Like many artists guided by 'heart', I hail from humble beginnings... My career began in the deep south of the USA singing with my family at church.   Gospel harmonies washed over me, inspiring me before I could even talk.   And blessed with a number of black playmates, Soul, R&B and Motown passions were quickly etched upon my spirit in ways I pray will always remain kindled.   The first instrument I learned was the fiddle.   My father was a professional jazz musician and, surrounded by Big Band music whenever he rehearsed upright bass and tuba, my spirit ached to express itself too.   At six years of age I picked up the only instrument fitting my small hands and started fiddling.   As you'll soon discover ... I still do.   Other instruments soon followed. First exposure to guitar came from the next door neighbor's rock band.   As open to all kinds of music as Dad was, he had a dislike for guitars - especially electric ones - and   'Satan's tones' would not be allowed in our house no matter what.   Unfortunately... one chord, and I was already runnin' with the Devil. Dad finally relented when he saw my dedication to the dime-store Gene Autry guitar my Uncle left during a visit.   The day I made Eagle Scout, he rewarded me with my first 'real' guitar.   Inspired by the likes of ' Crosby, Stills, Nash and Young', The Eagles, The Allman Brothers, Molly Hatchet and The Marshall Tucker Band , I taught myself how to fingerpick - the perfect segue for what soon followed... Dad trading his upright bass for a bass ' guitar' . The first song Dad taught me on his new bass was The James Gang's 'Funk 49'.   And boarding the rock & roll freight train that afternoon, I never looked back - bass guitar was my ticket.   And oh, the places that ticket led. As a teen, I had the pleasure and rare opportunity of meeting two other 'James's' that affected my life, becoming tremendous influences in my perceptions as well as my music.   James Taylor, and the Godfather of Soul himself, Mr. James Brown, represented the breadth of possibility of what music could be.   Their unseen hands continue to color my music today - stirring up bits of my heart as well as my soul.   At University I studied dance, leading to a number of variety shows - which led to Country Music shows - which led to Musical Theatre - which led to legitimate acting, inspiring me to find my own interpretation of life.   Entertaining in Las Vegas, L.A. and New York, I had the delight of working alongside such greats as: Suzanne Somers , Kenny Rogers , Dolly Parton , Bob Hope , Tammy Wynette (Godspeed), Jim Nabors , Vic Damone and Diahann Carroll , Tom Jones , Liberace , Sammy Davis Jr. , Charo , Diana Ross , Louise Mandrell .   While I treasured the proximity and inspiration of these legendary artists, questions deep inside started to distract and wouldn't relent until I realized that I'd been enjoying the world for a long time without really contributing anything of value.   This decided, I traded the dance halls for the halls of academia and completed my Doctorate.   I'd long been attracted to 'Australia Fair' so moved here to put down permanent roots for the first time in my life.   I'd long since given away my music and was content just to look after my patients - or so I thought.   Until one day, fate came niggling at the nape of my neck insisting that I start performing again. Totally unexpected, I received a phone call from the representative of a band calling themselves the 'Chardonnay Cowboys'.   David Moyse , former guitarist of the rock icons, ' Air Supply ' gave me a bit of background about the Adelaide-based band needing a bass player who could sing.   I liked the original music the band was creating so jumped at the chance to step through the stage door again. Rehearsing with some remarkable musicians, I realized that the niggling of fate wasn't because I was unfulfilled. Rather, it was because I 'needed' to sing and play and perform - to be able to share worthwhile things I'd learned with the world .   What I really needed to do was write my own songs .   After the first show with the 'Cowboys' we added an amazing keyboard player and singer to the band - Darren Mullan .   In all my years of entertaining, never have I connected as well as I did when we started singing together.   The band itself didn't last long, but Darren and I stayed in touch.   A couple months later, I received word that my childhood sweetheart was suffering with an incurable condition.   This news shook me to my very core and I turned to writing songs as a way to handle my emotions. I recorded one of those songs and two miracles occurred: my friend's condition improved; and I realized I was finally doing what I'd aspired to do all along - write touching songs ' from my heart '. After that, I got together a coupla times a week to sketch new material and arrangements with good friends, Peter and Margie Miller (original members of Kasey Chambers ' ' Dead Ringer Band '). One Friday afternoon, I handed Darren 35 very rough, scratchy songs I'd demoed, insisting he be brutally honest about his impressions.   He suggested we start with four of them.   One of those is the song ' Exhale ' appearing on the album.   That was the beginning of our collaboration ... 'Elton and Bernie'... only without the big shoes and glasses. The lead singer from the 'Cowboys', Gary Barber , had become interested in my songs during this time and while listening at the studio one night, he asked if a mate of his could have a listen.   Tony Savage , affiliated with ' Midnight Oil ', manager of ' Stevie Wright ', ' XPT ', ' People ' and ' Freightrain ' and marketing manager of ' Misex' (album 'Computer Games' ) had his first listen to the songs.   At the time, Tony was inundated with other projects, but advised we keep at it. Months later, Darren and I had 18 songs meticulously demoed, and with a little manipulating from Gary, we arranged for Tony to have another listen.   All the tracks were played, and at the end of a very nerve-wracking hour-and-a-half, Tony shook his head, smiled and extended his hand saying, 'There's not a weak song in the bunch'. A value is required.