Busted - Bass, Backing Vocals, production
City Man Blues Bass and Backing Vocals + production
Don’t Start Me Talking – Production
Isolation - Production
Love and Laughter - Organ Pad
Out Here And Stranded - Keyboards
Ritual - Production
Shy and Retiring - Writer, Vocals, Flute
City Man Blues Bass and Backing Vocals + production
Don’t Start Me Talking – Production
Isolation - Production
Love and Laughter - Organ Pad
Out Here And Stranded - Keyboards
Ritual - Production
Shy and Retiring - Writer, Vocals, Flute
I have always loved music, greatly influenced by my father and his brothers who all played or sang. My first public appearance was on a festival float with my brother, performing Shadows songs.
I have tried many instruments over the years: Oboe, Trumpet, Sitar, Banjo, Bohran (Irish drum), Ukelele, Glockenspiel, Accordian, Keyboards and even managed "Take 5" on the sax. My main instruments now are Flute and Drums.
My first two bands, were trad jazz - 1920's style, on Banjo and vocals. Got 'Pop' in the 60's (1960, not 1860!), and sung a lot of Cliff Richard songs.
Worked with my Dad building loudspeakers and Guitar amps, and fitted out discos.
Wanted to record bands, so joined Wessex sound studios in London. The studio owners were innovators, the earliest adopters of a Rupert Neve desk, Dolby noise reduction and even Quadraphonic sound on 2"-32 track tape machines.
Our sessions included The Moody Blues, King Crimson, Sonny Boy Williamson and Georgie Fame. We also did film sound with Quincy Jones. Wessex also recorded Tina Turner's Private Dancer album.
When the studio was quiet, I was commandeered for documentary film location sound and camera assistant. It took me right round the world, including a visit to Australia in 1967. My paying hobby is now multi-camera filming of live events.
After the 70's financial crash, London studios downsized, so I changed to mainframe computing. The next move was to Oz in 1973, joining CSR then Union Carbide, followed by the Caption Centre and The ABC.
Musically, I was 'too busy' with work, until my eldest daughter wanted to learn drums. I went to Billy Hyde's at lunchtime to learn enough to teach her. When she left home, I was only allowed to have E-drums (Trishia hates the drums), which I now love.
Joined a Sydney band through Weekend Warriors, who covered everything from Led Zep to Nina Simone. Versatile? I played drums and flute and sang on Nights in White Satin!
In among all this rock and blues music, I spent a year with the Sydney Mandolin Orchestra as their percussionist, specifically to add another dimension to their next CD, but also to appear in several live performances. Apart from the familiar Cymbal and Snare drum, I added new toys such as the irish bodhran, shekere shakers, glockenspiel and bells to my arsenal.
When I retired to Bega, I saw PBGB at a Merimbula New Year concert. I wanted to film them, but ended up being a part of them - fantastic. May the Shed reign forever.
I have tried many instruments over the years: Oboe, Trumpet, Sitar, Banjo, Bohran (Irish drum), Ukelele, Glockenspiel, Accordian, Keyboards and even managed "Take 5" on the sax. My main instruments now are Flute and Drums.
My first two bands, were trad jazz - 1920's style, on Banjo and vocals. Got 'Pop' in the 60's (1960, not 1860!), and sung a lot of Cliff Richard songs.
Worked with my Dad building loudspeakers and Guitar amps, and fitted out discos.
Wanted to record bands, so joined Wessex sound studios in London. The studio owners were innovators, the earliest adopters of a Rupert Neve desk, Dolby noise reduction and even Quadraphonic sound on 2"-32 track tape machines.
Our sessions included The Moody Blues, King Crimson, Sonny Boy Williamson and Georgie Fame. We also did film sound with Quincy Jones. Wessex also recorded Tina Turner's Private Dancer album.
When the studio was quiet, I was commandeered for documentary film location sound and camera assistant. It took me right round the world, including a visit to Australia in 1967. My paying hobby is now multi-camera filming of live events.
After the 70's financial crash, London studios downsized, so I changed to mainframe computing. The next move was to Oz in 1973, joining CSR then Union Carbide, followed by the Caption Centre and The ABC.
Musically, I was 'too busy' with work, until my eldest daughter wanted to learn drums. I went to Billy Hyde's at lunchtime to learn enough to teach her. When she left home, I was only allowed to have E-drums (Trishia hates the drums), which I now love.
Joined a Sydney band through Weekend Warriors, who covered everything from Led Zep to Nina Simone. Versatile? I played drums and flute and sang on Nights in White Satin!
In among all this rock and blues music, I spent a year with the Sydney Mandolin Orchestra as their percussionist, specifically to add another dimension to their next CD, but also to appear in several live performances. Apart from the familiar Cymbal and Snare drum, I added new toys such as the irish bodhran, shekere shakers, glockenspiel and bells to my arsenal.
When I retired to Bega, I saw PBGB at a Merimbula New Year concert. I wanted to film them, but ended up being a part of them - fantastic. May the Shed reign forever.
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