2010 Music NL award-winning record, “Nickles and Dimes” is Joe Belly’s 2nd album to take the honour of best country recording. He also won in 2008 for “Crawlin’ Out a Hole”. It is a wandering, light and easy flowing album of country and folk songs. It congures images of long walks through the praries under a completely clear, star-filled sky. Acoustic and stripped down with the exception of the Neil Young, Gretsch White Falcon sounding, Sundays at the Regal Theatre, it is an album of tunes that could be best served sitting around a campfire. Joe’s voice is charmingly earnest. It is, at times, shaky and fragile but always complimentary to the style and delivery of the songs. The tunes on the album hearken back to style of old cowboy themed songs of the late 19th century. Often cattle herders would sing calming songs to keep their herds at ease throughout the night thus reducing the likelihood of a stampede. Joe’s songs are cut from this type of cloth; very soothing, and gently delivered. Whether you’re winding down for the night or having your first coffee of the day, this is a pretty record to spin to put you in that relaxed state. It is well-deserving of its critical success.

“Calling All Favours” is the, Music Newfoundland and Labrador winning, East Coast Music Award nominated debut album from alternative rockers, Pathological Lovers. It is a hard-hitting, fast-paced marathon of music. Fronted by Jody Richardson (of Thomas Trio and Fur-Packed Action fame), the Lovers hit you at bar one of track one and don’t stop until the final moment of track 13. Jody is the quintessential front man. He’s got charisma in excess and a powerful, rock and roll tenor vocal that really drives the songs forward. He is a true band leader to say the least. “Calling All Favours” is loud, aggressive and intensely catchy alternative pop rock. The music, at times, reaches a fever pitch but always maintains a structure and performance reflective of the pop hooks at its core. The record is riff driven and rounded out by Jody’s electric guitar, the furious keyboard work of Berklee School of Music grad, Grant King and a powerful and sound rhythm section that features the incomparable Dave Rowe and the hard-hitting Alex Pierson. Each player brings a crucial ingredient to the mix and this union has made this one of Newfoundland’s most popular alt records in many years. Give it a spin and hold on tight!

Simply put, Craig is one of Canada’s most talented and decorated country guitarists. He is a four time recipient of the Canadian Country Music Award for best guitarist and has made a successful career as a side musician for some of Canada’s finest country artists. He has contributed to the work of Terri Clark, Jason McCoy, and Carolyn Dawn Johnson and countless others who have sought to better their records by employing his exceptional playing. He has spent time in western Canada and Nashville, TN, all the while honing his craft, preparing for an eventual return to his home in Newfoundland where he now performs regularly and records for people all over the world from the comfort of his home studio in paradise. “Back Home” is a labour of love and longing to document the music of his home from the perspective of someone who has spent most of his adult life away from it. The album itself is a hybrid, merging the country styling that dominated much of his career and the traditional tunes that he grew up hearing at home in Newfoundland. The two genres blend in a very natural way stylistically and the union is made stronger by Craig’s effortlessly flawless performance. Craig’s vocal quality is cut from the pages of country music. It is smooth, clear and warm. There is an intrinsic honesty and conviction in his voice. The gratitude for being able to make a record about his home, on his own terms flows through every word. One for the interesting elements of the record is hearing themes of related to Newfoundland being underscored by music with a heavy country influence. It cannot be stated enough how well performed and thoughtfully produced this record is. It is lush with mandolin and guitar, fiddle, bass and various forms of percussion. To get a true sense of Craig’s appreciation for his home, have a listen to the title track of the record. It is a nostalgic, heartfelt ballad written by Craig’s sister Francis. It is a sweet and tender tribute. “Back Home” is a must have for fans of country or traditional music, anyone with a love for fantastic guitar playing or anyone who knows what its like to spend time away from the people and places they love. We’re glad that Craig made the trip home so that his dream of recording a record on his terms could be realized. It is a gem of an album.

Daniel is hands down, one of Newfoundland’s most exceptional musicians regardless of genre. He is accomplished as a fiddle, accordion, tin whistle, Irish flute, Scottish pipes, bodhran and guitar player. You might think, “Why would he need anyone else on his album?” He didn’t! Every sound you hear on Daniel’s debut album, Chain, was made by Daniel himself! This is an incredible feat. The record is a wonderful mix of lively, boisterous, jaunty instrumental tunes, stark and tragic tales of shipwrecks and ill-fated sailors and humourous tunes of mistaken identity and courtship. On “Chain”, Daniel displays some incredible accordion and fiddle work and the interplay between the two instruments is impeccable. He is a master. Another interesting fact about the album is that it was recorded using one microphone without the use of studio editing or manipulation. Every sound you hear on the recording was naturally occurring. This speaks to Daniel’s uncanny talents as a player and singer. Daniel is one of the quintessential examples of a young Newfoundland musician who wholeheartedly and tirelessly works to compile a collection of the music and stories of Newfoundland in an effort to preserve them for future generations. Like the collectors of old, he has helped to maintain a rich and vibrant part of our heritage in a profoundly personal way. This album is one of the finer collections of tunes (some original) that you will hear. Daniel Payne is an incredible musician and his quest to retain this body of work is both crucial and greatly appreciated.

Winner of the 2011 East Coast Music Award for Best Jazz Recording, this album is absolutely phenomenal. It is an interesting piece in that for the first time, it pairs two of Atlantic Canada’s finest jazz musicians, Duane Andrews and Dwayne Cote. Andrews hails from Newfoundland and Cote from Cape Breton. These two backgrounds, steeped in traditional music drawn from their respective regions and the heavy influence of gypsy jazz music make for an exciting merger. This traditional influence is also blended with Duane and Dwayne’s expertise in the genre of jazz music. These exquisite recording features solely fiddle (Cote) and guitar (Andrews) that is immediately comparable to that of masters, Stephane Grapelli and Django Reinhardt. The chemistry between players and the fusion of sound between the two instruments is incredible. The interplay and exchange is highly emotive, at times rousing, at others heartbreaking but always superb. Both Cote and Andrews are highly accomplished and critically revered musicians in the genre and the coming together of such monster musicians is both rare and a treat. This is a one of a kind record in Atlantic Canada and is a must have, cornerstone of any jazz collection.

“State and Arrow” is the debut EP from St. John’s alternative-country band, The Domestics. The band was nominated for the 2011 Music Newfoundland and Labrador Country Artist/group of the Year and the record was also chosen as a nominee for Country Album of the Year. It is an album filled with strong lyrics written by husband and wife team Sandy May and Ian Cornelissen set to the background of old-school, muddy, minor chord country. The record is a mix of up tempo rockers. Check out “No Two Sunsets” featuring Ian’s lead vocal. It is a rousing, two step that conjures images of being chased out of a dusty cowboy town. Conversely, Sandy May delivers a softer, mild-mannered vocal reminiscent of Cranberries lead vocalist Dolores O’Riordan. Produced by Mark Bragg, who also appears on lap steel and organ, the album is laced with flecks of dirt and darkness suggestive of Bragg’s influence and musical flavour. It has that classic outlaw country twang and the pairing of husband and wife makes for a tight unity between the two lead vocalists. Their sound has been favourably likened to “saltwater country mixed with Bonnie and Clyde”. They recently received the Full Length Recording Grant from Music NL and plans for their next release are underway.

Colleen has been a well-loved fixture on the St. John’s music scene for over a decade. She is a clever writer with an often biting, sarcastic wit. She is a keen observer of society and everyday life and puts an intelligent and poignant spin on all of her songs. Even those with a comedic theme and lyric often have an underlying social message or commentary. (i.e. her SOCAN/Music Newfoundland and Labrador Song of the Year nominated song, Townie Man). “For Little Ones” is departure from the folk-pop sound that Colleen has become known for. It is, as the name suggests, an album for kids. Colleen has two young daughters and it’s not hard to believe that motherhood may have spurred her to make a children’s record. The album features legendary bluegrass group, Crooked Stovepipe, arguably one of the finest bluegrass bands in Atlantic Canada. They provide an appropriately light and fun backdrop for the stories Colleen is singing. Banjo, mandolin, fiddle, acoustic guitar and upright bass deliver the famous folk-roots sound makes bluegrass such a beloved style. “For Little Ones” is a feel good album, one you can turn on for your kids and enjoy for yourselves as well. The music is interesting and very well-played and Colleen’s vocal delivery is honest and warm, the obvious effect of having small children. It has been one of our best sellers in the past year or so and when you hear it for yourself you’ll understand why.

This record really was a long time coming. Roger began and finished recording the album almost ten years ago. It is a fantastic example of his immense talent for acoustic blues. The style, faithfulness to form and expertise that he brings to this classic approach to blues is amazing. Howse is, firstly, an incredible guitarist. He does the work of two players in many cases, riding the bass notes with his thumb while executing beautifully melodic and soulful riffs with his fingers. He negates the need for a band and, much like Robert Johnson and the great solo blues guitarists of the past, he says more with one guitar, six strings and two hands than most could say with a symphony of musicians. When he does decide to share guitar duties, it is with St. John’s blues monster (and our very own Fred’s staffer) Steve Hussey (Duane Andrews Band, Peter Narvaez). Hussey is an accomplished “lefty” guitarist whose prowess for impromptu blues is unrivaled in the city. The coming together of these two blues aficionados is a real treat and they play off of each other perfectly. Vocally, Roger has a voice that has seen the inside of many bars and night clubs. It is worn and has a gravelly rasp that is both charming and conducive to performing this style of music with conviction. There is an honest “I’ve lived these tunes” type of quality that is candid and truthful and really allows the listener to connect the man to the story. Roger is the real deal, one of the finest bluesmen around. We’re glad he finally put this record out. Even if you’re not a huge blues fan the musicianship is of the highest degree and his performance transcends genre. If you are a fan you’re in for some serious chops and some fine acoustic blues!

“Let it Rest” is the solo debut of former At Ship’s End frontman, Dave Whitty. Whereas At Ship’s End offered an up tempo, Celtic rock, Dropkick Murphy(esque) sound, Whitty’s solo record is a contemplative, introspective record of acoustic, folk, singer/songwriter tunes. Whitty, who is locally known for his boisterous, sea shanty-leading vocal and vigorous, percussive guitar, now takes the thoughtful and reflective route with a clean, clear and warm vocal and sparse acoustic guitars arrangements . The confidence of his At Ship’s End performances is still there, it is simply channeled into a more refined and earnest delivery. He is appealing to a more narrative and lyrical-minded audience and his growth as a songwriter is quite evident here.

Graham Wells is easily one of Newfoundland’s greatest accordion players. He is a young man but has been a revered musician in the province and abroad for many years. A fixture at many of the traditional sessions here in St. John’s, many accordion players take their cues from his playing. He is an absolute purist when it comes to the instrument and an equally ardent perfectionist. The result of his approach is astounding, fine-tuned note perfect playing. His fervor for the traditional music of Newfoundland drips off of every note on this award-winning album (it took home the 2008 Music Newfoundland and Labrador award for Best Traditional Album). The album is teeming with wonderful accordion tunes and features some talented guests including Duane Andrews, award-winning gypsy jazz master and Billy Sutton of Fables fame. Aside from being a phenomenal musician Graham is also a charming vocalist. A standout performance on the record is a jaunty, rousing version of “The Wreck of the S.S. Ethie”, an ill-fated coastal steamer who’s crew had to act quickly in order to save their passengers from harm as the ship ran aground off of Martin’s Point, Newfoundland in the winter of 1919. Wells paints such a vivid picture of that day that you’d swear you were a passenger on the ship. Graham Wells is one of our finest musicians and an ambassador for the purest representation of how the tunes were originally performed. He is about as authentic as they come and we suspect that this album will become a Newfoundland classic.