Lind was John's Grandmother and his first musical influence. She
recieved her music degree from the University of Washington in 1922 and
went on to perform and teach. She provided live piano accompaniment to
silent films in the 20's before sound "talkies" became prevalant. It
was her astonishing abilities as concert pianist that inspired John as
a very young boy. She frequently took him to hear concerts at the
Seattle Symphony which were absolutely thrilling. She always provided
him encouragement in writing classical pieces for piano & orchestra
which is his first musical love.
Favorite composers of John's are Rachmaninov, Brams, Bach, Kabalefski,
Motzart, Remeau to name a few, all of which he studied in earnest in his
early years. The discovery of guitar at the age of eight brought formal
study in addition to piano. Later, when blues and boogie-woogie were discovered,
both the piano, Hammond Organ and guitar were taken to a whole new level.
Artists like Jimi Hendrix, Jeff Back and the fabulous keyboards and arrangements
of Emerson Lake and Palmer, along with the jazz organ works of Jimmy Smith
provided a major keyboard influence. John also thrived on Europe's "progressive
rock" groups who's technical musicianship, spohisticated compositions
& insturmentation like Gentle Giant, Kraan and many others served
to further John's creative influences. Thankfully John possessed the dexterity
to perform these artist's material note for note, and by that time even
more fortunate to have been in the company of drummer Todd Kasper and
Bassist Keith Lowe who were equally able to perform these feats along
with him while concentrating on stretching the boundries of original compositions.
Movie scores by John Williams, Jerry Goldsmith, Alexander Courage, the
classic B horror and sci-fi of the 1950's and many others were also huge
influences at that time, and continue to be so.
first live group was born out of the basement of John WF Goode's
parents in the 1970's, called MIND. The band performed beautiful covers
of the Allman Brothers, Stones, Hendrix, and many more plus the above
mentioned ELP, along with earlier Emerson material from "The Nice".
MIND was eclectic, as it was extremely rare to hear young teenagers
performing such complex pieces with complete control & ease. The
group went on to become extremely popular & performed regularly at
many official and non-official functions over the next few years.
Anarchy Express: with bassist Keith Low and drummer Todd Kasper making
the transition with John out of the group Mind in the early 80's. As a
power trio Anarchy played progressive, avant garde jazz, jazz-rock, with
heavy emphasis on original music in the flavor of Hendrix, Jeff Beck &
Frank Marino. as well as exploring the keyboard musings of keith Emerson
like pieces. Always writing, always pushing the envelope technically &
physically with original compositions, Anarchy Express morphed into a
hard working road-house gigging blues & rock type group in the following
years with the addition of lyricist/vocalist Tapeni Suianoa, as well as
collaboration with bassist Bobby Gene Riddle that produced some outstanding
originals throughout the 80's and 90's.
Cobalt Hook formed as a progressive blues band in the mid 90's, using
traditional blues formats in unusual arrangments that continued John's
trend for exceptional original material. Cobalt Hook was a very hard working
group, with many years of four-night-a-week schedules in and out of clubs
and private shows.
The Blutonix and Guitar Maniac albums showcase the many flavours and
winding twists of guitar-based progressive rock and blues.
More recently, John reunites with Keith Lowe, Todd Kasper and Tapeni
Suianoa to explore the Hammond based power trio with vocals.
Throughout these years hundreds of hours were spent in the studio composing
and recording original material for albums and sound tracks--the more
complicated, clever & ingenious the arrangements & instrumental
movements, the better. As an on-staff composer at a major recording studio,
too many jingles, radio ads and general video sweetening projects were
scored to keep count. Most of these recordings were in the day of huge
2 inch 24 track analog tape. Sync to picture was obtained via fisk tone
linked to a big tube TV monitor with time code. Delivery was achieved
by mixing to stereo two-track on 1/4 inch tape. How times have changed!
Barefoot yes, on a hot day in the studio........Right:
John W F Goode & Erik Walton (on sax) 1982