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Seas play the best alternative rock show of the year

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I usually try to take Monday nights off, but I made a point of catching alternative rock supergroup Seas. And I was glad I did as their incendiary show at the Owl Acoustic Lounge, Monday, Nov. 19 was an excellent candidate for best alternative rock/ punk show of the year.  As an enthusiastic audience of approximately 25 would likely agree.

Seas played an intense show at the Owl Acoustic Lounge, Nov. 19. Photo by Richard Amery
 The band, which blends members of Moneen, Choke, Molten Lava! and Black Mastiff bassist Clay Shea, have been around long enough to know their stuff and showed it.


 They sounded like a more souped up Lemonheads and a heavier Doughboys thanks to vocalist Crisp Hughes, whose voice was a dead ringer for both bands’ lead singers.


 They had an abundance of energy, with the towering Hughes leaping all over the stage and bobbing his dreadlocked head.


 Main members  Crisp Hughes and  Adrian Mottram flew in for this set of Western Canadian shows picked up a massive rhythm section of bassist Clay Shea and drummer Tristan Helgason a sSeas played an intense show at the Owl Acoustic Lounge, Nov. 19. Photo by Richard Amerycant few days before, but sounded like they had been playing together for years.


 The rhythm was h absolutely massive with thundering drums and  floor shaking bass reverberating throughout the room
 Musically they were an almost perfect blend of heavy and melodic.


 As a bonus, it being a weeknight, their set was short, sweet and to to point, focusing on their new CD “Cursed,” as well as bringing out a couple of older songs, ending the show nice and early.


 I missed an opening set  from local alternative rock band Supervoid, who apparently were playing a lot of new songs.
They were called back for an encore including a Dinosaur Jr. song.

— By Richard Amery, L.A. Beat Editor
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Last Updated ( Friday, 30 November 2018 01:18 )
 

Psychobilly on a Sunday with Devil’s Sons and The Gutter Demons

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 I keep missing punk and psychobilly shows, so I made a point for catching the Gutter Demons at the Smokehouse, Sunday, Nov. 18, especially as I missed their May visit.

The Gutter Demons playing the Smokehouse, Sunday, Nov. 18. Photo by Richard Amery
 They had an enthusiastic audience of around 20 punk rockers, some of who started up  a brief mosh pit but quit due to lack of enthusiasm.
 I missed local band the Hockey Moms, but was in time for Edmonton’s  The “Devil’s Sons.”


 They have a horn section on their new EP “Black Moonshine,” but brought the core four piece including upright bassist Fernando De Les Diablos, drummer Q Mike, vocalist/guitarist Brad Graves and lead guitarist Kylie Wyote.


 They played all of the new Ep and quite a few more. Some of the highlights were “Revenge is Mine,” and an old rockabilly style number which Elvis Presley recorded called “I Got Stung,” which took on more of a punk rock feel in the hands of The Devil’s Sons. They showed off their’50s side again on “Bye Bye Baby Love.”

The Devils Son’s playing the Smokehouse, Sunday, Nov. 18. Photo by Richard Amery
As I missed the Gutter Demons’ May visit, I was glad I caught them this time.


 I previously  compared them to Motorhead playing rockabilly music, which was an apt comparison, as they even cover Motorhead’s “Damage Case” on their latest CD  “No God, No Ghost, No Saints,” which they focused on for this show. They ended with an encore of “Damage Case,” around 10:10 p.m., which was really welcome on a Sunday night.


 The Montreal based trio played that and a lot more supercharged and super  fast rockabilly, rock and roll and psychobilly music.
“ Devil’s Hand” was one of several songs featuring some hot guitar playing.

— By Richard Amery, L.a. Beat Editor
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Last Updated ( Friday, 30 November 2018 01:06 )
 

Breanne Urban and Southern Flyer return to Casino Lethbridge with lots of country

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 I haven’t seen Breanne Urban and Southern Flyer for a few years, so I made a point of catching one of their sets, Friday, Nov. 16 at Casino Lethbridge.

Breanne Urban singing with Southern Flyer at Casino Lethbridge, Nov. 16. Photo by Richard Amery
 They were a delight as they worked though a solid set of  a variety of country and rock hits.


Breanne  Urban took turns  singing lead vocals with  Tom Hudson, backed by lead guitarist John Malcolm, drummer Bob Gammon and bassist Les Kesler. Bruce MacKay played keyboards and even busted out the accordion for a couple of songs including John Cougar Mellencamp’s  “Cherry Bomb” just as I arrived.


Breanne belted out an excellent version of Gretchen Wilson’s “Redneck Woman,” but for the most part was holding back and was almost completely drowned out by the band, though she sang subtle vocal harmonies which usually broke through.


Hudson belted out an excellent version of  “Cadillac Ranch” and an excellent version of Confederate Railroad’s “Trashy Side” and the Rolling Stones’ “Honky Tonk Woman.”

Breanne Urban and Tom Hudson singing with Southern Flyer, Nov. 16 at Casino Lethbridge. Photo by Richard Amery
 Guitarist John Malcolm even sang lead on Hal Ketchum’s “Small Town Saturday Night.”


 The room was full with most of the people two stepping and having a good time, with a couple of birthday parties celebrating to local live music and plenty of familiar hits.

— By Richard Amery, L.A. Beat Editor
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Last Updated ( Friday, 30 November 2018 00:51 )
 

George Canyon celebrates Canada by playing the hits

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Country star George Canyon made his annual visit to Lethbridge for a close to sold out show at Average Joes, Friday, Nov. 16.

George Canyon celebrates being Made in Canada, Nov. 16 at Average Joes. Photo by Richard Amery
 You know George Canyon is going to be a good time, and a solid bet for entertainment because he plays his hits and other popular hits in spades and gets you up on your feet. He’s big and affable and you just want to party to his music.


 He had a solid band behind him, all sporting Team Canada hockey jerseys, including a guitarist, bassist and drummer plus keyboardist Mike Little, who brought out the accordion for a couple of songs including “Good Day To Ride” and a little later, Johnny Cash’s “Ring of Fire.”


  I missed his show opening version of “ The Hockey Song,” which was an  apt way to  open his  Made In Canada tour stop, not to mention a great way to present his latest album “Southside of Heaven,” which features the Stompin’ Tom Connors ’ classic.


 His hit heavy set was interspersed with jokes and stories and  little tidbits of Canadian history.

Mike Little adds accordion to George Canyon's music. photo by Richard Amery
So all the familiar mid tempo rockers and heartfelt ballads  were there including  “Slow Dance,” which had a good sized crowd doing just that, “ I Believe in Angels” and “Never Do Better Than You.”


 Another highlight from the new CD was “Your Old Man’s Son,” but the show was all about his multitude of hits, interspersed with Canadian trivia.

Because the show was Made in Canada, he dedicated the middle of the show to a tight acoustic medley of Canadian artists including Gordon Lightfoot, Anne Murray and Ian Tyson.


 He was supposed to play a version of The Tragically Hip’s “Blow at High Dough,” but I missed it as there were other to shows I wanted to see.


 He did play one of his early hits- a countrified cover of Crowded House’s “Better Be Home Soon.” and the always popular version of “Rhinestone Cowboy.”
 I ducked out after one of Canyon’s newer hits “I Got This.”

— By Richard Amery, L.a. Beat Editor
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Last Updated ( Friday, 30 November 2018 00:42 )
 

Matt Patershuk runs the gamut of blues, country and roots music

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It is always a pleasure to see La Glace based folk/ country singer Matt Patershuk, so I was glad to arrive just in time for his second set at the Owl Acoustic Lounge, Friday, Nov. 16.

Matt Patershuk returned to Lethbridge last week. Photo by Richard Amery
 He was in the mood to share some music and  relax a decent sized crowd with his big, soothing, rumbling baritone voice, which reminded me of Edmonton folk singer Scott Cook.


 He was joined by a drummer, lead guitarist and upright bassist to add a big, rockabilly style bottom end.


 He rode the edge of traditional ’50s style country music and  gut shaking slide blues, switching between a battered acoustic guitar and a old white Telecaster for the more country songs.


 He  played a variety of new originals plus a few choice covers of songs by bluesman Sonny Boy Williamson and Hank Williams.
His originals were heartfelt and though provoking, especially one based on the Greek myth of Atlas.


 But he was equally adept at playing old blues tunes including an excellent cover of “Jump , Jive and Wail,” which worked even without a horn section.

— By Richard Amery, L.A. Beat Editor
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Last Updated ( Friday, 30 November 2018 11:09 )
 
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