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Eric Clapton: The Complete Reprise Studio Albums – Volume 1 12LP Boxed Set Available September 30

Eric Alper
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Eric Clapton: The Complete Reprise Studio Albums – Volume 1 12LP Boxed Set Available September 30

Eric Clapton, one of music’s most influential and successful recording artists, joined Reprise Records in 1983, launching a prolific period that spans 30 years and encompasses some of his most celebrated work. An upcoming limited edition, 12-LP boxed set revisits Clapton’s first six albums for Reprise along with an LP exclusive to this collection that features rarities from the era, including a previously unreleased remix of “Pilgrim” by co-writer and long-time Clapton producer Simon Climie.

THE COMPLETE REPRISE STUDIO ALBUMS – VOLUME I will be available on September 30 with pre-orders available now. It contains newly remastered versions of six studio albums pressed on 180-gram vinyl: Money and Cigarettes (1983) as a single LP, and Behind the Sun (1985), August (1986), Journeyman (1989), From the Cradle (1994), and Pilgrim (1998) as double-LPs. Behind The Sun and August were originally released as single LPs; both are now 3-sided double albums to avoid long LP sides and to maximize the audio quality.

The final LP in the collection, Rarities (1983-1998) brings together eight rare recordings from this era, including live versions of “White Room” and “Crossroads” that were both featured on the B-side on the 1987 single “Behind The Mask.” Another B-side, “Theme From A Movie That Never Happened” (Orchestral), appeared in 1998 on the GrammyÒ winning single, “My Father’s Eyes.” A cover of Albert King’s “Born Under A Bad Sign” (an outtake from GrammyÒ winning album From The Cradle) is available today on YouTube. Click HERE to listen now.

All the music included in this collection was mastered by Bob Ludwig at Gateway Mastering and the lacquers for the LPs were cut by Chris Bellman at Bernie Grundman Mastering.

VOLUME I spans 15 years and touches on some of Clapton’s biggest studio albums. It begins with Money and Cigarettes, the guitarist’s eighth solo studio album, which he co-produced with Atlantic Records’ legend Tom Dowd. Released in 1983, it reached the Top 20 in the U.S. and the U.K. and introduced the hit single “I’ve Got A Rock ’n’ Roll Heart.”

Clapton worked with Phil Collins to produce his next album, Behind the Sun, which peaked at #8 in the U.K. The album would earn platinum-certification in the U.S. thanks to hits like “Forever Man” and “She’s Waiting.” Collins returned to co-produce the next album, August, as well. Certified gold in the U.S., it featured a trio of Top 10 singles – “Miss You,” “Tearing Us Apart,” (a duet with Tina Turner) and the #1 smash, “It’s In The Way That You Use It.” Clapton co-wrote the latter with Robbie Robertson and co-produced the track with Dowd. The song was also featured in The Color of Money, the 1986 blockbuster film starring Paul Newman and Tom Cruise.

Journeyman, Clapton’s 1989 follow-up, reached #2 in the U.K. where it was certified platinum. An international sensation, the record was certified platinum in Canada and gold in Argentina, Australia, France, Japan, Netherlands, New Zealand, Spain, Sweden, and Switzerland. The album was certified double platinum in the U.S., scoring #1 hits on the Mainstream Rock charts with “Pretending” and the Grammy winning single “Bad Love.” The album had two more Top 10 hits in America with “Before You Accuse Me” (#9) and “No Alibis” (#4).

Following the runaway success of his 1992 live album Unplugged, Clapton returned in 1994 with From The Cradle. A blues covers album, it featured his versions of song recorded by some of the bluesmen who influenced him, including Robert Johnson, Howlin’ Wolf, Muddy Waters Freddie King and more. The album was certified triple-platinum in the U.S., where it topped the Billboard 00. It also reached #1 in the U.K., making it his only #1 album in the U.K. to date. In addition, From The Cradle won the Grammy Award for Best Traditional Blues Album.

The final release on VOLUME I is Pilgrim, Clapton’s 1998 Grammy Award winning 13th solo studio album. It reached the Top 10 in more than 20 countries, including the .S. (#4) and the U.K. (#3). A passion project for Clapton, the album was certified platinum in America thanks to hi singles like, “My Father’s Eyes,” “Circus,” “Born In Time” (penned by Bob Dylan) and the title track.

In the fall, Clapton will play a series of concerts n the U.S. with special guest Jimmie Vaughn. The tour begins on September 8 in Columbus, OH and ends on September 19 in New York City. Tickets are on sale now.

Early 2023 will see the release of The Complete Reprise Studio Albums – Volume 2, a companion vinyl boxed set that features Clapton’s Reprise studio albums spanning 201-2010, along with an exclusive LP of rarities from that era. More details on this release will be announced soon.

THE COMPLETE REPRISE STUDIO ALBUMS – VOLUME I
Track Listing

Money and Cigarettes (1983)
“Everybody Oughta Make A Change”
“The Shape You’re In”
“Ain’t Going Down”
“I’ve Got A Rock ’n’ Roll Heart”
“Man Overboard”
“Pretty Girl”
“Man In Love”
“Crosscut Saw”
“Slow Down Linda”
“Crazy Country Hop”

Behind the Sun (1985)
“She’s Waiting”
“See What Love Can Do”
“Same Old Blues”
“Knock On Wood”
“Something’s Happening”
“Forever Man”
“It All Depends”
“Tangled In Love”
“Never Make You Cry”
“Just Like A Prisoner”
“Behind The Sun”

August (1986)
“It’s In The Way That You Use It”
“Run”
“Tearing Us Apart”
“Bad Influence”
“Walk Away”
“Hung Up On Your Love”
“Take A Chance”
“Hold On”
“Miss You”
“Holy Mother”
“Behind the Mask”

Journeyman (1989)
“Pretending”
“Anything For Your Love”
“Bad Love”
“Running On Faith”
“Hard Times”
“Hound Dog”
“No Alibis”
“Run So Far”
“Old Love”
“Breaking Point”
“Lead Me On”
“Before You Accuse Me”

From the Cradle (1994)
“Blues Before Sunrise”
“Third Degree”
“Reconsider Baby”
“Hoochie Coochie Man”
“Five Long Years”
“I’m Tore Down”
“How Long Blues”
“Goin’ Away Baby”
“Blues Leave Me Alone”
“Sinner’s Prayer”
“Motherless Child”
“It Hurts Me Too”
“Someday After A While”
“Standin’ Round Crying”
“Driftin’”
“Groaning The Blues”

Pilgrim (1998)
“My Father’s Eyes”
“River Of Tears”
“Pilgrim”
“Broken Hearted”
“One Chance”
“Circus”
“Goin’ Down Slow”
“Fall Like Rain”
“Born In Time”
“Sick And Tired”
“Needs His Woman”
“She’s Gone”
“You Were There”
“Inside Of Me”

Rarities Vol. 1 (2022)
“Stone Free”
“Crossroads” – Live
“White Room” – Live
“Theme From A Movie That Never Happened” (Orchestral)
“Pilgrim” – Remix *
“32-20 Blues” – Live
“County Jail Blues” – Live
“Born Under A Bad Sign” *

* previously unreleased

Indigenous Pop Songstress VIOLET VOPNI Says You’re Now In The “Friendzone”

Eric Alper
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Indigenous Pop Songstress VIOLET VOPNI Says You’re Now In The “Friendzone”

Meeting a friend’s other friends can sometimes be incredibly awkward, but when there’s a party, that takes it to a whole other level. Winnipeg-based Indigenous pop songstress Violet Vopni’s new single “Friendzone” addresses a sort of universal awkwardness between any two people where one might have feelings that the other doesn’t — and the story behind the song is rich in novel experience.

Featuring head-bopping beats, a bubbly groove, and a wailing guitar solo, “Friendzone” navigates the journey of walking into a party, detecting some strange and possibly flirty vibes, and setting some friendly but firm boundaries. “Your friends are hard to read/ Are they hitting on me?/ Let’s skip the pleasantries/ Just tell me,” Vopni sings.

The chorus asks, repeatedly, “Are you cool with the friendzone,” while inspiration for the song sprang from the time Vopni’s girlfriend took her to what she now refers to as a “Michelle Party.” Michelle being the host, and Michelle being a host known for intricately decorated themed “rooms” set up in her home.

“I’ve been to some crazy house parties, but I wasn’t expecting to see Michelle’s various themed rooms – from Nintendo, to Classic Horror, to a fully operational sex dungeon, to a stripper pole,” Vopni recalls. “Not only was the décor 1000% on point, but the rooms were being used as intended by people I had just met.”

Eventually, Vopni was able to relax and have fun at the party once she realized that all the other attendees were going to respect her boundaries. “These people became some of my closest friends, and eventually I loosened up about what was going on in the rooms,” Vopni explains. “I realized that nobody was going to make me go in any of those rooms and do anything unless I wanted to, and that was a comfort.

“But everyone did flirt with me in ostentatious and overt ways the first time I met them, and that was a new and scary experience for me.”

Years later, Vopni realized that the experience would be interesting fodder for a song, and she also realized that, though not everyone will have been to a party with a sex dungeon, they can at least relate to wanting to keep someone in the “friendzone.”

Violet Vopni is an Indigenous and Icelandic singer/songwriter from Manitoba. Her journey as a lyricist and composer began in 1995 when she wrote her song “Dreaming,” which was released in 2020 through alt-metal band Helfreya. Vopni’s songs range from upbeat pop to smooth jazz to heartbreaking ballads and everything in between. She draws inspiration from her relationships with lovers and friends, as well as her ancestral history as a Metis woman. Vopni advocates for those affected by mental health and addictions, and her single “Joseph,” which has amassed nearly 400k streams on Spotify, shares the story of her great-grandfather who was born in 1900, fought in WWI, and struggled with alcoholism throughout his life.

Her song “How Many Times” has been featured on CBC’s Up To Speed, the Indigenous Music Countdown, and Manitoba Music’s Song of the Week. Vopni has released three albums, Unacknowledged and Shieldmaiden in 2020, and The Things We Don’t Know in 2021. “Friendzone” is the first single from her album that is set for release in 2023.

Venezuelan Alt-Folk Artist SUNRAY MINOR Releases Sunny, Shimmery “Life of the Party”

Eric Alper
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Venezuelan Alt-Folk Artist SUNRAY MINOR Releases Sunny, Shimmery “Life of the Party”

Sometimes there’s nothing like a house party among close friends to crystallize one of your life’s chapters and put everything into sharp, prismatic relief. Montreal-based alt-folk artist Sunray Minor captures all the important characters and warm relational dynamics of his youth in his sunny, shimmering new single, “Life of the Party.”

With beautiful guitar fingerpicking, smooth crystalline vocals, and an easy-flowing narrative, “Life of the Party” combines a savoring of the here-and-now with a tinge of melancholy, the knowledge that all of this will eventually pass; “and to think everyone of us will die, someday/ I’m just glad we took this night to celebrate our lives, hooray!” goes the sincere, unironic chorus.

Through the song’s meandering telling, we learn that Kenny now has a baby son – “And he looks just like Charlie Brown.” And that Will has lost his job, “but I never saw him frown.” And that the twins – who remain unnamed – are still disagreeing about everything, from politics to cigarettes. Diane made her famous apple pie, which everyone is devouring. The party gets too loud, and the cops are called. And then, as he’s saying goodbye, the narrator drunkenly kicks the neighbor’s garden gnome. “Either way it’s getting late and I best be getting home,” he sings.

The song is filled with real-time little noises of ambiance, imparting an air of charming imperfection and immediacy to the recording. “’Life of the Party’ was recorded all on the first night I rented the studio, and is actually the only song on the album that remained mostly untouched from those sessions,” Sunray Minor says. “We recorded it off of a live take, and you can really hear the studio in that song, most of the background noise is just us walking around and touching the space. I also played an acoustic guitar from the 1940s called the Kay Craft.”

“Life of the Party” is one of 10 songs on an ambitious, four-part epic-narrative of an album, One Day, Maybe, slated for release on August 7th. Inspired by Pink Floyd, the Beach Boys, and the Beatles, the record took four years to make, and Sunray Minor has also written a corresponding novella that will be released alongside the album. Visual artist Elena Terife brought the stories to life for the cover art, and Sunray’s cousin Valentina Tross created the art for the back cover.

“It’s a story where I am the main character and I’m searching through life and the world for someone I think I love – her name is Loretta – and in my head she’s the person that is supposed to save me from all my problems,” Sunray relays. “After reaching every corner of the world, I realize that the solution isn’t with her but instead within myself. I experience so many things along the way however – death and rebirth underwater, a party full of spirits, and a graveyard bash.”

Tears for Fears’ “Everybody Wants to Rule the World” But On BRASS HORNS

Eric Alper
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Tears for Fears’ “Everybody Wants to Rule the World” But On BRASS HORNS

Accompanying himself on trumpets, a solo Horn, flugelhorn, and soprano trombone, Seb Skelly performs a cover of Tears for Fears song Everybody Wants to Rule the World, a tune that is currently in the Top 50 on the US Spotfy Charts, some 38 years after release.

Harmonic Spectrum: How An Autistic Jazz Pianist Uses Music To Understand His Mind

Eric Alper
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Harmonic Spectrum: How An Autistic Jazz Pianist Uses Music To Understand His Mind

Check out the Scottish documentary by Austen McCowan and Will Hewitt of Melt the Fly about Sean, who navigates between the pulls of solitude and partnership. ‘My music tells me more about myself than what I can guess.’

7-Time Blues Music Award-Winner RORY BLOCK Set to Release Her New Album, Ain’t Nobody Worried, October 7 from Stony Plain Records

Eric Alper
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7-Time Blues Music Award-Winner RORY BLOCK Set to Release Her New Album, Ain’t Nobody Worried, October 7 from Stony Plain Records

In a storied career of many accolades and firsts, celebrated seven-time Blues Music Award-winner Rory Block will release perhaps her most-ambitious album yet, with Ain’t Nobody Worried, coming October 7th on Stony Plain Records.

As the third volume of her “Power Women of the Blues Series,” Ain’t Nobody Worried follows the logical course of its predecessors. Produced by Rory Block and Rob Davis for Aurora Productions, Ain’t Nobody Worried was recorded and mixed by Rob Davis at Kentucky Studios, Sandy Hook, Kentucky; and mastered by Toby Mountain of Northeastern Digital. Rory Block sang all the vocals, played all the guitar parts, slide, bass and percussion.

“The inspiration for this recording was born during the dreaded shutdowns,” recalls Rory Block about the album’s genesis. “Being quarantined led us to the idea of Home Broadcasts, which soon blossomed into two concerts per week over two years with an incredible following of viewers from around the world. We were all hungry for togetherness and music and found ourselves clinging to the idea that some form of normalcy still existed, somewhere, almost certainly in music. After covering just about every blues, folk and Old Timey song I ever knew, the idea popped into my head to reach into the iconic songbook of the ‘60s, ‘70s and ‘80s. That meant music that was on the radio over 50 years ago. It could be called historic, early American music. Viewer requests for their own favorites strengthened and expanded this idea, turning the concerts into a major potpourri of material. It was challenging, satisfying, and inspiring. The consensus was that it was time to hear these incredible songs again.

“While it was challenging, and I never had enough time to really learn the songs properly, no one minded or expected my acoustic versions to be replicas of the originals. We wanted to remember, celebrate, and cling to the emotions and memories these great songs embodied. We wanted to sing along. We wanted it to be a sentimental journey with an unexpected twist. That’s what this record is all about.

“I started referring to it as ‘The Campfire Sessions.’ That meant ‘Hey, pass me the guitar… lemme try that one!’ I was the person saying pass me the guitar- and that was just alright with everyone.

“In keeping with my latest ongoing project, ‘Power Women of the Blues,’ and inspired by the enthusiasm generated by the Home Concerts, I chose hit songs performed or written by female artists whose music changed the world. I could do multiple volumes easily as there are, as always, just too many great songs to choose from.

“There will be those who will question why I would decide to do songs by legends such as Gladys Knight, Mavis Staples, Mary Wells and others. Why attempt to resurrect such untouchable greatness? I suppose the answer is the same reason I dare to do Robert Johnson, Bessie Smith and other early blues legends. I do not do these songs to create a better version than the original. Those versions are enshrined in the halls of Musical Heaven. I do these songs because I play the music I love the most. Creating new versions honors the original artists. And, as I learned during the Home Concerts, it’s time we thought about these amazing songs again.”

Folk Rockers VILLAGE MANOR Explore a Parent’s Hard Work in New Single “Just Smile”

Eric Alper
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Folk Rockers VILLAGE MANOR Explore a Parent’s Hard Work in New Single “Just Smile”

Life can be incredibly difficult just in terms of trying to survive, and children often aren’t blind to their parents’ struggles. In their hopeful-melancholy new single “Just Smile” – available now – Toronto folk-rockers Village Manor explore the routine of the daily grind from both the parents’ and a child’s perspective, and sometimes simultaneously.

With beautiful guitar fingerpicking, piano, and frayed-edges vocals soaked in experience, “Just Smile” is a beautiful, cascading ballad that gives voice to a sleep-deprived, working-class existence. “Well it’s four in the morning, waking up for us/ The stars are still shining as you run to catch the bus/ You’re young but getting older with hard times/ One more dream will make your whole life shine.”

The bills are stacking up, and all the parents can manage each night is a few minutes to read a bedtime story with their child. The next day, the entire routine is repeated all over again. At this point, a representation of the child’s voice comes in – “My book, please read it slowly, and listen to what it says/ It says you think you’re going somewhere, but you’re going nowhere fast.” There’s sadness in both the parents and the child, but there’s also a prompt to enjoy these small moments of togetherness and try to weave them into dreams.

Ultimately, the song contains feelings of both discouragement and hope, and the desire of both the parents and the child to make each other’s lives easier: “And if I can make it happen, I would make your dreams come true/ Just smile, as we wipe the tears away, smile.”

Village Manor wrote the song to spread a message to not take our children’s love for granted. “The child keeps hoping and wishing that the parents will find their dream,” the band explained. “Listen to them and give them the unconditional love and time they so rightly deserve. From the parents’ perspective, they’re sacrificing so much for their love of their children.”

Village Manor started in Toronto in 2018 before founding members Sam Kay and John Weinberg would meet the other bandmates through a series of chance and cosmic encounters. Village Manor acquired singer Dr. Mike Levine, a Veterinarian with Wychwood Veterinarian Hospital — as well as a gifted and amazing singer and stage man — as he was performing with his Tragically Hip tribute band. The group quickly rounded out with the artistic talents of bassist/sound engineer Mike Grundy (Wychwood Sound) and renowned Toronto percussionist Corey Weinberg (Numb Tongues).

Starting as an open mic/cover band, Village Manor tackled important subject matter right out the gate with their debut single “Gunsaway” earlier this year about the prevalence of gun violence in society today. They are currently writing and recording the rest of their debut album.

Los Angeles Alt-Indie Darling FOX FAGAN Says “Let’s Get Lost” with Release of New Single

Eric Alper
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Los Angeles Alt-Indie Darling FOX FAGAN Says “Let’s Get Lost” with Release of New Single

Alternative indie darling Fox Fagan invites you, saying “Let’s Get Lost” with the release of new single — available now! It’s a mystical joyride through disco and modern rock flavouring, sprinkled with a catchy hook and plenty of highs that’ll have you choosing to accept the invite time and again.

The multi-instrumentalist from Portsmouth U.K. turned Los Angeles-transplant hangs it out to dry on his latest offering — escapism that delights and serves in a variety of genres cleverly carved to break the mold while designing a new one. His new solo EP Daydream Mindtones is Fagan’s first completely self-produced collection of tracks with eclectic forays into psych-rock, chamber-pop, and alternative.

Fagan’s diversity in music and his extraordinary talent have rendered him a variety of major gigs and guest spots for celebrity artists. Currently, the musician plays bass for Chris Shiflett (Foo Fighters), multi-platinum selling Israeli artist Ninet Tayeb, and 90s pop icons, Wilson Phillips. Fagan also found himself in front of sell-out shows during his 2022 tour of Australia. Additionally, Fagan is also a member of Teleskopes — the critically acclaimed LA-based “shoe-gazing space rock group”.

The spotlight has now reshifted its focus and is pointing directly to Fagan, who found himself in solace during the pandemic of 2020. The unexpected solitude gave the musician the freedom to write and produce a record that was solely his own; experimenting with his favourite sounds and creating a subgenre all his own.

“At one point I wasn’t sure if I should release this stuff under my name, or start a new artist project and give it a name,” Fagan confides. “One name I had come up with was The Daydream Mindtones. I ended up using that as the name of this first EP. I call it my first because it’s the first one I’ve really created, and produced it all.

“I’ve gone through a lot with these songs and it’s definitely time to let them go and find new homes with whoever is listening.”

His first single off the album, “Gotta Get Out,” was met with praise and covered extensively by reputable music blogs. Now out with “Let’s Get Lost”, fans are noting Fagan’s insatiable synth work and love for disco in the classic Manchester Club fashion.

“Gotta Get Out” would unleash the artistic freedom Fagan was seeking to continue writing songs with an unending creative license. “It led to hitting the guitar a certain way that sounded cool enough and then going to a song with two chords, my one four banger ‘Let’s Get Lost’,” says Fagan, adding: “I was binging disco, chic mostly and wrote a song about wanting to leave, and leave the world and my phone behind.”

What he achieved was a dance-floor anthem; an up-tempo disco meets indie rock soundscape that showcases Fox Fagan’s dedication to good-time vibes with a beat. You’ll find yourself locked in his musical lair. The one with the sign suggesting: “Let’s Get Lost.”

Breakout Montreal Spanish Rappers MC Pipo & Doc Filo Bring Tropical Heat With “No Lo Consigo”

Eric Alper
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Breakout Montreal Spanish Rappers MC Pipo & Doc Filo Bring Tropical Heat With “No Lo Consigo”

Rooted in the duo’s unique ability to create musical experiences that are highly relatable, MC Pipo and Doc Filo debut their newest single, “No Lo Consigo,” just in time for summer love – and summer loss.

MC Pipo (Rick Alfaro) is a Venezuelan rapper based in Montreal, Canada who found himself drawn to urban music at a young age. Working alongside Pipo is Doc Filo (José Emilio Rivera), a Salvadoran rapper also based in Montreal, Canada, Filo found himself singing and making music as a child; into his early teenage years, he decided to look at music from a professional angle.

In 1995, the two young rappers met. It didn’t take long for MC Pipo and Doc Filo to realize their similar ambitions and deep-rooted passion for music, particularly fascinated by Bolero – a bittersweet yet alluring collection of love songs inspired primarily by Spanish musical styles. The two up-and-coming rappers faced many struggles on their journey to a successful musical career is metaphorical for the struggle people go through to find love – and the potential pitfalls that await new lovers.

Despite the ups and downs that come with a musical career, MC Pipo and Doc Filo are going strong and the production value of their newest single, “No Lo Consigo,” speaks for itself. Driven to be the best at what they do, MC Pipo and Doc Filo are persistently and consistently showing the world – and their listeners – there is nothing in the way of your dreams.

The group set out to create a mash-up of reggaeton and tropical music, reaching out to KingAlexBeats for inspiration. Alex’s production inspired Pipo and Filo to drum up a sweet yet sour tale of a romantic relationship that ended but was not easy to forget. This is the finessed summer anthem that is “No Lo Consigo.”

“No Lo Consigo” is a massive production that spotlights the magic behind Island trumpets and Reggae breakbeat. The single has an undeniable tropical heat that delivers a warm dance groove despite the underlying tones of heartache, arguably best medicated with tropical paradise and a dance partner. Coincidentally enough, these are the themes presented in the accompanying music video for “No Lo Consigo.”

After producing the first version of this summer single, MC Pipo and Doc Filo wanted to take it to another level. As if heaven sent, Dariel Mur Velazco (Dimelo Mur) from Cuba offered his services to the duo. Acclaimed as a talented young musician with a passion for music, the group didn’t hesitate to give him a chance to add the bit of flavor Pipo and Filo were looking for.

“Dariel gave it a spectacular twist and we knew at that moment we had a great song with huge potential,” the duo reflects on Velazco’s performance. “Afterward, when our label Dance Plant Records heard the track, they liked it instantly and decided to take the gang to Cuba to shoot the video for this amazing single.”

The group knew the song needed a beautiful video filled with extravagant images, so they opted to shoot the music video in Havana, Cuba, and Varadero. Featuring small cafes and intimate scenery, “No Lo Consigo” has a perfect counterpart for its beautiful tale and imagery.

“It’s as if the planets had lined up for this song to be a possible success,” the group shares, expressing their gratitude. “Honestly, it was a very nice experience. We had a lot of fun from the beginning of the creation of the song until the production of this incredible video. We are truly grateful to all the people who participated and made this possible.”

While these two rappers complement each other’s strengths and bolster each other’s weaknesses, no team is complete without a competent engineer; the group credits their more recent singles’ clean and executed sound to producer KingAlexBeats, who can provide complete productions with a great mix of musical styles.

The groups proficiencies and talent are presented expertly in their newest summer single, “No Lo Consigo.”

Indigenous Artist MIKE BERN Taps Heartwarming Joy When Reminiscing Good Times with “Shrine of Shirl”

Eric Alper
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0
Indigenous Artist MIKE BERN Taps Heartwarming Joy When Reminiscing Good Times with “Shrine of Shirl”

Feeling the presence of a lost loved one and the inexpressible joy of reminiscing good times is the subject of award-winning Indigenous singer/songwriter Mike Bern’s latest heartwarming single, “Shrine of Shirl.”

Drawing on his own experience with loss, Mike Bern takes listeners on an emotional journey using his signature sonic palette of folk-rock harmonies with a sprinkle of southern gospel. “Shrine of Shirl” is a testament to Bern’s ability to fuse his distinct musical style while harnessing the influence of artists such as Ben Schneider and Frankie Miller.

While “Shrine of Shirl” is based on a personal experience and inspired by his late uncle’s ashes which hang in his truck by the rearview mirror, the song is about all the souls that are no longer here. “He always wanted to listen to music while he was here,” Bern shares. “Now, when his favourite song comes on, I know he’s with me.”

The musical composition of “Shrine of Shirl” elevates the story being told through its charming instrumentation and touching narrative. The song’s message is beautifully told through Bern’s perspective of sorrow and seeing the world’s magnificence through the eyes of our lost loved ones.

“I know you’re driving next to me
The feeling puts me at ease
I start swerving to the right
Someone grabs the wheel
I know you’re here with me.”

Hailing from Tobique First Nation, NB-based Indigenous singer/songwriter Mike Bern has been carving his own path in music after departing as the singer of award-winning bands like Kickin Krotch and District Avenue.

Bern’s artistry has also been showcased at the 2018 Olympic Games, along with multiple Native American Music Awards nominations. During his stint as a singer before going solo, Bern also had the charting single “Mother First,” which rose on the Indigenous Music Countdown list. He has also played more prominent stages, opening up for bands like Seaway, The Trews, One Bad Son, and The Motorleague.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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