a u t u m n 2 0 2 3

This song is about how God is always there for us in every detail of every second.

With Me

I'm Around

We've Got Places

Picasso

Letting Go

Ghost

this time

Kissing In Swimming Pools

Milk & Honey

When the Fire Started

It Gets Better

As Time Goes By

"Do Right" by Wild Rivers, released March 1st 2017.

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www.facebook.com/wildriversband/ 

Credits:
Arranged and performed by Wild Rivers
Music and Lyrics: Khalid Yassein
Vocals: Devan Glover, Khalid Yassein
Guitars/Bass: Andrew Oliver, Khalid Yassein
Drums/Percussion: Ben Labenski
Piano: Khalid Yassein

Produced, recorded and mixed by Dan Hosh at Catherine North Studios (Hamilton, ON)
Mastered by Stephen Pitkin

Artwork by Robert John Paterson (www.robertjohnpaterson.com/)


Lyrics:
We took a damn long drive
You were singing death cab
While I harmonized 

Your chest can fall and rise 
Movin like the needle drop, 
On my 45

Chorus
I don't wanna go
I don't wanna play dead yet
I've had moments
Faked a smile the moment I forget it
Walk a tight rope
But we're standing three feet off the ground
You should keep close 
Cause we might just make it through the night 
We're puttin up a fight
We could do right

And now at such great heights
I'm not looking down
I won't split
With every bark and every bite
We could go another round
Or we could call it quits

Chorus

We could do right 

Chorus

Do Right

Fun upbeat summer track with nods to Paul Simon's "Graceland" and Bleachers

It's Our Time

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Fireworks

Thundering Hopes

Karaoke

'Big Hurt Boy' is out now: https://linktr.ee/donovanwoods

Donovan Woods was in on the joke when he named his latest release. Riffing on a lyric from a Martin Simpson song (“Never Any Good”), Big Hurt Boy is a six-song exploration of how our failures — and our fixations on them — not only shape but enlighten us.

“I write about them again and again, just hoping people will still be interested,” the acclaimed Canadian singer-songwriter says. “So the title is poking fun of myself, that I’m theoretically this big sad guy who keeps getting dumped and writing fucking songs about it.”

Or you could think of it this way: Woods’ deep curiosity about the human condition is why we so clearly hear our own stories in his. The details differ, the characters change, but at their core, Donovan Woods songs are for and about everyone.

That’s particularly apparent on his new EP, which will be released March 18, 2022. Trying to capture more of an “undone” quality, Woods wanted his latest songs to “get back to the feeling that my early recordings had.” You hear that in the spare, subtle ache of “No Time Soon,” an acoustic monologue Woods describes as “the story of my whole life.”

“These are smaller, less polished songs than the ones I’ve been putting out recently,” says Woods, winner of the 2019 Juno Award for contemporary roots album (for Both Ways) and whose global streams have surpassed 210 million.

Still, Big Hurt Boy brims with some of the luminous production touches Woods has been adding to this repertoire lately. He wrote the album opener, “I Won’t Mention It Again,” on banjo, which fades into a spectral backdrop of electronic textures and layers of lush harmonies. 

A co-write with Peter Groenwald, “Leave When You Go” simmers with an R&B vibe backed by sensuous vocals from indie-pop artist Ralph. “A Picture of Us Smiling at a Party Five Years Ago,” which reunites Woods with Katie Pruitt (who co-wrote and sang on Woods’ “She Waits for Me to Come Back Down”), untangles how our memories are often preserved by photos. “It’s about nostalgia, which is just a memory that doesn’t have any of the stress or dread or anxiety that the real-time experience had,” Woods says.

“I Hope You Change Your Mind,” co-written with David Hodges, is such an understated tearjerker that you don’t even realize the relationship is over until the last line. “That song is about that back-end portion of a relationship when everyone knows the score but no one wants to say it,” Woods says. “It’s loving someone so much that you’re not sure how to be mad at them, so you twist yourself into knots.” 

Big Hurt Boy is the follow-up to 2020’s Without People, Woods’ celebrated album he made in isolation at the height of the pandemic. Whereas those songs were recorded in a makeshift studio at his Toronto home, with collaborators working remotely, his latest release harnesses the electricity of a roomful of musicians laying down tracks live in the studio, a first for Woods.

As an in-demand songwriter whose work has been recorded by the likes of Tim McGraw (“Portland, Maine”) and Lady A’s Charles Kelley (“Leaving Nashville”), Woods has been venturing beyond the singer-songwriter scene where he first cut his teeth. Equally at home in folk and country, he has worked with songwriters such as Tom Douglas, Lori McKenna, Brandy Clark, Ashley Monroe, Dustin Christensen, Femke Weidema, Steve Robson, and Ed Robertson (Barenaked Ladies).

Each of these collaborations has highlighted a budding truth about Woods: As respected as he is as a solo artist, he’s evolving and upending our expectations of how his music sounds. His songs have grown more dimensional, emboldened by new sonic landscapes, reminding us that classic songwriting transcends genre.

I'm Around

DonovanWoods

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