Where and when were you born?
- Kirkcaldy, Fife, Scotland on 25th November 1955.
Do you come from a musical family?
- Yes. My father's family in North Wales have, for generations, been involved as singers, composers, pianist/organists and my father's brother, John Tudor Davies MBE, is a respected arranger and conductor in Male Voice Choir circles. My mother, who came from Dundee, was not musical in a performing sense, but knew what she liked to listen to. Both my mother and father have been a great encouragement to me.
When did you start singing/playing the guitar, and what other instruments do you play?
- I can't remember a time when I did not sing, although the first solo public performance I can remember was when I was 7 - in Church in Kirkcaldy, singing While Shepherds Watched Their Flocks By Night. I was 14 when I first picked up a guitar with any thought of learning to play. My first instrument was recorder. I also play keyboards (badly) and various percussion instruments. I dabble on banjo and enjoy playing bass guitar, which has involved me in recording, broadcasting, and doing live gigs with: Clydesiders, Moira Kerr, McCalmans and others, also playing in the "pit" for some musicals and in Church.
When did you become interested in folk music, and who were your early influences?
- I became interested in folk music when I was 14 and in my first group. The Corries were the first performers I ever identified as a folk group. I then discovered, and became a fan of, The McCalmans, The Seekers and the late John Denver. However, the biggest continuing influence is Tom Paxton. Through Tom, I learned that folk music can be about "now" and about real life -- not just what life used to be, but how it is and can be.
When did you write your first song?
- 1969, and as with most songwriters, it was terrible!
It took a long time for you to do a "singer-songwriter" album, why?
- I am aware of the amount of great songs that are there to be sung and also am realistic about the quality and consistency (or lack of) in my own writing. I was happy for many years to cover other peoples' songs (and still am). However, encouragement from audiences and friends has shown me that I, too, have a valid voice as a writer and that it would be wrong for me to hold back just because I feel that my songs might be inferior to the work of writers I admire. My music is different, but complimentary to theirs. Have a look at the websites of some of my song-writing heroes.
When did you become a full-time performer, and what is your musical history?
- I became a full-time performer in 1985 when my "day job" made me redundant. At that time, I was part of a semi-professional duo, "Beggars Mantle" (1983-89). Prior to that, I had done some solo work but was also in a 4 and sometimes 3-piece harmony folk group called "Skiin' Doo." I also played bass guitar in a rock band, "Common Factor," for about a year.
You do a lot of concerts in Churches. Why is that?
- In the past, I would occasionally be asked to do a concert in a Church and I noticed that the ambience was conducive to me doing my very best. This encouraged me to look for more of this kind of work, with the knowledge that I could fulfil a need and also be engaged in some of the most enjoyable work I do. I believe that without an active social life, the Spiritual life of a Church is severely weakened.
Although I am a Christian (and member of the Praise Band at the Church my wife and I are members of), I do not see my concerts as “evangelism”, but, (as they were described by one of the ministers who knows my work) as “edifying entertainment”. I am confident that people with no Church connection would not feel uncomfortable at any of my shows and that everyone, whatever their personal beliefs, would be entertained, stimulated and encouraged by the songs and feeling of each performance.
What guitars and other equipment do you use?
- Please click here for information on my instruments and equipment.
You now have six albums available on Rothes Recordings; have you recorded any others, and what are your plans for future releases?
- Having just released "Livin' To Love, Lovin' To Live" (November 2005), which is mainly made up of love songs, I have no plans at all to be recording for a while. As for my previous history...it's a long list, but click here to view it.
You have recorded in many studios, do you have a favourite one?
- That's actually a hard question because each has its own merits. I believe that, although good equipment and rooms are important, your working relationship with, and the ears of the engineer are even more so. An engineer who is a musician and familiar with the style of music you are recording is also an advantage.
Some time ago, while working on the Harvey Andrews album, "The Gift", I worked with Brian Bedford (singer and songwriter, formerly of Artisan and now with The Brian Bedford Band) at Park Head Studio, in Birdsedge, Yorkshire. That was very interesting as it was my first experience recording directly to "Hard Disk".
I have also worked with Ian McCalman (of the McCalmans) at Kevock Digital Studio in Lasswade. Ian's attention to detail and empathy is wonderful.
However, the studio I have done, and will continue to do most work in, is Red Barn Studio, Longforgan, near Dundee. Stuart Duncan, who is the engineer there, is a competent and experienced musician in a variety of fields, is musically sympathetic and has set very high standards with regard to the quality of sound which is just right for me. Red Barn recently changed from recording on Digital tape to using the computer based, "ProTools" system.
