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Ian Edmundson a music cv:




The Critics

My first decent foray into playing with other competent people. I had previously played at the Moss Bank Park Free festival in 1977 and also at the Bolton Instiitute of Technology and down in The Swan Cellar in bands with Colin and a couple of other guys, but it was destined to go nowhere else.

The Critics

In this new band, Colin Berry initially featured on drums and vocals (later, Colin moved to guitar, while Chris Oakes took over on the drums), Dave Procter (ex the fabulously-named Really Big Men) was quite impressive on guitar, and there was myself on bass.

We did a number of local shows, but the band inevitably and eventually folded, as young people's early bands often do. I left a short while before the band folded entirely, and I saw that a self- released EP escaped on the band's own label. Town girl / Plastic valentine / Without you.

The Peppermint Dream

Another band with Colin Berry, plus Len Miller (sax and guitar) and Chris Oakes (drums, later replaced by Chris Wolstenholme, also known as Chris X as he was terrified of the taxman). Originally called Nobody Special, until it became apparent this wasn't a good name to put on gig posters. By this time, Colin was writing excellent, sharp and very modern guitar pop songs.

The studio recordings were a very good result indeed. Again, the band did a number of excellent local gigs and strayed as far as Manchester City Centre. We actually had Tony Wilson turn up at one of our shows, but he didn't fall for our good looks, charm and sexy music. Ah well....

I was sadly not available for a show at that suddenly came up, at short notice at Blackrod Labour Club, as I had most thoughtlessly and selfishly already booked (and paid for, at some great expense, a good few months previously) a trip to watch some obscure pop act called David Bowie in Germany. The band knew about me going well in advance of the gig.

The old problems had not completely subsided and Colin promptly exploded with rage, got a new bassist in and changed the name of the band to 10,000 Trees. They predictably folded very shortly afterwards.

That taught me a great life lesson:
Never book anything. Always be available. Have no life, or someone will sack you.

The Peppermint DreamIan Edmundson

Peppermint Dream@myspace

Tenuous Lynx

Pete Makin (guitar) and Bob Makin drums), Neil Rutter (vocals), a bloke called Cinders (guitar) and myself rehearsed for about a century in different freezing locations and finally played a single one-off show in Bolton. It was not particularly fantastic, but it was an excuse for all the rehearsing we did, which eventually led to Peter and I making a number of studio recordings.

Ian, Neil, Peter, Cinders rehearsing.

The Beatless  (studio project)

Pete Makin and I recorded our own version of the Revolver album by The Beatles. This was given away to friends as a Christmas present. Now it is worth hilarious amounts of money. Go up in your loft and dig out your copy and fund your retirement!

Check out The Beatless album 'Rotator'

Beyond Belief (studio project)

Ian Edmundson - bass / vocals,
Rob Brown - guitar / vocals,
Rick The Dick - drums / out of tune vocals / vomit,
Mike Coulson - double-tracked vocals.

The band name came from the Elvis Costello and the Attractions marvelous song with the same title on their 1982 'Imperial Bedroom' album.

Beyond Belief

This band had quite a lot of potential, with two songwriters and three very good players, who could all have gone on to pretty good things in music, but for some reason, we didn't all have the drive to get a full setlist together. I have no idea why this was. I pushed and pushed for us to try more new songs together, but band rehearsals never gained any new ground. We just kept going over and over the same stuff endlessly. At least we went into the studio and recorded some of it.

It was not at any point meant to just be a studio project.

The recording sessions (at Soundlab Studio in Bolton) were 'brightened up' by the drummer, Rick The Dick, getting absolutely shit-faced and puking up for about two hours in the pond next to the farmhouse, earning us a lifetime ban from that studio. Highly professional.

The band was were badly affected by two very unpleasant marriage breakups. The band was falling apart under the strain of all this - rehearsals tuned into dreary counselling and drinking sessions and it simply ceased being any fun. The band folded as a result and Mike, the singer, and I eventually regrouped some months later, to do some recording work together. Rob, the guitarist had rejoined his old band, so we opted to work on making some good studio recordings. I finally opted out after a very close bereavement made me take a break from being able to play any music at all for quite a while.

We were offered support slots with Gary Moore (via his keyboard player, with a totally laughable buy-on fee of £3000 in 1985) and also with Terry Hall's band, The Colourfield, but these came to nothing, as we were nowhere near ready.

And we certainly didn't have three grand to blow on following Gary Moore around, for no real reason.

Rob approached me again a couple of times in later years and said he was quite keen for me to do something else band-wise with him, but it never came to fruition.  

Listen to Beyond Belief Extended Play

There was another un-named band that came out of the Beyond Belief period, where Mike Coulson and I teamed up with a guitarist called Neil Birch and a drummer whose name now totally eludes me. I think it totally eluded me at the time. It's a very short story. We ended up rehearsing upstairs in a now-demolished pub called The Imperial in Ince, near Wigan. We were working on a set of original material. The band never acquired a name. Maybe they wanted to keep calling it Beyond Belief. I have no idea.

Neil had ideas, and so did I. I would have been happy to do any songs that worked out, regardless of who had written them. It turned out to be a battle of wills between Neil and myself regarding our original material. He demanded that he insert new chords into one of my best songs and I demanded that he didn't. I said that if he wasn't happy with the song, which everyone else thought was fine as it was, then we didn't have to do it. I couldn't be bothered with arguing with him. His undisguised joy at having beaten me down on this matter, set me off thinking that he was a bit of a prick and that he was going to be unbearable to work with. This proved to be the case. Lots of huffing and puffing went on from him about other songs and his demand for complete control over everything wore me down, and I basically told him to fuck himself and left the band in the middle of a rehearsal.

They continued on into the recording studio without me and Neil played bass like a guitarist does (meaning not like a bassist) and Mike came to me with the tapes afterwards, bemoaning the results, which were not to his liking. Some of my writing was in there and to be honest, it was not all as terrible as Mike said it was. The guitars were over-processed and the bass was badly played, and all the sound seemed to be rather echoey, but Mike and the drummer did well. The recordings never saw the light of day. I have a cassette somewhere with them on.

A further brief follow-up attempt at a band was made with that same drummer from Beyond Belief - I am still not sure how that happened - plus a guitarist called Steve (known to us as ‘Steve Anytime’ after the wording in his ad), who I had seen a couple of times in a fabulous band called Deadly Embrace and a rather spiffy girl singer whose name totally eludes me, but I can vividly recall her and her almost identical and equally spiffing sister, who both lived on Ivy Road in Bolton.

Steve was a musician of really advanced technical ability and he wanted us to play quite complex stuff like Rush, which I fought against as I didn’t want to study technical music, where I was basically reading sheet music in my head, while playing. I wanted to just play straight ahead commercial rock music. I found the prog-rock side of it was too much like hard work, and so, that project dissolved.

Go Crazy (as on record)

Ian Edmundson: All instruments and vocals, production and everything. The lot.

Originally Go Crazy was merely the working name I used to release my 1991 'Coz I luv you' solo single. All of the instruments and vocals on that record were my own work, apart from a vocal on the b-side. It was not a full band at that point and I didn't want, or even need to be in one. I did not have to deal with idiots.

Go Crazy at that point was all about me enjoying myself immensely recording songs at home, being a one-man band, with guitars, bass and drums  - playing with myself, to coin a phrase - overdubbed onto one disc. I was enjoying making music and no pressure. I was having fun and not just chasing money.

Go Crazy - Coz I luv you single

Go Crazy (the band)

Ian Edmundson - bass / vocals,
Gary Burnett - guitar and cigarettes,
Rick The Dick - drums / out of tune vocals / alcohol,
Drew Wood - vocals, cardigan.

Go Crazy

I was talked into letting Drew Wood sing my song on the B-side of the single, because we did a few local gigs as a duo, including a Bolton Beer Festival at the enormous Silverwell St Sports Centre.

The duo folded rather quickly after that when Drew decided he wanted to spend his weekends in his caravan and I had a few months rest, from the duo thing and spent some time enjoying myself recording again. I eventually hunted out Gary on guitar, who asked me which drummers I knew... and then suddenly my old drummer was back, much to my dismay - and similarly, Drew was reinstated as well.

The band worked up quite a good diverse rock set list and we did a good number of shows and built up a decent local reputation. We played as backing band for Robert Lucas, the American singer / guitarist with Canned Heat.

The band folded because Drew kept giving in his notice and then rejoining again, whenever we found a suitable replacement for him. I just lost patience with all of that foolishness and joined Bad Habits when they said that their bassist was leaving.

Go Crazy@myspace

Bad Habits

Ian Mc Sherry - guitar / vocals / black wig,
Steve Aldous - keyboards / vocals / red wig,
Ken Thompson - drums / pyrotechnics / Tina Turner wig
Ian Edmundson - bass / vocals / purple wig.

Ian Edmundson

This is where I decided that the music that I should play should always be great fun.

Bad Habits had been going since the 1980's and were often in the same rehearsal rooms as Go Crazy, on the same night and I got chatting with them towards the end of my time with Go Crazy.

I decided to join the band as their bassist had announced she was leaving.I learned their setlist rather quickly from a video I cunningly made of them at a show. I inherited an existing setlist and put some new songs in later on, when I'd settled in. Prone to using explosives on stage and bringing pub ceilings down, while banging out a very good 80's - 90's rock setlist in various coloured wigs. Proper showmen. Bad Habits were always absolutely great fun. The band actually supported Slade in 1995 and went down very well. Our album 'Battles' - released to concide with the Slade tour - was a nice little piece of work.

I left the band when gig-hunting became too much like hard work for the rest of the band.
There was no falling out, it just wound down. We played some reunion shows a few years later and everything just fell back into place.

BAD HABITS AT MYSPACE | Check out the 'Battles' CD.


Ian Edmundson - bass / vocals,
Rick The Dick - drums / out of tune vocals,
Brendan Mullarkey - vocals,
Various others

A glam-rock side-project, that slotted into Bad Habits' downtime. Fun music with good people, except we suffered a loss when our singer (who had been on Stars In Their Eyes twice as a very creditable David Essex), decided to buzz off unannounced back to Majorca when he ran out of money over here. We soldiered on and managed to get through a couple of gigs with the keyboard player's son singing, but when he got a job abroad, the band fell apart.

Mother's Ruin

Ian Taylor - guitar / vocals,
Eric Sagar (Sag) - drums / vocals,
Ian Edmundson - bass / vocals

One of the busiest and most musically satisfying things I've ever done. A superb guitarist and drummer to play with - I just love being in a three-piece band when everyone is at the top of their game. I came in by chance as a dep and stayed for a year or so, 'til their original bassist asked for his job back and got it.

I played some shows with them again ten years later. Still a great band.

Mother's Ruin


Darren Lewis - guitar / vocals,
Alan Horne - drums,
Peter Lewis - guitar,
Ian Edmundson - bass / vocals


A great little local band, that did a good number of local shows - though our excellent lead guitarist recovering from an unexpected serious stomach operation put an end to it all, as he was too ill and stressed to continue playing and we were not intelligent enough to give him more time to recover.

I enjoyed getting playing some real, proper unrestricted rock music with Stranded. We had a great little setlist and the gigs were quite good fun.

Cabaret Time

The drummer - drums / vocals,
The Fat Guitarist Whose Name I Can't Remember - lead guitar, tantrums and ego
The Rhythm Guitarist - rhythm guitar (turned down to avoid the scrutiny of The Fat Guitarist Whose Name I Can't Remember)
Ian Edmundson - bass / vocals

Ian Edmundson

A sixties club band with black suits and bow ties (that I prefer not to name or think about at any great length). We did what we did very well in clubs (never EVER in pubs) and we prestigiously performed as the headline act at the Guild Hall in Preston at the civic party for Preston becoming a City, which was quite an honour. We worked up a tribute act to The Searchers (with the alleged endorsement of former Searcher Mike Pender), which actually lasted for part of a live show - something that has never happened to me, before or after that awful night, when one of the band bottled it partway through and we reverted to our normal set.

We also worked very hard on a Billy Fury tribute with the rather excellent Ray Shenton, which sadly - considering the immense amount of graft we put into learning some truly horrible and unlistenable songs with pinpoint accuracy - also didn't come to fruition.

It was musically so far removed from what I was used to, or was ever meant to do, but it was certainly regular work and getting the songs so right was very rewarding, even when I really didn't like very many of them and managing to put on a convincingly cheerful looking performance night after night was truly a great learning experience. It paid for a lot of basses.

The other band members didn't all get on that well with each other and it was an enormous relief to finally leave them and get away from all the mind-games and internal bullying that went on. My predecessor actually had to drink to nerve himself to go to their rehearsals, which were an appalling process. My book will have a hilarious, but often dark, chapter about this band. My fondest memory of my time with them was when the very sight of my brand new 1958-style Flying V bass, actually gave The Fat Guitarist Whose Name I Can't Remember a migraine at a show at a Prison Officer's Club in Kirkham.

The drummer said something quite telling to me, not long before the end of my time with the band:"You don't have to like the people that you are in a band with".

I parted with the band to join The Roadrunners and regain my sanity and some credibility.

The Roadrunners

Ian James - guitar / vocals,
Waz - drums / vocals (later replaced by Colin Scott),
Ian Edmundson - bass / vocals

The Roadrunners

On to the next thing....
A proper hairy-arsed three-piece rock band... 'War pigs' etc.

I joined the band and did a couple of quite happy years with them, before Waz formed Big W and gradually opted out. Ian James and I recruited Colin Scott and carried on, changing the name to The Kerbcrawlers (a play on the existing Roadrunners name). Ian James got sick of playing War Pigs and insisted that we adopted a softer rock set that lost us most of our biker gigs.

Ian James retired for a while to concentrate on his day job and Colin and I recruited two new guitarists...

The Roadrunners@Myspace

The Kerbcrawlers

Ian Edmundson - bass / vocals,
Colin Scott - drums / vocals,
Ian Hutchings - guitar / vocals,
Steve Mulvaney - guitar / vocals.
(Ian Hutchings was later briefly replaced by Ed Mann and even later, by Mike Smith)

The Kerbcrawlers

The best band four piece band I've ever been in, without a doubt, and one of the happiest too. With what we called 'the classic line-up', we had the two most well-suited guitarists I've seen in a band for years. Ian Hutchings and Steve Mulvaney are startlingly accurate and gifted players. No ego's. What a gift. Colin was an excellent drummer and singer, too. Wonderful people and they liked all the right songs.

We did have a couple of other guitarists join for a while when Ian Hutchings emigrated to Spain, but they either didn't work out or stay on, and so the band ended up playing very well as a rather tasty hard rock trio. The band recorded three albums and a single, supported The Quireboys and played anywhere and everywhere. When Colin retired from playing after five and a half years with the band - which is a life-decision, so that's fair enough - we broke up.

The Kerbcrawlers

Flamin' Slade

An excellent Slade tribute that I played with at The Robin II in Bilston - a top flight venue quite near Wolverhampton in 2007. As featured on Central TV. I was a member for that show only.

Night Train

My friends all now say 'I told you so'.
No, you didn't.

The offer to join Night Train came a little while before The Kerbcrawlers completely ended. I foolishly didn't tell that many people about it until it was a certainty that it was going to happen. Once I was in and gigging with them, everyone I knew (and even some people I didn't know) pulled faces about me joining them. I soon found out exactly why. The singer.

I was apparently the last musician left in Bolton who hadn't been through that particular musical revolving door. I sadly do look back on my short time with Night Train as a huge and painful mistake, as do many others.

We agreed setlists and then the singer failed to keep to them. He sacked band members behind their backs and courted other bands musicians shamelessly (and he's still doing that now). He got in to the kind of drunken state where he worked on auto-pilot and it was beyond embarrassing. I was even given a couple of songs to sing, so the singer could take an extra break during the show and have as many drinks as he could polish off in ten to fifteen minutes. The songs didn't even fit in the set and I didn't even see the point in doing them. Night Train was supposed to be a decent blues band. It was not about me and I didn't need to be doing lead vocals.

Shortly after a row in Lytham St Annes after a particularly disasterous gig, where I tore the singer a new arsehole for letting both the band and its audience down horrifically, we parted company.

The spectre of Night Train hung around me like a really bad smell for a while and I think all of the others who played with him somehow got tarred with the same brush as the singer, just by association.

Being linked in any very slight way to him, damaged my self esteem and almost made me slightly 'unemployable'.

Fortunately, some people saw beyond the drunken farce that Night Train was and saw me for the player I am. I go to venues and some people who see me play who also saw me with Night Train tend to laughingly mention the fact that Night Train can't get on at those same particular venues for some reason. Their reputation preceeds them.

They are always available at weekends.

Night Train

Life After Death

Andy Meadows - guitar / vocals,
John Rushworth - guitar / vocals,
Simon Collier - drums / vocals,
Ian Edmundson - bass guitar / vocals.

What a totally apt name. Life after Night Train.

John and I found a singer and drummer and started putting a set together, playing one show in Royton which was very well received. However, the new band's name was quickly discovered by the idiot singer from Night Train and he caused all sorts of typical petty and dim-witted mischief on the Internet with it and we couldn't use the name after that. The band foundered - partly as a result of that, but also due to the problems we had getting enough songs together to go out with. A second attempt with a revised line-up, with John on guitar, Joey on vocals and guitar, myself on bass, Barry Collingwood on drums foundered, due to etrenall dicussions about guitar parts.

I had a number of decent offers a while after parting with Night Train. One very promising Bolton band (Cornerstones) that I accepted a place in, based on a quite pleasing audition, decided the very next day to send me a further list of songs which suddenly included rather a lot of Arctic Monkeys material, so after I asked them if these songs were deal-breakers (they were), so I opted out before the rehearsals even started, as I really can't bear the Arctic Monkeys and so thought it was not going to work out and I wouldn't want to waste their time. They were not pleased with me. I advised them to take on the runner-up. They have never resurfaced as far as I know, which was a shame, as they were a decent little band.

Members of a then-recently split and reasonably-known local rock band, working out of Oldham, were chasing me to join them, but they took on a bassist their singer knew instead, as I was unavailable to rehearse for a short notice gig they'd got lined up. I had offers from bands in Liverpool, Cheshire, Staffordshire and Yorkshire (including tributes). But that was just too far to go to rehearse and play.

I tried rehearsing up a three-man band with Barry Collingwood and John Rushworth with a decent and different set list planned, but again, quite heavy demands on John's time from his work commitments scuppered that plan.


In 2014, I covered for Peter, the bassist from the excellent band Freeway, for a couple of months, while he was temporarily unfit to play.

I have a wide repertoire of songs, so I can slot in to do short-notice dep gigs reasonably easily.



Phil Nolan - vocals,
Alan Wood - guitar / vocals,
Dave Corlett - drums / vocals,
Ian Edmundson - bass / vocals.


We worked up a really decent setlist and did a handful of good shows, but Phil - the singer - had severe problems with tinnitus after some shows and sadly, the band folded after auditions for a new singer turned into a farce because of the guitarist drowning them out if he didn't like the look of them, or if they dared to actually mention they played guitar.

I opted out after two such awful auditions.

The Rhythm Jets
I did an amount of quite regular work with at the same time with The Rhythm Jets, which has a semi-static line-up, with a number of lady singers of varying quality.

Rising Force

Ray Stephens - vocals,
Kevan Stephens - drums,
Adrian Stephens guitar / vocals,
Ann - drums,
Tony Hinkley - guitar,
Baz Lee - guitar,
Ian Edmundson - bass / vocals

Rising Force

I also played a number of shows with this excellent and most rock-tastic band from Farnworth. Great guys, really good fun and a proper setlist.

I also hosted a regular fortnightly Sunday jam night at The Jolly Nailor in Atherton, starting in 2013 and running until that once-superb venue sadly ceased having live music in June 2016 and effectively killed itself off. We were offered the Sunday jam night there when they started thinking about live music again in 2017, but I already had another one in place.

I have also provided cover on bass with AIM, The Ron Jeremys and Urban Gorrila.

King's Hall, Stoke On Trent


I was the bassist with Wizdom from January 2015 to September 2016.


Being a musician in a band is, for me anyway, about a few simple things:

1 The joy of enjoying playing the music that I really like.

The mental stimulus of playing with other like-minded musicians of a similar level of ability.
Feeling like I am being stretched and challenged in my playing.
The respect of and for my bandmates.

The general community band feeling of getting a job done well.
All working together professionally to achieve the same goals like overall sound and performance.
4 Enjoying the company of your fellow musicians and having an easy working relationship
5 Fun.
6 A decent amount of variety and change to the music that the band I am in is doing.
7 Adequate financial reward for my effort, time and investment.
  Points 1 - 6 above were not really met that often with Wizdom.

It was not a happy band for me to be in after a while, as it was really one person's baby (which was actually quite fair enough, as I took the job with that notion vaguely outlined).

I just didn't expect such an obnoxious form of resistance to any ideas, or even to be actually asked if I 'wanted to take it outside' when I just fancied having a turn at putting some background music over the PA). That does not happen if you are in a band with rational people...

Internal relationships in the band were, at best, not that good, at worst, heading for really hostile. I started to dread putting my gear in the car and setting off for gigs. We turned up, did the job and avoided each other. I sometimes sat outside in my car, waiting to go onstage. Not a healthy working situation to be in.

There is a lot more to life than slogging from venue to venue, night after night, playing the same old stuff, the same old way, over and over again, avoiding each other when not on stage, just to pick up the money.

While I took some time out from the band to recover, after my cancer operation in April 2016, I had a good think about what I wanted to do, going forward, and what would make me happier in my music career.

I decided to give the band notice later on that year and to make what would become The Three my new band. After a discussion, it was agreed that I was due to play with them up to Christmas Eve, but, due to the band's outrage and their totally obnoxious behaviour at my promoting the new band to venues for the next year, we parted company much earlier than we all anticipated. Result: happiness.



Ian Edmundson - basses / vocals, Ian Taylor - guitar / vocals, Graham Fielden - drums.


The THREE evolved from being my jam night band (we play at Bar One Ten in Tyldesley every Sunday) into my full time band, as I decided that I only wanted to play with the best players in future and to really enjoy myself from now on and that I was therefore definitely not going to be carrying on with Wizdom.

The Three started gigging, almost immediately, the weekend after I left Wizdom. We built a good solid reputation as a fun live rock band, with a setlist that wasn't the usual old tripe and some quite unusual songs in there. We are all pretty good players and have had TV work and a pretty much full diary in 2018.

We learn new songs whenever we choose them, rehearse them at our jam night and nobody argues or bullies each other, or cries during soundchecks. There are no 'it's my band' egos to deal with. I have absolutely the best guitarist and drummer that I could possibly ask for and we play out of our skins three times a week. Bliss.