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The Van Years

When Pressgang lost their bassist between recording an album and the promotional tour, I stepped in and started four years of professional, international touring taking powerful, melodic, groove based English folk to our continental cousins and warming up the crowds for such luminaries as the Oysterband and Fairport Convention.

When not wearing out vans on Euroroute 42, I worked with Southampton musicians collective Melting Pot on the Klezmer and world music project that became the astonishingly danceable Souls of Fire.

Time was found throughout all of this to provide groove for multicultural community work with Traditional Arts Projects, a floating, improvisational line up led by Roger Watson that has called on members of Afro-Celt Sound System and Black Umfalosi to fill out its ranks.

Early Influences

It all started when my older brother,
Phil, bought a £10 wreck of a bass guitar, a guitarist friend heard of it's existance and asked me to bring it round for a jam. I had no idea what I was doing with it but, suffice to say, Phil never got his bass back. A couple of years saw the usual formation and dissolution of various loud and lumpy line ups until the exceedingly fine heavy blues outfit Freedom coalessed out of the fog. This talented three piece gave me my formative experiences of pouring persperation in pubs packed with eager punters.
Whilst working for the local sixth form college I played bass for several theatre shows.

At that point I had no particular interest in folk music so it's a bit odd that I've been playing it ever since. Musical influences in my 'yoof' were primarily classic rock acts like Deep Purple and The Who but in my teens I gravitated towards the harmonic and rhythmic complexity of Yes, King Crimson and Jethro Tull. This paved the way for Pywacket, the Oysterband and the like a couple of years later. Of course the biggest influence on my playing is always the musicians I am working with; it's all about listening, afterall.


Sound Engineer


Historical Interpretation



Moving on

As a founding member of storming Celtic-prog band
The Morrigan, I had the opportunity to stretch out melodically and also began singing bass harmony parts. We always pushed ourselves for that little bit more and my playing developed apace, getting comfortable with time signatures from 3/4 to 9/8 and even 21 beat phrases.
High points reached During the Morrigan's 10 year assault on the world of Celtic rock include Glastonbury Field of Avalon stage (twice), opening for The Enid and having a one hour special broadcast on American Radio.
In 1997 English Garden began re-releasing The Morrigan's material on C.D.

Recently I have toured and recorded with wild Welsh Celtic boppers Here Be Dragons (before promoting myself to a desk job) and, since moving to Southampton, settled in with psychadelic folkies Mary Jane, had some folk free fun with old pal Chris Davey's left field indie stylings in Dog Medicine and, after five years layoff, the legendary Pressgang have reformed and proved we can still stir a

field of fans in to a fine frenzy at Wallingford Bunkfest

Bookings through Jo at Catspaw.uk.net

Tel: 07766342147

E-Mail: bass@catspaw.uk.net