Red Moon Road

Manitoba's Red Moon Road left a wake of excitement behind them, and as they travelled from town to town, the Home Routes office received numerous phone calls from hosts saying how much fun they had with this dynamic trio. From Prince George to Fort St. John, to Prince Rupert, the group said they had never been to this part of the country before and had many requests for them to return on their own and follow up another tour with this successful run. They entertained 328 enthusiastic music lovers in 13 different communities. - Home Routes Concert Series

Manitoba's Red Moon Road left a wake of excitement behind them, and as they travelled from town to town, the Home Routes office received numerous phone calls from hosts saying how much fun they had with this dynamic trio. From Prince George to Fort St. John, to Prince Rupert, the group said they had never been to this part of the country before and had many requests for them to return on their own and follow up another tour with this successful run. They entertained 328 enthusiastic music lovers in 13 different communities. - Home Routes Concert Series

Winnipeg trio Red Moon Road are gearing up to release their full-length debut on March 17th at the West End Cultural Centre and fans of home-grown country-roots are in for a real treat.

Opening with mission statement “Do or Die” – The band reflects on musician life with bold instrumentation that gives reason for their quick rise on the scene. Since Red Moon Road’s first incarnation, co-founders Daniel Peloquin-Hopfner (guitar) and Daniel Jordan (drums) have been fronted by a strong feminine voice. In this final grouping the two Daniels found a triple threat in Sheena Rattai – a well-known local singer who moonlights with local funksters The Solutions. Her experience and range make softer ballads like “Where My Heart Is” and “Demons” all the more powerful and engaging.

These songs have been inspired by camp fire sing-alongs and indeed there is plenty here to enjoy in that context. But, give them a deeper listen and there are some pretty dark themes going on. For example, the seemingly light-hearted folk song “Liesel Friedl” is about a young women riding to the “iron curtain”. Then again, you have some pretty funny songs courtesy of Jordan; “Private Love” is about being in love with a mean women and “Hypothetical Girl” is a drunken sing-along with a kazoo line.

Overall, Red Moon Road have crafted a solid debut with some really interesting songs; sure most of them are on the slower side but the band has a real sense of what makes them unique in a crowded scene. - Stage Door Music

Being perched atop a cliff can be a mixed blessing. It can leave you with a tenuous feeling and fill you with dread that you might slip and fall. But it can also provide you with moments of real clarity and offer a vantage point some never get to experience. That seems to be where we find Red Moon Road with the release of their full length debut. The real, telling move will be their next one. Will they continue to climb or will they fall?

Red Moon Road is a mostly charming excursion down the rock/folk path. The album offers the listener some great instrumentation, impressive lyrics, and enough variety to keep things interesting. You get the feeling this band is going somewhere, although a definitive flight path has yet to be filed. And while there are some good signs here, I for one feel the band has yet to hit its full stride and may even be playing things a little too safe.

“Do or Die” is the opening track, and comes across as part battle theme, part rallying cry. Sheena Rattai’s vocals are pleasant although not as forceful as the subject matter might dictate. The interplay of the guitar and banjo works nicely here, as do the piano and background vocals. I think I’m hearing a stand up bass – which is a nice touch – in the song. The instrumentation does the trick by helping to build the tension and set the scene. This tune leans more toward folk, stylistically speaking. I like that the sound comes through as clean as it does, and the straight-forward approach serves the band well.

The next song, “Where My Heart Is,” has more of a country feel to it. Acoustic and steel guitars combine for a nice sound on this track, and Rattai gives us a plaintive delivery akin to something Jewel might serve up. The subject matter revolves around longing, a (more or less) universal theme to which we can all, at times, relate. It’s an easy number to listen to with a somewhat haunting quality, and shows off the strengths of the band without being overbearing.

“Private Love” gives the listener a chance to hear what one of the “Daniels” in the band (Daniel Jordan and Daniel Peloquin-Hopfner join Sheena Rattai in making up Red Moon Road) has to say musically. I’m not sure which of the two handles the lead vocals, although given the writing style I wouldn’t be surprised if it was Jordan. After all, Daniel Jordan is the nephew of famed Winnipeg entertainer Peter Jordan, known in music circles by his stage name Rocki Rolletti. For those not familiar with Jordan/Rolletti, the style of music often leans towards the comedic. The line in this decidedly country flavoured song, “I got a woman who likes to come…” is what had me wondering if the elder Jordan’s influence was at play. The tune itself reminds me of the Grateful Dead’s “Tennesse Jed,” and that’s a good thing.

Sheena Rattai again handles the vocal reigns on “Come Home,” a mellow, countrified folk number. The instrumentation does not overreach, and in this case keeping things simple works well. It’s a good story song, and both stylistically and lyrically speaking puts me in mind of Joni Mitchell. It’s very easy to get drawn in to this song, and therefore is a triumph for the band in my opinion. This is, so far, my favourite tune on the album and a solid effort through and through by the band.

“Liesel Friedl” is the closest thing to an honest-to-goodness folk tale on this disc, and had me wondering if the song was about a relative of one of the band members (named Liesel Friedl) until I figured out it was the names of the horses she and her younger brother rode away on toward the Iron Curtain to escape the Soviet Red Army. The drumming on the song is crisp, and rolls along nicely with the mandolin and violin each pulling its own weight. The lyrics spin a yarn of escape to a new life across the ocean. I hope it’s a true story, as I tend to be a sucker for those kinds of tales.

“Why He Left the Ocean” again features strong lyrics and is another example of a good story song. While there is, on the surface at least, a nautical bent to the number, it speaks to the universal theme of self-discovery. The weaving together of mandolin, guitar and piano serve the tune well. It’s a song more suited to an intimate audience and setting than it is the big stage, but that’s part of its charm. This tune is well crafted and works in part because it is given a respectful – almost reverential – delivery.

Just to show off its musical chops and Daniel Peloquin-Hopfner’s heritage, Red Moon Road gives us “Qu’allons-nous faire?” which translates roughly in English to “What are we to do?” It’s one of those examples where you don’t have to understand the language it is sung in to enjoy it. The song has a great feel to it with some heart thumping instrumentation and solid vocals. You can hear guitar, fiddle and what sounds like banjo helping propel this tune along. While it is a lively number, I think a more elongated fiddle solo would have helpe - Gray Owl Point

Being perched atop a cliff can be a mixed blessing. It can leave you with a tenuous feeling and fill you with dread that you might slip and fall. But it can also provide you with moments of real clarity and offer a vantage point some never get to experience. That seems to be where we find Red Moon Road with the release of their full length debut. The real, telling move will be their next one. Will they continue to climb or will they fall?

Red Moon Road is a mostly charming excursion down the rock/folk path. The album offers the listener some great instrumentation, impressive lyrics, and enough variety to keep things interesting. You get the feeling this band is going somewhere, although a definitive flight path has yet to be filed. And while there are some good signs here, I for one feel the band has yet to hit its full stride and may even be playing things a little too safe.

“Do or Die” is the opening track, and comes across as part battle theme, part rallying cry. Sheena Rattai’s vocals are pleasant although not as forceful as the subject matter might dictate. The interplay of the guitar and banjo works nicely here, as do the piano and background vocals. I think I’m hearing a stand up bass – which is a nice touch – in the song. The instrumentation does the trick by helping to build the tension and set the scene. This tune leans more toward folk, stylistically speaking. I like that the sound comes through as clean as it does, and the straight-forward approach serves the band well.

The next song, “Where My Heart Is,” has more of a country feel to it. Acoustic and steel guitars combine for a nice sound on this track, and Rattai gives us a plaintive delivery akin to something Jewel might serve up. The subject matter revolves around longing, a (more or less) universal theme to which we can all, at times, relate. It’s an easy number to listen to with a somewhat haunting quality, and shows off the strengths of the band without being overbearing.

“Private Love” gives the listener a chance to hear what one of the “Daniels” in the band (Daniel Jordan and Daniel Peloquin-Hopfner join Sheena Rattai in making up Red Moon Road) has to say musically. I’m not sure which of the two handles the lead vocals, although given the writing style I wouldn’t be surprised if it was Jordan. After all, Daniel Jordan is the nephew of famed Winnipeg entertainer Peter Jordan, known in music circles by his stage name Rocki Rolletti. For those not familiar with Jordan/Rolletti, the style of music often leans towards the comedic. The line in this decidedly country flavoured song, “I got a woman who likes to come…” is what had me wondering if the elder Jordan’s influence was at play. The tune itself reminds me of the Grateful Dead’s “Tennesse Jed,” and that’s a good thing.

Sheena Rattai again handles the vocal reigns on “Come Home,” a mellow, countrified folk number. The instrumentation does not overreach, and in this case keeping things simple works well. It’s a good story song, and both stylistically and lyrically speaking puts me in mind of Joni Mitchell. It’s very easy to get drawn in to this song, and therefore is a triumph for the band in my opinion. This is, so far, my favourite tune on the album and a solid effort through and through by the band.

“Liesel Friedl” is the closest thing to an honest-to-goodness folk tale on this disc, and had me wondering if the song was about a relative of one of the band members (named Liesel Friedl) until I figured out it was the names of the horses she and her younger brother rode away on toward the Iron Curtain to escape the Soviet Red Army. The drumming on the song is crisp, and rolls along nicely with the mandolin and violin each pulling its own weight. The lyrics spin a yarn of escape to a new life across the ocean. I hope it’s a true story, as I tend to be a sucker for those kinds of tales.

“Why He Left the Ocean” again features strong lyrics and is another example of a good story song. While there is, on the surface at least, a nautical bent to the number, it speaks to the universal theme of self-discovery. The weaving together of mandolin, guitar and piano serve the tune well. It’s a song more suited to an intimate audience and setting than it is the big stage, but that’s part of its charm. This tune is well crafted and works in part because it is given a respectful – almost reverential – delivery.

Just to show off its musical chops and Daniel Peloquin-Hopfner’s heritage, Red Moon Road gives us “Qu’allons-nous faire?” which translates roughly in English to “What are we to do?” It’s one of those examples where you don’t have to understand the language it is sung in to enjoy it. The song has a great feel to it with some heart thumping instrumentation and solid vocals. You can hear guitar, fiddle and what sounds like banjo helping propel this tune along. While it is a lively number, I think a more elongated fiddle solo would have helpe - Gray Owl Point

innipeg based roots trio Red Moon Road offer up a solid debut of their original campfire folk music on their self titled CD.
The CD, produced by Crash Test Dummies’ Murray Pulver, starts off with the haunting ethereal vocals of Sheena Rattai who sings a couple mellow ballads laid down on a bed of fiddle, piano, mandolin and stand up bass and tenderly picked acoustic guitars from Daniel Jordan and banjo/ mandolin player Daniel Peloquin-Hopfner.

Click here to hear Red Mood Road

Click here to hear Red Mood Road
It picks up on ‘Private Love,’ a highlight of the CD about a man in a relationship with a mean woman.
Rattai sounds like a more restrained Sarah McLachlan on the beautiful songs she sings. But it’s a good thing they change up the lead vocals because as pretty as Rattai’s vocals are, they are very similar sounding.


‘Liesel Friedl ’ takes the listener back to a simpler more rural time and dangerous time behind the Iron Curtain as Leisle tries to escape the Soviet Union with her family. The beautiful picking is punctuated by spontaneous ‘drum’ solos, probably resulting from banging on the body of an acoustic guitar. There are a variety of themes and subjects explored here including various wildlife, immigration and more folkloric subjects like ‘Come Home’ a song about a child kidnapped by an evil witch, ‘Demons’ about just that and ‘Why He Left the Ocean’ a shanty about a retired sailor.


There is even a French language song ‘Qu’allons-nous Faire?’ a peppy number reflecting Péloquin-Hopfner’s family’s Métis roots sung by Rattai.
Throughout there are gorgeous vocal harmonies especially on ‘Lingering,’ ‘Qu’allons-nous Faire?’and which sounds like a more folky Bare Naked Ladies track.
Oh My Darling’s Allison DeGroot adds extra banjo to ‘Qu’allons-nous Faire?’ as well.
They end the CD on the immediately appealing ‘Hypothetical Girl,” which sounds like a song Todd Snider might sing. The kazoo adds to the appeal and makes it my faovurite track, not to mention a great way to end a superb debut. - LA Beat

One of the big knocks on roots music is that it can tend to sound all the same after a while.

If anyone wants to dispel that notion, one only needs to look to the self-titled debut album from Winnipeg trio Red Moon Road. The record, out March 17th, illustrates just how varied and rich roots music can be when it's done well.

You get banjo-driven stompers ("Do Or Die", "Qu'allons-nouse faire?"), lush wind-through-the-wheat numbers ("Demons"), lilting maritime-flavoured ditties ("Why He Left The Ocean"), and everything in between.


The tender songs definitely the band's forte. "Where My Heart Is" is a weepy Dala-style pastoral, framed lovingly by the arrangement. Soothing harmonies mask the dark subject matter of "Come Home" by intoxicating you with its beauty.

Primary singer Sheena Rattai has a broad range. At times she can be powerful, other times she is absolutely beautiful in her melodies. It's a range and timbre that is reminiscent of another Canadian folk/roots gem, Basia Bulat (particularly on a song like "Liesel Friedl").

The album's standout, however, is not sung by Rattai. Instead it's the humourous honky tonker "Private Love". It's a tale of a 'cold as ice' woman that could very well be the "She Ain't Pretty" for the hillbilly set. That sense of humour strikes again on the saloon singalong "Hypothetical Girl".

Red Moon Road serves as more of a survey of the band's abilities and range rather than a cohesive album. That's not a weakness though. It shows a breadth of style and a confidence that has you wanting to hear so much more from the band.
- Snob's Music

One of the big knocks on roots music is that it can tend to sound all the same after a while.

If anyone wants to dispel that notion, one only needs to look to the self-titled debut album from Winnipeg trio Red Moon Road. The record, out March 17th, illustrates just how varied and rich roots music can be when it's done well.

You get banjo-driven stompers ("Do Or Die", "Qu'allons-nouse faire?"), lush wind-through-the-wheat numbers ("Demons"), lilting maritime-flavoured ditties ("Why He Left The Ocean"), and everything in between.


The tender songs definitely the band's forte. "Where My Heart Is" is a weepy Dala-style pastoral, framed lovingly by the arrangement. Soothing harmonies mask the dark subject matter of "Come Home" by intoxicating you with its beauty.

Primary singer Sheena Rattai has a broad range. At times she can be powerful, other times she is absolutely beautiful in her melodies. It's a range and timbre that is reminiscent of another Canadian folk/roots gem, Basia Bulat (particularly on a song like "Liesel Friedl").

The album's standout, however, is not sung by Rattai. Instead it's the humourous honky tonker "Private Love". It's a tale of a 'cold as ice' woman that could very well be the "She Ain't Pretty" for the hillbilly set. That sense of humour strikes again on the saloon singalong "Hypothetical Girl".

Red Moon Road serves as more of a survey of the band's abilities and range rather than a cohesive album. That's not a weakness though. It shows a breadth of style and a confidence that has you wanting to hear so much more from the band.
- Snob's Music

It was one of those under-stated, unexpected moments. From Erin Propp’s opening moments, you knew that you were in the presence of an emerging songstress. Like Maegan Blanchard from PEI, these young singers bring a depth of feeling and soulfulness that is immediately felt by everyone in the room – no talking, no distraction, just rapt attention. This soulfulness appears to be a quality beyond her years, which brings a feeling of surprise as a listener…”where have you been hiding?” Erin is an equal among the group – with a good array of talent amongst the rest of the band, sharing duties on mandolin, guitars, melodica, keys, bass, banjo, and fiddle. The instruments were heard separately, but together, were full of energy and tight.

Red Moon Road presents live roots music that brings a touch of Celtic, a strong songwriting capability from Daniel Jordan, and a wide range of acoustic instrumentation into their program. Daniel Peloquin-Hopfner, Alex Campbell, and Jordan were all multi-instrumentalists. The peace-keeper in the group was a newcomer on fiddle Alan Owen, whose harmonies and solos on violin were beautiful. He is experienced and talented, playing fiddle with Del Barber, who received critical acclaim at the 2010 Winnipeg Folk Festival.

Red Moon Road @ Sonics and Sojourns

Red Moon Road writes most of their material, but their covers were great as well. Ending with a couple of fun and enjoyable renditions of songs from The Band showed how much fun this band could have with each other and with us. They are on mySpace – RedMoonRoad. Listen to The Frost and The Sailor Song, both of which they sang last night. Good stuff!

If you haven’t seen them yet, go and see them as quickly as you can. - Sonics and Soujourns 2010