 “Iain has one of the best and most distinctive voices in popular music, and also one of the most recognizable musical styles. He has written some fabulous songs, and turned himself into a bloody good guitar player. Of all the soccer players turned musicians, he knocks spots off Julio Inglesias.” Richard Thompson “I played with Iain in Fairport Convention in the late 1960s, when he and Sandy Denny formed an incomparable and stunning vocal pairing.Since then I've only worked with him occasionally. More's the pity. But what I can say with complete confidence is that his commitment to music has always been total, his attention to detail is legendary and his standards are always of the highest calibre. And his voice, like his youthful good looks, never seems to age. Curse him!” Ashley Hutchings “Iain Matthew's is a brilliant musician and an arranger for the ages . Iain's version of my song ‘Seven Bridges Road’ is by far the best.” Steve Young |
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With the quite able assistance of Egbert Derix Iain has produced a brilliant piece of work with "Afterwords." How is it possible that he can keep getting better and better with each passing year? But that's exactly what he does. Just listen. Play St. Theresa's Ghost Play A Lamb in Armor Play Samples of the entire album Songs on this album are: 1. Joy Mining 2. St. Theresa's Ghost 3. Waves 4. Fishing 5. A Lamb in Armor 6. Gold 7. The Framebr> 8. Timing 9. Randolph Scott 10. Funk & Fire 11. Woodstock 
This is a DVD and CD release with 9 songs on the DVD: 1. Something Mighty 2. Joy Mining 3. Fishing 4. A Lamb in Armor 5. Gold 6. The Frame 7. Timing 8. Reservoir 9. Funk and Fire Available now for MP3 download of the audio album. Coming very soon on CD & DVD from ItsAboutMusic.com. | | One of two recently released live recordings from Europe - the other being "Brosella" (to your right). Both releases were part of a CD and video combo but the videos were only manufactured in the PAL system which most people in America can't play - so here are the music CDs that you can now purchase separately. Play Woodstock Play Girl With The Clouds In Her Eyes Play Samples of the entire album Songs on this album are: 1. Girl With The Clouds In Her Eyes 2. The Limburg Girl and The Traveling Man 3. I'm Alive 4. Contact 5. Something Mighty 6. Alone Again Blues 7. Rosa's Song (The Back Of a Bus) 8. A Lamb in Armor 9. One Door Opens 10. The Other Shoe 11. July Again 12. Funk and Fire 13. Woodstock 14. Unravel |
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One of two recently released live recordings from Europe - the other being "Brosella" (to your right). Both releases were part of a CD and video combo but the videos were only manufactured in the PAL system which most people in America can't play - so here are the music CDs that you can now purchase separately. Play Mercy Street Play On Squirrel Hill Play Samples of the entire alum Songs on this album are: 1. And Me 2. Compass and Chart 3. Even The Guiding Light 4. On Squirrel Hill 5. Jumping Off The Roof 6. House Unamerican activity Blues Dream 7. Yo-Yo Man 8. Economicas Of The Rat and The Snake 9. Following Every Finger 10. Rains of '62 11. Mercy Street 12. Back On The Bus 13. Meet Me On The Ledge | | A funny thing happened on the 2003 Iain Matthews tour. The opportunity came up and the idea was fresh and the recording studio was available so this ground-breaking concept came to pass. Iain and band recorded the entire album that we all know and love, "If You Saw Thro' My Eyes" - LIVE. 32 years after its initial release, this wonderful idea is now yours to own on CD and for download. Play Desert Inn Play Reno Nevada Play Samples of the entire album Songs on this album are: 1. Desert Inn 2. Hearts 3. Never Ending 4. Reno Nevada 5. Little Known 6. Hinge 1 7. Hinge 2 8. Southern Wind 9. It Came Without Warning 10. You Couldn't Lose 11. Morgan the Pirate 12. Thro' My Eyes |
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In late 1970, shortly after his band Matthews Southern Comfort hit number one in Great Britain with its version of Joni Mitchell's "Woodstock," Ian Matthews decided that he needed more creative freedom and left for a solo career. The subsequent album, If You Saw Thro' My Eyes, his fourth and best release since leaving Fairport Convention in 1969, was recorded and released within the next few months. It also reunited him with former Fairport bandmates Sandy Denny, who had left the band in late 1969, and Richard Thompson, who would depart by the time of this album's release. Both would bring their distinctive personalities to the proceedings without ever overwhelming Matthews' own vision. As a bandleader and songwriter, Matthews' growth is quite evident here, guiding a stellar cast through seven excellent new originals and three well-chosen covers (also included is the a cappella "Hinge" and its instrumental reprise). Throughout, Matthews' sweet yet evocative tenor is perfect for the material, which succeeds in its blend of British and American folk, rock, and pop. Brett Hartenbach - AllMusicGuide.com Play Reno Nevada Play Southern Wind Play Samples of the entire album Songs on this album are: 1. Desert Inn 2. Hearts 3. Never Ending 4. Reno Nevada 5. Little Known 6. Hinge 1 7. Hinge 2 8. Southern Wind 9. It Came Without Warning 10. You Couldn't Lose 11. Morgan the Pirate 12. Thro' My Eyes | | The brand new and as usual, spectacular album from Iain. Play Flying Visit Play Blind Faith Play Samples of the entire alum Songs on this album are: 1. Cartwheel Avenue 2. Flying Visit 3. One Dollar Opens 4. Power 5. Blind Faith 6. Contact 7. Favorite Son 8. July Rain 9. To Be White 10. Other Shoe 11. Start Again 12. Limburg Girl & The Travelling Man |
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In the wake of his 1988 comeback — an entire record dedicated to the work of Jules Shear — Iain Matthews seemed to gain confidence and momentum as a writer, beginning with 1990's Pure and Crooked. Of the three albums that followed, two of them, including God Looked Down, are made up solely of his own material (although the basic melody of "So Many Eyes" was taken from the traditional "Nottamun Town," from his Fairport Convention days). And while Matthews' work has always been quite personal and individualistic even when covering other people's tunes, there's something about God Looked Down that hits a little closer to the bone. Brett Hartenbach - AllMusicGuide.com Play The Beat I Walk Play Alone Again Blues Play Samples of the entire album Songs on this album are: 1. The Beat I Walk 2. God Looked Down 3. Southern Wind 4. You'll Know Lightening 5. Alone Again Blues 6. This Train 7. Power of Blue 8. Eye of the Needle 9. King of the Hill 10. Trigger Man 11. If It's Not One Thing It's Another | | Ian Matthews' fifth solo effort since leaving Matthews' Southern Comfort, Some Days You Eat the Bear and Some Days the Bear Eats You continues the country-rock of its predecessor, the Michael Nesmith-produced Valley Hi, but with more emphasis on the L.A. singer/songwriter sound and less on straightforward country. Though both records were recorded in Southern California, Nesmith brought a distinct Nashville flavor to Valley Hi, utilizing such country greats as steel guitarist Red Rhodes and fiddler Byron Berline. Here, Matthews (who handles the production duties) draws from the vast pool of L.A. session regulars, including Jackson Browne sideman David Lindley, Jeff "Skunk" Baxter from Steely Dan, and America's rhythm section. This — along with the occasional saxophone and double-tracked lead vocal — accentuates the pop sense evident just below the surface in Matthews' past work, giving Some Days You Eat the Bear a slightly more polished, commercial feel. For material, he once again borrows from the catalogs of favorites such as Jesse Winchester and Gene Clark (whose "Tried So Hard seems to be a leftover from the Valley Hi sessions), as well as covering now-classic tunes by the likes of Steely Dan, Danny Whitten, and Tom Waits, all of which suit his warm, emotive tenor nicely. Brett Hartenbach - AllMusicGuide.com Play Biloxi Play Keep on Sailing Play Samples of the entire album Songs on this album are: 1. Ol' 55 2. I Don't Wanna Talk About It 3. A Wailing Goodbye 4. Keep on Sailing 5. Tried So Hard 6. Dirty Work 7. Do I Still Figure in Your Life 8. Home 9. Biloxi 10. The Fault Purchase This CD from Amazon |
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With ex-Monkee Michael Nesmith at the helm and an array of C&W sidemen on hand, Ian Matthews recorded what is probably his most overtly country album to date, 1973's Valley Hi. The record opens with a pair of tracks — his own "Keep on Sailing" and the traditional "Old Man at the Mill" — that had been scheduled to appear on the second release by his former band Plainsong, which Elektra chose to shelve. Matthews then proceeds to cover rarities by Randy Newman and Richard Thompson, whose "Shady Lies" had only surfaced before on an obscure 1969 recording by Fairport crony Marc Ellington, as well as chestnuts by Jackson Browne and country legend Don Gibson. Elsewhere, he delivers terrific versions of Nesmith's tale of friendship turned to love, "Propinquity," and Steve Young's now classic "7 Bridges Road." Matthews' excellent rendition of the latter set the standard for the song, which became a hit in the early '80s for the Eagles, using an identical arrangement. He also added one new original, along with two (including "Keep on Sailing" and "Save Your Sorrows") from the aborted Plainsong release, all three of which rank with his best. Though he has since stated his dissatisfaction with the album, Valley Hi nonetheless remains among Ian Matthews' finest. Brett Hartenbach - AllMusicGuide.com Play 7 Bridges Road Play These Days Play Samples of the entire album Songs on this album are: 1. Keep on Sailing 2. Old man at the Mill 3. Shady Lies 4. These Days 5. Leaving Alone 6. 7 Bridges Road 7. Save Your Sorrows 8. What Are You Waiting For 9. Propinquity 10. Blue Blue Day Purchase This CD from Amazon | | A Tiniest Wham finds Ian Matthews moving with assurance in the direction of acoustic pop. Matthews essentially eliminates the electric guitars that dominated his previous effort, Excerpts From Swine Lake, and sticks faithfully to his Epiphone Cortez acoustic. And yet the record does not sound "stripped down" or under-produced. If anything, A Tiniest Wham is more ambitiously — and far more vibrantly — produced than its predecessor. Matthews is joined by two highly talented fretsmiths, Bradley Kopp and Jim Fogarty, and the three of them apply a shiny multi-layered acoustic sheen to the songwriter's finely crafted tunes. Evan Cater - AllMusicGuide.com Play I'm Alive Play Funk and Fire Play Samples of the entire album Songs on this album are: 1. I'm Alive 2. Swinging from the Yardarm 3. Our Secret Storm 4. Funk and Fire 5. Another Delta Dawn 6. Like Mercury 7. The Great Afterthought 8. Sister 9. Sicknote 10. The Power and the Glory 11. The Onliest 12. Tailspin
Purchase This CD from Iain's web site |
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In just under three years, Ian Matthews split from Fairport Convention, went solo, formed Matthews' Southern Comfort - with whom he scored a number one U.K. hit - left the group at the height of its popularity, recorded three more records on his own (only two were released at this time) and in early 1972 started Plainsong, his fourth band in five years. And while his track record led one to believe that Plainsong may be just another short stay, the subsequent album, In Search of Amelia Earhart, proved to be worth the venture. Ian Matthews was of course the obvious draw, but Plainsong seemed to be formed as more of a collective effort, with lead guitarist Andy Roberts, who shares the lead vocal duties, the other focal point in the band. On the other hand, Matthews, whose folk and country-tinged tunes set the tone for the record, is the only member to contribute original material. Included among these is the thematic "True Story of Amelia Earhart," which along with the haunting "For the Second Time," leads a pack of five Matthews compositions that range from good to excellent. Brett Hartenbach - AllMusicGuide.com Play Call the Tune Play The True Story of Amelia Earhart Play Samples of the entire album Songs on this album are: 1. For the Second Time 2. Yo Yo Man 3. Louise 4. Call the Tune 5. Diesel on my Tail 6. Amelia Earhart's Last Flight 7. I'll Fly Away 8. True Story of Amelia Earhart 9. Even the Guiding Light 10. Side Roads 11. Raider Purchase This CD from Amazon | | Once again Iain chooses a handful of good covers, including songs by Robert Palmer, John Martyn, and Terence Boylan, to round out and complement his own material. It's a nice, pure pop treatment of Boylan's "Shake It," that gave Matthews his first Top 40 hit in over seven years (number 13), but it's a pair of pre-rock & roll numbers that are responsible for two of Stealin' Home's most inspired moments. A warm a cappela arrangement of Rogers and Hammerstein's "Carefully Taught," from the musical South Pacific, evokes both the beauty and depth of the song, while the interpolation of Richard Stekol's contemporary "Yank and Mary" with the old standard "Smile," has a sort of melancholy sweetness. Brett Hartenbach - AllMusicGuide.com Play Don't Hang Up Your Dancing Shoes Play Man in the Station Play Samples of the entire album Songs on this album are: 1. Gimme an Inch Girl 2. Don't Hang Up Your Dancing Shoes 3. King of the Knight 4. Man in the Station 5. Let There Be Blues 6. Carefully Taught 7. Stealin' Home 8. Shake It 9. Yank & Mary / Smile 10. Slip Away 11. Sail My Soul |
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A close look at the songwriting credits will reveal the beginning of Matthews's fascination with the work of great Jules Shear. Play Heat Wave Play Crying in the Night Play Samples of the entire album Songs on this album are: 1. You Don't See Me 2. Survival 3. Heatwave 4. Home Somewhere 5. Crying in the Night 6. The Babe She's on the Street 7. Hearts on the Line 8. Anna 9. Lies 10. Runaway | | Here he's at his best when he's at his most personal and introspective, as on cuts such as "I Drove," "Tigers Will Survive (Part II, Darcy's Song)," the title track, and what may be the record's most intimate and powerful tale, "For Better or Worse." Written for his wife, who had been a victim of rape, "For Better or Worse" is at once painful, compassionate, and graphic, while conveying both the helplessness, confusion, and anger of the situation. Brett Hartenbach - AllMusicGuide.com Play The Breath of Life Play This is It Play Samples of the entire album Songs on this album are: 1. I Drove 2. Girl with the Clouds in Her Eyes 3. Ballad of Gruene Hall 4. Tigers Will Survive (part II) 5. The Breath of Life 6. Save Her Love 7. For Better or Worse 8. Davey's Stung 9. Morning Glory 10. In London 11. This Is It 12. Rooted to the Spot 13. The Dark Ride |
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On his second recording following a self-imposed, five-year hiatus, and his first featuring any original material, Iain Matthews (he changed the spelling of his first name to its original Gaelic form) returned with a songwriting vengeance, penning eight of the 11 tunes for Pure & Crooked, his 14th solo record. By no means prolific throughout most of his career - the majority of his albums contained maybe three or four originals - his output here had been prior to this, equaled only by the 1971 release If You Saw Thro' My Eyes. And while his previous recording, Walking a Changing Line showed him in fine form beneath its new age trappings, Pure & Crooked is as natural and assured as Matthews has sounded in quite awhile. Once again employing the the help of producer Mark Hallman, Matthews, with cuts such as "Like Dominoes," which opens the album, and the vitriolic "New Shirt," delivers some of the most convincing folk-rock of his career. Brett Hartenbach - AllMusicGuide.com Play Like Dominoes Play Bridge of Cherokee Play Samples of the entire album Songs on this album are: 1. Like Dominoes 2. Mercy Street 3. A Hardly Innocent Mind 4. New Shirt 5. Bridge of Cherokee 6. Busby's Babes 7. Rains of '62 8. Say No More 9. Perfect Timing 10. Out of My Range 11. This Town's No Lady | | Released in 1993, Skeleton Keys may be what most would expect from Matthews, but it's actually more of a return to an acoustic sound that hadn't really dominated his albums since the first half of the '70s. In fact, Skeleton Keys is probably the most acoustic-oriented studio recording he's made to date, featuring acoustic guitar, acoustic bass, dobro, accordion, mandolin, and fiddle, with only subtle touches of electric guitar. As a writer, Matthews has always included at least a handful of original gems with each record, while also showing a good ear for the songs of others, but Skeleton Keys is his first comprised of all his own material. Brett Hartenbach -AllMusicGuide.com Play Back of the Bus Play Cover Girl Play Samples of the entire album Songs on this album are: 1. Cover Girl 2. Jumping Off the Roof 3. Compass and Chart 4. God's Empty Chair 5. True Location of the Heart 6. Back of the Bus 7. A Cross to Bear 8. The Ties We Break 9. Timing 10. Get It Back 11. Every Crushing Blow 12. Living in Reverse |
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After five straight solo recordings with producer Mark Hallman at the helm — going back to 1988 — Iain Matthews decided to handle the production duties, along with guitarist Bradley Kopp, for 1999's Excerpts From Swine Lake. Whereas his last couple of recordings lived and died with his writing or vocals, here Matthews and Kopp inject the material with a vibrance that has been somewhat scarce in his work since 1990's Pure & Crooked. It also doesn't hurt that this is as consistent a collection of original music that he's put to record. Whether it's the songs, Kopp's influence, or Matthews himself that is the catalyst here, there's a renewed sense of purpose in his performances. Brett Hartenbach - AllMusicGuide.com Play Something Mighty Play Changes Play Samples of the entire album Songs on this album are: 1. Something Mighty 2. Horse Left In The Rain 3. Dance Of Fate 4. Trail Of The Survivor 5. Changes 6. Cave In 7. Heroes 8. Touching The Fleece 9. Even It It Kills Me 10. Sight Unseen 11. Where The Big Dogs Run 12. Break A Window, Break A Heart | | Tigers Will Survive, Ian Matthews' second release of 1971, and fifth in less than three years, continues the Anglo-American folk-rock that he began in 1968 with Fairport Convention. Following his departure from the band in early 1969, Matthews' style quickly veered from the British traditional direction that Fairport was headed, gravitating more toward the American singer/songwriter scene that was the source for much of the group's material in their early days, keeping him closer to the mid-Atlantic mix of What We Did on Our Holidays (his last record with the band). If You Saw Thro' My Eyes, his previous album, reunited him with members of his old band, as well as others from the revolving Fairport/Fotheringay cast, but this time out, with the exception of Richard Thompson's accordion on a couple of tunes (credited as Woolfe J. Flywheel), he opts for the backing of the English rock band Quiver. And while it may lack some of the cohesive personality of its predecessor, Tigers Will Survive still shares its primarily acoustic sound, augmented by a strong rhythm section and touches of electric guitar. Brett Hartenbach - AllMusicGuide.com Play Midnight on the Water Play Please Be My Friend Play Samples of the entire album Songs on this album are: 1. Tigers will survive 2. Midnight on the water 3. Right before my eyes 4. Da doo ron ron 5. Hope you know 6. Please be my friend 7. Never again 8. Close the door lightly when you go 9. Unamerican activity dream 10. Morning song 11. The only dancer |
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A collection of antiques and curios (aka demos) and strangely enough, one of his most pleasing releases. Play Baby Ruth Play Any Day Woman Play Samples of the entire album Songs on this album are: 1. Touch Her If You Can 2. Yankee Lady 3. Belle 4. Later On 5. I Believe in You 6. It Takes a Lot to Love It Takes a Train to Cry 7. Not Much at All 8. Baby Ruth 9. Hearts 10. Christine's Tune 11. Seeds and Stems 12. Spanish Guitar 13. Tigers Will Survive 14. Any Day Woman 15. Poor Ditching Boy (demo) 16. Even the Guiding Light (live) 17. So Sad (demo) 18. Groovin' (demo) 19. Let There Be Blues (demo) 20. New Shirt | | Play Perfect Timing Play Mercy Street Play Samples of the entire album Songs on this album are: 1. S.O.S. 2. Better Not Stay 3. What Do You Wish You Could Be? 4. Perfect Timing 5. Voices 6. Action 7. Change 8. Rendezvous 9. What the Wanter Wants 10. Action and Intent 11. Too Hard Too Soon 12. Steady 13. Your Heart Again 14. Still I See You 15. We Don't Talk Anymore 16. Rains of '62 17. Mercy Street 18. Perfect Timing |
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Songs on this album are: 1. Shake It 2. Stealing Home 3. Don't Hang up Your Dancing Shoes 4. Man in the Station 5. Carefully Taught 6. Gimme an Inch Girl 7. Anna 8. Survival 9. Heat Wave 10. Baby, She's on the Street 11. Runaway 12. She May Call You up Tonight 13. What Do I Do 14. No Time at All (See How They Run) 15. Wild Places 16. Shorting Out 17. Views (Dance Goes On) 18. Wish Not available for download. No longer available | | and Points West Originally released in the late '80s as a mail-order-only cassette entitled Ian Matthews Live (he changed the spelling of his first name shortly thereafter), Nights in Manhattan (recorded in New York City in May of 1988) was reissued in 1997 with four added tracks that were recorded live two and a half years later in California (hence the "And Points West"). Matthews, along with Mark Hallman (acoustic guitar, vocals), Craig Negoescu (keyboards, vocals), and David Hayes (acoustic bass), though concentrating on material from Walking a Changing Line, touches on various points in his extensive career — including his days with Fairport Convention ("Meet on the Ledge"), Matthews' Southern Comfort ("Woodstock"), and Plainsong ("Even the Guiding Light"), as well as a smattering of tunes from his solo years. The performances here are engaging, and Matthews' excellent voice is strong and clear throughout, though the sporadic use of electronic keyboards and sequenced drums is, on occasion, superfluous, and dates a couple of the tracks. A few of the highlights include a stirring, a cappella version of "Woodstock," the Youngbloods' classic "Darkness, Darkness," and a beautiful reading of Jules Shear's "This Fabrication." Brett Hartenbach - AllMusicGuide.com Play Alive Alone Play Meet on the Ledge Play Samples of the entire album Songs on this album are: 1. On Squirrel Hill 2. Keep on Sailing 3. Man in a Station 4. Alive Alone 5. Seven Bridges Road 6. Except for a Tear 7. Reno, Nevada 8. Woodstock 9. Shadows Break 10. Following Every Finger 11. Meet on the Ledge 12. Standing Still 13. Sights in Manhatten 14. Even the Guiding Light 15. Darkness Darkness 16. This Fabrication |
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An early "Best Of" compilation. Play Lonely Hunter Play Hearts Play Samples of the entire album Songs on this album are: 1. Lonely Hunter 2. Knowing The Game 3. Ol 55 4. Thro My Eyes 5. Darkness Darkness 6. I Don't Wan To Talk About It 7. Da Doo Ron Ron 8. Wailing Goodbye 9. Bride 1945 10. Just One Look 11. Keep On Sailing 12. Tribute To Hank Williams 13. For The Second Time 14. Biloxi 15. Hearts 16. Carefully Taught 17. One Day Without You 18. Reno Nevada 19. Met Her On A Plane 20. Midnight On The Water 21. Seven Bridges Road | | Play Compass and Chart Play Back of the Bus Play Samples of the entire album Songs on this album are: 1. There's a Woody Guthrie Song 2. Keep on Sailing 3. For the Lonely Hunter 4. And Me 5. True Location of the Heart 6. Compass and Chart 7. Even the Guiding Light 8. The Rat and the Snake 9. Evening Sun 10. House of Un-American Activities 11. Next Time Around 12. Back of the Bus 13. A Lamb in Armour 14. Rains of '62 15. Reno, Nevada |
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Beginning with a cover of Terry Reid's - "The Frame" which has long been one of my fave covers by Iain and then moving into another fave by John Marty, "One Day Without You" followed by an original, "Times" and then on to one of my most favorite tunes Iain ever wrote, "I Will Not Fade Away" with the long held notes in the chorus, this album ranks up there with his best, for sure, although critics did not review it well. That's OK though - we love what we love with or without the critics. Dean Sciarra - ItsAboutMusic.com Play The Frame Play Just One Look Play Samples of the entire album Songs on this album are: 1. The Frame 2. One Day Without You 3. Times 4. I Will Not fade Away 5. Tigers Will Survive 6. Just One Look 7. Help to Guide Me 8. Shuffle 9. Hit and Run | | Over half of the compositions on this album of songs written by Jules Shear were either rare or unknown at the time — even to many Shear aficionados — including two songs from a hard-to-find Jules and the Polar Bears EP and two tracks from their then-unreleased Bad for Business album. One of the previously unheard tunes, the reflective, a cappella "On Squirrel Hill," written about the Pittsburgh suburb where Shear grew up, couldn't be more ideally suited to Matthews' expressive tenor and style, and is not only one of the best moments on the record, but also of his career. - AllMusicGuide.com Play Except for a Tear Play Lovers by Rote Play Samples of the entire album Songs on this album are: 1. Dream Sequence 2. Standing Still 3. Except for a Tear 4. Following Every Finger 5. Alive Alone 6. Smell of Home 7. On Squirrel Hill 8. Shadows Break 9. This Fabrication 10. Lovers by Rote 11. Only a Motion 12. Why Fight? |
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His airy, pure tenor, superb taste in songs from other writers, and wide-ranging knowledge of different pop styles have carried this journeyman English singer and songwriter from the folk rock of the original Fairport Convention, to his own brief chart notoriety as leader of Matthews Southern Comfort, and subsequent experiments all sharing high standards but relative obscurity. This well-chosen summation of his mid-'70s L.A. sojourn captures Matthews's folk and country-rock work of the day to satisfying effect, mingling gourmet covers (Tom Waits, Richard Thompson, Michael Nesmith, Steve Young, Paul Siebel, and Jackson Browne) with his own lissome, mournful, yet gracious originals. A neglected country-rock master, his take on Young's "Seven Bridges Road" was good enough for the Eagles to steal it virtually note for note on their first live album, and he celebrated former bandmate Thompson's brilliance more than a decade before his "discovery" by critics. --Sam Sutherland Songs on this album are: 1. Ol' 55 2. For the Second Time 3. Keep on Sailing 4. Old Man at the Mill 5. Wailing Goodbye 6. Shady Lies 7. I'll Fly Away 8. True Story of Amelia Earhart 9. Seven Bridges Road 10. Biloxi 11. Propinquity 12. Fault 13. Even the Guiding Light 14. I Don't Want to Talk About It 15. Louise 16. These Days 17. Call the Tune 18. Poor Ditching Boy 19. You Fell Through My Mind No longer available | | From 1972 - billed as a contractual obligation record by the artist, Journeys From Gospel Oak is easily as good as Matthews' best work. It is most assuredly a companion piece to Plainsong's In Search of Amelia Earhart (an album loosely based on the disappearance of Amelia Earhart), this time loosely based around the night Hank Williams died. This album includes such solid tracks as Gene Clark's "Polly," "Bride 1945" by Paul Siebel, and the haunting Jimmy Webb tune, "Met Her on a Plane." A strong (but often overlooked record) and well worth the effort it takes to find a copy. - Jim Worbois Play Mobile Blue Play Met Her On a Plane Play Samples of the entire album Songs on this album are: 1. Knowing the Game (Matthews) 2. Polly (Clark) 3. Things You Gave Me (Hardin) 4. Mobile Blue (Newbury) 5. Tribute to Hank Williams (Hardin) 6. Met Her on a Plane (Webb) 7. Bride 1945 (Siebel) 8. Franklin Avenue (Matthews) 9. Do Right Woman, Do Right Man (Moman/Penn) 10. Sing Me Back Home (Haggard) |
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"This is a transitional album for Matthews. Having recently exited Fairport Convention, this record pays tribute to that period of his career in both material ("A Castle Far") and in the choice of musicians who back him (many of them from Fairport Convention). At the same time, songs like "A Commercial Proposition" indicate where Matthews is headed on 1971's Later That Same Year." Jim Worbois - AllMusicGuide.com Play The Castle Far Play Samples of the entire album Songs on this double album are: 1. Colorado Springs Eternal 2. Commercial Proposition 3. Castle Far 4. Please Be My Friend 5. What We Say 6. Dream Song 7. Fly Pigeon Fly 8. Watch 9. Sweet Bread 10. Thoughts for a Friend 11. I've Lost You 12. Once upon a Lifetime
Not available on CD | | With this album, Matthews' Southern Comfort is a real band and, in addition to Matthews, also includes Roger Swallow (ex-Marmalade) and Marc Griffiths (ex-Spooky Tooth). Though there is really nothing that makes this a memorable record, it's still quite a nice record overall. If you already know his work on Elektra, Mooncrest, or even Later That Same Year, it would be well worth your while to search this record out. Jim Worbois - AllMusicGuide.com Play Blood Red Roses Play Samples of the entire album Songs on this album are: 1. Ballad of Obray Ramsey 2. Moses in the Sunshine 3. Jinkson Johnson 4. Tale of the Trial 5. Blood Red Roses 6. Even As 7. D'Arcy Farrow 8. Something in the Way She Moves 9. Southern Comfort
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Best known for the hit "Woodstock," this is really the album on which Matthews first finds his direction. A nice mix of covers and originals, this record has held up nicely over the years. Jim Worbois - AllMusicGuide.com Play Woodstock Play Sylvie Play Samples of the entire album Songs on this album are: 1. Woodstock 2. To Love 3. And Me 4. Tell Me Why 5. My Lady 6. And When She Smiles 7. Mare Take Me Home 8. Sylvie 9. Brand New Tennessee Waltz 10. For Melanie 11. Road to Ronderlin | | From 1995 Play Yankee Lady Play Belle Play Samples of the entire album Songs on this album are: 1. Touch Her If You Can 2. Yankee Lady 3. Belle 4. Later That Same Year 5. I Believe in You 6. Sylvie 7. And When She Smiles 8. And Me 9. Old Rud 10. Jinkson Johnson 11. Something in the Way She Moves 12. Ballad of Obray Ramsey 13. Touch Her If You Can [Mix] |
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Play To Love Play Tell Me Why Songs on this album are: 1. Woodstock 2. And When She Smiles (She Makes the Sun Shine) 3. Even As 4. Something in the Way She Moves 5. Blood Red Roses 6. Watch 7. Tell Me Why 8. Southern Comfort 9. Mare, Take Me Home 10. Sylvie 11. Ballad of Obray Ramsey 12. To Love 13. I've Lost You 14. Once upon a Lifetime 15. My Lady 16. Road to Ronderlin This CD is out of print and is a collector's item. | | With his previous outing, the overly polished Siamese Friends (1979), Ian Matthews failed to capitalize on the Top 20 success of "Shake It," from his 1978 release, Stealin' Home. He quickly returned the following year with a new U.S. label, a new direction, and a new album, Spot of Interference. His third straight record produced by Sandy Roberton, Spot of Interference leaves behind the MOR feel that had dominated his last four or five years, in favor of a power pop and new wave sound that fits him curiously well. Aside from pairing once again with Roberton, he also continues his work with Siamese Friends songwriting collaborators and musicians Bob Metzger and Mark Griffiths. These teamings yield some fine moments and performances, but it's covers like the frenetic pop/rock of "I Survived the '70s" and Jules Shear's "Driftwood From Disaster" that push Matthews, as well as his ordinarily sweet tenor, to the limit. And though this may seem a bit out of character, he never comes off like a misplaced folkie. Other highlights include former bandmate Richard Thompson's social rant, "Civilisation," as well as an updated version of the Left Banke's "She May Call You Up Tonight," which sounds as fresh here as it did in 1967. His one and only release for RSO Records, Spot of Interference was Matthews' best album since Some Days You Eat the Bear and Some Days the Bear Eats You in 1974. Brett Hartenbach - AllMusicGuide.com Play I Survived the 70s Play I Can't Fade Away Play Samples of the entire album Songs on this album are: 1 I Survived the '70s 2 She May Call You Up Tonight 3 I Can't Fade Away 4 The Hurt 5 Driftwood From Disaster 6 Why Am I 7 No Time at All 8 For the Lonely Hunter 9 See Me 10 Civilisation 11 What Do I Do
Purchase This CD from Iain's web site |
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Produced by Norbert Putnam and Glen Spreen recorded at Quadafonic Sound Studio, Nashville, Tenn. 1976. Play Rhythm of the West Play When the Morning Comes Play Samples of the entire album Songs on this album are: 1 Darkness, Darkness 2 I'll Be Gone 3 Brown Eyed Girl 4 Rhythm of the West 5 Groovin' 6 Lonely Hunter 7 Steamboat 8 A Fool Like You 9 Just One Look 10 When the Morning Comes | | Produced by Iain Matthews and Plainsong Plainsong is Iain Matthews, Andy Roberts, Julian Dawson, Mark Griffiths. This is the reunion album from 1992. Play Nothing's Changed Play Breaking The Bones of The World Play Samples of the entire alum songs on this album are: Nothing's changed Unusual girl Breaking the bones of the world Under the volcano Jenny Say a prayer Sweet Amelia If I needed rain Evening sun Welcome to London town The dream goes on Towie Bluebird morning Next time around Toscanini's darkhorse Breaking the bones of the world (single-version)
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produced, recorded and mixed by John Wood at the Congress House Studio, Austin, TX - 1999. Play I Can't Let Go Play Follow My Tears Play Samples of the entire album Songs on this album are I can't let go Following Amelia Stranded Ricochet Believing in you Follow my tears Valley got a new dog What's wrong with this picture? Footsteps fall Penny Black The wrong track Another country
Purchase This CD from Iain's web site | | Recorded 4-16 November 2002 at Shutteroaks Cottage, Somerset, England. Engineered and mixed by Andy Metcalfe produced by Andy Metcalfe and Plainsong. Play Changing of the Guard Play Barbed Wire Fence Play Samples of the entire album Songs on this album are: 1. Milarepa's Song 2. Changing Of The Guard 3. Numbers 4. Here Comes The Rain 5. Needle In The Hay 6. Poor Moon 7. Barbed Wire Fence 8. Sloth 9. All New people 10. Like A Cat 11 .Ballad Of Frankie Frame 12. Blossom
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Produced by Plainsong - recorded at Tosh Studio, Little Glenham / Soundback Studio, Ipswich / Springvale Studio, Sproughton Play Pilgrims Play Baby's Calling Me Home Play Samples of the entire album Songs on this album are: Pilgrims Spirits I love this town People's Park Reality Can't explain Spanish Town Roll away the stone Freedom of the highway Mountshannon Baby's calling me home Falling Stars Loser's lounge
Not available on CD | | Produced by Jim Fogerty and Walt Rich. Engineered and mixed by Walt Rich. Recorded and mixed at Rich Sound Studio, Broomall, Pa., February-June 2000. All songs by Sandy Denny - arranged by No Grey Faith. No Grey Faith is: Iain Matthews - vocals, guitar, percussion Lindsay Gilmour - vocals, pennywhistle Jim Fogarty - acoustic and electric guitars, mandolin, dobro, accordion, ambient loops Walt Rich - basses(fretted and fretless) Roger Cox - drums and percussion Jack McTamney - background vocals Ted The Fiddler - violin Play Rising For The Moon Play Winter Winds Play Samples of the entire album Songs on this album are: Who Knows Where The Time Goes. Intro Rising For The Moon One Way Donkey Ride Bushes And Briars By The Time It Gets Dark It'll Take A Long Long Time Winter Winds Who Knows Where The Time Goes. Interlude Listen, Listen Solo I'm A Dreamer Autopsy Who Knows Where The Time Goes.Reprise The Music Weaver |
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Play All the Way Play Home on the Highway Play Samples of the entire album Songs on this album are: 1. All the Way 2. Heart of a Man 3. Rerun Matinee 4. Home on the Highway 5. Bird of Paradise 6. Meaning to Life 7. Anchor 8. Bottom Crawl 9. Sing Sister Sing 10. Sweet Old Life 11. Witness 12. A Beautiful Lie 13. Fall into the Night 14. Lamb in Armour 15. More than a Song to Sing
Purchase This CD from Iain's web site | | Play Shadowbox Play London Girl Play Samples of the entire album Songs on this album are: 1. Apple Pie 2. Imperfect Angel 3. Shadowbox 4. One That Got Away 5. The Taker 6. Jewel 7. Backstreet Girl 8. Second Hand Love 9. Eye on the Road 10. On the Inside 11. London Girl 12. Evening Sun 13. Destiny Is Following You
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Play Triggerman Play Changes Play Samples of the entire album Songs on theis album are: 1. The Beat I Walk 2. Triggerman 3. Just One Look 4. Rooted to the Spot 5. Cover Girl 6. Shake It 7. Changes 8. Where the Big Dogs Run 9. I Don't Wanna Talk About It 10. Get It Back 11. And It Stoned Me 12. Back of the Bus
Purchase This CD from Iain's web site | | Play Me About You Play Except for a Tear Play Samples of the entire album Songs on this album are: 1. Me About You 2. Woodstock 3. Hearts 4. Home 5. Never Ending 6. I'll Fly Away 7. Sing Senorita 8. On the Beach 9. This Fabrication 10. Except for a Tear 11. Next Time Around 12. God's Empty Chair 13. Jacques and Tamboo 14. Spirits 15. Sing Sister Sing |
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Play Wild Places Play Tomorrow Falls On Saturday Play Samples of the entire album Songs on this album are: 1. Shorting Out 2. Views (Dance Goes On) 3. Wild Places 4. Indiscreet 5. Wish 6. Driver 7. Tomorrow Falls On Saturday 8. Fear Strikes Out 9. Over, Under, Sideways, Down 10. Room Service Purchase This CD from Iain's web site | ||
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| Iain Matthews' Story Matthews came of age as pop music did, making his first records in the cultural hothouse of London in the sixties. His background was working class Lincolnshire, straight out of the industrial heartland of England, where his stepfather--“a man who would put salt on his oats in the morning rather than sugar”--approximated a living by cleaning blast furnaces and applying “his weapon of choice, a thick leather belt” to his sons. As a boy, Matthews was routinely confined to his room at night to prevent fights with his two younger half-brothers. There he would read and lose himself in the fifties pop of Alma Cogan and Johnnie Ray. At fifteen he bungled a tryout for Bradford Park Avenue football club, “a team from Yorkshire, floundering near the foot of the third division north,” ending his dream of a footballing career. From then on it was music that he increasingly turned to for escape. “Iain has one of the best and most distinctive voices in popular music, and also one of the most recognisable musical styles. He has written some fabulous songs, and turned himself into a bloody good guitar player. Of all the soccer players turned musicians, he knocks spots off Julio Inglesias.” Richard Thompson Matthews had already learned to sing harmony, from the Sundays when his parents would leave the three boys in the care of the Salvation Army. Departing school, where only literature classes and football had ever held his attention, he apprenticed to a sign painter and would sing along to the radio in the shop. At the same time he began taking the train to London, going into debt to buy clothes on Carnaby Street, to buy records and see concerts by US soul singers like Otis Redding, Joe Tex, and James Brown. Back in Lincolnshire, Matthews decided to give singing a proper try. He called up the leader of a local band, the Rebels, “and just went along to a practice. I sang a couple songs with them and I was in, just like that.” Word spread about Matthews’ vocal ability and soon he was recruited by the Classics, and later the Imps, “Scunthorpe’s premier rock band.” And then in 1966 he left Lincolnshire for good, moving to London and eventually landing a job in Ravel’s shoe shop in Carnaby Street. It was there, in the absolute epicenter of the revolution that was London in the mid-sixties, that Matthews met Radio Caroline employee and future friend, John Hayes. Matthews at the time was still using his stepfather’s surname and was known as Ian MacDonald. Hayes introduced him to Steve Hiett and Al Jackson, lead singers of the California-style pop band Pyramid, and Matthews joined for two singles, “The Summer of Last Year,” a radio hit in the summer of 1967, and the unreleased “Me About You.” At this point the band’s manager dumped Pyramid in favor of Deram’s other blossoming act, Procol Harem, and Pyramid fell apart in the aftermath. Nonetheless it was Hiett who played a crucial role in the next phase of Matthews’ career. Hiett was in the Deram offices in late 1967 when bassist Ashley Hutchings phoned, looking for a male vocalist to complement lead singer Judy Dyble in a fledgling band named Fairport Convention. At the time they had a sound that BBC presenter Bob Harris remembers as “a cross between Jefferson Airplane and the Byrds.” Hiett suggested Matthews for the band and the combination clicked. “I played with Iain in Fairport Convention in the late 1960s, when he and Sandy Denny formed an incomparable and stunning vocal pairing.Since then I've only worked with him occasionally. More's the pity. But what I can say with complete confidence is that his commitment to music has always been total, his attention to detail is legendary and his standards are always of the highest calibre. And his voice, like his youthful good looks, never seems to age. Curse him!” Ashley Hutchings Matthews joined Fairport for their first Joe Boyd-produced single, “If I Had a Ribbon Bow,” and their eponymous debut album (1968), which includes the Emmit Rhodes composition, “Time Will Show the Wiser.” As well as Hutchings, Dyble, and Matthews, the band at this time also included guitarist/singer/songwriters Simon Nicol and Richard Thompson, giving it one of the deepest pools of talent in the history of pop music. That pool got still deeper when Sandy Denny replaced Dyble for the band’s second album, What We Did On Our Holidays (1969). This recording, considered by many to be their finest, includes Richard Thompson’s classic “Meet on the Ledge,” and Matthews’ “Book Song.” Fairport’s popularity was soaring, but Matthews--now using his mother’s maiden name, partly to escape associations with his stepfather and partly to distinguish himself from the Ian McDonald who played woodwinds and keyboards with King Crimson--found himself unhappy with the band’s direction. Rather than building on the formidable talents of its songwriters, Fairport was turning increasingly to the revival of traditional English folk music. Matthews contributed to only a single track, a cover of Dylan’s “Percy’s Song,” on Fairport’s third album, Unhalfbricking (1969). Then, in what would turn out to be the first of many similar decisions, Matthews turned his back on Fairport’s success and departed to record a solo album. “I have to confess, when Iain left Fairport in 1969, I had no idea what he might do with his life and his career. He seemed to me at the time like a pop singer with a good voice, who'd been drawn into a group of middle class folkies, with a completely different set of ideas to his. When he turned into a thoughtful singer/songwriter and bandleader, I was surprised. Shame on me!Iain has always made choices that challenge him and teach him new things. Now listening to his discoveries I learn things I didn't know I needed to.Hearing him this year at Cropredy brought back to me what a great group early Fairport was and what a wonderful singer he is.” Joe Boyd For his first solo project, the country-tinged Matthews’ Southern Comfort (1969), Matthews recruited Thompson, Nicol, and Hutchings from Fairport, along with drummer Gerry Conway (of Fotheringay and later incarnations of Fairport), pedal steel guitarist Gordon Huntley, and others. The hitmaking team of Ken Howard and Alan Blaikley, who’d crafted songs for the likes of the Honeycombs, the Herd, and Dave Dee, offered to produce and write the album, and secured Matthews a deal with MCA’s UNI label. Matthews, who’d begun to play guitar during the his days with Fairport, “but only at home and quite spastically,” wanted to contribute to the writing himself, and was concerned that Howard and Blaikley’s reputation as pop Svengalis might hurt the album’s reception. As a compromise, Howard and Blaikley used the pseudonym Steve Barlby for their songwriting as well as the co-production credit they eventually took. Matthews wrote or cowrote half the album’s material, including the rockabilly “Dream Song,” which he says is “the only track I can still bear to listen to from that album.” Matthews wasn’t ready to take the spotlight all to himself, and so turned the project into a touring group, retaining only Huntley on pedal steel from the studio sessions. The rest of the final lineup, introduced to him by fellow folkie and lifetime friend Marc Ellington, included American guitarist and songwriter Carl Barnwell and lead player Mark Griffiths, both from the progressive rock band Harsh Reality, and later on, Pyramid bassist Andy Leigh and ex-Marmalade drummer Ray Duffy. The band recorded two acclaimed albums: Second Spring (1970), which featured Ian and Sylvia’s “Southern Comfort” (the source of the band’s name), James Taylor’s “Something In The Way She Moves,”and Steve Gillette and Tom Campbell’s “Darcy Farrow”; and Later That Same Year (1970), including Matthews’ “And Me” and Neil Young’s “Tell Me Why.” As well as contributions from Carl Barnwell, both albums showcased Matthews’ ear for outside talent, as he covered songs by Jesse Winchester, Goffin and King, and others. By Later That Same Year the band was in a groove, and outtakes from those sessions turned up on the 1994 Scion compilation of rarities and BBC broadcasts, among them “Touch Her If You Can” by Rodney Dillard and Mitch Jayne. It was yet another cover song, a single of Joni Mitchell’s “Woodstock,” that not only took Matthews Southern Comfort to the heights, but proved its undoing. Matthews was as surprised as anyone when the song reached number one on the British charts and the band found themselves on BBC’s Top of the Pops. From the stage, Matthews pictured the teenage audience wondering, “Who the hell are these guys?” and the success that he had so carefully orchestrated suddenly seemed to be the last thing he wanted, the antithesis of the artistic ambitions that had driven him away from Fairport Convention. As Matthews’ confidence faded, Barnwell was more than willing to step forward, and “it all came to a head after a dreadful soundcheck at Birmingham town hall. I left the building, walked down to the station, got on a train home and locked my door for a week.” Southern Comfort, sans Matthews, went on to record three more albums, with no real success, then folded in the early 70s. “The first time I heard Iain Matthews I sensed a kindred spirit. One who seeks out the really good stuff and suffers fools as little as possible. A restless soul rarely satisfied with his work, ever tinkering with it to keep it fresh both to himself and his audience. A probing songwriter and one of the best interpreters of the songs of others. And more prolific than I suspect either of us anticipated when we first got to know each other over 30 years ago.” Michael Tearson On his own again, Matthews hooked up with Vertigo Records and former Yardbird Paul Samwell-Smith, who signed on to produce his next album and in the process introduced him to Andy Roberts, an up-and-coming London musician who’d done an art college stint in Liverpool. After a difficult start, Matthews took over the production himself and created one of the most acclaimed albums of his career in If You Could See Thro’ My Eyes (1971). Armed with original songs like “Desert Inn” and “Thro’ My Eyes” and backed by Roberts, Richard Thompson, Sandy Denny, Keith Tippet (King Crimson), Tim Renwick (Al Stewart, Elton John, Pink Floyd), and other legendary British performers, Matthews seemed, for a moment, to have found a comfortable balance of autonomy, support, creativity, and success. He’d also discovered Richard Farina, two of whose songs (“Morgan the Pirate” and “Reno Nevada”) appear on the album. Shortly after he finished the album, Matthews appeared on a BBC radio broadcast with a band that included Thompson and Roberts, performing Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry,” among others. Matthews recorded a highly regarded follow-up for Vertigo, Tigers Will Survive (1972), with Roberts and various studio musicians. Again, Matthews’ own compositions predominate, though excellent covers include “Close the Door Lightly When You Go” by Eric Anderson, Farina’s “House Un-American Activity Blues Dream,” and the Phil Spector/Crystals chestnut, “Da Doo Ron Ron,” which became a minor hit in the US. Midway through recording, Matthews toured America with a band made up of Roberts, Thompson (who had just left Fairport), and bassist/keyboardist Bob Ronga. Once again Matthews sensed the urge for something more permanent, and pushed to keep the group together. Thompson bowed out, but the band, now calling themselves Plainsong, switched Ronga to guitar and found a worthy replacement in Dave Richards, formerly of Everyone. Vertigo was less interested in Plainsong than in another Matthews solo record, and the result was a contractual obligation album, recorded in five days. Musical support came from Roberts and several studio players, and the songs ranged from covers such as Jimmy Webb’s “Met Her On a Plane” to Matthews originals like “Knowing the Game” to outtakes such as the Flying Burrito Brothers’ “Devil in Disguise.” Though the finished product is quite strong, Vertigo sold the masters and Journeys from Gospel Oak didn’t appear until 1974 on Mooncrest/Charisma, a label in which the album’s producer, Sandy Roberton, had an interest. Free now to start again, Matthews put his energy into Plainsong, who signed with Elektra to produce the landmark In Search of Amelia Earhart (1972). Matthews’ “True Story of Amelia Earhart’s Last Night” is one of two songs about the lost aviator on the album, that grew out of Matthews’ voracious reading, a practice that was having an increasing influence on his songwriting. Matthews was also using his reading to feed the spiritual side of his nature, a side that’s visible in “Even the Guiding Light,” an answer to Thompson’s “Meet on the Ledge.” The album also includes the Matthews original “For the Second Time.” As well as touring, the band did the requisite BBC tapings, collected on the album On Air (1992) and including Gene Clark’s “Spanish Guitar.” “Thank you for the enjoyment your music has given me through the past thirty five years, music which has become deeply woven into the fabric of my life. Since 1970 our paths have crossed many times. My programmes on the BBC began just as ‘Woodstock’ was propelling you into the charts. I was a big supporter of Matthews Southern Comfort and hosted radio sessions with Plainsong, with whom you released the wonderful In Search of Amelia Earhart album in 1972. We’ve talked at length on the radio many times through the years and you’ve played live on many of my shows. This collection is testament to the sustained high quality of the recordings you’ve made throughout the past 35 years, as well as being the definitive demonstration of determined personal survival. In both respects it’s a fantastic achievement.” Bob Harris Bob Ronga, battling alcohol problems, left just before the band returned to the studio for their second album, originally to be titled Now We Are Three in homage to A. A. Milne. Immeadiately after the recording, Matthews handed in his notice as well. A salvaged version of the album eventually appeared in 1994 as And That’s That, including the Bruce “Utah” Philips song “Goodnight-Loving Trail.” At this point, with Plainsong in disarray, an alternate plan arrived via Mike Nesmith, whose post-Monkee solo albums had met with considerable praise for their adventurousness and musicality. Elektra chief Jac Holzman had recruited Nesmith as producer on Matthews’ behalf, and Matthews jumped at the chance to start over in California, home of so much of the music he loved. Valley Hi (1973) included the Matthews’ arrangement of the traditional “Old Man at the Mill” and a version of Steve Young’s “Seven Bridges Road” so definitive that you can hear the Eagles recreate it on their 1980 live album. “Iain Matthew's is a brilliant musician and an arranger for the ages . Iain's version of my song ‘Seven Bridges Road’ is by far the best.” Steve Young Dissatisfied with the progressive country sound of the album, Matthews once again took back the production reins and chose the musicians himself for the follow-up, Some Days You Eat the Bear and Some Days the Bear Eats You (1974), crack session men like guitarists Jeff “Skunk” Baxter, on his way from Steely Dan to the Doobie Brothers, and David Lindley of Kaleidescope and Jackson Browne’s band. Along with a rerecorded version of Valley Hi’s “Keep on Sailing” (here in a third, live version) the record also includes Tom Waits’ “Ol’ 55” (again beating the Eagles to the punch) and Matthews’ own “Wailing Goodbye.” A fine Richard Thompson number, “Poor Ditching Boy,” was dropped to make room for “Ol’ 55.” Although Matthews was pleased with the results, Elektra was disappointed with the sales and pushed for more control, matching Matthews with Emmit Rhodes as producer. Unfortunately, Elektra didn’t like the demo they produced, which included George Harrison’s “So Sad” and the Matthews original “For the Lonely Hunter.” After Elektra dropped him, Matthews tried to shop “Hunter” to the Flying Burrito Brothers and instead ended up with the Burritos’ producer, Norbert Putnam, signing him to CBS for two albums. He recorded the first, Go For Broke (1976), in Nashville, using the famous “Area Code 615” session musicians for his cover of Van Morrison’s “Brown Eyed Girl.” One of the most significant aspects of the sessions was the strong connection Matthews made with guitarist Jay Lacy, with whom he co-wrote the majority of the songs on the follow up, Hit and Run (1977). Nick Venet (Beach Boys, Fred Neil) produced, with most of the basic tracks, like Terry Reid’s “The Frame” and the Matthews/Lacy collaboration “Just One Look." “Tigers Will Survive” captures a first draft of the Hit and Run band, before real work on the album began. Both versions of the band included a reed player, Steven Hooks, reflecting the influence of the jazz albums that the musically omnivorous Matthews was devouring at the time (and continues to love to this day). Hit and Run had a sound that was difficult to market, however, and again Matthews found himself without a label. “For me one of the most interesting things about Iain’s work is that while the records are very much part of the time they were made, they still have the immediacy, vitality and power that blew you away the first time you heard them. “I’ve got to say at times I find it hard to reconcile this amazing mass of outstanding work with the same guy who’s been part of the life of our family for over 30 years. While the old memory can get a bit hazy at times, the instant I put on one of those early tracks the magic comes storming back. “Allow me to let you in on something. While Iain might be adventurous and a real risk taker when it comes to music, one mention of the possibility of heading off for a days sailing and it’s amazing the number of seemingly credible excuses he can come up with: ‘The dog needs clipping,’ ‘I’ve got to wash my hair,’ ‘I need to meditate.’ This from a man who instructed us all, in no uncertain terms, to ‘Keep on Sailing.’ “This anthology has been a long time coming - thanks, Iain, and by the way what are you doing next weekend? The forecast’s great and we’re thinking of taking the boat up to Cromarty.” Marc Ellington Eventually Sandy Roberton came to the rescue and offered to sign Matthews to his new Rockburgh label. The majority of the songs on the resulting album, Stealin’ Home (1978), were covers, and one of them, Terence Boylan’s “Shake It,” became Matthews’ best selling US single, cracking the Top 10. Robert Palmer’s “Gimme an Inch” also charted; Matthews’ composition “Stealin’ Home” and John Martyn’s “Man In the Station” were also highlights from this set. With Matthews poised for even greater US success, trouble appeared from an unexpected quarter. Roberton had licensed the North American rights for the album to the small Canadian label Mushroom, who’d launched the band Heart. When Mushroom’s founder and owner, Shelly Siegel, died suddenly, the label stayed in business but lost all momentum. It released Matthews’ next record, Siamese Friends (1979), but failed to provide the necessary support. With Mark Griffiths from Matthews Southern Comfort co-writing, as on “Heatwave,” and with superior Matthews originals like “You Don’t See Me,” the album deserved better exposure than it got. Roberton and Matthews produced two more albums in 1980. The first, Spot of Interference, was new wave-influenced and backed by the latest incarnation of Matthews’ touring band, known at the time as the Insults, and consisting of Mark Griffiths and Bob Metzger on guitars, Dave Wintour on bass, and Argent’s Bob Henrit on drums. Most of the original songs were collaborations between Matthews and Griffiths, but “The Hurt” was Matthews writing solo, and “She May Call You Up Tonight” is by the Left Banke’s Michael Brown and Steve Martin. The album was not a success commercially or critically, and Roberton and Matthews followed it with a double album of the best of the post-Matthews Southern Comfort era, Discreet Repeat. By 1981 Rockburgh had disappeared. It was the beginning of a new decade, and a darker, more materialistic mood took hold of America as Ronald Reagan moved into the White House. Matthews had been struggling for nearly 15 years now and was still living hand to mouth, with nothing to show for his efforts but a string of out-of-print albums, and the loyalty of those musicians and fans who shared his vision. More or less on a whim, Matthews abandoned LA for Seattle, where he met vocalist David Surkamp, late of Pavlov’s Dog. The two formed Hi-Fi, an 80s guitar band that included Bruce Hazen on guitar, Garey Shelton on bass, and Bob Briley on drums. They produced a live mini-album, the Hi-Fi Demonstration Record (1981), as well as a full length studio album, Moods for Mallards (1982), on which they covered Prince’s “When U Were Mine.” “Iain’s voice and music have been with me since my teen-aged years, long before we became friends. I first heard his voice on a pirate radio station late at night, broadcast from Little Rock, singing ‘Meet On The Ledge’ with Fairport. I was staggered by the beauty and soul of the performance. I even drove to Illinois a few years later to see Southern Comfort, only to find Iain had already left the band. “After I relocated to Seattle, we became acquainted, and then fast friends. Our diverse talents melded (most say oddly) in a wonderful guitar band we christened Hi-Fi. It remains one of my favorite musical experiences, a raw blend of guts’n’glory rock music. Although there were few hints of Iain’s folk-rock past, or my progressive rock leanings, I think something special happened each time the band took stage. We shared lead vocals, and I would get shivers every time I would turn stage right and see Iain (eyes closed) singing the living daylights out of every lyric that came his way. Absolutely the most gifted singer I have ever heard up close.” David Surkamp Hi-Fi recorded “I’d Better Not Stay,” co-written by Surkamp (who’d left the band at this point) and keyboard player Doug Rayburn (who’d replaced him), as well as three other songs toward a third album, but it was clear that Surkamp had been vital to the band and it simply could not continue without him. “I first met Iain when Hi-Fi was formed in 1980 . I was thrilled by his voice and savvy song selection. Hi-Fi is still remembered by contemporaries as the best group of that time and place. To this day I get approached by folks who say ‘Didn't I see you at Astor Park with Iain and those other guys?’ “I learned important lessons from Iain. Some of the time I was with him, I'd be frustrated by his occasional reluctance to go with something that would get us in the pop charts...but I know now that music, and your muse, are more important than that. They say it's the song, not the singer; in Iain's case, you can safely reverse this.” Bruce Hazen Every downward trajectory has a lowest point, and Matthews reached his with Shook (1984). Roberton was clearly still trying to break Matthews to a larger audience, and had brought him back to England for another try, but Matthews himself seemed to have lost his spark (despite the evidence of “Wish,” which Matthews co-wrote with friend Joe Hadlock). Polydor’s German division released the album, but with no label in the US or the UK interested, Matthews went back to California, sold his guitars, and got an A&R job with Island records. Two years passed. In August of 1986 Matthews agreed to appear at Fairport Convention’s annual Cropredy Festival in Oxforshire. On the flight over his emotions were chaotic: excitement over playing again; nerves due to his long layoff; and underneath everything else the fear that the trip would end in yet more disappointment. It proved the opposite. The audience reaction to his set with Fairport, and to the climactic acapella version of “Woodstock” in which he blended his voice with those of Christine Collister, Clive Gregson, and Richard Thompson, made it overwhelmingly clear that Matthews’ voice had been missed. At the time he was working for new age label Windham Hill, an association that would prove increasingly untenable. Nonetheless, at the end of his A&R stay he convinced them to sign him for a vocal album that would include electronic overlays by various keyboard players and arrangers such as Van Dyke Parks, Fred Simon, and Patrick O’Hearn. After considering several other candidates, Matthews decided to make the album a tribute to the comparatively unknown songwriter Jules Shear (Jules and the Polar Bears), and worked up an extensive demo tape with producer Mark Hallman in Austin, Texas, that featured “Lovers By Rote,” among others. The finished album, Walking a Changing Line (1988), also includes “Following Every Finger” and “On Squirrel Hill.” Clearly Windham Hill and cover tunes were a way to make a comeback, but hardly a long-term career path. Collaborating with Hallman, however, seemed to hold considerable potential, and the two (with Craig Negoescu on keyboards) toured in 1988, recording a live album at New York’s Bottom Line, Nights in Manhattan, that appeared on the German independent label Taxim Records in 1991. The tour and the working relationship with Hallman went so well that in September of 1989 Matthews relocated to Austin. “I am still hazy about how he found me and, I must admit, I was flattered as I had worn out several of his records during the early seventies. He must have had a hunch about me, because he took a plane to Austin from Los Angeles to check me out. It was quickly obvious that we had found kindred spirits in each other. We immediately began recording demos for what was to become Walking A Changing Line. We had a blast and, I think he would agree, got some wonderful musical results. From there, we journeyed to Los Angeles, recorded the record, did some tours, recorded some more records, did some more tours and developed an enduring friendship in spite of it. I am proud of our musical endeavors and happy to have become a part of Iain's musical history.” Mark Hallman What seemed at the time to be just one more restless move proved the beginning of the most fruitful phase of Matthews’ career as a songwriter. He began playing live with Hallman, and the two of them recorded a cassette-only album that Matthews sold at shows. Landing a deal with the independent label Goldcastle, he began work on Pure and Crooked (1990), a classic album chock-full of Matthews originals like “The Rains of ’62,” “Like Dominoes,” and “Perfect Timing.” To fill the lead guitar slot, Hallman brought in Austinite Bradley Kopp, whose superb tremolo-bar inflections were a mainstay of Matthews live shows and recordings throughout the nineties. Also on this album Iain returned to the Gaelic spelling of his first name, completing his transformation from the introverted footballer Ian MacDonald to an artist of his own creation. “I met Iain Matthews in 1987. In the hundred thousand plus miles that we've traveled together since then, I've come to know Iain as one of the all time great male vocalists, possessing an uncanny ability for finding and recognizing great songs and making them his. I've watched Iain go from being an excellent interpreter of songs to an excellent writer of songs who unabashedly addresses his most personal experiences musically and lyrically--which, in my opinion, makes him the writer of real songs.” Bradley Kopp Matthews’ songwriting continued to flower on Skeleton Keys (1992), which came out on Germany’s Line Records after Goldcastle folded. For the first time in his career Matthews was appearing on stage alone, and this new confidence and maturity are evident in songs like “Living in Reverse,” “Timing,” and “God’s Empty Chair,” a tribute to Miles Davis. Hallman suggested the more acoustic instrumentation on the album, the first made up entirely of Matthews originals. Later that year Matthews appeared with Andy Roberts at the Cambridge Folk Festival, and the collaboration led almost inevitably to thoughts of reforming Plainsong. Mark Griffiths was an obvious choice for the new lineup, which was completed by English singer/songwriter Julian Dawson, whom Matthews and Roberts had met at another English festival. Matthews was the major contributor of material for Dark Side of the Room (1992), remaking his own “And Me” as “Say a Prayer,” and writing “Towie” with Griffiths and “Unusual Girl” with Dawson (heard here in a dance mix that Line records vetoed as a single). “I was sixteen the year that Matthew's Southern Comfort’s haunting version of ‘Woodstock’ was a hit - I loved the sound, bought it right away and soon after the album Second Spring too. Though it was an English record, I think it qualified as the first ‘West Coast’ sounding music I'd heard - pedal steel, banjo and those lovely layered harmonies. I stayed a fan of Iain's California albums and was a very happy man years later when he asked me to join Plainsong. Singing with him is like dancing with Nureyev (without the tights, of course). I'm proud to be a small part of the story....” Julian Dawson During this period Matthews began to release various small-label collections, including two volumes of Orphans and Outcasts (1991 and 1993), made up of outtakes and rarities, and two volumes of The Notebook Series (1992 and 1993), consisting of demos recorded directly to digital tape. In addition Elektra issued The Soul of Many Places (1993), selecting highlights from his years at the label. The real action, however, was with Plainsong, and Voices Electric (1994) showed the band at its finest. Matthews contributed four songs, including “Voices” and “Christophoro’s Eyes,” the latter again a product of his eclectic reading habits. The band came to Austin so that Mark Hallman could produce. Fully energized, Matthews then created what may be his masterpiece, the brooding and confrontational Dark Ride (1994) on Austin’s Watermelon Records. Blending originals like “I Drove,” collaborations like “Girl With the Clouds In Her Eyes” (with Austin songwriter Michael Fracasso and Hallman), and covers like “Morning Glory” (by Larry Beckett and Tim Buckley), he achieved his goal of creating a deeply personal yet musically powerful statement. One of Matthews’ most impressive characteristics is his enthusiasm for other artists. He was so taken with the work of Michael Fracasso that the two formed the nexus of a new band, Hamilton Pool, which also put Hallman in a featured role. After a long period of discussion and demos (like Matthews’ “Restless Wings”), the band released Return to Zero (1995?), which includes two other Matthews’ originals, “Imperfect Angel” and “On the Inside.” A lack of national attention combined with the pull of individual careers put massive stress on the band. Though they reconfigured themselves as a four-piece, adding Austin songwriter and guitarist David Halley. With producer Hallman now playing bass and drums as well as guitar, the band only succeeded in recording a handful of songs toward a second album (like Matthews’ “Horse Left In the Rain”) before breaking up. Despite conflicts with the dying Watermelon label, Matthews next solo album, God Looked Down (1996), is much of a piece with his other Austin work: excellent writing from Matthews (all songs are originals) on tracks like “The Beat I Walk,” “Alone Again Blues,” and the outtake “Something Mighty”; pristine production by Mark Hallman; and tasty playing by Kopp, David Grissom,(Joe Ely band) drummer Chris Searles, and others. And finally there was Plainsong again, though the fire had gone out of the new lineup on Sister Flute (1996), which included Matthews’ compositions “People’s Park” (a tribute to Woody Guthrie) and “Spirits,” heard here in a solo version left over from the Live Wham taping. Dawson departed to concentrate on his solo career, and Clive Gregson (of Any Trouble, Gregson and Collister, and Richard Thompson’s band) stepped in. “Back of the Bus” is from the limited edition Live in Austria EP (1998). This same lineup went on to record New Place Now (1999) in Austin with producer John Wood, leading off with the Chip Taylor/Al Gorgoni hit for the Hollies, “I Can’t Let Go.” Another cover song, one of four ultimately dropped from the album, was Boo Hewerdine’s “Your Own Way of Forgetting.” "I was still at school (sorry, Iain!) when I first heard Iain's voice. My mate lent me the Best of Matthews Southern Comfort album and I played it to death. I was instantly taken by the the sheer quality of Iain's singing, the inspired choice of songs, the subtle arrangements and the high standard of musicianship. These are all things that have stayed with Iain throughout his career and he has a discography that most artists would kill for. Back in school, I never thought for one moment that one day I would be on stage with Plainsong, standing next to the owner of that glorious voice. A privilege!" Clive Gregson Somehow Matthews found time during all this to record a children’s song, “Jacques and Tambo,” backed only by Hallman and Kopp, for the album The Remembering (1997), and to do a version of “Flower Lady,” with Kopp, for the Phil Ochs tribute album What’s That I Hear? (1998). Iain’s next solo album, Excerpts From Swine Lake (1999), began to take shape in Clive Gregson’s basement, where he recorded the demo “Even If It Kills Me.” This album was the first on which Bradley Kopp handled production, and the transition was seamless, as “Dance of Fate” clearly shows. Kopp also produced the anagrammatically titled follow-up, A Tiniest Wham (2000), which employed the driving acoustic sound of much of Matthews’ previous Austin work. Using yet another new conbination of session players, with dynamic standup bass work by Jude Weber and magnificent mandolin and slide accompanyment by longtime east coast friend, Jim Fogarty, Matthews drew inspiration from the likes of Django Reinhardt and the Louvin Brothers. This outstanding album includes a collaboration with Fracasso, “Like Mercury,” and Matthews’ originals “Our Secret Storm” and “Funk and Fire.” His voice has a rougher edge on these songs, and the reason is not hard to pinpoint. After over a decade of peace and productivity, the time had come for Matthews to leave Texas and return to Europe. The move had economic reasons as well as personal ones. Matthews’ core audience remained on the Continent, and he was no longer able to support himself by touring the US. As if to drive home the point, the German and original UK releases of Tiniest Wham included a bonus live CD, A Live Wham, recorded during a successful tour of Germany and featuring superb renditions of songs like “Cover Girl.” Relocating to Amsterdam, Matthews began playing numerous live shows with talented Dutch multi-instrumentalist, singer, and songwriter Ad Vanderveen. “Ballad of Gruene Hall,” commemorating a South Texas institution, comes from a self-released live CD, The Iain AdVenture (2000). Matthews also played a few shows with newfound friend Peter Slager and the hugely popular Dutch band BLØF. I came so far for beauty I left so much behind: My patience and my family My masterpiece unsigned (“Came So far For Beauty,” Leonard Cohen) “Leonard Cohen lyrics that to me characterize Iain Matthews. “I’ll try to explain why. We met at a party in Gorinchem. I knew that Iain Matthews was a songwriter, but that was about it. That night we had a long conversation about music, including ours. I knew that Iain had played in Fairport Convention and Matthews Southern Comfort, but with his impressive series of solo CDs Iain Matthews most of all is Iain Matthews. I understood this was not just another musician, but a real one: To Iain music always comes first. “For the past 35 years he travelled the whole world with his guitar to play and sing his songs. A sort of wanderer of the soul, which appealed to me, and we stayed in touch. Iain is an Englishman (and an ardent Manchester United fan), but for years he had been living in the United States of Fucking America, as he called them. Something told me he wanted to leave, which proved to be right as he came to live in the Netherlands not much later. BLØF, my band, asked him to come along on a tour. He would play on his own with his guitar, which to me still is the purest form of making music. Often I was on the side of the stage watching him play for young people that mostly never heard of him before and silence them with his songs. “Except for that one night in Delft, must have been June 16th. After having played 3 songs, people in the audience were still talking through his music and he walked off the stage. ‘Fuck it, it's my birthday, and I’m not gonna do this,’ he said. A man after my own heart. “For the encores of these shows we used to do a song together: ‘Something Mighty.’ It was an honour and a privilige to play together and I hope one day I’ll accompany him again. It has become clear to me that musicians and songwriters like Iain Matthews are of a dying species. He’s made dozens of records and, if I know him well, he’s going to make lots more. “It’s hardly his own choice, I think he just has to. Nowadays, who goes that far for the beauty of a song? He came so far for beauty...” Peter Slager Collaboration has been the theme of the last two years. Matthews formed the Sandy Denny tribute band No Grey Faith with Jim Fogarty, who played on Tiniest Wham, and singer Lindsay Gilmour. The resulting album, Secrets All Told (2000), includes Denny’s “Rising For the Moon”; Two Matthews originals, “Stranded” and “Fading Fast,” were demos for the project. Matthews and Roberts tested the Plainsong waters once more in 2001 with a six-song mini-album, A to B, which includes his controversial take on racial issues, “To Be White.” A collaboration with American rocker, (now Paris resident) Elliott Murphy resulted in the commercially successful album La Terre Commune (2001) and the songs “One Cold Street” and “Close to the Bone,” a Matthews original that pays tribute to one of his favorite writers, Neil Young. Later that same year, from the “Song Island” workshop on Samso Island in Denmark came six new originals, including a collaboration with Pete Droge, Rasmus Hedeboe and Frank Birch, “Cartwheel Avenue,” performed by the authors with the workshop’s house band. “Iain Matthews’ music is pure, rooted in truth and honesty. there is no trickery in his work. No smoke. No mirrors. No fat. His guitar, voice and writing are unaffected and real.” Pete Droge And finally, Matthews and Vanderveen joined with legendary Texas songwriter Eliza Gilkyson for the More Than a Song project, yielding Matthews compositions “Meaning To Life” (here in a live Dutch radio version) and “Sing Sister Sing” from the album More Than a Song (2001). The group also has a live album, Witness. Between the No Grey Faith project and recent appearances at the Cropredy Festival, it might be tempting to see Matthews’ career as having completed some kind of circle and returned to his beginnings with Fairport. In fact his path is more like that of the sailboats that he would rather sing about than actually venture out on--changing direction only to deal with the prevailing winds, pressing steadily toward a single goal. In Matthews’ case that goal has always been the perfection of his craft. Visit Iain's Web Site |