No chance this apple was ever gonna fall from its tree. With a Canuck musical icon for a dad and growing up in an environment rich in alt-country and roots music influences, Devin Cuddy probably never in his life thought of going punk. Also, it does help his identity thing that his instrument of choice is the piano.
The debut album showcased a deep interest in the prototypical roots elements which became the building blocks of primal rock and roll and Kitchen Knife carries on in the same vein.
Album opener ‘Kitchen Knife’ features Cuddy’s rough-edged vocals riding atop a mellow barrelhouse piano riff, offering a palatable counterpoint to lyrics which seem to allude to getting justice at knife point. There’s much the same aesthetic at work on ‘Forty Four’, whose rollicking stride piano riff carries Cuddy’s gleeful warning to stay away from his door ‘cause he gots his Forty Four.
So yeah, this one is all about the storytelling, and Cuddy cleverly employs a number of personae in getting the stories across.
On the vocal end, Devin’s still growing into the mellow side of his tenor and in a couple of places, notably the classic weepers “Home” and “Lee’s Lament”, is pitch perfect on every level.
Steve Groves has released his latest CD "Notes From The Underground, a 5 song EP of all original blues written and produced by Steve. The CD has special guests. The great Montreal guitarist Ricky Laurent plays swamp slide guitar on "Runnin' Through The Bayou”. Everyone knows bluesman Steve Marriner blowing’ harp on this up tempo blues shuffle, "Shut The Front Door”. Steve’s daughter, Raven Desneiges Groves adds a sweet flavour with the background vocals on "The Queens Cousins Cats" and Rene Fortier playing hot percussion on 3 of the songs.
Regular band members in the Steve Groves Trio are rock solid low bass tones coming from Jamaica’s Owen Brown rooted with his rhythm partner, Jorge Reyes on drums. Having just returned from a 99 day tour of France, Spain and India, Steve is busy successfully contacting blues radio stations globally. So far the EP is being played in Spain, Switzerland, England, Canada and New Orleans, as well as on syndicated blues radio shows across North America. Radio response has been 100%.
Steve is now planning his next world tour. Spain has invited him back to perform at several festivals and other countries are in his sights. "I feel great about the response that the songs from the CD are getting. New Orleans Radio has three of the tracks on rotation plus Blues Deluxe broadcasts on local stations throughout North America".
Carolyn Fe Blues Collective offers up the Blues in all its shades, full band or acoustic trio/duo setup. Carolyn Fe Blues Collective has the unique ability to serve it's audiences with highly charged emotions – From the sweet, purity love's first kiss to the raunchy edge of a woman scorned, all the way to the tease of languid sexiness.
‘All About Them’ leads off the CD with a rock guitar that has a 70’s feel to it, ‘Kitty Kat’ is a great musician’s tune, coupling Hammond B-3 and clean production, and the title track ‘Bad Taboo’ is the blues at its best; soulful, heart-wrenching vocals, love being treated badly.
‘Love’s That Good’ is infectious, with cool rhyming patterns, clean bluesy production, finger squeaks and all, ‘Love Galore’ captures the torch singer feel of that sexy, sultry singer in a smoke filled bar where no one knows your name, ‘Goodbye’ has a 1940’s vocal delivery like an Etta James and shows how strong a voice Carolyn Fe has, ‘Bad Thing’ does the same with the B3 showing up once again to encompass this vocal and sax backgrounds, ‘Redemption’ feels more like the hippie 60’s sound of The Doors, Iron Butterfly and all the other psychedelic bands that were around in that era.
This act had me at the name and I’m real glad I went with that. From the high-stepping guitar riff which intros album opener ‘Black and Blue,’ this thing just yells summer album. And jumps, shouts and dances about it too, a soundtrack for sweet, sticky summer nights, whether you be jamming in a club or wheeling around town.
One that goes both ways on those counts is ‘Mama’s In the Backseat’, driven by a rockabilly guitar riff played with a meth-tempoed strum that just never lets up for it’s entire 2.48 length. Even when they play it summer languid, as on ‘My Paradise’, the springy bass and guitar lines put a snap in the song’s basic mid-tempo arrangement. The contrast between Halls’ gravel throat and the honeyed backing vocals work very effectively here, as do they in conjuring up the hot summer night soul of ‘Feel Me Now’.
The B.C. based blues-rooted duo dropped a self-titled debut in 2008, and almost immediately became festival faves. One listen to any track on this one and you get why.
Axeman/drummer (and producer) Matthew Rogers and singer/harpist Shawn Hall work from a gritty primal sound, beefed up here by female backing vocals, keyboards and four horn players. While they work from the wellworn delta cum electric blues template, Hall and Rogers have crafted enough solid originals to lay claim to a ‘sound’. What that is keeps mutating, this time around with more funky bass lines and arrangements and more room for the backing vocals.
Like many artists before her, singer-songwriter Melissa Payne grew up in an area where musical talent ran deep and was never in short supply. That was Ennismore Ontario. Inspired by family and friends and fiddle lessons from the internationally acclaimed Leahy family, Melissa developed a love for playing and performing music at an early age.
By 18, she had taught herself to play guitar and began writing songs. With her fiddle and guitar and a batch of original songs she began building a fan base in the Peterborough On area performing wherever she could. She also managed to land a job as a tour hand on the road with world renowned fiddler Natalie McMaster. It was during that time she learned firsthand about the determination and dedication it takes to be a successful touring artist. The past couple of years have been busy with playing, touring and writing including appearances at Mariposa, the Boots & Hearts festival and the Peterborough Folk festival.
In 2009, Payne did a demo of her songs and garnered the attention from Seventh Fire Records. This resulted in the release of a 2012 self-titled CD. After making an indelible impression with her playing on Express & Company’s 2013 Ontario, Payne, accompanied by producer Greg Keelor (Blue Rodeo) and co-producer/engineer James McKenty, took that momentum into the studio to write and record the songs that would become the final product – ‘High and Dry’.
Watching Tommy James and The Shondells is like buying a personal ticket to your memories through music. With a crowd of close to 5,000 people filling the theatre venue at Casino Rama, TJ came out to a thunderous applause to ‘Draggin’ the Line’ and it only went up from there.
Taking you through a series of his hit records; ‘Hanky Panky’, ‘It’s Only Love’,’Getting Together’,’Crimson & Clover’,‘Sweet Cherry Wine’, ‘Crystal Blue Persuasion’, and using ‘Mony, Mony’ as a huge crowd pleaser by coming down off stage and walking through the audience, stopping to sign autographs and let people take photos with him on their phones and cameras. I saw TJ do this last year at the CNE and it really works. Although security gets overwhelmed walking beside him, with everyone wanting to touch, hug and shake his hand. While TJ does the ‘walkaround’ his band vamps and waits for him to return to the stage. What is so refreshing to see is the current rendition of The Shondells enjoy singing and performing the hits as much as Tommy James does, and there is a great chemistry on stage as well as strong three part harmonies from John Golden (lead guitar and music director) Owen Yost (bass guitar) and Jonathan Ashe (acoustic guitar). Keeping it all together are the rest of The Shondells; Glen Wyka on drums, Bennie Harrison on Hammond B3, and Mike De Maeo on synthesizer.
This is Bob doing Bob’s Greatest Bits and that ain’t no small thing. This is album 11 from Mould solo and it’s been one long, intriguing struggle to create a musical indentity distinct from the one that inhabited his iconic bands Husker Du and Sugar. This one though, refers directly back to previous outing Silver Age, a career standout and consequently sets itself up for direct comparisons.
Backed by the killer rhythm section of bassist Jason Narducy and Superchunk/Mountain Goats stickman Jon Wurster, Mould gets to work with vigour on the retropunk rippers “Kid With Crooked Face” and “Hey Mr. Grey”, echoes from early Husker Du highspeed wonders, as is “Hey Mr. Grey”, which has some definite melodic similarities to early works. Not a bad thing and inevitable really, as Mould balances moving on with retaining that part of his fanbase invested in vintage Mould.
Even closer to that mood is the brilliant “I Don’t Know Anymore”, on which Bob drops with both feet on fire into the fuzzed-out, scuzzpunk love letter to a dubious amour, an album highlight. Ditto the menacing slow churn and hammer of “Low Season”; on floor stomper “The War”, he shouts “Listen to my voice/ It’s the only weapon I kept from the war.”, a war which doesn’t sound like it’s ending anytime soon.
Seeing as how the act’s essentially concept mastermind Andy Butler working with a completely different group for each of his three albums of reconstructed dance music, it’s hard to do comparisons between the albums. He’s kinda put himself in a place where the songs are only as good as the singers but having set that up as his thing, it’s probably too late to stop now.
Which counts as a factor in the way The Feast…pushes past the line-up at the rope to jump into the house disco. Album opener "Hercules Theme 2014" lets you know from the get go how it’s going to be, with sparkling production and layered, tricky rhythms to keep the bouncing interesting.
After that, if anything the pace picks up and it gets hot, hot, hot and also more retro as it goes along, employing vintage drum machine and synth effects, and famed Euro house-and-techno revivalists Haze Factory. And yet, Butler manges to bring a litle somethng at once idosyncratic and contempo to the party which speaks to the heart in the beats.
Here’s an act that’s not only survived without that monster, career-defining album but thrived by sticking to their quirky electrobeat thang in a genre eternally on the hustle for the next new thing.
This album isn’t that monster hit but it’s a damn fine romp around the block inna Chromeo style. The Canuck electrofunk duo of Dave 1 and P-Thugg have once again crafted a hooky collectioin of real songs built on their mutual love of the vintage elements frameworking modern electrofunk and lyrically taking the stance of the playa as Pranksta. That requires a tricky balance between the heartfelt and the ironic and achieveing that balance is at the core of most of their best songs.
To that list can be added album opener "Jealous (I Ain't With It)", a song driven by funkified guitar chording and a classic Chromeo hook with an full-bodied anthemic chorus hanging from it. powered by chunky, ringing guitar chords. The hook’s courtesy of production duo Oliver, and another collab, with Toro y Moi results in another killer tune replete with classic Chromeo touches, the instant earworm "Come Alive".
On which this sharp-dressed soul rockin’ man comes up with a new sound and underlines the distance he’s come since his Staggered Crossing days. Always a fluid and inventive guitarist and an attention-grabbing showman, Tech Noir is a high-water mark in the songwriting department.
Taylor has a distinct delivery that’s raw and emotional, drawing on blues-rock and island rhythms for the backbone of his sound. Word is that Tech Noir is a culmination of every musical genre that has influenced him throughout his life.
The end result’s inspired by the likes of Lenny Kravitz, Stevie Wonder and Bill Withers, which has loads of room for Taylor’s inspired riffing. No flies on the vocals either, which manage to come over sounding both classic and fresh. You’ve likely already heard his soulman’s shout on the blazing single "Zero to Eleven", punched up by a tight horn section, or his smootn r’n’b crooning on "Never Gonna Give You Up”.
Thematically, for Taylor the revolution’s all about the love, most appropriate for a new daddy, and consequently is awash in good vibes and positivity which occasionally teeters but never quite falls into the chasm of the warm fuzzies. On that front, the highlight is "Be Good To Your Woman". The clever changeup of “No Guns,” on which Taylor sings “I don’t need no gun for protection…” telling us this is so because the love in his life is all the protection he needs, has just the right amount of guitar edge to give it authority.