by Sarah Chauncey

Tribe: Just Bob
Tunes: melodic singer-songwriter, sometimes with band, sometimes without
To Contact: 309-3495 Cambie Street, Vancouver, BC V5Z 4R3 bkemmis@compuserve.com

Talk about guest stars. Among the guests on Bob Kemmis’ debut album, Kemmisutra, are three members of Odds (the fourth, Steven Drake, co-produced and mixed the CD) and Ryan Dahle (Age of Electric, Limblifter).
Four of the seven songs were recorded on the Neve console at Greenhouse Studios in Vancouver; the same half was mixed at The Factory because, as Kemmis explains, “Greenhouse sold the Neve and The Factory were the only other studio in town who had one available.” Maintaining consistency with the board was important “to Steven because of its warm characteristics.”
The liner notes credit the other three songs to “Now Suck! Studios” which, Kemmis wryly notes, “Is the term of endearment that we gave to the ever-changing surroundings that the portability supplied us with.” The ‘portability’ came in the form of Northey’s 8-track hard drive recorder, which Kemmis and co. set up wherever they could – the basement of Vancouver’s Roxy, the homes of Northey and pianist Simon Kendall, among other places.
Craig Waddell (Moist) mastered the album, in one fell swoop, at Gotham City Studios. Kemmis notes, “[That] helped to give the songs a continuity and consistency that might not have occurred if we had mixed and mastered in the same patchwork style that we recorded in.”

by Sarah Chauncey

Tribe:Julian Fuego (vocals, guitar, harmonica, cello), Jorge DaCosta (drums), Jennifer Gilmore (bass) and DJ Tyrone (turntables)
Tunes:Immensely funky acid-jazz, trip-hop-pop
To Contact:The Agency Group (416) 368-5599.

For a band with such a creepy name, Roach Motel certainly has universal appeal. Or maybe that’s the idea – draw ‘em in and never let ‘em go. Which is a distinct danger with their debut CD, Free Fooze and Bood. Fuego, formerly of Baby Judas, delivers his smooth vocals in front of an ever-changing landscape that incorporates elements of acid jazz, trip-hop and R&B. With a lot of harmonica thrown in for good measure. Their sound is engaging, but not overpowering.
Although the production itself is very straightforward, the occasional ambient audience sounds will evoke a summer party environment anywhere the CD is playing. With songs reminiscent of everything from Marvin Gaye to the Philosopher Kings, Roach Motel is a must-see during the summer months. And given their absolute joy in performing just about anywhere, they shouldn’t be hard to find.
Go ahead. Check them out. But if you find yourself hooked, don’t say we didn’t warn you.

by Sarah Chauncey

Tribe:Brock Skywalker (guitar, accordion, banjo, flute, bodhran, harmonica, whistles, vocals); Chris Wynters (guitar, vocals); Scott Peters (guitar, mandolin, vocals); Jon Nordstrom (bass, vocals); Jules Mounteer (drums)
Tunes:Celtic-country
To Contact:Paula Danylevich, HYPEmusic, Somerset Place, Suite 1014, 2076 Sherobee Road, Mississauga, ON L5A 4C4 (905) 275-9613, FAX (905) 275-3975.

Who said the ocean and the prairies were mutually exclusive? Edmonton’s Captain Tractor successfully marries the genres of Celtic and country in a non-stop celebration. With their third album, Bought the Farm, the five-member, thirteen-instrument band is finally gaining national attention. In addition to self-producing six videos in the past three years, the band has a song on the upcoming Due South soundtrack … And then there are those dozen-or-so awards, for everything from songwriting to video editing.
Bought the Farm was recorded and mixed at Edmonton’s Beta Sound Recorders, off-and-on over a six-month period in 1997. Juno winner Colin Lay, who produced CT’s 1995 East of Edson album, divided duties with Shannon Johnson. “She came in more [as] a producer, and Colin [was] more of an engineer,” explains guitarist Chris Wynters. The result is a solid collaboration, from the feisty “1,000 Goodbyes” to the quintessential Canadian love song, “Frozen Puck to the Head”.
The “biggest Oilers fans in Edmonton” are constantly on the road, pucks and helmets stashed alongside gear. Challenge ‘em to a game near you.

by Sarah Chauncey

Tribe:B.C. Read
Tunes:Contemporary blues-roots
To Contact:BlueBuddha Music & Records, Box 21035, 2105 8th St. East, Saskatoon, SK S7H 5N9 (306) 343-1349.

Given that Brian “B.C.” Read has been performing since the late 1970s, it’s surprising he hasn’t received more attention. The Saskatoon-based songwriter/performer has opened for numerous acts, from Joan Baez to Charlie Major and even Jerry Lee Lewis, yet his fanbase seems strangely relegated to the Prairies. Well, let’s change that.
Produced by Toronto blues veteran Ken Whiteley, Read’s debut album, My Tunes, showcases a wide variety of blues styles, from old-style acoustic (“Blues in Paradise”, “Two-Faced Man”), to the shuffling “Believe Me”, to the more contemporary “Long Distance”. “The Job”, an all-out traditional blues groove, features a subtle mandolin mix beneath a yearning steel pedal guitar. Read has lined up major local talent to assist with his debut: contributing musicians include Brent Burlingham (drums), George Tennent (bass), Doug Scarrow (guitar), Johnny V.(guitar), Brent Parkin (guitar), Sheldon Corbett (saxophone and Hammond organ) and Dwayne Harder (piano and organ). We look forward to more of Read’s tunes, and we hope that he begins to receive the credit he deserves.

by Sarah Chauncey

Tribe:Ian LeFeuvre (lead vocals, guitar); Peter Von Althen (drums, backing vocals); Jon Reilly-Roe (bass, backing vocals)
Tunes:Seriously melodic and intelligent power pop
To Contact:Rod Marsden for Manage This!, 154 West 57th St., Suite 133, New York, NY 10019 (212) 246-1200.

The self-titled debut from Ottawa’s Starling is “home-grown and hands-on,” according to singer Ian LeFeuvre. “We did it all on our own.” The trio, who has been together just over two years, recorded the CD in LeFeuvre’s Slowpoke Studio, with each member engineering for the other two. Additionally, the band avoided the “fix it in the mix” mentality, committing all their effects to tape on the initial takes. “By the time you get around to mixing,” LeFeuvre theorizes, “You’re not going to be in the same spirit as you were performing it.” The result is a professional, but not overly polished, album.
The singer is eager to point out that Starling isn’t “Ian’s band.” Between them, the three members have vast experience in the music industry, and their collective seasoning is evident in 12 well-constructed, infectious tracks, from the swing-influenced “If I Could Do”, to the straight-ahead “Don’t Deflate”, to the Skydiggers-like “Burnout” (Von Althen is a former Skydigger).
Somewhat surprisingly, LeFeuvre admits to being a novice songwriter. “Hopefully, I don’t get worse,” he jokes. Not likely, given the literate craftsmanship he evidences. We think Starling’s going to be around for a while.