Flydaddy bio

Over the course of four albums Richard Davies has established a reputation as one of today's most engaging songwriters. From the off center art-op of the Moles to the baroque styling of Cardinal to his latest, most spirited release, Richard has taken cues from the crafted pop of the '60s and classic rock of the '70s to create a sound all his own.

Richard Davies started his career as the creative force behind The Moles, an ill-fated Australian punk band with an affinity for classic pop. The band's catchy, eclectic brand of art-pop combined elements of the Beach Boys, the Velvet Underground, and early Pink Floyd. During its brief existence The Moles received praise from press and radio, including a 'Single of the Week' in Melody Maker and a Peel Session performance.

Richard's next project was Cardinal, a pop fantasy vehicle driven by Richard's songwriting and the baroque arrangements of an unknown Portland instrumentalist, Eric Matthews. Recalling the Beatles and Love, though sounding neither derivative nor retro, Cardinal's eponymous debut (and only) release quickly assumed cult status, an album by two unknowns never to work again. Its influence can be heard on many records since.

Stepping out from behind the anonymity of a band, Richard's first 'solo' album was next. There's Never Been A Crowd Like This is an album filled with lush vocals and understated instrumentation. Conceived as a clear departure from the noisy eclecticism of the Moles and the over-the-top arrangements of Cardinal, There's Never... made plain Richard's growing confidence and talent for melody and lyricism. This, too, became a critic's favorite, earning accolades from Rolling Stone, Billboard (cover story), Raygun, Melody Maker and other international publications.

Richard's latest Telegraph, has a looser and more spontaneous feel than his previous albums, combining the spirit of his live shows with the craft of his studio work. The songs were recorded live with full band and then embellished with extra vocals, guitars and, on some songs, trumpet, synthesizers and keyboards. Richard seamlessly marries sixties-style pop with the loose, countrified playing of artists like Bob Dylan, Neil Young, and John Fogerty. It is a distinctive, timeless and very personal album.

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