Glamour Puss Blues Band - November/December 1998
Thursday, November 12th, 1998by Sarah Chauncey
Hometown: Moncton, NB
Music: Contemporary blues
Contact: Ron Dupuis, 1261 Ryan St., Moncton, NB E1C 8Z4 (506) 852-3496
Although each member of Moncton’s Glamour Puss Blues Band has been in the music industry more than 20 years, their first album together was only released last summer.
Veteran producer Hayward Parrott (Bryan Adams, Beau Dommage) spotted the Glamour Puss Blues Band at the 1997 East Coast Music Awards, literally moments before the band won the Media Choice Award.
Recorded in four days of April 1997 at Solar Audio in Halifax, the self-titled album contains 14 tracks, almost all first- or second-take. Parrott mixed the entire album in two 11-hour days (”He was really tired,” explains drummer Dupuis).
They followed their 1998 EMCA nomination for Best Blues/Gospel band with performances at a flurry of summer festivals, including the Montreal Jazz Festival and dozens of blues gatherings throughout Quebec and the East Coast. The band is currently at work on a second CD, scheduled for release in April 1999.

Music doesn’t get much groovier than Women Ah Run Tings, a charismatic soul/R&B/hip-hop band of five women from Chilean, Guyanese, Jamaican and Nigerian backgrounds. This high-energy quintet has become a favourite in the Toronto scene for their boundary-breaking music that contrasts the street life of Caribbean and Latino culture with the urban realities of North America. The songs are “basically our life experience,” says Lady Luscious, “Speak the truth as you see it.” The five, each a respected solo musician in her own right, contribute a great deal to community groups, including Mayworks Women’s Festival, Redwood Women’s Shelter and Anti Racist Action. Their self-titled album was recorded in one day at Audio Lab, then mixed the next day at Chemical Sound.
My Norwegian Cousin, Punchbuggy’s third album, is a progression from their first two skate-punk releases. “[It has] a fuller, more complete sound,” explains bass player Darren Hore. “You can slowly see the progression [in the previous two albums], where we’re sort of achieving what we want to, but [we weren't] quite getting there.” Some of the credit belongs to producer Mark Berry (The Headstones, I Mother Earth), who “knew how to achieve the fuller sound.”