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terrace cred. presents:
a very welcome return to Brighton for Iain Matthews, who has teamed up with fresh collaborators Plumhall, who will open for Iain, with the promise of a sprinkle of musical collaboration during the show.
There?s a purity about Iain Matthews? voice. And it?s mirrored by the integrity of his career - a singer-songwriter who's never been seduced by fame. His focus has always been on creating music that captivates the ear, the mind and the heart. He's been a firm terrace cred. favourite for many years, playing some of our finest shows - and we love him to bits. I certainly can't wait to hear his new album 'How Much Is Enough' and find out what Iain's up to now.
Iain's been based in The Netherlands for many years now, but always insists on a fresh visit to Brighton when he ventures out, whether solo or in numerous assorted combos, Plainsong (formed in early 1972 with local Brighton Andy Roberts), a reinvented Matthews Southern Comfort, a Dutch jazz based duo or bringing his memoirs 'Thru My Eyes' onto a stage with author Ian Clayton...
A founding member of Fairport Convention in 1967, Iain created exquisite harmonies with first Judy Dyble then Sandy Denny, before forming Matthews Southern Comfort, who enjoyed a huge number 1 hit with their version of Joni Mitchell?s 'Woodstock'.
A long string of outstanding solo albums includes 1973's 'Valley Hi', recorded during his years in Los Angeles, produced by Michael Nesmith.
'Iain Matthews is still reinventing himself, and with great effect. This is music for the masses, delivered with honesty and passion.' - Robert Plant
Plumhall is the critically acclaimed UK duo of Michelle Plum (Chumbawamba, The Chris Norman Band) and Nick B Hall (Magna Carta, Ian Prowse & Amsterdam, The Hall Brothers). Their mesmerizing blend of acoustic and electric instruments, exquisite vocal harmonies, and exceptional musicianship have earned them numerous accolades and wowed audiences worldwide.
A powerful live act with an ever-growing following, they're currently out on a thirty date UK tour as special guests of Fairport Convention.
Their albums, ?Thundercloud? (highlighted as a 'Guardian/Observer Hidden Gem' and ?The Ghost Of Noise' were both highly-acclaimed
and Plumhall's third album, ?One Star Awake?, features Fairport's very own Ric Sanders on violin + Ranagri's Eliza Marshall on flute.
Plumhall's first concert was as support for Peter Tork, where they joined the Monkees' legend on-stage to sing 'Daydream Believer'! They've performed with Al Stewart in London at The Palladium and Cadogan Hall and jammed onstage with a whole 'A' list of musical talents.
In 2020, Plumhall was asked to write a song for, curate the folk music for and appear in the film 'The Runaways'.
Their livestream shows built a global online community during the pandemic, inspiring a stunning video for their song 'A Darkness That Won't Leave The House', which was recognized by Janice Long on BBC radio.
'A fine duo...go and see them if you get the chance' Steve Knightley - Show of Hands
'Their chemistry as a duo makes them special [with] sumptuous vocal harmonies and telepathic guitar interactions. Michelle is one of the UK?s leading chanteuses. Nick is a consummate storyteller, powerful vocalist and exceptional guitarist.' Dave Scott - Blues In Britain Magazine
www.plumhallmusic.com
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Iain Matthews Biography
Iain Matthews has had a long singing career dating from the swinging 1960's, where he released material as the vocalist of Pyramid. He later joined Fairport Convention, and went on to have a long solo career, mixing rock and folk with some success.
For his next project, along came the country-tinged Southern Comfort(1969) album , where Matthews recruited Richard Thompson, and other members of Fairport to collaborate. He secured a deal with MCA’s UNI label and a touring lineup of the Souhern Comfort released 2 more albums of material, Second Spring (1970), and Later That Same Year (1970).
Much like he had when Fairport had it's first success, Matthews walked away from the band just as fame became inevitable and Tops Of The Pops were calling.
He went solo again releasing the self produced If You Could See Thro’ My Eyes (1971)on Vertigo with a cast that included Richard Thompson, Sandy Denny, Keith Tippet (King Crimson), Tim Renwick (Al Stewart), and other British performers, Matthews seemed, for a moment, to have found a comfortable balance of autonomy, support, creativity, and success. The follow-up for Vertigo, was Tigers Will Survive (1972), and then a new project Plainsong, who signed with Elektra and released In Search of Amelia Earhart (1972). ex- Monkee Michael Nesmith produced the LP Valley Hi (1973), which featured a version of Steve Young’s “Seven Bridges Road” so definitive that you can hear the Eagles recreate it on their 1980 live album.
Matthews took over production again for Some Days You Eat the Bear and Some Days the Bear Eats You (1974), which featured LA session men like guitarists Jeff “Skunk” Baxter, on his way from Steely Dan to the Doobie Brothers, and David Lindley of Jackson Browne’s band. That LP also featured a Tom Waits song called "ol 55" whom the Eagles also must've heard, as it showed up on one their next Elektra/Asylum releases.
Matthews moved to CBS for Go For Broke (1976), and then Hit and Run (1977). Finally in Stealin’ Home (1978) Matthews hit the US top ten with the single "Shake It". Even with chart recognition, his next LP Siamese Friends (1979) stiffed due to poor distribution through a Canadian indie whose founder had died. Spot of Interference in 1980 was followed by Discreet repeat a best of from the Southern Comfort years.
Matthews had been struggling in the music biz for nearly 15 years by the early 80's 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.”
The hi-tech sound of Shook (1984) was followed by a record of mostly Jules shear songs called Walking a Changing Line (1988). Matthews found day jobs at labels like Island and then Windham Hill while he planned a comeback that included a fairport Convention reunion, and a live solo album recorded at NY's Bottom Line. Finding a renewed interest in songwriting Matthews put out Walking A Changing Line, Pure and Crooked (1990), Skeleton Keys (1992), and Dark Ride (1994)and God Looked Down (1996) both on Austin’s Watermelon Records. A revitalized version of Plainsong also recorded Dark Side of the Room (1992) Sister Flute (1996) a Live in Austria EP (1998) and New Place Now (1999).
Compilations of older songs also appeared including Orphans and Outcasts (1991), The Notebook Series (1992),The Soul of Many Places (1993), all selecting highlights, outtakes etc from his long career.
Relocating to Amsterdam, Matthews found steadier live work and began playing numerous live shows, both with new and established acts.
Matthews formed a 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”. Also released in the year of the millennium was Iain AdVenture (2000). The next year Matthews re-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). Other collaborations followed including More Than a Song (2001) with Eliza Gilkyson.
It might be tempting to see Matthews’ career as having completed some kind of circle but 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 simple and undying dedication to the perfection of his craft.
Read MoreFor his next project, along came the country-tinged Southern Comfort(1969) album , where Matthews recruited Richard Thompson, and other members of Fairport to collaborate. He secured a deal with MCA’s UNI label and a touring lineup of the Souhern Comfort released 2 more albums of material, Second Spring (1970), and Later That Same Year (1970).
Much like he had when Fairport had it's first success, Matthews walked away from the band just as fame became inevitable and Tops Of The Pops were calling.
He went solo again releasing the self produced If You Could See Thro’ My Eyes (1971)on Vertigo with a cast that included Richard Thompson, Sandy Denny, Keith Tippet (King Crimson), Tim Renwick (Al Stewart), and other British performers, Matthews seemed, for a moment, to have found a comfortable balance of autonomy, support, creativity, and success. The follow-up for Vertigo, was Tigers Will Survive (1972), and then a new project Plainsong, who signed with Elektra and released In Search of Amelia Earhart (1972). ex- Monkee Michael Nesmith produced the LP Valley Hi (1973), which featured a version of Steve Young’s “Seven Bridges Road” so definitive that you can hear the Eagles recreate it on their 1980 live album.
Matthews took over production again for Some Days You Eat the Bear and Some Days the Bear Eats You (1974), which featured LA session men like guitarists Jeff “Skunk” Baxter, on his way from Steely Dan to the Doobie Brothers, and David Lindley of Jackson Browne’s band. That LP also featured a Tom Waits song called "ol 55" whom the Eagles also must've heard, as it showed up on one their next Elektra/Asylum releases.
Matthews moved to CBS for Go For Broke (1976), and then Hit and Run (1977). Finally in Stealin’ Home (1978) Matthews hit the US top ten with the single "Shake It". Even with chart recognition, his next LP Siamese Friends (1979) stiffed due to poor distribution through a Canadian indie whose founder had died. Spot of Interference in 1980 was followed by Discreet repeat a best of from the Southern Comfort years.
Matthews had been struggling in the music biz for nearly 15 years by the early 80's 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.”
The hi-tech sound of Shook (1984) was followed by a record of mostly Jules shear songs called Walking a Changing Line (1988). Matthews found day jobs at labels like Island and then Windham Hill while he planned a comeback that included a fairport Convention reunion, and a live solo album recorded at NY's Bottom Line. Finding a renewed interest in songwriting Matthews put out Walking A Changing Line, Pure and Crooked (1990), Skeleton Keys (1992), and Dark Ride (1994)and God Looked Down (1996) both on Austin’s Watermelon Records. A revitalized version of Plainsong also recorded Dark Side of the Room (1992) Sister Flute (1996) a Live in Austria EP (1998) and New Place Now (1999).
Compilations of older songs also appeared including Orphans and Outcasts (1991), The Notebook Series (1992),The Soul of Many Places (1993), all selecting highlights, outtakes etc from his long career.
Relocating to Amsterdam, Matthews found steadier live work and began playing numerous live shows, both with new and established acts.
Matthews formed a 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”. Also released in the year of the millennium was Iain AdVenture (2000). The next year Matthews re-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). Other collaborations followed including More Than a Song (2001) with Eliza Gilkyson.
It might be tempting to see Matthews’ career as having completed some kind of circle but 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 simple and undying dedication to the perfection of his craft.
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