Clinton Charlton
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Clinton Charlton

Saint John, New Brunswick, Canada | INDIE

Saint John, New Brunswick, Canada | INDIE
Band Pop Singer/Songwriter

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"January Through December Review Pt. 1"

January Through December Part 1: January-April
By Mark Carpenter
March 4, 2012

Hi again. As promised in my introductory column, this week I’ll be following up my review of Clinton Charlton’s Parade with a writeup on Charlton’s ambitious project, January Through December, for which a song was composed and recorded for every month of the year 2011. I have a great deal of fondness for creative endeavours like this one – all the better when they’re conceived with an end in sight. (I liked the idea of Sufjan Stevens’ series of albums about each of the 50 U.S. States, albeit with a tinge of regret that, the project would not, could not be completed.)
Without further ado, then, here are 4 mini-reviews, one per each song on the site from January-April. (And here’s a link: http://www.januarythroughdecember.com/)
January: “A January Song”
I have to admit to a smidgen of disappointment when I realized that the songs here are not literally about the respective months in which they were written. This track is the only one of the twelve to actually include a reference to the month in the title, though more than a wintry vibe, the tune suggests a quiet New Year’s hootenanny, with year-end revelry shading into introspection. Of course, as with many of the tracks here, the subject of “A January Song” is songwriting itself, and the struggle to create songs, though any sense of frustration is only hinted at in Charlton’s subtly halting vocal. The music, rather, evokes the pleasure of making music, of musicians together, doing what they love. The recording is pristine; drummer Sean Boyer’s brush is beautifully clear and vivid throughout, while the bass, played by GiraffeCycle’s own Chuck Teed, has a remarkable buoyancy. Wonderful, joyous start to the year.
February: “Opening Night”
Of course, listening to the songs with the months in which they were recorded in mind, one starts to draw connections. This track, altogether darker than its precursor, suggests the phase of the winter when profound malaise sets in. (Remember, Nick Drake’s Pink Moon was released in February ’72!) The grim lyrics are a nightmare of artistic creation, of theatre dissolving into blood. Charlton’s gentle singing and fingerpicking are counterpointed by the ominous drone of Chris Braydon’s electric, and the melancholy vocal harmonies. A great example of a haunted atmosphere conjured up with very little fuss.
March: “Autumn On Sherbrooke St.”
Now this is definitely not about March, but rather a memory piece: Charlton explains in his writeup on the track on the site that it is a tribute to the home in which he and his family previously lived. It is a sprightly, instrumental that showcases wonderfully Charlton’s understated prowess on acoustic.
April: “I Haven’t Got The Time To Spare”
Another meta-commentary on the difficulties of songwriting, as Charlton details in the frank, informative posting that accompanies the song. Written and recorded in a hurry to meet the April deadline, this piece has an infectious good cheer that plays off the creative frustrations expressed in the lyric in classic fashion. Another good tune, with two different mixes posted for your listening pleasure.

That’s all for now. Part Two, comprising the months of May through August, will be posted next week. - Mark Carpenter (Giraffecycle)


"January Through December Review Pt. 1"

January Through December Part 1: January-April
By Mark Carpenter
March 4, 2012

Hi again. As promised in my introductory column, this week I’ll be following up my review of Clinton Charlton’s Parade with a writeup on Charlton’s ambitious project, January Through December, for which a song was composed and recorded for every month of the year 2011. I have a great deal of fondness for creative endeavours like this one – all the better when they’re conceived with an end in sight. (I liked the idea of Sufjan Stevens’ series of albums about each of the 50 U.S. States, albeit with a tinge of regret that, the project would not, could not be completed.)
Without further ado, then, here are 4 mini-reviews, one per each song on the site from January-April. (And here’s a link: http://www.januarythroughdecember.com/)
January: “A January Song”
I have to admit to a smidgen of disappointment when I realized that the songs here are not literally about the respective months in which they were written. This track is the only one of the twelve to actually include a reference to the month in the title, though more than a wintry vibe, the tune suggests a quiet New Year’s hootenanny, with year-end revelry shading into introspection. Of course, as with many of the tracks here, the subject of “A January Song” is songwriting itself, and the struggle to create songs, though any sense of frustration is only hinted at in Charlton’s subtly halting vocal. The music, rather, evokes the pleasure of making music, of musicians together, doing what they love. The recording is pristine; drummer Sean Boyer’s brush is beautifully clear and vivid throughout, while the bass, played by GiraffeCycle’s own Chuck Teed, has a remarkable buoyancy. Wonderful, joyous start to the year.
February: “Opening Night”
Of course, listening to the songs with the months in which they were recorded in mind, one starts to draw connections. This track, altogether darker than its precursor, suggests the phase of the winter when profound malaise sets in. (Remember, Nick Drake’s Pink Moon was released in February ’72!) The grim lyrics are a nightmare of artistic creation, of theatre dissolving into blood. Charlton’s gentle singing and fingerpicking are counterpointed by the ominous drone of Chris Braydon’s electric, and the melancholy vocal harmonies. A great example of a haunted atmosphere conjured up with very little fuss.
March: “Autumn On Sherbrooke St.”
Now this is definitely not about March, but rather a memory piece: Charlton explains in his writeup on the track on the site that it is a tribute to the home in which he and his family previously lived. It is a sprightly, instrumental that showcases wonderfully Charlton’s understated prowess on acoustic.
April: “I Haven’t Got The Time To Spare”
Another meta-commentary on the difficulties of songwriting, as Charlton details in the frank, informative posting that accompanies the song. Written and recorded in a hurry to meet the April deadline, this piece has an infectious good cheer that plays off the creative frustrations expressed in the lyric in classic fashion. Another good tune, with two different mixes posted for your listening pleasure.

That’s all for now. Part Two, comprising the months of May through August, will be posted next week. - Mark Carpenter (Giraffecycle)


"January Through December Review Pt.2"

January Through December Part 2: May-August
By Mark Carpenter
March 11, 2012

Hello again. This week, part two on Clinton Charlton’s ambitious project, January Through December, for which a song was composed and recorded for every month of the year 2011. For this segment, I will cover the months May to August.

May: “The Last Dance”
In his writeup on this song on the site, Charlton says that the composition was based on the recent purchase of a ukelele, in a terrific example of a new instrument spurring a creative leap. This song was an attempt at writing a tune in the style of Tin Pin Alley, but the result has an affecting despondency that seems very personal and distinctive. Another fine song which subtly evokes the month of May to these ears. Something about the jauntiness of the ukelele suggests a spring idyll, but the melancholia calls to mind the evanescence of spring weather in Canada, versus the overpowering strength of the winter winds. May is the month when, as warm as it can get, it can still seem like we’re just barely keeping the winter at bay. “The Last Dance” seems haunted by such feelings.

June: “Not One To Complain”
This plaintive track, another solo performance, is a tender rumination on a dead relationship. The title says it all; the tone here is not miserabilist, but rather wry and accepting. Winter is on its way out!

July: “Beaten Heart”
In contrast, July’s entry is about giving up, going “down for the count”when your heart is broken. Here, Charlton utilizes the failed boxer metaphor familiar from Simon and Garfunkel and others, and he does it most effectively, with possibly the most indelible melody of the set so far. The arrangement is carefully layered, with record-scratch noise at the beginning accentuating the bruised despair of the song. Sad but strangely uplifting.

August: “Lead Me On”
This one is partly about August, as the lyrics explicitly address the feeling of loss at summer’s end, as Charlton says in his writeup on the track. The haunting coda, “…the daylight is fading,” says it all. An enigmatic lyric about the end of things, supported by a gorgeous arrangement, this is another Charlton song that demonstrates how the most beautiful songs are the sad ones.

That’s all for now. The third and final part, September through December, will be posted later this week. Again, here’s a link to the site: http://www.januarythroughdecember.com/ - Mark Carpenter (Giraffecycle)


"January Through December Review Pt.2"

January Through December Part 2: May-August
By Mark Carpenter
March 11, 2012

Hello again. This week, part two on Clinton Charlton’s ambitious project, January Through December, for which a song was composed and recorded for every month of the year 2011. For this segment, I will cover the months May to August.

May: “The Last Dance”
In his writeup on this song on the site, Charlton says that the composition was based on the recent purchase of a ukelele, in a terrific example of a new instrument spurring a creative leap. This song was an attempt at writing a tune in the style of Tin Pin Alley, but the result has an affecting despondency that seems very personal and distinctive. Another fine song which subtly evokes the month of May to these ears. Something about the jauntiness of the ukelele suggests a spring idyll, but the melancholia calls to mind the evanescence of spring weather in Canada, versus the overpowering strength of the winter winds. May is the month when, as warm as it can get, it can still seem like we’re just barely keeping the winter at bay. “The Last Dance” seems haunted by such feelings.

June: “Not One To Complain”
This plaintive track, another solo performance, is a tender rumination on a dead relationship. The title says it all; the tone here is not miserabilist, but rather wry and accepting. Winter is on its way out!

July: “Beaten Heart”
In contrast, July’s entry is about giving up, going “down for the count”when your heart is broken. Here, Charlton utilizes the failed boxer metaphor familiar from Simon and Garfunkel and others, and he does it most effectively, with possibly the most indelible melody of the set so far. The arrangement is carefully layered, with record-scratch noise at the beginning accentuating the bruised despair of the song. Sad but strangely uplifting.

August: “Lead Me On”
This one is partly about August, as the lyrics explicitly address the feeling of loss at summer’s end, as Charlton says in his writeup on the track. The haunting coda, “…the daylight is fading,” says it all. An enigmatic lyric about the end of things, supported by a gorgeous arrangement, this is another Charlton song that demonstrates how the most beautiful songs are the sad ones.

That’s all for now. The third and final part, September through December, will be posted later this week. Again, here’s a link to the site: http://www.januarythroughdecember.com/ - Mark Carpenter (Giraffecycle)


"Clinton Charlton Brings Writing Project to Shivering Songs Fest"

Shivering Songs kicks off today in Fredericton, with a bit of history celebrated. Iconic NB blues trio Hot Toddy reunite for a one-time show, which sees them playing the entirety of their fan-favourite disc, Shoe Factory. The event is at Wilmot United Church, starting at 8 PM, and the opening act is none other than festival founders and organizers, Olympic Symphonium. It should be great night with those high-quality players and writers in both bands. The first late-night showcases happen after that as well. Friday features are Owen Steel, Babette Hayward and Micah Blue Smaldone at Wilser's Room at 10 PM, and Acres & Acres plus Brydon Crain at the Capitol at 11.

Saturday afternoon sees a new addition to the festival, and a new venue. It's at the Cedar Tree Cafe on Queen Street. The funky coffee/Lebanese spot has been introducing lots of live music, even bringing back dining and dancing to the downtown in the past year since its move to new digs. Now it's become another festival stage, for a new idea. It's hosting a supper-hour show, from 5 to 7, called Songbook. It's MC'd by Clinton Charlton of Saint John, kind of a songwriter's circle, with Clinton joined by Brent Mason, Adam Mowery, Peter Hicks of Sleepy Driver, and Joe Grass, the cool guitar player from Moncton via Montreal, who plays with a who's who including Patrick Watson.
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I'm pretty sure Clinton will play something from his recent, innovative songwriting project. For the past year, he's been working on an on-line exhibition of his work, called January Through December (http://www.januarythroughdecember.com/). The idea was to post a brand-new song each month, and in Charlton hopes, present his music "as close to its inception as possible." Along with the tunes, we got a full blog entry described the process, as well as what was going on with his thoughts and life as he worked on the track.

It's an intimate and educational look at the songwriting process, as Charlton slogs through the project, through highs and lows, moments of inspiration and times of searching. Right from the start, you hear him tentatively getting into it with the autobiographical words of A January Tune, as he struggles with the concept. With the first out of the way, he starts to pick up momentum. In the blog, we hear about behind-the-scenes influences, such as his family moving into their first-ever house, and how writing and recording there was a new pleasure. There's lots of information on the set-up and recording, plus guitar and instrument talk, but its never insider-based, more aimed at explaining to the listener how these things affect what he writes. In March's song Autumn On Sherbrooke St., he tells us how using a different tuning can inspire a different kind of song.

It's not all solo, and for the most part he gets lots of help from musical pals, for other instruments and the technical side. These are very well-done recordings, not sloppy, and with strong audio on the sound files. When he runs into trouble, he can often turn to his companions, and as one says, "this is what music and friendship is about."

You get the songs, the lyrics, and the full run-down of how each came about. As well as being a singer-songwriter for years, Charlton is also the drummer for the group Penny Blacks, and for July's song, it's his recent purchase of some shakers for that band that leads to the percussion part that drives that song. The most interesting part of the story comes in November, when he writes about hitting a personal slump, something for him is not condusive to songwriting. He admits to dreading writing that month's song, and how he forced himself to come up with a new recording method, simply knocking something out, and bringing in good friends to quickly lay in lots of parts. In the end, he calls it the most fun he'd ever had recording, and it shook him out of the blues, ending his slump.

As the project closed in December, it's clear how well it worked. The track I'll Be A Bird is the very best of the bunch. Charlton writes that he "learned a lot about songwriting, and trusting my instincts, and I walk away from this project a better writer." He actually didn't want to end it for awhile, and after considering continuing, he decided to stick by the rules. However, the project itself goes on. Charlton asked his colleague Charles Braydon to be the next to take up the challenge, and you can link to his ongoing work from the same page.

Charlton hopes to make at least some of the songs be part of his next album. In the meantime, check him out at Shivering Songs with all the other folks this weekend, with the full schedule at http://shiveringsongs.com/. - Bob Mersereau (CBC)


"Clinton Charlton sets his own pace"

If you speak with Saint John resident Clinton Charlton about his newest project entitled January Through December in which he writes, records and releases one song per month throughout 2011, you can quickly gather that it is not merely a lazy man’s way to compile material for a new record.

In actuality, Charlton has little reason to compose new music at such a relatively leisurely pace. The prolific musician has four prior releases to his name, is a multiple Saint John Music Award winner and had his track “A Place To Play A Song” commissioned by the City of Saint John and prominently featured in a commercial promoting tourism to the city.

Does the above sound like the work ethic of a lazy man?

I should think not.

For the minimal fee of $5, Charlton’s fans can sign up on the January Through December website where they are then given access to the songs that have been written for the year to date while also granting them access to the material that will be written over the remainder of the year.

Also included in the subscription fee are artwork, lyrics for each track and a blog about the song.

While he will be the first to admit that the idea for the project is not entirely an original one, Charlton tells The Times & Transcript that inspiration for January Through December came from a number of different sources.

“January Through December was more of my own take on a concept I learned about through writers such as Ari Hest, who had a project called 52, or Josh Rouse’s Bedroom Classics Archive,” he begins. “I had considered writing a song a week but I knew that with my day job, my membership in several bands and my already busy music schedule, the quality would suffer and so I settled on one song a month instead.”

By writing and recording one song per month, Charlton has actually freed himself of what some musicians might consider a primary constraint of making a full-length record: ensuring that there is a cohesiveness that ties the group of tracks together.

Though his songs stay close to Charlton’s folk-inspired roots, he does feel there is a certain liberty that goes along with writing songs for the project as opposed to writing for a new record.

“One of the most attractive things about the project was that it enabled me to stay creative while allowing myself the freedom to experiment without worrying about how the songs flowed from one track to the next.”

The album as an art form is far from dead as far as Charlton is concerned and does not mean to raise alarm bells to that effect by having undertaken this specific project.

It was simply a matter of being the right project for him at the right time. And though he has given some consideration to gathering the 12 songs that will comprise January Through December onto an album of their own, he also admits that he may be content to leave the songs stand on their own. But he’d like people to hear them in context.

“A few people have asked whether they think I will put these songs out as a release of their own and it has me thinking that maybe I should do so.

“But then again, I may be content just to let the project be what it is. I am definitely reserving the right to change my mind if I want to do so.”

“I certainly did not intend on making a record when I started the project, but the more time I spend with these songs, the more I want people to hear them. I did not expect the project to have the impact that it has had upon my writing. It has helped me to develop diversify writing and has also forced me to give up some of the preconceptions of what I think I should sound like.”

To learn more of Clinton Charlton’s January Through December project, visit www.januarythroughdecember.com. - Times & Transcript (09/16/11)


"Saint John’s Clinton Charlton is workin’ January Through December"

Clinton Charlton just might be one of the busiest dudes in the vibrant Saint John, New Brunswick music scene. A multiple Saint John Music Award winner, Charlton’s latest venture, January Through December, has him writing, recording and mixing one song per month and offering the results via the project’s website. Charlton’s knack for cutting to the chase with his highly infectious folk-infused songs must surely looked upon with envy by other musicians.

Of course, January Through December is only one of numerous achievements for Charlton. With four other releases to his name, Charlton also has the distinction of having been commissioned by the City of Saint John to write the theme song for the city’s 225th birthday celebration. Charlton’s track “A Place To Play A Song” was featured in a tourism commercial for the city, helping raise Charlton’s already impressive profile higher.

Charlton recently took the time to discuss January Through December with The MusicNerd Chronicles:

How did you come up with the idea of writing a song per month?

It’s certainly not an original idea, more of my own spin on a concept I learned about through writers such as Ari Hest, who had a project called 52, or Josh Rouse’s Bedroom Classics Archive. Saint John Native Christian Leblanc did a songwriting project called 52 Weeks, which also served as inspiration. I considered writing a song a week but I knew that with my day job, my membership in several bands and my already busy music schedule, the quality would suffer. So I settled on one song a month and the results have been gratifying thus far.

Do you plan on doing anything with these tracks after the fact – compiling them onto a proper release or are you content to let them stand as is?

I’m not sure yet. I’ve been asked that question a few times now and it has me thinking that maybe I should compile them into a proper release. I may be content to just let the project be what it is, but I reserve the right to change my mind. If I were to do a proper release of the material, I think I would want to package it with the blogs that accompany the music on the website since they provide the context for the material. I certainly didn’t intend on making a record when I started the project, but the more time I spend with these songs, the more I want people to hear them.

Is it somewhat freeing to be able to undertake a project like this and not necessarily have to keep in mind that the songs are coherent month over month as if you were making a proper album?

Absolutely! One of the most attractive things about the project for me was that it enabled me to stay creative while allowing the freedom to experiment without worrying about flow from one track to the next. The initial idea behind the project was to stay busy and release some songs while I wrote a batch of new material that will become my next album proper. I didn’t expect the project to have the impact it has on my writing. I think it’s helped me to develop more diversity in my writing and give up some of the preconceptions of what I think I should sound like.

How prolific of a songwriter are you otherwise? Is writing a song a month a challenge in any respect or has it been a fairly easy task for you?

I wouldn’t call myself a prolific writer by any means. I have accumulated a good size repertoire of original material over the years, and my catalogue is certainly growing rapidly. With that said, I’m also a lazy writer. I have cassettes full of partial songs or unrealized ideas that I simply let lie. When I revisit this material I find lots of stuff that I know I should explore or work on but it’s just not a discipline that I’ve mastered yet. Deadlines are a good thing for me; this project has certainly helped me to focus. The trick right now is to start earlier in the month. Almost every song on this project has been born with only days left before it’s due. So on one hand, I guess it comes easy to me most times, but on the other, perhaps the songs could be more realized with more focus. I’m not beating myself up over it though, I intend to do this for as many years as I’m breathing. Songwriting is a lifelong pursuit; it’s a craft that has to be cultivated. I can’t wait to hear what my songs will sound like in 30 years from now. Hopefully I’ve learned lots. - The Music Nerd Chronicles


"Saint John’s Clinton Charlton is workin’ January Through December"

Clinton Charlton just might be one of the busiest dudes in the vibrant Saint John, New Brunswick music scene. A multiple Saint John Music Award winner, Charlton’s latest venture, January Through December, has him writing, recording and mixing one song per month and offering the results via the project’s website. Charlton’s knack for cutting to the chase with his highly infectious folk-infused songs must surely looked upon with envy by other musicians.

Of course, January Through December is only one of numerous achievements for Charlton. With four other releases to his name, Charlton also has the distinction of having been commissioned by the City of Saint John to write the theme song for the city’s 225th birthday celebration. Charlton’s track “A Place To Play A Song” was featured in a tourism commercial for the city, helping raise Charlton’s already impressive profile higher.

Charlton recently took the time to discuss January Through December with The MusicNerd Chronicles:

How did you come up with the idea of writing a song per month?

It’s certainly not an original idea, more of my own spin on a concept I learned about through writers such as Ari Hest, who had a project called 52, or Josh Rouse’s Bedroom Classics Archive. Saint John Native Christian Leblanc did a songwriting project called 52 Weeks, which also served as inspiration. I considered writing a song a week but I knew that with my day job, my membership in several bands and my already busy music schedule, the quality would suffer. So I settled on one song a month and the results have been gratifying thus far.

Do you plan on doing anything with these tracks after the fact – compiling them onto a proper release or are you content to let them stand as is?

I’m not sure yet. I’ve been asked that question a few times now and it has me thinking that maybe I should compile them into a proper release. I may be content to just let the project be what it is, but I reserve the right to change my mind. If I were to do a proper release of the material, I think I would want to package it with the blogs that accompany the music on the website since they provide the context for the material. I certainly didn’t intend on making a record when I started the project, but the more time I spend with these songs, the more I want people to hear them.

Is it somewhat freeing to be able to undertake a project like this and not necessarily have to keep in mind that the songs are coherent month over month as if you were making a proper album?

Absolutely! One of the most attractive things about the project for me was that it enabled me to stay creative while allowing the freedom to experiment without worrying about flow from one track to the next. The initial idea behind the project was to stay busy and release some songs while I wrote a batch of new material that will become my next album proper. I didn’t expect the project to have the impact it has on my writing. I think it’s helped me to develop more diversity in my writing and give up some of the preconceptions of what I think I should sound like.

How prolific of a songwriter are you otherwise? Is writing a song a month a challenge in any respect or has it been a fairly easy task for you?

I wouldn’t call myself a prolific writer by any means. I have accumulated a good size repertoire of original material over the years, and my catalogue is certainly growing rapidly. With that said, I’m also a lazy writer. I have cassettes full of partial songs or unrealized ideas that I simply let lie. When I revisit this material I find lots of stuff that I know I should explore or work on but it’s just not a discipline that I’ve mastered yet. Deadlines are a good thing for me; this project has certainly helped me to focus. The trick right now is to start earlier in the month. Almost every song on this project has been born with only days left before it’s due. So on one hand, I guess it comes easy to me most times, but on the other, perhaps the songs could be more realized with more focus. I’m not beating myself up over it though, I intend to do this for as many years as I’m breathing. Songwriting is a lifelong pursuit; it’s a craft that has to be cultivated. I can’t wait to hear what my songs will sound like in 30 years from now. Hopefully I’ve learned lots. - The Music Nerd Chronicles


"Serf City Interview and Podcast"

On last week’s show, local musician Clinton Charlton came into the studio for a chat with host Mark Leger.

Charlton, 36, is the former front man for the roots-based band Carousels. But he has released his first full length solo CD entitled Parade and is holding a release party Thursday May 28 at the Blue Olive on Rothesay Avenue. Joining Clinton will be the alt-country queens The Reckless Sweethearts. The fun starts at 8pm and tickets are $7 at the door and $5 in advance.

You can watch a clip from the interview and listen to Charlton perform here. The full interview can be heard in our podcast section here, where the two discuss Clinton’s musical influences, the challenges of being a performing singer-songwriter and his rapidly growing obsession with collecting guitars (he has 17 in various stages and different vintages). - Serf City SJ


"[HERE] Magazine Cover Story"

Clinton Charlton is lauded in local music circles. He's pretty easy to like, with unassuming, well-crafted songs, warm, friendly vocals, and membership in several local bands. Charlton is definitely a key beam in the support structure of an unofficial 'music collective.'
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Clinton Charlton brings a wide variety of musical experience to the table.

Charlton grew up in Grand Bay, went to St Malachy's, pursued an arts degree, but dropped out for a full-time job. He lives with his fiancé and daughter on the West Side. An active solo artist, he's also a member of Penny Blacks, collaborator with The Reckless Sweethearts and Edge On Spiral, and current touring band The Formers is stacked with Saint John scenesters. Clearly he plays well with others.

Keep in mind that he does all this while working a full time job at IBM.

Charlton celebrated his full-length Parade (available at Backstreet Records, I-tunes) with a release party May 28 at The Blue Olive. He's been playing occasional shows, including last week at Vintage Bistro in Hampton, and upcoming nights at the Kennedy Inn in St. Andrew's on November 6 and 7, plus a free performance November 20 at CFMH, 107.3 FM.

The buzz has been positive; maybe Charlton's time has come for the limelight. [here] caught up with Charlton to ask nosey questions, especially in light of a new sponsorship deal.

"It's with a company called Stonebridge Guitars from the Czech Republic," says Charlton. "They make top quality hand-made acoustic guitars and are gaining quite a reputation amongst acoustic guitar fans. I have a nice little collection of acoustic guitars, mostly vintage stuff, but have never owned a brand new one."

Charlton had been considering an Avalon but decided on Stonebridge after having a crack at Dan Downes's guitar.

"Dave Gunning and J.P. Cormier are the other two Maritime artists that they endorse, and they also have Montreal's Antoine DuFour on their roster."

Charlton has a nice touch on the guitar, but is humble about his skills.

"It's ironic that I got this," he claims, "considering literally everyone I play with is a better guitarist than me. But their philosophy at Stonebridge is that they are a small company looking to spread their name and they want to partner with artists looking to do the same."

Will he take his new "axe" out on the road with an extensive tour?

"It's really something I need to do more," admits Charlton. "I have made a few ventures around the Maritimes but not near as often as I should. It's hard though, you know. I have a full-time job and a family too. It's not so easy to just pick up and go for a week. But, with that said, I do realize that it's a necessity if you want to sell records and get your name out there."

Charlton's rootsy music can be sampled at myspace.com/clintoncharlton, but to "get it," go see a show. It also helps to know the songwriters he admires most.

"It changes as my tastes grow, really," offers Charlton. "Years ago I would never be able to appreciate the subtleness of a Nick Drake or Richard Thompson but I find myself drawn to their music in recent months. Paul Simon has been a constant for me for years and is one of the greatest ever in my opinion. Neil Finn is another songwriter who I have endless respect for, as well as Ron Sexsmith. Of course The Beatles are a given and I really love old country music and Motown as well, especially Smokey Robinson. For more recent artists I really like Josh Ritter, M. Ward, Mark Kozelak and Denison Witmer."

With that varied group of inspirations, Charlton's sound meanders a bit from record to record, tune to tune. The Carousels had a pop/rock feel, the Tracey Lavigne duets are folk (expect an album, eventually), but his EP These Stars We See and Parade genre hop. Braver Than Most smacks of the Everly Brothers, Nick Lowe, and Ron Sexsmith. A Bee In October is upbeat alt-country evoking Blue Rodeo. Angels of Canterbury Street is a gorgeous, atmospheric song revealing his love for Paul Simon.

"I don't think it's so much a change in direction as it is the result of being conscious of making a record," explains Charlton. "These Stars We See was really just a collection of demos that Jason Ogden (Penny Blacks, Hospital Grade) convinced me to release. It was an accidental album and consequently was not an accurate reflection of what I do musically. With Parade I knew that I was making an album from the get-go and was able to pick the songs that I thought had the best flow and complimented one another best. I knew I wanted Parade to reflect my love of the music made in the 60s and early 70s when radio was less focused on one genre, when you could hear Johnny Cash, Van Morrison and The Everly Brothers all without changing the dial."

Parade has a soft, pleasant feel; as if the musicians were in your living room, appropriate for a scene where house concerts are among the - [HERE] Magazine


"KV Style Magazine"

Local singer/songwriter Clinton Charlton has been honing his craft for years in local music venues, festivals and high-profile opening gigs for the likes of Josh Ritter. I have witnessed Charlton grow as an artist and live performer and I am never left unsatisfied as a spectator.

Years ago I worked with Charlton on a gig uptown where his Crazy Horse-influenced band blew me away with their energy and conviction. Even today he bowls you over with a subtle but powerful performance with songs that stay locked in your head as well as your heart.

Charlton will be releasing his new CD Parade in April and I, for one, am looking forward to hearing the next chapter of this local songwriting treasure. Make a point of checking out Clinton, along with Matthew de Zoete, at the comfy Sessions Café, March 21, 8 p.m. and on April 10, 8 p.m. at The Mason Jar in Sussex. Here is what www.giraffecycle.com had to say about Charlton: "solid and experienced performer with the aching voice of Tweedy and Big Star." For more info and to hear some music go to www.myspace.com/clintoncharlton - KV Style Magazine


"CD Review for Parade"

It seems like we’ve reached the dog days of summer releases. The review pile is running low and honestly, if it wasn’t I don’t know if I would have thrown in Clinton Charlton’s full length the other day. It’s not that I didn’t think the NB man is talented – his work with Carousels was strong enough to gain a spot on the NB mixtape – I just assumed it would be in line with the roots tinged, bar rock I had heard from the band and not really what I’m looking for these days.

Instead, Charlton retreats to the back of the bar and has penned a collection of introspective tracks. I know that roots music is the new synth rock, which was the new black, but Parade never really pushes the issue. Charlton doesn’t hit you over the head with a fake drawl or nods to Townes or Young. Instead he just plays relaxed songs with the help of a solid band and lets the chips fall where they may.

Probably Charlton’s best skill is understanding how people will hear his music. He jump starts the record with an uptempo effort- Bee In October - and picks up the tempo again when the disc starts to lag. That lets you settle into the tender tracks like All the Damage Done. More importantly the brevity of the LP doesn’t let you get bored. Parade is a quick hitting nine songs, four of which don’t even break the 2:30 mark, that make their point and leave. He doesn’t waste time with extended solos, pointless narratives or stories that go nowhere, and as a result, Parade is highly repeatable.

Clinton’s got the unique ability to leave the listener wanting more. When he gets it right, like he does on the beautiful, steel/organ filled duet with Jessica Rhaye (Til We've Both Said Goodbye), the stripped down Because Of A Girl or perfectly Angels Of Cantebury Street, you wish he could have added another minute to the effort. But even when songs lose some of the integrity the genre deserves (like the radio friendly Braver than Most, Charlton doesn’t let the song overstay its welcome and derail the listen.

All in all, a nice solo venture for the seasoned musician. There are some nice highs and of course, a few lows but Parade gets me excited for his next batch of songs when he's more comfortable with his band and the sounds that works best for them.

- Hero Hill (2009)


"On Songwriting"

"Clinton's songcraft is exceptional. And not just in a "pretty good for a Saint Johner" way, either. Songs like "Awful, Alone" are on par with, if not better than, songs I have heard by bands that receive international acclaim."

Jason Ogden (Penny Blacks)
- Jason Ogden (Penny Blacks)


Discography

Discography:

Clinton Charlton - The Devil In My Hands (from the film 'Home') (Independant 2012)

Clinton Charlton - January Through December (Independent 2011)

Clinton Charlton & The Formers - A Place To Play A Song (BBQ Records 2010)

Clinton Charlton - Parade (Sandbar Music 2009)

Clinton Charlton & Tracey Lavigne - The Golden Years (Sandbar Music - 2009)

Clinton Charlton - These Stars We See... (Sandbar Music - 2006)

Compilations:

Turning Back The Pages Of My Sweet Shattered Dreams: A Tribute to Gordon Lightfoot (Herohill 2011)

East Coast Covers East Coast (Goosebury Records 2010)

SJ3: The Revenge (BBQ Records 2008)

Chasing Cars In June (Studiosonda 2007)

A Christmas A Gift To You...(Independant 2007)

Sandbar Music Sampler - Vol. 2 (Sandbar Music 2007)

The Great Canadian Mixtape (Herohill 2007)

Photos

Bio

2013 Silver Wave Film Festival Award for Best Video (I'll Be A Bird)
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2013 Saint John Music Award nominee for Best Male Artist
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2012 Saint John Originals Nominee in the Popular Music Category
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2012 International Songwriting Competition (ISC) Semi-Finalist
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2010 Saint John Music Award Winner for Best Male Artist
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2010 Music New Brunswick Award nominee for Male Recording Artist of the Year .
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2010 CBC Galaxie Rising Star Finalist
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Winner of FIVE 2009 Saint John Music Awards including:

- Best Male Artist
- Best Album (Parade)
- Single Of The Year (Angels Of Canterbury Street)
- Concert Of the Year (Parade CD Release)
- Musician Of The Year

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"Clinton bowls you over with a subtle but powerful performance with songs that stay locked in your head as well as your heart" - JEFF LIBERTY, KV STYLE MAGAZINE (MAR 20, 2009)

"He doesn’t waste time with extended solos, pointless narratives or stories that go nowhere, and as a result, Parade is highly repeatable" - HEROHILL.COM, HEROHILL (JUN 25, 2009)

"Clinton Charlton is lauded in local music circles. He's pretty easy to like, with unassuming, well-crafted songs, warm, friendly vocals, and membership in several local bands. Charlton is definitely a key beam in the support structure of an unofficial 'music collective" HERE Magazine (OCT 22, 2009)

"I'm really going to miss this" Clinton remarked the night his former band, The Carousels, rocked a small Saint John pub for the last time. But by the time that day had come, the energetic front man known for his hard driving guitars and raspy vocals, had already recorded his decidedly more intimate solo EP, 'These Stars We See', which was released through Sandbar Music, the same label where Two Hours Traffic and Catherine MacLellan released their first discs. Since that time, the multi-instrumentalist has been honing his folk sensibilities and songwriting while performing with such notables as Josh Ritter, folk-icon James Keelaghan, Jessica Rhaye and countless contemporaries across the country. In May of 2009 Charlton released his first proper full length disc, 'Parade', to raving reviews. The album includes such performance staples as 'Angels Of Canterbury Street', 'Call It What You Want' and first single 'A Bee In October', which reached #2 on the maritime music chart, The East Coast Countdown. Charlton was a Music New Brunswick Nominee for Male Recording Artist of the Year in 2010, and was also a finalist in the CBC Galaxie Rising Star competition that same year. A constant local favourite, Charlton was nominated in a staggering 7 categories at the 2009 Saint John Music Awards, taking home five trophies including Album of the year and Best Male Artist.

Charlton also won for Show Of The Year for his CD release on May 28th with his new band The Formers, a virtual who's who of the Saint John music scene. Multi-instrumentalist Adam Kierstead, of Hospital Grade, brings an exciting mix of electric guitars and organ while former Something French frontman Chris Braydon plays slide guitar. Recording engineer and Edge On Spiral frontman Chris Fudge alternates bass duties with former Ermine bassist Chuck Teed. Hospital Grade and Penny Blacks frontman Jason Ogden plays electric and acoustic guitars and drummer Sean Boyer of Hospital Grade, and countless other local bands, rounds out the line up. "It is an honour to play with musicians of such high calibre" Charlton has remarked. What truly gives The Formers their sound is not their pedigree, but the fact that this is truly a group of friends.

"...these guys are my best friends".

Recently Charlton was commissioned by the City Of Saint John to write the theme song for the city's 225th birthday celebrations. 'A Place To Play A Song' was released on Tuesday, May 18th, to coincide with the debut performance of the song at Harbour Station. The single was featured in a tourism commercial for the city which aired throughout the year on CTV Television. December of 2010 saw the release of a Goosebury Records compilation titled 'East Coast Covers East Coast', which featured Charlton's rendition of Adam Mowery's 'Dear Mother'. Friend and collaborator, Jason Ogden covered Clinton's 'Only Love/Only Fear' for the same disc.

In January of 2012, Charlton launched an ambitious songwriting project titled 'January Through December' where he wrote, recorded and released a new single every month for the entire year. Charlton has resumed the project for 2013. To subscribe to the site, log on to www.januarythroughdecember.com.

To hear Clinton's music or find out where you can catch The Formers live, visit www.clintoncharlton.com