The C'mons

5. THE C’MONS
“Semi-Charmed Life”
If you listened obsessively enough to this Third Eye Blind track when it saturated the airwaves during the summer of 1997, you already know that its lyrics are as bleak as its melody is bouncy. If you didn’t, this Toronto band’s dark, decelerated version gives you a second chance to fully appreciate the song’s drug-addict subject matter, including perfectly enunciated cautionary lines such as “Doin’ crystal meth will lift you up until you break.” Everybody. - The Toronto Star

5. THE C’MONS
“Semi-Charmed Life”
If you listened obsessively enough to this Third Eye Blind track when it saturated the airwaves during the summer of 1997, you already know that its lyrics are as bleak as its melody is bouncy. If you didn’t, this Toronto band’s dark, decelerated version gives you a second chance to fully appreciate the song’s drug-addict subject matter, including perfectly enunciated cautionary lines such as “Doin’ crystal meth will lift you up until you break.” Everybody. - The Toronto Star

“I wanna be where the boys are!“

So goes the classic track by The Runaways, a band that proved that women could rock harder than men. And while many women came afterwards to continue to forge a path through the “women can’t support an entire bill” bullshit, it seems lately that few female artists truly rock. Garbage were so very welcome back last year, returning to the fold alongside Metric and scant other true rock options.

The C’mons obviously remember the best days and artists: The Pretenders, Letters To Cleo, Veruca Salt… The list goes on, and so does the beat, courtesy of Stephanie Bosch’s pipes that threatened to belt the damn roof off the Rivoli. With twists of blues, ska and punk, theirs is a body-shaking brand of melody. Dashes of strings evoke Rasputina, even.

With clever, catchy lyrics you wish you already knew so as to sing along, they’re a formidable force. - Open Til Midnight

“I wanna be where the boys are!“

So goes the classic track by The Runaways, a band that proved that women could rock harder than men. And while many women came afterwards to continue to forge a path through the “women can’t support an entire bill” bullshit, it seems lately that few female artists truly rock. Garbage were so very welcome back last year, returning to the fold alongside Metric and scant other true rock options.

The C’mons obviously remember the best days and artists: The Pretenders, Letters To Cleo, Veruca Salt… The list goes on, and so does the beat, courtesy of Stephanie Bosch’s pipes that threatened to belt the damn roof off the Rivoli. With twists of blues, ska and punk, theirs is a body-shaking brand of melody. Dashes of strings evoke Rasputina, even.

With clever, catchy lyrics you wish you already knew so as to sing along, they’re a formidable force. - Open Til Midnight

The C’mons took the night in a more rock-oriented direction. The first song opened with alternating pitch staccatos on guitar before launching into a full double-guitared sound upon the eruption of the chorus. They have a bit of a taste for the dramatic, drawing out their bridges and using quick build-ups of volume and sudden changes in tempo. Sometimes they seem to be trying to be an epic rock band, but they keep you on your toes: instead of a screeching guitar solo, you get a wail on the E string of a violin.

I will readily admit that generally guitar chord-based indie rock does not do anything for me, but The C’mons threw in enough subtleties with pauses, suddenly shifting textures, and isolated guitar melodies to hold my attention. - Gray Owl Point

The C’mons took the night in a more rock-oriented direction. The first song opened with alternating pitch staccatos on guitar before launching into a full double-guitared sound upon the eruption of the chorus. They have a bit of a taste for the dramatic, drawing out their bridges and using quick build-ups of volume and sudden changes in tempo. Sometimes they seem to be trying to be an epic rock band, but they keep you on your toes: instead of a screeching guitar solo, you get a wail on the E string of a violin.

I will readily admit that generally guitar chord-based indie rock does not do anything for me, but The C’mons threw in enough subtleties with pauses, suddenly shifting textures, and isolated guitar melodies to hold my attention. - Gray Owl Point

A quiet start for us with just one band on our radar for the opening day, however we made sure we picked a show that rocked!! The C’mons definitely delivered on that front. The C’mons are a Toronto based band who have come together over the years in what seems to be like carefully placed puzzle pieces. Immediate impressions of the band were intriguing, 5 piece band with a female lead singer and a female violinist! We had never heard this bands music prior so the punk rock that emerged took us by surprise but had us thoroughly entertained throughout their 9 song set list. In general we thought lead singer, Steph Bosch did an awesome job on vocals throughout the night. Instrumentally, the band had no obvious flaws however could do more to make the live experience a bit better.

So lets break it down for you:

The Good:

- Steph’s vocals were awesome all night!! Definitely a highlight

- We were big fans of the lyrics, very interesting and catchy!!

- Their new song (no name was given) was awesome, it had a very early years of No Doubt feel which was cool!

The Bad:

- We’re suckers for stage presence and interaction with the crowd. Not that it was ‘bad’ but it was lacking and we wish there would have been some more.

The Ugly:

- Nothing!!!!

All in all The C’mons kicked off the week in a great way for us!! Their show was high energy and driving. Whether you’re a toe tapper, head bobber or body shaker, The C’mons had a lot of their audience moving! We definitely recommend you get out to see this band because it will be a great time! - March to the Beat

A quiet start for us with just one band on our radar for the opening day, however we made sure we picked a show that rocked!! The C’mons definitely delivered on that front. The C’mons are a Toronto based band who have come together over the years in what seems to be like carefully placed puzzle pieces. Immediate impressions of the band were intriguing, 5 piece band with a female lead singer and a female violinist! We had never heard this bands music prior so the punk rock that emerged took us by surprise but had us thoroughly entertained throughout their 9 song set list. In general we thought lead singer, Steph Bosch did an awesome job on vocals throughout the night. Instrumentally, the band had no obvious flaws however could do more to make the live experience a bit better.

So lets break it down for you:

The Good:

- Steph’s vocals were awesome all night!! Definitely a highlight

- We were big fans of the lyrics, very interesting and catchy!!

- Their new song (no name was given) was awesome, it had a very early years of No Doubt feel which was cool!

The Bad:

- We’re suckers for stage presence and interaction with the crowd. Not that it was ‘bad’ but it was lacking and we wish there would have been some more.

The Ugly:

- Nothing!!!!

All in all The C’mons kicked off the week in a great way for us!! Their show was high energy and driving. Whether you’re a toe tapper, head bobber or body shaker, The C’mons had a lot of their audience moving! We definitely recommend you get out to see this band because it will be a great time! - March to the Beat

Canadian Music Week got the perfect start Tuesday night with Toronto's very own The C'mons. They showed everyone what CMW was all about while bringing the roof down at The Rivoli in Toronto's hip Queen West neighbourhood.

While no stranger to CMW (having performed last year) the band showed a fresh new set list that included their fan favourites but also treated fans to some new sounds. Everytime this band hits the stage this sense of awe takes over. All these different sounds come together to create a force that goes beyond the genre defined alt rock. The drums(Cory Snider), guitar(Scott Hanenberg), bass(Jamie McDowell), and violin(Roslyn Green) are not used as tools but as an extension of the expression of feelings that are epitomized by pristine and heartfelt vocals of lead singer Steph Bosch.

The crowd at Rivoli(who weren't already fans) were easily won over by the opening track and by the end of the set were tapping their feet and begging for more. And who could blame them? These guys create an energy while on stage that becomes infectious to the audience and creates this atmosphere where everyone becomes upbeat and just wants to dance and have a good time...this is why The C'mons are masters at what they do...it is not enough to make good music you have to be able to stand behind it and show the crowd that your music is worth listening to. Every member of the band tonight was on stage giving it their all and showing the audience how much fun they were having and how excited they were to be apart of Canadian Music Week.

If you missed The C'mons don't fret they will be performing in Toronto at the Horseshoe on March 28th. - The Sound of Pop

Canadian Music Week got the perfect start Tuesday night with Toronto's very own The C'mons. They showed everyone what CMW was all about while bringing the roof down at The Rivoli in Toronto's hip Queen West neighbourhood.

While no stranger to CMW (having performed last year) the band showed a fresh new set list that included their fan favourites but also treated fans to some new sounds. Everytime this band hits the stage this sense of awe takes over. All these different sounds come together to create a force that goes beyond the genre defined alt rock. The drums(Cory Snider), guitar(Scott Hanenberg), bass(Jamie McDowell), and violin(Roslyn Green) are not used as tools but as an extension of the expression of feelings that are epitomized by pristine and heartfelt vocals of lead singer Steph Bosch.

The crowd at Rivoli(who weren't already fans) were easily won over by the opening track and by the end of the set were tapping their feet and begging for more. And who could blame them? These guys create an energy while on stage that becomes infectious to the audience and creates this atmosphere where everyone becomes upbeat and just wants to dance and have a good time...this is why The C'mons are masters at what they do...it is not enough to make good music you have to be able to stand behind it and show the crowd that your music is worth listening to. Every member of the band tonight was on stage giving it their all and showing the audience how much fun they were having and how excited they were to be apart of Canadian Music Week.

If you missed The C'mons don't fret they will be performing in Toronto at the Horseshoe on March 28th. - The Sound of Pop

Stupid Charlie is the forthcoming EP from transplanted Albertan Stephanie Bosch. Now residing in Toronto, Bosch is working tirelessly on building her audience. This record should help a lot.

The EP kicks off with the title track, a number that hits you like an amped-up version of KT Tunstall. It's quickly followed by the irresistibly hook-laden rocker "Skin".

Bosch slows things down to close things out with the minimal yet tense "Alone Eventually". It's in this environment that her sharp-tongued lyrics stand out the most.

There are a couple of miscues along the way. "Wasted" is a less-than-memorable cut, not quite filler, but certainly not up to the standards of the rest of these songs. Bosch's rendition of Marilyn Manson's "Beautiful People" doesn't work either. While I applaud the concept and the bravery involved in attempting to tackle that kind of song and make it her own, the execution of the arrangements is simply not right.

Despite the odd slip Stupid Charlie gives you more than enough moments to be able to tell that Bosch is a talented musician and songwriter. We should be hearing a lot more from her in the very near future.
- Snobs Music

Stupid Charlie is the forthcoming EP from transplanted Albertan Stephanie Bosch. Now residing in Toronto, Bosch is working tirelessly on building her audience. This record should help a lot.

The EP kicks off with the title track, a number that hits you like an amped-up version of KT Tunstall. It's quickly followed by the irresistibly hook-laden rocker "Skin".

Bosch slows things down to close things out with the minimal yet tense "Alone Eventually". It's in this environment that her sharp-tongued lyrics stand out the most.

There are a couple of miscues along the way. "Wasted" is a less-than-memorable cut, not quite filler, but certainly not up to the standards of the rest of these songs. Bosch's rendition of Marilyn Manson's "Beautiful People" doesn't work either. While I applaud the concept and the bravery involved in attempting to tackle that kind of song and make it her own, the execution of the arrangements is simply not right.

Despite the odd slip Stupid Charlie gives you more than enough moments to be able to tell that Bosch is a talented musician and songwriter. We should be hearing a lot more from her in the very near future.
- Snobs Music

Stupid Charlie is the third release from Toronto-based artist Stephanie Bosch. This short five-song EP begins with the rockin’ title track, with Bosch coming out strong to deliver a rockabilly anthem that makes you want to sing along even on first listen. Another gem is her arresting version of Marilyn Manson’s hit “Beautiful People.” It’s no easy task to cover such a famous song well, but Bosch accomplishes the feat effortlessly. Based on these two tracks alone, there is no doubt Bosch will finally find her place in the Canadian music scene. Despite these standouts, however, Stupid Charlie lacks the feel of a coherent album, sounding instead like a random collection of really good songs. This leaves it feeling fragmented and unfinished, rather than the sparkling diamond it deserves to be. SD - Shamless Magazine

Stupid Charlie is the third release from Toronto-based artist Stephanie Bosch. This short five-song EP begins with the rockin’ title track, with Bosch coming out strong to deliver a rockabilly anthem that makes you want to sing along even on first listen. Another gem is her arresting version of Marilyn Manson’s hit “Beautiful People.” It’s no easy task to cover such a famous song well, but Bosch accomplishes the feat effortlessly. Based on these two tracks alone, there is no doubt Bosch will finally find her place in the Canadian music scene. Despite these standouts, however, Stupid Charlie lacks the feel of a coherent album, sounding instead like a random collection of really good songs. This leaves it feeling fragmented and unfinished, rather than the sparkling diamond it deserves to be. SD - Shamless Magazine

From first look, it is clear that Stephanie Bosch is highly dedicated to her craft of songwriting. At 21 she has already released 2 EP's and a full length album as well as performed at many high profile events such as Canadian Music Week in Toronto in 2010 and the Edmonton Folk Festival in 2009, which is where I was first introduced to her music. Her first full length album "Departures", landed at #24 on the CKUA Radio charts and climbed it's way up to #9 after just two weeks when it was first released in 2009.

"Stupid Charlie" is a clean departure from the style I am used to hearing from her, but it is refreshing as she brings a new attitude and diversity to this record. The song "Stupid Charlie" has subtle country influences with a very effective, catchy melody and alot of attitude. "Skin" provides a nice contrast to "Stupid Charlie". A self reflective tune which is reminiscent of classic Alanis Morissette. "Wasted" is an acoustic ballad which provides some nice downtime from the first two songs on the record and "Alone Eventually" provides a very simple yet elegant melody with a dark underlying tone to it.

The song that set this record apart from anything I have heard in a long time is Stephanie's stunning melodramatic rendition of Marilyn Manson's "Beautiful People". The slow finger picking that builds up the song, followed by chilling harmonies in the chorus combined with this original melody allows the true theme of this heavy classic to be more easily understood, as well as builds an underlying tension that is easy to fall in love with. This is definitely one of the best remakes I have heard to date.

I am thrilled to see the unbelievable growth of this artist but that being said one of my favorite Stephanie Bosch songs will always be "My Room" off of her album "Departures". The song has more of a sweet, innocent tone, similar to old Taylor Swift songs, except with much better lyrics. The Edmonton native recently packed up and moved to Toronto in search of furthering her career and I have no doubt that is exactly what she will do. With her non-stop commitment and dedication, Stephanie is arguably one of the most talented young musicians to come out of the Edmonton music scene to date. "Stupid Charlie" is available on ITunes for only $4.95 and you can hear some of her music on myspace at:

http://www.myspace.com/stephaniebosch

Make sure to keep your eyes out and ears open for any news.

That's all for now. I will be making a conscious effort to strictly keep up with these again after such a long hiatus since my last post. Keep checking back! - Matt Drake

From first look, it is clear that Stephanie Bosch is highly dedicated to her craft of songwriting. At 21 she has already released 2 EP's and a full length album as well as performed at many high profile events such as Canadian Music Week in Toronto in 2010 and the Edmonton Folk Festival in 2009, which is where I was first introduced to her music. Her first full length album "Departures", landed at #24 on the CKUA Radio charts and climbed it's way up to #9 after just two weeks when it was first released in 2009.

"Stupid Charlie" is a clean departure from the style I am used to hearing from her, but it is refreshing as she brings a new attitude and diversity to this record. The song "Stupid Charlie" has subtle country influences with a very effective, catchy melody and alot of attitude. "Skin" provides a nice contrast to "Stupid Charlie". A self reflective tune which is reminiscent of classic Alanis Morissette. "Wasted" is an acoustic ballad which provides some nice downtime from the first two songs on the record and "Alone Eventually" provides a very simple yet elegant melody with a dark underlying tone to it.

The song that set this record apart from anything I have heard in a long time is Stephanie's stunning melodramatic rendition of Marilyn Manson's "Beautiful People". The slow finger picking that builds up the song, followed by chilling harmonies in the chorus combined with this original melody allows the true theme of this heavy classic to be more easily understood, as well as builds an underlying tension that is easy to fall in love with. This is definitely one of the best remakes I have heard to date.

I am thrilled to see the unbelievable growth of this artist but that being said one of my favorite Stephanie Bosch songs will always be "My Room" off of her album "Departures". The song has more of a sweet, innocent tone, similar to old Taylor Swift songs, except with much better lyrics. The Edmonton native recently packed up and moved to Toronto in search of furthering her career and I have no doubt that is exactly what she will do. With her non-stop commitment and dedication, Stephanie is arguably one of the most talented young musicians to come out of the Edmonton music scene to date. "Stupid Charlie" is available on ITunes for only $4.95 and you can hear some of her music on myspace at:

http://www.myspace.com/stephaniebosch

Make sure to keep your eyes out and ears open for any news.

That's all for now. I will be making a conscious effort to strictly keep up with these again after such a long hiatus since my last post. Keep checking back! - Matt Drake

Written by: Rob Latham

For anyone who thought the current dirge of singer/songwriters was becoming all too dull and boring here are two superb Canadian performers who offer an exciting variation.

Edmonton-based Stephanie Bosch, 21, and Daniel Moir, 19, are two very talented performers and songwriters who both share an incredible passion for music.

I meet up with the pair before their gig at the Trees Organic Coffee House, in Vancouver, on Friday night (November 12) alongside local singer Cassandra Bangel.

Speaking to them it is clearly obvious that playing, recording and performing music is what they live for.

Bosch explains: “It’s what I want and there’s no back-up plan. Anything I could settle for wouldn’t be as good as this so not making it scares the shit out of me.

“I’m afraid if I don’t reach what I want to achieve in music I’m not going to be happy in anything.”

The pair performed an impressive acoustic set taking it in turns to play tracks, with Bosch performing songs from her debut album Departures and Moir songs from his debut EP The Country And The Sea.

The evening got off to a good start with Bangel’s unique blend of acoustic guitar, using both six and twelve-stringed instruments, piano and her spell-bindingly powerful vocals.

Performing a host of her own well-written tracks Bangel also offered up an impressive cover of KT Tunstall’s “Black Horse and the Cherry Tree” and two very entertaining renditions of tracks by The Dresden Dolls.

Bosch and Moir’s styles vary starkly yet also compliment each other well as they alternate on stage.

Moir is clearly a very talented musician, as evidenced by his impressive bluesy-folky style guitar picking as well as a number of guitar solos towards the end of the show.

Moir’s music is more chilled out, although still retaining a rocky edge, but the general gist of his music carries a more folky feel as portrayed by his Bob Dylan-esque whistling in “The Buffalo Song” and “Laxadasical.”

Comparing anyone to the great Dylan is obviously a dangerous game, but Moir possesses a special musical talent that warrants the comparison – not only is he accomplished on guitar and vocals he also excels on the bass guitar, piano, banjo, drums and harmonica.

Both have a great ability for songwriting, Moir’s style is more relaxed, deep and meaningful whereas Bosch focuses more on the personal emotions that impact upon her life.

She has a naturally infectious singing voice with a great knack for writing songs that allow her to easily connect to her audience, such as the singalong “Broken Hearted Fool” with its colloquial style laughing noises and powerful, upbeat chorus.

The pair join up for an impressive cover of “Can’t You See” by the Marshall Tucker Band, which shows off the pair’s talents, in particular a great guitar solo by Moir.

Then Bosch shows off her versatility by playing an acoustic rendition of Marilyn Manson’s “The Beautiful People,” which really portrays the powerful voice she possesses in the strong, loud choruses contrasted by the shows of delicate fragility in her vocals that makes her performance so engaging, as also seen in the songs “24 Hours” and “1982.”

These two young musicians possess the writing and performing qualities and the musical ambition it takes to achieve great success in music and cannot afford to be missed in concert.

To check out Daniel Moir’s music and upcoming gigs visit his MySpace page or buy his songs on iTunes.

Stephanie Bosch will be on tour through January and returns to Vancouver for a special gig during the Winter Olympics at the specially setup Alberta House at 6pm on Saturday, February 20.

Her album is available for free download, visit her MySpace page for more music and tour dates.

- Off The Dial

Written by: Rob Latham

For anyone who thought the current dirge of singer/songwriters was becoming all too dull and boring here are two superb Canadian performers who offer an exciting variation.

Edmonton-based Stephanie Bosch, 21, and Daniel Moir, 19, are two very talented performers and songwriters who both share an incredible passion for music.

I meet up with the pair before their gig at the Trees Organic Coffee House, in Vancouver, on Friday night (November 12) alongside local singer Cassandra Bangel.

Speaking to them it is clearly obvious that playing, recording and performing music is what they live for.

Bosch explains: “It’s what I want and there’s no back-up plan. Anything I could settle for wouldn’t be as good as this so not making it scares the shit out of me.

“I’m afraid if I don’t reach what I want to achieve in music I’m not going to be happy in anything.”

The pair performed an impressive acoustic set taking it in turns to play tracks, with Bosch performing songs from her debut album Departures and Moir songs from his debut EP The Country And The Sea.

The evening got off to a good start with Bangel’s unique blend of acoustic guitar, using both six and twelve-stringed instruments, piano and her spell-bindingly powerful vocals.

Performing a host of her own well-written tracks Bangel also offered up an impressive cover of KT Tunstall’s “Black Horse and the Cherry Tree” and two very entertaining renditions of tracks by The Dresden Dolls.

Bosch and Moir’s styles vary starkly yet also compliment each other well as they alternate on stage.

Moir is clearly a very talented musician, as evidenced by his impressive bluesy-folky style guitar picking as well as a number of guitar solos towards the end of the show.

Moir’s music is more chilled out, although still retaining a rocky edge, but the general gist of his music carries a more folky feel as portrayed by his Bob Dylan-esque whistling in “The Buffalo Song” and “Laxadasical.”

Comparing anyone to the great Dylan is obviously a dangerous game, but Moir possesses a special musical talent that warrants the comparison – not only is he accomplished on guitar and vocals he also excels on the bass guitar, piano, banjo, drums and harmonica.

Both have a great ability for songwriting, Moir’s style is more relaxed, deep and meaningful whereas Bosch focuses more on the personal emotions that impact upon her life.

She has a naturally infectious singing voice with a great knack for writing songs that allow her to easily connect to her audience, such as the singalong “Broken Hearted Fool” with its colloquial style laughing noises and powerful, upbeat chorus.

The pair join up for an impressive cover of “Can’t You See” by the Marshall Tucker Band, which shows off the pair’s talents, in particular a great guitar solo by Moir.

Then Bosch shows off her versatility by playing an acoustic rendition of Marilyn Manson’s “The Beautiful People,” which really portrays the powerful voice she possesses in the strong, loud choruses contrasted by the shows of delicate fragility in her vocals that makes her performance so engaging, as also seen in the songs “24 Hours” and “1982.”

These two young musicians possess the writing and performing qualities and the musical ambition it takes to achieve great success in music and cannot afford to be missed in concert.

To check out Daniel Moir’s music and upcoming gigs visit his MySpace page or buy his songs on iTunes.

Stephanie Bosch will be on tour through January and returns to Vancouver for a special gig during the Winter Olympics at the specially setup Alberta House at 6pm on Saturday, February 20.

Her album is available for free download, visit her MySpace page for more music and tour dates.

- Off The Dial

In a time where women in music are being represented in the mainstream by short shorts and glitter (thanks Ke$ha), it´s refreshing to find Stephanie Bosch, an artist who lacks gimmick and packs pure talent. Her latest release, Departures is a sincere record. Audiences will appreciate the realness heard throughout. It is as if she opened her soul and put it to a melody. Bosch filled Departures to the brim with upbeat hits and matched them with slower songs that failed at stalling the flow. The slow gems only added to Departures essence. Her lyrics are not only honest, but also unique. Cliché lines are left on the back burner with Bosch. Two words that stood out on the whole record? "Creative cancer." While Bosch shines brighter than the rest in the best way, she will still garner the interest of fans that love real artistic women such as Katy Rose, Vanessa Carlton and Jewel.

"My Room" jumpstarts Departures with angelic vocals fused with great cheerful music. It has a folk/pop rock sound an array of listeners will enjoy.

"Favourite Worst Enemy" had one of the most clever lines, "My brain is like a battery. There´s a negative reality." That lyric alone made this song shine, but the lively whistle at the end helped push this song into that infectious category.

"1982" is kind of the black sheep of the record, which isn´t a bad thing. While all the other songs seemed autobiographical, Bosh took on and conquered the storyteller role with this one. She is a modern day minstrel taking on the tale and emotions of another. - American Chronicle

In a time where women in music are being represented in the mainstream by short shorts and glitter (thanks Ke$ha), it´s refreshing to find Stephanie Bosch, an artist who lacks gimmick and packs pure talent. Her latest release, Departures is a sincere record. Audiences will appreciate the realness heard throughout. It is as if she opened her soul and put it to a melody. Bosch filled Departures to the brim with upbeat hits and matched them with slower songs that failed at stalling the flow. The slow gems only added to Departures essence. Her lyrics are not only honest, but also unique. Cliché lines are left on the back burner with Bosch. Two words that stood out on the whole record? "Creative cancer." While Bosch shines brighter than the rest in the best way, she will still garner the interest of fans that love real artistic women such as Katy Rose, Vanessa Carlton and Jewel.

"My Room" jumpstarts Departures with angelic vocals fused with great cheerful music. It has a folk/pop rock sound an array of listeners will enjoy.

"Favourite Worst Enemy" had one of the most clever lines, "My brain is like a battery. There´s a negative reality." That lyric alone made this song shine, but the lively whistle at the end helped push this song into that infectious category.

"1982" is kind of the black sheep of the record, which isn´t a bad thing. While all the other songs seemed autobiographical, Bosh took on and conquered the storyteller role with this one. She is a modern day minstrel taking on the tale and emotions of another. - American Chronicle

November 06, 2009
“Thanks for sharing this superb work. As said in the review title, I'm not really into this sort of stuff, it's sort of 90's Kate Bush clone based rather like Alanis Morrisette and Tori Amos. However, it must be said that it's just as good, in fact better in some respects as this album feels less overproduced and more human.

There's a rather nice Sheryl Crowe-esque 70's Bob Dylan "swampy" feel to the instrumentation. I like the use of violin which mixes country & western with British folk. The mix feels "free" and "airy" without being too sloppy or loose .

And it gets better as it goes on too. Broken Hearted Fool really does sound like Kate at her best. On the subject of which K.T. Tunstall seems to be an influence too.

I think there's a lot of potential in this material, because it has the crossover to attract a diverse audience. To top it all, there's more than enough melodic elements and hooks.

Classic and classic, love it....”

Andy W
www.stellarartwars.co.uk


November 06, 2009
“Stephanie... wow, what a voice you have, that is sweet,sexy, cute and most of all strong, yet compelling, irresistible, and stylishly great, honest and heartfelt as you sing to perfect your interesting, story telling lyrics, with great accompaniment via your backing singer you hear occasionally and the mood setting, dreamy,delightful music that plays mesmerising-ly in the background to your awesome, diva like voice.

As soon as I started to listen to your voice on track one, I just knew. girl you will go far with grace and class with that impeccable voice of yours, let alone the hypnotic music that chaperon s you as you sing to us all.I was bewitched and in heaven as I sat back, and just listened to everything... “
Jamendo Listener

http://www.jamendo.com/en/album/54856
- Jamendo

November 06, 2009
“Thanks for sharing this superb work. As said in the review title, I'm not really into this sort of stuff, it's sort of 90's Kate Bush clone based rather like Alanis Morrisette and Tori Amos. However, it must be said that it's just as good, in fact better in some respects as this album feels less overproduced and more human.

There's a rather nice Sheryl Crowe-esque 70's Bob Dylan "swampy" feel to the instrumentation. I like the use of violin which mixes country & western with British folk. The mix feels "free" and "airy" without being too sloppy or loose .

And it gets better as it goes on too. Broken Hearted Fool really does sound like Kate at her best. On the subject of which K.T. Tunstall seems to be an influence too.

I think there's a lot of potential in this material, because it has the crossover to attract a diverse audience. To top it all, there's more than enough melodic elements and hooks.

Classic and classic, love it....”

Andy W
www.stellarartwars.co.uk


November 06, 2009
“Stephanie... wow, what a voice you have, that is sweet,sexy, cute and most of all strong, yet compelling, irresistible, and stylishly great, honest and heartfelt as you sing to perfect your interesting, story telling lyrics, with great accompaniment via your backing singer you hear occasionally and the mood setting, dreamy,delightful music that plays mesmerising-ly in the background to your awesome, diva like voice.

As soon as I started to listen to your voice on track one, I just knew. girl you will go far with grace and class with that impeccable voice of yours, let alone the hypnotic music that chaperon s you as you sing to us all.I was bewitched and in heaven as I sat back, and just listened to everything... “
Jamendo Listener

http://www.jamendo.com/en/album/54856
- Jamendo

FESTIVAL PREVIEW

CKUA U22

Where: Folk Fest, gallagher Park

When: saturday at noon on stage 1, sunday at 11 a. m. on stage 1

---

Singer-songwriter Paul Cresey, 19, is about to live one of his dreams. Tonight, the local musician will make his debut on the mainstage at the Folk Fest, playing for a few minutes as a "tween" act before Steve Earle's set.

"I always said this is where I want to get with my career," says Cresey. "Even if I crash and burn afterwards, at least I played the Folk Fest. I won't be heartbroken if things go bad."

He owes his Folk Fest slot to Rhea March's U22 Productions, a mentorship program for exceptional young musicians in Edmonton and Calgary. She nurtures artists--under the age of 22--by setting up gigs and workshops for them.

March fell in love with Cresey's old-soul lyrics and fingerpicking skills after he gave her a copy of his first disc, Piece the Picture. He's one of six U22 artists, including Joe Nolan, Daniel Moir and Calgary's Lindsay Ell, who will also perform at the Folk Fest's side sessions Saturday and Sunday.

"(U22's)gotten me to a place where I can showcase my music, where I've been able to build a base of fans," says Cresey, who was nominated for a Canadian Folk Music Award for Young Performer of the Year in 2008.

"I've been able to meet other musicians, start new friendships, listen to new stuff and get more into the independent scene. Rhea's done wonders for everyone. She's fantastic."

March works as an account manager for CKUA Radio, but she grew up playing guitar and writing songs. She started setting up gigs for young artists at Riverdale Community Hall, which helped earn her a Governor General's Award for Outstanding Contributions in 2005.

"I started seeing this swell of talent in the city and I just got inspired," she says. "I thought: 'These kids have to have a place to play' and they need mentorship. I've been a musician since I was their age and I always thought, 'I wish I had someone to help me.' "

March launched U22 Productions in 2007, producing two radio shows for CKUA Radio and hosting a weekly songwriter's stage at Hulbert's Cafe, where young musicians received constructive criticism from veterans. (She's now looking for a new venue; Hulbert's was sold in July.)

She also organized a sold-out series of U22 performers at the Royal Alberta Museum and a songwriting workshop with the Alberta Music Industry Association.

"You can't get better if you don't get to play. And if you're going to be playing in venues, you have to know what the protocol is--how to go in, be professional, be polished."

U22's success stories are piling up. In addition to Cresey's recent nomination, Stephanie Bosch of Edmonton received a$10,000 recording grant from Rawlco Radio, Ell toured with blues great Buddy Guy, and Nolan was named the Galaxie Rising Star at last year's Folk Fest. To top it off, Edmonton's soul-folk singer Samantha Schultz, 17, was awarded a scholarship to attend Boston's Berklee College of Music in September.

"You give them a little bit of help and they shine," says March. "It's magic. I love it. It gives me this incredible feeling of satisfaction."

She now has about 40 artists in her roster and she's looking for more across Canada--with originality, authenticity and the ability to connect with a live crowd.

(Aspiring musicians can contact March through U22.ca.)She's organizing a U22 festival during Alberta Arts Days from Sept. 18 to 20. Artists will perform and take guitar, vocal, stage and pre-production workshops with veterans such as Karla Anderson, Bobby Cameron, Anna Beaumont and Dale Ladouceur.

For the moment, however, March and her artists are focusing on the Folk Fest, rehearsing nightly in a studio donated by DJ Harley Snow. This is U22's second stint at the festival-- and this year, producer Terry Wickham is giving the performers a bigger stage and more time.

"It was sort of an experiment last year," Wickham says. "I put it on Stage 4, which is the smallest stage, and it swamped the stage. It was immensely popular and kind of caught me off-guard, but people are intrigued to see who (U22) is coming up with."

Singer-songwriter Kaley Bird is another U22 performer making her Folk Fest debut. She just turned 22, so she's at the end of her time as one of March's performers, but Bird hopes to mentor younger artists.

"It's a great networking opportunity," she says. March helps "up-and-comers who are 16 or 17 and who are still debating 'How do I make this happen?' "

Compared with some of her colleagues, Bird was a late bloomer as a musician. She released her self-titled folk debut, funded by a$10,000 Rawlco Radio grant, when she was 20--a little more than a year after she performed at her first open-mike night. "My feet were seriously shaking," she remembers. Shortly after, March caught one of Bird's gigs and asked her to be involved with U22.

"Rhea totally believes in my talents and mus - The Edmonton Journal

FESTIVAL PREVIEW

CKUA U22

Where: Folk Fest, gallagher Park

When: saturday at noon on stage 1, sunday at 11 a. m. on stage 1

---

Singer-songwriter Paul Cresey, 19, is about to live one of his dreams. Tonight, the local musician will make his debut on the mainstage at the Folk Fest, playing for a few minutes as a "tween" act before Steve Earle's set.

"I always said this is where I want to get with my career," says Cresey. "Even if I crash and burn afterwards, at least I played the Folk Fest. I won't be heartbroken if things go bad."

He owes his Folk Fest slot to Rhea March's U22 Productions, a mentorship program for exceptional young musicians in Edmonton and Calgary. She nurtures artists--under the age of 22--by setting up gigs and workshops for them.

March fell in love with Cresey's old-soul lyrics and fingerpicking skills after he gave her a copy of his first disc, Piece the Picture. He's one of six U22 artists, including Joe Nolan, Daniel Moir and Calgary's Lindsay Ell, who will also perform at the Folk Fest's side sessions Saturday and Sunday.

"(U22's)gotten me to a place where I can showcase my music, where I've been able to build a base of fans," says Cresey, who was nominated for a Canadian Folk Music Award for Young Performer of the Year in 2008.

"I've been able to meet other musicians, start new friendships, listen to new stuff and get more into the independent scene. Rhea's done wonders for everyone. She's fantastic."

March works as an account manager for CKUA Radio, but she grew up playing guitar and writing songs. She started setting up gigs for young artists at Riverdale Community Hall, which helped earn her a Governor General's Award for Outstanding Contributions in 2005.

"I started seeing this swell of talent in the city and I just got inspired," she says. "I thought: 'These kids have to have a place to play' and they need mentorship. I've been a musician since I was their age and I always thought, 'I wish I had someone to help me.' "

March launched U22 Productions in 2007, producing two radio shows for CKUA Radio and hosting a weekly songwriter's stage at Hulbert's Cafe, where young musicians received constructive criticism from veterans. (She's now looking for a new venue; Hulbert's was sold in July.)

She also organized a sold-out series of U22 performers at the Royal Alberta Museum and a songwriting workshop with the Alberta Music Industry Association.

"You can't get better if you don't get to play. And if you're going to be playing in venues, you have to know what the protocol is--how to go in, be professional, be polished."

U22's success stories are piling up. In addition to Cresey's recent nomination, Stephanie Bosch of Edmonton received a$10,000 recording grant from Rawlco Radio, Ell toured with blues great Buddy Guy, and Nolan was named the Galaxie Rising Star at last year's Folk Fest. To top it off, Edmonton's soul-folk singer Samantha Schultz, 17, was awarded a scholarship to attend Boston's Berklee College of Music in September.

"You give them a little bit of help and they shine," says March. "It's magic. I love it. It gives me this incredible feeling of satisfaction."

She now has about 40 artists in her roster and she's looking for more across Canada--with originality, authenticity and the ability to connect with a live crowd.

(Aspiring musicians can contact March through U22.ca.)She's organizing a U22 festival during Alberta Arts Days from Sept. 18 to 20. Artists will perform and take guitar, vocal, stage and pre-production workshops with veterans such as Karla Anderson, Bobby Cameron, Anna Beaumont and Dale Ladouceur.

For the moment, however, March and her artists are focusing on the Folk Fest, rehearsing nightly in a studio donated by DJ Harley Snow. This is U22's second stint at the festival-- and this year, producer Terry Wickham is giving the performers a bigger stage and more time.

"It was sort of an experiment last year," Wickham says. "I put it on Stage 4, which is the smallest stage, and it swamped the stage. It was immensely popular and kind of caught me off-guard, but people are intrigued to see who (U22) is coming up with."

Singer-songwriter Kaley Bird is another U22 performer making her Folk Fest debut. She just turned 22, so she's at the end of her time as one of March's performers, but Bird hopes to mentor younger artists.

"It's a great networking opportunity," she says. March helps "up-and-comers who are 16 or 17 and who are still debating 'How do I make this happen?' "

Compared with some of her colleagues, Bird was a late bloomer as a musician. She released her self-titled folk debut, funded by a$10,000 Rawlco Radio grant, when she was 20--a little more than a year after she performed at her first open-mike night. "My feet were seriously shaking," she remembers. Shortly after, March caught one of Bird's gigs and asked her to be involved with U22.

"Rhea totally believes in my talents and mus - The Edmonton Journal

Gigs this week: Stephanie Bosch

James Stewart / jstewart@vueweekly.com

After receiving a Rawlco Radio $10 000 grant, Stephanie Bosch was able to take her songs into the studio, working closely with local guitar wizard Bobby Cameron and highly-sought-after drummer Sandro Dominelli. The result is her debut full-length, Departures. With early success (charting in the top 10 at CKUA before an official release), Bosch has seen the results of her hard work pay off, and is quick to acknowledge the invaluable support she has benefited from as a young performer.

"I went in for some pre-production with Bobby Cameron, working through the guitar stuff," explains Bosch. "He gave me a lot of thoughts and ideas—not co-writing, but he gave me some pointers. After that, [Dominelli] went through everything else: the drums, other instruments, everything. As far as a process goes, it was really amazing. There were good vibes everywhere. I can be a bit of a girl sometimes—a lot of highs and lows—and sometimes I would get really down and frustrated. [Dominelli] would catch me every time. He had the experience to see what I was doing, but also to snap me out of it. We really developed a close friendship throughout the process, and I learned so much."

In her young career Bosch has had the opportunity to work closely with U-22, an Edmonton-based organization that provides support to up-and-coming Canadian artists under the age of 22. It was through U-22 that Dominelli found her music and began their partnership, and also through the group that Bosch earned a spot on stage at the 2009 Edmonton Folk Festival.

"They've been incredible. They do a lot of showcases in weird places, venues where there are a lot of people, but you might not expect to see music. They also had the chance to showcase six of their artists at the Edmonton Folk Fest, and I was picked to play. It was a mini dream come true and I felt like I had moved up a level in my career, because there was crazy networking going on. I had a lot more confidence afterwards, and felt I had improved a lot as a performer. They don't just throw you up there. There are weeks of rehearsals, and they coach you on things like proper mic technique, and how to interact with the audience."

But before she gets pigeon-holed as just another acoustic singer-songwriter, Bosch has started the process of enrolling a full band to play alongside her developing a different version of the songs from Departures.

"I started playing with a full band about a month ago, and I'm loving the way it sounds," she confesses. "I've always played as an acoustic artist, and I really started to crave the sound of having a live band play behind me. I actually posted an ad on Kijiji, looking for guitar, bass and drums. I got some responses, and some of the guys had actually seen my set at the Folk Fest in the summer, so we've been working on getting ready for the show. It's really exciting!"

Stephanie Bosch
With Mike Roste Band, Radioflyer
Haven Social Club, $10 - VUE Weekly

Gigs this week: Stephanie Bosch

James Stewart / jstewart@vueweekly.com

After receiving a Rawlco Radio $10 000 grant, Stephanie Bosch was able to take her songs into the studio, working closely with local guitar wizard Bobby Cameron and highly-sought-after drummer Sandro Dominelli. The result is her debut full-length, Departures. With early success (charting in the top 10 at CKUA before an official release), Bosch has seen the results of her hard work pay off, and is quick to acknowledge the invaluable support she has benefited from as a young performer.

"I went in for some pre-production with Bobby Cameron, working through the guitar stuff," explains Bosch. "He gave me a lot of thoughts and ideas—not co-writing, but he gave me some pointers. After that, [Dominelli] went through everything else: the drums, other instruments, everything. As far as a process goes, it was really amazing. There were good vibes everywhere. I can be a bit of a girl sometimes—a lot of highs and lows—and sometimes I would get really down and frustrated. [Dominelli] would catch me every time. He had the experience to see what I was doing, but also to snap me out of it. We really developed a close friendship throughout the process, and I learned so much."

In her young career Bosch has had the opportunity to work closely with U-22, an Edmonton-based organization that provides support to up-and-coming Canadian artists under the age of 22. It was through U-22 that Dominelli found her music and began their partnership, and also through the group that Bosch earned a spot on stage at the 2009 Edmonton Folk Festival.

"They've been incredible. They do a lot of showcases in weird places, venues where there are a lot of people, but you might not expect to see music. They also had the chance to showcase six of their artists at the Edmonton Folk Fest, and I was picked to play. It was a mini dream come true and I felt like I had moved up a level in my career, because there was crazy networking going on. I had a lot more confidence afterwards, and felt I had improved a lot as a performer. They don't just throw you up there. There are weeks of rehearsals, and they coach you on things like proper mic technique, and how to interact with the audience."

But before she gets pigeon-holed as just another acoustic singer-songwriter, Bosch has started the process of enrolling a full band to play alongside her developing a different version of the songs from Departures.

"I started playing with a full band about a month ago, and I'm loving the way it sounds," she confesses. "I've always played as an acoustic artist, and I really started to crave the sound of having a live band play behind me. I actually posted an ad on Kijiji, looking for guitar, bass and drums. I got some responses, and some of the guys had actually seen my set at the Folk Fest in the summer, so we've been working on getting ready for the show. It's really exciting!"

Stephanie Bosch
With Mike Roste Band, Radioflyer
Haven Social Club, $10 - VUE Weekly

CKUA's Top 100 for 2009
The Top 100 is derived from the albums in our biweekly top 30 chart, and the placement is based on number of spins, then highest charting position and then number of weeks on the chart.

* Stephanie Bosch's album was released to radio August 2009. So even after a late start, she managed to pull of #60.

Best of 2009 Chart
Artist - Album (Label)
= Albertan
= Canadian
1 Rachelle Van Zanten – Where Your Garden Grows (Indie: rachellevanzanten.com)
2 Great Lake Swimmers – Lost Channels (Nettwerk)
3 Corb Lund – Losin’ Lately Gambler (New West)
4 Various – Dark Was The Night (4AD)
5 The Secretaries – The Secretaries (Indie: myspace.com/thesecretariesedmonton)
6 Joel Plaskett – Three (Maple Music)
7 Trevor Tchir – Sky Locked Land (Indie: trevortchir.com)
8 Wilco – Wilco (The Album) (Nonesuch)
9 Lee Harvey Osmond – A Quiet Evil (Latent)
10 Iron and Wine – Around The Well (Sub Pop)
11 Harry Manx – Bread and Buddha (Dog My Cat)
12 The Bad Plus – For All I Care (Heads Up)
13 Good Lovelies – Good Lovelies (Indie: goodlovelies.com)
14 Julie Doiron – I Can Wonder What You Did With Your Day (Endearing)
15 Cornershop – Judy Sucks a Lemon For Breakfast (Indie: cornershop.com)
16 The Hylozoists – L’Isle de Sept Villes (Outside)
17 Rosanne Cash – The List (Manhattan)
18 Amy Millan – Masters of the Burial (Arts & Crafts)
19 Neko Case – Middle Cyclone (Anti)
20 Romi Mayes – Achin’ In Yer Bones (Indie: romimayes.com)
21 Delbert McClinton & Dick 50 – Acquired Taste (New West)
22 Alex Cuba – Alex Cuba (Caracol)
23 Eleni Mandell – Artificial Fire (Indie: elenimandell.com)
24 Ann Vriend – Close Encounters (Indie: annvriend.com)
25 Jenni Muldaur – Dearest Darlin’ (Dandelion)
26 Apostle of Hustle – Eats Darkness (Arts & Crafts)
27 Jenn Grant – Echoes (Six Shooter)
28 Watermelon Slim– Escape From the Chicken Coop (Northern Blues)
29 David Byrne & Brian Eno – Everything That Happens Will Happen Today (Todomundo)
30 Regina Spektor – Far (Sire)
31 A.C. Newman – Get Guilty (Last Gang)
32 The Wheat Pool – Hauntario (Shameless)
33 Amelia Curran – Hunter Hunter (Six Shooter)
34 Chris Velan – Solidago (Newsong)
35 Michael Kaeshammer – Lovelight (Alert)
36 Justin Adams and Juldeh Camara – Tell No Lies (Real World)
37 Heather Blush & The Uppercuts – Versa (Indie: heatherblush.com)
38 Quantic & His Combo Barbaro – Tradition in Transition (Tru Thoughts)
39 Andrew Bird – Noble Beast (Fat Possum)
40 Steve Earle – Townes (New West)
41 Melissa McClelland – Victoria Day (Six Shooter)
42 Catherine MacLellan – Water In the Ground (High Romance)
43 Blue Rodeo – The Things We Left Behind (Warner)
44 Lyle Lovett – Natural Forces (Lost Highway)
45 Eddi Reader – Love Is The Way (Rough Trade)
46 Lhasa – Lhasa (Audiogram)
47 Peter Mulvey – Letter From a Flying Machine (Signature Sounds)
48 Chuck Prophet – ¡Let Freedom Ring! (Yep Roc)
49 Mishka – Above The Bones (Indie: mishka.com)
50 The Derek Trucks Band – Already Live EP (Victor)
51 Joe Louis Walker – Between a Rock And The Blues (Stony Plain)
52 Dave Matthews Band – Big Whiskey & The GrooGrux King (Bama Rags)
53 Jeff Stuart & The Hearts – Black Dogs Blue Giants (Indie: jeffstuart.com)
54 Tom Russell – Blood And Candle Smoke (Shout!)
55 Joe Henry – Blood From Stars (Anti)
56 Karla Anderson – Brand New Day (Indie: karlaanderson.com)
57 Psapp – The Camel’s Back (Domino)
58 Victoria Vox – Chameleon (Obus)
59 Sam Baker – Cotton (Music Road)
60 STEPHANIE BOSCH – Departures (Bobby Cameron/Sandro Dominelli)
61 Dave McCann & The Firehearts – Dixiebluebird (Oldman River)
62 The Fireman – Electric Arguments (EMI)
63 Imogen Heap – Ellipse (RCA)
64 Leeroy Stagger – Everything Is Real (Boompa)
65 Todd Snider – The Excitement Plan (Yep Roc)
66 Norah Jones – The Fall (Blue Note)
67 Metric – Fantasies (Last Gang)
68 Cara Dillon – Hill of Thieves (Charcoal)
69 Downchild – I Need a Hat (Linus)
70 Bidiniband – Land Is Wild (Pheromone)
71 Michael Bernard Fitzgerald – The MBF Love LP (Load)
72 Cheryl Fisher – Moments Like This (Catfish)
73 Dragon Fli Empire – Redefine (Make Believe)
74 The Provincial Archive – Nameless Places (Bedrooms and Basements)
75 Hayden – The Place Where We Lived (Hardwood)
76 John Scofield – Piety Street (EmArcy)
77 Mocky – Saskamodie (Crammed Discs)
78 Colin James – Rooftop and Satellites (Maple Music)
79 Jim Byrnes – My Walking Stick (Black Hen)
80 Wilfred N & The Grown Men – Stop Go Romeo (Zonik)
81 Black Mold – Snow Blindness Is Crystal Antz (Flemish Eye)
82 Martin Simpson – True Stories (Topic)
83 Guy Davis – Sweetheart Like You (Red House)
84 Jessica Heine – Songteller Storywriter (Indie: jessicaheine.com)
85 Bob Dylan – Together Through Life (Columbia)
86 Pink Mountaintops – Outside Love (Jagjaguwar)
87 Reverie Sound Review – Reverie Sound Review (Boompa)
88 Willie Nelson & Asleep At the Whee - http://www.ckua.org/charts/2009top100.html

CKUA's Top 100 for 2009
The Top 100 is derived from the albums in our biweekly top 30 chart, and the placement is based on number of spins, then highest charting position and then number of weeks on the chart.

* Stephanie Bosch's album was released to radio August 2009. So even after a late start, she managed to pull of #60.

Best of 2009 Chart
Artist - Album (Label)
= Albertan
= Canadian
1 Rachelle Van Zanten – Where Your Garden Grows (Indie: rachellevanzanten.com)
2 Great Lake Swimmers – Lost Channels (Nettwerk)
3 Corb Lund – Losin’ Lately Gambler (New West)
4 Various – Dark Was The Night (4AD)
5 The Secretaries – The Secretaries (Indie: myspace.com/thesecretariesedmonton)
6 Joel Plaskett – Three (Maple Music)
7 Trevor Tchir – Sky Locked Land (Indie: trevortchir.com)
8 Wilco – Wilco (The Album) (Nonesuch)
9 Lee Harvey Osmond – A Quiet Evil (Latent)
10 Iron and Wine – Around The Well (Sub Pop)
11 Harry Manx – Bread and Buddha (Dog My Cat)
12 The Bad Plus – For All I Care (Heads Up)
13 Good Lovelies – Good Lovelies (Indie: goodlovelies.com)
14 Julie Doiron – I Can Wonder What You Did With Your Day (Endearing)
15 Cornershop – Judy Sucks a Lemon For Breakfast (Indie: cornershop.com)
16 The Hylozoists – L’Isle de Sept Villes (Outside)
17 Rosanne Cash – The List (Manhattan)
18 Amy Millan – Masters of the Burial (Arts & Crafts)
19 Neko Case – Middle Cyclone (Anti)
20 Romi Mayes – Achin’ In Yer Bones (Indie: romimayes.com)
21 Delbert McClinton & Dick 50 – Acquired Taste (New West)
22 Alex Cuba – Alex Cuba (Caracol)
23 Eleni Mandell – Artificial Fire (Indie: elenimandell.com)
24 Ann Vriend – Close Encounters (Indie: annvriend.com)
25 Jenni Muldaur – Dearest Darlin’ (Dandelion)
26 Apostle of Hustle – Eats Darkness (Arts & Crafts)
27 Jenn Grant – Echoes (Six Shooter)
28 Watermelon Slim– Escape From the Chicken Coop (Northern Blues)
29 David Byrne & Brian Eno – Everything That Happens Will Happen Today (Todomundo)
30 Regina Spektor – Far (Sire)
31 A.C. Newman – Get Guilty (Last Gang)
32 The Wheat Pool – Hauntario (Shameless)
33 Amelia Curran – Hunter Hunter (Six Shooter)
34 Chris Velan – Solidago (Newsong)
35 Michael Kaeshammer – Lovelight (Alert)
36 Justin Adams and Juldeh Camara – Tell No Lies (Real World)
37 Heather Blush & The Uppercuts – Versa (Indie: heatherblush.com)
38 Quantic & His Combo Barbaro – Tradition in Transition (Tru Thoughts)
39 Andrew Bird – Noble Beast (Fat Possum)
40 Steve Earle – Townes (New West)
41 Melissa McClelland – Victoria Day (Six Shooter)
42 Catherine MacLellan – Water In the Ground (High Romance)
43 Blue Rodeo – The Things We Left Behind (Warner)
44 Lyle Lovett – Natural Forces (Lost Highway)
45 Eddi Reader – Love Is The Way (Rough Trade)
46 Lhasa – Lhasa (Audiogram)
47 Peter Mulvey – Letter From a Flying Machine (Signature Sounds)
48 Chuck Prophet – ¡Let Freedom Ring! (Yep Roc)
49 Mishka – Above The Bones (Indie: mishka.com)
50 The Derek Trucks Band – Already Live EP (Victor)
51 Joe Louis Walker – Between a Rock And The Blues (Stony Plain)
52 Dave Matthews Band – Big Whiskey & The GrooGrux King (Bama Rags)
53 Jeff Stuart & The Hearts – Black Dogs Blue Giants (Indie: jeffstuart.com)
54 Tom Russell – Blood And Candle Smoke (Shout!)
55 Joe Henry – Blood From Stars (Anti)
56 Karla Anderson – Brand New Day (Indie: karlaanderson.com)
57 Psapp – The Camel’s Back (Domino)
58 Victoria Vox – Chameleon (Obus)
59 Sam Baker – Cotton (Music Road)
60 STEPHANIE BOSCH – Departures (Bobby Cameron/Sandro Dominelli)
61 Dave McCann & The Firehearts – Dixiebluebird (Oldman River)
62 The Fireman – Electric Arguments (EMI)
63 Imogen Heap – Ellipse (RCA)
64 Leeroy Stagger – Everything Is Real (Boompa)
65 Todd Snider – The Excitement Plan (Yep Roc)
66 Norah Jones – The Fall (Blue Note)
67 Metric – Fantasies (Last Gang)
68 Cara Dillon – Hill of Thieves (Charcoal)
69 Downchild – I Need a Hat (Linus)
70 Bidiniband – Land Is Wild (Pheromone)
71 Michael Bernard Fitzgerald – The MBF Love LP (Load)
72 Cheryl Fisher – Moments Like This (Catfish)
73 Dragon Fli Empire – Redefine (Make Believe)
74 The Provincial Archive – Nameless Places (Bedrooms and Basements)
75 Hayden – The Place Where We Lived (Hardwood)
76 John Scofield – Piety Street (EmArcy)
77 Mocky – Saskamodie (Crammed Discs)
78 Colin James – Rooftop and Satellites (Maple Music)
79 Jim Byrnes – My Walking Stick (Black Hen)
80 Wilfred N & The Grown Men – Stop Go Romeo (Zonik)
81 Black Mold – Snow Blindness Is Crystal Antz (Flemish Eye)
82 Martin Simpson – True Stories (Topic)
83 Guy Davis – Sweetheart Like You (Red House)
84 Jessica Heine – Songteller Storywriter (Indie: jessicaheine.com)
85 Bob Dylan – Together Through Life (Columbia)
86 Pink Mountaintops – Outside Love (Jagjaguwar)
87 Reverie Sound Review – Reverie Sound Review (Boompa)
88 Willie Nelson & Asleep At the Whee - http://www.ckua.org/charts/2009top100.html

Stephanie Bosch may be small in stature but she has a big voice as Alberta Plaza patrons and dozens of onlookers from the street discovered.

"Her voice is the purest form of folk country I've heard," remarked an overwhelmed Tegan, a new found convert with a front row seat. The 21 year-old from Devon, Alberta ripped it up in front of an enthusiastic audience playing several songs off her debut CD and a creative cover version of Marilyn Manson's "Beautiful People."

Asked by an observer how to describe her passionate energetic set she had just delivered, "Tell them I was rad," laughed Stephanie. Backstage after her performance Stephanie was visibly moved by the emotional response her music received and how her personal songs had touched their hearts.

"When I walked out on stage I could feel this amazing energy and it was so contagious," reflected Stephanie. "You may feel nervous and awkward but then you stroll up the street and you are invincible, knowing you have the confidence of a country. That's what being part of the Olympics does for you."

In being chosen to perform this high profile gig, Stephanie's Olympic dream has come true but not how she expected. "I watched the Winter Olympics in Italy four years ago and I desperately wanted to be a snowboarder here in Vancouver. Well I guess I had to settle for playing at Alberta Plaza at the Olympics." - Alberta House

Stephanie Bosch may be small in stature but she has a big voice as Alberta Plaza patrons and dozens of onlookers from the street discovered.

"Her voice is the purest form of folk country I've heard," remarked an overwhelmed Tegan, a new found convert with a front row seat. The 21 year-old from Devon, Alberta ripped it up in front of an enthusiastic audience playing several songs off her debut CD and a creative cover version of Marilyn Manson's "Beautiful People."

Asked by an observer how to describe her passionate energetic set she had just delivered, "Tell them I was rad," laughed Stephanie. Backstage after her performance Stephanie was visibly moved by the emotional response her music received and how her personal songs had touched their hearts.

"When I walked out on stage I could feel this amazing energy and it was so contagious," reflected Stephanie. "You may feel nervous and awkward but then you stroll up the street and you are invincible, knowing you have the confidence of a country. That's what being part of the Olympics does for you."

In being chosen to perform this high profile gig, Stephanie's Olympic dream has come true but not how she expected. "I watched the Winter Olympics in Italy four years ago and I desperately wanted to be a snowboarder here in Vancouver. Well I guess I had to settle for playing at Alberta Plaza at the Olympics." - Alberta House