Vinyl Release Party

Release the Vinyl!

If something about that sounds tantalizing, just wait till you hear how the music itself sounds in the deep grooves of that marvellously malleable material!  At long last, the 12″ vinyl LP of Songs of Serenity will be officially released on Friday, March 10th.

You can preorder it now, and get it a day early (Mar. 9) –  Right here!

It will look just like this, only bigger! And with a fully functional record inside!

To celebrate and launch this record (again), we are having a big party at LanaLou’s (362 Powell) to play songs off the album plus a few from the next one, coming in the fall.  We’ll be joined by two more incredible bands, Gold Stars Are For Suckers and The Top Boost, who are going to make it a night to remember packed with great music.  Special thanks to Gold Stars bassist and man-about-town Richard Katynski for the cool poster design.

Those of you who can’t make it to Vancouver for the release show can buy the record HERE – and we will ship it to you anywhere in North America!  Remember, there is a bonus track on the vinyl record that did not appear on the CD or digital release, a fun tongue-in-cheek ode to my friend Ben, “What Would Ben Mills Do?”  As well, every vinyl record purchased will include a digital download of all the songs at the same time.

If you don’t spin the black circle, we still have plenty of CD’s available, and of course the digital tracks swirling around in the ether somewhere.  See it all at our online store.  One way or another, you’ve got to hear this record  — while it’s still fresh!  We are very proud of what we put down, and excited to be doing it all over again so soon.  Before that next one drops, scrape up a few bucks and get yourself a copy of Songs of Serenity!  You’ll never miss the $10 or $25, and you will own this record forever!

2018 so far…

Well, we’ve had a good busy stretch over the past month and a bit — apparently too busy for me to update the old website in a timely fashion!  That’s how it goes, sometimes you’re just doing things, other times you have to step back and take a moment to talk about things you are doing.

We played two weekends in a row to close out 2017 – Dec 23 at the Railway (with Gold Stars Are For Suckers) and Dec 30 at the Fairview Pub with Danny Echo and the Shittalkers.  Then we rolled right into the new year with a big show back at the Fairview alongside Preston & Fletcher and The Eleven Twelves on Jan 19th.  This was my favourite show to date of this new Scott Perry band.  We had lots of people there, crazy dancing, a very engaged crowd and great sets by all three bands.  When you can feed off an audience’s energy and pour it all back out, that’s when you really get what a live performance should be. Here’s a little glimpse of the night’s energy:

So, I guess I’ll keep playing shows for a while yet!  February will be another busy live month, if only for me and my treasured ’72 Gibson Hummingbird.  Sunday Feb 11th I am playing an acoustic set opening for local psychedelic garage rockers Songs of Serenity (buy here!) and then I get to sit back and enjoy a fantastic band I haven’t seen in too long!  The Heritage has great food to go with all those drinks, there’s no cover and a full night of music, so we hope to see you there!

Just a boy and his guitar, the simple joys of life.

And continuing my ongoing love affair with the Fairview Pub, I will be hosting open mic nights there every Wednesday in February.  So I’ll be playing more acoustic gems myself those nights, plus enjoying a wide variety of performers getting up to strut their stuff.  It’s a very supportive environment, so I encourage everyone who might want to play a few songs to bring their instrument down and sign up (I’ll be there from 6:30-10pm).  I have a few special treats lined up, so even if you don’t perform, you should make it out to watch the show.  The Fairview is a great pub to just hang out in, so come on down and say Hi.

As for the band, we are gearing up to go back into the studio this month to continue work on the ten songs we have lined up for 2018’s follow up album.  I will post updates on that as we firm up dates and get down to business.

Lastly, the long-awaited vinyl edition of Songs of Serenity – awaited by no one more eagerly than myself! – is finally on track and definitely going to be available in March.  We have listened to test pressings, so this is really happening, and it sounds GOOD.  Once we have a confirmed date, I will post an update on pre-ordering and announce a new album release show.

Stay tuned, music fans!  See you out at the Heritage and Fairview my Vancouver fam!

New video for Serenity!

It’s time to take a moment and reflect on what a year it has been.  2017 saw some major changes in my life, mainly the recording of a brand-new solo album (with many people contributing their talents, it wasn’t entirely “solo”), Songs of Serenity (you can buy it here!).  We’ve played a bunch of shows to support the new record, and had some great times, especially at the CD release party at LanaLou’s – a celebration we will be repeating in a couple of months for the official release of the 12″ vinyl record (with bonus track!  so excited!)

I owe so much to my awesome collaborators: above all, my bandmates Derek Macdonald on keyboards and vocals, Eric Lefebvre on bass and vocals, Adrian Buckley on drums, vocals and mixing.  Beyond the band, we have to thank Matt DiPomponio, who recorded everything out at Echoplant Studios; Steven Drake, who mixed the lead single Say I Do, which featured some blazing steel guitar work from him as well; Graham Myrfield who added his backup vocals to many of the songs in one long and memorable studio day; Scott Fletcher who helped out with some additional recording, as well as laying down a great slide part for the song Trigger; and Meghan Engel for her sweet fiddle part on Todays – one day, we’ll meet in person!

And it doesn’t end with just the musical creation, I had an incredible group of people contributing their particular talents to every aspect of this project.  Where would I be without Brandy, who helped in a million ways, primarily creating this website and our smooth-running business operation; the fabulous Wendy D who took all the pictures and helped us create a visual look to go along with the sounds; and Exploding Haggis, who designed the album and helped define the overall look of everything with his keen eye for colours, fonts, etc.

CD designed by Vancouver’s Exploding Haggis

Which brings us to Robert Riendeau, who truly makes visual what our ears receive as music, a longtime collaborator who I love working with for his unique vision – which always comes entirely from the song as he hears it.  Robert and I went to Las Vegas for the first video that launched all this (Say I Do), but the latest one he put his cinemagical touch to was shot a lot closer to home.  It was shot AT home, my home, true to the central message of the song Serenity.

So, I would like to close out this amazing and fruitful year with this little video that comes from the heart and sums up what making music means to me.  I hope you all enjoy it!  From our home straight to yours, Merry Christmas, Happy Holidays, and Happy New Year!  2018 will bring much more, and I can’t wait (I’ll get back to you later!)

Upcoming shows, recording and Vinyl!

You can buy this right now! (click on Shop up there ^).  Bigger, blacker disc soon to follow.

There have been some serious delays putting together the vinyl edition of Songs of Serenity – something I’ve been looking forward to so long, I feel like a kid tortured by a big wrapped present under the tree long before Christmas.  Originally, I planned to have this ready for that magical date, but now it is going to be into the new year before the 12″ vinyl record is delivered.

Naturally, we will do another release show here in Vancouver when we have confirmed dates, likely in early February.

If I had a bumper sticker it would read, “I’d rather be recording!”

Meanwhile, we’ve been slowly spreading the word to promote the album online beyond the old hometown, hoping to break through the avalanche of music constantly streaming out there in the wide world.  Touring is not in the cards right now for a number of reasons, so it’s all good old-fashioned hustle.  That’s the hard part of this whole independent enterprise, taking care of the business when all I really want to do is play and record music. 

With that never-dying urge pressing us on, we are headed back into the studio TOMORROW to start work on what will eventually be the follow up album, coming later in 2018.  We have 10 songs ready to go, and are excited to get back in Echoplant with Matt DiPomponio for two full days of recording.

But not to get ahead of ourselves, we still need to give Songs of Serenity its best chance of being heard (TCOB).  We have one more local show coming up to cap off this amazing year of 2017 — Dec 30th at the Fairview Pub with Danny Echo and the Shittalkers.  If you’ve missed our other shows, this is your chance to see what this band can bring live (hint: I’ve got some great players on board!).  Come and ring out the old year with us and some awesome local musical friends!

Music is nothing without an audience!

Watch this space for an announcement of the vinyl pre-order and album release show!

Vancouver Sun review

Vancouver’s largest daily newspaper, the Vancouver Sun has just published their review of Songs of Serenity, by one of the city’s foremost music writers, Stuart Derdeyn.

Singling out the album’s “really tasty vocal harmonies,” the review offers up adjectives like “catchy” and “hooky” to describe the songs, as well as one which could apply to the whole project and persona of this particular singer-songwriter:  “easygoing.”  Yup.  I’ll take that as a compliment!

These guys are all pretty easygoing too (l-r): Adrian Buckley (drums), SP, Eric Lefebvre (bass), Derek Macdonald (keys)

We are thrilled to get our first major review on the books!  It is certainly easier to get the word out to more publications, blogs and music reviewers once that seal is broken.  So thanks to the Sun and Stuart for writing about this new Vancouver band composed of four veterans of the local music scene.  That kind of local support is crucial if you hope to reach a wider audience at the national or international level.

Again, you can read the full review shop on this very site to instantly get your digital download or order a CD to be shipped to you (while supplies last, all CDs ordered through the website will be signed copies from the initial run).  If you are a vinyl aficionado, a proper 12″ record is definitely on the way as soon as a few details are sorted (including a brand-new bonus track).   Stay tuned for news on pre-ordering that and another special event vinyl release show in January.

We’ll leave you with this video clip for one of the songs mentioned in Stuart’s review, as a bit of a departure from the rest of the album’s more personal tone, “gunsun.”  Don’t be fooled by the fakeout at the beginning!  It’s a bit of a cheeky video for an admittedly simplistic song on a serious subject.

Las Vegas

After completing Songs of Serenity, publishing the book I put together to go with it, and playing the big show on my birthday, I’ve gone through some deflation in energy, perhaps inevitably.  You build up to something so long and when it’s finally done and out there, you’re not only drained, but in my case, a little unsure of what to do next (other than record another album – which is going to happen very quickly).

I know what I did right after the show, which is coming up below, but after this quick trip to Vegas I let the foot off the gas, and lost some momentum when I should’ve been pushing and promoting this album with all my energy and enthusiasm.  By month’s end I was finally ready to update with some pics and stories from that trip when suddenly October 1st hit and the city I’ve felt a growing connection to was in tatters, innocence shattered, a nation and world mourning — again.

In the immediate aftermath of that tragedy I didn’t feel my tribute to Vegas and its status as wedding destination was appropriate or timely.  I shut down a little, lost my will to promote, and went through a period of depression that I’ve dealt with by jumping ahead to work on songs for my next album.  But now it is time to pick up the threads of this musical journey again and return to the city of Las Vegas in sunny September when all was golden.

The main reason I wanted to return here was to revisit the location of my video for Say I Do, shot by Robert Riendeau in a whirlwind 24 hours in early 2017.  I was already there (thanks to a reward trip for my team at Got Junk), so decided to fly him down and take advantage of being in the World’s Wedding Capital.  My first challenge was getting a guitar to film with, as I wasn’t flying one of my precious babies down just for this.  Renting one proved difficult so I ended up walking into the fabled Cowtown Guitars hoping to find something cheap that looked cool enough.  Lucky me, they had one for $200 that fit the bill.

You can’t miss the Little Vegas Chapel with its Elvis-approved pink Cadillac out front.

Robert and I shot some street scenes walking around with that guitar, but our plan to capture all the craziness of the strip at night fizzled and we ended up getting a lot more footage of me playing in the hotel room, an introspective mood suggesting a musician on the road, missing the love of his life.  But early the next day we headed up the strip to the wedding chapels to at least get some footage in front of one.  That turned out better than hoped as we immediately found the Little Vegas Chapel who were thrilled to have us shooting there as long as we gave them credit (here it is: they’re GREAT!)

After we’d filmed as long as we could, and had to get to the airport, I realized I didn’t want to spend extra money just to fly or ship another guitar I didn’t really need.  I asked the Chapel if they wanted to keep it and they were thrilled with that too, as long as I signed it – see how great they are?  So everything worked out perfectly, we got a video out of it, the Little Vegas Chapel got a little PR and a memento to display with all their Elvis photos and records.

Walking back in with Brandy, who had never been to the city, felt like a homecoming.  The chapel owner Mike was in full Elvis mode and welcomed us with open arms.  I gave him a copy of the finished CD, and played the guitar again (it looks better than it sounds, folks!).  I was eager to finish signing it, as I’d realized after leaving I should’ve added the words “Say I Do!” to mark the connection more clearly (and of course, promote the song).

After signing it up, jamming and posing with the guitar and Elvis, the nice folks at the chapel offered to take a set of photos of us as newlyweds (though we are neither ‘new’ nor ‘wed’).

Every common law marriage should have some high quality destination fake wedding photos!

This is something you can do there if you’re already married: they renew vows, and also take pretend wedding photos for those who want to freak someone out back home!

I won’t pretend we really got married there, because to my mind we already are; 11 years in, we’re as in love as ever, and enjoying growing old together.  But the photos were a fun way to wrap up our visit (see a gallery with more here), the folks at this chapel are lifelong friends, and all of this will form great memories we look back on fondly in years to come – not to mention a little backstory to this video:

On the radio in Maui!


After some local airplay of a couple of songs (“Say I Do” and “gunsun” were both spun on CFRO’s Radio Bandcouver by tireless champion of indie music, Mark Bignell), today marked the international radio debut of the new album, Songs of Serenity!  (You can still buy the album here – head on over and throw down a few bucks, why don’tcha!)

Big thanks to DJ Michael McCartney, a fixture of the Maui radio scene and host (along with Tanya Teal and Summer Blue) of the long-running Time Machine Radio Show heard all over the island and beyond.  In a broadcast mainly dedicated to the recently departed — and dearly missed — Tom Petty, they gave us a double spin!  After all those Petty songs, and right before two new ones from Lisa Loeb, they played two songs from our album as well: “Onboard” and the lead-off single, “Say I Do“.

Brandy and I with Michael McCartney in Lahaina, enjoying some of the best quality shave ices in Hawai’i.

It was certainly a thrill to hear a couple of my own songs sandwiched in with those of the great Tom Petty’s, and other notable acts like Lisa Loeb, Queen, and Vince Gill.  I almost got even more of a thrill imagining my music wafting out across one of my favorite places in the world, Maui — especially Lahaina town on the west coast, where Brandy and I have spent some memorable times.

The livestream was only live for so long of course (three hours) but I did record a bit of the broadcast on my phone, just for posterity.  So, here’s a clip covering the end of “Onboard” with Michael’s sonorous radio voice breaking in at about :45 to talk about the album a bit before spinning “Say I Do”



Album Release show – Sep 8th

Mid-set tequila shots in celebration, courtesy of Shawn Major – thanks Shawn!

It was a long slow build-up to this date – my birthday as it happened! – but the show we booked to release the brand-new album Songs of Serenity went by in a flash so that I can already barely remember all of it.  That’s what momentous occasions are like, they’re so huge in the moment you can’t really take it all in.

Good thing for pictures!

Great thing to know someone like Cariboo, folks!) after work, to make it there just in time for the show.  That’s pretty amazing, and was surely a birthday surprise for me.

Wendy also did all the photography on the album itself (available here!)

Ben Mills introducing the band

We had Gold Stars Are For Suckers open the night (great band, check them out if you haven’t been fortunate enough to see them before), and my good friend and comedian extraordinaire Ben Mills hosted and gave us a great intro.  We returned the favor by serenading him with his own song – “What Would Ben Mills Do”, which isn’t on the album we just unleashed on CD and digital but WILL be the bonus track on the vinyl record (coming soon).

All in all, we had just an amazing night, Ben Mills working the crowd, Gold Stars more than warming them up, a super-fun set for me, Derek, Adrian, and Eric playing the whole album, and there was even cake after all that!  It was a busy Friday night in Vancouver all around so quite a few people who wanted to attend had other things going on – that’s the challenge hosting a show on the last nice weekend in the city.  But the good news is there will be more, and in fact a whole other release party for the real treat – my very first actual record, in the format of my early youth, 12″ vinyl, baby!

So, do yourself a favor and pick up this album (did I mention? BUY HERE!) and we would absolutely love to see you out at our next show.  Because music really comes to life when it is played live – that’s why we call it that!

Music is nothing without listeners; a show without an audience is just practice – so thank you to all these wonderful folks who made it out!


The finale to Songs of Serenity returns us to the key of A (the key in which “Say I Do” kicked everything off), and also to the realm of the pure love song. Sequencing the album I saw that it had to be ordered this way, bookended by these two love songs, embracing “Cariboo” and “Trigger,” both in the key of C from poems of my father’s – it makes the whole album a circular journey returning to where it started.

The photo that goes with this song is full of circles too (many of the pieces on that table: glasses, watch, ring, buttons), but the main one showing in both this and the shot for “Say I Do,” which it closely recalls, is my father’s wedding ring. It is hanging on one wing of a ceramic owl owned by my mother (who collected owls, wise woman that she was) while the other wing is broken (ceramic: so fragile!). That broken-winged owl stands for my mother, and if you like to think of it that way, represents her in Heaven. My father joined her there 13 months later, the longest separation of their 55-year marriage, and it’s hard not to imagine him joyfully rejoining the love of his life.

The oldest song on the album, I’ve had this kicking around for over 22 years now, occasionally bringing it back in to some project (over the years I’ve worked on it with both Todd Fancey and Jamie from the Orchid Highway), though it never broke through to be recorded. Maybe partly because I really wanted it to be done right – it’s a lush, complex arrangement that demands a lot of attention and work to realize.

The origin of “Above” was an interesting image related to me by a friend I went to UBC with, who was dating my roommate at the time. It was early in their relationship, still pretty casual, and she felt more serious about it than he did so she was trying to basically get him to the same place. One night she told me that after he’d fallen asleep she would lean in close to his ear and whisper “I love you” to sort of implant the emotion, let it sink in subconsciously. I absolutely loved that idea, and felt the image was a powerful one for a love song.

I already had the simple two-chord progression that makes up the chorus, and I can’t recall if I even had the lines “Oh God, I’m in heaven above / Heaven, I’m in love” – quite possibly I did; if so I realized it would be the perfect starting point for this new song. The verse starts in the same key as the chorus, moving on to a G and D, and all the words are from what I heard that night: whispering in a lover’s ear, wondering if it’s getting through, imagining the effect. My favorite moment is the line “Saying I love you just above / Sub-con-scious-ly…” which breaks the song into new territory, drifting off to a dream section where the sleeper seems to be subconsciously “picking it up”. We can never turn our ears off, even asleep they are constantly picking up sounds.

The imagery is simple: one lover above, awake, actively whispering words into the passive partner’s sleeping ear below – both in physical space, and in the sense of consciousness (subconscious). Thus the singer of the chorus is the waking lover, above, almost like being in heaven, which is how we have so often expressed the idea of being in love (see: “When we’re out together dancing cheek to cheek”).

Performance notes:

Having this song around for so long, I had to let go of some preconceptions about how it would sound, as much as I tenaciously clung to the overall vision for it. As with every other song on this album, once we got the band working on it, everything sounded better, they truly brought it to life. Adrian’s drums are exactly right; Eric finds a defining bassline that carries throughout and ties it all together. And Derek again came up with some hauntingly beautiful melody lines on the keyboard that added a totally new fresh feel to this song I’ve known for half my life. I played 12-string electric to start the piece off, quickly bringing in acoustic (my Gibson Hummingbird, natch – which appears on every song here except the first, “Say I Do”).

The band did a particularly good job of executing my vision for a dream section in the middle, with only vague directions from me to make it somehow dreamy or ethereal. Adrian backs right off and adds tasteful hits, and Derek finds the crazy keyboard/synth sounds I knew he would to bring out this part. It all pays off when that section comes to an end and the whole band transitions smoothly, inevitably, back to the waking world with that final chorus. For the ending, the band plays on, starting to fade out while a late guitar part I wrote only a few years back fades in to take over. Over this (or under, as it’s the lowest note I’ve ever sung on record!) I sing the simple refrain of “Heav-en.”

The most complex arrangement though is in the vocals, which help give different feelings to the various sections of the song. I kept coming up with new parts that I couldn’t resist adding to the mix. Due to time limitations and the fact that I had all these parts floating around in my own head, I sang most of them.   But Derek and Adrian add a couple parts, and the beautiful thick choral harmonies underpinning the chorus are again all four of us around one microphone in the live room at Echoplant B doing what we love to do most of all in this world.  Real people making real music together.

This is the most fun you can have in a studio, singing around one mic with your friends, getting your Beach Boys on! Singing ahhh’s for “Trigger” here, then on to a similar four-part harmony backing on the choruses of “Above”.


Sometimes it’s the instrument itself that can spark a song. I had bought a hundred-year-old Mexican folk guitar – El Kabong, as it became known – which I used to get just the right sound on “Serenity” (see my entry for that song). This tune came out solely because I was picking around on the guitar and found a nice pattern that sounded great with its unique tones. Nothing special about the progression, a simple A-minor into C, down to G and back to A-minor, but the sound of clean picking and swept arpeggios on those tuned-down aging steel strings definitely stood out to me. I worked out a couple of variations and between them had virtually everything the song was going to end up needing.

Those two sections added up to a decent verse, and repeating them three times basically made up a song, if a little short on variety. When I had that main part down on tape (well, not really tape, but you know), I played along with El Kabong and came up with an even simpler counterpoint, a two-note picked pattern following the chords but offsetting the main guitar phrases. Honestly, I really like the sound this guitar has especially when you put those two parts together, bouncing off each other, so comfortingly repetitive, almost hypnotic.

I’m not sure what sparked the first lines, “All that passes / Is not unmade,” but I sang into the spaces around the picking and those words popped out. We can speculate that George Harrison’s epic breakout solo album, All Things Must Pass had an influence, though I never consciously thought of it. The words that followed came fairly quickly and all sink right into the song’s reflective feel – it’s another repetitive piece where the variation comes in more subtle forms. That first verse culminated in the lines that would form a refrain (closest thing to a chorus, of which there really isn’t one), “Long ago / Right up till today / More than you know / The way has been paved.”

The rest of the song fell into place around this concept. The core truth I was exploring is that we live at the apex of human history, and everything around us, everything that makes up our modern life is the cumulative result of many many people blazing trails long ago, paving the way for what we have now. People often forget just how much they owe to their ancestors, to everyone who came before: not just the roads and infrastructure and inventions, but the very thoughts, ideas, and language we take for granted were painfully built up at great cost over huge stretches of time.

This idea leads to a certain humility and gratitude for pioneers past, but also can be a comfort or reminder that older generations live on, nothing is ever completely “unmade,” but extends out through time like a ripple through water. As Faulkner said, “The past isn’t dead. It isn’t even past.” The still life shots of all my mementoes and photographs bring this concept to the fore, and help keep the past in front of me as I go through life. Where would I be without these immediate ancestors whose continuing story set the stage for, if not led me to where I am now? My grandmother left Yorkshire and my grandfather left the US to move to western Canada; he fought in a war that changed the world; they pioneered a land that provided for my family, who provided for me, so fortunate to be born into a plentiful and nurturing environment. We are all standing on the shoulders of giants.