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This album was written between Christmas 2017 and the Spring of 2018.
Some of the ideas had been around a lot longer than that, but their realisation came within this period.
I continue to be fascinated by the Quantum world.
I read voraciously as much as I can, until my lack of formal Physics education becomes too big a barrier, but from a layman’s perspective, it’s the most incredible of all our human advances, that we as a species are capable of a level of understanding so far
beyond anything that has gone before.
And throughout the research and theories, there still lies this little part of me that believes Music, with its waves, strings and harmonics, is somehow interwoven in the fabric of it all, and one day, some bright spark will put 2 and 2 together and give us the ultimate 4/4…
I grew up on Prog Rock and Fusion, and this is an unashamed celebration of that style of playing and writing. The period between 1969 and 1975 was only 6 years, but it is genuinely uncanny to think about all the myriad of music that appeared in that short time.
If this album sounds like anything, I should be pleased to hear it called a cross between the Guitar of John Goodsall ( Brand X), the composition layers of Tony Banks (Genesis) and the Melodic sensibility of Andy Latimer ( Camel). At least, those were the palpable influences I felt as I recorded the tracks.
Finally, I’d like to dedicate this album to my best friend for over 43 years, Ian Foster.
Ian never formally learned an instrument per se, but he was blessed with the ears that could interpret the same attention to detail as his fine artists eyes ( He’s a wonderful drawer and painter)
Older than me by some 4 years, he was the big brother I never had, and badly needed.
Without his early guidance and sure footedness on my journey of musical discovery, there is no doubt, I wouldn’t sound, play or even think about music the way I do.
We would spend hours and hours dissecting albums, playing styles, musician’s nuances and writing styles. We knew the importance of Andy Wards snare drum grace notes, and how Schenkers Teutonic melodies impacted UFO for the better.
We would walk for miles to gigs and shows whilst debating the minutiae of somebody’s playing style, and tear apart lyrics looking for phrases we could turn again and again just for the pleasure of hearing them spoken out loud.
So thank you Ian.
I hope you enjoy it.
I know you’ll spot the influences.
Big Love always.
Once again all noises were played or programmed by Steve Fairclough.
All my love to Lana, Danny ( & Emily), Mike and Rebecca as always.
“The mind reels when we realize that, according to this interpretation of quantum mechanics, all possible worlds coexist with us. Although wormholes might be necessary to reach such alternate worlds, these quantum realities exist in the very same room that we live in. They coexist with us wherever we go.”
― Michio Kaku, Parallel Worlds: A Journey Through Creation, Higher Dimensions, and the Future of the Cosmos...more
This album was written between Christmas 2017 and the Spring of 2018.
Some of the ideas had been around a lot longer than that, but their realisation came within this period.
I continue to be fascinated by the Quantum world.
I read voraciously as much as I can, until my lack of formal Physics education becomes too big a barrier, but from a layman’s perspective, it’s the most incredible of all our human advances, that we as a species are capable of a level of understanding so far beyond anything that has gone before.
And throughout the research and theories, there still lies this little part of me that believes Music, with its waves, strings and harmonics, is somehow interwoven in the fabric of it all, and one day, some bright spark will put 2 and 2 together and give us the ultimate 4/4…
I grew up on Prog Rock and Fusion, and this is an unashamed celebration of that style of playing and writing. The period between 1969 and 1975 was only 6 years, but it is genuinely uncanny to think about all the myriad of music that appeared in that short time.
If this album sounds like anything, I should be pleased to hear it called a cross between the Guitar of John Goodsall ( Brand X), the composition layers of Tony Banks (Genesis) and the Melodic sensibility of Andy Latimer ( Camel). At least, those were the palpable influences I felt as I recorded the tracks.
Finally, I’d like to dedicate this album to my best friend for over 43 years, Ian Foster.
Ian never formally learned an instrument per se, but he was blessed with the ears that could interpret the same attention to detail as his fine artists eyes ( He’s a wonderful drawer and painter)
Older than me by some 4 years, he was the big brother I never had, and badly needed.
Without his early guidance and sure footedness on my journey of musical discovery, there is no doubt, I wouldn’t sound, play or even think about music the way I do.
We would spend hours and hours dissecting albums, playing styles, musician’s nuances and writing styles. We knew the importance of Andy Wards snare drum grace notes, and how Schenkers Teutonic melodies impacted UFO for the better.
We would walk for miles to gigs and shows whilst debating the minutiae of somebody’s playing style, and tear apart lyrics looking for phrases we could turn again and again just for the pleasure of hearing them spoken out loud.
So thank you Ian.
I hope you enjoy it.
I know you’ll spot the influences.
Big Love always.
credits
released June 20, 2018
All noises played & programmed by Steve Fairclough
Steve Fairclough is a veteran of the UK Fingerstyle Guitar Scene, a Composer and a Producer.
Throughout the
90’s he was the Demonstrator for Takamine and Parker Guitars in Europe and the USA and that brought him many accolades as a ‘Guitarists Guitarist’.
He is the European Ambassador for Fishman, and indeed has his own range of Fairclough Guitars on the market in the UK and throughout Europe....more
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