“A DJ is a musician who is using music to make music. The turntables, the mixer, the records - they make up one of the most versatile and complex instruments imaginable. The ultimate goal for a DJ is to create something magical with the audience, to make time stop, to create a natural high - a natural rhythm, to make strangers dance together, to create an energy that would otherwise not be there, to take a crowd to a place they couldn’t be without a DJ."

No seventies group represented Canada's musical identity to the world like THE STAMPEDERS. A quick look at Canada's music scene from 1971 until 1976 confirms The Stampeders were truly the country's international musical ambassadors. Instead of trying to blend into any specific format, they developed their own identity, which was both entertaining to watch in concert, and to listen to on radio and records. The Stampeders also toured more extensively in Canada and overseas than any other Canadian group of the same period.

While there were various line-ups of the group during their 15-year run, the current line-up of RICH DODSON ( guitars, vocals), KIM BERLY ( drums, vocals) and RONNIE KING ( bass, vocals) was, by far, the most successful and most widely-adored by the fans.
The group's beginnings can be traced back to Calgary in 1964 with a band called The Rebounds, formed when drummer, Kim Meyer (KIM BERLY), answered an ad placed in the paper by bassist, BRENDAN LYTTLE, and guitarist, RICH DODSON. The Rebounds consisted of RICH DODSON (lead guitar), LEN ROEMER (rhythmn guitar), BRENDAN LYTTLE (bass guitar), KIM BERLY (drums) and Kim's brother, Al Meyer (RACE HOLIDAY), on lead vocals.

In January of 1965, The Rebounds entered into a relationship with manager, Mel Shaw, and officially became The Stampeders. Len Roemer was replaced by Cornelis Van Sprang, known professionally as RONNIE KING, and his brother, Emile, who used the stage name VAN LOUIS. The six-man group started wearing assorted-coloured denim outfits and cowboy hats with the idea of promoting a group of cowboys playing rock 'n roll. During their first year as a band in Calgary, they had one single release on the SOTAN label entitled "House of Shake" b/w "Don't Look At Her."

Anticipating better things to come, The Stampeders decided to move to Toronto in 1966. At the invitation of Bigland booking agent, Ron Scribner, the six-man group, along with Mel Shaw and his family, loaded up their $800, used, '62 Cadillac limousine and U-Haul trailer, and left Calgary heading east to the 'big lights' of Toronto. Though most of the members were under the legal drinking age, they managed to beg, borrow and work their way across Canada, playing bars and various one-nighters. Upon their arrival in Toronto, the Western-Canadian band, with their yellow denim T-Kays, cowboy boots and hats, became an immediate curiosity in the folk-oriented, hippie clubs of the Yorkville district. Though the first year was an extremely lean one, the band managed to survive the six-month, Toronto Musician's Association's initiation and find work in the bustling Toronto club scene
 
The Stampeders finally had a breakthrough late in '68 with a single they recorded while on a sight-seeing trip to New York. Released on the independent label, CARAVAN, "Morning Magic" b/w "All The Time" wasn't much of a sales success, but critical acclaim earned the group a BMI (Broadcast Music Incorporated) Award.

The first major-label single release, "Be A Woman" b/w "I Don't Believe," came in 1968 on the MGM label in the U.S. The Stampeders played the rhythm tracks and sang the vocals while an inhouse MGM producer added a 16 piece string section. This was to be The Stampeders' final release as a six-member group. Late in 1968, the three oldest members - BRENDAN LYTTLE, VAN LOUIS and RACE HOLIDAY -left the band, leaving the line-up of RICH DODSON, KIM BERLY and RONNIE KING.

The period from late '68 to the mid '70's was a time of evolution for the new, three-man Stampeders in which they would develop their own sound, a sound that would take them around the world. The stage set-up had Dodson on guitar, King on bass and Berly on drums, while all three members shared lead vocals. With the exception of Dodson, the cowboy hats came off, they all still wore boots, but the colored T-Kay denim outfits became history. During this period, the band toured around Ontario and Quebec developing their stage show with the help of their new road man, lighting-wizard, Stan Whitcher, winning fans and becoming an in-demand club and one-nighter attraction.

The Stampeders' only release during 1969 was "Cross-Walk" b/w "I Don't Know Where I'm At Sometimes" on the Melbourne label, distributed by London Records. Quality Records, then a major independent label in Canada, became interested in the band. By mid-1970, The Stampeders were in the studio working on their first album, "Against The Grain". 

"Carry Me", the first single from this session, quickly hit the top of the Canadian charts, garnering the band it's first gold record. Simultaneously released on Polydor in the U.S., the single got lots of play but didn't quite make the charts. Canadian success, however, allowed the band to complete the album with one of their favorite recording engineers, TERRY BROWN. The resulting LP, "Against The Grain," was concurrently released with the next single, "Sweet City Woman" b/w "Gator Road." The band, along with it's new road crew -- Bob Luffman, Joel Wikhammer and Ian 'Snake' Dunbar -- was finally on it's way. 

The summer of 1971 saw "Sweet City Woman" climb the charts to the Number One position across Canada, catching the attention of the American label, Bell Records. The band was signed immediately and Bell rush-released the single in the U.S. Even though it was up against classic songs like The Doors' "Riders On The Storm," Paul and Linda McCartney's "Uncle Albert," and James Taylor's "You've Got A Friend," "Sweet City Woman" climbed the Billboard charts, reaching the Number Eight spot on September 11, 1971. The band recalls the time they pulled over to the side of the road at four-o'clock in the morning, while enroute back to Toronto from a gig, and jumped around the car with excitement after hearing "Sweet City Woman" fading in on radio station WABC in New York City as the Number One record of the week. Bell records renamed the album "Sweet City Woman" for the U.S. market to capitalize on the success of the single. Next came 'JUNO AWARDS' (Canada's version of 'The Grammy') for 'Best Vocal Instrumental Group,' 'Best Producer,' 'Best Single' and -- and their first European tour. In 1972, at the request of their U.K. label, EMI, The 'Best Composer' Stampeders toured The United Kingdom. Upon their arrival, they discovered that their American hit, "Sweet City Woman," had already been covered by The Dave Clark Five. Dates included the Marquee in London, the Hard-Rock Theatre in Manchester and appearances on BBC Radio and "Top Of The Pops." Both Phillips and Bovema-EMI Records helped support the balance of the tour through Holland, Germany, Denmark, France and the rest of Europe with British rock band, Steam Hammer. Holland was especially receptive to the band, partly due to the fact that Ronnie King (Cornelis Van Sprang) was a fellow Dutchman, having been born in Rotterdam. 

In Holland, The Stampeders received the prestigious 'EDISON AWARD' for "Most Promising Group," along with Ry Cooder and Beach Boy, Carl Wilson. Carl was in session at the time, along with the rest of The Beach Boys, recording their classic "Holland" album. During this visit, The Stampeders had the privilege of staying at Amsterdam's Hotel Weichman with the infamous Eagles. While Kim and Rich shared road experiences with Eagle drummer, Don Henley, Ronnie King and some of the other band members spent their time window-shopping in the famed, Amsterdam red-light district, only to find themselves locked out of the hotel upon their return. 

1972 also took The Stampeders to Los Angeles to perform at the legendary "Whisky A-Go-Go" and tape their appearances on "Don Kirshner's Rock Concert" and "The Dating Game." While hanging out at The Troubadour in Hollywood, Ronnie King met Keith Moon, drummer of The Who. Keith took a liking to Ronnie and asked him what he and The Stampeders were doing the next night. It happened to be Keith's birthday and he wondered if The Stampeders might be available to play at his party at The Beverly Hills' Wiltshire Hotel. Ronnie quickly replied, "Of course," and The Stampeders ended up on stage performing for some of Hollywood's rock elite and jamming with Keith Moon. Attendees at the party included Beach Boy, Brian Wilson, Neilson, Rod Stewart, Ron Wood and the then-infamous porno star, Linda Lovelace. 

Signing with U.S. booking agency, Premier Talent, in 1971 led to American tour appearances with Jim Dandy and Black Oak Arkansas, Santana, Joe cocker, Steve Miller, The James Gang, Robin Trower, Steely Dan, Sonny and Cher, The Beach Boys, ZZ Top, The Eagles, Earth, Wind And Fire, Mountain, America, Tower Of Power, Blood, Sweat and Tears and Genesis. Establishing themselves as a good concert draw in the U.S., The Stampeders played everywhere from New York to Hawaii, including Los Angeles, Reno, Disneyland and the much-sought-after southern-college circuit. 

Heavy airplay and extensive touring, coupled with many guest appearances on the popular Canadian TV shows of the time (Anne Murray, Miss Teen Canada, Kenny Roger's "Rollin' On The River" and The Ian Tyson Show), eventually led to The Stampeders' starring in their own CBC-TV special, "A Short Visit To Planet Earth". 

1972 also saw the release of The Stampeders' second album "Carryin' On," featuring the lead-off single, "Devil You" b/w "Giant In The Streets." Although it was the last record released in the U.S. on Bell, the album gained a release in Europe on Regal Zonophone. It featured hard rocker "Wild Eyes," a song that gave their sound more edge and introduced the band to a whole new audience. Part of the appeal of The Stampeders was their musical versatility. 

The Stampeders' busy schedule also took them to Rio De Janeiro and Sao Paulo, Brazil (South America). They were asked to represent Canada in the Rio De Janeiro Song Festival, which entailed performing to a live audience of 30,000 and a television viewership of 90-million. Accepting the offer was easy, but surviving the gig was another matter. The word was, "Don't drink the water." Little did they know that the locals washed the lettuce and watered down the milk with the water. Montezuma's revenge -- bigtime! Moreover, David Clayton Thomas, the U.S. representative, and Ronnie King, developed an affinity for the local drink, "Mescala," which led to some interesting situations. The label on the bottle displayed a dead scorpion. Ah, Brazil!! While 1971 was a banner year for The Stampeders, 1973 was, in many ways, their biggest year. Cross-Canada tours, coupled with the release of "Rubes, Dudes and Rowdies" and "From The Fire" kept the band very active. In Canada, both new singles, "Oh My Lady" and "Minstrel Gypsy," went gold, while follow-up singles, "Running Wild" and "Johnny Lightning," garnered heavy airplay and another JUNO nomination. Rich Dodson's solo single, "Julia Get Up," also went Top-Ten.The release of The Stampeders' fifth gold album, "New Day," saw the emergence of a more experimental sound and a highly popular single, "Ramona." Their live-album, "Backstage Pass," was recorded at Ontario Place before a sold-out crowd of 17,000 fans. This was soon followed by the heavier, "Steamin," which contained a cover version of "New Orleans" and the infamous get-together of Ronnie King and U.S. radio D.J., Wolfman Jack, for the recording of "Hit The Road Jack." 

The Stampeders met Wolfman Jack, and became good friends, while taping an NBC television special at the Saratoga Springs Song Festival in 1975. On April 4, 1976, "Hit The Road Jack" went Top-Forty in the U.S. and reached Number One in Canada and Holland, where it stayed for two weeks. The song featured vocals and dialogue between Wolfman Jack and Ronnie King, who uses his real name Cornelis. Cornelis pleads with Wolfman to let him stay at his mansion, because his 'baby' just threw him out of the house. The success of the single led to the release of The Stampeders' final gold album, "Hit The Road," and another JUNO nomination. It was later released in Europe by Quality records and in the U.S. on the Private Stock Label. 
The departure of Rich Dodson in 1977 signaled the end of the three-man Stampeders' unit which had been together since 1968. Rich left the band to start his own 24-track recording studio and independent record label, Marigold. The final three singles with Dodson, "Playing In The Band," "Sweet Love Bandit," and "San Diego" were released in 1976. 
With the release of "Platinum" in 1977, the new band's line-up included original members, Ronnie King and Kim Berly, along with back-up musicians Gibby Lacasse (drums and percussion), Ian Kojima (tenor and baritone sax and flute), David Norris-Elye (tenor and soprano sax), Doug Macaskill (guitar) and Gary Scrutton (guitar and vocals). Single releases included the horn-based R&B track, "Bring The House Down." Following "Platinum," TeeVee International released a "Best of The Stampeders" hit package. The failure of the new jazzier, funky-sounding Stampeders to gain critical and commercial acceptance, along with the increased cost of supporting the large band, eventually led to the departure of drummer, Kim Berly. Also gone was the band's recording deal with Quality records. 
Ronnie King tried to keep the flame burning with a new album on Apex called "Ballsy." The new line-up included Ronnie's youngest brother, Roy Van Sprang, Bob Allwood and Gary Storin. Lack of sales, high overhead and disappointed fans led to the band's final break up in 1980 and the departure of manager, Mel Shaw. 

In 1979, Kim Berly started his own new-wave band, The Cry, in which he performed under the name, Kimball Fox. Two album releases on RCA, good sales and intensive touring sustained the band for a couple of years, but mounting personal problems forced Kim to leave the music scene. From 1983 to 1989, Kim went briefly into acting, gaining recognition in the Toronto theatre community. Despite speculation within the music industry about just how successful The Stampeders would have been had they focused on just one style of music, one thing remains clear -- they left an enduring musical legacy. Between 1970 and 1977, they released ten albums and 15 singles, with six albums and seven singles going gold. Along with three Billboard chart singles in the U.S., The Stampeders had ten, Top-Ten singles in Canada. They also won three JUNO Awards, three BMI Awards, an EDISON Award and toured Canada, Europe, the U.S., including Hawaii, and South America.

Since reuniting in 1992, the original Stampeders - Rich Dodson, Kim Berly and Ronnie King - have become continual favourite at fairs, festivals, theatres, casinos and corporate functions. Juno award winners with NINE gold and platinum albums to their credit, and TEN top 10 hits (Sweet City Woman, Wild Eyes, Carry Me, Oh My Lady, Minstrel Gypsy, Hit the Road Jack, Ramona, Playin' in the Band, Then Came the White Man, Running Wild...) , this classic rock band has been delighting fans with their unique brand of musical entertainment.. Audiences, young and old alike, are drawn into the excitement of the STAMPEDERS music as they perform their hits from the '70's. With their inimitable musical style and subtle sense of humour, Rich, Ron and Kim are seasoned entertainers who always leave their audiences standing on their feet cheering for more.


MUSIC THE PASSION THAT RULES MY LIFE! 
It's always gratifying to know that you liked my music, because it's the most intimate thing I can show to others, it's a way to express myself without filtered.
If so ... it's my biggest reward to know you've been receptive to the emotions I wanted to share with you! ... ♫ 
Leave a ♥ & comments, it warm my soul, love is always good !

LA MUSIQUE LA PASSION QUI RYTHME MA VIE! 
C'est toujours gratifiant de savoir que vous avez aimé ma musique, car c'est la chose la plus intime que je puisse montrer aux autres, c'est une façon de m'exprimer sans filtre.
Si oui ... c'est ma plus grande récompense de savoir que vous avez été réceptif aux émotions que je voulais partager avec vous! ... ♫

 
Is it time to withdraw from this isolated diversion from which we call home? At the corner of complacency and malignant minds, rush hour is permanent and discretion is futile. The concrete has dried but the children’s feet continue to sink. A light flashes green but not for more than a second before halting the nature of progress. Clocks indicate debt and a conversation becomes loitering. Every face that passes by is a comfy house; eyes like windows to peer through but all are afraid to knock on the door but never too hesitant to breathe on the window and scratch into the fogged up surface before vanishing off the beaten path. Reach beyond the pale where Mother Nature will answer questions that are unimaginable. Listen without thought and teach without force. Use this new fiery rapport to melt away the frozen ambitions of a conventional majority. At last, the water is here; though its pliability cannot be fully digested because now the boundaries are extinct. From here on every step forward gives birth to the orders of the new man. 
From here on every action performed and every word spoken will be a reflection of an elemental lullaby. Upon this introspection coalesced the nativity of Firewater Folklore.     


The one-man folk/punk hurricane that is HAMELL ON TRIAL blows into Britain in January 2013 for a run of UK shows to promote his new release. Described as "Bill Hicks, Hunter S Thompson and Joe Strummer rolled into one", expect astonishing guitar playing, great songs and irresistible wisecracking humour. For tour dates see http://hamellontour.co.uk

BIOG: Ed Hamell picked up the guitar at age 7 and started writing songs not long after. In his early 20s,he fronted a local band in Syracuse, but local bands were a dime a dozen in the tough, working class neighborhoods of upstate New York. Which is how the one-man act known as Hamell on Trial was born. He toured the US armed with his battered 1937 Gibson guitar before settling in Austin, Texas, where his songcraft and storyteling found a receptive audience.

After seeing him at the 1995 SXSW Music Conference, Mercury Records signed him on the spot and released two albums before disaster struck in May 2000 when Ed was seriously injured in a car accident. Recovering from head and spinal injuries he released the album Ed's Not Dead: Hamell Comes Alive the next year, followed by the landmark album Choochtown that remains a huge favourite with fans to this day.

In 2003 Ed signed to Ani Di Franco's Righteous Babe Records, releasing the album Tough Love, followed by Songs for Parents Who Enjoy Drugs in 2006. The next year his stand-up show The Terrorism of Everyday Life won 5 star reviews at the Edinburgh Fringe plus a Herald Angel Award for an outstanding performance at the festival.

Before, during and after 2010 Ed Hamell took on the challenge of writing a new song every day and publishing the results on his Youtube Channel. He ended up with over 400 tunes, eight of which were selected for his forthcoming digital release "Ed Hamell Is The Happiest Man In The World". 

Produced by The Butcher Bros this mini-album features collaborations with Kimya Dawson (ex Moldy Peaches) and longstanding friend and mentor Ani Di Franco. It's released on January 14th 2013 by New West Records - home to Richard Thompson, John Hiatt, Steve Earle, Tom Morello and Kris kristofferson among others.

In addition to his UK/Eire mini-tour Ed Hamell will be the featured guest on Tom Robinson's Saturday night show for BBC Radio 6 Music on Jan 19th, 2013

Bio

NItzFlitz first found his passion in Hip-Hop at the fairly young age of 14. Coping with the stress of a young adult wasn't always easy for him, so he turned to a pen and paper to release his emotions. At first it was just to say what he couldn't in real life. Then it progressed to wishing he could hear his words in his favorite songs. This encouraged him to write more and get a heavier involvement in the Hip-Hop scene. Taking home CD after CD and carefully studying MC deliveries Nitz was biding his time before he released music, he wanted to be the best. An online confrontation about a previous fight that happened with a rival neighborhood crew, would push NitzFlitz to release a rhyme with a delivery and style that had to be captured on track, and Nitz would do just that over the next two weeks, creating the Infamous Diss. A track fully produced in the kids bedroom, not bad, NitzFlitz now had his voice out for people to hear. Hesitant due to the lack of recoding materials he had at his disposal NitzFlitz let his fans hang on the Infamous Diss for about half a year before he released I'm Dark and I'm Cold. Slightly disappointing sound quality and questionable lyrics the thought on most fans minds was, "was it worth the wait?". Well I think so, to know a full potential a artist must first know what is in essence "bad" music. So it was back to the notepad, and thats where it stayed for another good 5 months, until viola Shadows' Beatdown Ft. Blade a collaboration that just kinda happened, and the outcome Ok, but still not the best, back to the notepad again! Wondering what could be a logical and wise move in his music career NitzFlitz again was slow to release another song, wanting a unique sound to be recognized as "NitzFlitz" he waited until he found something he thought he could make his, that's when ESCAYPE decided to do a collaboration with NitzFlitz, the result was Rising Action. Due to the recording equipment the final result is less then studio quality, but it shows how Nitz can change his styles up. Now we enter 2009, Nitz had been moving regularly from september to march 2010 when he and his fiance decided to move to Vernon BC from Calgary AB where he had spent his whole life. This put a huge halt on any music he would've liked to make. Spending the next six months unemployed and fearing homelessness he couldn't find the heart to put in his music until late 2010 music seemed for him done. Then he re discovered how much the beat frees him and got back on the pad with a newly heated pen releasing Full Effect, letting his fans know that he is back in "Full Effect".

Quinta is a London-based multi-instrumentalist performer, improviser and experimental composer.  

As well as her solo project, Quinta has worked with Bat for Lashes, Lamb, Penguin Café, Marques Toliver, Patrick Wolf, and Radiohead’s Philip Selway, as well as pioneering ‘paperteers’, The Paper Cinema and award-winning acrobatic troupes Ockham's Razor and Mimbre.

She was 2015/16 Music Fellow at Rambert Dance Company and is one quarter of all-female experimental arts collective, Collectress (www.collectress.co.uk).

She mainly plays keyboards, violin, viola, musical saw and ukelele, but dips into a bigger box of tricks including lever harp, recorder, melodica, and glockenspiel when adventures call. 

Praise for 'My Sister, Boudicca':

"Wistful, sparse, and transportive; this record sparkles with a sense of play, of willful originality and effortless grace." Danny Wadeson, The 405.

"As the album comes to a close, you get the idea you’ve just been to the most peculiar recital you’re ever likely to experience. Quinta comes from a different place, and a different age. There aren’t enough albums these days that are genuinely fascinating. This one is. Cherish it." Sam Shepherd, The Line of Best Fit.

"This is probably the strangest, most beguiling record I’ve heard in a long time. It’s hard to describe as it is so singular that comparisons are difficult and almost unhelpful. As a work of art it is wonderful: strange, beautiful and irresistibly unique." Nick Lewis, God is in the TV.

Praise for 'The Quick of the Heart':

“An utterly beautiful and magical album…full of gems from start to finish” Cast the Dice.

"So strikingly alien, yet brimming with such passion and humanity” Fresh on the Net.

"Complex, luxurious, majestic, enchanting" Ondarock.

MUSIC THE PASSION THAT RULES MY LIFE! 
It's always gratifying to know that you liked my music, because it's the most intimate thing I can show to others, it's a way to express myself without filtered.
If so ... it's my biggest reward to know you've been receptive to the emotions I wanted to share with you! ... ♫ 
Leave a ♥ & comments, it warm my soul, love is always good !

LA MUSIQUE LA PASSION QUI REGLE MA VIE! 
C'est toujours gratifiant de savoir que vous avez aimé ma musique, car c'est la chose la plus intime que je puisse montrer aux autres, c'est une façon de m'exprimer sans filtre.
Si oui ... c'est ma plus grande récompense de savoir que vous avez été réceptif aux émotions que je voulais partager avec vous! ... ♫

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