Fullspectrumottawa.com - Gasm And Bluestone Interview (Ottawa Music)

Scott D. Brown: I’ll let them introduce themselves.

Andy Simpson: Hi, I’m Andy Simpson.

Gerry Madden: Gerry Madden

SB: How did you guys end up meeting?

GM: I was in a band, basically that was coming apart. As it happens I was looking around elsewhere to see what else was available out there.

SB: What was the name of the band?

GM: Valkyrie. Andy had a radio advertisement on the Bear (106.9 – the Ottawa rock station) that sounded interesting. It sounded like a different sort of a challenge. I called him and he explained what he wanted to do. I went over to see him in Carleton Place and we hit it off.

SB: So this was in 2002?

AS: This was 1996. This is a little over 8 years ago. I was working on a musical at the time, that I had been writing since grade six. I was still in high school at this point when I placed the ad. I was trying to finish up this musical based on the novel Robinson Crusoe and I was getting desperate at the time to find a co-writer to help me with this stuff. So I just, as Jerry said, placed the ad on the Bear and a couple of weeks later, I was doing homework at the time, when the phone rang and I got the call and it was this guy [pointing beside him at Gerry].

SB: The ad was more for Robinson Crusoe rather than The Fork [Gasm’s debut album of 2003]?

AS: Yes, The Fork hadn’t even entered my mind yet. We really intend to finish up the Crusoe piece within the next year and a half.

SB: And that will be under the Gasm name?

AS: Yes.

SB: And that will be similar to this one [The Fork] a Rock Opera?

AS/GM: Yes.

GM: Yes, I can imagine all the future projects we’ll be working on will pretty much be Rock Operas.

AS: Yes, we’re big into concepts and big shows. I mean Jerry coming from a background that likes the big ‘70s shows such as Kiss.

SB: Like Arena Rock?

AS/GM: Yes.

AS: My favourite band is Queen. So you have the two bands and we like to make the two worlds collide.

GM: Andy is, as well, very big into musicals. He is very big on the concept albums of previous artists. The Who’s Tommy for example; …Jesus Christ Superstar by Andrew Lloyd Webber etc.

AS: Yes. I’m big on Styx right now.

GM: He has his phases.

AS: I do. Styx is my artist of the month let’s say.

SB: But that’s way back in ’96 [when the two met]?

AS: Yes.

SB: You [looking at Andy] were thinking that you were going to be working on something towards Robinson Crusoe.

AS: Yes.

SB: And then you guys decided what?

GM: Well we had, he had the lyrics. He started plotting out the story for Robinson Crusoe. We lived a considerable distance apart. I lived in St. Pascal, which is just past Rockland. So, the first year or year and a half was more or less just seeing if we would gel and if I could add something. He had the words basically done and I was going to just add the music. Well that’s pretty much how it works and I think there was some difficulty not only in the distance but just starting a project like this.

AS: Right.

GM: So I was well aware of this and then some other things happened so I decided to move back into the city and get busier in the music area. Since I was in closer to Andy we started to work a lot more closely together. At that point it was the spring of ‘98. He came up with this idea for The Fork, which was, based actually on an old Valkyrie song. It just kind of blasted in from there. I guess we wrote it for a good couple of years or so. [Then they went into the studio as money permitted over the next while and recorded it. It was released it in 2003].

SB: Now, there’s a female singer on the album. Her name is Christine Sacks, right?

AS: Yes.

SB: Now, is that a mutual friend or did you hire her?

AS: Christine and I go way back. Just about as far as Gerry and I. Our parents knew each other from various work places and stuff I believe. Christine and I ended up working together at Lanark Children’s Haven which is a Summer Camp for children who have disabilities and behavioural issues and this is why the CD is promoting the camp and supporting it. Actually, Christine wasn’t our first choice for the female role. We had another person who I also worked with at LCH. Her name was Jeni-Lynn Closs. We pursued her and persued her for virtually the entire recording process but again schedules never clicked with us so we got Christine at the last minute. She had ½ a week to learn these songs.

SB: So you heard her sing before?

AS: Yes and that’s why we knew she would do a good job.

SB: Now Scott Cameron does most of the guitar solos, right?

AS/GM: Yes.

SB: I remember him way back going back to the early 90’s with Sinister Sam am I correct?

AS: Yes that’s correct.

SB: And then they ended up changing their name to Shunt if I remember correctly right?

AS: Yes.

SB: So how did you end up convincing him?

AS: Scott and I, as you mentioned Sinister Sam, I found out about them about ’92-‘93 and Gerry heard of them throughout the Ottawa area because they were getting big, so big that a record company down in the States were thinking of signing them but then the deal fell through. Scott owns a local music store and I met him down in Carleton Place.

SB: Called?

AS: SRC Music, those are his initials. So when I saw Shunt finally at Zaphod’s with Gerry a couple of years ago I was in awe of his guitar playing and I said if I ever get the chance to work with Shunt at the time I would love to do it and this was a dream come true to work with a member of Shunt.

SB: I haven’t heard of anybody from around here now I’m no expert on Ottawa music but I haven’t heard anyone play as good as him.

AS: He is a very exciting guitar player and we are very glad he was on the record.

AS: Yep, he did it as a favour to a fan of his.

SB: Now we end up taking some songs like “Over the Ocean” that is like a manipulation of My Bonnie and the “Ant’s Theme”, which is another manipulation of I, can’t remember, the counting song or something right?

AS: The ants come marching one by one…. it’s the same lyric.

SB: So how did that pop in your head?

AS: Well the story takes place in the Second World War and I was just thinking. I was reading up on my history on WW2 and the ant theme came into my head and on the album the ants are a representation of the Nazi’s or the SS just mindlessly going about their duties and not really having any minds of their own. So that’s what that song always said to me even before writing this stuff because when I was taught that song as a smaller child I remember having nightmares about these people just like zombies not having any brains in their heads. That’s what the song always said to me. So I just put the ants in place of the Nazis. “Over the Ocean” came about when I hear a treatment of “My Bonnie” done by the Beatles before they became famous. I came across a bootleg of them in their early days doing “My Bonnie” but strangely enough it found its way on the German Hit Parade which I found kind of funny. I said well I’d like to a Beatlesque version of that song and I put my own lyrics to it and it worked out great.

GM: Yeah some of the songs I think that are just public domain just seemed to have lent themselves well to the storyline and the record, which is one of the reasons why we used it.

SB: The last song on the album is an Irish traditional song, “Johnny We Hardly Knew Ye”. Tell me about that.

AS: It was back in 1998, spring of 98, St. Patrick’s Day when I was, when I got the idea because I heard when I heard the Clancy Brothers.

SB: Clancy?

AS: The Clancy Brothers and Tommy Makem performing that very song because Irish music is very big in our family around St. Patrick’s Day. I was listening to the story of the song itself and said, “Well, here’s a good story to write a song around.” So, I just wrote the story around this one song.

SB: So, basically the song is about a guy who goes over to war and comes back and he’s missing an arm and a leg. Some of the extras on the CD like the whip, how did you end up creating that sound?

AS: That was sampling.

SB: That is like a manipulation?

AS: Yep.

SB: You recorded the whip and then sampled it?

AS: Yes.

SB: How about, it sounds like a bombing raid siren that you would get in London in WW2 you know that sound?

AS: Again that’s sampling.

GM: We just recorded it once and then looped it. In particular the buzzer is very nice.

SB: In the near future in the next year and a half you’re going to get Robinson Crusoe done and you’re also working on side projects. Are you working on any side projects?

AS: The project that Gerry and I are actually working on right now is a station, The Fork, has a musical for next year. This is a Rock Opera so the next generation or the next step for it will be to stage it. So what we want to do is, we want to get a theatre company interested enough to take this on and produce it. That’s what we’re working on and also next year is the 60th anniversary of the end of the Second World War. It is where this story takes place. So, we thought if we can get something staged by the end of next year for the anniversary. Wouldn’t that be cool? It would be great timing.

GM: We’ll have the story; we’re starting to work on the storyline for a stage production for now and hopefully we’ll be done for next year. We’re thinking of having the First Community Choir try out and maybe have a trial run. If it goes well with them, because they already seem to be interested in doing it, then if it’s a success we’ll approach other groups to start other productions of it.

AS: Right. So that’s our next step for this and as I said we’re going to be doing two CDs simultaneously starting in December. So recording sessions for the next two Gasm’s recording will start in December and Gerry has Scarecrows going on.

GM: Yep. My main project I guess you could say. So we’re pretty busy with that.

GM: This year we’re taking the time to promote this record a lot.

SB: Where is it available?

AS: Its available all over Carleton Place, SRC Music, Temptations, Radio Shack, The Music Store, which is 86 Judson Street in Carleton Place.

GM: Of course you can always get copies from Andy or myself, you have Andy’s email address (xanthroxus@yahoo.com), if anybody in town needs to get a hold of a copy you can contact Andy and Andy will contact me and I’ll get it to them.

AS: You can also get it through the website. We just put the website put up a few weeks ago. (www.gasmproductions.com). The singles are all on there and again my email address is there if you want to contact me for copies.

Artist:	Gasm
Album:	The Fork
Year:	2003
Label:	Self Released
Rating:	3/5
CD REVIEW
Gasm is a collaboration between two men. Andy Simpson and Gerry Madden. They met through an ad placed by Andy on the Bear radio station. They began work on a musical version of Daniel Defoe’s Robinson Crusoe. But, as with many groups who find their creativity leading them elsewhere, this project was abandoned for what was eventually to become The Fork. The Fork is a rock opera concept album. The concept is a war story centered on a young man (Johnny) who becomes a soldier in the army of WWII. With a love story intertwined in the action, this 2 CD opus is an ambitious effort for the group. Realizing that they would need help to complete this project (Gerry and Andy sing and Andy takes care of the drums, drum programming, kazoo, and most of the effects), they elicit the talent of Scott Cameron (of the band Sinister Sam/Shunt) to play guitar, Caleb Brassett to play the harmonica, Tom Joron and Christine Sacks to add their vocal talents, Kirk Armstrong to play bass, electric and acoustic guitar, and Joe Glutrz and the Amazingly Huge Little Big Band to take care of the rest. There are many pitfalls that are unique to a concept album and The Fork, unfortunately, doesn’t avoid them all. The main problems concern the restrictions the artist will feel on his creativity. The theme (or concept) must be followed throughout the work. This leads to cramping when writing songs and repetition when composing the music. The cramping and repetition is extremely difficult to avoid. The Wall, one of the great albums in this category, doesn’t even accomplish it totally (see “Another Brick in the Wall” part one, two, and three). But the more the artist can transcend these restrictions, the greater the album will be. Many of the tracks on this album fall into the repetitive category. The second disc, with “Outro,” “First Attack,” and “Second Attack,” are the most obvious. But it isn’t the repetition or the occasional lack of inspired lyric writing (although these contribute), it is the choice of a few songs which it the overriding downfall to this album. The inspiration for the album was an old Irish anti-war song. The song, “Johnny, We Hardly Knew Ye,” is easily recognizable by most, but not necessarily by the title or lyrics. Somewhere in the past the song was converted into a children’s counting song. Everyone should, if they were taught grade school in Canada, recognize the song “The Ants Go Marching.” The original (which is the last song on the album) tells of a man named Johnny who loses his limbs in the war, and because of it, the town hardly recognizing him on his return from the battlefields (or even knowing him that was as he left as a very young man). The inclusion of this classic in the opus was perfectly sound as it finishes the album succinctly. But the inclusion of the children’s version (“The Ants Theme”) which finishes the first CD was too much. Although you can come to understand why it would be (remember the restrictions an artist is under when looking for inspiration) as it is a simple way of describing the army of Lither (The name Andy gives Hitler). But with it, and other songs learned in childhood included on the album (“Over the Ocean” a re-working of “My Bonnie,” and “Army Life” a re-working of “Gee, Mom I Wanna Go Home”) you see a lack of creativity in the selections. Even if the inclusion of the above mentioned songs follow the theme and were put there not as filler, even if they were included because the humour they create in the listener somehow reveals the madness of war (we must laugh or lose our minds for the atrocities we witness), or even if they were added on a whim, when judging whether the songs make the album better, we always must return to the listener and his enjoyment. Although these songs, firstly, bring a smile to the listener’s face, they do not hold up over repeated listens. After playing the album a few times, these songs are passed over in order to get to the original creations on the album. There are only so many times you can hear a song that you learned in childhood by rote before it drives you crazy in the head. The highlights to this album are threefold. First is the obvious hard work Gasm put into this creation. They used more than just the standard instruments (guitar, bass, and drums) to expand the sound and move the story forward. Sound effects such as a lashing whip, sirens, screaming crowds, a steam train, machine gun fire (through the use of a drum machine) and the spacey feel at the beginning of “Sixteen Memories” all add to the enjoyment. The use of harmonica and on one song, a kazoo, furthers this expansion. The second is the voice of Christine Sacks. Her soprano or mezzo-soprano voice is a delight to listen to. The songs that she appears in (she plays the role of Enid, the love interest to Johnny) are best songs on the double CD. The third highlight is the guitar playing of Scott Cameron. With years of experience (in the hard rock band Sinister Sam/Shunt) and talent just oozing out of his fingers, Scott is a pleasure to hear solo. Overall, this album is quite enjoyable to listen to when you program your CD player to skip the childish songs. The concept of the album was grand and Gasm mostly succeeded in accomplishing its mandate (esp. with the intimate songs concerning Johnny and Enid).

SB: First question: how did you guys end up getting into music?

BR: It started off with Angie playing first. Angie was playing guitar and singing and I was singing with her, just singing. We were only 10 at the time. You started at 10 [Ben looks at his sister] and I started at 11.

SB: Which one of you is the oldest?

AR: I’m the oldest.

BR: Angie is the oldest.

SB: So you’re a year older than him?

AR: I’m two years.

SB: I understand. How old are you?

AR: I’m 22.

BR: I’m 20.

BR: So, Angie started playing music first, which kind of sparked my interest, so I started playing, and we’d always play together. We’d go and start off at campfires and then next thing you know…was it your 12th or 13th birthday you played at The Rainbow?

AR: Yeah, they started doing the open jams in the afternoons at The Rainbow to bring youth into watch the blues. So when they got older they would go into the bar and catch the Blues scene. They saw me when I was young and they got me to play at The Rainbow all the time. So that’s when we started playing together publicly and since then…

SB: Was it always the Blues that you played?

AR: Well definitely everything is Blues based but the beat is very Rock-y too. We like the oldies too, not the old-y oldies but I mean like The Stones, Zeppelin, and all that.

BR: Our influence is definitely the Blues. Anything with screaming guitar and screaming vocals anything with heart is what we like. So you can pull that out of main rock or you can pull it out of Blues; most music has Blues influence.

SB: So after The Rainbow, what happened?

AR: We started putting bands together.

BR: Mostly for competitions around town. There are a lot of competitions for youth and bands. We started to do that and we really liked and enjoyed it. Then in ‘99 we were with a band called Sacremon Blues, that was with the same drummer, Mike McNeil, as we have right now.

AR: And in that band we had like we said the same drummer Mike, and we had a different horn section. We had a saxophone and trombone, the bass and then us, two guitars and singing. We started with that. We won the Blues for Schools and opened the Bluesfest in 1999. That was a great experience because we got to play and meet many musicians. We got our foot in the door.

SB: Was that outside or at one of the inside venues?

AR: We got the main stage, on the roof of the Rideau Centre.

BR: That was fun and then ironically enough our guitar teacher, one of the friends of the family, moved in with us and started teaching us at home. He was a big influence and he played at bars every weekend with a band called Sticks and Stones and his name is Dale Wright. He would get us opening for him at different shows he played. So we’d get to play little gigs in Manotick and little gigs in Ottawa and different bars.

SB: So you opened for him often?

BR: Very often. We got our name out there and a lot of people starting knowing us from him.

SB: Is he still playing?

BR: He’s still playing but he moved to Cleveland. He’s living in Cleveland.

AR: We developed the name of a young band that played to a high enough calibre that we could be considered semi-professional or professional. We’ve some pretty big shows. We did the CHEO telethon and that kind of stuff too … when we were younger.

SB: Were you taught other than that? In a music school; or did you learn the rest on your own?

AR: We started off both of us with music lessons at school the first time when we were kids at the Folklore Centre. It’s here on Bank Street. We started with that. I did that until I was about 14, I guess from 10 till about 14 and then I went to De Lasalle, which is, an art school just down the road here. I was in music there. I started to learn how to sing and developed my voice. I just graduated this year from the University of Ottawa in Music for my Bachelors Degree with honours there.

BR: I started off learning at the Folklore Centre as well. Then I went on and learned at lot from Dale Wright who taught us for a while. Then I went to Canterbury for theatre. At present, I’m still in university taking theatre. Theatre is a big influence on my music, how I perform, how I play. It made the musician into a performer I guess you could say. Then once you got that behind you it makes a key difference on the band Bluestone because it’s the show, people really want to see the show.

AR: That is what really helped our development, not only because we’re brother and sister playing together, but because I took on the learning of the music from a classical, theoretical point of view and applying it and he would do the crazy showman stuff and get me to loosen up a bit too. We work well together. We come up with things that you can’t really do with just any musicians. We have this bond and we both have these pieces to the puzzle that together make our show unique.

SB: How long has Bluestone been together?

BR: Bluestone has been together for about three years.

SB: When did you guys release the CD?

BR: The Bluestone CD was released last summer.

SB: Where did you record it?

AR: We recorded it at the University of Ottawa. I was the assistant tech at school so Mike Fox, who was the sound guy, recorded it for us at the university.

SB: So the 5 songs on the CD you play live?

BR: Our acoustic show [here]? It’s a different kind of party. It’s like a house party and we go up and play a set. Then we get some friends up and they play a couple of songs. Then we go back up and play three or four songs. Then and we bring a couple of friends and it’s like an open jam or a house party.

AR: It’s more like a talent showcase for friends of ours, to get them out there.

BR: At the same time it helps us a lot because we get to practice our harmonies and develope our actual music abilities.

SB: How did you end up getting this gig?

BR: We played upstairs at Café Dekcuf a couple of times and talked to the owner. We really wanted this acoustic thing for the summer so I thought it up and talked to the boss about it and got it.

SB: Who wrote the songs on the CD?

BR: The ones I sing, I wrote and the ones she sings [looking at his sister], she wrote. The band’s got Adam Bell, the trumpet player; he also does a lot of writing, not the songs on this CD. But the songs we’re putting on the next CD, there’s a bunch from him that he wrote as well.

SB: So you’re recording that CD now?

BR: We’re getting the material ready. We have a whole bunch of new songs. We’re looking to get a full one [their first release was an EP] at least nine to 10 tracks. We’re working on it now with the new base to get everything done. We want to get it recorded by next summer.

SB: Anything else you want to add; that I might be missing that I might have forgotten that you want people to know?

BR: We have a show coming up at Tucson’s on August 20th.

SB: Just you two or the whole band?

AR: The whole band.

SB: Thank you.

AR/BR: Thank you.

REVIEW

Located at the corner of Bank and Hunt Club, Tuscon’s has been hosting some of the best blues in the city for the last few years. The setting is intimate and the stage small. Bluestone is a five-member blues band that has played around the city for a while now and they have two shows tonight. The first set began at 9:15pm and your reviewer took in the live performance.

Bluestone consists of sister and brother Angie and Ben Russell (who share the lead vocal and guitar duties), Adam Bell (trumpet and flugel), Eric St-Cyr (bass) and Mike McNeil (drums).

On this night the band played a set of music that included songs of their self-titled debut EP, some new stuff that will be on their upcoming full length, and some covers. With Ben and Angie taking centre stage and Adam flanking their left, Eric their right, and Mike in behind they begin with “That is Me,” a song off the EP that Angie wrote an sings. All the members are animated and into the music straight away except Eric. Eric seems to be of the reserved type, which his instrument of choice allows him to be without much affecting the overall performance of the band. In this area, Ben is the leader. He has a performing arts background and is not shy at all in showing the crowd his enthusiasm. At times, the stage becomes too confining. His boisterous attitude and his guitar’s remote link to the amps motivate him to jump off stage and mingle with the crowd. He does this a few times during the show and doesn’t lose any timing in his guitar-work.

The sound of the group does take a bit of getting used to. When listening to the blues a saxophone is the usual choice when a wind instrument is added to a blues band. It has a slow sexy sound that fits well with the more melancholy side of the music. As Adam plays a trumpet or flugelhorn, which has a higher pitch, it moves the music towards a straddling between blues and jazz. Once you become accustomed to it (Adam also will hand beat a stand alone drum) you realize that the group doesn’t want to sound exactly like every other blues band out there.

About halfway through the set, Angie announces that Adam will sing one of his original compositions. Adam puts his horn down and takes up the mic to sing “7’s to the 11’s.” It takes about thirty seconds into the song before Adam becomes comfortable enough with his voice to raise it about the sound of the instruments, but when he does the song comes to life and will be a great addition to their next release.

A little later on, Angie puts down her guitar and the boys leave the stage. She brings out her acoustic and plugs in into the amp. She tells everyone she will be playing a song she recently composed and hopes everyone will like it. I look forward to this more intimate exposition and think to myself that if Angie is as good on acoustic as she is on her electric (guitar) we should be in for a finger-pickin’ treat. Out of all the band-members Angie is the most accomplished. Her talent on the guitar is an enjoyment to watch. There were times when I would lose the flow of the song and just concentrate on her adept finger movements across the frets and think that probably most the people at Tuscon’s don’t realize how difficult it is to play at that level since she makes it look so easy. Angie begins to play but feedback from the amp halts her performance. She adjusts the controls and attempts to begin a second time. Again the feedback rings in everyone’s ears. After a valiant third attempt and a gracious apology, Angie puts the acoustic down, as it is not meant to be.

The momentary interruption is quickly forgotten as the band members return, pick up their instruments and kick it into high gear. After playing a few more originals the time hits 10:45pm. They finish up with a pumped up version of Ram Jam’s “Black Betty.”

Except for the minor glitch with the equipment, the band was at ease on stage. They made the night worth the cover charge patrons paid at the door. Their live performance is polished and entertaining. You can tell the band has played together for a while. I look forward to their upcoming full-length release that will hopefully be out sometime within the next year.

As I never did get to see Angie perform with her acoustic guitar, I think I will pop my head into Maverick’s on a Wednesday night in the near future. Ben and Angie take over the stage at this Rideau St. location and host a jam session with local musicians (and friends) in mostly an acoustic and free form style.

Artist:	Bluestone
Album:	In the Beginning
Year:	2003
Label:	Self Released
Rating:	3/5
CD REVIEW
Bluestone is an Ottawa 5-piece blues band started by a brother and sister in their early twenties. Angie (vocals and guitar) and Ben (vocals and guitar) Russell formed the band in 2002. The siblings have been playing together since childhood and Bluestone is the latest version of their band and its love of blues and rock ‘n’ roll. The band plays traditional and modern blues on this EP and all the songs are originals. Both Ben and Angie share songwriting duties on this CD. Adam Bell (trumpet) also writes although none of his compositions are on here. Rounding out the group are Eric St. Cyr (bass) and Mike McNeil (drums). What strikes you first with this CD is that, although the talent is definitely there, the production and mixing needs a bit of work. In the Beginning was recorded at the University of Ottawa and it shows that the band might need to hire a professional and experienced producer for their next album. Angie and Ben are also polar opposites in talent. Where Ben was born with a natural sounding blues voice (his voice is one of the highlights on the album), Angie has to work hard for her accolades. She has a higher pitched voice that reminds you more of an Ella Fitzgerald rather than a Bessie Smith. You hear that Angie is trying her best to sound beautiful vocally. But the best sounding female blues voices are the lower range ones. You want her to kick in her gut and get that scratchy down-and-dirty voice but you know that her range does not fall into the Alto or Contralto. Where Angie shines is in her guitar-work. She is confident and able to solo with ease. Her brother plays well but she is the better of the two. You will hear a lot of trumpet action on this CD also. Adam is not added as a novelty. Although a lower range wind instrument (like a saxophone) is the usual choice when adding brass to a blues band, Adam holds his own with the Russells. Because I am not used to hearing a trumpet on a blues album, it took me awhile to get used to it. But once I did I came to realize that the trumpet expands the overall sound and when used with restraint can be a great addition. It is the guitars you want hear most often not the trumpet. The best sounding song on the CD is “You’re Money,” but the best written song is the first track “That is Me.” With lyrics like these: “Depressed, I’d be if it weren’t for these pills, What would life be without he who kills, My eyes aren’t closed, There just blinking, I know I’m drunk but, That ain’t stopping me from drinking.” Angie, with her guitar and writing talent (she wrote “You’re Money”) is the leader of the group. Ben needs to take over more of the singing duties and if Adam shows writing talent anything like his trumpet work, then the band will have too much talent in that area. Overall, this CD is a good listen. Once you hear it a few times and have gotten used to a trumpet and a soprano-voiced blues singer, you enjoy the CD and wish it were about 20 minutes longer. At the present time, the band does not have a website. So in order to purchase the CD you must attend a show. They play regularly at the blues venues around the city such as Tuscon’s. Angie and Ben play frequently at Maverick’s on Rideau St. as well.

All Interviews / Reviews by: Scott D. Brown