Dump it on Parliament – Revisited

by 21st century youth and music.


The amount of work that went into this project was phenomenal. As a bystander, hearing about it as it unfolded and watching the culmination of all the hard work, it was truly breathtaking.

The project was run by Bedfordshire Libraries I believe, in a bid to keep these precious public places alive. Choosing music and its place in the right to protest was a formidable concept. Something that was news thirty years ago was resurrected and held up as an example of how people, working together, make their cause stronger. Well that was the main point, but of course, the history has to be explained, the flavour of the times revisited, in order to give a satisfactory view of how things really were.

I featured some songs from the Dump It On Parliament tape in a podcast. I listened and was impressed at the variety of styles of music and the wide involvement of people dedicated to protest against a nuclear dump near Bedford (yes believe it, it could have happened!)
The tape was made so that proceeds from its sale could provide financial help to those who were arrested and fined for demonstrating against this insane idea. The wider community woke up and participated in voicing its disapproval, and eventually the government dropped the proposal.

TeeShirt Print01

But this incident threw open a door to the times we were living in, times past and unknown to the present generation. History is coloured by the media, and the media can be woefully unfair. The punk scene, which became the alternative music scene, was not populated by drones. Sure the clothes were interesting but there was more to it than the look (which was hijacked as soon as a buck could be made from it anyway).

The Dump it on Parliament tape is an icon for activism, for building communities and for the arts. The 21st Century project ‘Dump It On Parliament Revisited’, directed by the fantastic trio Rochi, Dash and Dem, probes into all the factors that made this tape, connects to the anger of the times, the politics of unfairness and the grassroots effects of fighting back. The drama group of young students that enjoyed the dressing up and acting of the Young Ones gives a nod to the recognition of this phenomena in our country’s social history.

And I have to laugh. Much of it goes back to Luton 33 Arts Centre and the craziness that went on there. I admit I took it for granted, surely every town had somewhere like that? Well it turns out that this arts center was very special, and to think I only went there a few times to rehearse with my band. Discussing 33 nowadays is like talking about Shangri La – there were drama groups, a recording studio, a photography studio, a cafe – decorated with Tony Hough’s paintings (Luton’s incredible fantasy artist). Gorilla Video was based there, developing new film techniques and providing Channel 4 with the stuff that used to make Channel 4 worth watching.

This was the meeting place where workshops took place and bands met, not in competition but in building a community, organizing gigs together. It was the antithesis of X Factor. Of course the council condemned the building, pulled 33 Guildford Street down and no independent place has emerged to rival it since.

Now it has come to pass that the building has gone, and the people have scattered to the four winds; but the music is still with us. So the idea was to revisit the tape itself, and listen to the songs and study the history. Then, to invite bands/performers of today to participate, by commenting about the issues in their lives through their music.

My goodness, the bands that participated are living proof that this project is a bloody good idea. Firstly there was no age restriction, I believe the youngest participant was a very enthusiastic actor, it would be rude to try and work out the eldest, so lets just say this project appealed to all ages!

Secondly it was a project that embraced all facets of art, not just the music. Tee-shirts and posters were designed. Clothes were embellished and make up carefully applied by the  drama group. Films made by Gorilla Video were aired. There was even face painting – where people ‘wore’ an album cover on their face.

An interesting discussion about the times and the action taken by bands and film makers were discussed at a public forum in Leighton Buzzard, hosted by Dave Stubbs from Quietus Magazine.

With music being my main passion I was bound to be drawn in by the promise of live bands, but all this other stuff, the historical perspective, the inclusion of anyone who wanted to be involved in any way, I found this inspiring. And yet all it was, was people, encouraging other people, to discover and evolve their abilities and learn something. I was entertained. More importantly, I was educated about the music scene, and the battles fought with the government of the 1980s against nuclear dumping, among other issues. Things that are not in the National Curriculum, or the newspapers.

So how can you better the idea of asking bands of today to come along and show us what music is about now? The master stroke was this – ask each band to cover one of the songs on the Dump it on Parliament Tape (I also called it the ‘Anti Nirex tape’, as Nirex was the company that the government was going to farm out the nuclear waste to).
This is asking a lot considering that music has moved a long way since the eighties, the words can be lost and musicians are all ego maniacs – well that’s how they are portrayed in the media – right?

Musicians don’t always turn up for rehearsals, well we know that! Sometimes people say yes to things and do not deliver… life can get in the way..sometimes people just cannot make it. I have said it before, musicians are emotional creatures, when you strip your soul naked on a stage it takes courage. But there are plenty of brave people out there.

I turned up on the last night of this project at Leighton Buzzard Theatre and it seemed clear to me that this was going to be a fantastic effort because it was so much more than ‘just a gig’. I was privileged to meet many of the musicians performing that night and their commitment and credibility was awe-inspiring.
I have to say in an industry once populated with men (which is even reflected to some extent on the Anti Nirex tape) the girls have silenced the equality debate, which thankfully, for this project, has gone out of date. Women, dressed in clothes that betray the fact that they are serious musicians and not put together by some creepy media company executive (ie they were dressed normally) performed to a very high standard, as did everyone taking part on the night. Yes the bottom line was that these bands were worth seeing.



I like punky stuff and I like folky stuff, so I wasn’t disappointed. The show kicked off with the Grove Theatre Drama Group (?) Dunstable – performing a song strong on lyrics. We all get how bad it is to be young in a system that does not care about you, but hearing it from kids who are living it and understanding that things don’t have to be that way – made it a powerful performance. I truly hope that these kids do find a future in the arts, even if nobody will fund them.


Gary, known as Slippy Skills came over from Luton and rapped a set, and we were off into a night of sheer delight, as I like to say. He was followed by the Council Tax Band, who really don’t care if they cannot be found on Google. This band was tight, political and had a dynamic girl guitarist as well as the singer/keyboard player. They covered the Click Click track from the Dump it on Parliament tape. I enjoyed their defiant style and material.

Grand Mal were excellent too – a Bedford band fronted by bass player, sound engineer and singer Amy Mason, often found behind the bar at Esquires, Bedford.

Grand Mal

Grand Mal

Corolla were something different. Their performance had delicacy and a gentle delivery which completely reset the atmosphere. The girl (I should say lady) singer has a completely controlled delivery of her vocals. Holding back and putting space into the music, captured the attention of the audience, and held us in the palm of her hand. Even though this band was quieter, the sentiment and pace of the music was its strength. The musicianship was exquisite, the moment was precious.

In contrast, everything seems to be in a state of explosion around Nick the Poet. He is like a human detonator. When someone with his energy takes the mike and announces that he will read you his poem, nobody would ever consider heading for the door. Nick has written some wonderful stuff over the years. He has a punk heritage that takes us back to the days of the emerging and pimpled UK Decay. Nick gave himself the job of reading a poem to the crowd while there were band and equipment changeovers on the stage behind him. He loves a rabble to entertain and the rabble loves him for his word-smithing. Nick does not beat around the bush. His poetry will ask awkward questions – and on this evening he brings out a poem questioning what Thatcher and Reagan were up to and the disgrace that was Greenham Common. By the end of the night everyone in the venue will know who Nick the Poet is, and probably go to see him if they ever get the chance again.

Nick the Poet

Nick the Poet

Rochi and Spon performed a song from the ‘dump it’ tape and had the crowd singing a simple song by a bloke named Kev, and I wondered if it may have been a guy I went busking with years ago in Luton. We never found out but the song brought a great audience response with us singing along with the chorus and the drama group really feeling it. Their tutor, Chris performing as Red Lighter Man also gave us a haunting poem about the times we live in.



The evening was fast paced, so I had a sit down and quick chat with Steve Spon who was co-presenting and co curator of the project. Then I heard someone on the drums and I knew that it had to be Kirk. Halfway through my tea I jumped up and ran to catch the Kindred, because it is the only thing to do when the Kindred get on stage. I have seen this band steam the pub windows up, I would go so far to say that they are rather ‘mighty’.

I just about caught the first song and it was the cover of the Rattlesnakes song ‘No Money’. This being my favourite song of the whole thing, it is not surprising that the pics came out a bit out of focus, I was trying to mosh at the same time. Seems the Kindred were not together as a band at the time but I am hoping they reform and gig because the world is too quiet without their gut ripping energy. All excellent musicians, they seem like direct descendants from some of the bands that made the Anti Nirex tape. Of course I mentioned the Rattlesnakes before, it being Gregg Herbert’s band at one time. It was special to see Kindred, highly respected in my opinion, paying tribute to Gregg and the Rattlesnakes all this time later. It was good too that the boys knew it and felt that respect.


Kindred and Kin

The evening ended with the Defektors, the other band that I had already picked up on the radar as a bloody good set up. I had a chance to speak to their singer, Cara, the enigmatic front-person before they got on stage. The Defektors were covering a song by Penumbra Sigh and I wondered if she knew that the singer had passed away in the last couple of years. I had tried to contact Spiky Kaz, who had been the singer in Penumbra Sigh when I included the track on my radio podcast, but could not connect with her. Cara viewed this news in a mystical light, she has a spiritual dimension about her, and she paid tribute to Spiky Kaz when they performed the song. The Defektors set was the last of the night and they rounded off the evening with kick ass tracks and lively performance. Cara is totally dynamic, having mastered the art of movement and performance, she gives a masterclass in stage craft to anyone watching who would want to learn. I liked this band before, now I love them!

All was filmed by Andrew and others, and the sound recorded on the desk by Graham, from Pere Ubu who did the engineering single-handedly and must be congratulated for not a whiff of feedback! The library staff involved with this project were so friendly and I glimpsed them support the creators as they cleverly navigated their way through their aims and objectives.

What will be my lasting impression of this whole thing? Well I was an outsider looking in, but for me what sticks is that people were just lovely with each other.

Writing About Music and Theater

Ella Jo discusses why she has chosen her subject matters.

In this post I explain why I think it is important to write about the theater and a rock show – examining their cultural significance.

There is a real life politician who would ban rock bands. (West Tyrone, Ireland). This is a revelation. At present I am writing a story about a dog who joins a band and plays rock shows. Is that bad? Plenty of people enjoy rock music and plenty of kids like to play air guitar now and again, even if they never bother to learn an instrument. The most base reason is that rock music is pure fun. Having recently watched a BBC docu charting the history of rock music, I think I gained a balanced view on the genre. It has been degraded in recent decades, but it is not dead.

I entertain the notion that most music is credible. It benefits the individual, (making it or just listening) and it benefits society as well. It is therapy, poetry, an outlet for anger and passion and much more. Music nurtures the youth and cradles the adult. It resonates deeply within each individual; your musical taste informs the world about you, and it makes for dancing!

As a music lover it seems natural to write stories about music and performance. In the world of insipid, competitive, shallow, farcical, celebrity culture many young people do not realize there is so much more to it. I am no expert, I just know that music was my crutch, and my inspiration, and it worked like therapy on different levels.

I am excited by music in an historical context. Such an ethereal substance is hard to measure and substantiate and bears controversy – I mean the idea that vocal harmony did not exist until the church invented it seems preposterous to me, yet this is believed by many.

Music and performance is art – an integral part of human culture. So I make no excuses for taking my characters to theaters and rock shows. If I must face bigotry it harks back from a Victorian age when actresses and singers were frowned upon for dressing up and wearing makeup – the connection with ‘working girls’ is obvious. I view it as a class issue. I understand how Puritanical and Victorian values have influenced English society. When these conditions dominate performing arts cannot thrive. Music and drama becomes distorted and smutty. In modern times the arts could thrive, if only the funding would allow.

My function as a writer is to preserve cultural life where music and expression is like cultural glue. It has a history, it binds, it attracts good things/people and bad things/people. It is a metaphor for life! I refuse to be embarrassed by harmless fun. I am perfectly aware of my responsibilities.

I believe that the history of music and folk culture is just as important as any other type of history. Unfortunately this ‘culture glue’ is not celebrated fully by the modern education establishment. School music in the UK tends to be religious – still singing hymns written in the 1800s.
Easter Passion Plays were amongst the earliest expression of drama in England. Ordinary people enacted the crucifixion in the streets. (1110 – The first performance of a miracle play in England given at Dunstable Priory). Before Christianity there must have been pagan rituals where Shamanic ‘acting’ bound people with natural events. Clearly today, we observe how dramatizing a story reinforces the culture, as in the school nativity at Christmas. However nonsensical, the children love to act. In the 11th century the Mummers plays introduced the new concept of doctors and war propaganda with the Saracens. This form of performance could have been discovered from Middle Eastern traditions of story-telling, interwoven in native traditions by the homecoming crusaders.(Hence St George- a Turkish figure makes his first appearance and is so thoroughly absorbed that he now signifies Englishness!)

The English seemed to have a rich, unfettered love of music and country dancing until the 1560s. The church clamped down on what must have been memories of pagan festivals, eventually eradicating them along with freedom of artistic (or any) expression. The Puritans (mainly from the 16th-17th Century) banned dancing and were strict about music, if they had it at all. Life was stuffy, uncomfortable and boring. I view the Puritans as fundamentalists who crushed the human spirit. No festivals, no outward expression of gaiety, they lacked generosity and spied on one another for religious misdemeanors. Superstitious and stupid, their restrictions must have been dreadful.

The theater survived (this was the time of Shakespeare) but many plays from that time have have been lost. Luckily the Puritans couldn’t keep it up for long. The world moved on and eventually the Morris men emerged, although there seems they had no place for women. As the industrial revolution began to destroy the old ways, Music Hall came into its own as singalong and sheet music was popular – it was commonplace to have a piano in the house. Classical music was well established by then, but seemed to be another marker of class as Empire building split the upper from the lower class in a different, but just as exploitative Victorian system.

We still have cinema which over took the music hall and still forms a bridge between modern cultures. Big band music kept peoples spirits up during the 2nd world war, then music went electric!

Pop music I believe is misnamed. It is popular folk music with its roots in American Slaves music. Recording technology captured Rock n Roll, then there was a songwriting explosion from the Beatles in the 1960s to the beginning of rave culture. After that I think pop music has been pulped by corporations and the original art form is lost in a commercial rampage. Popular ‘folk’ music is all at sea as the internet age tries to scramble a new format for true artists to be heard in the 21st century. (The West End/Broadway shows still run but very few ‘hit’ songs seem to emanate from them in recent years).

So for me, those decades from the 60s to the 90s make up an important musical heritage. My personal aim is to champion music in this form – with all of its variations.
Why it is good to be a musician
Creative thought – when composing tunes and musical parts, and writing lyrics.
Joining a band makes a person learn team work.
Playing to a live audience and recording – teaches self discipline, confidence and perfectionism.
When things go wrong – learning how to control ego and narcissism.
My reason for writing about Theater, Music and Rock Shows is to reflect the fact that music flows like a cultural spring, that it stimulates personal growth and is pure fun.

So no apologies to the prospective MP of West Tyrone. It appears that she would throw gay people into prison as well. We should cover her in chocolate and leave her up a mountain until she can laugh at herself. Thankfully she is in the minority. I am free to weave my stories around precious cultural icons that survived the Puritans and the Victorians and that are bound to be re-invented for a future fated to be influenced by technology. Or maybe not. Humans are strange, there are still brilliant buskers and genius musicians who would rather play around a campfire in a field.

We may yet be driven back to the roots of street plays and old fashioned story telling. Whatever happens, my characters will be there, howling, yodeling and rocking out with pure joy – even in West Tyrone.

New Interview with Ella Jo

Almost Anglo Saxon CD front cover1Starting 2015 – An Interview with Ella Jo about her New Album Almost Anglo Saxon

This year Ella Jo finished the long awaited album ‘Almost Anglo Saxon’ – this is what she said to Diamond Seeds:

“It was a very enjoyable project and a fantastic challenge to learn history, write songs relating to that history and produce an album that is musically credible as well as educational. History has never been so much fun and the research turned up some interesting facts. Choosing subjects like King Ethelred the Unready and the folk tale of Wayland Smithy, I wanted to tell the stories as the Anglo Saxons may have told them.

Reflecting on the material I realize that I was trying to stand in the shoes of those who witnessed historical moments in Anglo Saxon History, like a woman watching the ships land when the Vikings invaded in the song ‘Dragon Ships’. There was also moments when I allowed A modern point of view such as ‘The Hidden Hoard’. In ‘The Minstrel’s Song’ I wanted to embrace the place of music in culture and show how highly it was valued in the past.”

Who is this album for?

“Everyone. The idea was to create a collection of modern day folk songs, but I am from a pop influenced background so the songs strode off into their own directions. We experimented all the way through this project wanting to create something new, but recognizable. I suppose Pink Floyd worked in a similar way when they experimented with the technology of their time. The challenge was to write good authentic songs. One way of keeping true to the idea was to turn things around. If I travelled back in time would the Anglo Saxons approve of my material? Or if I could bring Anglo Saxon musicians into a modern day recording studio would they have performed songs like mine? These ideas set the standards – and on a spiritual level there was an underlying will to please the ancestors.
So I suppose I wrote this album for the Anglo Saxons and all of their descendents and for anyone curious to know about them. All cultures could gain some insight from this album. As a songwriter I looked at the history and added human elements such as irony or joy.”

How did you write the songs?

“I really don’t know. A silent room will eventually allow words or a tune to develop. Some of this album was easy to write once I tapped into the zone – I had ‘The Anglo Saxon Chronicles’ nearby and looked up stories on the net. I didn’t try too hard to make sophisticated songs – I was concerned with telling the stories – in my view that is what folk is.

Mel on Whistle!

Mel on Whistle!

Fiddlin Flick

Fiddlin Flick on ‘Ethelred The Unready Blues’







I was supported by some wonderful musicians who helped on various songs – it was a joy to record with Mel from Tarantism on Flute, Steve Kerr on Guitar, Ed Branch from UK Decay on Bass and Fiddlin Flick on violin. There was a lot of improvisation which was awesome – I loved giving the musicians freedom to interpret the songs, and as we were recording they could do as many takes as they liked. Working with Spon I knew that he would work this way and we would pick through takes and get the best out of everyone.”

Tell us about Steve Spon

Spon recording01

Steve Spon at the controls

“Well we made three albums already, and by the second one I had grown pretty comfortable with working with him as sound engineer. Almost Anglo Saxon was brand new work for both of us and we jumped on it. Spon is senior producer, so I got to work closely with him on the production. To be honest it was stress free – he has so much experience and understood what I was trying to do. He is also interested in Anglo Saxon history so he brought ideas and creative strengths to the project.”

Almost Anglo Saxon Available NowClick Here to purchase Almost Anglo Saxon, the CD Album by Ella Jo

What is different about Almost Anglo Saxon?
“Well technically it is a concept album. Only a few bars of music survive from those times a thousand years ago, but there is evidence of the instruments that they used. We have come so far with today’s technology that once I began to imagine sounds and atmospheres Spon was able to make up versions of my ideas. We twiddled and tweaked and allowed the feelings of the songs to transpire. So while I was tapping into ideas for mead hall songs, Spon would be out trying to record our local owl. I mean this album really is a testament to the saying that your world is as big as your imagination: for example, we made sounds by throwing cutlery around the kitchen and I clog danced on a wooden staircase in my heels…

I want everybody to relate to the subjects covered in this album, its not all heavy, although I couldn’t escape the fact that there was a lot of war and invasion going on. But there is ample opportunity to dance, and sing along. There is even a love song (‘Through the Eyes of an Eagle’). I tried to keep the lyrics historically correct on this album – I think people are sick of listening to bullshit pop. So it should appeal to anyone with some musical sophistication – and I have no doubt there are many out there who love history and music. So I think the album has a broad appeal.

I enjoyed the challenge of singing what I had created. There were moments when I had to trust to improvisation during the recording process, which is how I came up with the coda of ‘Ethelred The Unready Blues’. I was immersed in a song I had not written an ending for, and just found it – some things I will never understand. So Almost Anglo Saxon is a concept album, but is not contrived like commercial pop.”


“I thought I was a bit shaky this year – finding it hot when I performed in the summer, I was very out of practice. I think my best performance was on Xmas Eve – I filled in one song when Garry and Jenny had a break at their gig at the Bedford Arms in Souldrop. I hadn’t prepared anything, so I got the audience to clap along and sung ‘The Raggle-Taggle Gypsies’ which is an old favourite. It was a jam really, but I know all the words so I trusted the flavour of the occasion and went for it! It was a lot of fun entertaining the folks in my local pub!”

Trying to remember how to play on a stage again!

Trying to remember how to play on a stage again!

The Future
“I have a lot of catching up to do on guitar. I felt so much better just singing, perhaps I will find a guitarist who can accompany me to take Almost Anglo Saxon live into the pubs and clubs – I would love to take people on a trip into history!”

Click Here to purchase Almost Anglo Saxon only £10 plus p&p – straight from the manufacturers

Click here to learn more about Anglo Saxon history and it’s music

Almost Anglo Saxon by Ella Jo

 This is a concept album as I wanted to start a brand new project with completely new ideas. It is very satisfying to research a subject, write about it as poetry and then find a tune and craft a song. This is what ‘Almost Anglo Saxon’ has mainly been about.

I wanted to write some songs about Anglo Saxon life as I am interested in the history. Also I wanted to explore a more historical approach to making the music. Nothing remains of Anglo Saxon music. They had certain instruments that we can be sure of, but no one knows what type of music they were playing, and so this gave me the freedom to just write songs as I like to and not look to any particular influence. If a tune moved me and sat with me, I would use it if I was sure it was ‘original’ enough. I don’t listen to any folk music really so just followed what I thought sounded authentic and pretty simple. 

I like to think each song tells a story and gives some insight into the human condition all those years ago. Included on the album are tracks called: The Song of Wayland Smithy, The Hidden Hoard, Dragon Ships, Wassail The Night, Feel Love, Ethelred – The Unready Blues, The Ballard Of St Margaret, The Minstrel’s Song and Vortigern’s Surprise.

In an attempt to deconstruct what we understand as ‘music’ we have used our imagination to visualize what Anglo Saxon musicians may have been inspired by, with modern day recording techniques. Thus we have sampled wolves, owls and other birds. The wind, the sea, bells, anything that we feel is appropriate to the song. Yet I have also included things that please me – we are not Anglo Saxons – the ‘Almost’ in the title gave me permission to sense the songs from a modern perspective.

The aim of this project is to entertain and educate. This project is also a testament to the skill of the sound engineer, Steve Spon, and proof that a simple concept can be such a lot of fun and be well received by music lovers of all types.

Find out more about the Anglo Saxons, their music and instruments in the following link:

Click here to learn more about the subjects tackled in the songs:

This album is available straight from the suppliers – TEN Awe-inspiring  tracks price £10 plus postage and packing!

Click HERE Buy Almost Anglo Saxon

 Track List:

Swirling and Whirling – A song about women’s magic!

The Hidden Hoard – The story behind buried treasure

Ethelred The Unready Blues – The ruler who consistently got things wrong!

Minstrel’s Song – reflecting on the life of the entertainers in Anglo Saxon Times and their value to society

Wassail The Night With Mead – A joyous adventure into the folk life of long ago

Ballard Of St Margaret – the story of a real Anglo Saxon Princess

Vortigern’s Surprise – A song about the invasions of the Anglo Saxons

Through the Eyes of An Eagle – A simple love song, based on characters from far off days.

The Song of Wayland Smithy – About the ancient folk story of an imprisoned smith

Dragon Ships – A woman sings a song about the Viking invasion of the Anglo Saxons

Stonehenge Summer Solstice June 2011

I visited Stonehenge for the Summer Solstice in June 2011.

The experience brought out many feelings and writing this was difficult. I wrote the following and then had to walk away from it for a while because I got worked up! I am an air person, I think, talk, sing, write – its an intellectual way of connecting to life and its how I mainly experience the things I see and do. Because I am built this way I tend to analyse – which helps explain the world to me, but in no way reflects how others may experience the very same thing.

Thus a wild night at Stonehenge is a challenge when feelings are involved and moral judgements try to surface. I am not a judge, but feel I have a responsibility to ‘do right’ – its my ethics and the world gives me feedback that my ethics are not bad. I came to my own beliefs about the world, then found that they matched quite well with the Pagan and Buddhist world view. As I give my opinion of ‘Stonehenge folk’ I am speaking mainly from these view points.

The Day we went to Stonehenge 20th June 2011 Summer Solstice

On the day we left, we collected our mate Hughie from Luton. Being a photographer, and all round good egg, we knew that he was going to enjoy the trip. We reached Stonehenge around 8.30pm when it was still quite light – the police looked over the car and stewards directed us into a field, causing us to park in neat rows, two cars deep with plenty of ‘roadway’ to manoeuvre when we wanted to leave. I decided to take a walk around and meet the Stonehenge posse of 2011. Straight away I discerned that this was not the gathering of hippies I was expecting. The Buddhists teach that its wrong to have expectations – but you try it – expectations are difficult to ignore.

We downed some beer – it was nice to get somewhere for the night and relax. Once suitably oiled I decided it was time to try out my new folk song on Hughie, who is a good natured guinea pig. I jumped out the car, pulled out my lyrics and sung him a song about Wassailing the Night with Mead. It was a practice run to see if the song stood up and I roared it away with no shame! This larking about brought me to the attention of a lady called Laura and her Essex family. After a chat and a Johnny Cash song sung by her son (much to Spon’s pleasure) we continued our party.

Around 1.30am we set off to walk up to Stonehenge stone circle. We were parked two fields away, so walked through the official gate (hand bag searched) where some police stood, and into the next field where we ambled along through the dark towards a gate at the end. Joyous Hari Krishna s came dancing out of the night with Hindu gods on a carriage – I recognized Jagannath – a lesser known god from East of India that I had discovered on my last trip to Orissa and beyond. This encounter made us all smile as the dancers chanted and clashed their cymbals back up the field….. The gate at the other end of the field had a large police presence. My handbag got searched again – which was irritating and there was a confused sniffer dog – probably having his nostrils bombarded and therefore being a pretty useless piece of kit. I could understand that the security was searching for bottles, but why twice? The searching business was very thorough – it was like going through an airport to another country. I felt there was an element of intimidation about the searching, so while the young man was prodding around in my bag I said to him, ‘You should get out of this business and come up and look at the stones, that’s what all this is about….’ In reply he said, ‘I was at them last year, this year I’m doing this for the money…’ ‘Oh,’ I said, ‘ You must be a struggling student!’ to which her replied, ‘ No, I’m not a student…’ and his voice trailed off. Laughing I said to him, ‘just struggling then?’ It was a lighter way to deal with the intrusion. I always try to see the human behind the uniform, even if the uniform cant see the human in me – but sometimes, if one shows generosity and recognition of a person, the atmosphere is healthier!

This encounter was quickly forgotten as I met up with my friends and walked into the Stonehenge site. First thing to see, lit up in the dark was a Chinese food van, with coffee vans next to it. A good place to meet if we lost each other, we noted. But as we strode past I became aware of a pull, quite a strong feeling of needing to be closer to the stones, and as they became apparent in the dark, I realized that I was not going to stop. Picking our way through the tousled crowd, some sitting, some standing in groups, I knew that we had to go into the centre of the circle. Many others must have felt the same – we were squeezing through people and upright ancient stones… we were being swept along in a tide of humanity, damp from the earlier rain, but lively and awake….we were a little stunned at the enormity of the scene – people everywhere and a most awe-inspiring backdrop to the party. These were not some fake scenes of ancient stones – these were the real thing, this was Stonehenge, close up, proud and looming majestically in the dark. Every now and then they were lit up by a camera flash or a torch light, every now and then, the murmur of the crowd got louder. And then we were there, right in the middle of the stones, surrounded by people and the atmosphere was electric. I turned to my friends and said something like – ‘ I didn’t know I was going to feel like this!’.

There were ripples of energy around us, going through us – and that was just the elation of being there, all these people were feeling it. We were closer than ever before, we could touch the stones, but we didn’t do a lot of touching, you are not supposed to, but the ‘pull’ was so strong. Just a gentle touch was all I needed, a caress to an ancient monument that had endured so long. I was awestruck to my bones, and laughing with the sheer joy of being in this crowd, this happy joyous crowd…..well actually it was a weird feeling, as the crowd was not turning out how I expected it to be. Up on the centre stones people were raving. By that I mean dancing in the rave style – grooving to what? No electric music was allowed, just drumming. So they were blatantly raving to the drumming and whooping and well, probably tripping….But this wasn’t the hippy vibe I would associate with Stonehenge – this looked like guys straight out of the nightclub, and girls from a rave….

The crowd became more and more packed in – there were some people over 35, but not as many as I imagined there would be. The energy in the inner circle WAS amazing, and I didn’t need to take anything to feel it – did I get that energy off people tripping or did it come out of the energy field created by the stones? No one will know if it was the acid or the place….did it matter? I angled my camera to get yet another picture of the Stones, and this guy in front of me exclaimed – ‘hey! I got a shot of you taking the picture – what do you think?’ George was an Ozzy visiting the country – he had been given the nod about Stonehenge at the Isle of Wight motor bike races….’Welcome to my country’ I said, and would repeat this to more people as I met the tourists who came that night. We continued to mill in the crowd, which was getting tighter as the hour was passing. ‘can you give us some space?’ a foreign accent said to me, ‘we want to make a circle to meditate’. Looking at these ‘alternative’ people I laughed, ‘what now?’ I said, ‘you’ll be lucky’, – these guys were not laughing, they seemed to be on a very serious mission, and they wanted to control a crowd – how inappropriate – and impossible…laughing I went on my way as the crush got even tighter! This sort of gathering can teach you a lot about yourself, but you have to let it unfold on you. Great revelations will come later when you are meditating….this is how you will evolve!

The chatting and laughing, whooping and dancing continued, along with the drumming which sounded quite drowned out in the background! Smiling at people was a great way to go and the buzz was fantastic. I think it opened up my senses, as usually I am feeling sleepy at 3am in the morning – not here – the more I looked the more I saw, the more I listened the more I heard….the crowd was certainly unfolding its character with different dynamics as more people came and went… Around that time I felt an overwhelming need to touch a stone – I went for the nearest one with a young girl sitting next to it…’if you feel you have to, then do it,’ she said, ‘I’ve been next to it for hours, hoping it will give me some healing..’ I looked down at her and said, ‘why not, we try everything else!’. I felt compassion for her, we all need healing sometimes, and we don’t always get it when we need it…I turned to take a picture of Spon infront of the impressive uprights, but the flash didn’t catch the stones, ‘Damn’ I said, ‘I thought Id got the stones in that picture – all I got was your face…..not that I’m dissing your face, you’ve got a nice face….’ the girl was laughing at that, and I know laughter is a great healer, I hope it helped!

We had moved a bit further round when the light started to come up, the stones were coming more into view, and so was the crowd. I noticed how young the majority were – they had made this space their own, they had claimed it and raved it and periodically they whooped their voices high to the sky where the stones bounced back the sound and they were in (on) ecstasy….. Determined people were now pushing through where space had run out, and I became squashed under a long limbed boy, who ignored the fact that I was there and was literally standing on me. I could feel his legs quivering, as the drugs were running round his body and he was having a useless conversation with his friends. Spon then lurched on me from the other side – ‘its getting too much’ he said, I had heard him say this a few minutes before, and although I had stood my ground because I wanted to be there for the sunrise, I decided it was no longer safe. We wheeled out of the inner sanctum – the youth had victoriously claimed the space and they were welcome to it. This was not so bad, the Solstice was about half an hour away and many people had gathered beside the stones facing east. Here it was busy, but not heaving! We found a space, but not for long. There were idiots behind us, with Russian sounding accents. Why hadn’t the police going through the crowd noticed them? – well maybe now the light was coming it was easier to see trouble. We moved further down the slope and found a place to sit. The light was up, but the sunrise was shrouded in cloud. The solstice came and went, but no sun showed itself. The night had been damp, but not wet, now the dew was rising. We sat together, three friends who know each other better than anyone else in the world, so it feels. All of us different, but all of us linked in a spiritual way…

I gave Spon the camera and he went off to take more pictures in the grey morning light. The crowd was still milling, although many were now leaving. The litter was disturbing. We spotted the police in the distance with a victim that seemed to have been bound hand and foot – four police were carrying him at shoulder height like coffin bearers…is this a new thing? The TV cameras came to film the crowd; later on I realized that the Druids had held their Solstice ceremony, but we couldn’t get near for the size of the crowd. Meeting up again we walked back to the stones, still unable to negotiate the crowds in the centre we walked around, as the pious do at Mecca. Many people were taking pictures of the stones, or of friends in front of stones. I had forgotten this place was so famous. We dodged the litter and amazed and stunned, we took in the size of these ancient artefacts. Drunk people stumbled, or lovers stopped and kissed, yet others looked sadly upon the scene – like the day after the party and you realize someone has trampled the garden. I don’t mind anarchy, but the litter was too much for me. I had to make myself look past it, otherwise it would have spoiled my experience. When we had taken in everything our eyes would allow and snapped hundreds of pictures, and wished umpteen people a ‘Happy Solstice’ we turned from this incredible scene and walked back down the field. The coffee wagon turned out to be the same company that had been at Strawberry Fair, remembered for their ridiculous sugar sachets (far too small, fiddly and wasteful) I call them Corporate Vegetarians!

We left pretty quick as it was pretty clear that many idiots had been on the fringes – for some people the car park was the place to party without understanding the reason for celebration. So we drove off towards Woodhenge and found a burger van on a lay by. At 9am we reached a place to camp and settled down to sleep. The fatigue of the night caught up and we slept until late afternoon, when we celebrated Spon’s birthday with a posh dinner he will never be allowed to forget! (ginger and gooseberry cheesecake!)

Later, when we had the chance to talk about Stonehenge we realized that we were all feeling puzzled at the mix of people. We didn’t expect to see the ravy, party kids, that seemed well represented amongst the ‘hippy/ alternatives’. But I remember the travellers kids were turning out like that, so my guess is that some may have parents who were alternative types – and now the kids were growing up they wanted a piece of it. The youth knew about Stonehenge, but where had they heard about it? Hugh mentioned it had been featured on Dr Who and other mainstream TV. Was that so bad?

This ancient site is not in its original positioning. Stones have fallen and been set up to some architects design, we don’t know where they originally stood or how they were arranged. But I don’t think that matters because so much energy has been imbued into them. (its the same at Nine Ladies). At Stonehenge the stones are the originals….

We talked about the vibe – it was mostly good, but there were idiots wanting to be violent and looking for an excuse for negativity and badness. They were deliberately falling on people and laughing at them… or saying stupid things. They were offensive, but needed handling with diplomacy. It was not a good idea to agree with them, but also not good to needle them…when someone said they wanted to do someone an injury, my response was that someone was already injured, (meaning the perpetrator). For all the security measures the outside system could still not identify who did not belong at Stonehenge…unless the outside system planted agent provocateurs, (and wham, your into conspiracy theories) – although judging by the high police presence its very possible that plain clothes were in there trying to stir people up – that’s part of their ‘job’ – they have to be seen to be working…..So we walked into the middle of a highly charged energy field which was reflecting euphoria at one extreme and incitement to fight at the other…with a lot of stuff going on in between…

So this was the Solstice party. To a lot of youngsters it was THE place to take a trip. It was for exhibitionists to feel absolutely free, and observers like myself are left to reflect on the people Stonehenge had attracted. Judging by the way society has become so homogeneous, it was good to see that everyone was different. Stonehenge pulled in eighteen thousand people, and everyone had a theory. But I felt uneasy. Personally I see Stonehenge as a place of worship, like a church, so where was the respect? Many think those young uns are ignorant, but the youth, in their ignorance, don’t think they are. I know this because when I was young and ignorant, I thought I was a spot on swell person. The reason I am picking on the youth is because they dropped litter. They don’t know what makes the universe or humanity, but they do know someone will come along and pick up their litter. They think the answers to the mysteries are somehow connected to Stonehenge – so they flock to this ancient place and instead of waiting for the place to reveal itself to them, they have a rave…. We were watching people go through an experience, and I cannot judge whether they were right or wrong to celebrate that energy as if they were at a nightclub. Looking back, the 70’s hippy energy was disturbing to the establishment of those times and today the establishment distrusts the rap playing chavs on sink estates BUT don’t underestimate a human being’s capacity for spirituality. The youth have the strength that young energy gives – even if they don’t know how to direct it.

Yes, they piss me off for dropping all the litter, but they made damn sure that Stonehenge belonged to the people that night. It was ours and anyone who could get through ‘airport security’ could claim a spot in that circle and feel that energy buzz whilst also keeping an eye on the shifty ones and watching out for the fragile ones. We were holding our ground – is that what Stonehenge has come to symbolize? The crowd raved and roared with pleasure at the sheer size of the crowd itself and the pride of the place, the air, the life, the strength of the youth…yes the youth definitely took over the centre, but they didn’t really threaten anyone….we know what they were on, we know the youth are fearless…

Who are we to judge? who is society to judge? When you think the stones have stood (or lay) there for thousands of years, of the changes in society they have witnessed. They were ignored for a long time and then kept sterile and empty of people – to see them populated and adored in a very 21st century way by people of so many streaks within society – well that’s the paganism revealed, it doesn’t restrict itself to class or fashion. Hoodies next to hippies, next to well dressed ladies and gents, beardy students and weather- beaten faced school of hard knocks, all exercising their right to be in the place, the place of spirit and worship as designed and designated by our ancient ancestors. We have to accept the rights of the 21st century youth to have a place to express themselves with the dancing they like and the highs they like, to have the opportunity to find themselves and seek a spiritual angle to themselves after they have rightly rejected the dogma forced upon them by our rigid, suffocating society.

I should not have been surprised that car loads of kids turned up!!!! What is their alternative – to pay loads of money to drink shit drinks and dance to shit music in a shitty nightclub, where the pavement outside is covered in people too drunk to get their shit together…. As a Pagan I feel that my beliefs are suppressed by society, just as it suppresses the freedom of expression for the youth. At Stonehenge, Pagans and the youth literally joined forces to celebrate accessibility to a heritage monument that we ALL own…Most pagans I know have worked themselves out. They understand their place in nature and society (or should I say community) – they learn what they need to be good in their life and to make life a fulfilling experience. The youth have not worked themselves out. They are seekers and they reject mainstream bullshit. They can sense the bullshit, but don’t have the answers. Those young people want and need direction. They want to see a framework about life that they can relate to. They are sick of being force- fed ideologies that they can see for themselves are not working.

But I have been very angry about the youth mentality towards Stonehenge, and I will explain why.

If I was a druid I would have been glad that my ‘holy’ or spiritual place was recognized and that celebration for an important event in my calendar was being kept and my religion had a place in modern day society. As a pagan I felt that many people drinking and raving didn’t really get what the druid religion was about…perhaps I am wrong, perhaps pagans do party and make a mess, but myself and my pagan friends don’t leave litter, however messy we get. Its a real issue to me because as a Pagan I believe the earth itself is a spiritual place and anywhere I put my feet deserves respect in a physical as well as spiritual dimension….its bad enough having to compromise my respect for the earth just in order to function in today’s world, but dropping litter is one thing I can have complete control over. This is what I have to say to the litter droppers at Stonehenge June 2011 (all the f words have been edited out) – You came to party at a Pagan site, recognized for centuries by our Pagan ancestors as a special place and you should not throw () litter…Its disrespectful to the Druids who worship there, to the Stones themselves, to our ancestors and to your()selves. Ladies and Gentlemen the MacDonald’s generation has arrived at Stonehenge and that’s fine as long as they don’t drop litter.

Have I finally found the difference between travellers and crusties? When travellers leave a place they leave no sign that they were ever there, its the code of practice if you like of a pagan theology. The earth is not yours to trash, it is home to others and an entity in itself. Crusties don’t seem get this, they have not developed a natural awareness…thus they pay a lot of money to go to a festival and chuck their shit all over the place cos ‘someone gets paid to clean up’.. Please take that element out of the equation, go to the thought process of ‘lets do without the money getting paid for shit’ side of things and a party like Stonehenge which is FREE means YOU PICK UP YOUR OWN SHIT…

Now I feel so strongly about this (and I am an open minded sort of person) that I wrote the following: ‘If I was English Heritage I wouldn’t let the () on – or I would staple a () bag to their bollocks and give them a () lecture first’…so I wouldn’t be popular, but there wouldn’t be any litter…

Now that’s off my chest I would also like to make the comment that nobody had a song to sing – just whooping and wailing – which is great – its spontaneous and primal, but shows that we are totally disconnected from what our ancestors would have sung about… the drumming is really as close as we can get… I am sad that people, young and old do not write or sing songs at social gatherings, they utterly depend on being spoon-fed whatever the media gives them. I hope this will change and one day Stonehenge party will be filled with people singing their own songs and playing their own acoustic music….These Pagan parties are a chance for you to shine in your creativity – make and wear some spectacular clothes, paint your face and sing and play your own songs…we are here to evolve and showing off your creativity will connect you to the Pagan society that built Stonehenge in the first place…

As I wind these reflections up I have to say that my lesson was to chill out….I got caught up asking where all the energy went that night…and had to laugh because intellectualizing the experience wont work. If something is powerful it is unsettling. Here I was, trying hard to understand… how comfortable was I watching all these young people clamber over ancient stones and down their beer and come up on their trip and look afraid and lost….and who really felt at home there?

Well its an easy answer – the ravers did. They raved on the stones like it was a trance party. Dancing on waves of energy from us and from the spirit of the place which found an expression through their dancing. Perhaps we were fools for not joining in more, for being cautious. But we are cautious with good cause, because when you’ve seen enough you know that there is danger in these places sometimes, and sure enough the crush was enough for me…But I had to be there and see it and feel it… and wonder at it, like the child inside of me was coming home with the warmth and love that I feel which enables me to feel warm and love to others, and I taught myself that from scratch so I am proud of that. For me that trip to Stonehenge was a personal journey to show me how to love my friends and myself… and I met others who were there to be healed, who readily told me so. I knew that I needed to connect with the ancients and meet my brethren Pagans…and the ‘youth element party thing’ was a surprise, but a lesson not to expect or assume anything – and an education about how the youth will have its day because that’s how nature works. I hope they find peace and understanding from their encounter with this stone circle on this night at this time…

Now I think about it I have seen where the ‘hippy’ bid for freedom is being expressed in 2011. If we cant give peace a chance then lets give the youth a chance. In twenty years from now these same youth will be in our sphere of life, talking about the spiritual experience they had when long ago they went to Stonehenge. The youth are the future, and they are taking Stonehenge with them. We should be glad.

Steve Spon Solo projects

Spon’s input on the Diamond Seeds Label

Is this the end of drum and bass as we know it?

A sound concept tapestry with a strong musical current, including samples which expose media hysteria amongst both dark and light themes. Nostramus comments on the phenomena that shape our early 21st century; times where fear is founded for some, and a plaything for others. More info.

Tracks – 12
Label – Diamond Seed Productions
Year – 2011
CD Album Price – £9.99 inc shipping* BUY NOW
Digital Download – I Tunes | CD Baby
Sample clips on Soundcloud

Earthlights 2010 Remastered. Click to buy CDEARTHLIGHTS REMASTERED…..NOSTRAMUS

Described as ’21st century pagan drum and bass’, the ‘Earthlights’ album by Spon’s alter ego Nosramus was released in 1997 by Recordings of Substance in the UK and Shadow Records in the US to critical acclaim. Now remastered in 2010. More info.

Tracks – 10
Label – Diamond Seed Productions
Year – 2010
Price – £9.99 inc shipping* Buy CD
Digital Download – I Tunes, E Music, Amazon
Sample sound clips here


A feast of sound-scarped nightmare visions and eclectic journeys. Culled from the darker psychotropic-fueled imagination of The Big Eye, Bud Brothers and Nostramus’s  Steve Spon. More info..

Tracks – 13
Label – Diamond Seed Productions
Year – 2011
Price – £10.00 inc shipping* Buy CD
Digital Download – Available soon
Sample sound clips – Available soon



Ella Jo provides melodic nutrition for a runway to the stars.
This album’s sound-scape provides a rich feast good enough for a Space Shuttle journey. In the Universal Soup of Life, it makes a seriously good sound track. More info..

Tracks – 10
Label – Diamond Seed Productions
Year – 2008
Price – £9.99 inc shipping* Buy CD
Digital Download – I Tunes, Amazon, CD Baby
Sample sound clips here


Following the Soul’s whisper, Ella Jo gives clues in this album as she reflects on a hard world, but refuses to be beaten. Here there are tuneful explorations of serious issues, interwoven with the joyous stuff of dreams. More info..

Tracks – 10
Label – Diamond Seed Productions
Year – 2008
Price – £9.99 inc shipping* >Buy CD
Digital Download – I Tunes, Amazon, CD Baby,
Sample sound clips here


This album is like a porthole where beauty is borne of trouble, and passing through it is a cleansing, uplifting experience. Work well crafted will always channel human experience into sweet depths, for those brave enough to share it. More info..

Tracks – 10
Label – Diamond Seed Productions
Year – 2010
Price – £9.99 inc shipping* Buy CD
Digital Download – Available soon
Sample sound clips – Available soon

* January 2011, Subject to slight fluctuations owing to currency conversion rates. CD’s available from Kunaki USA priced at $9.80 plus $4.20 shipping, total price $14.00 (UK = £10.00, Euro 10.80) Delivery to UK and Europe around 8 to 14 days. Payment via PayPal and most major cards.

Steve Spon’s solo projects…a brief biog

Since the demise of UK Decay and then IN Excelsis back in 1985,  Spon has continued producing music for himself and others.

As the resident engineer/producer at ’33’ Recording Studios he worked for a decade on a wide variety of different genre’s. He helped produce many post-punk bands in the eighties and nineties, including Click Click, Karma Sutra, Passchendale, Party Girls, IrritantCrowe Jayne amongst others. He also produced numerous commercial recordings for the ’33 Jazz’ label, as well as co-producing many underground dance tracks for the emerging DJ culture.

Bass lines and drops that Spon helped produce rocked many a dance-floor at that time.The surge in technology in the art of music production during the late eighties saw Spon honing his music production skills. In 1990 he teamed up with ex Click Clicker’s Derek ‘E’ Smith and Graham Stronach to form a new band called ‘The Big Eye”. Described by the band at the time as “Techno–with-guitars”, TBE played a handful of live shows, produced a couple of EP’s and an Album, (both on vinyl and CD) over three years for the London based Hydrogen Dukebox label. Most of these are now out of print, and like a lot of Spon’s past material, are very rare to track down.

Spon latched early onto Jungle – the emerging Drum and Bass genre of music. During the early nineties he crafted a collection of tracks of his own. His material aimed to create a more thoughtful and ‘intelligent’ spin to counter the frantic naivety of the early hardcore rave sound. During this period the classic ‘vocal-lyrical’ approach had taken a back-seat to the repetitive and minimalist sound scape. This suited Spon’s eclectic and original use of samples to create mood shifts that mold deep, optimistic and relaxing sonic journeys. This was Spon’s first major ‘solo’ project with guest vocalist Prince Malachi, MC13, Caroline Nische and Natasha D, the proposed album was to be called ‘Earthlights’ under Spon’s new artist name; ‘Nostramus’.

This was released in July 1997 by London label, ‘Recordings of Substance’ and licensed to the US ‘Shadow Records’ label. ‘Earthlights’ went onto sell a respectable 6000 copies world-wide and tracks from the album were seen on many a ‘chilled–d & b/electronica’ type compilation album. In 2010 Spon re-engineered and re-mastered ‘Earthlights’ for the Diamond Seeds label (there is a link to further information and sound clips of the album above)

Spon continued producing and re-mixing for others up to the end of the nineties but aside from a limited edition Exodus Festival album, ‘Bomb Babylon‘ (a DIY darker, pertinent and bombastic affair – that, in Spon’s own words was, “unfinished”), there was no further Nostramus release until the 2003 ‘Hero of Bamboostick’ EP on Jolt Records.

In September 2011, Nostramus released  ‘Doomsday Dot Com’ and unlike in the case of the the ‘Earthights’ album, Spon has introduced his guitar sound on some of the tracks. Another project has involved re-mastering some of Spon’s more esoteric and subliminal work from the nineties. He has produced an album called ‘Dark Ambience’ by ‘The Hidden Core’ (or THC for short!), containing largely ambient and beat-less material, but with brooding, sometimes menacing sound collages. You wont find much guitar in this mix, but UK Decay and IN Excelsis listeners may be familiar with some of the darker sonic dream sequences, a style used in the UK Decay’s ‘Werewolf‘ and ‘Unexpected Guest’ introductions for example. This is all available on the Diamond Seeds Label.

Spon’s production work with Ella Jo

Early in 2004, a singer songwriter Ella Jo knocked on Spon’s door. She had been looking for him since the ’33’ studio shut down in 1998. EJ promptly readied her old battered guitar and promptly sang him a handful of songs that she had wanted to record for a good number of years. She also explained that she had spent several years backpacking to far slung places across the world on her own.

This obviously impressed Spon enough embark on a musical relationship that would last until the present day. The end result was a collection of three classic albums incorporating many differing styles ranging from Pop, Neo Folk, Acupela, Avant Garde, Gothic, Drum and Bass and Electronica. Arguably the Ella Jo sound is perhaps not what one would expect from the guitarist of UK Decay at first listen but it shows off Spon’s deftly touch on music production.

Ella Jo’s music is eclectic and shows an inner wisdom that only someone with her wide travelling and life experience can reflect. It journeys through genre’s and styles with utter contempt for the narrow marketing niche, instead celebrating the oratorical rhythms and cadences of modern everyday life from a female perspective.

Although largely musically driven by Ella Jo, Spon has contributed to all three of Ella Jo’s albums with keyboards, bass, drums and other orchestrations as well as producing the overall sound. On the third album ‘Attitude is Everything’ he plays guitar on a couple of tracks with UK Decay bass-man Ed Branch also contributing.

We could sum up Ella Jo’s music as pure, captivating, elevating and an enigma to the preconception and cliché’s of a male dominated business and listener ship. She avoids overplaying that card here, transcending the open minded listener, male or female, to a greater purpose; a true artist.

More details on Ella Jo’s three albums here.


Discog: | Steve Spon at discog | The Big Eye at discog | Nostramus at discog |
Steve Spon – Nostramus Interview: | “Where the worlds of drum ‘n’ bass and post-punk and goth collide, stands a man like Spon” |
Nostramus at WordPress: | Nostramus World |
Nostramus at Myspace: | Nostramus at Myspace |
Nostramus at Diamond Seeds: | Nostramus at Diamond Seeds |
Nostramus old site: | Nostramus old site |
Nostramus at Facebook: | Nostramus Facebook page |
Ella Jo Interview: | Diamond Seeds talks with Ella Jo about her groundbreaking trilogy of Album’s |
Ella Jo at Diamond Seeds: | Ella Jo’s home page at DS |
Diamond Seeds Productions: | Diamond Seeds home |

Making a Sound Track For Life

Diamond Seeds began to take shape as we discussed a website to host a radio show, but as the idea grew, new components were added.

‘We needed a platform to promote and sell our music. Ella Jo covers  the Neo Folk/intelligent Pop genres and Spon is a master of a unique style of highly listen able Drum and Bass and moody ambient styles. Our material is totally original, using modern technology, but rooted in traditional songwriting. The albums are journeys through light and shade, a full reflection of life expressed through music.’

These sound-scapes could be the soundtrack to a movie. Ella Jo laughs again, ‘Yes, people sometimes say that they have moments when they feel like they are living in film – our aim is to capture and weave those dramatic and ambient moments into our music, making a soundtrack for life.’

The challenge has been to sculpture moods into lyrics and melodies – like a poet or painter the musicians must connect closely to emotions and spiritual feelings. ‘I think Spon and I share the same way of listening,’ says Ella Jo, ‘I hear melodies in the sea and other natural sounds like the wind through the trees. Spon collects sounds and creates new sounds from samples.’ Both musicians like to build new worlds – taking a framework of words or molding instrumental lines.

Discovering their music, people find that they have hit a rich seam of creative energy which has been captured and honed into sounds that feed the imagination and tell the human story in so many different ways.

‘For me, songwriting is about reaching inward to the true expression of what a song is trying to say.’ Says Ella Jo.

The material from Spon and Ella Jo’s projects certainly prods the senses and demands an airing – near the top of your ‘must play list’!

What’s New At Diamond Seeds!

What’s New At Diamond Seeds This Easter

This Easter we have some new products on Diamond Seeds to delight the public. Ella Jo has made available some new books for those interested in the Tarot with two very different books on this subject. Both books are highly readable and informative, whether you are a serious student or just have a passing interest.

The first book to be produced is called ‘The Magician which is an in-depth study of this Tarot Card. It is actually the first book to be released from a whole series called ‘Tarot Decoded’ which Ella Jo says will eventually reveal all the meanings and mythologies behind each Tarot Card. We look forward to making more editions available from this on-going series.

We also have the pleasure of making another of her books available, called Journey of a Tarot Reader’. Ella Jo writes the story of her adventures in this entertaining paperback. The tale unfolds as she has a taste of beach life then takes a trip through Turkey seeking the origins of Tarot. If you are looking for some light reading for the beach this book makes a great companion. And for those who are fascinated with the subject of Tarot, she has included her research notes at the end of the book.

Finally (!) the irrepressible Ella Jo has produced yet another lyric book. Entitled ‘Attitude is Everything’. This book of lyrical poetry accompanies the album of the same name, (to be released April 2010). As with her other lyric books, there is a chapter giving information about the stories behind the songs, along with all of the poetry that makes up the lyrics on her third album.

All of the above books are new and available now on Diamond Seeds.

And Coming Soon…..

In the near future Diamond Seeds will be releasing the next Nostramus album called ‘Earthlights II’, and Ella Jo’s third album, ‘Attitude is Everything’.

We are looking forward to hosting the next edition from Ella Jo’s series, ‘Tarot Decoded’, which will be a whole book about the High Priestess Tarot Card! And we hope to make a fantastic book available by Hugh Byrne called ‘Visions’ – a quality book by this enigmatic photographic artist.

Check back in a few weeks for reviews and availability!
AND If you want to sell your books or music through us, just send an e mail to Diamondseeds33@googlemail.com

Visit us on diamondseeds.co.uk

An Exclusive Interview with the Reclusive Ella Jo

Diamond Seeds talks with Ella Jo about her groundbreaking trilogy of Album’s

January 31st 2010

It’s not easy putting an album together when you are on your own and  female in a male dominated business. Ella Jo has put together not just one classic album, but three!
We caught up with the reclusive genius Ella Jo and talked about her three albums…

Ella Jo in serious mode

Ella Jo in serious mode as she discusses her music

DS# You’ve just finished your third album, are they related and if so did you intend that to be so?

All of the albums contain my original material. Earlier songs were co written, but every piece is my own interpretation. The first two albums were recorded at the same time in 2008. ‘Limits of Milkweed.’ and ‘Alter Ego’ are from a catalogue of songs written over the previous two decades.

We recorded three tracks at a time. I selected songs from around forty tracks, having the luxury of recording whatever matched my mood at the time. The third album, ‘Attitude Is Everything’ was written in 2009 and comes from the same core material, spanning from 1985 to present day. It was recorded with more confidence, probably gained from the five years of previous recording experience.

So essentially the albums are all related, four tracks on each album were co- written with Terry Bartlett before 1994, and there is one track on each album by Spon using samples of my vocals. Also each album has an a cappella track.

DS# Music scene (mis)conceptions of female singers is myopic in that they are usually younger, hence more exploitable – where do you see your market?

We have a massive youth culture which demands commercial music. I have no problem with this. However, I think the standard of the songwriting tends to be poor. Being a tad cynical, I would say there will always be a thread of insincerity in a music scene which is obsessed with sales figures. I enjoyed the experience of busking. Street entertainment has a place in social history but seems undervalued in modern society.

I think the commercial market is flexible enough to take on board my material. The songs were crafted to satisfy my own taste; I chose the textures, rhythms and moods and I enjoy the poetry of it. I like to celebrate the world, but there are so many other layers, I have no choice but to present the songs as organic outpourings.

But I think because the songs smack of the human experience they appeal to a huge market, and I don’t see age as a barrier. Songs written in my twenties easily appeal to others of that age. The material exists on its own now, it lifts the atmosphere all over the place… especially good for radio. I think I could call myself an Urban Folk Singer! You cannot classify the listening public into neat little boxes. People’s tastes do span the genres. In today’s world, music lovers access music from the distant and recent past, and from other cultures.

DS# All three albums covers have a definite feel. What importance do you place on the artwork, did you design it yourself?

Yes I designed the covers myself. With new technology I had the tools to manifest my visions. The ideas behind the music have always been strong and passionate, and the art work is integral to each album’s identity. Each front cover carries an icon. So the cover of ‘Limits of Milk Weed’ depicts a stone griffin which stood in ancient Delphi. ‘Alter Ego’ shows a little clay Venus figure, sitting in a shell. ‘Attitude Is Everything’ shows a metallic Babylonian cow goddess. Objects from antiquity give an insight into ancient people’s view of the aesthetic. People were inspired to make these objects and they survive today. Music has the same capacity, to survive and inspire through time.

Ella Jo "I think I could call myself an Urban Folk Singer!"

Ella Jo "I think I could call myself an Urban Folk Singer!"

DS# Where would you like to see your music go, once its out in the market place?

Many songs have a sound track quality; they would work well in films. The albums are played at parties and whilst on the move. I remember the thrill of listening to one of my demo’s whilst cruising on the Aegean, it gave me the confidence to continue. The production is appropriate for the ‘I’ player, and mobile phones. My music appeals to an international audience, it is capable of pleasing listeners everywhere.

DS# The differing styles across all three albums – did you plan it that way – what was the process?

For me there are absolutely no rules for songwriting. In 1985 I teamed up with Terry Bartlett, a songwriter who was in a very creative phase at the time, and we tried out a wide variety of musical styles.

By the time I came to record the songs, the material had been thoroughly developed. I learned guitar and busked the songs; they had been stripped down to bare voice and guitar chords. From this foundation Spon was able to envisage a ‘flavour’ to suit a song, and, after experimentation, the style developed. The songs actually went through three stages – the original form – from their first inception (some performed with a band), then secondly into my busking format, and lastly into the recording production phase.

During the recording project I had absolute control of the whole process. I made all musical decisions and some of the engineering and production choices. Hence I have three albums which reflect my musical vision almost to the letter. Spon’s creative influence was welcomed and became integral in developing the songs. So the styles of the songs come from strong original ideas, but with the flexibility to incorporate appropriate influences.

Steve Spontaneous: Partner in production!

Steve Spontaneous: Partner in production!

DS# What are your main influences?

When I was a kid the music in our house ranged from Joan Biaz to early Beatles, along with classical stuff like Tchaikovsky. We had the sound track from South Pacific. My fave song when I was three was ‘I’m Gonna Wash That Man Right Out Of My Hair’.

In the mid seventies I used to record TOTP on a little tape recorder – I would get the middle third of each song – but this is where I discovered Stevie Wonder and Glam Rock. Later, I saw The Beat perform ‘Tears of A Clown’. I had never heard ska before and I realized what fun you could have with music. The Beat have remained an influence, as did stuff from my hippy phase, including Led Zepplin and Pink Floyd. I liked some Punk and discovered the Pixies, The The, and strong female singers such as Natasha Atlas, Rosa Zarogoza and Bic Runga.

DS# It must have been hard producing your three albums yourself? Who else was involved in the making of your three albums, what was their involvement and why?

I met Spon in 2004, and he helped me instigate my recording project. He had no idea that I had so many songs; I just kept coming back and recording more. It became clear pretty early on that we worked well together. He is a very experienced sound engineer and has been making music all of his life. I had permission from Terry to use the material from our association in the eighties and Spon’s input to these and my own songs really brought them alive.

Spon is able to communicate very intuitively and listens very intensely to the work. It was hard work, but six years on I am pleased with the results and I have learned much from our partnership.

Spon asked a couple of friends to contribute some guitar parts and he also played on some tracks. Felicity Nihil contributed to two tracks on the violin, and Eddie Branch, the bass player for UK Decay played on the third album. Veteran Californian groovster, Dexter Theobald Carakas, also laid down some keyboards on the third album.

Ella Jo: "my taste isn’t that different from most people"

DS# Why should anyone want to buy your album?

I learned my craft from a master songwriter and made my albums with a master sound engineer. The serious commitment I made back in 2000, when I decided to go for it, has exceeded all of my expectations. To begin with I just wanted a CD of myself to listen to, but other people have been very ambitious about the material. If they believe in the value of my work I won’t argue, I put everything into it, and I love it – and my taste isn’t that different from most people.

These songs are my contribution to 21st Century music, and, like all good popular songs, they can find a place in the modern, urban experience. For listening quality and variety these albums are a good investment.

DS# What are your future plans?

I have performed solo with guitar a few times, but I would really love to get together with a band to write new stuff and do some live performances.
I also want to get some more of my Tarot material published. This is a massive project that I need to keep chipping away at.
The future will also hold some traveling. Scandinavia appeals to me and I think I would find Norway and Sweden very exciting.

DS# Why have you published lyric books?

All of my life experiences over the last twenty five years have found an expression somewhere in my songs. They contain comments on life and explore things that caught my attention. They hold observations on my inner landscape as well as the world outside.

Years ago it was important to me to read the lyrics on the back of my LPs. Nowadays CDs are just not big enough. I wanted to put the lyrics into a format that would be enjoyable to read. Each book contains pix and the stories behind the songs. I produced these books for poetry lovers as well as to accompany the albums.

Ella Jo: "Iwanted to put the lyrics into a format that would be enjoyable to read"

Ella Jo: "I wanted to put the lyrics into a format that would be enjoyable to read"

DS# You are working on another – different project – could you please give a background to it, what stage are you at and what is the final result?

Yes I have begun writing books on Tarot. I gathered so much material in my private notes that I decided to compile a manual on how to read Tarot Cards. The series is called ‘Tarot Decoded’. I have just finished the first edition of the first card, the Magician, which helps explain the structure of the Tarot.

DS# Does this reflect in your music?

I was studying Tarot back in the early Eighties before I met Terry, so I guess the Tarot always had an influence on my songwriting, although I was not aware of it. I think it can come through sometimes, as it has affected my view of the world, but it is a subtle influence and I can choose whether I want to magnify that or not.

More information on Ella Jo and her music including streams, can be found at her Myspace site: www.myspace.com/ellajotaro