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Jonathan Charles Poole[a] (born 16 October 1969) is a British musician, singer, songwriter and producer. A multi-instrumentalist, he is best known for his work as guitarist for Cardiacs and as bass player for the Wildhearts and Lifesigns.

Poole is the frontman and main performer of God Damn Whores, co-fronts the Dowling Poole with Willie Dowling, and has released two solo albums. He has also been a member of Ad Nauseam and Dr Brighton, and worked with the bands Ablemesh, La Momo, Crayola Lectern, Two Worlds Collide and Celebricide (as well as various projects founded by Ginger Wildheart), and the live bass player for Dr Hook Starring Dennis Locorriere and the Lotus Eaters.

Career

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Ad Nauseam (1980s)

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"I tried to keep Ad Nauseam going... but internal arguments, power struggles and jealousy regarding girls and certain people joining their favourite bands tore the band apart. I'd vowed that I'd come back for Bob and get him in (Cardiacs) somehow but then we didn't talk for a year. We did however then kiss and make up and still love each other to this day and hey, fuck...I got him in the band!"

Jon Poole on Ad Nauseam and his future Cardiacs bandmate Bob Leith[6]

Following some early cassette experiments, Jon Poole's first proper band as writer and performer was the Cardiacs-inspired Ad Nauseam, formed after a move to Milton Keynes circa 1990. Although Ad Nauseam had a shifting lineup Poole played, at various times, most of the instruments in the band, with the band's other constant member being lead singer and drummer Bob Leith.

Ad Nauseam released one cassette-only album, 4 Little Boys, but split up a short time later after Poole's recruitment into Cardiacs. Poole has since expressed interest in an Ad Nauseam reunion, saying "I'd really like to do it if only to get it right this time but I don't know if it'll ever happen. I don't even know if it'd be the same line-up. Me and Bob would be there of course as it was always our band. I had a brief thought of doing a set of Ad Nauseam songs with some more obscure Cardiacs songs chucked in such as "Bitter Pill" "Big Noise in a Toy World" or "Stench of Honey" but I'm not sure if that might just be naff."[7]

Cardiacs and Tim Smith (1991–2004, 2006, 2024)

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Poole's work with Ad Nauseam (plus relentless "pestering", as a fan) had brought him to the attention of Cardiacs and their leader Tim Smith. On hearing of guitarist Christian 'Bic' Hayes departure from Cardiacs in May 1991, Poole promptly put himself forward as a replacement candidate and was recruited into the band later in the year. (His Ad Nauseam bandmate Bob Leith would also join the band as drummer, replacing the outgoing Dominic Luckman in December 1993. Poole and Leith can be spotted in the crowd during Cardiacs' Salisbury Arts Centre gig on 30 June 1990, as featured in the All That Glitters Is a Mares Nest video release.)[8]

"Tim would have drums and rough keyboard chords on tape and would ask me to come up with guitar and bass riffs. I was literally allowed to do pretty much anything I wanted. Tim would then do the production bit and get the best out of me… I remember Tim had programmed the weird bit in the middle of "Odd Even" and left me to find a guitar line amongst the chords so I was sat on my own dropping myself in. When he came back it was done and he was very happy... particularly with my choice of last note! We would both make suggestions then Tim would edit the ideas into something that worked. Tim would chip in with ideas for my songs too like the string arrangement on "Manhoo" which was lovely."

Jon Poole on his contributions to Cardiacs (on the Sing to God album)[6]

Poole stayed in Cardiacs for the next thirteen years, playing second guitar and singing backing vocals (plus playing keyboards on record). He also played some of the group's bass guitar parts both on record and live (when covering for Cardiacs bass player Jim Smith). He was noted for his parodic tapping-style guitar solos on live performances of the songs "Fiery Gun Hand" and "Anything I Can't Eat".

Poole appeared on two Cardiacs albums (the 1995 double album Sing to God and its 1999 follow-up Guns) as well as on the song "Faster Than Snakes with a Ball and a Chain" from Greatest Hits album. He is one of the only Cardiacs members to have entire Cardiacs songs credited to him (including concert favourite "A Horse's Tail"), the others being Tim Smith and Colvin Mayers (who wrote the song "Food on the Wall" from the 1979 7" single "A Bus for a Bus on the Bus"), though this is from the period of which the band went by Cardiac Arrest. Poole also co-wrote songs with Smith and Leith and was also credited with co-writing riffs and arrangements on Smith's own songs.

Poole performing with Cardiacs in 1999

During his Cardiacs stint, Poole also participated in a pair of Cardiacs-related projects, covering on keyboards for William D. Drake at a couple of Sea Nymphs live performances and playing guitar in an early 90's lineup of the Christian Hayes-led thrash band Panixphere (alongside Tim Smith on bass guitar). Poole and Hayes would regroup in 2019 as Panixphere once again, aided by Bob Leith on drums.[9][10]

Poole left Cardiacs amicably in 2004 due to other musical commitments, and has remained a friend and fan. He was present in the crowd for the live performances collected on Cardiacs' The Special Garage Concerts, recorded in 2003 during replacement guitarist Kavus Torabi's first stint with the band, and can be heard conversing with Tim Smith prior to the song "An Ant". Poole played live acoustic sets with Tim Smith and Ginger Wildheart in 2006,[11] pulling double duty for Smith's opening solo set and Ginger & the Sonic Circus.

Poole performed live with Cardiacs members "past, present, and future" for sold-out gigs honoring Tim Smith in 2024, as well as for a BBC Radio 6 Music Riley & Coe live session.[12]

Two Worlds Collide (1992–unspecified date in 1990s)

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On joining Cardiacs, Poole befriended the band's guitar technician – the former Alternative TV guitarist Clive Giblin was hired in the role – and was subsequently drawn into a Giblin songwriting project "specifically designed to put the listener on edge." This project became Two Worlds Collide, which Poole contributed to using virtually every instrument he played (initially guitar and keyboards, followed by bass guitar and finally, in a later line-up) drums). Two Cardiacs drummers – Bob Leith and Dominic Luckman – also played drums for the project at various times.

During Poole's tenure, Two Worlds Collide recorded the Sympathetic Storm album (eventually released in 2006 by the Le Cluricaun label.[13]) but did not play live due to the members' other commitments. Although Poole left the band during the 1990s, Two Worlds Collide (currently managed by former Public Image Ltd publicist Helen Maleed) has continued with a lineup of Giblin, Leith and Marina Young, working on a second album and live performances.

Ablemesh and Dr Brighton (1990s)

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While still a member of Cardiacs, Poole also played and worked with Ablemesh, a Milton Keynes art-rock band centred on singer/publicist Gordon Glass, guitarist/lyricist Sean Walmsley and drummer/photographer Wig Worland. (Other members of the band during its 1991–1996 lifespan included drummers Bob Leith and Mark Turner, bass players Andy Allum, Sujay Jayaram and Allan Thompson, and keyboard player Mike Turbutt.)[14][15] Fiercely independent, Ablemesh practised a multimedia approach to their combined art and explored various new ways of reaching an audience. This included a distribution experiment anticipating the later practise of viral distribution, in which the band's 1992 Shareware EP was produced in an extremely limited run of three CDs only, with the CD's recipients simply invited to copy the music onto cassette free of charge and to pass it on.[16][17] The band repeated the experiment with the follow-up EP Fecund. They also explored a related promotion idea by exploiting a loophole in the law which effectively allowed them to place dummy Ablemesh cassette releases on the shelves of the record departments of mainstream retailers such as Woolworths (each dummy copy contained an insert telling the reader where they can get mail order copies).[18]

Poole's main involvement with Ablemesh was in 1995, when he played bass guitar with the band, apparently "reinvented" many of their songs and produced their album Present Imperfect. The latter was recorded entirely on an analogue cassette 4-track machine using Poole's determined and innovative production skills. The album remained unreleased until 2006 when a remastered version was made available as a download via the Ablemesh homepage.[19][20]

In 1995, Poole and Walmsley formed Dr Brighton, a more straightforward rock band with punk and pop influences. Poole fronted the band, sharing guitar and vocal duties with Walmsley (with whom he also wrote the songs). The rest of the band were current or former Ablemesh members – Allum on bass guitar, Turbutt on keyboards and percussion and Leith on drums. The band recorded a number of tracks and played live, but did not officially release any albums or singles.[21] A 1995 self-titled album, ripped straight from cassette, was made available by the band on SoundCloud in 2016.[22]

Silver Ginger 5, the Wildhearts, Ginger & the Sonic Circus (2000–2005 plus intermittent reunions)

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"I was filled with excitement (about) playing in Japan (with Silver Ginger 5), the fact we had a drummer and the fact that the Who's "5.15" had just started blaring out of the pub juke box. In front of the guitarist and the manager, both of whom I'd never met before, I jumped up on the table, kicked over our pints and strutted up and down the table miming along with Roger Daltrey whilst doing the odd bit of "air brass"... The next day Ginger called the manager to see how our meeting went (and the manager said) "Er, yeah, Ginger, em fine.... incidently, your new bass player: He's very random isn't he?" Now bear in mind that the phrase "Random" wasn't used in such a way in 2000 as it is now, and Ginger thought this was really funny and I think he'd had concerns over how to market a bald bloke in a mod suit to a bunch of rockers, so decided that giving me a nickname may endear me to the metal crowd. So "Random Jon Poole" was born."

Jon Poole on gaining his nickname[6]

In 2000, due to Cardiacs' influence on (and friendly relationship with) the Wildhearts, Poole began to work with Wildhearts leader Ginger on the latter's spin-off project Silver Ginger 5. Poole played on the Black Leather Mojo album (produced by Tim Smith) and joined the Silver Ginger 5 live band as bass player. It was on the first day of Silver Ginger 5 rehearsals that Poole gained his nickname of "Random Jon".

Poole's work with Silver Ginger 5 led directly to him joining the Wildhearts in 2003 (replacing Danny McCormack on bass). This move ultimately led to him leaving Cardiacs in 2004 due to the demands of the Wildhearts' touring schedule. When the Wildhearts split up again in 2005, Poole continued to play as part of Ginger's band Ginger & the Sonic Circus and on Ginger's solo tours and albums.[23] Poole performed on Ginger's 2007 Yoni album (with production and musical contributions by Tim Smith). Poole rejoined The Wildhearts in December 2012 when the Wildhearts reformed for Ginger's annual Birthday Bash, and would continue to play live with them until 2017.[24] Poole was once again an official touring and recording member of the band circa 2024,[25] and played on the album Satanic Rites of the Wildhearts, released in March 2025.[26]

Poole also contributed to Mutation (an industrial rock/noise project formed by Ginger in 2012 in collaboration with his frequent solo project drummer Dean "Denzel" Pearson and Scott Lee Andrews of Exit International). This group simultaneously released the albums The Frankenstein Effect and Error 500.[27][28] Poole contributed guitar, bass guitar and vocals to the project, alongside other contributors including Mark E. Smith, Napalm Death's Shane Embury and John Mackenzie of Hawkeyes.

God Damn Whores (2005–present)

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The God Damn Whores supporting the Wildhearts at Shepherd's Bush Empire in 2008

After leaving the Wildhearts in 2005, Poole created the God Damn Whores, a glam punk/hard rock band centred on himself as lead vocalist and guitarist. The band has a flexible lineup which Poole describes as "just me and anyone else who happens to be available."[7] At various times the God Damn Whores has featured Ginger, Denzel, Wolfsbane guitarist Jase Edwards and Chris Catalyst (The Sisters of Mercy/Eureka Machines). God Damn Whores have supported both Cardiacs and the Wildhearts on tour.

The band's first album, We Are the Lucky Thirteen, was released on Round Records. Poole later described this recording as "a bit of fun"[7] and stated that it would be entirely eclipsed by the follow-up ("a very tribal/glam/psychedelic affair.")[7] On 19 October 2012, Poole launched the second God Damn Whores album, Heya Heya Heya Heya Ho! via PledgeMusic.[29] releasing the album on 29 December 2012. On this release, Poole played all instruments although some guitar solos were contributed by Jase Edwards.

Other collaborations (Crayola Lectern, La Momo, Celebricide, The Lotus Eaters)

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Poole has been involved in several Brighton-based collaborations with fellow psychedelic/experimental rock musician Chris Anderson. Since 2008, Poole has been part of Anderson's psychedelic rock project Crayola Lectern, in which he plays Casio synthesizer.[30] Since 2009, Poole has played drums for La Momo (which features Anderson on guitar). During 2006, Poole drummed for Celebricide, which featured two of his future La Momo bandmates (both Chris Anderson and Sadie Fredericks).[31]

In June 2009, Poole announced that he had joined the cult 1980s indie rock band the Lotus Eaters as bass player. He performed at their concert at the Liverpool Philharmonic on 25 July that year.[32]

In April 2014, a PledgeMusic preorder campaign was launched for a new project called the Dowling Poole, a power pop band whose influences are quoted as 10cc, the Beatles and XTC, among others. The project sees Poole teaming up with Willie Dowling, who had been the frontman of Honeycrack and Jackdaw4, and had played as a session keyboardist with the Wildhearts in the mid-1990s. The album Bleak Strategies was released on 11 August 2014 through 369Music, to highly positive reviews.[33] In 2016, the Dowling Poole released another well-received album, One Hyde Park. On the studio recordings, Poole is responsible for bass and drums, and also contributes vocals and guitar along with Dowling.

Poole performing with Lifesigns in 2020

In 2014, Poole replaced Nick Beggs in progressive rock band, Lifesigns.[34] In 2017, Poole joined Dr Hook Starring Dennis Locorriere.[35]

Musical style and influences

[edit]

Poole's projects tend to draw from or combine punk rock, progressive/art rock and hard rock, mostly due to his manic performance style, punk-style vocals and dual interest in complexity and raw riffs. He has also commented "I find beautiful perfection repellent."[36]

However, Poole has cited a wide range of influences affecting his music, starting with the jazz which his family were all interested in (and played). As a listener, he subsequently became interested in (in rapid succession), contemporary disco and soul, New Wave and 1980s synth pop, and 1960s pop. This was followed by a period "catching up with" punk and post-punk, followed by ska, 2-Tone music and Trevor Horn producer pop. By the mid-to-late 80s, when he was beginning to play in bands, he was listening to maverick American art-rock heroes such as Captain Beefheart, Tom Waits, Frank Zappa and also to British progressive rock from the 1970s (as well as contemporary prog-inspired bands – most notably Cardiacs). A review of the Cardiacs album Guns in Organ called Poole "an underrated guitar talent".[37]

Poole has also expressed interest in a variety of 1990s rock and pop acts including Nirvana, Blur, Sugababes and others. He is a fan of several classical composers – Igor Stravinsky, Erik Satie, Ralph Vaughan Williams and Gustav Holst.[38] He is a fan of and influenced by bands such as XTC, Sparks, and DEVO.[39][40]

Work as solo artist

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In addition to his band projects, Poole has released two albums under his own name.

"When Uncle Frank died in 1993 I lost it big time. I must've been like one of those embarrassing Elvis fanatics that couldn't imagine a world with him not in it… Being only 23 years old when hit with this hammer I decided in a very obsessive manner that I simply must pay tribute to the man the only way I knew how. I set out to stay as faithful as possible to the original arrangements but wanted the mix to sound more inviting to people who don't like Zappa… My only criticism of it in hindsight is the crap attempt at an American accent which at times sounds more West Country than anything else, but that's probably the XTC fan in me… I can't imagine that I'd do anything like that again but it did manage to drag in a few new converts, so maybe re-writing the New Testament wasn't such a crazy idea after all!"

Jon Poole on his Frank Zappa tribute[6]

In 1994, Poole released a particularly ambitious Frank Zappa tribute album Mothers Covers (later renamed What's the Ugliest Part Of Your Body?[41]) which was released in 1994.[42] On this album, Poole performed a surprisingly accurate and effective one-man band rendition of old Mothers of Invention songs using only multiple overdubbed vocal parts, guitars, a Yamaha DX7 synthesizer and a primitive Alesis HR16 drum machine.[43] In January 2003 the album was released as What's the Ugliest Part of Your Body – The Works of Frank Zappa Circa 1965–69 on Org Records.[44] It was reissued again via Bandcamp in November 2013.

On 19 October 2012, Poole launched his second solo album, Random Jon Poole on PledgeMusic,[29] making the digital version available on 29 December 2012 (with a CD version scheduled for March 2013).

Personal life

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Jonathan Charles Poole[45] was born on 16 October 1969[46] in Hemel Hempstead, Hertfordshire.[1][47] Poole comes from a musical family and is the youngest of six children, all of whom play musical instruments. One of his brothers is highly regarded session bass player Ed Poole and one of his sisters is jazz trombonist Cathi "Trombabe" Poole, a member of the Cathi Cook Quintet and former musical director of the Milton Keynes Open Band. [citation needed] On 5 June 2004,[48] Poole married the British actress Louise Weekley, now known as Louise Rhian Poole,[49] in Bighton, Sussex.[50] The couple have a son, Evan.[51]

Discography

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See also: The Dowling Poole § Discography

Solo

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  • What's the Ugliest Part of Your Body? (1994)
  • Random Jon Poole (2013)

Appearances

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Notes

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jon Poole

View on Grokipedia
from Grokipedia
Jonathan Charles Poole (born 16 October 1969) is an English , singer, and songwriter, renowned for his versatility on , keyboards, and drums. He gained prominence as the second for the progressive rock band from 1994 to 2004, contributing significantly to their album through guitar arrangements, bass lines, and songwriting. Poole's career began in his youth, starting guitar at age eleven and forming early bands like Ablemesh and before joining , where he replaced Christian "Bic" Hayes and helped shape the band's complex, energetic sound during a creative peak. In 2002, he temporarily joined the rock band as bassist to replace , continuing in that role after leaving in 2004 amid the Wildhearts' lineup changes. Later, Poole joined the progressive rock band Lifesigns in 2014 as bassist, contributing to their albums, while also pursuing collaborative projects such as The Dowling Poole with Willie Dowling and solo work under the moniker Random Jon Poole, including tributes to . In 2024, he rejoined in their new lineup. His extensive spans over a dozen acts, highlighting his influence in the UK rock and progressive scenes.

Early life

Birth and family background

Jonathan Charles Poole was born on 16 October 1969 in , , . As the youngest of six siblings, he grew up in an encouraging family environment in . Poole's family was deeply immersed in music, fostering an atmosphere rich with musical activity from his childhood. His father, a enthusiast, dedicated his spare time to arranging music and leading his own band, which performed styles including , traditional , and 1950s tunes; Poole's mother also contributed by singing in the band. This parental involvement created a household where music was a central pursuit, influencing the family's dynamics and exposing young Poole to diverse sounds during the 1970s. All of Poole's siblings engaged with music to varying degrees, reinforcing the family's artistic orientation, though one sister pursued non-musical interests. For instance, several brothers were accomplished instrumentalists, including one recognized as a respected session bass player and another who plays bass, while an older sister played in a jazz ensemble. This sibling involvement, combined with his parents' example, embedded music within the fabric of Poole's upbringing in .

Early musical development

Poole began his musical journey at the age of nine when he purchased his first single, "Good Times" by Chic, marking an early interest in music. After buying "Good Times", Poole developed an interest in bass but chose guitar, influenced by Nile Rodgers and Andy Summers. He was exposed to jazz and funk from a young age through his family. Two years later, at age 11, he received his first acoustic guitar, which ignited his passion for playing. Largely self-taught, Poole honed his skills by meticulously studying and transcribing songs from records, focusing on replicating the guitar parts he admired. This informal training was supplemented by exposure to music within his family, where his father led a and his siblings played instruments such as drums and bass, providing a supportive environment for his budding talent. By age 13 in the early , Poole had progressed to creating his own recordings, producing solo cassette albums using a simple double cassette player setup. He also gained initial performance experience by playing guitar in his father's , which offered hands-on opportunities to develop his instrumental abilities in a live setting during his teenage years.

Career

Ad Nauseam and early 1990s projects

Jon Poole's first significant band was , formed in 1989 in , , where he co-led the group alongside singer and drummer Bob Leith. The five-piece ensemble drew inspiration from , blending , punk, and jazz-rock elements into an experimental sound that influenced the local scene. Poole contributed as bassist, guitarist, and multi-instrumentalist, while also handling songwriting duties that shaped the band's energetic, style. The lineup included bassist Giles Rees, keyboardist Rodney Duprey, and saxophonist Nic Fryer. Ad Nauseam released a single cassette album, 4 Little Boys 1989–1991, in 1991 on a self-released demo tape, capturing their raw, cassette-recorded sessions over two years. This project marked Poole's early professional output as a performer and writer, though the band disbanded shortly after his recruitment into . In the early , Poole joined Two Worlds Collide, a project initiated in 1992 by guitarist and vocalist Clive Giblin, who had recently begun working with . Active through the decade, the band featured Poole on bass, guitar, and keyboards, where he also assisted with mixing and programming. Despite recording material during this period, Two Worlds Collide did not perform live, focusing instead on studio work that reflected a mix of industrial and influences. The group's sole album, Sympathetic Storm, was completed in the but released posthumously in 2006 by Le Cluricaun Records, with guest contributions from ' Tim Smith on backing vocals and keyboards for one track. Poole's multi-instrumental role helped define the album's layered, atmospheric production, though he departed the project by the late . Poole's involvement with Ablemesh in the mid-1990s centered on their sessions, where he played bass and served as for the band's lo-fi recordings. The group, led by vocalist Gordon Glass and guitarist Walmsley, produced material on a four-track cassette recorder, emphasizing a raw indie rock sound driven by Glass and Walmsley's songwriting partnership. Drummer Bob Leith, Poole's collaborator from , rounded out the rhythm section. The resulting album, Present Imperfect, captured Ablemesh at their performative peak but remained unreleased until a 2017 remastered digital edition, highlighting Poole's production in preserving the analog fidelity. His contributions extended to backing vocals on select tracks, underscoring his versatile role in the local underground scene. That same year, 1995, Poole co-formed Dr. Brighton with Sean Walmsley, shifting toward a more direct rock approach infused with punk and pop sensibilities. As frontman, Poole shared guitar and vocal duties, contributing songwriting that propelled the band's straightforward energy. The lineup included Bob Leith on drums, alongside Andy Allum, Mike Turbutt, and Walmsley. Their self-titled album, recorded in 1995, embodied this accessible style but was not officially issued until 2016 as a digital release, featuring tracks like "Beagle Bites" and "Worlds Above" that showcased Poole's melodic guitar work and vocal presence. This project represented one of Poole's final pre-Cardiacs endeavors in the experimental circuit.

Cardiacs

Jon Poole first became associated with Cardiacs in 1991, when he approached the band following the departure of guitarist Christian "Bic" Hayes, submitting demo tapes from his group Ad Nauseam that caught the attention of frontman Tim Smith. He officially joined as second guitarist in 1994, replacing Hayes and forming the band's stable four-piece lineup alongside Smith, his brother Jim on bass, and drummer Bob Leith, a former Ad Nauseam bandmate. During his initial tenure from 1994 to 2004, Poole contributed on guitar, bass, keyboards, and backing vocals, often playing multiple instruments on recordings to support the band's intricate arrangements. Poole's songwriting and production roles were prominent on Cardiacs' 1995 double album Sing to God, where he penned tracks such as "Bell Stinks," "Bell Clinks," and "Angleworm Angel," and co-arranged several songs with Tim Smith, including guitar and bass riffs for pieces like "Odd Even" and "Manhoo." He also played bass on multiple tracks, enhancing the album's dense, layered sound that blended progressive and punk elements. On the 1999 album Guns, Poole provided guitars and contributed to the production process in Smith's studio, helping craft its more accessible yet experimental edge as the band's final full-length release during his primary involvement. His multi-instrumental input was integral to the recordings, though songwriting credits remained predominantly with Smith. The band dynamics during Poole's time reflected Tim Smith's visionary leadership, with Poole describing a collaborative environment where Smith trusted his creative ideas, editing and elevating them while fostering a familial bond—Poole later referred to the as "royalty." This period solidified ' cult status despite commercial challenges, with Poole's addition bringing fresh energy to live performances and studio work. He briefly reunited with the band for their shows at 's Astoria, performing classics like "Fairy Mary" and "Anything I Can't Eat." Following Smith's death in 2020, Poole participated in 2024 tribute performances under the "Sing to Tim" banner, taking on lead vocals and guitar at events like those at The Garage in and Concorde 2 in , honoring the band's legacy with surviving members and guests. Jon Poole joined Silver Ginger 5, a project led by , in 2000 as the band's bassist. He contributed bass to their debut album, Black Leather Mojo, released that year on , which blended with elements and was produced by ' Tim Smith. Poole also performed on early tours, including initial shows in shortly after joining. In 2002, Poole transitioned to The Wildhearts, replacing bassist Danny McCormack amid the latter's health issues, and took on bass duties along with backing vocals. His tenure with the band lasted until its split in 2005, during which he participated in recordings and live performances that highlighted the group's high-energy punk-rock sound. Following the breakup, Poole continued collaborating with Ginger Wildheart in the project Ginger & the Sonic Circus, providing bass and support on tours and recordings into the mid-2000s. Poole rejoined for intermittent reunions starting in late 2012, stepping in as bassist after Scott Sorry's departure to focus on family commitments; this period included select live shows through 2013. He returned again from 2014 to 2017, contributing to tours and maintaining the band's core alongside . In 2024, Poole rejoined for a fourth stint, debuting with a one-off reunion show at London's on June 6, featuring a new lineup with Ben Marsden and Pontus Snibb, and described by the band as their most elaborate production to date. This ongoing involvement extended into 2025, with Poole playing bass on ' eleventh studio album, Satanic Rites of the Wildhearts, released on March 7 via Snakefarm Records. The album marked a return to form for the band after a 2022 hiatus, blending their signature punk-hard rock style with fresh energy from the reunited lineup. Live performances continued through 2025, including high-profile shows such as one at in March, where Poole's bass work anchored the set alongside Marsden and Snibb.

God Damn Whores

God Damn Whores is an English glam-punk and band formed by Jon Poole in 2005 following the disbandment of . Poole serves as the band's founder, lead vocalist, guitarist, and primary songwriter, often handling bass and additional instrumentation across recordings to capture a raw, collaborative energy. The project draws on Poole's extensive experience, incorporating contributions from musicians such as guitarist Jase Edwards and drummer Denzel, while occasionally featuring guest appearances from associates like . The band's debut album, We Are the Lucky Thirteen, was released in 2006 in via Vinyl Junkie Recordings and later in the UK in 2008 on Round Records. This 13-track effort showcases Poole's vision of unpolished rock anthems, blending tribal rhythms with glam-infused riffs and autobiographical lyrics reflecting themes of rebellion and camaraderie among misfits. Following a period of intermittent activity, the group issued their second album, Heya Heya Heya Heya Ho!, in 2013, funded through Pledge Music and emphasizing experimental edges with influences from acts like and the Dead Kennedys. Tracks such as "Mundane and Beautiful" and "Media Slave" highlight the band's energetic style, marked by catchy melodies, social commentary on modern alienation, and a sense of tight-knit band loyalty despite geographical challenges among members. Poole has described God Damn Whores as a flexible outlet for his songwriting, allowing for psychedelic and hard-hitting explorations without rigid structures, which has sustained its output into the . The project's thematic core revolves around raw, visceral rock that celebrates unpretentious fun and interpersonal bonds, often evoking for punk's DIY while delivering high-octane performances. Although live shows have been sporadic due to members' dispersed locations, the band's recordings continue to represent Poole's commitment to this energetic, camaraderie-driven sound.

Other collaborations and guest appearances

In 2006, Poole contributed drums to the Brighton-based band Celebricide, a short-lived project featuring former Cardiacs members Sarah Smith and William D. Drake, alongside other local musicians, resulting in the album Make Disease. Poole joined the outfit Crayola Lectern in 2008, providing synthesizer, electronics, and occasional vocals alongside core members Chris Anderson and Alistair Strachan; the band has released albums including The Fall and Rise of... (2013) and Somewhere in the Middle of Nothing (2020), with Poole participating in live performances and recordings that blend and prog elements. From 2009 onward, Poole has supported La Mômo on drums, guitar, and vocals, a collaborative project led by Chris Anderson that incorporates art-rock and improvisation; notable appearances include a 2010 performance at the event in . That same year, Poole made a guest appearance as bassist for the reformed 1980s indie band The Lotus Eaters during their June concert at the Liverpool Philharmonic Hall, supporting their comeback activities around the single "." Poole co-founded the progressive rock band Lifesigns in 2016, contributing bass, keyboards, drums, and vocals to albums such as Cardington (2017) and Altitude (2021), while also joining international tours, including a North American run in March 2025 that featured performances in the and . In 2014, Poole formed the power pop duo Dowling Poole with singer-songwriter Willie Dowling, handling multi-instrumental duties including bass, guitar, drums, and keyboards across releases like the debut Bleak Strategies (2016) and Refuse (2022), which showcase melodic hooks and eclectic arrangements. Since 2017, Poole has served as bassist and backing vocalist for Dr. Hook starring , touring extensively with the revival act and contributing to live interpretations of hits like "When You're in Love with a Beautiful Woman." In 2025, Poole joined Adam Ant's UK tour as bassist and backing vocalist for October and November dates. He performed at key shows including the October 26 Royal Concert Hall gig and the November 2 Camden Roundhouse concert (as of November 2025). Additionally, in 2025, Poole made a guest appearance on bass for The Gift's single "," enhancing the track's rock-oriented sound on their latest release.

Musical style and influences

Style characteristics

Jon Poole is renowned as a , demonstrating proficiency across guitar, bass, keyboards, drums, and vocals throughout his career. His ability to handle multiple roles is evident in solo recordings, where he has employed techniques on limited equipment like a 4-track cassette machine to layer instruments, as seen in his early Zappa-inspired tributes. This versatility allows him to contribute dynamically to ensemble settings, switching between lead and rhythm roles seamlessly. Poole's compositional and playing style fuses elements of , progressive and , and , characterized by complex rhythms and eclectic arrangements that blend aggressive energy with intricate structures. On guitar, he employs a chunky, riff-driven approach that supports melodic lines while incorporating space-age intricacies, often collaborating to develop interlocking patterns as in ' Sing to God. His bass work features fast, clear fingerstyle lines that emphasize melodic phrasing, contributing to tight, heavy grooves in odd time signatures and polyrhythmic passages. Keyboard and drum contributions add textural depth, using synthesizers like the for atmospheric layers and primitive drum machines for rhythmic experimentation in solo contexts. In live performances, Poole's style manifests as energetic and chaotic yet inherently melodic, driving high-intensity shows with improvisational flair on guitar and relentless rhythmic propulsion on bass. This approach creates a sense of controlled pandemonium, where punk-derived urgency meets progressive complexity, as demonstrated in his tenure with bands like and . Regarding production, Poole favors hands-on, collaborative methods that preserve raw energy, such as editing riff-based demos into cohesive tracks or balancing overdubbed elements for a full, inviting sound in solo albums. In band settings, he integrates multi-tracked vocals and instruments to enhance eclectic arrangements without over-polishing the inherent chaos.

Key influences

Jon Poole's musical influences span a diverse array of genres, beginning with the traditions embedded in his family background. Growing up in a household where his father led a and his siblings played instruments such as , bass, and , Poole was immersed in black , , and during the 1970s. This early exposure, which he described as his primary influence as a , laid the foundation for his multi-instrumental versatility and rhythmic sensibility. Punk and hard rock emerged as pivotal forces in Poole's development during his adolescence, particularly through bands like the and , which captured the raw energy and rebellious spirit that resonated with the late 1970s UK music scene. These acts, alongside new wave influences such as —whose guitarist ' "space-age" style intrigued him—shaped his appreciation for concise, impactful song structures and innovative guitar work. Disco and funk elements also played a role, with Chic's "" serving as his first favorite single at age nine, influencing his bass playing and groove-oriented compositions; he later noted, "No wonder I ended up being a bass player!" Other 1970s and 1980s touchstones included , The Jacksons, Heatwave, and , broadening his palette with funk and pop sensibilities. Progressive rock and experimental sounds further defined Poole's artistic outlook, with standing out as a profound inspiration. Introduced to Zappa by his ex-brother-in-law, Poole became obsessed with the early era, leading him to create a tribute album, Mothers Covers, in 1993 that reinterpreted Zappa's complex compositions. This affinity extended to Zappa's integration of , classical, and rock elements, evident in Poole's admiration for intricate arrangements and virtuosic playing. Additional prog influences encompassed Yes, , Pink Floyd's Syd Barrett era, and , which fueled his interest in unconventional structures and psychedelic experimentation. Broader 1980s influences, including , , , and , added layers of pop innovation and storytelling to his evolving style.

Solo career

Studio albums

Jon Poole's debut solo album, What's the Ugliest Part of Your Body?, initially self-released in 1994 as a CDr and cassette but recorded between January and August 1994, is a tribute to the early work of and from 1965 to 1969. A CD reissue followed in 2003. Produced, engineered, and performed entirely by Poole using a four-track cassette machine, a , guitar, and an Alesis HR-16 , the album features 16 covers that capture the satirical, style of Zappa's era, including influences and elements. Track highlights include the title song "What's the Ugliest Part of Your Body?" (1:11), a concise rendition of the original's humorous critique; the extended "Brown Shoes Don't Make It" (7:05), showcasing Poole's multi-instrumental layering to mimic Zappa's complex arrangements; and "Peaches" (2:57), a playful nod to the bluesy absurdity of the source material. The Zappa-esque style is evident in Poole's faithful yet lo-fi interpretations, emphasizing raw energy and witty lyrics without modern embellishments. Poole's second solo album, Random Jon Poole, launched via on 19 October 2012 with digital release on 29 December 2012 and CD release in March 2013, marks a shift to original songwriting, comprising 12 tracks that blend , pop, and experimental elements drawn from his background. Self-produced by Poole, the album highlights his focus on narrative-driven compositions exploring themes of alienation, resilience, and , as seen in tracks like "Alien Interaction" (5:49), which delves into otherworldly encounters through intricate guitar work and synth layers, and the two-part "The Death of Soul" suite, reflecting on emotional loss with melodic bass lines and vocal harmonies. Other notable songs include "Into the Sunset" (4:31), a reflective closer with uplifting , and "The of Mad " (duration unspecified), a biographical tribute to the WWII hero emphasizing adventure and defiance in its rhythmic structure. The production emphasizes clean, layered arrangements that showcase Poole's songwriting versatility, moving beyond covers to personal expression. No minor solo EPs have been documented in Poole's discography.

Live performances and side projects

Poole has maintained a low-key approach to his solo live performances, primarily consisting of occasional acoustic sets rather than extensive tours. In a 2009 interview, he discussed participating in acoustic tours with Ginger Wildheart. Post-2013, following the release of his second solo album, Poole's live solo activities remained sporadic, with no major tours or festival appearances documented under his individual banner. Instead, these efforts appear tied to informal promotions, such as acoustic demonstrations of new material shared via online platforms. Among his informal side projects, Poole developed the unreleased Dr Brighton in the late 2000s, a collection of experimental tracks intended for potential , reflecting his ongoing interest in personal, low-fi explorations outside structured band work. This endeavor, discussed in the same 2009 interview, underscores his penchant for one-off creative outlets that prioritize songwriting experimentation over commercial release.

Personal life

Family and relationships

On 5 June 2004, in Bighton, , Jon Poole married British actress Louise Rhian Poole (née Weekley). The couple has one son, Evan, born circa 2010. In the post-2000s era, fatherhood significantly influenced Poole's professional decisions, prompting him to maintain a stable 9-5 job for financial security while gradually re-engaging with music projects as family circumstances allowed. This balance enabled him to sustain long-term commitments to bands like and Lifesigns without compromising his parental role.

Residence and lifestyle

Jon Poole resides in the , maintaining a low-profile life centered around his family and creative pursuits outside of touring schedules. As the youngest of six siblings from a musical household in , he has emphasized the importance of family time, noting that becoming a father shifted his priorities toward balancing personal responsibilities with professional demands. In addition to his music career, Poole has pursued entrepreneurial ventures, such as launching a successful crowdfunding campaign via Pledge Music for his debut solo album in 2013, which exceeded expectations and helped support his full-time self-employment as a musician and writer. His non-musical interests include a preference for simple pleasures, like enjoying plain digestives over more elaborate biscuits, reflecting a grounded and unpretentious lifestyle.

Discography

Solo releases

Jon Poole's solo discography consists primarily of two studio albums, both released under his own name or the moniker Random Jon Poole. These works highlight his independent songwriting and production efforts outside of band collaborations.
TitleRelease DateLabelFormat
What's the Ugliest Part of Your Body?1994Self-releasedCassette, (UK) https://www.discogs.com/master/1486763-Jon-Poole-Whats-The-Ugliest-Part-Of-Your-Body
Random Jon PooleFebruary 8, 2013Leafy Hand RecordsCD, Digital () https://www.discogs.com/release/4281808-Random-Jon-Poole-Random-Jon-Poole
The 1994 album is a tribute to Frank Zappa's early works, recorded using a 4-track cassette machine. https://randomjonpoole.bandcamp.com/album/whats-the-ugliest-part-of-your-body-the-works-of-frank-zappa-circa-65-69 A 2003 CD reissue appeared on Org Records, followed by a 2013 digital reissue. https://www.discogs.com/master/1486763-Jon-Poole-Whats-The-Ugliest-Part-Of-Your-Body No solo singles, EPs, or compilations have been released.

Band and collaboration releases

Jon Poole has been a key contributor to various band and collaboration projects, often serving as , vocalist, and . His involvement spans , punk, and alternative genres, with credited roles emphasizing his technical prowess and songwriting input on select releases. In , Poole provided bass and backing vocals on the studio album (1995), contributing to its complex arrangements and energetic sound. He continued in this capacity on Guns (1999), where his bass lines supported the band's signature chaotic yet intricate style. With , Poole returned as bassist and additional vocalist for Satanic Rites of the Wildhearts (2025), playing on several tracks and providing vocal support on others, helping drive the album's raw, high-energy rock. Poole fronted The God Damn Whores, a New Wave-influenced rock outfit, handling lead vocals, guitar, bass, and drums on their debut We Are the Lucky Thirteen (2006), which paid homage to 1970s and 1980s punk and electro sounds.https://www.discogs.com/master/1112733-The-God-Damn-Whores-We-Are-The-Lucky-Thirteen As a core member of the progressive rock band Lifesigns since 2014, Poole has played bass and sung lead and backing vocals on Cardington (2017) and Altitude (2021), adding melodic depth and rhythmic foundation to their symphonic compositions.https://www.discogs.com/artist/3211123-Lifesignshttps://lifesignsmusic.co.uk/jon-poole In the Dowling Poole collaboration with songwriter Willie Dowling, Poole contributed bass, guitar, keyboards, and vocals across multiple albums, including Bleak Strategies (2014), where his arrangements enhanced the folk-rock textures, and Refuse (2022), featuring his prominent bass work on tracks like "White Light."https://369music.bandcamp.com/album/bleak-strategieshttps://www.discogs.com/release/24728105-The-Dowling-Poole-Refuse Poole made guest appearances as bassist on one track of The Gift's forthcoming Seven Seasons (2025), bolstering the Portuguese band's with his dynamic playing.https://dmme.net/the-gift-channel-the-spirit-of-shakespeare-on-album-number-five/

References

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  5. https://louderthanwar.com/interview-random-jon-poole-god-damn-whoreswildheartsginger-wildheart-bandex-cardiacs/
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  28. https://onophonic.wordpress.com/hum/crayola-lectern/
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  35. https://ianladlow.zenfolio.com/blog/2025/11/adam-ant-toyah-camden-roundhouse-2-november-2025
  36. https://powerofprog.com/lifesigns-cancel-three-november-dates/
  37. https://www.facebook.com/TheGiftMusicUk/videos/now-hear-this-the-incredible-jon-poole-lifesigns-cardiacs-the-wildhearts-dowling/1827187234747429/
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  41. https://www.imdb.com/name/nm1701603/
  42. https://justgiving.com/crowdfunding/helpjonny
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