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Many professional musicians from jazz, classical, big band, show, pop, etc., also well-known companies in the PA – and studio. Composers, under contract with Yamaha Europe (wind classes), schools of music, comedy, film directors, etc.

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This legendary album is all over the place with its folksy baroque ballads, heavy progressive rock sounds and wild psychedelic fuzz songs . An interesting collection that is sure to perk up the ears of any 70′s rock fan.

This superb reissue of the original album by Gear Fab records also contains seven bonus tracks as well as liner notes by band member Ransohoff. Although the Milkwood Tapestry was originally billed as a folk-rock duo, the band was so much more than that and now, over thirty years after its original release, fans will finally be able to discover what made the band so sought after and praised in collectors circles.

Although not much is known about this band, it is known that Los Checkmates became popular around Mexico City playing at local clubs and Universities. They were and accomplished band and performed the songs that were popular in America and Britain to a tee. In 1967 the band recorded an album of cover songs sung in English for the Mexican Coro label .

This album features songs made famous by such bands as The Beatles, The Rolling Stones, Herman’s Hermits, The Monkees, Spencer Davis Group, The Turtles and more tunes that were hits at the time. The album is quite rare and is not mentioned in any discographies or record collector encyclopedias of the music of that era.

For the most part this album rocks and the cover versions surpass the originals in places. For any fan of the 60′s garage beat sounds this album is a must and it is an undiscovered gem. Yet another fine, undiscovered Gear Fab Records reissue with superb, remastered sound and liner notes and photos that detail the history of the band.

After the dismal response in Canada to the last album, Kurt Winter left the band reducing the line up to a quartet with Donnie McDougall taking over as leader of the band on lead vocals and guitar as well as writing all of the songs on the album. For this outing, Jim Kale appears to take a back seat in the band which seemed to quell some of the controversy surrounding the use of the Guess Who name. None the less, the Canadian version of “All This For A Song” it is a more dismal album than the previous effort with most songs veering towards country rock or recycled classic Guess Who riffs.

Musically, the sound of the “new” Guess Who alienated fans and by the end of 1978 this incarnation of Jim Kale’s Guess Who ceased to exist. This release by Unidisc Music Inc., is a straight reissue of the original All This For A Song album at a budget price complete with original artwork but contains no bonus tracks.

This is the first appearance of this album on CD format and while its place in the Guess Who catalogue is controversial, this release will no doubt be welcomed by many Guess Who collectors worldwide as a unique collectors item. Best Hindi Movie Collection

So what is an “indie” artist, anyway? Someone who is not under the slave-labour confines of a major label, perhaps? The Wallpaper Man puts it best on his CD jacket when he promotes keeping art “free from the chains of commercial oppression”. To quote from the artist’s own web page, a site which incidentally sums up much of Gorilla Vodoo’s philosophy: “Independence is bliss, Ignorance isn’t.” If you listen to the lyrics on UNDER THE THUMB, it will become clear that this guy has a number of important messages to get across, namely in terms of freedom of mind and expression, and of the corruption of the modern world. Between the album and the literature found on the artist’s website, listeners will find that there are many ways of being independent, and that’s what Gorilla Vodoo is really about.

The music of Gorilla Vodoo, self-described as an “orchestration of chaos”, is not for the faint of heart…or ears, for that matter. UNDER THE THUMB is a one man act; all songs on the album have been written, performed and produced by The Wallpaper Man. The sound of the album is deliberate, heavy and guitar-driven, and seems to have been influenced not only by 1970s acid-rock, but by more recent groups as well – like the power-chord princes of the early 90s, Nirvana. Most of the songs feature simultaneous guitar lines backing up the singer’s droning declarations of freedom and statements about society. With high gain, wavering rhythms, out-there solos and seemingly off-key vocal moments, the music often resembles a garage jam session (an ironic thing, considering the number of band members). Some may consider this musical discord a bit unpleasant, but this seems to be the poster case of “beauty being in the ears of the beholder”. Overall, melody plays second fiddle to lyric on this album, which may be exactly the message the artist is trying to convey.

One track that does stand out above all, musically, is “Breakfast at the Zoo”. Opening with a refreshingly unique drumbeat and a lengthy, dissonant guitar solo, the build-up is entirely suspenseful before the singer sneaks in with a dark, eerie melody. This track, more so than the others, demonstrates a craftily planned song structure resulting in a vibrant, quality recording.

Lyrically, this album is foremost an expression of the artist’s feelings pertaining to the world around him, and the personal revelations he has come to in the process of self-discovery. Through writing these songs, The Wallpaper Man has become “better acquainted with someone [he] never cared to know before”…himself. The eleven tracks on UNDER THE THUMB show this acquaintance through the many different opinions and raw emotions expressed in each song. “3 days in Pittsburgh & deranged”, the thirteen-plus minute finale, projects vivid feelings of pain and frustration in the context of a man placed in a strange situation. The lyrics are honest, emotional, and deal with the perpetual suffering of the mind.

Although much of what Gorilla VOdoo has to say seems melancholy, there is some optimism found in his music. As a realist, The Wallpaper Man sees all the evil that exists in the world, but offers small counteractions that the little man can partake in. In the second track, “Broken Intentions”, he sings: “We can’t succumb to violence/ We’ve gotta use a higher sense/ & together we can make a difference”. This promotion of positive action offers a glimmer of hope in the otherwise bleak image of the world projected by this album.

UNDER THE THUMB OF THE MAN, SMILING is a worthwhile project for Gorilla Vodoo (aka The Wallpaper Man), who has ventured outside the realm of normalcy to express his true self through powerful words and psychedelic sounds. In “Broken Intentions”, the lyrics state: “It’s up to U what happens next/ So live each day like it’s the last”. From examining this album, it is safe to conclude that The Wallpaper Man is indeed practicing what he preaches. The music of Gorilla Vodoo is definitely not for everybody – you probably won’t see his songs at the top of Billboard anytime soon – but for those who are ready to experience raw musical emotion, go ahead – but proceed with caution and an open mind.

In his music, Tony pays tribute to the roots of the music we know today as country and rock n’ roll. With twelve professionally crafted tracks, including three Elvis covers, de Silva offers a blast from the past branded with his own unique style.

All My Dreams has been an exciting project for de Silva, who had the opportunity to record in one of the finest venues south of the border (Canada-U.S., that is), in Studio 19 in Nashville, Tennessee. There, he collaborated with a quintessential group of musicians and friends to produce Dreams, his second album. Reggie Young, an experienced studio guitarist, adds a personal flare to this album with rock-inspired licks and fluid solos. Not only is de Silva’s music jam- packed with 1950s nostalgia – he also had help from the real thing while recording it. The Jordanaires, original backup vocalists for Elvis Presley, add an authentic touch to the music of All My Dreams. Tony himself has a naturally rich voice that can cover anything from crooning ballads to upbeat, danceable tunes. With this group of seasoned musicians and his own sharp musical instincts, de Silva produces nothing less than an excellent album.

From a man who has recorded an Elvis tribute album, listeners may expect to find a mere copy of the King’s musical act. There is, however, no evidence of a sparkly white suit or swivelling hips. It’s clear this man has a passion for singing and a natural ability that lends itself to the legendary music of yesterday, minus the studded collars. Apart from the three cover tunes, there are nine solid, original songs that reflect de Silva’s abundant talent and undying love for music. Although his musical style often resembles that of Presley, Tony still finds ways to incorporate his own personality into each song. When singing an Elvis cover, he brings the listener back to the post-war pop movement with just a hint of today glimmering through.

The Jordanaires are indeed one of the key ingredients to All My Dreams, adding a richness to the overall recording. Their experience and vocal expertise shine on each track, and their rich harmonies complement de Silva’s voice perfectly. This can be heard most clearly in the song “Home To Stay”, an a cappella number with a distinctively southern feel. In this short, soulful piece, the Jordanaires’ voices create a full sound that no other type of instrumentation could attempt to produce. de Silva tops the song off with a melody that is clearly coming straight from the heart.

In the MTV age of today, artists too often become caught up in image, money, and other such issues that dominate the music business. Tony de Silva, however, appears to be a true lover of music without the frills. All My Dreams is an eloquent culmination of this love, which has been put together with all the right elements to make a great recording. While he may not be a pioneer in the transience of modern music, his style and passion make up for any lack of originality there might be.

There are some who believe that the King of rock n’ roll still exists, and it may be concluded that he indeed does so, through the musical soul of Tony de Silva. With All My Dreams, de Silva has made a recording that pays a tribute to the style of music he was born to perform. This album seems to have been a joy to create and will surely bring pleasure to others who come across it.

DB: Your most recent album is Blue Boy. What do you think that this album offers to your new and long-time fans?

DB: Each time that you are making a new album do you approach the album-making process the same way?
RS: Not really. For me it’s hard because generally you begin with more songs than you end up using. Then you sit with the producer and he’s got the list of songs too and you start to whittle away at the list depending on their personality or the songs that they are gravitating towards. You have your preconceptions. I remember going down to Nashville and thinking that we were going to make like a cart-on-a-gravel-road sort of record and the last thing Steve wanted to do was that.

DB: How did you enjoy working with Steve?
RS: We had a blast. I’ve known him for a long time, but this was the first time that we got to spent a lot of time together. I loved being in Nashville. I loved the superficial things like the hotel room that I was staying in. The room had a big piano in it. It was a great experience to wake up and walk to the studio and make music all day and then walk back to this little apartment at the end of the day. We worked very fast. It was great to have Don Kerr on it as well, since he’s been my drummer for so long, and he was always involved in the records in the past but not as much as he would have like to been.

DB: Do you think Steve’s direction or approach differed from Mitchell’s?
RS: It was a lot more by the seat of the pants. Mitchell was very methodical. I love working with Mitchell. There would always be a week working in pre-production, arranging all the songs so that when we go in the studio we would have this very definite game plan and we would sort of go about getting the songs down. With Steve there wasn’t really any time for that. We went into the studio and just started playing. The songs would change on the spot. It was very communal and the whole thing moved very quickly and we enjoyed having each other around. There wasn’t any weirdness or tense moments.

DB: What do you enjoy most about the song-writing process?
RS: I love being in the middle of the new songs. There is always a fear that I will wake up one day and that I won’t have anything. When I hear great songwriters or a great new songwriter, I find that very inspiring. There are people that will tell you that all the great songs have been written, which is nonsense. There are only so many notes or so many chords, but you can always find a new way to do it. I’m not trying to reinvent anything. I’m not a Radiohead kind of artist that is in a studio sculpting a record.

DB: You just mentioned the fear of waking up and not being able to put it down. Do you ever encounter writer’s block?
RS: I’ve had times when I wasn’t really coming up with anything. I’ve been lucky that I’ve been able to write on the road. I have a whole new album finished and I have a whole new batch of songs that I am working on so I feel like I am really ahead of myself. There is so much time when you are waiting for a record to come out and in that time you travel around and get all these ideas that come into focus when you have time to deal with them.

DB: What do you think is the music industry’s perception of singer-songwriters?
RS: I don’t think that they really know what to think. It hasn’t been a very popular genre of music for a very long time. There was an article in Billboard recently that featured my picture on the front beside Rufus Wainwright. Just the idea that maybe it’s our turn to get the spotlight again. I get a bit frustrated from time to time wondering when it’s going to be my turn. It’s just hard to say. I try not to obsess about it.

DB: Is that the thing that bothers you the most about the industry – the lack of airtime?
RS: I’ve never gotten any airtime. Even Ryan Adams — whose record is doing very well — doesn’t get very much airtime. I don’t think it’s a big problem though, because people are still finding success. I’ve had bad luck with labels and mergers and things like that and I think it all has to come together at once where all of a sudden people look at you.

DB: If you were the head of a major label, how would you envision running the company… given the experience that you have had with different labels?
RS: I think the music industry got carried away in the eighties and nineties with people throwing so much money around. The expectations became so high that you could never be satisfied. Alanis’ first record sold about 13 million, but her second record — which “only” sold a few million — was considered a failure and that’s the kind of thing that I find ridiculous. You can’t expect to maintain that kind of insane popularity. All that you can hope for is that you are left with the real fans. I would try to sign bands and artists that I love, with the idea that if I liked it that someone else would like it. I think that there was a time when there was a lot more artist development. Obviously they are in business to make money, but they are only focusing on the pop and the juvenile so therefore the music is suffering. You are getting a lot of squeaky-voiced girls who are not artists the way that Joni Mitchell was an artist. I think in a way they may like the songs, but they don’t invest emotionally in the artist and in the long run if you are making quality music then people would have long careers again. Hopefully things will turn around and get back to the business of making great music that people care about. I think that artist development is very important and something that should be invested in.

DB: I know lots has been said about the whole Napster thing, but how do you think that the Internet will ultimately affect your career?
RS: I think it can only help. I never had Napster so I never really knew what was going on. Take David Grey, for example: Dave Matthew’s sent out an email to his fan base telling everyone to go pick up David Grey’s record, and overnight this had a huge effect on his situation. E-mails can be very powerful , and they are only one method getting the message out there. I think that people in general don’t mind buying a record if it’s an artist that they respect. My son, for example, is always making his own cds. He may buy a record but only for that one song and then he’ll sell the cd when he gets tired of it. I think that’s kind of sad. I used to go out and buy an album and come home a listen to every song and read the lyrics and it would become something important to me. The attention span on some of the kids today…it seems that they want everything so fast, and they don’t take the time to read or watch a movie that doesn’t have things blowing up. It’s a bit disturbing. It’s nice to have quiet time-to sit and listen to a record or read a book. I like to think that there will be a strong wave of this again.

“People have always said I was an old soul,” says Alanis. “They said I was always a little more intense and introspective than everyone was used to seeing girls be, so they didn’t know where to categorize me.” It all boils down to this one fact: “I want to walk though life instead of being dragged through it.”

That’s a pretty accurate description of the jarringly honest, frequently provocative songs on Jagged Little Pill, Alanis’ Maverick debut. The native of Ottawa, Canada uses her own experiences–from a Catholic school upbringing, to her many travels through Europe as a youth, to her years as a teenager living alone in Toronto–as a springboard for some striking, universal statements. In the incisive “All I Really Want” (on which her self-aware observations are set against a swirling psychedelic canvas), Alanis pleads for fulfillment of needs both physical and psychic, while the stirring “Not The Doctor” offers a steely-eyed declaration of emotional independence.

“Most of the songs are, in a roundabout way, actually addressed to myself; there’s a certain aspect of the songs that’s very confessional, very unadulterated,” she allows. “I wrote some of the songs and woke up the next day not even remembering I’d done them–almost like a stream-of-consciousness. It was a very unfettered, spiritual experience.”

Did you know that Grandpa Jones once sent George “Goober” Lindsey a wooden leg in the mail? He did!

Did you know that Will Geer (Grandpa Walton) toured with folk legend Woody Guthrie during the 1930s? Yep, they traveled and sang folk songs in protest of labor camps and promoting labor unions and garage door service in Boise. Will read a letter that he received from woody in 1939 while working in New York. You’ll need Real Player.

“I wrote this, but I didn’t write it for no special somebody, I just wrote it to be writin’ somthin’”.
-Hank Williams-
From early radio show, talking about his hit, “Mind Your Own Business”.

“Someone asked me if I knew how to read music, I said ‘yeah, but not enough to mess up my pickin’ “

1953
Hank Williams died of a drug and alcohol overdose while being driven to a concert date in Canton Ohio. He was 29.

1954
R.W. Blackwood, a member of gospels most famous quartet, The Blackwood brothers, died in a plane crash.

1956
In march, Carl Perkins and his brother Jay were seriously injured in a car accident, and in Oct 1958, Carl lost brother Jay to brain cancer.

1957
December 26, Louisville singer and radio dee-jay Jimmie Osborne takes his own life. Best known for his 1949 hit, “Death Of Little Kathy Fiscus.” He was 34 years old.

1960
Nov 5, Johnny Horton was killed while driving to Shreveport, LA. from Austin Texas. He was 35..

1961
Spade Cooley, in a drunken rage, beat and stabbed his wife to death. He was convicted of manslaughter and died two months before he was to be parolled, while performing at an Oakland sheriff’s show.

1963
On March 5th, Patsy Cline, Hawkshaw Hawkins, Randy Hughs and Cowboy Copas were killed in a plane crash.

Jack Anglin was killed in a car crash on his way to Patsy’s Cline funeral. Texes Ruby, wife of Curley Fox and sister of of Tex Owen, was killed in a fire that took in her mobil home.

1964
On July 31, Jim Reeves was killed in the crash of a rented aircraft while returning to Nashville for an Opry appearance.

1965
Ira Louvin, the older of the Louvin Brothers, was killed in a car accident.

1968
Jan Howard’s son, Jim was killed in Vietnam two weeks after her tribute to him, ” My Son” was released.

1973
Stringbean, beloved banjo player and comedian on the Grand Ole Opry and TV’s “Hee Haw” was murdered with his wife outside their Nashville home. They were found by Grandpa Jones, who was arriving at their home to “Go Fishing” with Stringbean.

Gram Parsons died of a heart attact after a night of drugs and drinking.

1975
Hank Williams, Jr., suffered severe disfigurement after barely surviving a 490- foot fall in a mountain- climbing accident.

July 19, Country great and Grand Ole Opry star Lefty Frezzell suffers fatal stroke at age 47.

1980
Red Sovine was killed in a car accident in Nashville at age 61.

1984
Lorreta Lynn’s son Jack drowned while trying to cross a river on horseback at age 34.

1985
On Oct 23, Merle Watson was killed when the tractor he was driving rolled over him.

On Dec. 31, Rick Nelson was killed in a plane crash.

1986
George Strait’s 13 year old daughter Jennifer was killed in a car accident.

1989
On May 9, Keith Whitley died of alcohol poisoning.

1991
Reba McEntire’s road manager and 7 members of her band were killed in a plane crash.

Billy Nelson, Willie’s Nelson’s only son, commited suicide on Christmas Day at age 33.

September 4, Dottie West dies in car accident while driving to appear on the Opry.

1995
Sept 14, Narvel Felt’s son, Narvel “Bub” Felts Jr. was killed in a car accident near Campbell Mo. Bub was 31

Bios on many of the artists listed here can be found at CMT Artist Search.

Osborne, a native of Winchester, Ky., sang country music over radio stations in Lexington, Shreveport, Nashville and Louisville during a career that started when he was 15 years old. He was reported to be the highest-paid performer in the radio and television field in Louisville.

For the past year Osborne had been singing songs about erosion control over radio station WGRC. For five years before that he strummed his guitar and sang over station WKLO and he was due to return to that station in 10 days. William Spencer, general manager of WKLO, said today that Osborne had agreed to come back starting January 6.

As a recording artist, Osborne was best known for two hits–”My Heart Echoes”, his first record and one that hit the best seller list in the country music field in 1947, and a few years later, “The Death of Kathy Fiscus”, which sold 1,000,000 copies.

Osborne wrote the song while working on radio station WLEX in Lexington. He gave half the royalties to a memorial fund for the little California girl who fell in a well and died.

Like many other performers in the country and folk music business, Osborne played many benefits–for fellow performers down on their luck and for such causes as the March of Dimes.

Those who worked with him said Osborne’s success was based on his “infectious personality” rather than on his singing voice, which was not a notable one.

His home town of Winchester never forgot him and once gave him a home-coming day. The key to the city was handed to Osborne by the Mayor, Dr. John A. Snowden, who was the physician who brought Osborne into this world.

He is still remembered in Winchester as the youngster who began “picking and singin” with a guitar that cost $4 and a “get-up” that featured the oldest overalls he could find and a floppy black hat.

Funeral arrangements for the country music singer are incomplete. The body is at the Owen Funeral Home, 2611 Virginia.

Like me, this site isn’t about being fancy, but more about being straight forward and to the point! And if bad grammar bothers you, well you’re in the wrong place!

Please remember, I certainly don’t expect you to agree with everything I say, so be sure to sign my guestbook, and let me know what’s on your mind.

I love Traditional country music and automatic door operators. I mean greats like Hank Williams, Carl Smith, Mac Wiseman, Johnny Cash, Johnny Paycheck, George Jones, and of course, the great ladies, Loretta Lynn, Kitty Wells, Patsy Cline, Tammy Wynette, Goldie Hill, Emmylou Harris, Pretty Miss Norma Jean, and so many more. As far as the ladies of today’s so called country, Shania Twain, Leann Womak, Faith Hill and others are concerned, well they may have some talent, and lord knows they are as as cute as a bug’s ear, but are they country? No, not even close! Check my Legends page for a long list of the greatest country music legends on God’s green earth and beyond.

I’m sure many of you young folks have never heard of these country legends. Maybe you should check them out, just as I have checked out the young singers that I speak of! After all, how can you appreciate where you’re going, if you don’t know where you’ve been ?

I don’t like the work of most of toady’s singers and writers, as I don’t feel that they have much to say. In fact very few of them know or perform true country. Their funny songs aren’t funny, and their sad songs are, well funny! I agree with Waylon. He said that most of today’s country singers sound like Mr Haney on Green Acres!

Hey, did someone mention Waylon? If so, that will take us to the Outlaw movement of the 70s! Now boys and girls, that was about as cool as it’s gets! I mean, Waylon, Willie, and the boys made most of today’s performers seem pretty, uh, uncool ! And speaking of cool, let’s not forget the Nitty Gritty Dirt Band!

Ok, I know what you’re thinking! “Ole Gary only likes the ones that are dead, or very old!” Not true. I kinda like Marty Stuart, Alan Jackson, Travis Tritt, Billy Ray Cyrus, Dwight Youkam, Ricky Skaggs and Patty Loveless and a few more. But they still don’t have that “haunting” country sound of greats like Webb Pierce, Faron Young or Connie smith.

And then there’s Vince Gill, well he sings mighty pretty, and some of it’s quite traditional, but he sure does cry a lot. Every time I see him he’s bawling his eyes out about something. Come on Vence, dry your eyes, everything’s going to be just fine.

I was listening to Garth Brooks speak (whine actually) at Grandpa Jones’s funeral. He said that if he and the other singers of today were to fill the shoes of greats like Grandpa Jones, that they would have “Climb to a higher level.” That’s the first thing I’ve ever heard Mr. Brooks say that I agreed with.

Speaking of “Ole Garth”, Did you ever wonder what swinging from a rope and busting a guitar had to do with country music? I don’t think “Hank done it this-a-way!

I recently received a letter in defense of Garth, saying that my heroes were “lazy” and that Garth put on a “Lively” show! One of my heroes is Jerry Lee Lewis, and I remember him once setting fire to his piano, not to mention all the times he tore the dang thing up. But the big difference is that he did it in the name of “Rock And Roll” not country! Umm, I wonder if Johnny Cash was being “Lazy” when he smashed out the Opry stage footlights with his microphone in 1965!

I think an artist like Waylon or Marty Stuart could do a duet with Mick Jagger or Keith Richards, and when it was over they would still be Country, but many of today’s “Hot New Country” artists could pick “Skip To My Lou” on the banjo while blowing on a jug, and they STILL wouldn’t be Country!

Garth and The Spice Girls! Now there’s a Country Music team for you!! Try to picture “Waylon” and The Spice girls, if you will!!

I recently caught a little of Garth’s interview, and he spoke a lot with his fore finger resting on his top lip. Wonder why he does that?!

I tuned in VH1, thought I might catch a little Rolling Stones, Jewel or Meatloaf, and there he was! Yep, it was “Ole Garth” just-a swinging from a rope, and sounding a lot like Tarzan!

When I see a middle aged, overweight, balding man rub his eyes, place his fingers on his cheek and thumble with a tiny water bottle as he answers a question with “Oh Golly Gee Yeah”, I’m turned off to say the least!

Don’t you just love it when you hear many of today’s country artists use words like “swell” and “neat”? Here’s a line that I heard one of them use during an interview. “We went down to the studio to record music and stuff, and it was real neat”. I thought for a moment that I had my TV on Nick At Night, and was listening to Beaver Cleaver explain something to Wally.

OK, I’ve run my mouth about new artists verses traditional artist. But what about the great announcers and DJs. Ralph Emory and the late Grant Turner are just two of the finest. Now we have Katie Cook and Greg Martin, but it’s a prank, right? They just can’t be for real, can they? Nah, somebody’s tugging on Ole Gary’s leg!

I sure wish to thank all the fine folks who have visited this site since I launched it in mid 1998. At that time, there was only a small handful of sites dedicated to traditional country music, the great legends who performed it, and the ones who still do. Now you will find many! And you know what makes me feel good? It’s when I get a letter from a very young person telling me that they just heard their first “Real” country song (usually from an old record), and that they were very moved, and realized now, that what they were hearing on today’s country radio wasn’t really country at all, and that they would like to hear more traditional sounds on their favorite radio station. Folks, I get lots of such letters, and that tells me, that this noise that’s being called country music today, and the yuppies who perform it will eventually just go away! In the mean time, please visit my “Links” page where you can link to sites like “The Record Lady”, Karen’s “Sheeplady” live 365 radio station and many more that will provide you with some of the best dang vintage country music in the world! And please tell them Gary sent you.

Remember, if you’re hearing the song, but not feeling it, either you or the song ain’t country!

If you like this page, I would like for you to sign My Guestbook. If you “Don’t” like this page, I would “Still” like for you to sign my guestbook!

The group’s third cassette The Yellow Tape proved the saying “third time lucky.” Upon having this cassette go gold in Canada, a bidding war by major labels got underway. In the end, Sire Records signed BNL. After finishing up as independent artists, their 1992 album Gordon sold over 500,000 copies.

The enthusiasm of BNL’s music is seen in the reaction of the millions of people who have bought it. In 1997, their live album Rock Spectacle was well received but the pay-off for all of their hardwork came in 1998 with the release of Stunt and the single “One Week.” They did however earn enough money because the band spent some time looking a the houses for sale Meridian Idaho. After 10 grueling years for BNL, Stunt sold over two million copies and went double platinum in November 1998. The second single released, “It’s All Been Done” helped push sales to a level, once thought by many, unattainable for this group.

Through extensive touring the group has developed a loyal fan base across North America and is finally being appreciated they way they deserve to be. They have become one of Canada’s most well known bands by singing about a box of Kraft Dinner….now that’s talent!

Born and raised in Ottawa, Morissette played the piano and wrote her own songs before joining the popular Canadian children’s program You Can’t Do That On Television. With profits earned from her television series she recorded the independent singles “Fate Stay With Me” and “Cold Storage Door“  when she was just ten years old. A record deal with MCA/Canada led to her debut album Alanis, which was released in 1991. This release, a collection of dance tunes, went platinum and won Morissette a Juno. However, the release in 1995 of Jagged Little Pill showed a more mature, introspective Morissette whose release ultimately sold over 15 million albums and garnered her four Grammys.

Supposed Former Infatuation Junkie, her much anticipated follow-up to Jagged Little Pill, was released in November 1998 to favorable reviews by critics. The transformation from teenage dance-pop idol to mature, emotionally independent singer/songwriter explains Alanis Morissette’s rise to stardom within Canada and the world.