Here's what I have about Bungies. It's from my biography of Audrey Smith (published 2000) who, as half of "John Timpany and Audrey Smith" had a residency there. The information came from interviews with John and Audrey (deceased).
...Later in 1967, or maybe '68, they started to play regularly in Litchfield Street, close to Cambridge Circus on the edge of Soho. Every Tuesday night a sign on the pavement announced BUNGIES COFFEE HOUSE AND FOLK CELLAR, with an arrow pointing down a flight of wooden steps. Particularly in the summer, large numbers of tourists accepted the invitation, perhaps sensing an encounter with Olde Englande. At the bottom of the steps they found a lit sign, a short, dark corridor and two brown and cream doors with BUNGIES on one. They pushed it open and tipped down a few more steps, passing another sign which read SHUT THE BLUDDY DOOR! Facing them, between the restaurant and the folk club, was the food counter, where Lou, the owner, served spaghetti bolognese and cakes. Behind him, a flight of stairs led up to a tiny office where he did his paperwork and lured the young girls who worked the restaurant—foreigners with little English; cash, no questions. There was a big fan behind the counter and when Lou let rip with one of his tempers he would fling a plate of food at it and spray the candle-lit diners with tomato sauce and finely divided pasta. Or so legend has it.
The folk cellar was a small room under low brick vaults, dripping in wet weather, with hard benches and no tables. Big Theo Johnson, fat, bearded and boastful, took the money. The stage was a four foot quadrant in one corner, raised about eight inches from the floor and there "John Timpany and Audrey Smith" played their songs for the tourists and a smattering of students, folk fans and fellow musicians. Ron Simmonds shared the evening and Big Theo sang the same three songs every night—good songs, mind you, and it didn't matter because there were very few regulars. On busy summer nights with fifty or more crushed in, the air was thick with heat, sweat and smoke and the singers struggled out during breaks to breathe the comparatively pure air of a Soho night.
Bungies became the proving ground for all their material. As they began to get bookings from more discerning audiences, this was important. The Bungies crowd was easy to please but they worked at maintaining a standard—polishing the old songs, trying different arrangements of the new and occasionally working with Ron Simmonds. John, always a quick learner, watched Ron play the guitar, moving his fingers economically round a chord, picking out a melody and harmony or bass line at the same time, and soon mastered his style well enough to deliver a perfect copy of one of his tunes. Ron was furious and ever after practised with a duster over his left hand if John was about.
It was their first professional engagement and a regular commitment and if they couldn't make it they arranged a replacement. The entrance money was split between Ron, Big Theo and themselves. John still hoped to become a full-time professional but did not imagine he could achieve that with this duo. Musically, he was the senior partner and Audrey did not delude herself otherwise, but the important thing was that they were having a very good time, drawn ever closer by working together on something creative. They were also finding themselves a place in the folk music spectrum, between the unaccompanied strict traditionalists and the then nascent folk-rock experiments.
Not long after starting to play at Bungies, John and Audrey gave up the unequal struggle to keep the Nag's Head going. They had lost a lot of their own money keeping up the standard of performer while audience numbers fell. With the folk revival past its first bloom this was the fate of some of the smaller clubs......