"Familiar yet properly outsider, Modern yet somehow classic"
The Examiner, USA
Out of My Head
Co produced by Mark Perkins (Merk) - Merk brings his own luscious synth atmospheres to Davidson songs, giving a cinematic and deluxe feel to the album. Guest appearances from Marlon Williams (Drive Me Wild) and Reb Fountain (Heaven Is Falling) help fill the role call with Davidsons voice coming into its own.
Album available as Digital Download - Vinyl - CD
Featured
happiness is near
When the world is taking huge steps, and we are sitting in uncertain times, waiting and watching can feel like losing momentum. Like fear and like doubt.
This album is a reminder to move, to think and to act. There are still shadowsin the trees, and there are still big clouds up ahead, but there is also something friendly waiting for you out there. Still possibility. Still an adventure to be had.
Out Of My Head
Delaney Davidson “ Out Of My Head” - 10th Solo Studio Album.
Co-produced by Mark Perkins aka Merk (who also lent his synths-pertise), the Lyttelton icon's politically focused country noir collection was recorded in Kurow and Diamond Harbour. ( New Zealand), introspective murder ballads, witty narratives and whisky-soaked blues, with a selection of songs co-written with Marlon Williams, Hayley Westenra, Sam Scott (The Phoenix Foundation) and Miranda Eastern.
movin on
The original Demo for Movin On. This song is waiting to be fully realised. Getting great reactions internationally from audiences at live shows it has become a signature tune for the beginning of Delaneys live show.
Word Gets Around - Delaney Davidson and Barry Saunders
Saunders is a master of localizing the subject, and you can relate to the songs. Guitars in hallways, people on the street, dark smoky parties. These aren’t about some lofty ideal or rooted in glossy production. It’s blood on the floor. Davidsons production brings his trademark immediacy to the game, and gives these songs a sparkle and grain. The result? “ It’s a manic and barnstorming balance , at times when we were singing we couldn’t tell whose voice was whose, it all just melded together.
shining day
Shining Day, the 9th Studio album from Delaney, sees him combining his lo-fi and hi-fi sensibilities. Songs that started in simple home recording setups became fully realised through working in Roundhead Studios featuring SJD, Neil Finn, Nicole Izobel Garcia and co writes with Nathaniel Rateliff and SJD.
devil in the parlour
For the first time Delaney Davidson lets loose in recorded format his 13 year old live show that has taken him round the world for over the last decade, through Russia, USA, Eastern and Western Europe, South America and Australasia.
Recorded by Neil Baldock in the back shed of George Pajon Jr (Black Eyed Peas), this album is to date the best document representing Delaney Davidsons live show.
Lucky Guy
A compact collection of songs, Lucky Guy was recorded in The Lab, Auckland, with Olly Harmer. Drums feature Joseph McCallum and Bass features Ben Woolley. Wreck on the Highway recorded in Geneva with Davide Zolli on Drums and Pierre Omer on Accordian. Mixed in New York with Matt Verta Ray in New York Head. Mastered in Bern Switzerland by Adi Fluck of Caliber Club.
diamond dozen
A look beneath the hood of Davidsons demoing and songwriting, this throwback to his debut album Rough Diamond features misfits and mongrels of his hectic writing trajectory.
Swim Down Low
Pulling together his collaborative songwriting ethic once more he stretches into work with Mama Rosin (Voodoo Rhythms Cajun band from Geneva), Eric McFadden, Victoria Williams, Liv Mueller and James Hall from his Wisconsin songwriting connections.
Sad But True 3 -Juke Box B Sides
A healthy family of the emerging country music scene of the time sit together at the table on this album. A young Tami Neilson who will go on to ask Davidson to produce her Dynamite album launching his producer path, Dave Khan who will become part of Marlons Yarrah Benders band, Flora Knight, Paddy Long, John Egenes, Joe McCallum and Ben Woolley all lend a hand.
Sad But True - the Secret History of Country Music Songwriting Volume 1
Heralding the recording debut from the couple that captured the hearts of the nation, Sad But True is a deep dive into influence, tribute, homage, pastiche and love affair with the worlds biggest music. The unlikely pairing was a hit from the start and seeing these two matched in their drive to worship the spirit and craft of songwriting is a heady experience.
bad luck man
Delaney Davidson seems to draw much of his inspiration from misery and tragedy. In the style of the American folk/blues tradition, Davidson tackles heartbreak and woe with the zeal of a man who might find the reaper an agreeable companion. And while his new record Bad Luck Man is, like his past work, rooted in the American South, this time around Davidson found his dread revelations no further away than his front door.
self decapitation
3rd Solo Album and 1st on Voodoo Rhythm Records. Often mistakenly promoted as first solo album. Also first Album recorded in Montebelluna Italy at Outside Inside Records.
ghost songs
The second album from Delaney Davidson was recorded, engineered and mixed at Studio Midi-Pyrénees, Caudeval France, summer 2007 and produced by Bob Drake and Delaney. Davidson played guitars, drums, organ, boxes and trash, trombone, singing saw and vocals. Bob steps in for some bass guitar and violin. And while most songs are originals there are some melting cover versions. "Hate a Man" by J.R. Morton, "I'm a Fool" by B. Holiday and Wayfarin Stranger (trad).
rough diamond
Lovingly distilled from a hearty and unruly collection of home demos, this debut release from Delaney came out on Stink Magnetic Records as a 100 copy CD run. Quickly selling out and leading to multiple reissues and a vinyl run it has become a favourite in the constellation Davidson.
One hand Loose – Delaney Davidson and Bruce Russell
This is an improbable record made by two guys who have on the face of it little business together except that they live in the same small town. Hatched over espresso, black-eyed beans and pulled pork barbeque in the shebeens of that gritty port town, the concept is that of a tribute album. A tribute paid in blood to the unsung king of rock’n roll, Holly Springs most famous son, the man who taught Elvis how to sing with a microphone – Charlie Feathers. The vibe is loose, the sounds are red-line-pushing, the beats are eye-rollin’, daddy-o, and the vibe is so far beyond ‘gone’ that there appears no way back.
Yet back the music comes, back to the primal manic carotid pulse that drives all real rock. Back to the fundamental components of electric music from the dawn of the atomic era: distortion, tremolo, wah-wah and Camp-revivalist glossolalic utterance. Have mercy!