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Burl’s Art Crafts a Stunning 5-String Bass from 2,000 Colored Pencils

Burl, the visionary luthier behind Burl’s Art, is back at it again, pushing the boundaries of creativity and craftsmanship with his latest masterpiece—a 5-string bass made from 2,000 colored pencils! This isn’t just any bass; it’s a vibrant, eye-popping colorburst that takes his artistry to the next level.

What makes this build truly special is Burl’s departure from his usual linear designs. Instead, he’s crafted an outgoing colorburst that’s as bold and unique as it gets. This annual tradition of creating a colored pencil instrument started five years ago, and each year, Burl finds new ways to innovate and refine his designs.

Reflecting on his journey, Burl shares, “Since I began building guitars 5 years ago, I’ve tried doing one colored pencil build a year to see how I can improve upon the original design. I’m going back to my roots here, but this time with a new design, new methods, and a twist—it’s a bass, not a guitar.”

The result? A stunning blend of craftsmanship and creativity that’s as functional as it is beautiful. Burl’s Art continues to inspire with each build, proving that when it comes to combining art with music, the possibilities are truly endless.

Herb Alpert & the Tijuana Brass’ 1974 Variety Show That Previewed the Brilliance of The Muppet Show

Picture this: It’s 1974, and the legendary Herb Alpert & the Tijuana Brass are about to take the stage for a variety show that would go down in history—not just for the music, but for the unforgettable surprise guests that joined them. Thanks to the creative genius of the Jim Henson Company, this wasn’t just any ordinary performance. Oh no, this was a delightful precursor to what would soon become The Muppet Show.

Son of James Unveils Powerful Cover of Queen’s “We Will Rock You” to Mark the 100th Anniversary of Chinese Exclusion Act

Son of James, the dynamic Vancouver-based band renowned for their unique blend of rock, soul, and traditional Chinese music, is proud to release a powerful cover of Queen’s legendary anthem “We Will Rock You.” This special release is dedicated to the Chinese Canadian Museum to commemorate the 100th anniversary of the Chinese Exclusion Act, which came into effect on July 1, 1923.

The Chinese Exclusion Act, a landmark of institutionalized racism, consisted of 43 sections that severely restricted Chinese immigration and rights in Canada for nearly a quarter of a century. This Act exacerbated the hardships initiated by the head tax, leaving lasting scars on the Chinese community. For Son of James’ frontman, the history is deeply personal. His grandfather immigrated to Canada in 1907, and his father was born in Cranbrook in 1913. Both men endured the profound pain and discrimination brought on by the Act.

“We Will Rock You” serves as a powerful symbol of the resilience and strength of the Chinese community in Canada. “The Chinese have time and time again faced racism and still face it today. ‘We Will Rock You’ is our line in the sand. We ain’t going anywhere. We gave our blood to help build this country,” says Son of James.

In addition to their cover of “We Will Rock You,” Son of James is excited to announce the release of their new single, “Come On”. This track showcases the band’s signature “Chynatruckerfunk” sound, blending gritty rock and funk with the delicate and haunting tones of traditional Chinese instruments.

“’Come On’ is so careening and funky that you’d have a hard time believing what’s making that gritty, swaggering sound is a delicate Chinese instrument,” says frontman Shon Wong. The track features the Guzheng (Chinese harp) in the intro, merging genres to create a sound that is both magnetic and magical.

“The Chinese have such beautiful instruments that pierce your heart, rip through your soul, and give you goosebumps,” Wong explains. “These instruments are the key ingredients to a Chinese Canadian sound that I am creating. Only with music of our own can we truly celebrate our identity.”

Son of James is a Vancouver-born-and-bred Chinatown rock band. They blend the soulful sounds of rock and funk with the mystical sounds of Chinese instrumentation. Led by Shon Wong, a third-generation Chinese Canadian, the band reflects his personal journey of defining his Chinese Canadian identity. Growing up with a family of Chinese Opera actors and performers, music and art have always been integral to Wong’s life.

Son of James features Michelle Kwan on Guzheng, Adam Richards on guitar/bass, Jonathan Reichert on guitar, Johnny Walsh on bass, Mark Hoeppner on keys, Dave Say on sax, Eric Tsang on sax, Jason Overy on drums, Ed Whelan on drums, and Erica Ullyot on vocals.

Indie Groover DARLING NIKKI Pays Homage to Elvis and Prince with Debut Single

Have you ever felt like you’re in the wrong place at the wrong time? Fortunately, indie groove songstress Darling Nikki is here to write the quintessential soundtrack for this exact feeling of desiring a lost era. With an artistry that conveys nostalgic themes of disco, funk, and hippie enthusiasm, Darling Nikki’s music takes listeners back to a time where 70s soul thrived.

Her debut single “Elvis” – written, recorded, produced by herself – along with producing and editing the video, too – is a retro-fueled earworm, combining a punchy bass line with catchy brass to deliver a story of the king of rock and roll himself. However, the song was initially inspired not by the King, but Prince.

Though he don’t even know my name
And he has never seen my face
I can feel that I will be the one he loves
The King of Rock’n roll

“I wanted to write a song about a special encounter I had with Prince, when I was a teenager,” Darling Nikki says. “He’s always been a huge inspiration, and I was a super fan and I chose my artist name after one of his songs. It’s bizarre that I met him several times, but the coolest thing was when I met him in a club in Monaco – we chatted and immediately clicked. The music sucked and we went together to the DJ Booth to pick James Brown tunes. It was really special. Like finally being at the right place at the right time, when all my life I felt I was at the wrong place at the wrong time.”

Her debut single tells the story of a girl who feels like an outcast and is drawn to Elvis, believing one day she’ll meet him, and everything will be okay. However, the girl will soon learn that the only one who can save you at the end of the day is yourself.

Though he’s a million miles away
And he don’t care about my pain
I can feel him, no-one else can soothe my soul
One day he’s gonna know

Combining funky guitars, rock and roll swagger and horns via Al Green, “Elvis” is a tune that draws listeners in the same way any idol attracts their devout fans.

“Elvis” is released ahead of Darling Nikki’s forthcoming EP Hippie Soul. The singer-songwriter says her EP is a multi-cultural project, featuring contributions from musicians and engineers from Brazil, Turkey, Germany, and the UK.

Born and raised in Germany herself, Darling Nikki started making music at five years old. In a country known for its iconic techno and industrial music scenes, Darling Nikki – drawn to 60s and 70s funk – felt like she was in the wrong place from an early age. At 17, she left home to become a professional musician. Throughout her career, she has provided vocals and worked with several renowned music industry figures including Larry Graham (Sly Stone, Prince), Dionne Warwick, and Nelly Furtado.

During the pandemic, Darling Nikki devoted herself to songwriting and is now preparing to release her debut EP Hippie Soul, a collection of the singer’s most deeply personal songs that celebrate her favorite musical era.

“With Hippie Soul, I also created my own genre and brand,” she says. “I want to take people back to a world where the air is thick of 70s nostalgia and to the free-spirited ethos of the Hippie Movement and its music.”

Her debut single, “Elvis,” is only a sneak peak of how Darling Nikki delivers 70s-inspired songs with her own unique touch.

HOT MUD Shares Newfound Zest For Life After Addiction With Sophomore Album ‘Pink Cloud Pop’

Less than six months after bursting into the indie pop/rock scene, Hot Mud is ready to share his newfound zest for life with his sophomore album Pink Cloud Pop, set to release on Friday, Sept. 6, 2024. The lead single, ‘Welcome to Humankind’, is out now, and asks “How often do you wonder what this life is all about?”

The catchy, upbeat song serves as a quirky anecdote that applies to everyone, regardless of where they are in their life’s journey. The poignant lyrics evoke the questioning and questing that Hot Mud has endured in his life so far, while also reminding the listener to “Fill your days with laughter/Cuz nothing really matters/And live happily ever after” because “Surprise/No one gets out alive.”

While his debut, Rehab Rock, was a raw, down and dirty, honest introspective album, hearkening to his early days of addiction and recovery, Pink Cloud Pop brings a new positive perspective and a more cheerful sound. Hot Mud said that the new album saw him embracing his oddities in anthems for outcasts, while expanding on his journey as an artist and recovering addict.

Hot Mud is a self-described alter ego, rocker, and weirdo. The man behind the nickname is Ottawa musician Muddy Watters, who was named after the famous blues musician. He styled himself Hot Mud after being told he becomes a completely different person while inebriated.

Thankfully, his journey led him to rehab, and he spent over a year in treatment facilities, where he became sober and healthy. Rehab Rock was recorded in its entirety during his stays, while Pink Cloud Pop looks ahead, and shares a somewhat happier outlook.

From the perspective of Hot Mud, the song, and the album, are a new beginning. Coming after his focus single from Rehab Rock, “Where the Bad Kids Go” — a song that embraces the dirty glamour and mystery of living in the dark, dangerous world of drugs and inebriation — Pink Cloud Pop feels like a happy rebirth.

Now sober and focused, Hot Mud said he has evolved a new positive perspective, mirroring his attitude and behavior. The title and theme of his new album refer to the term ‘pink cloud’, known in addiction recovery circles as a temporary phase of euphoria and extreme optimism during the rehabilitation process.
According to the artist, he has spent what “seemed a lifetime” struggling with addiction, only recently emerging from the dark and seedy underbelly of that life.

That’s why Hot Mud has made ‘Pink Cloud Pop’. He says it’s a miracle that he is still alive — he sees it as a rebirth and a ‘Welcome to Humankind.’

Colin James Releases “Protection” featuring Lucinda Williams From Upcoming ‘Chasing The Sun’ Album

To a recording artist, having a bunch of big-name guests on your album can be a double-edged sword: It’ll get you some attention, sure, but there’s always the danger you’ll find yourself pushed out of the limelight—a supporting player in your own production.

Fortunately, no one elbows Colin James into the wings. With nearly four decades in the business—and an armload of sales records and peer accolades to show for it—the Vancouver blues-rocker has thrown open the door to welcome a house party’s worth of friends and mentors on his 21st and latest, Chasing the Sun. Appearances by the legendary likes of Charlie Musselwhite, Lucinda Williams, Darryl Jones and Charley Drayton energize an album that cooks with the intensity of a thousand spotless reputations. But the formula remains 100-proof James throughout—a distillation of the singular and passionate vision that’s enshrined him in the hearts of millions of record buyers worldwide as a musician’s musician.

Take spotlight track “Devilment,” a title-appropriate blast of fire-and-brimstone blues that revels in some red-hot harmonica from the iconic Musselwhite. You can hear every breath of the authenticity Musselwhite has lived and exhaled for more than half a century as both a Grammy-nominated harpist in his own right and a revered sideman to heavyweights like Bonnie Raitt and the Blind Boys of Alabama. Yet his own contribution never overpowers James’ stinging guitar and barroom-approved vocal as the latter sings the praises of a woman who’s not only “lovely” and fine” but has “the devilment on [her] mind.”

Pumping the ardor even further into the stratosphere are bassist Jones and drummer Drayton, whose miles-long pedigree (both together and apart) includes work with everyone from the Rolling Stones, Miles Davis and Neil Young to Sting, Paul Simon and Johnny Cash. And that isn’t even factoring in the extra instrumental assist by co-producer Colin Linden, who played guitars, bass and dobro on the album—and just happens to have co-written “Devilment” in the first place. (Previous versions of the song appeared on separate 2009 albums by Linden and its co-author, Toronto bluesman Paul Reddick.)

To Linden, who’s produced six albums with James since they started collaborating back in 1997, the new album is definitely a case of sweetening, not diluting, his pal’s boundless talents. “Colin is still so engaged with his own artistic development,” he marvels. “And it just got better every time we dug in deeper, which is not always the way it is. There are some places on the record where I can’t tell if it’s me or him playing guitar, even though we play differently. There is this blending of styles indicative of the vibe of serving the music.”

That means serving it wherever it chooses to go. For the spiritual flip side of “Devilment,” cop a listen to album opener “Protection,” a sinuously driving cover of Williams’ 2014 plea for salvation from life’s dark forces. James’ rendition soars on the perfect sync between his own singing and an unmistakable vocal assist from the Americana icon herself.
“Lucinda is such a revered songwriter, such a legend,” James raves. “But she’s so nice. And hearing our voices together on tape was such a pleasure.” And with gospel greats Ann and Regina McCrary chiming in too, who up in heaven could deny their tenderest mercies?

Captured for posterity at Nashville’s Pinhead Recorders—a 1,000-square-foot, “purpose-built,” standalone home studio in Linden’s backyard—Chasing the Sun is a cannily assembled set of songs pulled in from all over the place. Scorching originals like “Star Studded Sky” and “This Song Kills Hate” represent career-best collaborations between James and a host of Canadian compadres, including Tom Wilson of Junkhouse and Blackie and the Rodeo Kings and Colin and John-Angus MacDonald of rock maulers The Trews. Adding flavor are four meticulously chosen covers from the songbooks of giants like John Hammond and Paul Butterfield. The track list runs to 11 numbers in total—nine on the album proper, and another two offered as downloads (including “Come to Find Out,” another team-up with Musselwhite).

Chasing the Sun is the latest landmark in a career that’s been hitting high after high since 1988, when James’ self-titled debut became the fastest-selling album in Canadian history and won him his first JUNO Award. (It helps when one of your earliest champions enjoys a profile like Stevie Ray Vaughan’s.) Since then, James has collected multiple gold and platinum awards, scored a #3 radio hit in the United States (“Just Came Back”) and shared musical airspace with a who’s who of greats, including Keith Richards, Albert Collins, Albert King, ZZ Top, the Chieftains, Carlos Santana, and Buddy Guy. In the process, he’s received eight JUNOs and 31 Maple Blues Awards and been inducted into the Canadian Music Industry Hall of Fame. Last year, he scored his first nod from the Memphis-based Blues Foundation, which nominated him in the Best Blues Rock Album category for his 2021 collection, Open Road.

So don’t pigeonhole him as an early bloomer: To James, the road has only gotten easier and more rewarding over time. “Maybe people don’t buy into a blues guy in his early ‘20s,” he laughs. “When you’re knocking at the door at age 60, people are like ‘Oh yeah, come on in.’”

Yes, please do. And bring your friends with you.

Rockin’ Globetrotting Tunesmith SOHM Brings the “Thunder” With New Single

Have you ever been jolted awake by a clap of thunder? Did it feel so close you were sure it was taking to you—if only you could figure out what it was trying to say? The Nepal-born, L.A.-based songwriter and recording artist known as SOHM believes he has the answer. And he’s sharing it on “Thunder,” his fiercely rocking new single that captures the window-rattling essence of a revelation from out of the blue.

Or perhaps it’s more accurate to say that he’s let it capture him. Not content to merely describe the sound of thunder, SOHM lets the phenomenon speak for itself—introducing itself to the listener directly just like Beelzebub did in “Sympathy for the Devil,” but with far more benevolent intent.

Hello, my name is Thunder!
I’ve been lurking inside
Waiting for the right time
To finally come and get ya
Turn you inside out
Make you lose your doubt
’Cause I don’t really know
If you should still be doing nothing tomorrow
It’s time to see the light
And finally move on from your age-old sorrow

According to SOHM (real name: Sujan Khanal), “Thunder” is meant as a metaphor for the, shall we say, emotional meteorology that’s going on within all of us—that rumbling of the soul that stirs us to acknowledge our true potential and harness it to better ourselves and our lot in life.

“Inside every person is an immeasurable energy that gets suppressed due to various factors like personal trauma, social upbringing and economic realities,” he says. “‘Thunder’ is a reminder that this energy inside of you never dies and only you are the person that can invoke its power. It’s a song about never giving up and listening to that tiny voice inside that gets louder the more we believe in ourselves. You never know what’s born inside you from the alchemy of hard times.”

Born and raised in Kathmandu and now firmly ensconced in the City of Angels, SOHM assembles his sound from influences as varied as folk, blues, metal and ethnic world music, with elements of baroque rock and pop. But “Thunder” is straight-up guitar rock that grabs you by the collar and doesn’t let go. The perfect synthesis of muscle and melody, it feels instantly familiar and utterly compelling, with an arena-ready appeal that makes it every bit as fun as its message is motivational.

Co-produced by Steve Olmon, the track is a standout from SOHM’s latest album, the appropriately named Rock ’N Roll Season. That magnum opus is the latest and greatest chapter in his parallel career as a world-class solo artist in his own right and a prolific composer whose L.A.-based firm provides soundtrack material for movies, TV shows, video games, advertisements and special events. Respected in his field as a go-to guy for scores on demand, he’s a voting member of the Society of Composers and Lyricists, as well as the Composers Diversity Collective in the United States.

Keeping his toes in multiple creative waters simultaneously comes naturally to SOHM, whose diverse background was shaped by cross-cultural spaces and places. He’s a world traveler who’s written songs from locations as exotic as Everest Base Camp, and whose skill set extends to mastery of Nepalese instruments like the Tuning (a plucked string instrument) and the Madal (a hand drum). At this particular moment, though, he’s all about the rock—and the therapeutic value of “Thunder.” His stormy new manifesto, he says, is “an anthem for the dreamers, the hustlers and the ones who chase their passions no matter the cost. This ain’t your typical corporate sellout anthem. This is rock and roll for the renegade souls.”

To which we can only add: BOOM.

Folk Artist Bobbo Byrnes Unveils Self-Titled Album, Chronicling His Journey Through Personal and Creative Struggles

Anaheim, CA’s renowned singer-songwriter Bobbo Byrnes is releasing his highly anticipated self-titled album, an introspective and emotionally charged work that encapsulates the challenges and triumphs he faced during its creation. This album marks a significant milestone in Byrnes’ illustrious career, showcasing his resilience and dedication to his craft.

Bobbo Byrnes’ journey to bring this album to life was fraught with obstacles, both personal and professional. The album, which he recorded from January to May of this year, is a testament to his perseverance and unwavering passion for music. The creative process was anything but smooth, with Byrnes grappling with depression, writer’s block, self-doubt, and the pressures of maintaining authenticity in his art.

“Writing this album was one of the most challenging experiences of my life,” Byrnes admits. “I had just returned from a successful run of shows here at home and overseas and was stuck with a ‘what do I do now’ sort of feeling. ‘Does any of this matter?’ I had just gotten a new manager and deal, which then fell through and felt like I was in quicksand and couldn’t pull myself through. It was actually the music and the songs that did the pulling.”

The new self-titled album features a blend of Americana, folk, and rock, that resonates with authenticity and vulnerability. The deeply personal lyrics reflect Byrnes’ internal battles and ultimate triumphs. Tracks like “Never Learned To Fly,” “Too Many Miles,” and “I Cannot Say” offer listeners a raw and honest look into his creative process, while songs like “Bad Decisions” and “Chance” symbolize hope and renewal.

Byrnes will be touring Europe from September through October 2024 and then returning to the states and touring stateside in early 2025.

Fans can pre-order the album now on Byrnes’ official website and streaming platforms. For more information about the album release, tour dates, and exclusive behind-the-scenes content, visit www.bobbobyrnes.com

Bobbo Byrnes is an acclaimed singer-songwriter known for his heartfelt lyrics and distinctive blend of Americana, folk, and rock. With multiple albums under his belt and a reputation for powerful live performances, Byrnes continues to captivate audiences worldwide. His music, characterized by its emotional depth and authenticity, resonates with fans of all ages.

ADEOLUWA Releases Latest Afropop Hit “Fe Mi” (Love Me)” Blending Yoruba and English

Afrobeats sensation ADEOLUWA was born in Nigeria and is now based in Saskatchewan, SK. The skilled artist now shares a new Afropop banger called “Fe Mi”, which translated from Yoruba to English means “Love Me”. In addition, this song is part of the artist’s most recent EP “For The Fourth”, that has taken the artist to new heights as he has presented it live in his recent Canadian tour.

If one could explain this song in one sentence, it essentially reflects the need to reconnect with African roots and culture. As ADEOLUWA puts it: “I wanted to create a song that resonated with the timeless rhythms and melodies of classic Afrobeats, a nod to the pioneers who laid the foundation. It’s a love letter to the sounds that shaped my musical identity”.

A hopeful but nostalgic melody set the start of this track, which aims to capture love in its purest form through the lyrics in the chorus, sang in Yoruba:

Ma se e dada (I’ll cherish you)
To ba fe mi (If you love me)

For ADEOLUWA, creating “Fe Mi” was not only an inner journey into his heart, mind and emotions, but also a reflection of what Afrobeats means to him: “It’s more than a genre; it’s a cultural heartbeat.”

Yoruba is one of the three main languages of West Africa, specifically Nigeria. In the present day, there are approximately 50 million people in the world who speak it, making it one of the most widely spoken African languages outside of the continent. Crafting some of the song’s lyrics in one of his native languages definitely reinforces the cultural element.

Like a painting, each element of the song – the piano, synths, afro drums and vocals – add an organic and genuine feel to it, staying true to the genre’s essence. As the track evolves second by second, the key changes and the chorus voices towards the end of the song create diverse sound dimensions, giving it a Gospel feel.

As an up-and-coming Afropop star, ADEOLUWA’s career continues to grow unceasingly. Some of the top milestones of his music journey include earning five nominations from the SaskMusic Awards, as well as attracting the attention of media outlets like CBC, Pulse Music Journal, Range Magazine and The Native Mag, among others. Digital music platforms have also recognized the artist’s talent, featuring him in official Spotify editorial playlists.

There is something truly magical and captivating about his project, where the blend of lyrics, melody and atmosphere generate a good-vibe romantic mood in those who listen. Not to mention, it is a tribute to African culture, as the artist states: “I wanted ‘Fe Mi’ to feel timeless, like a song that could have been played decades ago but still feels relevant today. It’s about capturing that enduring quality of true Afrobeats.”

“Fe Mi”, and the full EP “For The Fourth”, are now available on all streaming services.

Guitar Legend Liona Boyd Shares Reimagined “Summer Dreams” Duet With Olivia Newton-John

Nostalgia has a poignant way of folding in upon itself. That’s what’s happened with “Summer Dreams,” the 2013 duet between Canadian guitar icon Liona Boyd and Australian pop superstar Olivia Newton-John. When it was first released 11 years ago, the song was a simple, heartfelt ode to weekend vacations past. Now that it’s been rereleased in a remixed and updated production, the record has taken on the extra dimension of a moving tribute to a friendship not even death could dim.

“Back in 2013, I asked my dear girlfriend of many years, the late Olivia Newton-John, to be my guest on a song for an album I was releasing that year,” Boyd says. “She happily agreed, and I flew down with my producer, Peter Bond, to record her near her home in Jupiter, Florida.

“It was a great experience,” Boyd recalls. “In 2013, she was absolutely at the top of her game vocally, and the entire session lasted little more than an hour. At the end, Olivia did some improvising that was so beautiful it gave us both goosebumps.”

You can get those goosebumps yourself just by listening to the track, which teams Newton-John’s exquisite vocalizing with Boyd’s own vocals and elegantly plucked guitar lines for a lullaby-like throwback to gentler times. With heartbreaking delicacy and sincerity, “Summer Dreams” recalls the serene pleasures of therapeutic getaways to a cherished lakeside refuge:

Canadian summer dreams
Cottages and lakes and streams
Lemonade and soft ice creams
Canadian summer dreams

As we had all learned from Grease, Newton-John knew a thing or two about summers going in. But hearing her famous voice lilting down through the ages is profoundly affecting, especially when it wraps itself around an outwardly innocent observation that can’t help but feel bittersweet in hindsight:

How could anyone have asked for more?
Those were simple, happy days for sure

“Although I liked what we did originally with the song, Peter told me recently that he always wished we could reimagine the production now, years later, in a different style—with a larger soundstage and one that would feature her vocals even more,” Boyd says. “I agreed, and thought this would be the perfect opportunity to re-release the song internationally, along with a lyric video, as a single for this summer of 2024. I could not be happier with this new version that pays tribute to one of the most beautiful souls and voices I have ever encountered.”

Newton-John was one of a kind, all right. But to Boyd’s own credit, she’s never had much trouble making friends anywhere she goes. Known as “The First Lady of the Guitar,” this classical/folk/world music triple threat has performed for England’s Royal Family (several times) and the President of the United States—not to mention millions of paying concertgoers. She’s worked with the esteemed likes of Sir Andrew Davis and the English Chamber Orchestra, Yo-Yo Ma and Georges Zamfir. And if it seems unlikely that a player who was championed by as notorious a purist as the great Andrés Segovia would mesh both personally and professionally with a pop icon like Olivia Newton-John … well, Boyd has a long history of fruitful collaborations (both on stage and in the studio) with chart-toppers like Gordon Lightfoot, Tracy Chapman, Chet Atkins, Eric Clapton, David Gilmour, Alex Lifeson and Rik Emmett.

Her versatility is a big reason Boyd has hit gold and platinum repeatedly with her more than 30 albums, including her latest, Once Upon A Time, and racked up over 50 million streams. The tastemakers haven’t exactly been silent in their admiration, either: She’s won the JUNO five times, which is the exact same number of times the readers of Guitar Player magazine have voted her Best Classical Guitarist – she’s now a member of the publication’s “Gallery of Greats” and has been honoured with three Lifetime Achievement awards. An unquestioned national treasure, Boyd has received five honorary doctorates, the Order of Ontario and the Diamond Jubilee Medal, and was recently upgraded from Member to Officer of the Order of Canada.

When she wasn’t playing solo and orchestral concerts across the globe, she was working on the latest of the hundreds of pieces she’s composed and arranged for her beloved guitar. As a writer of a different stripe, she’s hit the best-seller list with her autobiography, In My Own Key … My Life in Love and Music (which inspired the follow-up No Remedy for Love). She’s even authored a children’s book, The Cat Who Played Guitar.

Childlike wonder suffuses every note of “Summer Dreams,” though the context in which it’s been dusted off and held up to the light can’t help but reveal an added layer of adult loss. That’s when we should take the words at face value and focus on the good times. That weekend lake house it still ours as long as we can picture it vividly in our mind, and summer never has to end if we don’t want it to. Pass the lemonade, and let’s all toast to absent friends.

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That Eric Alper
6-time nominee for Publicist of the Year during Canadian Music Week, a 16-time JUNO Award winner overseeing PR campaigns, and have also been truly honoured to work with some of the biggest and most important artists of our time.

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