The 96 Best Alternative Rock Songs of 1996

--taken from: SPIN

Undoubtedly, 1996 was the year of Weird Alternative. Representing the final period before underground rock’s post-grunge bubble totally burst, the hits of 1996 shook out like loose change. Veteran oddballs like Luscious Jackson and Butthole Surfers scored unlikely crossovers, while future cult favorites like Eels and Nada Surf enjoyed their sole brushes with the mainstream. The success of No Doubt, 311, and Sublime presaged ska’s stupefying breakout the following year, while the Prodigy and the Chemical Brothers primed big beat as the sound of the future (for about 18 months). Weezer, Stone Temple Pilots, and Pearl Jam all flopped gloriously trying to follow up ’94 blockbusters, while Oasis and Smashing Pumpkins threatened to expand their ’95 success into total world domination. It was utter chaos, and it was hilariously beautiful.

Like the similarly freewheeling MTV sequel channel that launched in ’96, alt-rock was destined to crash. Tellingly, the Alternative Nation music-video program was canceled in ’97, the same year that Puff Daddy and Will Smith brought hip-hop to unprecedented commercial heights, and Hanson, the Spice Girls, and Backstreet Boys kicked off the teen-pop explosion that would carry the music industry’s boom years into the 21st century. But if there were relatively few survivors from ’96 alt-rock, that just makes the year all the more special in retrospect, as the only time in history when even Primitive Radio Gods were allowed to become contemporary radio gods. Come get all mixed up with us one more time.

92. Sloan, “The Good in Everyone”

Even as alt-rock scaled the Hot 100, power-pop acts couldn’t find a foothold — not even a band with four top-notch songwriters, well on their way to icon status in their native Canada. After two Geffen efforts that failed to land, Sloan gathered their breath and dropped One Chord to Another on their own Murderecords label. “The Good in Everyone” is the first blast: a dense defensive pose studded with handclaps and a strangled solo. On the verses, Andrew Scott provides massive cymbal sustain; Patrick Pentland sings the title like he’s got his hands over his ears.

--taken from: SPIN

TUNS: TUNS Album Review

--taken from: Paste Magazine

by Kurt Suchman

The term “supergroup” can be the cause of ecstasy or anguish when applied to one’s favorite musicians. Sometimes differing musicians can reinvent themselves or find a new route to follow, as is the case with supergroups from the Eric Clapton/Ginger Baker collaboration Cream to the recent chart-topping partnership between Skrillex and Diplo, Jack Ü. Far too often, however, supergroups become a gimmick as opposed to a band worthy of listening to—does Hollywood Vampires ring a bell?

TUNS is a Canadian supergroup that unites the indie rock stylings of Sloan’s Chris Murphy, The Inbreds’ Mike O’Neil, and Super Friendz’s Matt Murphy. As three established veterans to the ‘90s Halifax underground scene, TUNS comes together to make indie-indebted power pop without any gimmicky pretenses. On their self-titled debut album, TUNS has achieved what all supergroups should aspire to by making an album that sounds familiar to recognized fans while still fresh enough to garner a new following. But TUNS blows the term “supergroup” out of the water by tapping into the strengths of each individual musician for a one-of-a-kind mixture of talent.

There is classic indie sound that permeates the entirety of TUNS. While the bands that make up TUNS rose to prominence for their angsty indie rock alongside acts such as Guided by Voices and Pavement, the members of TUNS have matured since their ‘90s heydays. The result is a jangly, upbeat style of power pop with a slight edge that makes for a sound foreign to the band members’ past discography, but that perfectly encapsulates the underground energy of TUNS with a newfound sense of optimism. Though songs across the album’s nine tracks have a jaunty college rock guitar groove reminiscent of R.E.M., there is just enough modern flair to go along with the nostalgia that makes TUNS recall more present-day ‘90s nostalgia acts including Courtney Barnett and Mac Demarco.

Over time, the members of TUNS have been able to turn their own talents into specialized talents on their new project. All the songs sound like something unlike the discography of any of its past members. Album highlight “Mind Over Matter” is slightly grungy, but has a cheerful exuberance akin to acts going as far back as Cheap Trick. The songs only get brighter from there, even on drearily titled tracks such as “Lonely Life” that find the band all finding what’s good even in the worst of times. Even on the lovelorn country-esque haze of “Look Who’s Back In Town Again,” TUNS greets life’s cut downs with a mature and cheery disposition that stands proud even in the album’s dreariest moments.

Thankfully, TUNS is a supergroup that is much greater than the sum of its parts. As opposed to a group of musicians looking to reclaim their past successes, the members of TUNS make the music they know how to without any hang ups on their prior careers. In the end, TUNS holds up just as strongly to any of the member’s legendary bands, and they are making their own legend along the way.

--taken from: Paste Magazine

New music reviews: It’s all killer, no filler with Tuns

--taken from: The Record

by Michael Barclay

"Tuns" (Royal Mountain)

If the term Halifax Pop Explosion means anything to you, then this is the album you've been waiting for. Chris Murphy of Sloan, Matt Murphy (no relation) of Super Friendz and Flashing Lights, and Mike O'Neill of the Inbreds have teamed up to make a power trio that is even more than the sum of its parts. You know how when your favourites get together and make a so-called supergroup and 99 times out of 100 the end result is an inevitable disappointment and compromise? (See: Case/lang/veirs.) This is the one per cent you can get behind.

Attention magnet Chris Murphy is more than content to leave his bass behind and stay behind the drum kit here, letting equally natural rock star Matt Murphy handle all guitar parts (and rock kicks on stage). Of the three, Murphy has been the most musically dormant in recent years: here, he sounds pent up and unleashed, playing with the same vigour and excitement he did on his earliest records. O'Neill, whose bass playing in the duo that was the Inbreds was innovative and inspiring, has since, on his solo records, switched to guitar and played it relatively straight. Here, he's back on bass, playing intricate and melodic lines that suit the power trio format perfectly: Paul McCartney meets John Entwistle. All three share lead vocals, although you wouldn't necessarily know that: these musical brothers share a similar vocal timbre, which makes the three-part harmonies even richer.

All these men can write a great pop song on their own; together, they weave together interlocking hooks and let the lead melodies go to sometimes unexpected places. Practitioners of a concise craft, they also keep it clean and quick: nine songs in less than half an hour, with nary a wasted note. As the old adage goes: All killer, no filler. The production is rooted in late '60s Beatles and early glam stomp, with the directness and energy of early Jam records; it sounds timeless and raw, much like the performances themselves.

It's hard to imagine a better straight-up rock record being released this year. Tuns o' fun. No surprises, though — total pros, that's what they're here for.

Stream: "Back Among Friends," "Lonely Life," "Mind Your Manners"

--taken from: The Record

LINER NOTES: How TUNS made the perfect ’90s indie rock album for 2016

--taken from: CHARTattack

CanRock legends from Sloan, The Super Friendz, and The Inbreds just wanted to make a band with their buddies.

by Cam Lindsay

Liner Notes is a close up look at a great new album you may have missed. This time, the three members of TUNS discuss how a long-standing friendship evolved into a band.

The members of TUNS don’t like being referred to as a “supergroup,” but they don’t really have a say in the matter. They put the idea out there before anyone.

“I guess in a way we signed off on it because it’s in our bio,” admits bassist/singer Mike O’Neill. The temptation to refer to TUNS as a supergroup is strong considering their lineage. All three members played a pivotal role in Canadian indie rock’s magnificent run during the 1990s: O’Neill as a member of The Inbreds, Matt Murphy as a member of The Super Friendz and The Flashing Lights, and Chris Murphy as a member of the still-active Sloan.

Chris says he won’t be using the term to describe TUNS, but he does understand why it will forever stick to the band. “I think it’d be fun to see Captain Kirk, Captain Picard and Luke Skywalker in the same room,” he says. “I can’t think of a better example.” To which Matt chimes in with the perfect Canadian parallel: “The Littlest Hobo, Bruno Gerussi and Louis Del Grande.”

Some might not think of TUNS as a new band, but don’t let their respective histories fool you. Their first performance was in October 2015 playing Hayden’s Dream Serenade at Massey Hall, only one month after announcing the band existed. And now, less than a year later, they are releasing their self-titled debut album. Anyone familiar with O’Neill and the two Murphys should know what to expect: sharply written rock songs with a heavy focus on classic pop melodies. Like in Sloan and the Super Friendz, each member writes and sings – three songs apiece – evoking some familiarity from their previous work, but also a newfangled sound borne from this fresh take.
At the office of their Toronto-based record label Royal Mountain Records, we got all three members to sit down and reflect on their decades-old friendship and their newfound venture.

TUNS self-titled album is out August 26 on Royal Mountain Records.


Cam Lindsay (Chart Attack): The first photo you guys put out there was one from 20 years or so ago. How far back does the idea for this band go?

Matt Murphy: Chris was always trying to get me to leave my band and start a new band with him. At one point – when Sloan had an early crisis.

Chris Murphy: Right before the Super Friendz made Mock Up, Scale Down, so December '94, Sloan was basically like, “That’s it.” So basically I came sniffing around Matt like, “I just left my wife.” And he was like, “Dude, we’re just about to record! Sorry.” But it was fun to tour with Super Friendz.

Mike O’Neill: One thing I’d like to tell you about that black and white photo is that Chris and Matt are standing kind of close to me because I was wearing a Chicago Police Force jacket that my sister helped me pick out. It was this black leather jacket with giant buttons and shoulder flares, vents in the back. It was kind of a gross jacket. Like, a lot of jackets. So these guys moved in close to block the jacket so you couldn’t see how gross it was.

CM: Nooooo…

MM: We are mean! [Laughs]

MO: But they were helping me out. The idea was that they moved in so that my shoulders were covered and you couldn’t see how ridiculous my jacket was.

CM: That’s news to me. We were nice!

MO: You were nice about it.

MM: It was really Chris’s energy that put it together. When was it, at my birthday?

CM: You mean on the recent side? Well, I always mentioned how we backed Mike to give him a band. Matt, Charles Austin (The Super Friendz) and I were his backing band, which was a lot of fun. That was like three years ago at The Great Hall. This was kind of my dream. These guys are heavyweight players and singers and writers. I just thought it was a fun idea, and we could do more than just jam. I feel like we’ve done a lot. We haven’t played many shows but we’ve made a record, we’ve done it. I don’t want to stop doing it, but I’m happy we’ve done this much.

MM: I thought the first way you’d pitch it is CSN but no Y. Three singers across the front, maybe even just with acoustics, hitting their own catalogue but also other stuff. That didn’t move me too much. But I saw these guys sing “Dream” by The Everly Brothers together at my birthday one year and it was amazing. So once we did that with him, we nailed down a date to get this thing started.

But it was Mike’s mom who really got the band together.

MO: Kind of. My dad passed away in 2011 and my mom lives by herself in Oshawa, and here’s her address. No… I visit her a lot, every three months. And I started doing things around the house. As I recall, Chris said, “Next time you’re at home, why don’t we get together and jam.” And that’s how it started. So, in my mind, if I hadn’t been coming home so often it wouldn’t have occurred to me. And then what started happening was every time I came home it was to practice or play with these guys. I think there was one time where I came home and I didn’t tell Chris about it because I knew that if I did he’d say, “Well, what day? We could do it on Tuesday and Wednesday.” So I didn’t tell him anything and went home to help my mom secretly.

CM: Well, now the secret’s on her.

The last thing I wanted to ask you about that photo was did you crop anyone out of it to get it to look like that?

CM: No, but I have gone through other photos to find the three of us and I have comically cut people out.

MM: But not necessarily their limbs. So a lot of hands show up.

CM: No, we’re the only three people in that picture and I think it’s '98 at my 30th birthday. Sloan played at Palais Royale for the live record and Super Friendz opened up.

MM: I thought that photo was in Halifax.

CM: No, it’s at Queen and Bathurst. So we were looking at Pizza Pizza, which is in the background.

Do you think this band is more special now at this point in your lives than it would have been, say, in 1998?

CM: Maybe we would have been more part of the zeitgeist, whereas now we’re not really party of a scene or a story. I guess we’re just sort of trading on our pedigree in some ways. But it’s a giant shoulder shrug about how we’re being received. I’m into people hearing our record and liking it, but it doesn’t really matter. I think what would have been different then is our own expectations of what we can do with it. But our expectations at this point are pretty realistic.

MM: They’re fulfilled already.

CM: We’ve got our record on vinyl. Everything else is gravy.

MO: I can only speak for myself, but I think that I would have battled insecurities if I had been in a band with these guys in the mid-'90s. I would have been so distracted by whether I was worthy of being in the band or if I was holding my own in it or having delusions that I’m kind of in charge of this thing secretly. All of that interior dialogue would have led to unhappiness. And I think the opportunity coincides with me being the right age for it. So I’m glad I’m not missing the opportunity. The most boring thing you can say is, “Well, it’s just really fun.” Like who gives a fuck?

CM: That’s what I was just gonna say.

MO: I’m basically saying that’s how it feels. The way I would describe it is, right now, if I was playing a solo show and I made a mistake, everyone would know even if they couldn’t hear because they’d read it off my face. But if I have a mistake in this band – which I do – I just smile or laugh. That’s my unconscious reaction to it.

When you got together for that first practice was the chemistry obvious?

MO: I remember maybe possibly over-preparing a little bit, thinking: “I better bring a few riffs that aren’t right for my precious solo career. So what do I have that is unfinished but is appropriate for the band?” What I was afraid of was even though we know each other, we didn’t know what was going to happen. Ideally what would happen is we would start playing and come up with ideas and there wouldn’t be any homework. Everything would happen in the room. Now fortunately, that is what happened. It really did work out that way.

There was a bit of homework: Chris had a way of divvying up the songs and we were responsible for writing words for the ones that we were gonna sing. And then what we ended up doing, if I’m not giving too much away, we would suggest drum beats to Chris or he would suggest them. They would generally be hits with interesting drum parts and then we would use that as a starting point to inspire riffs on the guitar and bass.

CM: I would just be like, “This is something that I can play or I enjoy playing.” And in my head I was just sort of playing “Everybody Wants To Rule The World” by Tears For Fears and they’d be honking through whatever until we hit something, and then we’d record it. I couldn’t believe the way in which we could make it up on the spot. I am still in awe of that, and I have to give these guys credit more so than me. I’m there and contributing, I guess, but when we start out, it’s kind of insane. I’ve never done that before. And I brought a stockpile of ideas to the sessions, and they were fine, but the most exciting things were the ones that were made up on the spot.

Was it pretty clear that when the band was formed you would all sing and write songs?

MM: Yeah. The songs were all written very communally. You couldn’t really take them apart and extract something and say this was written by this person or that person. The album was really created all together. We sometimes even sing each other’s lyrics, and we certainly sing each other’s melodies. But in terms of us all singing, we definitely wanted to make sure we all sang an equal amount of lead vocals for sure. So there are nine songs on the record and we sing three each.

I love Mike’s vocals so much on this record, that it reminds me of the Eagles documentary where Glenn Frey says, “Well, when you have Don Henley in the band who else is gonna sing?” And I sort of feel like that about Mike because he has such a beautiful voice that can evoke a lot of emotion. So in the back of my mind I thought, “Well, why didn’t Mike sing all of the songs?”

MO: Oh my God! [Rolls eyes]

MM: That’s just because we’re all fans of each other. I also thought Chris should play all of the bass. [Laughs] No, but I really do just enjoy listening to these guys play.

MO: Matt said something funny to me walking down the street the other day. He said, “Hey, you know who’s a really good bass player? Oh, sorry, I forgot you’re a bass player.” [Laughs] Like, “If you need a bass player… Oh wait, sorry. You play bass.”

You brought in Ian McGettigan to produce the album, which throws Thrush Hermit into this band’s pedigree. He also plays bass. Did you pick him in case it didn’t work out with Mike?

MM: [Laughs] Yeah.

MO: Could be, yeah.

CM: No, we couldn’t get Rick White. Well, we didn’t contact him.

MM: I think the thing about Ian was that we were very comfortable with him. We all know him, there was no “getting to know you” moments. The way we were creating the music was the same with recording it with Ian. It didn’t change any of our dynamic whatsoever.

Is there any competition in this band?

MM: If there is it’s very friendly and inspiring in a way. If someone makes a good melody, then you know your next one has to be on that same level. So it drives you forward, but we’re not keeping score.

CM: When we contributed lyrics, I remember Matt having some trouble and I suggested something and then ten minutes later I heard him sing it. Like, “Fuck, he used it!” That would never happen in Sloan or in my experience before. Everybody is so precious.

MO: I definitely remember when I first heard Matt sing “Back Among Friends” and I thought, “Oh my God, the words are so good. Wow.” I wasn’t even jealous because it was our thing, but I remember thinking everything I did had to be good.

So you came up with 50 songs, then cut it down to 15 and ended up with nine.

MM: We had song things that we whittled down, and then we recorded 12 originals, three that aren’t on the record. It was Royal Mountain that suggested we go with nine.

CM: Yeah, we had 12 and then we started cutting. So if we took off one, we’d have to take off two more. I was insistent that we did an egalitarian split. Even though there is one song that I wrote the lyrics for, which Matt and I sing together.

MM: But my vocal is a few DBs lower.

CM: Whatever. I think the way things are going, short records are better.

MM: At the time I couldn’t believe we weren’t putting 12 songs on the record. But now that it’s nine, I think it’s very refreshing. We’re not bothering anyone longer than we have to.

When I mention TUNS to people, I say it sounds like the guys from the Inbreds, Sloan and the Super Friendz, but it also sounds like a new band.

MM: I think I hear all of those things in it. I wouldn’t say it’s a fresh start for any of us. I certainly feel that making it felt like it came together in a unique way. There is something fresh about it. I hope that is down to the way we approached the music. Even though stylistically it’s not going to revolutionize modern music, it will always sound fresh to people. As long as it sounds fresh and vibrant then we’re doing something right. But I do hear those influences, for sure. We’re making up music now, and I’ll say, “I just ripped you off playing that lick there.”

MO: And I’m like, “That’s fine. You have my permission.” One thing that is shocking to Matt too, is that some people can’t tell the difference between our voices. And I think, “Why not? I can.” When I hear Chris sing, it’s hard not to hear that voice you associate with the big songs of Sloan. Like if I heard this guy’s voice doing anything with any instruments I would think of it as Sloan-based. But that’s just Chris’s voice, and he played with Sloan first. It’s an interesting thing. I do think that it’s substantial that even people who know me well can’t tell who is singing what. I find that shocking. But I do find that our voices are in the same range.

CM: But some people can’t tell The Beatles apart. I think it’s fun that we’re a trio because Matt and I have been in four-piece rock groups, and the joke is that Mike was in a two-piece, so he’s come up and we’ve come down. But it is fun to be in a three-piece, and Matt is such a good guitar player that we don’t need a rhythm guitar player. There is so much space when we play live. And when we’re making the record we wanted to make it a bit sparse. For me, certainly the process was different, and I like how sparse the record is. I’m sick of myself, when I write music. I’m fine with my ability, but I’m so tired of my tricks and tropes. But the riffs that these guys come up with are so fun. Sorry, this is boring. But we have so many riffs as a starting point for another record. I’m so excited about them.

MO: That’s how I feel about my next solo record. Because I’ve been working on a solo record, and then this came along.

CM: Umm, we’re talking about this right now. [Laughs]

MM: No, but it’s true. The gratification comes a lot quicker when you have three people working on the same song together. It’s not like it’s not work, it’s just a lot more fun. You see results a lot quicker, and then you can move on to the next one. It doesn’t come easy, but it’s very rewarding. And I agree with what Chris is saying: we’re a three-piece, so that’s fresh because we’ve never done that. We’re writing in this new way that is unique to our past experiences, but at the same time, I do still hear the influences of our past. And if other people do, I understand.

--taken from: CHARTattack

TUNS' Debut Delivers on its East-Coast Indie Rock Pedigree

--taken from: NOW Toronto

by Carla Gillis

Followers of East Coast indie rock have been anticipating this debut self-titled album since last October, when the group made up of Chris Murphy (Sloan) on drums and vocals, Matt Murphy (Super Friendz/the Flashing Lights; unrelated to Chris) on guitar and vocals and Mike O'Neill (the Inbreds) on bass and vocals revealed itself at a surprise show at Massey Hall.

We've been hearing regularly from Chris via long-running power-pop four-piece Sloan and intermittently from O'Neill, who has released a number of solo records and written film soundtracks. Matt, however, has been mostly quiet and greatly missed. It's a thrill, then, that he contributes many of the songs.

His blistering, bright, savvy guitar solos are here in full force - usually coming near a song's end in a blast of elastic flash and dazzle. His familiar voice, too, remains strong, his songs smartly crafted and stacked with harmonies.

Intelligent songwriting is the record's through line. (Chris's Look Who's Back In Town Again is perfectly late-Beatles and exceptionally gorgeous.) Melody is everywhere, tempos are peppy, and the three voices blend in intricate harmonies and sometimes play relay. On Throw It All Away, O'Neill begins, Matt takes over in the chorus, then Chris and O'Neill handle the second verse together.

Occasionally things suffer lyrically, when someone falls back on a rote rhyme ("Rain, rain, go away / come again some other day," Chris sings on Mixed Messages, or "You learn to mind your business / to mind your P's and Q's" on Mind Your Manners), or the songwriters' sentiment seems simplistic or on the nose. See first song Back Among Friends, about, well, how nice it is to be playing music together again.

O'Neill's songs, especially Lonely Life and I Can't Wait Forever, are appreciated for allowing some melancholy to seep in. Matt's Mind Over Matter stands out by digging in a little harder tonally and rhythmically, adding some grit to all the sweetness. And it has such a classic Matt Murphy chorus and guitar licks that our nostalgic hearts go a-flutter.

--taken from: NOW Toronto

TUNS

--taken from: Exclaim!

by Gregory Adams

While TUNS vocalist/guitarist Matt Murphy explains quite tunefully on "Back Among Friends" that its three members have experienced a mix of good times and bad times together, their self-titled debut may be one of the more all-out joyful releases of the year. Just a couple of songs later, in fact, bassist Mike O'Neill offers up a most goofy, but earnest-as-hell assertion that he's "having an awesome time."

If you grew up on the collective songbooks of their Super Friendz, Sloan and the Inbreds, chances are you'll be grinning just as big over this latest release. Certainly, parts of the record could be likened to the former Haligonians' halcyon days. For instance, while driven by a glammy stomp from drummer Chris Murphy, the backing falsetto harmonies of his bandmates on "Look Who's Back in Town Again" echo his closing cries on Sloan ballad "The Other Man."

That said, the act broadens its horizons by exploring '80s vintage Athens, Georgia jangle ("Mixed Messages") and twitchy, cane sugar-spiked power pop ("Mind Your Manners"). Slowing things down just slightly for the finale, O'Neill steals hearts with a tender vocal turn on the lightly strummed, but heavily swoon-worthy "I Can't Wait Forever."

While it's a group of seasoned pros, there's a wide-eyed and youthful feel to TUNS. In part, this could be attributed to Matt Murphy's quite cherubic vocals, but more than that, it just sounds like the three old pals are having a blast working together. Beyond its heaps of pop-rock hooks, TUNS debut full-length is a testament to the eternal power of friendship.

--taken from: Exclaim!

Music 'Supergroup' TUNS brings power pop to Good Will in November

--taken from: Winnipeg Free Press

Fans of '90s-era Canadian college rock will be in their glory this Nov. 26, when newly minted trio TUNS makes its Winnipeg debut at the Good Will Social Club. Made up of Sloan's Chris Murphy, the Inbreds' Mike O'Neill and the Super Friendz' Matt Murphy, the group will release its self-titled debut album — a nine-song blast of melodic power pop — on Aug. 26 on Royal Mountain Records.

Pronounced "tunes," TUNS is an acronym for the Technical University of Nova Scotia, where the two Murphys (who are not related) "used to go for science fairs or to play basketball," according to a press release. The members' former bands often overlapped, touring together and playing on each other's album. (Sloan and the Super Friendz were founded in Halifax; the Kingston-formed Inbreds moved there in 1996).

--taken from: Winnipeg Free Press

Festival Village, Ottawa ON, August 19

--taken from: Exclaim! (see pictures here)

by Daniel Sylvester

In a summer saturated with festivals, Arboretum may be Ottawa's hippest. Moving locations across the city since its inception in 2012, the five-day arts showcase has now set up headquarters on the grounds of City Hall, bringing in a lineup of taste-making artists like Mykki Blanco, Junglepussy, Doomsquad, Dilly Dally and Tim Hecker. So, it seemed like a curious — but ultimately rewarding — move to bring in Gen X indie heroes Sloan for a Friday night appearance.

In the midst of their One Chord to Another 20th anniversary tour, Sloan was called upon to serve double duty, stepping up to play two full sets after a last minute pull-out from headliners METZ.  Joined onstage by longtime keyboardist Gregory Macdonald, Sloan launched into One Chord to Another opener "The Good in Everyone."

Playing their iconic 1996 album in full, the quartet breezed through "Autobiography," "Junior Panthers" and "G Turns to D" before hitting a brief rough patch during "A Side Wins", which found drummer Andrew Scott moving to the front of the stage to raggedly sneer out the vocals.

But when the band played singles "Everything You've Done Wrong" and "The Lines You Amend" (with the latter featuring two local horn players) the energy escalated, and bassist Chris Murphy won onlookers over with his sappy stage demeanour.

These good vibes immediately transferred to the band's second set, which found them focusing on their most beloved material — including "Losing California," "Penpals," "Coax Me" and "I Hate My Generation."

After an announcement that Scott had to sit out the second set due to a foot injury, the Golden Dogs' drummer Taylor Knox filled in, tearing it up behind the skins. Following the undisputed crowd favourite, "Money City Maniacs," Scott returned to the stage to sing "People of the Sky" and "Sensory Deprivation," but fell behind a bit on the songs' melodies. Coupled with Murphy's unbridled, fill-filled drumming style, both tracks came off as noisy, loose and teetering-on-disastrous.

But ultimately conquering those lows seemed to inject even more vigour into their set, giving newer singles like "Unkind" and "Who Taught You to Live Like That" as much of a rapturous response as classics like "The Other Man" and Underwhelmed."

Despite the double set verging on two hours, Sloan proved themselves seasoned vets and delivered a thoroughly entertaining performance in spite of any stumbles. No other band in Canada could have handled it with such grace, humour and straight-up experience.

--taken from: Exclaim! (see pictures here)

A Sloan walk through the past pleases crowd at Arboretum fest

--taken from: Ottawa Citizen

by Lynn Saxberg

Sloan

Arboretum Festival, Ottawa City Hall

Reviewed Friday

The wave of ’90s nostalgia that was stirred up this week by the Tragically Hip’s visit carried over to Arboretum Festival on Friday as Canuck rockers Sloan ran through their landmark 1996 album, One Chord to Another.

Starting with the album’s biggest hit, The Good in Everyone, it was an exuberant song-by-song delivery from the East Coast-bred rock veterans. Singer-guitarist Chris Murphy declared himself to be “very psyched” at the chance to revisit the 20-year-old album, and it didn’t sound like he was being facetious.

The band sounded terrific as they brought the old songs to life in front of a crowd that was probably a few years older than the usual Arboretum demographic. Murphy and his bandmates – Patrick Pentland, Jay Ferguson and Andrew Scott, all of them looking fit and healthy – played like champs. They traded off lead vocals, depending on who wrote the song, and backed each other with some nicely balanced harmonies. They even brought a horn section to the stage to help fill out a couple of the tracks, a sonic layer that added to the Beatlesque nature of the tunes.

Despite the last-minute cancellation of Toronto-based noise-punks METZ, who were booked to headline last night’s festivities, no one seemed disappointed to hear a double dose of Sloan. After an intermission, the second set consisted of greatest hits from the rest of their catalogue.

No matter who’s on stage, one of the best things about Arboretum is checking out the site. After holding the event at Arts Court and Albert Island in recent years, the fest has found another underused corner of the city to animate.

Not since Bluesfest a decade ago has a festival planted itself behind Ottawa City Hall, on the grassy strip of parkland that divides the municipal headquarters from Lisgar Collegiate Institute.

Ringed by city buildings, with grass underfoot, the urban nook made for a cozy festival site. The main entrance off Lisgar Street opens into the beer garden and festival village (just $10 admission if you don’t have a ticket or pass), a communal area where you can shop for beard oil or freshen up your wardrobe with a T-shirt that says, “Ottawa is a Place.” Delicacies like steamed buns and Buchipop are available to sample, or you can get a haircut. Naturally, the beer is craft-brewed and local, courtesy of Beau’s and Beyond the Pale.

An illuminated geometric gateway in the middle of the site leads to the concert village, where bands perform on two stages, both protected from the elements by generously sized tents. You need a ticket or pass to gain access. The sets are staggered so there’s never a break in the music.

--taken from: Ottawa Citizen

The Three Tenors

--taken from: Exclaim!

by Gregory Adams

"Oh, to be back among friends. Even when the harmony ends." It's the first line on the self-titled debut album from TUNS, a pop-rock group uniting '90s Canrock stalwarts Chris Murphy (Sloan), Matt Murphy (Super Friendz) and Mike O'Neill (Inbreds). While bittersweet, the lyric is a red herring of sorts. Matt Murphy cops to the song taking root in a bit of temporary band drama that transpired during the making of the album, but it's ultimately about the sticktoitiveness of, well, a group of super good friends.

"I was tired, or irritable," Matt Murphy says. "I remember thinking about that and consciously deciding that I wasn't going to narrate this experience in that way. I was going to try and see the positive. That's me trying to dig back into the things that hold us together, that mean something to us in a universal way. I'm touching on experiences in Nova Scotia, and the kinds of music we played when we were younger. It's me being a tour guide to our past."

For the Murphys — unrelated, for the record — their history goes back to the 1980s, when they met while working at Halifax's Victoria General Hospital. They bonded over music, and both were active in the local scene. Following the rise of Sloan, Matt's Super Friendz were signed to Murderecords; Chris would also drum in the band for a time. Over the years, they'd also play together, along with Jale's Jennifer Pierce, in the Certain Someones, and for Matt's country-minded Little Orton Hoggett. TUNS is just the latest adventure to bring the two old pals together.

"He's always been a strong motivator," Matt Murphy says of Chris. "He taught me how to play a proper drum beat. He would encourage me to write songs. He had that belief in himself, and was able to pass it on to others."

TUNS unofficially got together in 2013 when the Murphys opted to act as Mike O'Neill's backup band at a Murderecords anniversary party in Toronto. While Matt Murphy had side-stepped a full-time music career to work as a news producer, Chris felt it was time to get his buddy back in the game.

"Matt is one of the heaviest players and singers that I know," Chris Murphy explains. "He doesn't do that professionally anymore. Part of me thinks that's a drag, but maybe that's just the other side of me thinking he's more talented than I am, and I get to make a living at this. It's sort of an injustice."

O'Neill, who has been friends with the guys for decades as well, signed on for the project, and the threesome set to work. Their nine-song self-titled debut is marked by elements of the members' collective pasts, as well as the best bits of '70s power-pop, the Beatles, R.E.M., and more. Through it all, they intertwine their voices into a fantastic, familial blend.

"We all have the same register," Matt Murphy explains of their unified harmonies. "There's no baritone in the group, or a soprano. We are all tenors, the three tenors — a joke name we had for ourselves."

While it took a couple of years to bring to the public, the trio's first album is out now. Additionally, a clutch of song ideas are ready for round two, and they plan to tour in the near future. It's looking like TUNS' fun is for everyone now.

--taken from: Exclaim!

Halifax rockers Sloan mark 20th anniversary of One Chord to Another

--taken from: CBC News

Twenty years ago, Halifax rockers Sloan released One Chord To Another, which spawned singles like "The Good In Everyone" and "The Lines You Amend" and became one of the seminal Canadian pop albums from the 1990s.

Now the band is in Ottawa, playing that entire album — followed by a few other favourites — tonight behind Ottawa City Hall as part of the Arboretum Music Festival.

"There's really only, like, four or five of the songs that feel nostalgic," said Chris Murphy, who joined bandmate Jay Ferguson in the CBC Ottawa All In A Day studios Friday afternoon for a feature-length interview with host Alan Neal.

"[But] even though I can play 'The Lines You Amend' with my eyes closed, and I play it all the time, it's fun to see where it goes — to put it back into the album sequence, as opposed to just, like, in a hits set."

Listen to the band talk about that song — plus more obscure tracks from One Chord To Another like "Junior Pantherz" and "Nothing Left to Make Me Want to Stay" — by listening to their interview below.


--taken from: CBC News

'TUNS' (album stream)

--taken from: Exclaim!

by Sarah Murphy

Sloan's Chris Murphy, Super Friendz's Matt Murphy and the Inbreds' Mike O'Neill revealed last year that they had banded together in a supergroup dubbed TUNS, and now Exclaim! is finally giving you a chance to hear their long-awaited self-titled debut album.

The band describe their sound as a cross between "power pop with intricate melodies" and "electrifying rock'n'roll," promising hopeful listeners that they have no intention of being "that supergroup that sounds great on paper and super lame on your speakers."

They deliver from the get-go with the soft jangle of "Back Among Friends" and "Mixed Messages," moving into a slightly crunchier sound on "Mind Over Matter," while "Look Who's Back in Town Again" sweeps listeners up in a psychedelic swirl. "Mind Your Manners" is another stand-out, picking up the pace with it's peppy drumbeat and jaunty guitars. The album wraps up with the sweet sway of "I Can't Wait Forever," hearing the band hold true to their word.

In support of the forthcoming record, TUNS will hit the road for a run of Canadian dates this fall. Check those out below, then hit play to hear their debut before it hits retailers on August 26 through Royal Mountain Records.


--taken from: Exclaim!

‘Supergroup’ TUNS share their dream band collaborations

--taken from: Toronto Star (watch videos here)

by Ben Rayner

TUNS is something of a “dream” band for anyone who’s kept an ear tilted to the sublime rock-’n’-roll sounds emanating from Halifax since the early 1990s, when the always fertile scene in that lovely east coast port city briefly bubbled up to sufficient international attention at the height of the grunge era to be dubbed a potential “next Seattle.”

Two of TUNS’ three members — Chris Murphy of Sloan and Matt Murphy of the late, great Super Friendz — were there at Ground Zero watching (and making) all that hyperbolic nonsense happen back in the day, while Kingston-bred Mike O’Neill relocated there shortly before the beloved Inbreds released their third album, It’s Sydney or the Bush, in 1996 and has stayed there ever since, more than long enough to by now rank as an actual Maritimer.

Together as TUNS, then, this trio of veteran Canadian indie-rockers is well deserving of the Hali-pop “supergroup” tag that’s popped up in most press about the new venture since it started gigging last summer, although the lads themselves are justifiably wary of embracing such a loaded description.

The Star had the band in for the second instalment of this year’s Newsroom Concert Series a couple of weeks back, albeit not in the newsroom but at the Mill Street Beer Hall — a space where, as Season 2 openers White Lung recently demonstrated, we can let our guests play as loud as they wanna play without ticking off dozens of reporters filing to deadline.

We covered all the TUNS basics during the interview portion of the session, so instead of rehashing what curious viewers can learn with the simple click of a mouse, we thought it might be fun in this space to ask Murphy, the unrelated “other” Murphy and O’Neill what their personal ideas of a “dream band” might be.

Have a read, then enjoy the music. And join us this Thursday, Aug. 18 for the next Star session at Mill Street in the Distillery District, please, when hitmaking husband-and-wife duo Dear Rouge will come by to play a few tunes.

Matt Murphy

“My dream band is Willie Nelson’s Family band. First of all, it’s Willie, so there are no duds in the set, just silver and gold. Plus, the band is exactly as loose and spirited as I like. They can play sweet and gentle on ‘Funny How Time Slips Away,’ and then instantly launch into explosive, pill-popping fury on ‘Stay All Night.’ Chris and I have spent a lot of time emulating this style for our country outfit, Little Orton Hoggett and His Ten Cent Wings. And there something of this in TUNS too, I hope.”

Mike O’Neill

“My dream band would be the Velvet Underground recordingLoaded, but with Mo Tucker on drums. Musically, I think I could have jammed with them. But partying with them would have made me blush.”

Chris Murphy

“I loved the first Elastica record. I knew someone who knew Justine Frischmann so I felt like I had this ‘in’ when their bass player quit. I can’t quite remember when this was. 1996? Anyway, I imagined myself within reach of being able to make that happen but I didn’t pursue it in the end. Probably for the best.”


--taken from: Toronto Star (watch videos here)

Sloan Speaks ‘One Chord To Another’

--taken from: Pollstar

This year marks the 20th anniversary of Sloan’s album “One Chord To Another.” The band is celebrating with a North American tour showcasing the LP in its entirety and a second set filled with hits and fan favorites.

The Canadian quartet is honoring its home country with several dates including stops in Quebec, Prince Edward Island, New Brunswick and Nova Scotia in between gigs on both U.S. coasts.

One Chord To Another is Sloan’s best-selling album and was awarded the Juno Award for Best Alternative Album in 1996. The Juno awards are Canada’s equivalent to the Grammys. Keeping the same lineup for a quarter century, Sloan features Patrick Pentland and Jay Ferguson on guitars, Chris Murphy keeping the groove on bass and Andrew Scott setting the tempo on drums.

Sloan’s music combines indie rock and pop with ’60s style riffs.

--taken from: Pollstar

If it storms don't do it: No Sloan at Hootenanny

--taken from: The Peterborough Examiner

by Jessica Nyznik

Rain and lightning meant an early end to the Hootenanny on Hunter Saturday night - and no performance by Canadian rock icons Sloan - but the outdoor event managed to beat the weather long enough for a lot of music fans.

Stumbling upon the Hootenanny on Hunter was a bit like déjà vu for a Campbellcroft couple Saturday.

Monique Coll-Cox and Rob Cox tried to park on Hunter St. last year when they came to the city for dinner, but the street was closed. So they wandered into the Hootenanny, ate dinner and danced in the street to live music.

Then this year, the same thing happened again when they tried to turn into Hunter St. to go for dinner.
But this time, Coll-Cox got her groove on first.

She handed off her purse to her husband and danced with no inhibitions to Jack Rabbit Slims, a Quentin Tarantino film soundtrack cover band. “My motto is dance like nobody is watching, so I do that,” Coll-Cox said.

While Cox and his wife just happened upon the Hootenanny for the second year, two Toronto residents made plans around it.

Barbara Marten and Betty Anne Butcher also discovered the event last year.

They were having a girls’ weekend at Marten’s cottage on Chemong Lake when they came across the festival.

And they had so much fun, they saved the date for their 2016 getaway.

“We enjoyed it last year so (we thought) let’s plan our girls weekend for Hootenanny weekend,” said Butcher.

The twosome arrived in time for Kate Suhr, who got through the majority of her set in dry weather.

“And then it started to pour,” said Butcher.

They waited out the rain at the mall, returning when the sun came out.

Though Toronto is filled with street festivals in the summer, Butcher said the Hootenanny has a different feel.

“It just feels a lot more welcoming. It’s more homey and safe,” she said.

Peterborough resident Lilli Fleming had plans to bring her daughters Charlotte, 5, and Gemma, 7, to the Hootenanny earlier Saturday, but the rain scared them off.

Heavy rain created a few snags for the event, with vendors packing it in early when it became too much and two bands were cancelled.

But as soon as the sun came out, the street slowly came to life and restaurant patios filled up for dinnertime.

That’s when Fleming and her girls made their way over from the west end.

“We love coming to the Hootenanny,” said Fleming, adding it’s the good food and music that brings them back.

While food vendor the Flying Chestnut had their attention for dinner, all music is dancing music for the Flemings.

“We love to dance with the kids,” she said.

NOTES: A new storm front later Saturday put the music on hold until the decision was made to shut down the stage. Rock band Sloan did not perform. The weather also led to an early end to the Musicfest show at Del Crary Park featuring Classic Albums Live’s Fleetwood Mac Rumours ... Sloan used Twitter to reveal that drummer Andrew Scott wasn't going to play Saturday night because of an injury, and would have been replaced by Taylor Knox for the show.

--taken from: The Peterborough Examiner

Canadian Musicians Cover Canadian Classics at Concert to Help At-Risk Youth Get Music Lessons

--taken from: SamaritanMag (read more here)

by Aaron Brophy

Over the years members of big name acts like Sloan, Blue Rodeo, Metric, Broken Social Scene and Barenaked Ladies have all taken to the Closer To The Heart stage. This year's event, Closer To The Heart's eighth edition, takes place Aug. 13 at Toronto's Hard Rock Cafe and will feature Sean Cullen (The Producers), David Diamond & Mr. Zero (The Kings), Stephen Stanley (ex-Lowest of the Low), Kevin Kane (Grapes of Wrath), Tara Slone (ex-Joydrop, co-host Rogers' Hometown Hockey), Justin Nozuka, Maranda Thomas (Lost & Found Music Studios TV show), Julian Taylor (Staggered Crossing) and Hill Kourkoutis (The Sky Heroes, Serena Ryder). Diego Antonio Fuentes Lopez is hosting. Tickets are $30.

Samaritanmag spoke to Closer To The Heart's producer Karen Pace about her favourite moments from past editions and what people can expect from this year's show.

The Regent Park School of Music runs after-school music lessons, heavily-subsidized, which means they pay about a dollar or two dollars per music lesson for at-risk kids in underprivileged neighbourhoods in Toronto. It started out in Regent Park for the Regent Park community, but it's been run so well and it's grown so much that they now have after-school music programs in Regent Park, Jane and Finch, Lawrence Heights, Parkdale, at-risk areas all over the city. Right now they have 1,400 students in the program and they want to raise that to 3,000. So the money that people like me can raise privately helps go to subsidize more kids being able to take music lessons.

How do you define an at-risk student?

Usually these neighbourhoods have a very high constitution of new Canadians, low income level, these are people who have come to Canada and are just starting out, just making their lives in Canada from countries all over the world. They start off with nothing when they get here so having music classes affords them with something they're not necessarily getting in schools. Because music programs have been cut, they're the first thing that gets cut from a school budget — music, the arts — these are programs they can't afford teachers for so they just don't have those programs in Toronto schools any more.

Who are some of the big names who've performed at Closer To The Heart over the years?

(Sloan's) Chris Murphy has played it, Emily Haines from Metric, Emm Gryner, Ron Hawkins, Esthero played in 2005 at the Hard Rock Cafe and she was covering a Platinum Blonde song, "Doesn't Really Matter," and someone heard about it before the gig and called (Platinum Blonde's) Mark Holmes and he showed up unannounced and jumped on stage for the second half of the song. She didn't know he was coming up. So it was a surprise. Nobody told her. It was fantastic.

--taken from: SamaritanMag (read more here)

Sloan: 'Modest success will keep your band together'

--taken from: Ottawa Citizen

by Lynn Saxberg

Canadian rockers Sloan are on the road this year celebrating the 20th anniversary of their landmark album, One Chord To Another. To gear up for the band’s gig in Ottawa at the Arboretum Festival next week, Postmedia’s Lynn Saxberg caught up with band member Jay Ferguson to reminisce about those heady times.

Q: What was going on around you when you made One Chord To Another?

A: One Chord to Another was a bit of a different album for us because we made our first two records for Geffen in the United States. Concurrent to while we were on Geffen, we had our own label on the East Coast called Murderrecords. We were releasing bands from the East Coast like Eric’s Trip, Jale, the Hardship Post, and eventually Super Friendz. When we left Geffen after our second album, we weren’t sure if we were going to continue, but we thought, ‘Let’s make one more record just so we have a Sloan record on Murderrecords.’ And it went on to become our most successful record.

Q: The Geffen deal was a huge thing for a Canadian band back then. What happened with that?

A: It was the end of ’94. We had released Twice Removed, our second record on Geffen Records. That record was a bit of a departure from the first record. Our first record, Smeared, was more of a noisy guitar, pop record. On the second record, the distorted guitars were gone and it was a little more melancholy. I think it had good variety. But it wasn’t the record Geffen thought they were going to get the second time around to build on what they had established with the first record. When they took it to the marketing department, they sort of shrugged and went, ‘We don’t know how to market this in the era of Hole and Smashing Pumpkins.’ They wanted us to change the record but we said ‘No, put it out as it is.’ They said okay, but we can’t guarantee this is going to do very well. And that’s exactly what happened. It didn’t do very well in the States.

Q: Then what?

A: It was a little bit frustrating by the end of that year. It did okay in Canada, but touring was difficult. We thought about stopping, and we told Geffen. They said they would let us out of the contract. When we decided we were going to continue, and make a record for our label, Murderrecords, we did offer it to Geffen, and they were going to put it out in the U.S. We kinda realized that it might just be the same kind of thing: Put it out as a favour and not do much work behind it. We decided let’s not go there again.

Q: Sounds like the band almost broke up. Did One Chord end up acting as a unifying factor?

A: I think a little bit. I think Patrick (Pentland) sometimes thought of Chris (Murphy) and I as the alt-gestapo, basically the gatekeepers of cool or something like that. I don’t know that I’d agree, but maybe he didn’t feel that he was writing the kind of songs he wanted to for our band. And on One Chord, he really came into his own. The first two singles, our most successful singles of the time, were from Patrick: The Good in Everyone and Everything You’ve Done Wrong. It felt like a boost and I think it brought our band together. And, meanwhile, Andrew (Scott) was still living in Toronto and recorded his two songs there. We didn’t know what to expect, but the two songs fit exactly with what we were doing in Halifax. So that was a nice unifying factor. And the fact that we released it on our own with more control was a unifying thing as well.


Q: And then it was the only Sloan music to win a Juno (so far).

A: (Laughs). It’s true. I think we’ve been nominated 11 or 12 times and we won one. I’m kinda glad we won back then because it’s a long, three dimensional isosceles triangle that looks really cool. The one they have now looks like an Oscar in a sarong or something. The vintage Juno is way cooler.

Q: The last Sloan studio album was 2014’s Commonwealth. Will you make another?

A: I don’t know what we’re going to do next. I would be interested in making another Sloan record. I have a lot of new songs on the go that I would contribute to a Sloan record. Or we could always do another reissue. I like the idea of hopscotching. A new album, a reissue tour, and then a new album. (We’re) stretching out our careers as far as we could go. Chris and I are also recording a couple of new, original Christmas songs this week. Maybe we’ll put them out for Christmas.

Q: The four of you have been together for almost 25 years. What keeps you on the same page?

A: I think there’s a lot of different reasons. Over the years, we split the money four ways and I think that helps keep your band together. And I think it’s because we’ve never been this million-dollar success. We’ve always had this even-keel, moderate success throughout our career. It’s never been so bad that it’s like ‘Omigosh I have to quit’ and it’s never been so massive that we can take a few years off. I think just not being extremely successful nor being an extreme failure has kept us working. You just sort of keep doing what you do and hopefully it catches on. And if not, you move on and you do a reissue or a new album or something like that. It’s just about pedalling the bike and keeping your small business running. Modest success will keep your band together.

Q: What it’s like on stage for you? Is the magic still there?

A: For me, yes. We sorta know what’s going to happen. We have the songs chosen, and we’re not really a jam band. But being on stage is the best part of the day when you’re on tour. Especially on this tour, with a lot of sold out shows. I love that moment of walking out on stage. When we start into The Good In Everyone, the total showbiz roar of the crowd is still the most addictive feeling that you could possibly have. Just feeling that warmth from your fan base. It sounds corny but it’s overwhelming at times. It really is a great feeling for people to come out to enjoy something that you created on your own and put out there, and it’s exciting that they still want to hear it 20 years later.

--taken from: Ottawa Citizen

Sappyfest another huge success

--taken from: Sackville Tribune-Post

by Katie Tower

An estimated crowd of about 1,000 flocked to Sackville over the weekend to take in the 11th annual indie music festival, which featured a diverse line-up of about 60 bands and artists that took to the stage and the street throughout the three-day event.

“It was just amazing,” said Lucas Hicks, executive director of the festival. “Everything went so great, probably the smoothest Sappyfest we’ve ever had. It was truly wonderful.”

Hicks said although the final numbers aren’t in, he expects attendance was down slightly from what was anticipated but the organizers were still pleased with the overall crowds at the various venues over the weekend.

He said the mainstage tent on Bridge Street was full every night, and the performances at the Vogue, the Legion and Thunder and Lightning were near sell-outs as well.

Hicks said the event’s success is a credit to “a lot of hard work from our team” but also acknowledged the support from the town of Sackville crews, who help with the set-up and clean-up as well as some of the logistical issues that come up over the weekend.

“Now that we’re back on Bridge Street, it seemed like everything just kind of fell into place,” he said. “So that kind of made it stress free . . .and it was a really nice vibe for everyone.”

Advertisement - Article continues below
The weather also cooperated throughout the weekend, said Hicks, contributing to what he describes as a “flawless” event.

Sappyfest has become widely known as one of the must-attend music festivals of the summer and it livens up Sackville’s downtown with music of all genres for the long weekend.

This year’s schedule was jam packed, with highlights including TUNS, Julie Doiron and the Wooden Stars, Little Scream, Cakes Da Killa, She-Devils, Nap Eyes, Ought, By Divine Right, and Partner.

TUNS, said to be Halifax’s latest “supergroup,” includes Sloan's Chris Murphy on drums, Super Friendz/Flashing Lights' Matt Murphy on guitar and the Inbreds' Mike O'Neill on bass. They hit the stage on Friday night, performing a number of songs they had saved just for their triumphant East Coast return.

“They delivered and had a great time,” said Hicks.

American rapper Cakes Da Killa also blew the crowd away with his performance, but Hicks said it was actually the hip hop artist who was really bowled over by the welcoming atmosphere he experienced here.

Originally thinking he was traveling to New Brunswick, New Jersey for the weekend, the musician was surprised to learn he was headed to New Brunswick, Canada and even more surprised when organizers quickly arranged for him to be picked up at the Moncton airport and was offered such down-home hospitality.

--taken from: Sackville Tribune-Post