I returned to the UK at Christmas time 1974 after two years in Australia. I’d done a bit on the folk scene there as a solo performer playing in clubs in Sydney, Newcastle, Adelaide as well as at a few festivals. I acknowledge that my presentation, my ‘act’ if you will, was greatly influenced by the likes of Derek Brimstone and Tony Capstick as well as Merseyside groups including the Hooters. This meant that I tried to include an element of comedy to compensate for my still developing guitar style and somewhat questionable singing voice. Australian audiences were very tolerant I must say.

Folk was enjoying a great deal of interest in Australia. There was already a well established folk tradition that covered many areas. Bush music reflected the development of what was still a very young country with a proud history. Bush dances were popular as were Irish ‘sessions’. Songs of shearers, miners, soldiers, sailors and convicts served as important historical sources. Bluegrass and blues were both well subscribed. Australian songwriters came to earn international reputations with Eric Bogle immediately springing to mind. It was a time of considerable activity in all the folk spheres and it was this backdrop that I experienced.

Australian folk clubs were similar in format to those in the UK, with residents, guests and floor singers with most being based in pubs. There were often parties after the clubs closed often going long into the night. (Festivals were held in the state capital cities but are now held annually in Canberra on a dedicated site.)

When I returned to the UK I was very keen to find out what was happening on the folk scene I had left two years previous. It was in the best of health! The entertainment column of the Liverpool Echo seemed to have an endless list of folk clubs on Merseyside. There was ‘folk’ being played every night of the week, many clubs featuring professional performers who were on a circuit, putting in long hours on the motorways of the British Isles to entertain their audiences.