Iain Matthews (born Ian Matthews MacDonald in Barton-upon-Humber, Lincolnsh… Read Full Bio ↴Iain Matthews (born Ian Matthews MacDonald in Barton-upon-Humber, Lincolnshire, on 16 June 1946), also popularly known as Ian Matthews, is an English musician and singer-songwriter who was an original member of the British folk-rock band Fairport Convention from 1967 to 1969 before leaving to form his own band, Matthews Southern Comfort.

With a long singing career dating from the swinging 1960s, where he released material as the vocalist of Pyramid, Matthews joined Fairport Convention, formed and left Matthews' Southern Comfort, and went on to have a long and winding career, sailing through trends in rock, pop, country and folk with some chart success and maintaining a continuous cult following since his commercial peak in the late 1970s.

After his stint in Fairport Convention, came the country-tinged Southern Comfort (1969) album , where Matthews recruited Richard Thompson, and other members of Fairport to collaborate. He secured a deal with MCA’s UNI label and a touring lineup of Matthews' Southern Comfort released two more albums of material, Second Spring (1970), and Later That Same Year (1970). Much like he had when Fairport had it's first success, Matthews walked away from the band just as fame became inevitable and Tops Of The Pops were calling.

He went solo again releasing the self produced If You Could See Thro’ My Eyes (1971) on Vertigo with a cast that included Richard Thompson, Sandy Denny, Keith Tippet (King Crimson), Tim Renwick (Al Stewart), and other British performers. Matthews seemed, for a moment, to have found a comfortable balance of autonomy, support, creativity, and success. The follow-up for Vertigo, was Tigers Will Survive (1972), and then a new project Plainsong, who signed with Elektra[/label and released In Search of Amelia Earhart (1972). ex- Monkee [artist]Michael Nesmith produced the LP Valley Hi (1973), which featured a version of Steve Young’s “Seven Bridges Road” so definitive that you can hear the Eagles recreate it note for note on their 1980 live album.

Matthews took over production again for Some Days You Eat the Bear and Some Days the Bear Eats You (1974), which featured LA session men like guitarists Jeff “Skunk” Baxter, on his way from Steely Dan to the Doobie Brothers, and David Lindley of Jackson Browne’s band. That LP also featured a Tom Waits song called "ol 55" whom the Eagles also must've heard, as it showed up on one their next Elektra/Asylum releases.

Matthews moved to CBS for Go For Broke (1976), and then Hit and Run (1977). Finally in Stealin’ Home (1978) Matthews hit the US top ten with the single "Shake It". Even with chart recognition, his next LP Siamese Friends (1979) stiffed due to poor distribution through a Canadian indie whose founder had died. Spot of Interference in 1980 was followed by Discreet Repeat a best of from the Southern Comfort years.

Matthews had been struggling in the music biz for nearly 15 years by the early 80s and was still living hand to mouth, with nothing to show for his efforts but a string of out-of-print albums, and the loyalty of those musicians and fans who shared his vision. More or less on a whim, Matthews abandoned LA for Seattle, where he met vocalist David Surkamp, late of Pavlov’s Dog. The two formed Hi-Fi, an 80s guitar band that included Bruce Hazen on guitar, Garey Shelton on bass, and Bob Briley on drums. They produced a live mini-album, the Hi-Fi Demonstration Record (1981), as well as a full length studio album, Moods for Mallards (1982), on which they covered Prince’s “When U Were Mine.”

The hi-tech sound of Shook (1984) was followed by a record of mostly Jules Shear songs called Walking a Changing Line (1988). Matthews found day jobs at labels like Island and then Windham Hill while he planned a comeback that included a Fairport Convention reunion, and a live solo album recorded at NY's Bottom Line. Finding a renewed interest in songwriting Matthews put out Walking A Changing Line, Pure and Crooked (1990), Skeleton Keys (1992), and Dark Ride (1994)and God Looked Down (1996) both on Austin’s Watermelon Records. A revitalized version of Plainsong also recorded Dark Side of the Room (1992) Sister Flute (1996) a Live in Austria EP (1998) and New Place Now (1999).

Compilations of older songs also appeared including Orphans and Outcasts (1991), The Notebook Series (1992),The Soul of Many Places (1993), all selecting highlights, outtakes etc from his long career.

Relocating to Amsterdam, Matthews found steadier live work and began playing numerous live shows, both with new and established acts.

Matthews formed a Sandy Denny tribute band No Grey Faith with Jim Fogarty, who played on Tiniest Wham, and singer Lindsay Gilmour. The resulting album, Secrets All Told (2000), includes Denny’s “Rising For the Moon”. Also released in the year of the millennium was Iain AdVenture (2000). The next year Matthews re-tested the Plainsong waters once more in 2001 with a six-song mini-album, A to B, which includes his controversial take on racial issues, “To Be White.” A collaboration with American rocker, (now Paris resident) Elliott Murphy resulted in the commercially successful album La Terre Commune (2001). Other collaborations followed including More Than a Song (2001) with Eliza Gilkyson.

Since 2003 Matthews has worked with Dutch pianist and composer Egbert Derix.

Seven Bridges Road
Iain Matthews Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

There are stars
In the southern sky
Southward as you go
There is moonlight
And moss in the trees
Down the seven bridges road

Now I have loved you like a baby

Like some lonesome child
And I have loved you in a tame way
And I have loved you wild

Sometimes there's a part of me
Has to turn form here and go
Running like a child from these warm stars
Down the seven bridges road

There are stars in the southern sky
And if ever you decide
You should go

There is a taste of time sweetened honey
Down the seven bridges road

Overall Meaning

The lyrics of Iain Matthews's song "7 Bridges Road" tell a story of a lover who has expressed their love in different ways - from a gentle, subdued way to a passionate, wild way. The first stanza sets the scene and describes the beauty of the southern sky at night, with stars shining and moonlight casting a glow on the mossy trees along the seven bridges road. The second stanza speaks to the different ways that the singer has loved their partner, with a sense of vulnerability and tenderness. The third and final stanza captures a sense of restlessness, with the singer feeling drawn to run away towards the stars down the seven bridges road. The final line offers a hint of sweetness, suggesting that the journey down the road might lead to some sort of reward or treasure.

Overall, the song speaks to the complexity of love and relationships, and the different ways that we express ourselves as we try to balance our desires and vulnerabilities. The imagery of the stars and moonlight in the first verse serves to highlight the beauty of the natural world, lending a sense of magic and mystery to the experiences of the singer. The repeated reference to the seven bridges road gives the song a sense of structure and continuity, as though the journey along this path is a metaphor for the journey of life itself.

Line by Line Meaning

There are stars
The night sky is illuminated by shining stars

In the southern sky
These stars are located in the southern part of the sky

Southward as you go
As you travel towards the south, the stars remain visible

There is moonlight
The moon casts a glowing light on the surroundings

And moss in the trees
The trees are adorned with green, fuzzy moss

Down the seven bridges road
This scene can be observed while traversing the road with seven bridges

Now I have loved you like a baby
I've loved you with innocence and purity, like a newborn

Like some lonesome child
I've loved you with loneliness and helplessness, like a desolate child

And I have loved you in a tame way
I've loved you with ease and caution, like a gentle animal

And I have loved you wild
I've loved you with passion and impulsiveness, like a wild animal

Sometimes there's a part of me
Occasionally, there is a sentiment within me