The Enid: 1980 - 2000
With the advent of the eighties, it seemed that any future that The Enid could have aspired to seemed very bleak. Their signing to Pye Records had gone disastrously wrong, through no fault of their own. The original trio of Godfrey, Stewart and Lickerish had been reduced to a duo with Lickerish having gone his own way. The group also faced problems with EMI Records who were refusing to re-release their first two albums, In The Region of Summer Stars and Aerire Faerie Nonsense or even give the band rights to the music.
Godfrey and Stewart relocated to Clare in Suffolk where they set up their own recording studio, The Lodge which hosted a number of musicians amongst whom Kim Wilde who used The Enid as backing band on her first albums until the album Cambodia.
Late 81 saw Martin Russell leave the group amicably, with Chris North (who had replace Robbie Dobson in 1980) following in 1982. The two would form the only off-shoot group from The Enid, Craft (another Forgotten Sons tale!), while the group was reduced to just Godfrey and Stewart. Following a bout of illness and more legal wrangling, Godfrey and Stewart decided to face the future as an independent band with their own record label. The result would be another trip to the studio and another album, their most successful one, Something Wicked This Way Comes. Three years had elapsed since their last album, and the new release would be the first new material to be released on their own label titled simply The Enid. Funnily enough, at the height of punk, it would be the least punk and the least indie of all bands to take the bold step of embracing the ideals of those musical cultures and go totally independent!
However, the first releases on The Enid label were to be a set of live concerts, two volumes in all that had been recorded on 3rd March 1979 by the BBC. They were originally intended for release by the Pye Records yet had been shelved due to the problems the label was facing. In fact no one was thinking of releasing these tapes until Tommy Vance, presenter of the Friday Night Rock Show (now working with VH1) played all thirty minutes of the track Fand on his show in 1982 declaring RJG as "one of the greatest composers this country has ever had". This garnered an amount of interest in the band and since The Enid had the tapes, the result was the release in 1984 of Live At Hammersmith Volumes I (The Enid ENID 1, 5,500 copies only, BS15.00) and II (The Enid ENID 2, 2000 copies only, BS15.00). The albums manage to capture what The Enid were probably best at doing and that was playing live.
For some reasons during this interim period there were a spate of singles released under The Enid moniker from
different record labels. The group still kept up with their "tradition" of including relatively weird A-sides yet
the B-sides included tracks at times from their new album which would be released years later, a sign that the
band were still working and functioning. In 1981 we had When You Wish Upon A Star/Jessica (Bronze BRO 127,
picture sleeve, 6.00) and Heigh Ho/ Twinkle Little Star (Bronze BRO 134, picture sleeve, 8.00).
In 1982 there was the release of the first 7" single with both tracks taken from the new album, And Then There Were None/Letter From America (Rak RAK 349, picture sleeve, 7.00). A 12" version of this same single would be released in 1984 with Raindown added to the B-side (EMI 12EMI, picture sleeve, 10.00).
Thus in 1983, the group released their first independent album, Something Wicked This Way Comes (The Enid ENID 3, BS 12.00). The group that recorded this album was trimmed down to just the duo of Godfrey and Stewart aided by Chris North on drums and percussion. This was also the first album to feature vocals by the group. But as they say, when it rains it pours. The company responsible for the distribution of their records also started to face financial problems and the group had to sell everything they owned, even their studio, and go on tour to promote the album. The 156 date tour was a storming success which allowed the group to recoup their money and even buy back the studio they had sold. Suddenly things started to look a bit more brighter.
One thing The Enid could definitely count on was the undying support of their fans who were affectionately called The Stand. Originally they were The Enid Society with the motto "To all members one of another". The Stand was officially created in 1984 and brought together people from all walks of life, yet the creation of this underground popular group of people also brought unwanted attention to the group. At that time the group were trying to put pressure on EMI to pass on the rights to their first albums. Thorn EMI were actively involved in the production of the guided missile weapons carrying nuclear warheads and RJG though it appropriate to use this theme as an excuse to put more pressure on the record label which denied any involvement with nuclear armaments. The Enid set out to expose this and thus cause embarrassment to company executives among which were Bruce Kent and EMI boss Peter Jamieson. The aim was to cause an upset within EMI as well as disrupt the artist roster within the company as many of the artists on the company books were decisively anti-nuclear. The next step for the group was to put pressure on Michael Eavis, organiser of the Glastonbury Festival, to ban all EMI acts. This was done but the next year EMI leaned heavily on Eavis resulting in The Enid being banned from Glastonbury! This anti-nuclear stance also drew unwanted attention from MI5 who feared that The Stand was actually the formation of an underground private army, however this did not last long when they realised that it was all about music. The Stand also had its own record label which released fan-club only recordings of the band as well as recordings by artists such as Glen Baker and William Arkle. Examples of releases on The Stand label were The Liverpool Album (The Stand LE1,1984, untitled, sold at gigs, 800 copies only, 30.00), The Stand (The Stand THE STAND 1, fan club issue, 5000 only, some autographed, +40.00/30.00) and The Stand 12985-1986 (The Stand THE STAND 2, fan club issue, 2000 only, some autographed, +25.00,20.00)
The group managed to reacquire the rights to their back catalogue, which saw the albums re-released on The Enid label. Unfortunately they were unable to obtain side two of In The Region Of Summer Stars so in 1984 they re-entered the studio to re-record this piece. Thus 1984 saw the release of Six Pieces (The Enid ENID 4, enhanced version, 3,500 only, 15.00), Touch Me (The Enid ENID 5, enhanced version, 4000 copies only, 15.00), Aerie Faerie Nonsense (The Enid ENID 6, remixed/re-recorded version, 10.00) and In The Region Of Summer Stars (The Enid ENID 7, remastered and re-recorded version, 10.00). In The Region Of Summer Stars was also released with a different sleeve designed by William Arkle.
During the Summer/Autumn of 1984, the group went to The Lodge to record their sixth studio album The Spell (The Enid ENID 8 , 2-LP, 45rpm, gatefold sleeve, 15.00). Godfrey and Stewart were aided by Dave Storey on drums and percussion and once again the group returned to the concept album. Based on the thought that everything is life is cyclical, the album was released in 45rpm as opposed to the normal 33rpm because there would be "more volume, less surface noise, better transient response and a wider frequency response." Furthermore The Stand also released a re-recorded version of Fand (The Enid ENID 9, 3000 copies only, 15.00).
By the time the album as released in 1985, The Enid albums were releasing their albums on compact disc (all of which would be available over the next 5 years) and had achieved exposure not only by their successful tours but also via the television medium. The television arts programme Folio, for which the band had recorded the theme tune broadcasted an entire programme dedicated to The Enid focussing on their music and their approach to the music business.
1985 also saw RJG opening a court case against his old bandmates Barclay James Harvest. The fan club newsletters had long been claiming that he had a hand in writing some of the band's original numbers such as Mocking Bird, yet he had not received any royalties nor credits. Thus that year two separate writs were opened against the band members of Barclay James Harvest and their record companies claiming damages for breach of contract. Furthermore he claimed joint authorship and royalties from ten songs found on the first two albums of BJH. This legal wrangle would drag on for an additional ten years.
The band's seventh studio album and last album with Godfrey and Stewart working together under The Enid banner was recorded between October 1985 and February 1986. Dave Storey once again played drums together with Chris North who played on the track Sheets Of Blue. The album was called Salome (The Enid ENID 10, 12.00) and was actually conceived by Godfrey as a ballet and performed as such at the Hammersmith Odeon in autumn of 1986. Once again this was a concept album which dealt with the story of John The Baptist and his relationship with Salome. That year, Radio One went on to call the band as "the biggest cult band in Europe".
Once again the obligatory "novelty" single was released which had the Small Faces hit track Itchycoo Park on the A-side with Sheets Of Blue on the B-side (picture sleeve, Sedition EDIT 3314, 5.00) a 12" blue vinyl version was also released (Sedition EDITL 3314). Four years later, in 1990, Salome/Salomee was released as a 7" version (Enid ENID 7999, picture sleeve, 4.00) and a 12" version (Enid ENID 6999, picture sleeve, 7.00).
By this time Godfrey and Stewart were also acknowledged as independent musicians and recruited for working on various albums from diverse musical genres. Godfrey acted as a consultant on Russian composer Alexei Rhynikov's opera Juno And Avos as well as several New Age Projects. Furthermore the duo collaborated with diverse acts such as New Model Army, Christian Death and Conflict who even wrote a eulogy to The Enid in the liner notes to their last album The Final Conflict.
Most of 1987 was spent by Godfrey and Stewart working away on their new album which would be titled The Seed And The Sower which was released in 1988 (The Enid ENID 11, 15.00). The line-up would be radically different to previous albums and would also feature an expanded setup including apart from Godfrey and Stewart, Niall Feldman (bass), Damian Risdon (drums, percussion), Troy Donockley (low whistles) and Geraldine Connor (vocals). The original aim of the album was it to be produced as a musical with the concept based on Laurens van der Post's book of the same name. Production went ahead in full knowledge that it was to be the last album with Stewart who had long wanted to branch off in a more commercial direction.
November 1988 saw the band performing what were believed to be the farewell concerts of the band with two sell-out nights at the London Dominion Theatre in Tottenham Court Road. A farewell album recorded on these nights would be released as Final Noise (Enid12). Even Francis Lickerish joined the band on stage as they bid their devoted fans farewell.
Stephen Stewart devoted his time to studio engineering (working mainly with Katrina And The Waves) while RJG decided to pursue his musical career by branching out into as many diverse musical genres as possible. The following year The Lodge was closed down and relocated to Northampshire under the name of Longhome Studio where RJG started working on a new project with seven young new musicians. Musically the style was completely different from what The Enid was known to have produced and a tour under the moniker Enid was met with disdain and anger from traditional The Enid fans. The tour also included Peter Lazonby who would perform acid house versions of classical Enid tracks!
By 1991, the group changed name to Come September and RJG no longer appeared on stage with the band though he continued to support them and write material. A mini-album titled Half An Hour In The Jungle was released and though the band toured to promote the album, the group broke up amidst internal wrangling.
1993 saw RJG move the studio into a warehouse calling it The Lodge (once again!) and set about reforming a band under the name of The Enid. Rumours had already been spreading about this happening especially since RJG had been performing a number of low key performances under the name of Aerire Faerie Nonsense. The lineup of RJG together with Nick May (guitar) and Steve Hughes (drums) released Tripping The Light Fantastic (Mantella, MNTLCD11) in 1994 while in 1995, Sundialer ( Mantella, MNTLCD12) was released. This album featured both new and classical material from The Enid back-catalogue, remixed to appeal to a new and younger audience.
Apart from renewed interest in The Enid, 1995
was an important year for RJG. On March 21st the lengthy court saga with Barclay James Harvest finally
came to an end. In summary the judge declared that
There was no common understanding, much less an enforceable agreement, that Godfrey was entitled to a share in the band's earnings.
Robert Godfrey did establish that he was a joint author, albeit to varying degrees, in the original arrangements of six songs: Dark Now My Sky, When The World Was Woken, Mocking Bird ("a substantial contribution"), Galadriel ("sufficient in importance and originality"), Song For Dying ("very borderline"), The Sun Will Never Shine ("very borderline")
However, the judge went on to say, "...the success which the band later achieved and which led the plaintiff to decide that it was at last worth his while to pursue his claims was the result of many years of hard work, considerable self-sacrifice and much expenditure. It would be against all conscience if, in these circumstances, the plaintiff should be permitted to step in and reap for himself a share of the band's hard earned success. In my judgement the plaintiff is stopped from claiming any relief to which he might otherwise have been entitled."
The final outcome was that RJG received no compensation at all since he effectively left it too late to make his claims. BJH also lost a lot of money in fighting this case with Woolly Woolstenholme suffering a nervous breakdown as a result
Should anyone wish to view RJG's views on the overall court case, these are expressed at the following site.
|The band passed through a variety of line-up changes with various tours promoted and plans were set in motion for the band to play at the Royal Albert Hall. However these plans were shelved as the band re-entered the studio to record the album White Goddess (Mantella, MNTLCD15) which was completed on 20th November 1997. The Royal Albert Hall was instead replaced by one held at Demgate, and was a resounding success which included a three hour gig and performances from two sets of dancers. The new album was also played out in its entirety alongside Enid favourites. Following the release of the compilation Tears Of The Sun (HTD Records, HTDCD89), RJG returned to composing as a solo artists. In fact his last release has been Legend For Piano And Orchestra which is a piano concerto based on Enid melodies. Though all has been quiet on The Enid front, judging from their past history, one never knows!|
Albums reviewed here are:
- Live At Hammersmith (Volumes I & II) (1983)
- Something Wicked This Way Comes (1980)
- The Stand 1984 (1984)
- The Stand 1985 (1985)
- The Spell (1985)
- Fand (1985)
- Salome (1986)
- Liverpool (1986)
- Lovers And Fools (1986)
- The Seed And The Sower (1988)
- Final Noise (1989)
- Tripping The Light Fantastic (1994)
- Sundialer (1995)
- Anarchy On 45 (1996)
- Members Of One Another (1996)
- Healing Hearts (1996)
- White Goddess (1998)
- An Alternative History Volume 1 (1998)
- An Alternative History Volume 2 (1998)
- An Alternative History Volume 3 (1998)
- Tears Of The Sun (1999)
Country of Origin: UK
Format: LP CD
Record Label: The Enid Mantella
Catalogue #: ENID1/ENID2 MNTLCD10
Year of Release: 1983 1993
Live At Hammersmith Volume I: God Save the Queen, The Last Judgement, In the Region of the Summer Stars,
Live At Hammersmith Volume 2: Mayday Galliard, Humoresque, Cortege, Albion Fair, Encore
CD Version: National Anthem (1:39), Judgement (9:18), In the Region of the Summer Stars (7:30), Mayday
Galliard (7:11), Music from Charades (i) (8:07), Music from Charades (ii) (5:29), The Song of Fand (Part One)
(12:29), The Song Of Fand (Part Two) (6:18)
All tracks played by members of The Enid
Produced by Stephen Stewart and Robert John Godfrey
Liner Notes from Volume 1:
This recording was made on 3rd March, 1979 in a packed house at Hammersmith Odeon. The sound is
live, which means that nothing has been subtracted from the original sound. Some additions have been made to
enhance the overall effect of the heavier passages - i.e. extra percussion on Fand and extra brass on
Judgement and In The Region Of Summer Stars are actually one piece of music consisting of two
movements with a bridge passage linking the two. The first part describes the very last hours on planet Earth as
prophesied in the Revelation of St. John. The second part is a vision of eternity.
From North, South, East and West the Four Horsemen of the Apocalypse make the final ride. Gradually the music
gathers up the drama until all the four horsemen converge on Bethlehem. The great trumpets of the angels are now
heard against thunderous drums. The Archangel Michael majestically appears with sword in one hand and firebrand in
the other. As he strikes the five great hammer blows, the Light Of The World stands above all the clamour shining
with the radiance of a thousand suns. Suddenly, all is calm - a lone trumpet calls in the wind....
The Region of the Summer Stars is a place of paradise where all souls live forever as members of one
another, and in a state of such peace as passes all understanding.
The Song Of Fand is the same story but from a personal point of view. It is a message of hope for each
one of us who can make friends with grief and despair, disease and old age, and above all with love and death.
Anyone who will go down this road will surely find that personal peace of mind and spirit which is utterly
This recording was made on 3rd March, 1979 in a packed house at Hammersmith Odeon. The sound is live, which means that nothing has been subtracted from the original sound. Some additions have been made to enhance the overall effect of the heavier passages - i.e. extra percussion on Fand and extra brass on Judgement.
Judgement and In The Region Of Summer Stars are actually one piece of music consisting of two movements with a bridge passage linking the two. The first part describes the very last hours on planet Earth as prophesied in the Revelation of St. John. The second part is a vision of eternity.
From North, South, East and West the Four Horsemen of the Apocalypse make the final ride. Gradually the music gathers up the drama until all the four horsemen converge on Bethlehem. The great trumpets of the angels are now heard against thunderous drums. The Archangel Michael majestically appears with sword in one hand and firebrand in the other. As he strikes the five great hammer blows, the Light Of The World stands above all the clamour shining with the radiance of a thousand suns. Suddenly, all is calm - a lone trumpet calls in the wind....
The Region of the Summer Stars is a place of paradise where all souls live forever as members of one another, and in a state of such peace as passes all understanding.
The Song Of Fand is the same story but from a personal point of view. It is a message of hope for each one of us who can make friends with grief and despair, disease and old age, and above all with love and death. Anyone who will go down this road will surely find that personal peace of mind and spirit which is utterly unassailable.
Though recorded in 1979, when the band were still promoting their third album, Touch Me, these series of concerts recorded by the BBC would be the cause for the renaissance of The Enid. With backing and play listing by legendary DJ, John Peel, the live version of Fand began to attract a fair amount of attention and this was what prompted The Enid to release the live concert on their own record label. The CD release included both live albums on one disc, though the track list order was modified slightly.
If there is one thing that strikes the listener is the ability of the band to manage to play their music in a most faithful way live on stage, a feat that must be tremendously difficult to achieve. Furthermore one also realises that though the band play their music in a most serious manner, they never lose their tongue in cheek British humour which also includes the playing of the British national anthem as well as Land Of Hope And Glory as an encore! One of the pleasures of hearing a live Enid album is the fact that they were much more of a rock band when playing live than when in the studio. Thus tracks that would tend to more classical in nature end up having much more of a rockier edge to them on albums such as these. Possibly it is on albums such as these that one can really make the correlation between The Enid and the progressive rock scene.
Basically albums such as this are what one should start off with if you are afraid that The Enid might be too classical sounding in their studio environment.
Re-released Version: Acid Raindown, Jessica's Song, Then There Were None, Evensong, Bright Star, Song For Europe, Something Wicked This Way Comes (1984 CD Version), Something Wicked This Way Comes (1993 Fan Club Re-recording), Something Wicked This Way Comes (1982 Vinyl Version)
Bonus Track: The Song of Fand (Live 1979), Letter from America, The Sun, Judgement (New version), The Dreamer, Special new mix of "Something Wicked this Way Comes"
Musicians: Robert John Godfrey (Keyboards), Stephen Stewart (Guitars and Bass), Chris North (Drums and Percussion)
Liner Notes: Robert and Steve would like to thank Chris North for his contribution to this album, on which he is featured playing drums and all other percussion. The lyrics were mainly written by the Chris North with some help from Steve and Robert.
All the music on this album has been composed, performed and produced by Robert John Godfrey and Stephen Stewart
The first independent recording for the band was also their most successful album to date. Without any pressure from outside parties, the band could present an album once again in a concept format, something they were not allowed to do for their previous album Six Pieces. This time round the concept revolved around the destruction of the world because of nuclear weapons. More importantly this album, and concept, was conceived at the height of the band's tensions with EMI and Thorn EMI. The band was trying to apply pressure on the company to release the master tapes of their first albums and were asking for the company to be boycotted for its involvement in nuclear weapons.
Furthermore, one must note that this was the first album not to feature fellow founder member Francis Lickerish, and was also the first album that featured vocals, courtesy of both Robert John Godfrey and Stephen Stewart. This is immediately evident from the opening track, Raindown. Admittedly, however, the presence of vocals also diminishes the classical and orchestral nature of the band's music though at the same time allowing them to be rather more accessible. Furthermore the vocals also add that foreboding touch that pervades the whole of the album, due to the nature of the subject tackled.
Jessica is much more of the classical Enid, though the music lacks that orchestral touch and tends to rely more on the creation of moods via the keyboards. Once again the guitar work of Francis Lickerish is sublime with that unique touch of his. And Then There Were None is the track that least impressed me on the album. For all the humour and tongue in cheek attitude the band possesses, I felt that this track lacks that normal complexity of The Enid. At times there is a hint of Godley and Creme, especially with the playful nature of the lyrics and the overall folksy melody line.
The first side of the album comes to a close with Evensong which has a nostalgic touch to it, and a style the likes of which we had not previously witnessed in The Enid. For some reason one feels that the lengthy wrangling with various record companies seems to have taken the sting out of their music and one senses that the music has moved towards a more placid and languid feeling. One of the main characteristics that was so endearing to me on their earlier works was the sharp contrast between the orchestral compositions and the rock sound the remaining members of the band would infuse into the music.
Bright Star seems to pick up from where Evensong left off, though it does tend to slowly pick up and introduce a plaintive melody line in the background. With Song For Europe, the band seem to introduce more power into their music, though once again there is a distinctive lack of orchestral feel. The keyboards lack that overall larger than life touch while the music, due to the keyboard sound takes on a distinctive eighties sound.
The album comes to a close with the title track, Something Wicked This Way Comes which also sees a return to the use of lyrics within the band's music. For the first time on the album the band seem to reach a balance between the traditional Enid sound and the use of vocals. The harmonies created by Godfrey's and Stewart's vocals create a fantastic atmosphere that help make up for void created by the lack of orchestration while once again Stewart's guitar work, coupled with North's drumming make this track the most outstanding on the album.
The independence from the constraints of a record label also seemed to have given The Enid a new lease of life. This also meant a change in musical direction with the inclusion of vocals, a stronger emphasis on the guitar/rock sound and overall a stronger appeal to a wider audience of people who like progressive rock.
Tracklist: The Sun, Jessica, Childe Roland to the Dark Tower Came, Evensong, Then There Were None, Nimrod, Letter from America, Raindown, Wild Thing
The first album to be released for The Enid fan club, The Stand was a professional 24 track live recording that featured both old and new Enid material. Recordings took place at The Band on The Wall in Manchester on 24th, 25th and 26th October 1983. One of the more interesting features of the album is the inclusion of their classic encore, and well known cover version, Wild Thing.
Tracklist: 665, Fool, Golden Earrings, Tallest Dwarf in the World, Skye Boat Song, Fanfare and March, Cathedralaise, Jig Fugue, Jingle, Hyperion
The second fan club release featured a number of tracks that were originally out takes from previous albums as well as unavailable singles and pieces from RJG's now deleted debut album, Fall of Hyperion. Amongst the rarities we find two remixed tracks from RJG's Fall of Hyperion, Tallest Dwarf in the World is an unfinished track that was meant to be on Six Pieces, Fools was a single released with Malcolm Le Maistre, Golden Earrings is present in a special remixed version while Jig Fugue was originally a Bach composition arranged by RJG
Bonus Track: The Song of Fand (Radio One live version from Hammersmith Odeon 1979)
Musicians: Robert John Godfrey (Keyboards, Vocals), Stephen Stewart (Guitars, Synths and Vocals), Dave Storey (Drums and Percussion), Glynn Evans: Bass
Recorded at at The Lodge Studio in the Summer/Autumn 1984.
Produced by Robert John Godfrey and Stephen Stewart
The Spell was released shortly after Something Wicked This Way Comes, yet it saw a return to the grandeur of classically based music. In fact the album is more of a classical work than a rock album, though as always there are strange twists and turn within the overall structure to make this album appeal to all fans of progressive rock.
The album itself was a double album, but playable at only at 45rpm, the speed of a conventional single. The reason for this as twofold. First of all the sound at 45rpm was much more superior than at 33rpm. Furthermore, in Japan, albums were already being released on CD, which also meant that more music could be included on a single album and so The Enid opted to include a larger volume of music by creating a double album, with the Japanese market in mind.
Once again the album is based on a concept, this time that of the circle of life from birth thru death with the seasons depicting "the cyclic and seasonal nature of all things". Early in 1985, prior to the release of the album “The Spell”, Robert John Godfrey produced the following article for “The Enid” newspaper, which was also published on The Enid site. Possibly one of the better ways to fully describe an album would be to hear it directly from the composer himself. Thus I have taken the words of RJG and included them here as a description of the album The Spell.
I have been asked to go into detail with regard to the structure and meaning behind the title track of our album The Spell. First of all, it is important to realise that the whole album is part of the concept, and not just the first three sides. Elephants Never Die and The Sentimental Side of Mrs James are also relevant. As was said in the brief synopsis contained in the programme for last year’s tour; “The Spell is a musical allegory in which we have used the seasons to depict the seasonal nature of all things. A single heart-beat is a cycle of life as is a lifetime itself.” In other words The Spell has been created out of the deep realisation that death is not the worst thing we have to face up to but only the last thing. In any case, the “last thing” is only the subjective way in which we see things from the vantage point of our own lifetime. In another context Winston Churchill said “this is not even the beginning of the end, but rather the end of the beginning”.
Musically the title track The Spell is based upon a musical device which first appeared during the 18th century and was particularly brought to prominence in the operas of Richard Wagner. This device is called “lite motif”. A lite motif can be a musical theme, either a melody or melodic phrase. Alternatively it can be a rhythmical idea or again a particular shift of harmony. The important thing is that lite motifs are the building blocks of musical language at a psychological level. Each lite motif is identified with an emotion or an idea or a person or a particular time or place. In fact a lite motif can be used as a musical “flag” for anything. Some examples would be jealousy, love, fate and destiny; in the case of Richard Wagner’s Parsifal there is a motif which is attached to The Spear. In turn The Spear represents a phallic symbol and is used to demonstrate the repressed but uncontrollable sexual passion which motivates the character Klingsor. Thus the apparently noble, reasonable but purely intellectual grounds given in the libretto for his behaviour are seen for what they really are because the music reveals through the use of lite motif the underlying reasons and indeed the real reasons for his behaviour.
Obviously Richard Wagner is a far greater composer than I can ever hope to be and his use of lite motif is incredibly complex. There are people occupying academic positions in the artistic world who spent an entire lifetime analysing the compositions of Richard Wagner and probably very often seeing things that are not there at all, at least not by design. For inspiration is its own handmaiden and often the music just pours forth without reference to any intellectual understanding or appreciation. Such appreciation has to be “invented” after the event.
To return to The Spell: I have mentioned Parsifal for a reason. The very first bars of The Spell are derived from the so-called “Dresden Amen” originating from medieval times. Richard Wagner uses this same idea in his Parsifal. To those who would say I have “nicked this, that and the other” from various classical sources, I would respond by saying that all composers, painters, writers and other artists have persistently and willingly borrowed from their peers. In the context of individuality such as is possessed by The Enid, it is a compliment to any artist who has inspired us.
The Spell begins with a motif which represents the idea of creation. “In the beginning there was the Word, and the Word became flesh” - so says the beginning of St John’s Gospel. You don’t have to be religious to understand the significance. You could equally well say “first there was the idea of the universe, and afterwards the universe became material”. It implies that anything which “is” is the result of a creative force. The “is-ness” of a thing is the result of a pre-requisite idea. One of my compositions cannot “be” until I have thought of it.
It is for this basic reason that those who have thought deeply about not merely the nature of the universe in physical terms, but how and why it has come about, have turned to the idea of a creator. Therefore the music begins with “The Casting of the Spell” where “The Spell” means “The Word” with all the implications contained in St John’s Gospel.
The second theme to be heard is a cold bleak and brooding motif which describes the “face of the void”. It represents that gulf between the idea [ideal] and the time taken to implement, mould and ultimately create the material thing which flows from the idea. This same motif is used much later on in the section dealing with Summer over which appears the lyric “Oh, let me believe in love, believe in love”. One can immediately see the implications. The motif is one which is ambiguous and whilst being about love in the way that a creator loves his creation, it is also about the lack of it. Thus “the gulf” is described as that area in our lives where our expectations are not met. Where ultimately we must fail to realise our ideals - where the noble idea can end up in ignominy. For it is because we are free as individuals to choose that we have the possibility to fail.
This second motif would aptly be called “the gulf motif”. It is like the stem of a flower, the means by which the flower and ultimately the seed containing its own immortality is joined to its roots and thereby to the earth which nourishes it. However, the stem is also the means by which the flower can never be part of the earth and is the thing which separates it.
After the gulf motif there is a tract of sound which is in itself a lite motif but which has no discernible melody or rhythm. It is the “texture” which in this case is the motif. This third motif represents the first glimmer of dawn - the first melting of the ice. It is like the universe clearing its throat before it bursts into song. It is, if you like, the pre-dawn. I cannot properly name this motif. There are some things which cannot be said and this passage of music is one of them. It occurs just once more in The Spell, during Autumn.
The fourth motif is a well defined musical phrase of great beauty and represents the actual process of creation. It is continuously repeated over and over again but each time with a different purpose. It has the continuity of a potter at his wheel. Whilst he makes the same movements using the same technique each turn of the wheel develops the shape of the vessel in a new way. Another way to imagine this motif is like a painter at the easel with a palette in hand of like the sculptor who gradually fashions a shape of things to come.
There is an interesting anecdote about Michelangelo. He had obtained a huge slab of marble which had a flaw running through it. His friends and contemporaries told him he was foolish to purchase this imperfect slab of marble on which he had spent all the little money he had. Michelangelo rebuffed them and said that an angel was imprisoned within the slab waiting to be released. Out of this deformed and imperfect rock he created David.
Motif four is therefore a fashioning of the universe. There are many religious examples of this allegory. The one best known to our readership is bound to be contained within the book of Genesis where God is described as creating the world in six days and resting on the seventh. However, there are many other beautiful analogies, not least of which is the one contained in Richard Adams’ book Watership Down, which I think is just as good. Richard Adams, like so many great novelists, has used what is superficially a commercial medium to write about something which contains very profound ideas. For example the character of the Black Rabbit, which during the early part of the book is seen to be a figure of fear almost to the degree of malevolence - a kind of “grim reaper”: this same archetypal being appears at the end of the book as the creator himself. An object of absolute love and wisdom. For those of you who have not read Watership Down or seen the film based on the book it is hard to describe. This fourth motif can properly be represented as the “key motif”. It unlocks the door and enables us to pass across the threshold into life - into the albeit primeval waters where life began. You may choose to see those waters in prehistoric terms or as the foetal waters in which all living things begin. Even plants begin life in the same way. In fact it is both things - it is the invitation to take part in the celebration of life.
Musically speaking, I feel that this album was the apex of RJG's musical creativity with the classical compositions achieving heights that had not been attained previously in his career. This combined with Stewart's immaculate guitar work allows this album to rank amongst my favourite Enid works. It may not be the easiest album to digest, though it (in my opinion) is the album that has the band coming out with all guns blazing.
Musicians: Robert Godfrey, Chris North, Terry Pack, Stephen Stewart, Dave Storey
Recorded at The Lodge Studio
Produced for THE STAND by THE ENID
Once again a version of Fand was represented to the fans, this time in 45rpm format, for much the same reasons that The Spell was recorded in the same format.
Bonus Track: Sheets of Blue (Revised Version)
Musicians: Robert John Godfrey: (Keyboards & Vocals), Stephen Stewart (Guitars & Vocals), Dave Storey (Drums & Percussion on O Salome & The Jack), Chris North (Drums on Sheets of Blue)
Tracks composed by R. Godfrey except for O Salome and The Change by R. Godfrey/S. Stewart
Recorded and Mixed at The Lodge between October 1985 and February 1986.
Produced by Robert John Godfrey and Stephen Stewart
With Salome, The Enid seemed to break away from the classical dominated mould that encased the music they had always presented previously. It seems that with the advent of the eighties and the increase in popularity of synthesizer dominated music, The Enid did not feel that the synth-sound had to be masked behind that of the orchestra. So in essence what we get is the traditional Enid album with the orchestral sounds replaced by those of the synthesizer.
Once again, the album is based on a concept, that of the beheading of John The Baptist and the sexual undercurrents that were present in the relationship between him and Salome. Furthermore, one must bear in mind that the album was originally scored as a ballet and was performed as such at Hammersmith Odeon later during the year.
From the opening O Salome, one realises and feels that there is a shift in style. For starters there is a dark feeling prevalent through most of the album, and is accentuated by the almost spoken vocals on this track. Surprisingly the guitars seem to be lacking on O Salome, with the musical brunt taken up the synthesizers. Even more surprising is the fact that this track was composed by both Godfrey and Stewart whereas the following track, Sheets Of Blue, which has a fair amount of guitar work is a Godfrey composition. At times there are hints of the past Enid, but one would more readily compare them to the Genesis of those days than what they originally were!
The second side starts with The Change, which has an uncannily similar rhythm to O Salome, and creates the dark mood, once again thanks to Godfrey's vocal intonation, in the build up to John The Baptist's beheading. The Jack, which is reached following a crescendo of percussion and vocal effects, is an impressively moving piece of music instilling a sense of panic into the listener. Moving into Flames Of Power, the falsetto vocals as well as the violin drenched keyboards give the music an incredibly sad and nostalgic touch. No one wonder that RJG is considered as one of rock's most underrated composers as this piece (and so many others from The Enid repertoire) would have fitted magically on most soundtracks.
At least, RJG closed off the album in a style none to dissimilar to his earlier works giving the album a sad touch, something that was none too common on Enid albums. Having said all this, Salome might not be one of the better albums from The Enid, but nevertheless it remains an interesting look into how a band that was playing from the early seventies, managed to tackle the ever changing musical ideologies and styles.
Tracklist: Raindown, Sheets Of Blue, Then There Were None, Summer, Letter from America, Nimrod, Something Wicked This Way Comes
This album was specially pressed for the members of the audience that attended a famous Enid concert in Liverpool. It is of importance because it has the only known live recording of the track Nimrod.
Tracklist: Fantasy on Scarborough Fayre, Hall of Mirrors, Sheets of Blue, The Lovers, Evensong, Bright Star, Flames of Power, Fool, The Falling Tower, Something Wicked This Way Comes [CD mix], Summer, The Flood, In the Region of the Summer Stars
This was a double LP compilation that featured tracks from all phases of The Enid history.
Bonus Tracks: The Change; The Jack; Flames of Power (from Salome)
Musicians: Robert John Godfrey (Keyboards), Stephen Stewart (Guitars, Synths and Vocals), Niall Feldman (Bass), Damian Risdon (Drums and Percussion), Troy Donockley (Low Whistles), Geraldine Connor (Vocals)
The Seed And The Sower was the last album recorded by both Godfrey and Stewart together. In fact the album was released both as a Godfrey And Stewart collaboration, as well as an Enid album, as can be seen from the different album covers. Musically the album picked up where Salome left off, though the story line is completely different. The album was based on the by Laurens Van Der Post, and his experiences in a Japanese prisoner of war camp in World War II. (The film Merry Christmas Mr Lawrence was based on the same book)
Musically the album is one of the most powerful releases from The Enid, and one feels that both Godfrey and Stewart knew that this would be their last collaboration and hence poured all their remaining efforts into making this album a memorable one. Stylistically the music has shifted somewhat to include rather more exotic influences with a definite nod to the Orient.
A band that does come to mind when hearing this album is Jade Warrior, especially on tracks like A Bar Of Shadow. The mood is a sombre one, and it seems that the imminent separation of the duo had its toll on the creative process in creating this album. Having said that the album, which could be a form of disappointment to traditional Enid fans, is a definite mature piece of work. Possibly the drastic difference between this album and previous works is what led to the album not be accredited to The Enid but rather Godfrey And Stewart.
The two main tracks that possibly deserve special mention and are found on this album would be the opening Chaldean Crossing and the closing Earthborn. Chaldean Crossing is the track that immediately shows the listener that there has been a shift in musical direction with the sound of the kalimba opening the track. The track on the other shows the most linkage with past material due to the way it builds up in a constant crescendo reaching a climax towards the end of the track.
On the other hand, Earthborn is the more traditional track o the album with some delicate harmony as the keyboards are joined by drums and guitars to give a rousing finale. Further effect is added by Geraldine Connor's dark vocals. The dark mood within the Enid camp seems to have percolated through the music on the album resulting in a dark and brooding piece of work. Nevertheless it still remains one of the more interesting from the final albums of The Enid.
Musicians: Robert John Godfrey (Keyboards), Stephen Stewart (Guitars, Synths and Vocals), Niall Feldman (Bass), Damian Risdon (Drums and Percussion), Troy Donockley (Low Whistles), Geraldine Connor (Vocals), Robert Perry (Keyboards/Stage Design)
This live album was to be the final concert for the Enid as a partnership between Robert Godfrey and Stephen Stewart. The album was recorded over two sold out shows at the London Dominion Theatre in London.
Tracklist: Ultraviolet Cat (10.41), Little Shiners (5.16), Gateway (4.03), Tripping The Light
Fantastic (9.17), Freelance Human (5.57), Dark Hydraulic (14.16), The Biscuit Game (9.38)
Musicians: Robert John Godfrey (keyboards), Wayne Cox (drums on Tracks 3, 4 and 6), Steve Hughes (drums on Tracks 1 and 2), Max Read (vocals on Track 1, bass)
Liner Notes: We may think that we make rational choices and take reasoned decisions, but the bitter truth is that we are slaves to the Dark Hydraulic Forces of the Id, whose dominion over our often painful lives is utter and complete.
Six years had elapsed,yet with Tripping The Light Fantastic, Godfrey showed the musical world that there was still life left in The Enid, though out of the original founding trio he was the last remaining member. Once again the whole album revolves around a concept, this fuelled by his interest in Quantum Mechanics and the new ideas which place our human condition as conscious beings at the centre of science instead of on the outside as hitherto been the case.
Since the last Enid album, RJG had dabbled in the more modern aspect of music with bands such as Come September as well as various DJ's. This obviously left its effect on the music that one finds on this album which can be best described as an attempt to bridge the music from the seventies with modern day sounds and effects. Furthermore at times one can also link this album to The Seed And The Sower, the last studio album from the band, with the occasional inclusion of ethnic instruments as happens on tracks like Ultraviolet Cat.
The main noticeable change is the strong use of the synthesizer which gives the music a slightly more ambient effect yet detracts from the orchestral sound. This feeling surfaces on pieces such as Little Shiners and Dark Hydraulic which cab be likened more to music from Tangerine Dream than penned by RJG. On the other hand one cannot not mention that there are tracks rich in classical element as is the title track Tripping The Light Fantastic. However, the "traditional" is merged (successfully) with various percussive elements as well as the occasional guitar solo and even the odd effect. The possible pitfall for this album is the lack of coherency and definite structure that seemed to be a symbol of The Enid's music. However the album still remains interesting and more importantly, it marked a return to the limelight, at least for Enid fans, for Robert John Godfrey.
Tracklist: Sundialer, Chaldean Crossing [remix], Dark Hydraulic [remix], Ultra Violet Cat, Salome 95 [remix]
>Musicians: Robert John Godfrey (Keyboards), Stephen Stewart (Guitars, Synths and Vocals), Nick May (Guitars), Steve Hughes (Drums and Percussion), Max Read (Vocal FX on UV Cat), Damian Risdon (Shaker on Chaldean Crossing), Troy Donockley (Low Whistles on Chaldean Crossing), Kes (Vocal FX on Salome 95), Tobey Horsenail (Vocal FX on Salome 95), Torin (Vocal FX on Salome 95)
Sundialer was an album that featured some new material together with remixes of vintage Enid material and was intended by RJG to demarcate the boundary between the music of the past Enid and the new musical direction The Enid were meant to be heading into.
Tracklist: Disc I 1. The Lovers, Golden Earrings, Dambusters March - Land of Hope and Glory, Fool, 665 The Great Bean, When You Wish Upon A Star, Heigh Ho, Then There Were None, Itchycoo Park, Salome, Looking For Lillie Marlene Disc II In the Region of the Summer Stars, Omega, Skyeboat Song, Tito, Twinkle Twinkle Little Star [AKA Song For Europe], Jessica, Letter From America, Raindown, Sheets of Blue, Salomee, Truth Drug
This is the album for all Enid completists. As has been mentioned in their historical section, the band often found themselves in a position with the record company they were contracted to, to release singles to promote their new albums. This is indeed strange and difficult for a band that would devote a whole side of a record to just one track. Thus the band went on to record a spate of singles (and B-sides) throughout their career, many of which verge on the ridiculous, yet all of which are performed with great charisma and of course tongue-in-cheek humour (in true Enid style). This double album collects together all the A- and B-sides that the band had released till then and which had been previously unavailable on any other album.
Tracklist: Chaldean Crossing, Autumn, Mayday Galliard, Childe Roland, Judgement, Nimrod, Tripping The Light Fantastic, Something Wicked This Way Comes, Jerusalem
This compilation, once again only limited to members of The Stand, was created by a vote amongst members of The Stand who were asked to choose their favourite Enid tracks for inclusion on a compilation. Chaldean Crossing was voted the most popular of all the tracks, with Nimrod being included and presented for the first time on CD>
Tracklist: The Biscuit Game, Reverberations, Chaldean Crossing, Sheets Of Blue (revised version), Seascapes (The Music Of William Arkle), The Loved Ones, The Flames Of Power
Matthew Manning, known for his work as a healer, had for some time been involved with the works of Robert John Godfrey. A few years earlier, RJG had written music, for a cassette only release, for Manning to promote in association with his work. this compilation was chosen by Manning himself, and also includes a 1968 composition by William Arkle whose work was also released on The Enid label. Arkle is mainly known for his work as a painter and he drew the cover of the remastered edition of In The Region Of The Summer Stars.
Tracklist: Prelude, Fantasy, Riguardon, Sarabande, Waltz, Ballade, Gavotte, Chaconne, Gigue, Nocturne
Musicains: Robert John Godfrey (Keyboards), Grant Jamieson (Guitar), Max Read (Guitar, Bass and Choir), Dave Storey (Drums and Percussion)
White Goddess is a concept album recorded, mixed and mastered at the lodge studios during 1977
It was engineered by Max Read and produced by The Enid.
Notes from Press Release of album:
"The most endangered species on Earth is Man. Those who are worried that our race is spoiling the planet for future generations should stop to think a little longer because there will be no future generations if humanity cannot face its responsibilities as citizens of Earth.
Instead we should be mindful of what mother nature has in store for us.Eventually this loving, tolerant and long suffering mother of mothers will completely lose her rag. Then it will be time for early bed with no tea. It really will.
In the end she will rid herself of this tiresome plague, this nuisance we call the human race and reclaim what has been taken from her as easily as she let it go.
This is the price we will all pay if we allow short term greed and long term blindness to dominate our political and financial institutions.
This is the great challenge and our survival as a species depends on it.
With White Goddess, RJG returned to a concept work with an ecological theme. This time the album was inspired by the works of Robert Graves and has The Enid returning to the format that gave them such popularity in the seventies, that of a classicised work with less emphasis on experimentation with keyboards and synthesizers. In fact one could say that this album was a return to basics and could be compared to albums such as their second release, Aerie Faerie Nonsense.
Following some uncharacteristic keyboard work, Prelude suddenly breaks out into the lush orchestral sound, which merged with guitars gives the band that unique touch to allow such works to appeal to non-classical lovers as well as classical muses. As Prelude merges into Fantasy, the guitar solo suddenly breaks out and I was so reminded of the fabulous touches that Stephen Stewart would often add to the keyboard work of RJG.
At the time of composing the album, the musical world seemed to be taken over by an increased interest in Celtic music, a musical strain which seems to surface in both Riguardon and Gigue. Riguardon is a much more lighter composition though it is the sound of the twin guitars that give this track that special touch. Looking at the titles of the album, one cannot but notice that the music deals mainly with various dances such as Gavotte, Sarabande, and Waltz. The three give the album a certain light touch that has been absent for a long time from Enid albums. In fact a characteristic of earlier albums was that occasional foray into the medieval and Renaissance world. The traditional Gavotte, the mellow Sarabande and the waltzy Waltz all help crate that particular atmosphere.
Chaconne, on the other hand, includes come fantastic guitar work together with tense keyboards and sounds very much like straight out of a soundtrack while Gigue proves to all that the band can really rock when required. The official closing number, Nocturne, as its name implies is a very mellow piece of work recreating that lushness that is so characteristic of RJG's compositions.
The CD also features two bonus tracks, one of which sounds something more along the lines of Something Wicked This Way Comes while the final bonus track is very much a rock song and is possibly a Max Read composition.
After hearing this album, I realised that the flair and bombasticity of the seventies that characterised RJG's compositions has not died down. Thank God for that as it has regaled us with another fantastic Enid album.
Tracklist: Mountains (7:01), Water Song (5:20), Wanderer (5:45), Death The Reaper (4:56), The Lovers (5:12), The Devil (5:35), The Devil (6:45), The Tower (5:10), Fool/Tower (6:19), Death The Reaper (4:01), The Lovers (5:20), In The Region Of The Summer Stars (9:05)
The first in a series of fan club releases from The Enid which included unreleased tracks, out takes, new live versions of classical tracks as well as unheard material from the band. The material on this release included compositions from the years 1973 - 1975.
The first set of recordings come from 1973, during RJG's solo album recording sessions of The Fall Of Hyperion. Both tracks, Mountains and Water Song were included on The Stand 2. Both tracks were recorded at Sarm Studios with Mountains having just RJG and Chris Lewis and Water Song also having Jim Honeyman-Scott and Nigel Palmer playing.
The next set of recordings come from 1974 and are home recordings with the first Enid incarnation that featured RJG, Stephen Stewart, Francis Lickerish and David Williams. All these tracks or versions of these tracks (Wanderer, Death The Reaper, The Lovers and The Devil) were never released previously. Another demo version of The Devil from 1974 is also included with recordings taking place at Maidstone and David Williams giving way to Dave Storey, Neil Cavanagh and Glen Tollet. All remaining recordings come from 1975 at Sarm Studios. Only The Tower is in demo form, with Fool/Tower, Death The Reaper and The Lovers presented as the original vinyl versions, versions of which have never been previously been available on CD. The final track on the compilation is In The Region Of The Summer Stars and was recorded live in 1986 at Hammersmith Odeon and was previously available on a fan club cassette release. The lineup for the track included Robert John Godfrey, Stephen Stewart, Francis Lickerish, David Storey, Terry Pack, Willie Gilmore and Tony Freer.
Tracklist: The Sun (5:34), Judgement - In The Region Of The Summer Stars (15:37), In The Region Of The Summer Stars (6:23), Land Of Hope And Glory/Dambusters (5:36), Jig Fugue [Keyboards Only] (3:37), Jig Fugue (3:42), Francis - Story (Intro To Albion Fayre) (6:01), Albion Fayre plus Dambusters/Land of Hope and Glory (18:42), Land Of Hope And Glory/Dambusters (4:03), Cathedralaise (1:17)
The second in a series of fan club releases from The Enid which included unreleased tracks, out takes, new live versions of classical tracks as well as unheard material from the band. The material on this release included compositions from the years 1975 - 1979.
The first set of recordings come from 1975 rough mixes at Sarm Studios. These tracks (The Sun, Judgement - In The Region Of The Summer Stars and In The Region Of The Summer Stars) featured the lineup of Robert John Godfrey, Stephen Stewart, Francis Lickerish, Dave Storey, Neil Cavanagh and Glen Tollet.
The lineup for the 1976 Marquee Club live recording of Land Of Hope And Glory/Dambusters involved Robert John Godfrey, Stephen Stewart, Francis Lickerish, Robbie Dobson, Nick Magnus and Jeremy Tranter.
Both versions of Jig Fugue were previously available on the Stand 2 album with the second band version including Robert John Godfrey, Stephen Stewart, Francis Lickerish, David Storey and Terry Pack. The unreleased performance of Francis - Story (Intro To Albion Fayre) was recorded at Hammersmith Odeon in 1979, when Albion Fayre plus Dambusters/Land of Hope and Glory were also recorded. The latter was also included in the Live At Hammersmith Volume II with Dambusters/Land Of Hope And Glory simply titled Encore. The lineup was the same as for Jig Fugue with Willie Gilmore and Tony Freer also included. A 1979 studio version, banned by Boosey And Hawkes, of Land Of Hope And Glory/Dambusters is included. This track was recorded with the same lineup as the live recordings at Lodge Studio in Hertford.
The final track is a 1979 studio recording of RJG and Willie Gilmore playing Cathedralaise. This track was the demo recording for a film and was also included on Stand 2.
Tracklist: Judgement and Region (14:34), Childe Roland (6:25), Fand (22:30), Fand Part One (16:50), Fand Part Two (8:12)
The third release in this set of compilations can be divided into three sections. First we have 2 unreleased live performances (Judgement and Region and Childe Roland) from 1996 with a line up of Robert John Godfrey, Nick May, Steve Hughes and Alex Tsentides.
The second live performance involves the whole of Fand from a 1997 gig in Derngate. The lineup here included Robert John Godfrey, Grant Jamieson, Max Read and David Storey. The compilation also comes to a close with the two parts of Fand, this time as studio recordings. These recordings were made available free to Stand members in 1998. Recordings took place at the Lodge Studio in Northampton with the same lineup as the live Fand recording.
Tracklist: Then There Were None; The Demon King; Elegy For Piano; Sundialer; Jessica's Song; Spring;
Song For Europe; Tears Of The Sun; Sanctus; Evensong (Sax Arrangement); Gigue; In The Region Of The Summer Stars
i.The Flood ii.Under The Summer Stars iii.Adieu; Land Of The Glory
Album compiled by Rob Caiger
This album was released to coincide with the twenty-fifth anniversary of The Enid with tracks spanning the whole of the band's recording career from In The Region Of Summer Stars to a specially composed new piece of music, the title track Tears Of The Sun. It remains a perfect introduction to the music of this eclectic band and founder member and composer Robert John Godfrey.