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Current news:

Award season has erupted for 2014, with MonkeyJunk, the blues-trio from Ottawa, Canada, winning five Maple Blues Awards, including Recording of the Year for All Frequencies, the band's second release for Stony Plain, and follow-up to 2011's Juno award winning To Behold. The award evening, held in the exquisite Koerner Concert Hall in Toronto, was closed by an incdeniary performance by MonkeyJunk of "You Make A Mess," that lit up the sold out venue on January 20.

The Maple Blues Awards, presented by the Toronto Blues Society, are Canada's equivalent to the Blues Foundation's Blues Music Awards, which are given out in May. Rory Block and Ronnie Earl are both nominated for BMA's this year.

Stony Plain Records was delighted and truly honoured when the Blues Foundation named us the 2014 recipient of the Keeping The Blues Alive Award in the Record Label category. The award was handed out during the International Blues Challenge (IBC) in Memphis on January 24. The Blues Foundation is an organisation that works to preserve blues music history and promotes the musicians that work in this art form. Please consider becoming a member of this foundation.

As the fire rages on last year's releases from MonkeyJunk, Eric Bibb, Amos Garrett Jazz Trio, Rory Block, Tim Hus, Ian Tyson, Ronnie Earl and Duke Robillard, we're looking forward to the next batch of releases that will ignite your stereo's this year, including music from Kenny 'Blues Boss' Wayne, Ronnie Earl, Rory Block and Duke Robillard.

And the best thing with great music? It never stops burning. So browse our catalogue, read some of the reviews they've received, peruse the most recent CDs from US label, Blind Pig Records, that we distribute in Canada, then follow us on twitter and like us on facebook.

We know you'll find something that warms your soul, and be safe in the knowledge that any purchase you make on our site is totally secure.

Reviews:

Gonzo
By John "The Rock Doctor" Kereiff
"This is a salt of the earth collection of tunes guaranteed to show you a good time." (more)

Talk about classic blues!  The latest record for this legendary Chicago born harp player is a collection of originals, early R&B songs, blues/ jazz standards plus some 60's & 70's rare soul gems.  The Chicago skyline on the front cover with a seemingly giant Marine Band harp floating overhead says it all.

There's so much going on here it's hard to know where to begin. Billy Boy's voice, sounding lived in as it should at the age of 79, is like a smoother version of Sonny Boy Williamson. Billy’s harmonica playing, while expressive, isn't crazy-wild, but it suits the tunes perfectly.  The backing band, which includes the Roomful Of Blues horn section and producer Duke Robillard on guitar, grooves with enthusiastic precision, giving Arnold the perfect platform to express himself from.

"The chance to work with Billy Boy on this project was something I jumped on without a moment's thought" say Robillard.  "Billy wanted to record an album full of songs that he had always loved, in a few different genres", all of which have his unmistakable stamp.  This album rock, swings and grooves, sounding much like the past that is reflected by the songs themselves.  As a producer Robillard is an expert without peer at capturing that vibe, and Billy Boy Arnold is one of the few blues maestros still alive capable of expressing that musical history that he witnessed first hand and was an essential part of.

If you want the story of Billy Boy Arnold's life and career, you only need go as far as Robillard's essay on the inside of the front cover.  It makes for a good read as you start getting into the album, leading to a deeper, more satisfying listening experience- and for music geeks like me, that's what it's all about.   This is a salt of the earth collection of tunes guaranteed to show you a good time.

ESSENTIAL:  Ain't That Just Like A Woman, Coal Man, Dance For Me Baby

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Don & Sheryl's Blues Blog
By Sheryl and Don Crow

"Rory Block continues to solidify her place in the blues pantheon as she brings a brilliant tribute to Skip James, “Hard Luck Child.”"

(more)

Rory Block is not only one of the most talented blueswomen on the planet, but she shares a connection no one else can lay claim to.  As a young girl eager to absorb everything she could about blues guitar, she had the good fortune to mentor with some of the Delta masters.  Her latest installment of this series is dedicated to Skip James, and is entitled “Hard Luck Child.”

 

Over the course of these ten songs, Rory gives us a glimpse thru her own stylings of the incredible talents of James.  She leads off with an original composition, “Nehemiah James,” which serves as a mythical biography of sorts, showing how, back in James’ day, the lines between life and death and blues and gospel were blurred, to say the least.  Rory sings that a young “Nehemiah Curtis James” was called upon by the Holy Spirit to “preach the blues.”

 

Rory’s take on “Cypress Grove Blues” shows the melancholy side of James’ personality, which appeared in varying degrees on many of his songs.  Lyrics such as “I’d rather be six feet in my grave” and “you gotta reap what you sow” show his predilection for the stark differences between life and death.  Then, with a cut such as “Little Cow And Calf Is Gonna Die Blues,” he deals with the same subject, yet this one follows a livelier, jazzy progression, further attesting James’ talents.

 

James always kept an ear to his gospel roots, and Rory shows this side of him thru “Jesus Is A Mighty Good Leader” and “I’m So Glad,” layering her guitar and vocal parts to give these a full band sound.

Our favorite was easy.  Skip James was as expressive on piano as he was on guitar.  Rory’s expertise allowed her to play Skip’s piano leads on her guitar.  As such, “If You Haven’t Any Hay, Get On Down The Road” turns into a good-natured, jazzy affair punctuated by Rory’s playful yelps, scat-singing, and deft slide runs.

 

Rory Block continues to solidify her place in the blues pantheon as she brings a brilliant tribute to Skip James, “Hard Luck Child.”  She faithfully captures his ebullient and eclectic spirit thru the eyes and ears of a woman fortunate enough to have known and mentored with him!  Until next time…Sheryl and Don Crow, The Nashville Blues Society. (less)
Midwest Record
By Chris Spector
Chuggling, churning, wild and woolly, this set of mostly originals sounds like they were found laying in wait along the other end of highway 61 for the right interpreter.  As always, the Duke delivers royally. (more)

When the new Duke Robillard record comes to town, it’s always a good idea to stop what you’re doing and check it out.  Throwing away more ideas than most players come up with in a career, Robillard indulges his Stax/Malaco southern blues show band fantasies and they arrive as much more than a busman’s holiday.  Chuggling, churning, wild and woolly, this set of mostly originals sounds like they were found laying in wait along the other end of highway 61 for the right interpreter.  As always, the Duke delivers royally.  Well done.

Chris Spector

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Elmore
By Brian Cady
"With Good News, Ronnie Earl again demonstrates the musical mastery that continues to garner him both awards and accolades." (more)

For over 25 years, guitarist Ronnie Earl and The Broadcasters have consistently released heartfelt guitar-driven blues, and Good News ably continues that tradition. Released on the heels of his third Best Guitarist Award win at The Blues Music Awards,  Good News features a now-11 year old iteration of The Broadcasters that includes Dave Limina on keys, drummer Lorne Entress and bassist Jim Mouradian.

Good News is a nod to Sam Cooke’s Ain’t That Good News release of 50 years ago; fittingly, Earl’s album includes a soulful cover of “Change Is Gonna Come” which features vocalist Diane Blue. The counterpoint of Earl’s emotive soloing and Dave Limina’s inspired B3 behind the vocals make this one of the more memorable interpretations of this classic.

Showing Earl’s great diversity, “I Met Her On That Train” is a rockabilly swing in the vein of “Mystery Train” – definitely a departure from Earl’s normally blues-based stylings.  Also included is a beautiful version of “Time To Remember” –originally released on his 1993 album Still River. This version features a slower, more relaxed groove that allows the sparse yet fluid guitar lines to interplay beautifully with the keyboards. The Limina-penned title track has a Gospel groove that really lets Earl stretch out musically. The most powerful track on the album is “Running In Peace” – a heartfelt, slow blues tribute to the Boston Marathon bombing victims.

With Good News, Ronnie Earl again demonstrates the musical mastery that continues to garner him both awards and accolades.

-Brian Cady

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Living Blues
By David Whiteis
"a roots-rich celebration infused with a powerful spirit of adventurism" (more)

Along with upstate New York's Don "Papadon" Washington, Kenny "Blues Boss" Wayne is one of the few younger-generation keboardists dedicated to keeping the art of unadorned acoustic blues piano alive, relevant, and contemporary.  Like Washington, though, he's also proficient on Hammond organ and other amplified instruments, and when he's not pounding out updated versions of vintage era boogie and barrelhouse themes, he's perfectly capable of insinuating himself into a tightly wound ensemble and firing off juke-rocking, modern-sounding blues.  His voice, while not necessarily the most emotionally expressive, is more than adequate for the tasks he usually sets it to.

Occasionally, as in the faux rave-up Hootenanny Boogie-Woogie, he sounds a bit self-conscious in his efforts to claim his place in the vaunted rent party/after-hours keyboard tradition, but for the most part he delivers a satisfying blend of good-time entertainment and deep-hearted blues expression.  Roadrunner, a pop-rock tinged ode to the footloose lifestyle of the hard-traveling bluesman, appropriately balances exhilaration and driven obsessiveness; the modernist soul ballad Baby, It Ain't You, featuring Diunna Greenleaf on guest vocals, is shot full with both regret and wounded righteousness; Two Sides, a jivey, semi-novelty romp with a strong New Orleans tinge, finds Eric Bibb contributing a tubular-toned acoustic guitar solo along with some well-honed vocal harmonies alongside Wayne; Out Like a Bullet, the set's closer, is a piano workout that kicks into a torrid, window-rattling boogie-woogie cadence early on and never lets up.  It's the perfect finisher for a roots-rich celebration infused with a powerful spirit of adventurism and forward-looking imagination.

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Elmore
By Mark Uricheck

"Canadian garage/soul trio Monkeyjunk has a sound that falls somewhere indiscriminately between the slop-barrage of Thickfreakness-era Black Keys and the sinuous R&B of the Ohio Players’ Honey....Set apart from the current pack of Hill Country-inspired blues trios by its knack for freewheelin’ soul, Monkeyjunk is an exciting name in an often stagnant niche scene."

(more)
Canadian garage/soul trio Monkeyjunk has a sound that falls somewhere indiscriminately between the slop-barrage of Thickfreakness-era Black Keys and the sinuous R&B of the Ohio Players’ Honey. On All Frequencies, the band delivers an analog blast of blues-based groove that’s slightly heavier than that of your garden variety, bass-free Americana power trio. Here, Monkeyjunk takes the muscle of Detroit, the soul of Memphis and the howling hunger of Clarksdale, MS, on a fast train through down-home heartland expression. Tracks like "You Make a Mess" are highlighted by vocalist Steve Marriner’s blazing, Charles Walker-esque deliveries and a ragged sense of funk. "Why Are People Like That?" is a hypnotic, midtempo harmonica attack with a touch of detuned guitar sludge, while "Sirens in the Night" is a call-and-response R.L. Burnside stomp. "Once Had Wings" is where the laid-back British blues of Bad Company meets the anguished chants of Bukka White. The band’s songwriting acumen is sharp, as witnessed on "Say What?," a hip, 1960s mod-edged dancer with snappy backing vocals. Equally as refreshing is "Je Nah Say Kwah," where the Muscle Shoals sound is interpreted with sweetened Funkadelic-like shades—the spirit moves through this one. Set apart from the current pack of Hill Country-inspired blues trios by its knack for freewheelin’ soul, Monkeyjunk is an exciting name in an often stagnant niche scene. (less)