Below The Radar

Posted Mar 01, 2009


The making of this CD has taken longer than any other I’ve made. The excellent musicians and friends who agreed to play for me are busy people so their availability had to be taken into account. I’m delighted I waited. Their interpretation, as expressed in their playing is wonderful and I thank them profoundly. John Kirkpatrick has been playing for me since the very early sixties. He is one of the finest musicians on the folk scene. The energy and power of his playing energises me in a way few others can and I’m so grateful to him for that.  Martin Simpson’s playing is simply astonishing. Words fail me when I hear his contribution to these tracks as well as when listening to his numerous recordings, not to mention his casual playing around the house. Brilliant! Andy Cutting rightly deserves his reputation as one of the finest and most sought after instrumentalists in the country. His playing of the Diatonic Button Accordion is highly personal and distinctive. Donald Grant is known at present, primarily as the violin player in the Elias Quartet, a successful String Quartet on the Chamber Music circuits of the world. At present he is also a member of Ensemble 360 a classical music group based in Sheffield. Growing up in Lochobar, on the west coast of Scotland, however, ensured he also enjoyed and was influenced by, the folk music of his home country. He is rapidly establishing himself within folk music circles, playing with Catriona Mckay and Kate Rusby. To Andy Seward for his bass playing I am equally indebted. His playing ‘grounds’ the songs in a way I could not have imagined. At one point in the mixing of the CD I commented “…a Banjo would be good here…” his response was to pick up his banjo and proceed to play exactly what I thought was needed. Remarkable!   My thanks also to the singers who added their voices to the choruses: to Martin Simpson, John Kirkpatrick, Kellie While and David Ferrard.   So, “thank you” to all these fine musicians, singers, friends and indeed, family! Their contributions and suggestions as to production were indispensable.   An extra thank you to Andy Seward who, as sound engineer for the recording was superb. He was much more than engineer, his contribution was critical and without him I think both the sound and the artistic quality of the recording would have been diminished.   Lastly, but not least, thank you to my son, David Bailey for his excellent design. In future I must try to give him more time, instead of asking for the finished product before I’ve even given him anything to work with.

Roy Bailey
February 2009