Wellington, Lower Hutt
Singer-Songwriter

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BIOGRAPHY

Phoenix Ash. Singer Songwriter Guitarist. Being a Rock Funk and blues lover his style seems to be a mixing pot of all three. Phoenix rose up from the old school of loud raging smoke filled dark and dingy pub rock scene mainly in Australia where he has been playing since the late 70's. So after a 10 year break from music the wonderful age of great quality home recording has lured him back and is loving the whole process again. All songs here have been recorded by Phoenix from his very modest home studio. All Vocals, Guitars, Bass and Keyboards done by Phoenix.
Phoenix has toured and supported many acts over the years just some of them are:
Def Leppard, Eurythmics, Suzi Quatro, Canned Heat, and Uriah Heap. Aussie acts like Cold Chisel, Rose Tattoo, Choir Boys, Ian Moss.
Gear: Reaper, Behringer 1002 fx mixer, Behringer C1 Mic, My Trusty old 1962 L series StratOblaster, 1980's re-issue L series Strat , Boss ME-5 Pedal board, Squire J Bass, Delta Audiophile 2496 Sound Card, JBL Control One speakers, NAD Amp.
My Pad: New Zealand

GENRES

Rock , Funk, Blues

Contact

Administrative: Paul Gannell

P.R.O.

OTHER

INSTRUMENTS

bass / electric guitar / keyboard / vocals

INFLUENCES

Jimi Hendrix., Led Zeppelin, Cold Chisel, Switchfoot, Stereophonics, Simple Minds,, Robin Ford, The Eric Gales Band , Larry Carlton, Steve Lukather, Chris Duarte

I AM INTERESTED IN

in pitching songs to artist
in pitching songs to tv
in getting a record deal
in getting a publishing deal

I WRITE:

For a living

I Also Write:
by myself
for myself

I Prefer To Write:
lyrics
melody
music

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Legends: Bobby Braddock

In Nashville, most successful songwriters have a fairly short run. On hit, one year, two years, five years. Occasionally, we get one whose career approaches the length of a real career or, more often, one who has a few years success, then slips into oblivion, only to emerge again for another brief era of hit-making.

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Legends: Rickie Lee Jones

She speaks softly, not unlike the way she sings --soft, soulful passages, almost like secrets to the closest of friends --punctuated by bursts of exaltation. It's much like the span of emotion in her work, and in her new record, Balm in Gilead, which veers from the pure, naked heartbreak of "Bonfires" to the elation of "Old Enough," to the beautiful "Wild Girl," which celebrates the 21st birthday of her daughter, while simultaneously reflecting on the unchained fervor of her own wild days.

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Townes Van Zandt: Facets, Faults & Fractures

It's 10 o'clock at night on an abandoned Music Row. The year is 1985. In a third-floor office in an old house that serves as the offices for the Oak Ridge Boys' Silverline/Goldline Music Publishing, Steve Earle brings the chair he's leaning back in down hard, flipping his hair out of his eyes for emphasis.

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Q&A With Squeeze's Chris Defford

After practically defining the New Wave genre in the '80s and, with partner Glenn Tilbrook, writing some of the classic pop songs of the late 20th century, Squeeze's venerable co-writer Chris Defford went the solo route, with detours into film scoring and the occasional Squeeze reunion.