![]() I don’t think it’s really changed that much. Has your approach or philosophy of songwriting changed over the years? So there’s a sense of take advantage of it now, while it’s working so well? And consequently, I’m discovering more things that I can do, simply because of that anticipation of not being able to do them. Vocally, I think what it is, as you grow older, you begin to think about the possible limitations and, in my case, I find that I push my voice more than I did when I was younger. I think the longer you live, the more experiences you have, the more you can draw on for songwriting. I think so, particularly the songwriting. With more life experience, does that add to the texture of the vocals and the songwriting, as well? So far, I don’t know what kind of things they’re talking about. Everybody says when you hit 60, 65, then be prepared, because you’re not going to be able to do the things you could, when you were 40. You know, even my voice - I feel like instead of my voice, my range, kind of diminishing, I feel like I can hit notes that I didn’t know were there before. I keep waiting for that decline that’s supposed to happen. ![]() Having continually grown and matured as an artist, do you feel you’re making your best music now? “The Art of Obscurity” is a beautiful album. Later this year, he will release a tribute to Richard Farina, called “Reinventing Richard.” Fortunately for discerning listeners, there’s no end in sight to Matthews’ musical magic. Omnivore, the label that issued “The Art of Obscurity” in the U.S., also recently gave fans in this country an opportunity to enjoy two other wonderful Matthews albums - 2008’s “Joy Mining” (with The Searing Quartet) and 2011’s “In The Now” (with Egbert Derix). Each time you listen, you’ll grow ever more enamored of such tunes as “Ghost Changes, “When I Was A Boy,” “Ash in the Wind,” “The Letter (1944)” and “The Sweet Hereafter.” Having recorded 25 albums, dating back to Fairport Convention’s 1968 debut, Matthews, now based in the Netherlands, continues to make music that’s relevant, real and sublime.” Eloquent lyrics entwine seamlessly with delicate, lovely melodies. Matthews penned the remarkable songs here, many in collaboration with Dutch pianist/composer Egbert Derix. Recurring themes include transitions and mortality. His vocals are as warm and meaningful as ever. Fondly remembered for his work as a member of the legendary British folk-rock band Fairport Convention, Matthews returns with another sterling solo record. “He may not be the most famous of singer-songwriters, but Iain Matthews is certainly among the most elegantly gifted. ![]() In my review for Pop Culture Classics, I said of the album: Matthew latest album, his 20th solo effort, titled - with self-deprecating wit - “The Art of Obscurity,” demonstrates that Matthews is still at the peak of his powers, as an artist. With his various groups or solo, Matthews is renowned for his mesmerizing concerts. After working for a while in A&R, Matthews returned to performing and recording. Matthews has fronted such bands as Plainsong, Hi-Fi, No Grey Faith, More Than a Song and a Dutch jazz combo, The Searing Quartet. One of the outstanding solo albums Matthews recorded during his years in Los Angeles was 1973’s “Valley Hi,” produced by Michael Nesmith. They enjoyed a huge hit with their stirring version of Joni Mitchell’s “Woodstock.” (then known as Ian McDonald) created exquisite harmonies with first Judy Dyble, then Sandy Denny.Īfter two years, he left and formed Matthews Southern Comfort. His focus has always been on creating music that captivates the ear, the mind and the heart.īorn Iain Matthew McDonald, June 16, 1946, in Scunthorpe, Lincolnshire, England, he soared to prominence in 1967, as a founding member of Fairport Convention. The singer-songwriter has never been seduced by fame. And it’s mirrored by the integrity of his career. There’s a purity about Iain Matthews’ voice. ![]()
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