nautical William, Neil Boyd, New York, Nice, Nikki Sudden, Nina Hagen, Nine Inch Nails, No FX, No-Man, One of Us Should Removes the Shades, Orzic Tenticles, Osmium, Our American Cousins, Ozric Tenticles, P&O, Parachute Men, Parafornia '91, Passing Clouds, Patsy Cline, Pavement, Peach, Persecution Complex, Phobia, Pink Kross, PJ Harvey, Poopshovel, Pop Am Good, Popguns, Pram, Pray TV, Pretty Green, Radial Spangle, Ramblin’ Johnny Stomachpump and The Village Idiots, Revolver, Ringmaster, Roachmill, Robin Casinader, Rocket from the Crypt, Rollins Band, Ruth’s Refrigerator, Sandira, Scaredycat, Screeming Custard, Seefeel, Senseless Things, Shlonk, Shop Assistants, Sid Stovold, Siren, Six Finger Satellite, SKAW, Skin Yard, Sky Cries Mary, Skyscraper, Slampt, Sloan, Slunk, Solace, Some Have Fins, Spasmodics, Spinners, Spinning Jennys, Spitfire, Sproton Layer, Steroid, Subway, Sudanese Witch Hunt, Sugar Shack, Sun Dial, Sunshot, Superchunk, Swans, Swineherd, Terminal Power Company, Th’ Faith Healers, The Aints, The Bedflowers, The Bollweevils, The Butterflies, The Charlottes, The Chemistry Set, The College Music Journal, The Cranberries, The Daytrippers, The Death Folk, The Dylans, The Emotionals, The Fall, The Fat Tulips, The Fish John West Reject, The Frames, The George, The God Machine, The Groove Farm, The Hair & Skin Trading Company, The Hypnotics, The Infant God, The Joyce McKinney Experience, The KLF, The Leaving Trains, The Love Buttons, The Mabuses, The Marmite Sisters, The Motorcycle Boys, The Muffs, The Popinjays, The Primitives, The Scum Pups, The Spectrum Zero, The Tony Head Experience, The Wedding Present, The Would Be’s, theMonkeywrench, Thin White Rope, This is Serious Mum, This Replica, Tonyall, Trains and Boats and Planes, Trotsky Icepick, Truly, Trumans Water, Trumens Water, Unsane, Upsidedown Cross, Vanilla Traintrack, Velocity Girl, Ventilator, Vicious Kiss, Violet Town, Waaaah!, Waking Hours, Walkabouts, Ween, Whipped Cream, Who Moved the Ground?, Witchdocters, Xerox Heaven, Young Fresh Fellows, Yummy Fur, Zu-Zu’s Petals, ZuZu’s Petals -
Jesta
(c’83) Peter Hollis (vocals), David Rose (guitar / vocals), Neil Dewey (piano), Glyn Edwards (drums / percussion), George Glavin (bass), and Kevin Inch (guitar).
As far as we know this band formed for the singular purpose of performing the ‘rock’ opera called “1215” about the legend of Silent Pool written by Hollis and Rose. It was performed, just once, at the Yvonne Arnaud Theatre, Guildford on 16 July 1983.
In ’81, Rose was a founding member of Sammy Rats Big Big Blues Band, in which Edwards also played, and appeared in Luxury Glass Town and, along with Dewey and Edwards, The Ant Hill Mob.
Gallery:
16 July 1983: Jesta performed “1215” at the Yvonne Arnaud Theatre, Guildford. Picture courtesy of John Hudson -
Wicked Vicar
(c’92-’93) ? members.
This Farnham band were influenced by Queen, Mr Big and Guns ‘n’ Roses and we know they performed at The George, Ash Vale on 5 September ’92. On 26 January ’93, they were back at The George with J.C. Regulator; returning once more on 23 February ’93 to support Epicureans.
Gallery:
5 September 1992: Wicked Vicar play The George, Ash Vale per this August / September 1992 gig list from an unidentified fanzine. Picture courtesy of Steve Porter 
5 September 1992: Wicked Vicar played The George, Ash Vale. Picture courtesy of Steve Porter -
Supernal Music
This underground record label and mail order company was established by Alex Kurtagic in ’96 and was run by him out of Shamley Green. Supernal Music, which had two sub-labels: Conquistador Records and Black Metal Records, focused on Avant-garde/Heavy/Doom/Death/Black (raw, experimental, pagan, and symphonic) Metal, Ambient, Dark Ambient and Dungeon Synth.
UK based bands Ashes, Benighted Leams, Contra Ignem Fatuum, and Ethereal Woods all released through the label. The rest of Europe was represented on the label’s roster by Lunar Aurora (Germany); Poccolus (Lithuania); Capricorrnus, Dead Raven Choir, Infernum, Kataxu, Sunwheel, and Thor’s Hammer (Poland); Deinonychus (Netherlands); Fleurety, and Mayhem (Norway); Astofas, Blood of Kingu, Dark Ages, Drudkh, Лютомысл, and Hate Forest (Ukraine). But there were also stateside acts Eldrig, and Helvintr.
The label’s first release Caliginous Romantic Myth [AURA001] by Benighted Leams – Kurtagic’s own solo Black Metal music project that he kicked off in ’95 – was released on 31 October ’96 with a limited pressing of 2000 CDs.
Cover for 1996’s Caliginous Romantic Myth by Benighted Leams The label would later move to Cranleigh and while it released albums by known National Socialist Black Metal (NSBM) bands, such as Hate Forest, Capricornus and Sunwheel, it claimed to not be a NSBM label. That said, following the publication in 2009 of Mister, Kurtagic’s dystopian novel, until 2013 he was an active far-right intellectual figure and speaker.
It label closed it PO Box in 2011.
[Ed – We’ll add more gradually]
Alex Kurtagic, Ashes, Astofas, Benighted Leams, Black Metal Records, Blood of Kingu, Capricorrnus, Conquistador Records, Contra Ignem Fatuum, Cranleigh, Dark Ages, Dead Raven Choir, Deinonychus, Drudkh, Лютомысл, Eldrig, Ethereal Woods, Fleurety, Hate Forest, Helvintr, Infernum, Kataxu, Lunar Aurora, Mayhem, National Socialist Black Metal, NSBM, Poccolus, Shamley Green, Sunwheel, Supernal Music, Thor’s Hammer -
Revolt
(c’77-’79) – Barnaby ‘Sniff’ Russel (guitar), Russ ‘Savage’ Russel (vocals), Jane Roberts (drums), and ? ‘Aggy’ ? (bass).
Revolt pumped out a Crisis-esque sound with a rougher edge. The Russel brothers were affiliated to the Socialist Youth League and played some RAR gigs in the Guildford area. They covered X-Ray Spex’s “Oh Bondage Up Yours”, changing Bondage to Tyndall in order to slag off the then leader of the National Front (nka: BNP).
Ex-Wombat, Sniff formed the band in July ’77 with Savage (ex-Crew), calling on Alex Binnie to play bass and Matt ? to drum. Their first two gigs at the Union Hall Bar at the University of Surrey, Guildford and the Roxy, London, both supporting Crisis, saw them billed as Youth. Binnie and the drummer left, and the band were renamed Revolt with Roberts grabbing the sticks and Aggy on bass. They continued with support slots for Crisis, Ellery Bops, Visions and others.
A second headline gig at the Sixth Form College, Woking was nearly cancelled after Savage was hospitalized by Teds; and subsequently he departed the band. Constant fan ‘Shag’, with three days to learn the set, stepped in and proceeded to insult everybody from the audience to the college’s principal. Revolt were the first band to be banned from Woking College.
The group lasted just two more gigs, disbanding after a gig at St. Catherines Church Hall in February ’79. At some point in ’79, Insect Robin the Cleaner, the drummer in Crisis, was temporarily replaced Jane Roberts, who performed a gig or two with the band but was deemed unsuitable and replaced by Luke Rendall. In late July, issue No.4, the June/July ’80 issue, of Down in the Street, featured the band along with Actifed, Crisis, and Matrix.
Gallery:
Revolt get a mention on the cover of Stuart Home’s ‘Down In The Street’ fanzine. Picture courtesy of John Hudson 
Article on Revolt from ‘Down In The Street’ fanzine No.4. Picture courtesy of John Hudson Actifed, Alex Binnie, Barnaby Russel, Crew, Crisis, Down in the Street, Guildford, Jane Roberts, London, Luke Rendall, Matrix, Revolt, Roxy, Russ Russel, Sixth Form College, St. Catherines Church Hall, The Ellory Bops, Union Hall Bar, University of Surrey, Visions, Woking, Woking College, Wombat, Youth -
The Early Hours
(c’81-’85) Chris Pilott (guitar / vocals), Dennis Wallis (drums), and Ray Penfold (bass).
The band went by the moniker The Sessions for the first couple of years, before adopting The Early Hours c’83. This Woking 3-piece used to practice in the Wallis’ garden shed / garage in Sheerwater. Then the neighbors complained and even got a petition together to have the band stopped. At which point rehearsals moved to the Youth Club, Sheerwater.
They played locally, sometimes sharing the bill with Five O’Clock High c’85, notably at the Youth Centre, and the Centre Halls, Woking as part of a variety show. Noddy and the Nymphos’ John Prior joined the band in later years as did singer and one time boxer, Reuben Cooper.
Gallery:
The Early Years on stage at The Centre Halls, Woking as part of a variety show. 
The Early Years… 
Drummer Ray Penfold of The Early Hours
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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