Inspired to play by: 

Tori Amos, J S Bach, Badfinger, Bebop Deluxe, Jeff Beck, Bjork, David Bowie, Bill Bruford, Kate Bush, Cinematic Orchestra, Crowded House, Deep Purple, Del Amitri, Elbow, The Enid, Fink, Pink Floyd, Focus, Free, Funki Porcini, Peter Frampton, Genesis (1972-1976), Allan Holdsworth, Gustav Holst, Joni Mitchell, John Martyn, Mike Oldfield, Arvo Pärt, Tom Petty, Procul Harum, Maurice Ravel, Simon & Garfunkel, Dmitri Shostakovich, Martin Simpson, Supertramp, James Taylor, Roger Waters, Wishbone Ash, Chris Wood, Stevie Wonder, Yes (1971-1974), Frank Zappa, Led Zeppelin.

I picked up a guitar and fell in love with it at twelve.  Mum and dad warned me right then I'd never make a living as a musician, so I'd better find myself a proper job when I left school.  Good advice of course, so off I went to college to get a qualification in something useful.  I ended up in a crappy job with a crappy boss who seemed to have stepped out of the pages of a Dickens novel. 

All the while in my spare time, I was playing guitar and recording the music I was writing.  Finally it occurred to me that I should be working in recording studios, and off I went to London where all the studios were at the time.

Four months later I was assisting on my first ever professional recording session. The artist was Jona Lewie, about a month after 'Stop the Cavalry' had hit the charts - ah the romance!  Working there, I got to use all that luvverly gear in downtime and I was in heaven.  I progressed from the tea/sandwich gofer to engineer, and then freelanced for a few years.  One day, a friend phoned me up and asked if I fancied getting into mastering.  I did, and spent twenty years in that role, making CD masters and cutting master lacquers for vinyl. 

Finally though, I'd had enough out of the music business, and the music business had had enough out of me.  I left, but I've never lost my love of writing music and playing guitar (and mandolin).  I still spend a lot of my spare time recording music at home, but I have so much better technology available to me these days. Thank you Samplitude -  my DAW of choice. 

I'll probably still never make a living as a musician (after all, hardly anyone does). But I didn't write this music for money.  I wrote it because I needed to say something.  Something about all the things we've got wrong and seem determined to continue to get wrong; what we're doing to each other and to the world.

Now it's finished, it would be silly not to share it with everyone. 

With you.

 

Inspired to write this album by: 

Eukaryotes and the universe, horrors and heroes.

Listen to the music, or download for free here.

1970s home recording technology. An Akai GX4000D 'Sound-On-Sound' open reel tape deck.

1970s home recording technology. An Akai GX4000D 'Sound-On-Sound' open reel tape deck.

1970s recording technology.
This HH IC100 amplifier served
as guitar amp, but also my
mic amp. I could use the tone
controls to EQ each overdub
on the way in to the tape deck.

1970s recording technology. This HH IC100 amplifier served as guitar amp, but also my mic amp. I could use the tone controls to EQ each overdub on the way in to the tape deck.

21st Century recording technology. Samplitude Pro X for all my recording, mixing and mastering needs.

21st Century recording technology. Samplitude Pro X for all my recording, mixing and mastering needs.

My trusty axes. A 1970s Ibanez Musician MC300 - bought new, still going strong. Used for the lead solos on The Sibylline Books and Suit. And a much more recent purchase, my Fender Strat. Lead guitar on Panopticon / Rome Burns. Gotta love that bridge pickup sound!

My trusty axes. A 1970s Ibanez Musician MC300 - bought new, still going strong. Used for the lead solos on The Sibylline Books and Suit. And a much more recent purchase, my Fender Strat. Lead guitar on Panopticon / Rome Burns. Gotta love that bridge pickup sound!