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5 Surprising Facts About Sly and the Family Stone’s ‘There’s a Riot Goin’ On’

Eric Alper
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5 Surprising Facts About Sly and the Family Stone’s ‘There’s a Riot Goin’ On’

The world in 1971 was restless, and Sly and the Family Stone caught its heartbeat. ‘There’s a Riot Goin’ On’ arrived like a storm—slow, heavy, and unstoppable. It carried the spirit of protest, the fatigue of change, and the rhythm of a new kind of funk. Every hiss, groove, and layered sound came from a place of tension and truth. What emerged was not just an album but a declaration that music could hold both the fire and the silence of its time.

1. Sly Stone recorded most of it entirely alone
Sly built his own studio in his Bel Air home and layered nearly every instrument himself. He used a Maestro Rhythm King drum machine and recorded vocals lying in bed with a wireless mic. Each track carries his fingerprint, from the groove to the murky mix, building a sound that became the blueprint for generations of funk and hip hop artists.

2. “Family Affair” broke ground and topped the charts
The album’s centerpiece, “Family Affair,” mixed electric piano from Billy Preston with a heartbeat-like rhythm track. Sly and his sister Rose sang with quiet intensity, creating a groove both intimate and unshakable. It reached #1 on the Billboard Hot 100 and became one of the earliest chart-topping songs to use a drum machine.

3. The silent title track held powerful meaning
The track “There’s a Riot Goin’ On” runs zero minutes and zero seconds. When asked about it, Sly said, “I felt there should be no riots.” The absence of sound carried its own message, a refusal to glorify chaos while still reflecting the tension of the time.

4. The American flag on the cover was redesigned to speak truth
Sly replaced the stars with suns and turned the blue field black. He explained that black represented the absence of color, white represented all colors combined, and red symbolized blood—the one thing everyone shares. It became one of the most powerful visual statements in album art history.

5. The album reshaped music and culture
‘There’s a Riot Goin’ On’ hit #1 on both the Billboard Pop and Soul charts and later earned platinum certification. Its influence runs through artists from Miles Davis to Prince to Public Enemy. In 1999, it entered the Grammy Hall of Fame, forever marked as a creation that changed how funk could sound, move, and speak.

5 Surprising Facts About Artists United Against Apartheid’s ‘Sun City’

Eric Alper
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5 Surprising Facts About Artists United Against Apartheid’s ‘Sun City’

‘Sun City’ stands as one of the most powerful musical collaborations for human rights. In 1985, Steven Van Zandt brought together artists from rock, jazz, hip hop, funk, and soul to raise awareness about apartheid in South Africa. The song and album united voices across genres and continents, calling for equality through rhythm and conviction. The message spread far beyond the charts and became an anthem for change, proving that music can carry the sound of solidarity.

1. More than 50 artists joined the project
Steven Van Zandt, Arthur Baker, and Danny Schechter gathered an extraordinary group of performers that included Bruce Springsteen, Bono, Bob Dylan, Lou Reed, Run-DMC, Herbie Hancock, Miles Davis, Peter Gabriel, Keith Richards, and Ronnie Wood. The collaboration created one of the most wide-reaching musical statements of its time.

2. “Sun City” became a pledge of artistic unity
The chorus “I ain’t gonna play Sun City” carried a message of commitment and awareness. The resort represented inequality, and by refusing to perform there, each artist aligned themselves with the global call for justice. The song’s rhythm and chorus built a unifying voice against apartheid.

3. Bono wrote “Silver and Gold” in one night
Inspired by the sessions, Bono composed “Silver and Gold” in his hotel room and recorded it with Keith Richards, Ronnie Wood, and Steve Jordan. The song appeared as an unlisted track on the album and reflected the urgency and creativity that filled every part of the project.

4. Miles Davis recorded with complete intensity
When Miles Davis entered the studio, he created a moment of pure focus. Working with Herbie Hancock, Ron Carter, and Tony Williams, he played with depth and control that matched the power of the cause. His presence added a sense of gravity and artistry to the album’s energy.

5. The album supported global awareness and education
‘Sun City’ reached listeners around the world and raised more than one million dollars for programs supporting equality and education. It premiered at the United Nations and strengthened international awareness about apartheid, leaving a lasting example of collaboration and purpose in music.

5 Surprising Facts About XTC’s ‘Skylarking’

Eric Alper
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5 Surprising Facts About XTC’s ‘Skylarking’

Sunlight, raindrops, and melody all swirl through XTC’s ‘Skylarking,’ a record that feels like a living calendar. Produced by Todd Rundgren, the album blooms with psychedelic pop textures and lyrical warmth, moving through the cycles of love, growth, and reflection. Though its beginnings were complicated, its outcome glows with musical color and imagination. Over time, ‘Skylarking’ became a beloved classic, celebrated for its detail, cohesion, and fearless creativity.

1. Todd Rundgren mapped out the entire concept
Before the first session began, Todd Rundgren listened to over 20 demos and designed the album’s concept himself. He sequenced the songs to flow like the cycle of a single life – birth, youth, love, loss, and renewal. The structure was so strong that XTC kept his order almost entirely unchanged on the final release.

2. ‘Dear God’ transformed the album’s fate
“Dear God” was initially left off the first pressing of Skylarking because Virgin Records worried about length and controversy. But college radio DJs in the U.S. began playing it nonstop, and Geffen Records soon reissued the album with the song included. It climbed to #37 on the Billboard Mainstream Rock chart and helped Skylarking spend 29 weeks on the Billboard 200, peaking at #70. The song’s questioning of religion sparked national debate, leading to angry letters, one bomb threat at a Florida station, and even a student in New York forcing his school to broadcast it. Despite that chaos, the track became one of XTC’s defining songs, praised for its honesty, artistry, and courage.

3. The recording used only three reels of tape
Rundgren kept the sessions lean at Utopia Sound Studios in Woodstock, New York. The band recorded the entire album on just three reels of tape – one for each album side and one for extras. This minimalist approach gave the music a spontaneous energy that matched its natural, cyclical theme.

4. Prairie Prince gave the songs their living rhythm
Rundgren brought in Prairie Prince of The Tubes to add live drums to replace programmed percussion. His expressive playing lifted the songs’ flow and feeling, giving Skylarking the organic pulse that turned it from a technical record into a living, breathing work of art.

5. The album’s original artwork shocked record stores
Andy Partridge originally planned a cover using photographs of human bodies adorned with flowers, but record stores refused to carry it. He replaced it with a reworked image from artist Hans Erni that became instantly recognizable. The final design matched the music’s elegance and the theme of nature’s endless renewal.

https://open.spotify.com/album/3FVsJiQMI7dp0RfTBdWtMW

5 Surprising Facts About Tina Turner’s ‘Private Dancer’

Eric Alper
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5 Surprising Facts About Tina Turner’s ‘Private Dancer’

When Tina Turner released ‘Private Dancer,’ she lit up the world with confidence, style, and fire. It was more than a comeback. It was a full-blown transformation that shaped pop, rock, and R&B for decades to come. Here are five vibrant facts about the album that made her unstoppable.

1. A&R legend John Carter helped launch a new era
Capitol Records executive John Carter believed deeply in Tina Turner’s voice and signed her when others hesitated. He oversaw the album’s creative direction, bringing together a mix of British producers and musicians that helped define her powerful new sound.

2. Mark Knopfler wrote the title track and Jeff Beck played the solo
The song ‘Private Dancer’ was originally written by Mark Knopfler of Dire Straits for his own band but was later given to Turner. Her version featured Dire Straits musicians and a fiery guitar solo by Jeff Beck, creating a track filled with both elegance and electricity.

3. Four different production teams built the album’s diverse sound
Each song on ‘Private Dancer’ carried a distinct mood, crafted by producers like Rupert Hine, Terry Britten, Martyn Ware, and John Carter. Their combined efforts gave Turner an album that moved seamlessly between pop, rock, soul, and smooth jazz energy.

4. “What’s Love Got to Do with It” became a global anthem
Written by Terry Britten and Graham Lyle, the song climbed to #1 on the Billboard Hot 100 and won three Grammy Awards. It became one of the defining songs of the 1980s and turned Turner into a household name across the world.

5. The ‘Private Dancer’ Tour took her around the world
The 177-date tour covered Europe, North America, Australia, and Japan. With opening acts like Glenn Frey and Mr. Mister, Turner performed her new hits alongside favorites like “Proud Mary” and “Nutbush City Limits,” thrilling audiences everywhere.

5 Surprising Facts About Bob Dylan’s ‘Oh Mercy’

Eric Alper
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5 Surprising Facts About Bob Dylan’s ‘Oh Mercy’

When Bob Dylan released ‘Oh Mercy’, it marked a creative spark that had the music world buzzing. Recorded in New Orleans with producer Daniel Lanois, the album shimmered with nighttime mystique, poetic grit, and late-80s groove. Here are 5 fascinating facts behind this haunting classic.

1. Dylan and Ronnie Wood recorded a whole other version first
Before New Orleans, Dylan tried tracking the album with Rolling Stones guitarist Ronnie Wood. The sessions produced a complete version of ‘Oh Mercy’ that never saw daylight. Dylan later decided to start fresh, and that decision led to the version fans know today.

2. The album was born under the moonlight
Producer Daniel Lanois insisted that they record only at night. He believed the human body moved differently after dark, when “the pushing and pulling of the moon” shaped rhythm and mystery. The result was a sound designed to be heard at night, with every note drenched in atmosphere.

3. Bono helped connect Dylan and Lanois
The partnership between Dylan and Lanois began thanks to U2’s Bono, who introduced them in the late ’80s. Dylan admired Lanois’s work with the Neville Brothers on ‘Yellow Moon’, and the two clicked immediately. That meeting sparked one of Dylan’s most distinctive sonic collaborations.

4. Some of Dylan’s best songs didn’t make the final cut
“Series of Dreams,” “Dignity,” and “Born in Time” all came from the ‘Oh Mercy’ sessions but were left off the album. Each song later appeared on future releases, including The Bootleg Series and Greatest Hits Volume 3. Dylan’s cutting-room floor was filled with gold.

5. The cover art was discovered on a Manhattan street
The mural of two dancers on the cover wasn’t staged or commissioned. Dylan spotted it on a wall outside a Chinese restaurant in Hell’s Kitchen. The artist, known as Trotsky, lived nearby and gave permission. It became one of Dylan’s most striking and serendipitous album covers.

KC Armstrong’s Festive Anthem “I Hate That Sweater” Returns with Renewed Holiday Magic

Eric Alper
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KC Armstrong’s Festive Anthem “I Hate That Sweater” Returns with Renewed Holiday Magic

Brantford-based Americana artist KC Armstrong is celebrating the return of his festive anthem “I Hate That Sweater,” a song that has found new life and a growing audience thanks to his rising profile and a fresh new video release. Originally crafted in 2024 under the rush of holiday deadlines, the track has now become one of the most requested seasonal songs and is set to light up this year’s celebrations with renewed energy.

“I Hate That Sweater” was first written in the spirit of fun, as Armstrong recalls picturing the descending riff of an earlier song played on Christmas bells. “I heard my inner voice shouting ‘I Hate That Sweater,’ and the lyrics came together within an hour,” he explains. The playful tale of a last-minute shopping disaster unfolds with horns, bells, and Armstrong’s unmistakable wit. The chorus delivers a refrain that has become a fan favourite: “green rhinestones, red pleather – I hate that sweater.”

The re-release is accompanied by an updated lyric video that showcases the humour and Americana charm that runs through Armstrong’s work. “I wanted to highlight the theme in a playful way,” he says. “The video gave me the chance to add commentary I had been anticipating since the song first came out.” The combination of visuals and sound invites listeners into the heart of his storytelling, capturing the joy and silliness of the season.

Armstrong’s band brings the track to life with a stellar cast of players: MaryEllen Allen on vocals, guitarist Scott Utting, Sean O’Connor on saxophone, Steve O’Connor on keys, and Marty Hepburn on harmonica. Debbie Armstrong also adds her spirited dialogue as “Little Debbie,” making the recording feel like a lively family gathering.

Beyond its humour, the song’s momentum speaks to Armstrong’s broader achievements. His music has been featured on national and international radio, and singles from his acclaimed album “Finally Crafted” have reached the Canadian Independent Country Countdown. With a style often compared to Randy Newman and Nick Lowe, Armstrong’s Americana voice blends wit, storytelling, and bluesy authenticity. His work as a Hawk for the legendary Ronnie Hawkins and performances alongside artists like Jeff Healey anchor his reputation as a musician deeply rooted in North American music history.

The renewed attention around “I Hate That Sweater” reflects Armstrong’s growing connection with audiences worldwide. The single has been heard internationally in England, Italy, Bermuda, Australia, and the United States, while also earning recognition as the “most requested Christmas song” by Cashbox Radio. With the updated video now available, fans have even more ways to engage with the song’s festive charm.

As Armstrong explains, the inspiration came from everyday life: “It’s a playful story about how we react to receiving an ugly Christmas sweater. It’s lighthearted, but it also captures a moment that so many people can relate to.” That relatability, paired with his Americana sound, has turned the track into something timeless and ever relevant.

The re-release also signals Armstrong’s ongoing evolution as a songwriter and producer. A self-taught musician, he continues to craft songs and videos that resonate across genres and audiences. His YouTube channel has grown steadily, and his upcoming album promises to showcase more of the blend of humour, heart, and roots authenticity that defines his work.

With the holiday season approaching, “I Hate That Sweater” returns not just as a novelty tune but as a reminder of Armstrong’s enduring artistry. The song’s joyful energy and playful storytelling embody the very spirit of Americana music—honest, communal, and deeply human. This re-release stands as both a celebration of the season and a testament to KC Armstrong’s rising momentum.

Armstrong is currently at work on his next studio project, building on the success of his recent singles and the renewed attention around “I Hate That Sweater.” For fans, it’s the perfect time to rediscover a holiday gem and to look ahead to the music still to come from one of Canada’s most engaging Americana voices.

Singer-Songwriter Addi John Breaks Emotional Ground With New Single “These Walls”

Eric Alper
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Singer-Songwriter Addi John Breaks Emotional Ground With New Single “These Walls”

With a voice that feels both familiar and fresh, London, ON-born, Windsor, ON-based singer-songwriter Addi John steps confidently into a new chapter with his single “These Walls,” out now. The track glows with indie folk warmth and a heartfelt honesty that has quickly become Addi’s trademark—a sound built for open skies, long drives, and quiet moments of reflection.

Addi crafts songs for the hopeful and the wanderers. His music invites listeners to find stillness in the storm, and his storytelling carries a rare emotional transparency. After years of touring the world with his award-winning band Lost in Japan, Addi found new creative freedom in solitude—building his own studio in the countryside and rediscovering his voice as both artist and producer.

“These Walls” captures that rediscovery. Written, produced, and composed entirely by Addi himself, the song represents a deeply personal moment of vulnerability. “I wanted to write something that reflected how I was really feeling, not just what sounded upbeat,” Addi shares. “Being on tour can feel lonely even when you’re surrounded by people. This song came from confronting that feeling head-on.”

The track unfolds with gentle acoustic textures, layered harmonies, and subtle percussive warmth—a sonic palette that recalls the intimacy of artists like Gregory Alan Isakov and Ben Howard. Addi’s production carries his signature minimalist touch, letting space and silence speak as loudly as his words. Each note feels intentional, guiding the listener deeper into his world.

At its core, “These Walls” explores the distance we create to protect ourselves. Addi sings, “Maybe I’m lonely, maybe I’m alone because these walls…” —a lyric that turns inward, inviting empathy instead of isolation. The song reflects not despair, but acceptance—the understanding that healing comes through honesty and openness.


In speaking about the song’s inspiration, Addi reflects, “I think a lot of people will relate to putting up emotional walls without realizing it. For me, writing this song helped me take those walls down. It’s about letting people in, even when it feels hard.” That sentiment flows through his performances—where the connection between artist and audience feels unbreakable.

“These Walls” also carries a quiet resilience born from personal growth. Following the loss of his father, Addi found himself turning to music as both a refuge and renewal. Every melody feels like a step toward light—a way to share grief through beauty, and to remind others they’re not alone in their own process of healing.

Addi’s evolution from band frontman to solo storyteller has earned him growing recognition across Canada. His debut album ‘Another Way To Love’ introduced listeners to his blend of introspection and optimism, while his work as a self-taught producer led to a nomination for FCLMA Producer of the Year. With “These Walls,” he cements himself as a defining voice in the modern indie folk landscape.

As folk music continues its resurgence across streaming platforms and festival stages, Addi John stands poised to join a new generation of Canadian voices reshaping the sound of authenticity. “I just want people to feel seen in the music,” he says. “If someone listens and feels less alone, then I’ve done what I came to do.”

Addi John will bring his heartfelt songs to the stage this winter and spring with a series of intimate live shows across Ontario:


• December 4 – London, ON – London Music Hall with Virginia To Vegas
• February 5 – Waterloo, ON – Maxwell’s
• February 6 – London, ON – Wolf
• February 7 – St. Catharines, ON – Warehouse

Each performance promises to be a shared moment of connection—an invitation to step inside the songs, feel their pulse, and celebrate the stories that make us human.

William ‘Grit’ Laskin – Order of Canada Luthier – Releases ‘The Stradivari Formula,’ a Thrilling Novel Inspired by Craft and Creation

Eric Alper
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William ‘Grit’ Laskin – Order of Canada Luthier – Releases ‘The Stradivari Formula,’ a Thrilling Novel Inspired by Craft and Creation

Internationally celebrated Canadian luthier, musician, and author William “Grit” Laskin unveils his latest creative chapter with his thriller novel ‘The Stradivari Formula,’ published by Fitzhenry & Whiteside. A gripping mystery that bridges centuries of musical history and craftsmanship, the book draws on Laskin’s deep understanding of the artistry, precision, and passion that define the world of fine instrument making. Get it now on Amazon or Indigo.

For more than five decades, Laskin has shaped the sound and soul of acoustic music. His guitars are coveted worldwide by artists including k.d. lang, Ben Mink, Rik Emmett, Tom Cochrane, Jesse Cook, and Stan Rogers. His groundbreaking innovations—such as the body bevel and the sideport soundhole—have permanently influenced contemporary guitar design.

A member of the Order of Canada and recipient of the Saidye Bronfman Award for Excellence in the Crafts, Laskin is celebrated not only for his instruments but for transforming inlay art into a medium of storytelling. Each of his instruments is both a playable work of art and a narrative carved in wood, shell, and metal.

In ‘The Stradivari Formula,’ Laskin turns his narrative gift toward fiction, crafting a mystery steeped in the language of luthiers, art history, and obsession. The story imagines the discovery of a hidden secret inside one of Antonio Stradivari’s rare guitars—a secret that sets off a chain of intrigue spanning continents and centuries.

As a luthier of more than fifty years, Laskin’s fascination with Stradivari’s enduring mystique served as the spark for the book. “There are five known Strad guitars, but only one is playable,” Laskin has said. “That anomaly stuck in my head and made me wonder why Strad made guitars. My next thought was to imagine why that happened.” From that single question, an intricate web of mystery took form.

The novel follows a circle of contemporary Canadian guitar makers who stumble upon a discovery that threatens to upend everything known about the great Italian master. Blending meticulous research with narrative tension, Laskin brings authenticity to every detail—from the smell of lacquer to the ethics of restoration and the community spirit among builders.

While readers are drawn into the suspense of the novel, they also find themselves immersed in a world few have glimpsed: the quiet, obsessive, creative life of the craftsperson. Laskin’s writing invites the same close attention and emotional resonance that characterize his instruments.

Beyond his life as a builder and author, Laskin is a respected musician and songwriter, with recordings on the legendary Fogarty’s Cove label and a performance history spanning Canada and beyond. He is also a co-founder of Borealis Records—Canada’s first national folk label—and a founder of the Canadian Folk Music Awards, institutions that continue to support artists across the country.

As with his acclaimed non-fiction books—’A Guitarmaker’s Canvas,’ ‘Grand Complications,’ and ‘The World of Musical Instrument Makers’—Laskin’s new work unites craft and imagination, bridging the tactile and the intellectual. His voice as an artist, whether through wood or words, remains distinctly Canadian: thoughtful, generous, and endlessly curious.

‘The Stradivari Formula’ invites readers to consider how artistry, legacy, and mystery intertwine. For Laskin, the making of a guitar and the crafting of a story both spring from the same impulse—to search for harmony between truth and beauty, between structure and soul.

With this novel, Laskin offers an artist’s meditation on creation itself—a tale that resonates not only with lovers of mystery and music but with anyone who believes in the enduring power of craft.

ABOUT THE AUTHOR

William “Grit” Laskin is an internationally recognized Canadian luthier, musician, and author. His guitars are played by artists around the world, and his innovations have shaped modern guitar design. A recipient of the Saidye Bronfman Award, the Estelle Klein Lifetime Achievement Award, and the Order of Canada, Laskin is also a founder of Borealis Records and the Canadian Folk Music Awards. His books include ‘A Guitarmaker’s Canvas,’ ‘Grand Complications,’ and ‘The World of Musical Instrument Makers.’ ‘The Stradivari Formula’ marks his first work of fiction since his debut novel, ‘Angel Could Smell the Fire.’

Liona Boyd Celebrates Life, Love and Fifty Years of Crafting Classics with New Album “This Thing Called Love”

Eric Alper
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Liona Boyd Celebrates Life, Love and Fifty Years of Crafting Classics with New Album “This Thing Called Love”

For Internationally renowned, Canadian classical guitarist, singer and author, Liona Boyd, music is the greatest expression of emotions and experiences. Recognized around the globe as “The First Lady of the Guitar”, she has composed, interpreted, recorded and performed some of the most beautiful and beloved music in the world throughout a storied 50-year career. On Boyd’s latest album, “This Thing Called Love”, the five-time Juno Award winner and recent inductee to Canada’s Walk of Fame expertly blends folk, pop, and world influences, and her signature classical guitar sound, into her most personal and poignant collection of songs yet. Stream it here.

“These songs cover the full range of emotions I’ve personally experienced in life – the passion of love

and joy, balanced by the sadness of yearning and loss,” explains Boyd.

Produced by her longtime collaborator, Peter Boyd, “This Thing Called Love” features a special lineup of guest artists and fresh takes on some of Boyd’s best loved past collaborations. Leading off the album is a warm and delightful duet with Mark Masri (of The Tenors) on the Everly Brothers’ nostalgic classic “Bye Bye Love”. Liona also breathes new life into two fan favourites – a reimagined version of “Summer Dreams”, her enchanting duet with the legendary Olivia Newton-John, and “Gordon Lightfoot”, a heartfelt tribute recorded with Ronnie Hawkins in honour of their dear friend.

Other highlights include the tender, romantic ballad “Sweet Dreams” and “The Wedding Song”, celebrating the realization of wanting to spend the rest of your life with someone.

“My playful fantasy piece, ‘Tamarinda’, was inspired by my time living in Mexico, while songs like ‘Living On Borrowed Time’ and ‘My Life Alone’ are more introspective, reflecting on how brief and fragile our time here truly is”, adds Boyd.

Over fifty years, Boyd has built an admirable, diverse career showcasing her talent and artistry, resulting in over 100 million streams of her thirty plus albums, eight of them gold or platinum. In addition to her five Juno Awards, Boyd has been recognized for her cultural contributions with five Honorary Doctorates, The Order of Ontario and the Diamond Jubilee Medal, and is an Officer of the Order of Canada. She is also a five-time winner of the Guitar Player Magazine poll for best classical guitarist and was inducted into their “Gallery of Greats”. In 2019 she was given a Lifetime Achievement Award from the National Guitar Museum in the USA.

Millions of fans around the world who have been treated to Boyd’s captivating live performances including world leaders such as the British Royal Family, Spain’s Royal Family, the U.S. President, and Canadian Prime Minister Pierre Trudeau. She has recorded with Sir Andrew Davis and the English Chamber Orchestra, Yo Yo Ma and Georges Zamfir, and journeying outside of the classical tradition, has toured with Gordon Lightfoot and Tracy Chapman as well as recorded with Chet Atkins, Eric Clapton, David Gilmour, Olivia Newton-John, Ronnie Hawkins and Roger Whittaker.

Boyd has many television appearances to her credit including “The Tonight Show” “Today Show”, “Boston Pops” and “Entertainment Tonight”. Her holiday special “A Winter Fantasy” has aired on PBS stations throughout the US for the past six years and will air again this holiday season.

In addition to composing and arranging hundreds of pieces for the guitar, Boyd is also an author of multiple books including her best-selling autobiography, “In My Own Key… My Life in Love and Music”. Her second autobiography, “No Remedy for Love”, was released in 2017 by Dundurn Press. Liona’s first children’s book “The Cat Who Played Guitar”was released in 2022.

Going back to her first love with her new musical release, Liona Boyd has pulled back the curtain on her emotional life and has invited listeners into a diverse, lush and lyrical world of delights. “This Thing Called Love” is available now! 

Tara Leavey & Amanda Jean Release “Line of Fire” – A Song of Memory, Healing, and Family Legacy

Eric Alper
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Tara Leavey & Amanda Jean Release “Line of Fire” – A Song of Memory, Healing, and Family Legacy

Trenton, ON singer-songwriters Tara Leavey and Amanda Jean have released their deeply personal single ‘Line of Fire,’ now streaming on all major platforms. The song stands as a powerful collaboration between mother and daughter — a tribute to family resilience and the enduring strength of music to carry stories that words alone cannot hold.

Rooted in the true story of Tara’s father, Albert Edward Leavey, a World War II veteran who carried the invisible wounds of Normandy long after returning home, “Line of Fire” reflects the generational echo of trauma and the healing power of remembrance. Through music, the Leavey family has transformed a history of hardship into art that resonates across time, speaking to PTSD survivors and understanding the lasting effects of WWII and dedicated to all those who fought a war after the war.

Tara wrote the song while walking laps around the Trenton High School track, capturing fragments of memory and melody on a handheld recorder. Each line came from lived experience — moments of tenderness and fear, strength and sorrow — that shaped her childhood in a household shadowed by post-war pain. The writing process became a form of release, a long-awaited conversation with the past.

She brought the song to producer and arranger Ben Vandergaast, whose sensitivity and understanding helped shape the track’s emotional core. Together, they wove atmosphere and texture around Tara’s lyrics, using subtle drones to mirror the anxiety that lingers in the aftermath of battle. The result is a composition that feels both cinematic and intimate, a song that listens as much as it speaks.

Amanda Jean, Tara’s daughter and long-time musical partner, contributed the bridge and additional production ideas. Having written and performed across Canada and abroad, Amanda brought her own emotional depth to the recording, adding the sound of marching soldiers — a sonic symbol of inherited memory and empathy. Her voice and presence help bridge generations, turning family history into shared healing.

“Line of Fire” is as much about what is unsaid as what is sung. It reflects the quiet endurance of Tara’s mother, who raised eight children while carrying the weight of her husband’s suffering. It honors the siblings who grew strong in that same fire, and the unspoken understanding that survival itself is an act of grace. Every measure of the song bears the tenderness of that truth.

The recording features Ben Vandergaast on arrangement and production, with Brunette (Sammy Balfour) on percussion, and mastering by Jef Vandertogt. Each collaborator helped shape the song’s emotional pulse, allowing its story to unfold with honesty and restraint — the hallmarks of a seasoned songwriter’s touch.

For Tara Leavey, “Line of Fire” marks not just another chapter in a long career that began with RCA/BMG and Top 10 Canadian Country singles, but a homecoming to her truest voice — the storyteller’s voice that finds beauty in vulnerability. For Amanda Jean, it deepens a creative lineage built on trust, compassion, and the courage to face the past through song.

Together, their collaboration reminds us that music’s most powerful gift lies in its ability to connect hearts across generations. “Line of Fire” is more than a song; it’s a testament to the ways art can transform pain into remembrance, and remembrance into peace.

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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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