Rod Clements is most beneficial referred to as the co-founder of Lindisfarne and the writer of such tracks as “Meet up with Me around the Part” and “Street to Kingdom Come.” Like a bassist and vocalist, he has used artists and organizations as different as Ralph McTell, Peter Hammill, and Pentangle. Given birth to Roderick Parry Clements in 1947 in North Shields, Britain, he was an just child, and was raised in children where neither mother or father was specifically energetic musically, though his mom performed the piano. His dad was an enormous fan of traditional music, nevertheless, and noticed to it that younger Clements went to several concerts. From an early on age, he demonstrated an capability to grab a tune, actually on the child’s plastic material saxophone, and play it. He reached his teenagers in 1960, because the 1st influx of home-grown rock and roll & move in Britain was going to crest, and gravitated toward your guitar — he got his 1st six-string acoustic at age group 13, with 15 briefly required piano lessons at college. His initial motivation to try out music originated from your guitar instrumentals of Duane Eddy as well as the Shadows, amongst others. He also found out, throughout performing hymns at solutions, that he previously an innate capability to harmonize a hard melody. Those rock and roll instrumentals, subsequently, led him towards the bass — as he described within an interview with Tom Cunningham that shows up on Clements’ very own website, he was often fascinated with the single-string melodies of several of these instrumentals like the Shadows’ “F.B.We.,” which frequently tended toward the bass strings on your guitar. He also became convenient with and intrigued with the bass elements of the tracks played by the many rings with which he sat in, and found that his years as a child knack for harmonizing moved perfectly to his playing in the four-string device. Faced with an instantaneous future as a comparatively undistinguished guitarist or a possibly talented bassist, he find the latter. There is also a particular uniformity in his choices — he performed in rings with vocalists, needless to say, but he reserved his admiration for famous brands Bert Jansch, Davy Graham, and John Renbourn, instrumentalists all. Clements went to university on the insistence of his parents but he committed the majority of his energy during those 3 years to music, and specifically to a music group initially known as the Downtown Faction Blues Music group, later on shortened to Downtown Faction. Originally referred to as the Cyclones and the Wombats, the group experienced something of the floating lineup — Clements relocated in and out of regular membership as his period allowed — Ray Laidlaw, Ray Jackson, and Clements’ longtime friend Simon Cowe exceeded through aswell. The group evolved in to the Brethren, with Clements, Jackson, Cowe, Laidlaw, and Jeff Sadler. In this same period, Clements used the violin, influenced partly by Fairport Convention as well as the recording Liege & Lief — this easily fit into perfectly using the Brethren’s change from blues to folk music. It had been in a gig in a folk golf club that the music group crossed pathways with Alan Hull, a guitarist/vocalist, who became a member of up immediately after and changed Sadler on acoustic guitar. The group transformed its name to Lindisfarne — which actually means “holy isle” — immediately after. Hull and Clements dominated the band’s songwriting, Hull composing a lot of the initial numbers and producing the strikes “Woman Eleanor” and “Fog around the Tyne,” while Clements offered “Meet up with Me around the Part” — the last mentioned often likened favorably towards the traditional music of Bob Dylan — and “Street to Kingdom Arrive,” among various other music. Even during this time period, where the bandmembers had been presumably functioning well jointly, Clements done the occasional outdoors task, and he and Jackson both finished up playing on Fool’s Partner, the debut single record of guitarist Peter Hammill (who was simply signed to exactly the same label, Charisma). The group split in 1973, amid inner acrimony and administration pressures, using the primary Downtown Faction originals Clements, Cowe, and Laidlaw heading off to create Jack port the Lad together with Clements’ aged friend Billy Mitchell — Clements just remained for the group’s self-titled debut recording, contributing four tunes along the way. Rather than connect himself to some other group, Clements thought we would try creating himself like a freelance musician in his personal best, and he performed on some fairly impressive recordings during this time period, including Ralph McTell’s strike edition of “Roads of London.” By 1978, nevertheless, Clements and the complete initial lineup had been back collectively in Lindisfarne, which started a highly effective second stage of its living. Clements lasted along with his group in to the start of 21st century, on the way using such luminaries as Tag Knopfler, Michael Chapman, Bert Jansch, and briefly signing up for Jansch and co-founder Jacqui McShee within a latter-day lineup from the Pentangle. In 2000, Clements released his debut single record, Stamping Ground, having a dozen first music authored or co-authored by him, with veteran root base rocker Sid Griffin included one of the musicians, available on the market Square label. He implemented it up with One Monitor Mind in the Resurgent label, a season later. Because of his association with Lindisfarne, and “Match Me in the Part” and his various other tunes, he continues to be a much-loved music celebrity in England, specifically in the group’s indigenous Newcastle.