Several years ago 1 booked Prelude, famous for their early 1975 hit cover of Neil Young's After The Goldrush to play a date at the acoustic music club I was involved in running. Several days before the gig, Chris Ringer (Prelude's bassist) asked me if the other group he played with, Diesel Therapy, could do an opening set. This turned out to be my introduction to the band and Jim Hornsby; a genial man equally at home on acoustic guitar, Telecaster, Dobro or banjo. Smiling and gently wise-cracking, Jim gleefully led the Diesels through a stunning set of original songs and instrumentals. I was instantly won over by Jim's, and the band's, musical prowess and his sheer joy at playing music. This was, It transpired, only the latest chapter in the long, eventful musical life of one James Hornsby.

"I was born in Newcastle, not far from where I now in live in Gosforth. A friend of the family left a ukulele banjo at our house, and that was it, hooked!" Jim's parents, though not musicians, had a pile of 45s including Patsy Cline's ‘Crazy’ and ‘Walk on By’ by Leroy Van Dyke; 'Iconic country singles that left an impression on me.' Jim's first guitar was made by his father, though it was 'unplayable!' This was followed by a Spanish guitar, on which the young Hornsby learned his first chords. Though mostly self-taught, Jim did attend Newcastle Music College; 'When I was in my forties,' to acquire some recognised 'musical qualifications' he later put to good use.

I asked Jim where he cut his teeth as a young musician. "The folk clubs were great places to play and learn. I met many people who would have careers in music; Alan Hull, of Lindisfarne, Prelude of course, and Mike Harding of 'Rochdale Cowboy' fame. At the same time I got to know my school pal Billy Espie and he had a friend from the tough West End called Dennis Coulson or, 'Cooler' as we called him. Dennis was a fine singer and finished up in McGuiness Flint. Sadly he died a couple of years ago. Strange to think his signature song was When I'm Dead And Gone. I want to write a song for Dennis, it's in my mind a lot"

Despite being an Englishman, Jim is steeped in country music. Where did his love for the genre come from? 'I like other types of music but, I always come back to bluegrass, country, Americana, roots ... whatever you want to cal! it. I was initially a big Chet Atkins fan which led me to Merle Travis which took me to western swing. 1 liked 'Rambling' Jack Elliott which in turn led to Bob Dylan, the Byrds and the wonderful Clarence White. Other players he admires are J J Cale and Lowell George. Along with being a terrific guitar player, Jim is also very adept on Dobro. 'Jerry Douglas is my main man on Dobro, I saw him at the Station Inn, Nashville, in the early 1980s. Banjo would have to be Earl Scruggs or Jim Mills, who plays with Ricky Skaggs. I love Michael Landau (American session player) who plays really tasteful guitar on some of James Taylor's CDs and the touring band. Great player, understated with a tone to die for.'

I wondered which songwriters Mr Hornsby held in high esteem? Jim reverentially named, "Jimmy Webb, Guy Clark, Towns Van Zandt, Willie Nelson, Merle Haggard, too many to mention ... - I asked him if he could tell the readers about some of his instruments. Does he feel any sentimental attachment? "My main electric has always been a Telecaster. I've had a few of those. At the moment I'm using a Fender Custom Shop Telecaster with a maple neck which I'm very happy with. I used to own a '63 Tele with a B Bender, one of the first in the UK. Unfortunately, I sold it to pay the bills one hard winter. I have a 1975 Dobro, which I bought from guitar builder Kevin Parsons, it has been on quite a few recordings. My main acoustic for forty years was a Ryoji Matsuoka CSL dreadnought style guitar which my long suffering wife, June, bought for me. That guitar has major sentimental attachments and carries a lot of memories. It is retired now so I use a Collings D2H With a Fishman 'aura' system for gigs. I'm lucky to have these great guitars, but it's been a long time coming. My banjo is a loaned Wildwood, and I've just bought a Goldtone electric banjo for louder shows.'

Jim has often been an in-demand session musician and producer. 'While I haven't made a fortune or achieved international success, I've lived a life I could only have dreamed about when I lived on the council estate in Fawdon. I Worked On ANDROMEDA HEIGHTS for Prefab Sprout. My association with Martin Stephenson was short but productive. Martin is one of the best performers I've ever worked with. I did some of the best gigs I've ever done with him; The Purple Onion, Saluda. Rams Head Tavern, Washington DC. Lovely little clubs, coffee houses. In the States Martin is managed by Dophus Ramseur of Ramseur Records, who also manages the Avett Brothers who are big at the moment, having had an album produced by Rick Rubin. One night they supported Martin and myself at a House Concert somewhere in North Carolina. We did one album together, HELLS HALF ACRE, on Ramseur. Recorded on Dophus' front porch, it's one of my favourite memories of Martin. I've played on a few of his CDs, notably LILAC TREE and AIDRIE and we are talking about doing some more recording together."

A period of musical growth occurred for Jim when he became involved with Prelude. "I was a member on and off for years. I played on the gigs and on the CDs. They are friends. It was while recording their CD GOOD FOR YOU, that I started to write songs and they were very encouraging, Some of my songs are on that CD, I'm grateful for that" How did the association come about? 'I knew Brian and Irene (Hume) through Alan Rogan, He was their bass player for a while before becoming a successful guitar tech for Clapton, Eagles, Joe Walsh and the Who. I loved the harmonies, the blend was perfect. I learned a lot about harmony from Brian and Irene and they were always good to me even when I didn't deserve it"

One of Jim's songs for Prelude, Land Of Broken Dreams, won a writing award from the Country Music Association of North America in 2001. How did this success feel? 'It felt good but strangely removed from reality.'

Mr Hornsby enjoys touring. 'I don't mind if it's the UK, Europe or the USA. Anywhere really! My headboard at home should be a Transit dashboard. I sleep best when the wheels are turning.' One such trip was to the Netherlands backing Irish singer songwriter Kate Purcell. 'The Netherlands with Kate was a theatre tour with an Irish folk theme. We had a great time and it was good, well organised work. The sound crew and transport people were excellent as were the audiences. They look after you over there."

After so many years of being the 'hired gun' it was natural that Jim would want to write and front his own projects. This finally came to fruition with a fine solo CD, BEDFORD FALLS. "It came about through my association with Tony Davis who owns the Cluny Studio in Newcastle. I recorded the first songs at his then home studio. Shortly after he took over the Cluny and we finished the CD there. I had some songs and needed to do something of my own. I got distribution through Voiceprint thanks to Martin Stephenson. There are some great players on there; Paul Smith on drums, Bradley Creswick, violin, and the undiscovered Dawn Grainger

on fabulous backing vocals. Yes, it's a good CD, thanks to all who worked on it!" Jim's lifetime of musical experiences brings us back to where this article began, with Diesel Therapy. This wonderful alt.country band released an excellent debut CD, THE TURF HOUSE, In 2006. Who's in the line-up? 'Diesel Therapy are myself, Danny Holmes (guitars, lap steel and vocals), Chris Ringer (double bass, bass guitar, vocals) and the wonderful Duncan Tyler on kit.' The quartet plays beautifully together but one of the real features is the twin

guitar combination of Jim and Danny. 'Yes, Danny and I are tuned to each other's musical outpourings. We spend a lot of time working on parts and harmonies both for the songs and the guitar parts. We have very high standards. Nothing gets by unless it's the best we can do." The band combine stunning instrumentals (by Danny and Jim) with some really poignant songs. Jim's Keeping It Real, for Instance, talks about playing gigs for the children of miners and the young boy who pressed his nose to the shop window 'trying to will down the price' on a Gretsch guitar. Classic country music subjects really, It strikes me that Jim's best songs have a strong streak of realism running through them? "The songs come from my own life experiences. I think much modern music is lyrically challenged. I prefer the 'story' style of writing, trying to create a short musical snapshot that maybe the listener can identify with. I have a good memory

for people and places and also love the humour in everyday life. Once again Danny has a big part in this process. We have co-writes and individual songs, instrumentals. Tomar, one of Danny's tunes, is on Youtube if readers wish to check It out"

The band is currently working on recording some 'Dobro tunes' for a CD tentatively titled RETROPHONIC. "It's coming along well. I'm also writing new songs. Another new thing I'm working on is a theatre show called Dolly Parton Story, with Andrea Pattison. It's being very well received so I hope we will be busy with that this year."

Jim Hornsby looks totally at ease when one sees him playing live with Diesel Therapy. His voice perfectly suits the material. Somewhere between J 1 Cale and Mark Knopfler, his weathered timbre collars the audience. Does Jim like being the band leader? "Yes, I love it. There is a freedom about singing your own songs I hadn't experienced as a sideman. I think I have my own way of putting it over, and love to get the audience involved in the singing. I love playing Dobro and can see myself playing in a straight ahead bluegrass band at some point. I will probably have to run it myself though, can't be doing with slackers," he laughs.

I concluded our interview with my usual question; was Jim Hornsby happy with the life he chose in music? 'I wouldn't change it. I've been very lucky to have my life. I hope it lasts a bit longer!'

John Brindle

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