Garnered with serious critical acclaim in his 10 year career to date, Scott has taken this time to nurture his craft. He was always deliberate in his actions as witnessed in the time he originally spent as a guitarist before becoming the singer songwriter behind the groundbreaking debut album ‘Passing Stranger’.
Scott keeps moving on and exploring to bring forth gems of songs that seem to gestate over time and then “arrive” as if he was a conduit to some magical power. His vocal style has been much referenced in ethereal terms of "ghostly", "haunting", "eerie" and "hypnotic", so perhaps there is magic afoot. Among the reoccurring constants in his world are “home” and what it means to everyone.
The imposing six-foot four, Black Country, somewhat reclusive icon has become increasingly aware of why his roots remain firmly planted in the Midlands. As all great artists he seems to live somewhere between the real world and the blessed outer circle of day to day.
During late 2012 Scott had a vision, which was to build a home studio. This, however, was only part of the plan. Upon completion of the studio, the final part of the vision was to set about recording a full-length album, without the help of an engineer or producer, which is something that Scott had never attempted before. The results of which can be heard on his forthcoming fourth album ‘Home part 1’.
The goal was to write a set of songs that he would be able to reflect on in years to come, by making a more personal album than previous releases. Drawing upon his exceptional song writing talents, for which Scott won the 2007 Ivor Novello Award for Best Song Musically and Lyrically, he has revealed more directly his personal experiences than previously. Instrumentally on ‘Home part 1’, there is a familiarity to the soundscape with acoustic and electric guitars, cello, piano, flute, flugelhorn and drums dominating the field
Whilst his own experiences are often the inspiration for his writing, he is also influenced by articles in local newspapers and the work of writers such as Alan Sillitoe and Robert Frost. He was profoundly moved by the iconic photography of Robert Wiles, which inspired the only piano-based song on the album, ‘86 Floors from Heaven’, while Magritte’s ‘The Son of Man’ influenced ‘The City and the Lie’. JMW Turner’s depiction of the Black Country in his painting ‘Dudley’ prompted him to consider how the great ‘painter of light’ viewed the land on his doorstep – a land he has always lived and breathed – the concept of which appears in ‘Let’s get you Home’.