As a likkle yout, I started out by forming a band with my four most immediate friends
in South London. We would learn as we went along, playing tenants associations to start with, moving on to little pubs and the occasional west end club like the Sundown,
and Upstairs at Ronnies. We sort of peaked one night supporting an unknown
Mott The Hoople in Wimbledon.

Then in the early seventies the whole pub rock scene started happening, by which time
I was seriously into songwriting. I would do these short support slots down at the Hope and Anchor in Islington, honing my craft, and drawing some attention at a time when there were a lot of good new acts coming through.

Pretty soon after that a guy called Dave Courts who makes most of Keith Richards jewellery, introduced me to Marianne Faithfull, and I played guitar with her for a while. I must have developed a taste for working with women, because when the punk thing took off, I let Hazel O Connor cut off all my hair, and I backed her for a year or so. This was all great fun, but eventually I felt it was time to do something with my own songs,so I managed to blag a month in a residential studio in France with what was basically Sniff and the Tears backing me , and a great engineer called Steve Lipson. The resulting album’s worth of material brought me a recording contract with Chrysalis. It was at this point that things went astray for a while. In my naivity, I thought that I had earned the right to have fun making records, but the label I had signed to was a serious, no prisoners taken, commercial outlet who were used to releasing hit records with career minded people.... Anyway we spent a year or so at cross purposes, releasing a couple of singles that were well received in Europe, and got good reviews in the British music press, but on top of an unofficial BBC ban on any future recordings, I refused to go touring in America, and from that point on it’s not so much that
I was dropped, as we just stopped talking to each other ..permanently

So the eighties started for me picking up a few studio production credits with a pre-Fairground Attraction, Eddie Reader, and Sam Brown, along with the great priviledge of recording the first all-woman reggae band in Britain called Abacush, for a TV documentary on Channel Four TV. The rest of the decade was filled with writing for, producing, and occasionally playing live with Noel Mccalla, who led a double existence as Manfred Mann’s vocalist at the same time.

Then came the wilderness years, until fate plucked me up. At this point, I was pretty pissed off with seeing my material watered down and messed around with,so it was a good time for me when I was recruited over to the cause of Cowfunk, strumming guitar in a real cool outfit called Kumquat, who shone briefly throwing some light on the gloomy London scene of the mid nineties

With the turn of the century I moved to Mid Wales. More recording followed with Noel, resulting in an album of pared songs that reflect the fact that I will never stop writing;
I would like to think that I am still improving.

Come summer of 2006 and I had the great fortune to meet up with a rhythm section who have an intuitive understanding of what I need right now. Tommy Mills on double bass and George Jackson on drums do a great job of driving my songs into the kind of spaces that feel like the right place to be. We've played a couple of gigs to get better acquainted, and for the future we are recording a cd and dvd in November. After that we intend to play more gigs into the new year and beyond.