Leigh's new studio
album 'More Than I Need' was released on August 31, 2012. It was
recorded at Atlantis Sound in Port Melbourne, Victoria, engineered by
Dave McCluney and produced by Nick Charles. In making the album Leigh
was joined in the studio by Les Oldman (drums and percussion), Louis
Gill (double bass), Matthew Arnold (violin), Alex Burns (harmonica) and
Lisa Baird from 'Lily and King' (backing vocals). Nick Charles plays
second guitar (acoustic, electric and resonator) on many tracks as well
as mandolin and six string banjo. As always with Leigh's albums there
is no shortage
of lap-slide guitar and for the first time he's included a cover song
- Bob Dylan's, 'I Am a Lonesome Hobo'.
To listen to samples, please go to Shop page.
- Feeling Good Today (2:57)
- I’ve been playing it live for many years now and it almost made it
onto my last album ‘Looking For the Clues’ as a solo performance but I
love how it sounds now with the band.
- Dog Line (4:12) - I wrote
this after a trip to the old penal colony of Port Arthur, Tasmania.
Before reaching there you cross a narrow strip of land at Eaglehawk
Neck where the historical site of the Dog Line is located. The Dog Line
was a sentry post set up to stop prisoners escaping up the peninsular.
Dogs where place at intervals across the isthmus and each one was
attached to a bell so if they became aroused by anything their bells
would ring out and warn the guards. On discovering this site and
reading about how the prisoners longed to get back to the families they
had left behind when they were transported to Australia from England I
felt inspired to write this song. For me the Dog Line symbolises
the desire we all feel to strive towards something beyond what we
- Dancing With Joy (2:21)
- Deep Dark Water (3:49) - A
memory that stuck with from childhood when walking to school each
morning is part of the inspiration for this song. Each day I would pass
a house where most mornings I’d hear a couple arguing. As a child I
thought it strange that people could live in argumentative
- More Than I Need (3:33) - In
the west we accumulate so much in a lifetime and then throw so much of
I had been thinking about thinking about this and the effect it has on
the world when I wrote this. With our never-ending appetite to consume
both goods and information I often wonder how much do we really need?
- Sweet Serene (3:41) -
The inspiration for this came to me while walking in the Japanese Alps
several years ago. The hand drums we introduced into the tail of the
song was a revelation and really gave a wonderful lift to the song.
- Pleased To Meet You
(2:10) - Instrumental.
- I Am a Lonesome Hobo
(3:20) - This is the first cover-song I’ve recorded. My arrangement of
it has moved around over the years but settled more recently close to
what we hear in the recording. Producer Nick Charles suggested some
refinements and adding some fine mandolin in the background.
- Setting Out (2:43) -
- The Sea (4:42) - The
beautiful lyrics of ‘The Sea’ are written by my long time friend Peter
Newall and are about a daughter’s loss of her father’s affection, the
Sea being a metaphor here for the father.
- No Room at the Top
(2:51) - Some musing here on why we don’t all find ourselves at the top
of the social pyramid and in doing so I run through a colourful list of
characters and reasons they may fall from grace.
- I Can Fly (2:32) - Instrumental.
'Looking for the Clues' --
Leigh's second full length album titled 'Looking for the Clues is all
acoustic and features the wonderful talents of Liz Frencham on double
bass and backing vocals, as well as Mark Blanch and Thom Moore on drums
and percussion, Stax on didgeridoo and Gretchen Anderson on violin. It
was mixed by Ray Luckhurst and mastered at Dex Mastering by Jonathan
Click songs to listen MP3 Samples
(quality: 128kbps, sample duration varies from 30 seconds to 2 minutes,
file size: 650KB-1.3MB)
- Looking for the
Clues (4:54) - This song came about from the experience
of moving overseas for a substantial period of time, settling in and
then having to unsettle myself to leave and return home. I found I was
forced to separate myself from people I'd grown close to, I had wanted
to stay but knew I had to go.
- Blue Jewel
(3:06) - Peter presented me with these lyrics several years ago. At the
time he hadn't been able to resolve the opening words and I suggested
Blue Jewel. We ran with that and this is the result.
(5:28) - Personally, as a song writer this is one of the songs I'm most
proud of. I also think it is a song best left unexplained so that
interpretation remain open to the listener.
- On the Climbing
Road (5:00) - One day while waiting for my petrol tank to
fill and gazing down the hill through the concrete buildings to Port
Philip Bay, it occurred to me how beautiful the land would once have
been before the arrival of white men. I suddenly felt a deep sense of
loss. 'On the Climbing Road' was written from that realization.
- Money Can't Buy
Happiness (4:19) - A few years back I heard it had been
proven through a study that money can't buy happiness, which prompted
these lyrics. This has always been a great song to do live and it was
lots of fun getting Liz to improvise her vocal part for this recording.
I threw the challenge to her without forewarning and she rose to the
- Good Fortune
(5:51) - Something is gained from every journey though it may not
always be obvious. Some time ago I left Australia for several years.
Before I left I had no idea of where it would take me but in retrospect
leaving payed back in so many ways. 'Good Fortune' grew from thinking
back about that experience.
(2:05) - I wasn't sure whether to put double bass on this or not but as
soon as Liz played the first two notes the question was answered.
- Crayfish Col
(6:51) - Some songs come about through observing other people's
journeys through life. This is one of those. It was the last song on
the album to be completed with the addition of Thom's drums.
- Am I Going Insane
(3:47) - There are times when you wake from dreams and for awhile you
are not sure what is reality and what is dream. There are also days
when the memory of the previous night's dream effect the whole mood of
the day. Especially when stressed, bad dreams seem to occur more often.
This song is about such a time.
(4:46) - This is another song where I put music to Peter's lyrics. One
night I created an unusual open tuning on the guitar which led to the
music for 'River'. After recording it I started to feel a didgeridoo in
it would sound great and fortunately Stax agreed to play on it.
(2:58) - I wrote this instrumental many years ago and thought it would
be a lively piece to add to the album. I have always imagined it as
representing a journey which fits with the theme of other songs on the
- Boomer and Sweet Honey (7:57) - I
wrote this epic saga almost as therapy from an incident that actually
happen in the past and has always raised feelings of anger whenever I
reflected on it. The anger is gone and I always enjoy performing it.
- Sweet Water Rag (1:21) - This was
the most recent piece of music written for this album. Sometimes
finding a title for an instrumental can be more challenging than
writing the piece itself. While I was recording this piece I had the
inspiration for the title which I've borrowed from the studio's and a
local land mark's name.
'Sliding To Your Destiny' was
released in 2006. It contains twelve original songs. I laid down all
the tracks in my studio at home and spent a couple of days with Chris
Ralf adding drums to five of them.
Mixed and mastered by Ray Luckhurst at Sweet
Water Studio in Frankston. The cover was designed by Tom Bolton.
Click songs to listen MP3 Samples
(quality: 96kbps, sample duration varies from 1 to 2 minutes, file
- Stay In Tune
(5:37) - A rock-feel with full band and
lap-steel. Written after returning from overseas to find political spin
in full flight, this song calls out for people to stay engaged with the
machinations of the powers that be.
- Toxic Waste
(5:04) - This one opens with the feel of an Irish jig and moves into a
shuffle. Another one with full band (me on guitars and bass, and Chris
on drums). The inspiration for this came from a documentary I watched
about mercury poisoning of the fishing grounds off Minamata on the
Japanese island of Kyushu.
- Cupid's Arrow
(4:01) - A slow minor country blues with haunting lap-steel. A look at
the foolishness of a young man's heart.
- Black Dog Bark
(4:02) - Another bluesy number but this time with a bit more of a jazz
feel to it. Black Dog here refers to what Churchill referred to as the
black dog of depression.
- Sliding To
Your Destiny (5:37) - I wrote this after a near-miss when
I lost control of my car with life threatening potential. Thankfully I
came out of it without damage to myself or my car but very shaken and
- Pushing On
(3:29) - This is a driving instrumental I play on steel string guitar.
Attack (6:33) - Played on acoustic lap-slide guitar, I
wrote this after reflecting on a good friend's experience (thankfully
he survived his ordeal).
- Train Ride
(5:46) - Another one on acoustic lap-slide guitar but with a
country-blues feel. Born the son of a train fanatic I guess this one
had to come out. It's a positive look at riding the train to work
day, something which is easy to be negative about.
(4:28) - Muroran is a small industrial town on the northern Japanese
island of Hokkaido, where my mother in-law lives and I visit
frequently. It has grown up around a steel mill that sits right in the
centre of the town and belches pollution from its chimneys. I wrote
this song after watching the town slowly diminishing over several
consecutive visits. This is a folkie acoustic number.
Overlap (4:45) - A rocky number about the perils of
starting a new relationship before ending the current one.
- Bad News
(8:11) - This is a minor blues I wrote for fun as a spoof of all those
'my babe left me' blues. This is the only track on the CD that I play
lead on a standard electric guitar. I have a different arrangement for
this when I do it live and solo on acoustic guitar.
- I Want
To Go Home (4:06) - I wrote this after being stranded in
the U.S.A. following the events of September Eleven. I was in Boston at
the time and was stuck there for six days unable to get home. An
acoustic number with me playing acoustic lap-slide. A quiet one to