Apathy Bites

Apathy Bites

Apathy Bites is my first solo album (EP strictly speaking as it’s short) for a long long time. And it’s the first to be distributed digitally to iTunes, Spotify and others. My other albums you will only find on cheap cassette tapes in my attic (most of them have been converted to mp3 files on my computer now, to keep them safe before the cassette tapes disintegrate altogether!) The recording quality on those is awful.

Below is separated into two sections: History deals with my recording history up to the present day, Current deals with the new EP only. You may read or skip as you choose.

HISTORY

I’ve been writing and recording music since way back in 1975, when I was 15/16 years old. The only way I could record then was on cheap cassette recorders, and the only way to overdub was to play the recording on one cassette player, and play along with it while a second cassette player recorded the result. There could be no mixing afterwards. You could keep repeating this process for multi overdubs, but each time the quality got worse. And then there were the times when one of the players (or one of the tapes) went faulty and was muffled or, even worse, wobbled! The end results were not good.

In terms of instruments, I had my own electric guitar and amp, and my brother, Colin, had a jumbo acoustic guitar, which I was allowed to borrow. The electric guitar also doubled as the bass. I had no drums, but chair cushions hit with (usually) bamboo sticks did the job for that early on. Sometimes I could add keyboards, depending on what my dad had decided to buy for the house. At various times I had access to an upright piano and an electronic organ. Whatever was there, I would use. Vocals? Just sang directly into the cassette player while the backing track played on another cassette player. You could say it was a basic setup!

Things did improve, after time. Through friends and band members (once I started playing in local bands around 1977) I had occasional use of various pedals for the guitar, a drum machine, an echo machine and, the biggest luxury, a reel-to-reel tape recorder that had a proper overdub facility (and also double-time to play with and speed some stuff up – although it did change the pitch as well, not like the facilities available today). Generally speaking, I would only have each item for a short length of time, so it usually meant some frantic recording making use of the items, before they had to go back. Much later on, I bought myself a guitar amp with built-in double cassette recorders and overdub facility. Also later on, my brother, Philip, bought a really decent Sony drum machine which he allowed me to borrow. He also bought a dedicated music computer with accompanying keyboard, which I also had use of. Even better, the keyboard and drum machine could sync. My recordings became a lot better around this time (and some of the results are actually up on soundclick, just for fun). At some point I got my first computer and programmed myself a drum machine in Atari BASIC. Eventually I did buy proper drum machine software.

From 1975 through to 1989, I recorded several cassette tapes worth of music each year. That’s a lot of music. And while the recording quality was not great, some of the songs were ok, I think. I stopped writing and recording for a few years then, while things like jobs and real life got in the way (after a combination of unemployment, short temporary work and, eventually, university as a “mature” student). In 1990 I met my future wife, Cathy, and, inspired by her, wrote some more music and recorded the tape simply entitled, Cathy, in 1994. Then I stopped writing and recording again, while married life and kids took priority.

Around 2000 I discovered the website mp3.com – and back then it was a place anyone could upload music to. I also discovered digital recording and sampling, resulting in the album Age (2000), my first digital and CD album (mp3.com made the CDs back then too). It is completely composed using public domain samples. It’s “interesting” now, but it’s not really me. I did a second album with mp3.com, called New Dawn (2001), where I returned to playing real instruments, and singing. Then I stopped, again!

It took the intervention of my son (around 2008/2009), who, by then, was himself playing guitar and/or drums in local and school bands, to bring me out of my self-imposed musical retirement. Looking forward to his 18th birthday (which would coincide with my 50th) he wanted to record an album with me and organise a one-off gig. So was born The 1850 Project, and we haven’t stopped since, with our second album, The Family, released in 2012 (we just take long gaps between things). You’ll find our albums on iTunes, Amazon and all the usual places.

CURRENT

Finally, this current solo EP. The songs are all written by me, and are mostly old songs, resurrected from those cassette tapes, rewritten a little, and  re-recorded in our “home studio” (or Jonathan’s bedroom as it’s usually known). The title song, Apathy Bites, is a newly written song, and this is its first recording. Here’s the track listing:

  1. Waiting for delivery (Originally recorded for the tape Summer Illusion – 1987)
    Vocals, lead guitar, drum programming – Neil Davies
    Rhythm guitar, bass, keyboards – Jonathan Davies
  2. Balanced On The Edge (Originally recorded for the tape Schoolies short ‘n’ sweet – 1980)
    Vocals, guitars, bass, drum programming – Neil Davies
    Vocals – Jonathan Davies
  3. As You Are (Originally recorded for the tape Innocence under the slightly different title of As You Do – 1979)
    Vocals, drum programming – Neil Davies
    Guitars, bass – Jonathan Davies
  4. Out Of Sight, Out Of Mind (Originally recorded for the tape Legend – 1987)
    Vocals, guitars, bass, drum programming – Neil Davies
  5. All The Days Were Summer (Originally recorded for the tape Two Weeks In The Past – 1987)
    Lead Vocals, lead guitar, drum programming – Neil Davies
    Backing vocals, rhythm guitar, bass – Jonathan Davies
  6. Apathy Bites (2017)
    Lead vocals, guitars, bass, drum programming – Neil Davies
    Backing vocals – Jonathan Davies

If you decide to listen to it, I hope you enjoy it and, perhaps, even purchase it? I can hope. 🙂 Click the link below

Apathy Bites on iTunes

First post of 2017

I know that, obviously, you’ve all been waiting with baited breath for my first post of 2017… well wait no longer. This is it! (pauses to allow tumbleweed to blow across scene in total silence).

One of the reasons for the delay is simply that there’s not much different going on than at the end of 2016. But, that having been said, let’s lay out what’s ahead for the first months (at least) of 2017.

My current work in progress is The Offspring, the final book in The Szuiltan Trilogy. While sales and response to the first two books has not exactly been overwhelming, I have a story to finish telling so I’m going to tell it! If I was writing to make money, I’d have given up a long time ago. My reasons for writing go far deeper than that.

All drafts of the two novels, Eyes Of The Raven and The Demon Guardian are finished and both are now looking for homes. More news on this as I have it. Keep your fingers (and everything else) crossed.

I have still to make a final decision on whether to self publish The Risen(Book #1 in The Givers Of Life). As it’s a novella I do have that option (see earlier posts and interviews about my children’s despotic ruling on my self publishing activities) but I also keep edging towards the idea of shopping it around. The problem, as I see it, is that, #1, it’s a zombie tale, and there’s a surprising number of publishers (including ones I’ve previously worked with) who won’t even look at anything to do with zombies, and, #2, it’s the first novella in a series that’s not yet written. That’s a lot for a publisher to take on from a small-time author like me.

The situation is similar with Vampire Worms, although as it’s a short story I have put it out there and am currently awaiting a decision. What makes it similar is that, although it is self contained, it certainly has the possibility of being the first in a series. If I do eventually decide to go down that route, and it’s not already been published by that time, I may well look, again, to self publishing for very much the same reasons as with The Risen, although in this case vampires, rather than zombies (they’re not actually vampires as such… you’d need to read the story).

The Offspring marks a return to science fiction, after pretty much a whole year of writing horror. Should I decide to remain in this genre following The Offspring, I do have several ideas with beginnings and basic stories sketched out to choose from. I also have a completed pulp novel, The Frihet Rebellion, to shop around. This was held back almost 18 months by a publisher who, after all that time, decided to reject it, albeit with some positive and nice comments along the way. Now that’s over, I can get on with approaching other publishers and hope to generate some interest. News as it happens, as always.

After releasing the complete novel, A World Of Assassins, for free on Wattpad last year, I will be looking at possibly doing something similar this year. Nothing concrete yet, and I’m partly waiting to see the kind of response A World Of Assassins gets, but it’s a different way of getting some of my older work out there – and possibly newer stuff too. If people enjoy it, they might decide to read more of my work.

In news other than writing – The 1850 Project (the musical collaboration between my son, Jonathan, and myself) remains on hiatus due mainly to recording and financial issues. There’s also an issue with increasing arthritis in my fingers, making prolonged playing of the guitar stupidly painful. Nevertheless, we have songs, we have ideas, and we will return! Talking of songs, I have a large back catalogue of poorly recorded stuff which I would really like to cherry pick from and re-record in good quality, before I’m unable to play anymore. We already have demos of some of the those, and they could be released either under The 1850 Project or as solo projects – that depends on whether Jonathan likes them or not!

After returning to painting at the end of 2016, I am working on a second picture. I’m not rushing these, there’s no need, and tend to do painting in small bursts as a way of relaxing from other things, but I intend to continue precisely because I do find it relaxing and, other than Cathy constantly telling me how she would do it, no pressure.

My real job, of course, is looking after my daughter (whose myriad of conditions and issues are not for this post) but I still have time for creative pursuits – and both things are equally satisfying, in different ways. Both can also lead to serious lack of sleep.

So, that’s it. Hopefully there will be plenty of writing, music and painting ahead for me. Most of all, however, I hope my daughter gets the therapy she needs (we’ve been waiting a long time) and that she improves to the point where she can have a life outside of the safe zone of her bedroom.

Whatever else happens (and despite horrors such as Trump, Brexit, and more Conservative destruction of our society) it has to be better than 2016, doesn’t it? Come on 2017, surely you can manage that!

2016 – Not The Best Of Years

So, 2106 is coming to an end – and good riddance too. It has not been a great year for all sorts of reasons. For a start, we lost a lot of great performers across the arts – people like Victoria Wood, Terry Wogan, Alan Rickman, David Bowie, Gene Wilder, Greg Lake, Prince and too many others. Hollywood continues to grind out the retreads and remakes (although Deadpool was good). In politics we had the twin disasters of Brexit and Donald Trump. Far too many wars and acts of terrorism continue to plague the world in general. Religion and political ideology continue to be used as justification for hate, prejudice and bigotry. I could go on (really, I could!), but enough is enough.

Not everything was bad. There was some great music released (including albums from Dream Theater, Babymetal, Ana Popovic, Roxette, The Monkeys, Epica and Green Day), small publishers continued to release the books that the traditional publishers are too afraid to, there were a few good tv shows starting or continuing (The Good Place, No Tomorrow, People Of Earth, Dirk Gently’s Holistic Detective Agency, Crazyhead, Frequency, Sweet Vicious, Lucifer) among the almost overwhelming mass of mediocre and just plain bad, and my wife finally dumped her too stressful job for an altogether pleasanter one.

But the main reason for this blog is to look at what I’ve been up to this year, in terms of writing anyway.

I have had no books published in 2016. This is a depressing but true statistic. However, this does not mean I’ve been doing nothing.

My short stories Assassin On The Seventy-Fourth Floor (Crimson Streets), The Light Ship (Electric Spec) and Young At Heart (reprint in Red Fez) made an appearance, and two more (Castle Ruins and The Great Prophecy) have been accepted but not yet released. I also had a story, Locusts – The Return, included in a special tribute book for Guy N Smith (Hell Of A Guy) which is not on general sale. Permission has been given for the story to appear elsewhere, but I haven’t decided whether I want to do that just yet.

I wrote a novelette (Vampire Worms), a novel (Eyes Of The Raven) and am currently finishing off the final draft of another novel that still doesn’t have a title! And as soon as this draft is done, I’m finally starting on the third and final novel in The Szuiltan Trilogy, The Offspring.

In terms of works that are out there waiting for responses, I have three short stories, a novelette, a novella, and two novels. This is not a lot compared to some writers, but it’s pretty good for me.

The other thing I’ve done in writing is sign up (again) to Wattpad, and this time I’m determined to make use of it. There are already several short stories, the whole of The Ant Man, and samples of currently unpublished work up there. My main project on it is to, gradually, put the whole of my science fiction thriller novel A World Of Assassins on there. Everything is free to read, and it seems a good place to spread the word 🙂

As far as my other creative outlets are concerned…

The 1850 Project (the collaboration between my son and me) is far from dead, it’s just resting. Mainly because our home studio (or Jonathan’s bedroom as it’s sometimes known) is in complete disarray, and we can’t afford the studio time we would need in our regular place (Whitby Studios) or anywhere else at the moment.

Art. It’s a very long time since I attempted any serious drawing or painting, but my wife was determined to get me to paint something for her. It’s taken her a long time, but she finally won, and I have taken up the brush and the acrylics again, after many years, to produce the painting you see below, which she seems to like (thankfully). I suspect that, now that I’ve started, I will probably continue in 2017. It was fun and quite relaxing to do.

painting-2016

That’s about it. I won’t be sorry to see 2016 go, and can only hope that 2017 will be a better year for all of us. The one thing I can promise is that I’ll continue to write, successfully or otherwise. I hope some of you will continue to read, too.

Thank you for reading.

Musical History

Lately I’ve been looking back at some of my old recordings and trying to get some improvement in the sound to make it possible to put a few songs out there, just for fun. They were all originally recorded onto cassette tapes, so you can imagine that hiss and degradation of the actual tape over time play a large part in the current sound. Fortunately, a few years back, I converted the vast majority of songs, first onto CD and then to mp3 files, which at least means I can mess about with them a little. I’m using the free software Audacity which is very good, but I’ve no doubt someone with professional software and the knowledge to use it could do better. However, my limited knowledge and free software is all I have. I can live with that.

I sometimes forget just how long I’ve been writing and recording music. My first tape, imaginatively called The Songs Of Neil Davies, was done in 1975, and the last one (on cassette) was done just after my met my wife, and was equally imaginatively called Cathy, and recorded in 1994. That’s almost 20 years of recording onto cassette! That gives me 67 cassettes of music (a mixture of C60s and C90s – that’s 60 minutes and 90 minutes respectively). There’s been a couple of mp3/CD albums since then, and, most recently, two albums (mp3/CD) under the name The 1850 Project, written and recorded with my son.

I also have an old note about a tape called The Book which was completely deleted and destroyed. It was done in 1976 and I have a vague memory of it being a, no doubt, pretentious concept tape with a science fiction theme. I can’t remember any of the music, but I must have thought it terrible as, despite some pretty awful songs here and there on other tapes, it’s the only tape that was completely wiped from existence! I wish I’d kept it, just for curiosity’s sake. Oh well.

What I wanted to briefly look at here are those cassettes, the method in which they were recorded and what they show about the state of my mind at a given time. They also highlight my inclination towards obsession, particularly when it came to girls.

The majority of my albums in the 1970s, and the first years of the 80’s, were recorded using two cheap cassette player/recorders. I would record a track on one, then play it back, singing or playing along with it, and recording that onto the second cassette. Then, playback, play along and record onto the other one and so one, depending on how many overdubs I wanted to do. Each overdub seriously degraded the quality of the sound, so the simpler songs with fewer overdubs tended to come out the best.

My instruments were a guitar, an amp, a couple of effects pedals, and whatever keyboard my dad had in the house at the time (an upright piano for a time, then an organ). I sang straight into the cassette recorder, no mic. The guitar doubled as the bass (clean sound, lower strings only, often played with fingers to give a slightly deeper sound). I had no drums. Instead I had a couple of chairs (an old armchair and a kitchen chair with a cushion on it) and a couple of bamboo sticks (once tried some metal rods, but the wood was better). The armchair became the bass drum (hit with the stick, no pedal obviously) and the cushion on the kitchen chair the snare (and everything else). No cymbals, but an occasional tambourine which “magically” appeared from school one day!

In 1977, while in the band Liquid Pig, the other guitarist, Dave Roberts, kindly lent me his reel to reel tape recorder, which had an overdub facility. I used this to create 90 minutes of music on an album called High Rock. No drums (the clearer recording made the chair-drums sound even worse than usual) but some decent clear recordings with guitar and vocals.

Also in 1977, one of the tapes (There but for the grace of God and the opportunity) has some recordings from a rehearsal session for Liquid Pig, again recorded by Dave’s reel to reel. Unfortunately I decided to overdub some vocals and tambourine on a few of these tracks. Wish I hadn’t. I don’t have the originals!

At times during the 70’s (and usually via people in other local bands) I was able to use wah-wah pedals and, once, an echo machine. Actually the echo machine was overused, but you can’t blame me for wanting to play with a new toy!

My obsession for most of these tapes was Barbara (the girlfriend of a friend of mine), and many have a dedication to her on the inserts. There was a memorable interruption to this via Vanda (out of which I got the album The Week (V.K.)) and also Lorraine (several songs on several tapes about her) but my crush on the unavailable Barbara was the underlying constant for much of the 70’s. Finally, towards the end of the decade, with interest in Barbara fading, I briefly discovered the daughter of our new next door neighbours (the album Shades Of Ailsa came from that) and found a fascination in the barmaid (and now shop worker) Michelle. In all cases, actual relationships were either non-existent (Barbara, Ailsa, Michelle) or very short lived (Vanda, Lorraine) – and by short I mean a week or just over. I was a lonely boy!

In fact, since the very start I had been clinically depressed, but because of medical standards at the time and an old family doctor, this was not diagnosed until much more recently (and by the much better doctors available to me after the family moved). My only diagnosis back then was “the general malaise of an overweight boy” and a course of tonic pills. It was during this time that I began self harming.

During the 80’s four things changed – first, I discovered drum machines (starting with a very basic one borrowed from a friend, then moving to one that worked on the Atari 800XL computer I had, and finally to a very decent Sony one, bought by my brother Philip and incessantly borrowed by me). Second, I bought a new guitar amp which had twin cassette recorders built in. With these I could overdub back and forth anything that went through the amp, with much less degradation in quality than previously. This also meant I had to buy a mic to allow vocals and acoustic guitars to be recorded. Guitar and drum machine went straight into the amp. Third, my brother also bought an MX Music Computer, complete with full size keyboard and cartridges for different sounds. I discovered synth and keyboards began to play a much bigger part in my writing and recording. Finally, I developed a new obsession, with the youngest daughter of a friend of my mother (and whose older sister I used to play with when I was younger). This was Andrea and the age of A.T.I.P.I. appearing on the tape inserts. I don’t wish to mention full names here, but I will say that the last three letters stand for “Is Perfection Itself”. Told you I was lonely, and very very depressed for much of the time.

The quality of recordings improve from this time, and I also begin playing with music on the computer (even writing my own simple program to allow me to preset drum beats and also music notes).

My obsession with Andrea is chronicled over five albums (tapes) in 1982 and 1983. These are A.T.I.P.I., The Outward Trend, Country Sun, To Andrea With Love and The 5th Hour. You can then see it fading gradually during 1983 with albums like Still True (For You), Rocking Back and Thoughts.

Musically, my influences over all this time were fairly wide. Early on it was almost exclusively Classic Rock like Deep Purple, Led Zeppelin, Black Sabbath and Status Quo (every local band did Status Quo covers back then!). In the mid Eighties I discovered Prince and his influence is very obvious at times (dangerously close to rip-off in a couple of songs). It was listening to Prince that also relaxed my lyric writing, and the occasional swear word began to appear.

By the time I met Cathy in 1991 and fell truly in love for the first (and probably last) time, my writing and recording had slowed dramatically. In fact, the last tape I had recorded was in 1989. Meeting Cathy inspired one more album (called, of course, Cathy) in 1994, and then I temporarily retired from writing and recording music.

Until 2000 when I began playing with two new things – mp3.com and sampling. I’d done a little sampling back in 1987, largely on an album called Sample It (and you say my album titles aren’t subtle!), but this was bigger stuff. Creating whole songs just from sampled sounds (all made freely and legally available I might add), and on mp3.com you could upload your songs and even make CD! Remember, this was early days for this kind of thing. The result was the album Age in 2000.

Then, in 2001, I rediscovered my interest in playing the guitar and the resulting album, called New Dawn, featured both guitar driven songs and synth driven songs. I’d dropped the samples by then.

Then, silence… until a rash promise to my son to pick up the guitar again for his 18th and my 50th birthdays (a day apart in March 2009). The result was The 1850 Project, my first experience in a proper recording studio and my first live gig since the late 1970s! Our first CD (released alongside the live gig) was simply called The 1850 Project. We went on to write and record a second CD (and much better one I think) The Family. Both of these albums are available through iTunes, Amazon and elsewhere.

Although my book and story writing is now my main focus, I still want to write and record music and, with my son, there are plans and home demos towards a third album… the main thing stopping us is money for studio time. Since my redundancy, that has proved too expensive to justify.

And that’s it, the brief history of my musical journey (it might not seem it to you but, believe me, it was brief!), from overdubbing between two cassette tape recorders to multi-track home recording onto computer and proper studio recordings. Quite a change!

SOLO DISCOGRAPHY (if you can call it that when it’s mostly on cassette tapes!)

  1. The Songs Of (1975)
  2. Space (1975)
  3. 3rd Try (1976)
  4. 4B (1976)
  5. Intruders (1977)
  6. There But For The Grace Of God… And The Opportunity (1977)
  7. I Rest My Case (1977)
  8. High Rock (1977)
  9. Blonde (1977)
  10. Christine (1978)
  11. Attitudes (1978)
  12. The Week (V.K.) (1978)
  13. Night Walkers (1979)
  14. She’s In There Somewhere (1979)
  15. Back Again (1979)
  16. Is This The Best You Can Do? (1979)
  17. Never For Free (1979)
  18. Back In The Old Frame (1979)
  19. Shades Of Ailsa (1979)
  20. Lights In The Sky (1979)
  21. Eye Opener (1979)
  22. Innocence (1979)
  23. Still Rock N Roll (1980)
  24. Dedicatory (1980)
  25. More Of The Same With A Difference (1980)
  26. Mystic Nights (1980)
  27. Perseus (1980)
  28. Legend (1980)
  29. Schoolies (Short N Sweet) (1980)
  30. Morning Light (1980)
  31. The Man It Was That Cried (1980)
  32. Footprints (1981)
  33. Romantic Fool (1982)
  34. Electric Amnesia (1982)
  35. Guitar 400 (1982)
  36. A.T.I.P.I. (1982)
  37. The Outward Trend (1982)
  38. New Outlook (1982)
  39. Country Sun (1982)
  40. The 5th Hour (1982)
  41. To Andrea With Love (1983)
  42. Still True (For You) (1984)
  43. Rocking Back (1984)
  44. Thoughts (1984)
  45. Strange Mood (1985)
  46. Words In The Silence (1985)
  47. Regress (1985)
  48. Commentary (1985)
  49. Small Talk (1985)
  50. One Of Many (1986)
  51. These Days (1986)
  52. Voyeur Of Love (1986)
  53. Summer Illusion (1987)
  54. Sample It (1987)
  55. Cannibalistic Tendencies (1987)
  56. Two Weeks In The Past (1987)
  57. Secret Love (1987)
  58. Legend (Rewritten/rerecorded) (1987)
  59. Colin By Neil (1988)
  60. Strange Journey (1988)
  61. Inspirations And Desperations (1988)
  62. That Girl Again (1988)
  63. Who Wants Reality? (1989)
  64. The Closest I’ll Get To A Christmas Album (1989)
  65. Approaching Finals (1989)
  66. The Ultimate Combination (1989)
  67. Cathy (1994)
  68. Age (2000)
  69. New Dawn (2001)

Neil Davies on Soundclick

THE 1850 PROJECT DISCOGRAPHY

  1. The 1850 Project (2009)
  2. The Family (2012)

The 1850 Project on Facebook

The 1850 Project on Reverbnation

The 1850 Project on Soundclick

 

Music history statistics

Ok, so, I’ve been listening to a lot of my old music looking for stuff worth re-recording/re-imagining either for solo reasons or for The 1850 Project, and it’s made me realise just how long I’ve been doing this! So, here are a couple of statistics:

I have been writing and recording songs (at home – nothing professional here!) since 1975.

During this time I have created 78 tapes/CDs – basically 78 albums – of music.

I have recorded a total of 1144 songs.

I have written (or co-written) 1129 of those songs, only 15 are cover versions.

That’s a lot of music to go through. Most surprising of all… some of it’s not at all bad (well, the recordings generally are, but the songs are not!).

The above statistics do not include songs written in recent years for The 1850 Project. I stopped keeping the database up to date when I stopped doing my own recording (for a while) back in 2000.

Best thing about taking up writing and recording again? I get to work with my son! He’s doing all the recording and producing on the new stuff, and playing on a lot of it. I get to just do the fun bit 🙂

 

Gratitude

I’m feeling in a grateful sort of mood, so I wanted to say thank you to those people who have taken the risk and bought one or more of my books over the last few years. There’s not that many of you but I am very grateful to you all. It’s a great feeling to know someone is reading your work, and if they enjoy it then the feeling is magnified untold times. Those of you who have put reviews on Amazon or Goodreads or anywhere else, they are much appreciated whether good or bad. And if you’ve read something of mine and haven’t reviewed it, perhaps you would consider doing so? The reviews not only provide wonderful feedback for me but also help other readers decide whether to buy or not.

Thank you also to those Editors who have taken a chance on me – whether in book, magazine or anthology format. As much as I dread waiting for the reply about a submission, it feels great when a story is actually accepted (we won’t talk about the rejections here!).

While I’m busy gushing (!) a quick mention of two “real world” friends, Steve Upham and Tony Longworth. As well as being consistently supportive of my efforts, Steve (publisher with Screaming Dreams and an amazing artist) has both published me and provided fantastic covers for many of my books.  Tony (musician, film music composer and “scary Uncle Tony” to my kids) has known me even longer than Steve and yet still says nice things about both my writing and my music. He has also provided the amazing video trailers for several of my books. Without these two people my books and my marketing efforts (such as they are) would not look anywhere near as good as they do.

I can’t leave this post without a quick mention of my family.

My wife, Cathy, who may not always find my obsession with writing easy to live with but continues to love me and care for me (and no one is more puzzled by this than me!). She’s also a very tough editor when she takes an interest, and my writing is always better afterwards.

My son, Jonathan, who not only uses the fact he’s studying for an English Literature degree to sometimes pick apart my writing, but is also responsible for persuading me out of “retirement” to play guitar again as half of The 1850 Project. We’re still writing and recording almost five years after the original “one-off” project! Recently he has also been putting his design skills to good use as a book cover designer for The Noose Is Waiting. I’m hoping he’ll do more covers in the future.

My daughter, Rhianne, the “baby” of the family who, nevertheless, manages to provide me with more emotional support and understanding than anyone else (I’m sure it’s meant to be the other way round). She also has a natural ability on keyboards that I desperately want her to push on with. She’s already better on them than either me or Jonathan and needs to become part of The 1850 Project as soon as possible.

And so I bring to a close this most sickeningly sweet and emotional post. I will probably regret it in a day or so and it may even be deleted… but for the moment I’ll let it stand.

Thank you.

(Leaves the auditorium to stunned silence from the audience, broken only by an occasional wet explosion as someone with a weaker stomach than most throws up in a bucket helpfully provided by the organisers).