His debut LP, a little over-produced by Jack Clement for Poppy in 1965; including precious first goes at songs like Tecumseh Valley and Waiting ‘Round to Die.
‘It seems a lot of people in Nashville write by phrase, or by the line. As opposed to writing by the word. A lot of my best songs are where every single word is where it’s supposed to be… For the Sake of the Song was written by the word. I once sat down and wrote out the rhyme scheme for that song, and it was amazing. Pretty complex. But it didn’t seem that complex when I was writing it.’

‘The Greatest Hits And More, 1960-1978’ — with early obscurities, live stuff, ads and demos. The hits themselves are sublime New Orleans genius.

‘Stands out in Davies’ discography in that, at an hour long, it is the most expansive of his recorded solo improvisations. Listening to the piece, one is struck by how he structures the overall trajectory of the improvisation. Utilizing a full arsenal of extended techniques, preparations, and bows Davies conjures up a wide string palette across the full sonic range of his instrument eliciting the sounds of everything from harp to prepared piano to groaning bass to guitar to string group. But for all of the technical mastery and timbral breadth, there is an overarching sense of structure and pacing which never flags for a moment’ (Michael Rosenstein, Point of Departure).

Hits, misses, new loves, future head-scratchers… floor-ready beat tracks (Legowelt) to post-chill-out bleep-hop (Daywalker And CF) to industro-wave anti-beat experiment (Svengalisghost)... no limit.

‘Visceral, sonically bold works exploring the many possibilities of writing for strings, including howling glissandi, clustered pizzicatos and tremelos, the clatter of bouncing bows, and rich dynamics and colour.’