STUDIO GRACE
SONGS
BOOK
AUTHOR

Explore the story of the music in


ERIC SIBLIN'S BOOK


STUDIO GRACE


Explore the story of the music in


ERIC SIBLIN'S BOOK


STUDIO GRACE


Perfect Shell


Performed by


REBECCA CAMPBELL

A song has many possibilities

CHANGE THE VOCALIST

Listen to the
PREVIOUS VOCALIST

Perfect Shell


GO SLOW


HONEY FROM THE SKY


COUNTRY MILE


GRACE OF LOVE


GRACE OF LOVE


BATTLEFIELD MIND


SIGN OF DESIGN


FIREWALL


PERFECT SHELL


PERFECT SHELL


BASEMENT RAINBOW


BASEMENT RAINBOW


ANOTHER MAN'S CRIME


ANOTHER MAN'S CRIME


CHERRIES


CHERRIES


ACHILLES


Go Slow


Eric Siblin 
LEAD VOCALS, ACCOUSTIC GUITAR

Bucky Wheaton 
DRUMS

Morgan Moore 
BASS

Jo Simonetti 
ORGAN, BACK‑UP VOCALS

Ellwood Epps 
TRUMPET


Recorded and mixed by Howard Bilerman at Hotel2Tango. Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

Excerpt 1


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.

 
 
 
 
 
 
 


Hayley Richman

Hayley Richman is a sixteen-year-old Montreal singer whose fan base has grown exponentially since her YouTube channel first got off the ground in 2012. She was named “Best Female YouTube Artist of the Month” for July 2013 by StarCentral Magazine, and has been a featured new artist on Reverbnation, where she’s held the No. 1 artist spot locally and occupied the Top 10 position nationally for more than one year.

With 30,000 subscribers to her YouTube channel, and 3.2 million views of her videos, Hayley has been focusing her singing talent on movie trailers, demos, and licensing deals for her original music.

Hayley can be heard on iTunes and other leading Internet music sites, as well as on streaming services like Spotify, Rhapsody, and Rradio. She is continually working on new songs and looks forward to a career in music.

More about Hayley : 

iTunes  >

youtube  >

facebook  >

Reverb Nation  >

Bandcamp.com  >

Instagram  >

cdbaby.com  >




 

 

 

 

 

Honey from the Sky


Hayley Richman 
LEAD VOCALS, BACKUP VOCALS

Morey Richman 
ELECTRIC GUITARS


All other instruments programmed by Morey Richman. Recorded and mixed by Morey Richman at his home studio. Mastered by Harris Newman at Grey Market Mastering. Words by Eric Siblin. Music by Eric Siblin and Morey Richman.



 

 

 

Excerpt 2C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.


Jo Simonetti

Jo Simonetti has been singing for her supper since the age of four when her parents prevailed upon her to perform the "I love Turtles" commercial at dinner parties. She composed her first piece of music at 8, and first pop song at 15, which was about a boy. Has been writing songs about boys ever since. In 2015, she was proudly selected as the subject of an all-time favorite composer project by a 3rd grade student at a downtown Montreal school (who also happens to be her son).

Her non-musical jobs have included magazine writer, behavior therapist for children with ASD, real estate broker, and property manager. Mother to a beautiful son (and her number one fan), she has come to terms that it's not the size of the audience that counts, but how biased it is in her favour.

Listen to Jo at  Soundcloud.com   >




 

 

 

 

 

Country Mile


Jo Simonetti 
LEAD VOCALS

Eli Krantzberg 
DRUMS, KEYBOARDS

Peter Wilson 
BASS

Eric Siblin 
ACOUSTIC and ELECTRIC GUITARS


Recorded and mixed by Eli Krantzberg at his home studio. Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

Excerpt 3C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.


Rebecca Campbell

Rebecca Campbell is an acclaimed singer and sometime songwriter. She sings myriad styles, in countless settings, up front and back up. She plays percussion, and some guitar and accordion. But mostly she sings. Born in Toronto in 1963, Rebecca has been making music, and helping others to do the same since her teens. Bred in the Maritimes and Ottawa, and educated in Montreal, she has been based in Toronto since the late-nineties.

She has performed with countless individuals and ensembles, most notable among them: Jane Siberry, Meredith Monk, Paul Quarrington, Porkbelly Futures, Ian Tamblyn, Lynn Miles, Carol Ann Weaver, Ernest Ranglin, Derrick Harriott, The Special Interest Group, Fat Man Waving, Bec and Rusty, Three Sheets To The Wind, Justin Haynes, Stephen Fearing, Dave Bidini, Collette Savard, Microbunny, King Cobb Steelie, Dorothy Moore, Jim Cuddy, Dan Hill, Parachute Club, Eric Siblin, Ken Whiteley, Joe Hall, Ernie Smith, Marilyn Lerner, Tannis Slimmon, Mageshen Naidoo, Prince Bulo, Emmylou Harris, Ani Defranco, Daniel Lanois, Fred Eaglesmith, Luther Wright, The Skydiggers, Reno, The Woodchoppers Choir, Carlos Del Junco, Kevin Breit, Melwood Cutlery, This Is Awesome, Canadian Children's Dance Theatre, and the list goes on and on… on stages across Canada, the USA, Europe, South Africa, South Korea, Hawaii, and the Caribbean.

Rebecca's voice has graced both the big and small screen, and she has sung on over 100 recordings. Beyond being a prolific singer of songs, she is and/or has been a producer, presenter, publicist, booking agent, tour manager, actor, youth workshop leader, South African field trip co-leader, Artscape Gibraltar Point Centre For The Arts bookings manager, Ratspace Rehearsal Studio manager and sound engineer, music festival production assistant, event driver, arts council jurist, arts organization board member, voice teacher, photographer, poster artist, and milliner.

Rebecca's rehearsal studio at  ratspace.com  >




 

 

 

 

 

Grace of Love


Rebecca Campbell 
LEAD VOCALS, BACKUP VOCALS

David Payant 
DRUMS

Morgan Moore 
BASS

Eric Siblin 
ACOUSTIC GUITAR, TAMBOURINE

Kristina Koropecki 
CELLO

Gavin Gardiner 
HARMONICA


(ALTERNATE VERSION)


Eric Siblin 
LEAD VOCALS

Recorded and mixed by Howard Bilerman at Hotel2Tango. (Vocals and harmonica recorded at Gavin Gardiner’s home studio.) Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

Excerpt 4C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.


Michael Jerome Browne

Born in South Bend, Indiana, Michael Jerome Browne is the son of English professors whose love of music and poetry inspired them to take their nine year old child to the great jazz, blues, and folk clubs in their adopted home of Montreal. By the age of fourteen, MJB was already a regular on the vibrant folk and coffee house scene adding banjo, fiddle, and mandolin to his masterful command of all variety of guitars and harmonica.

Among Michael’s accolades: Canadian Folk Music Awards Solo Artist of the Year 2012 and 2008; Maple Blues Acoustic Artist Award Winner; Kerrville (Texas) New Folk Finalist; and three-time Juno Award nominee in both the roots/traditional and blues categories. Michael is a multi-instrumentalist, a songwriter, and a living encyclopedia of American roots music.

Michael Jerome Browne's  website  >




 

 

 

 

 

Battlefield Mind


Michael Jerome Browne 
LEAD VOCALS, RESONATOR GUITAR

John McColgan 
DRUMS

Stephen Barry 
BASS


Recorded and mixed by Howard Bilerman at Hotel2Tango. Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

B
ack in the 1990s, I used to frequent a particular dive bar on as many Sunday nights as I could. The attraction was Michael Jerome Browne (MJB), the most compelling blues artist, bar none, I had ever seen. I have a lot of time for blues icons like Robert Johnson and B. B. King. The pre- electric Delta blues style, rubbing shoulders with country and folk, is right up my aesthetic alley. As a guitar player, I have the blues DNA in my bloodstream. But I’m not the most devout of blues fans. Most contemporary purveyors of the genre leave me cold. Caged in the iron bars of I–IV–V progressions, the predictability can grow monotonous. And the definition of art that grabs you may well be that which straddles the line of predictability/unpredictability, novel/ familiar, safe/risky. The precise ratio varies from cerebral cortex to cerebral cortex.

In the dimly lit, thinly attended G Sharp Bar on St. Laurent Boulevard, MJB was never overly predictable or safe, to my ear. His blues ranged far and wide, encom- passing soul, gospel, Tin Pan Alley, slide, Cajun, ballads, and all manner of backwoodsy material. His guitar playing was superb, his choice of material intriguing, and his voice manna from the harmonic spheres.

It had a stamp of authenticity that seemed to have been pressed somewhere south of these here parts half a century ago. And there was a legend at street level, the story being that he wheeled into town from Chicago when he was a kid, already a blues encyclopedia who knew everything and could play anything. He supposedly joined the Stephen Barry Blues Band, local veterans of the art form, at some precocious age, like thirteen. That was the story.

I had thought about MJB vis à vis one of my songs, “Battlefield Mind,” a crudely simple composition meant for a high, lonesome voice that might belong to him. When I picked up my guitar after my Bach phase, out came this primitive expectoration, a raw thing that purged all the high-minded music that was so far above my head in terms of technical playability.

I googled MJB and was delighted to see just how many awards and critical hosannas he’d accumulated in the categories of blues artist, acoustic artist, singer, and guitarist. During those G Sharp days, I used to think it a shame that there were so few people in the audience to appreciate the performances. Happily, his talent had won out in the end.

Mustering some cyber-courage, I emailed him cold, introducing myself and explaining that I was trying to get various singers to sing original songs that I was recording. I had one or two in mind for him. Might he conceivably be interested?


 

 

 

 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.


Shaharah

Montreal-based R&B singer Shaharah credits her Jamaican-born father as her first musical influence – his playing Teddy Pendergrass, the Jacksons, Luther Vandross, and the Stylistics. At fourteen she joined a Montreal gospel choir and quickly discovered that the life of a performer was written in her DNA. Her album “You and I” was released in 2013 and is available on iTunes. “No Turning Back,” the single from her previous album, has gained airplay on Top 40, Hot Adult Contemporary, and Adult Contemporary radio, and its video has been featured on MuchMusic and MuchVibe. She regularly detonates dancefloors in Montreal with the band Soulvation.

Shaharah's  website  >

A clip of Shaharah performing with the band  Soulvation  >




 

 

 

 

 

Sign of Design


Shaharah 
LEAD VOCALS, BACKUP VOCALS

Paul Lizzi 
DRUMS

Greg Provo 
BASS

Eric Siblin 
ELECTRIC GUITARS

Ralph Télémaque 
KEYBOARDS


Recorded and mixed by Eli Krantzberg at his home studio. Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

Excerpt 6C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was p including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.


Shaharah

Montreal-based R&B singer Shaharah credits her Jamaican-born father as her first musical influence – his playing Teddy Pendergrass, the Jacksons, Luther Vandross, and the Stylistics. At fourteen she joined a Montreal gospel choir and quickly discovered that the life of a performer was written in her DNA. Her album “You and I” was released in 2013 and is available on iTunes. “No Turning Back,” the single from her previous album, has gained airplay on Top 40, Hot Adult Contemporary, and Adult Contemporary radio, and its video has been featured on MuchMusic and MuchVibe. She regularly detonates dancefloors in Montreal with the band Soulvation.

Shaharah's  website  >

A clip of Shaharah performing with the band  Soulvation  >


 

 

 

 

 

Firewall


Shaharah 
LEAD VOCALS, BACKUP VOCALS

Paul Lizzi 
DRUMS

Greg Provo 
BASS

Eric Siblin 
ELECTRIC GUITARS

Ralph Télémaque 
KEYBOARDS

Erik Hove 
SAXOPHONE


Recorded and mixed by Eli Krantzberg at his home studio. Mastered by Harris Newman at Grey Market Mastering. Words by Eric Siblin, music by Eric Siblin and Shaharah.



 

 

 

Excerpt 7C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was p including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.


Rebecca Campbell

Rebecca Campbell is an acclaimed singer and sometime songwriter. She sings myriad styles, in countless settings, up front and back up. She plays percussion, and some guitar and accordion. But mostly she sings. Born in Toronto in 1963, Rebecca has been making music, and helping others to do the same since her teens. Bred in the Maritimes and Ottawa, and educated in Montreal, she has been based in Toronto since the late-nineties.

She has performed with countless individuals and ensembles, most notable among them: Jane Siberry, Meredith Monk, Paul Quarrington, Porkbelly Futures, Ian Tamblyn, Lynn Miles, Carol Ann Weaver, Ernest Ranglin, Derrick Harriott, The Special Interest Group, Fat Man Waving, Bec and Rusty, Three Sheets To The Wind, Justin Haynes, Stephen Fearing, Dave Bidini, Collette Savard, Microbunny, King Cobb Steelie, Dorothy Moore, Jim Cuddy, Dan Hill, Parachute Club, Eric Siblin, Ken Whiteley, Joe Hall, Ernie Smith, Marilyn Lerner, Tannis Slimmon, Mageshen Naidoo, Prince Bulo, Emmylou Harris, Ani Defranco, Daniel Lanois, Fred Eaglesmith, Luther Wright, The Skydiggers, Reno, The Woodchoppers Choir, Carlos Del Junco, Kevin Breit, Melwood Cutlery, This Is Awesome, Canadian Children's Dance Theatre, and the list goes on and on… on stages across Canada, the USA, Europe, South Africa, South Korea, Hawaii, and the Caribbean.

Rebecca's voice has graced both the big and small screen, and she has sung on over 100 recordings. Beyond being a prolific singer of songs, she is and/or has been a producer, presenter, publicist, booking agent, tour manager, actor, youth workshop leader, South African field trip co-leader, Artscape Gibraltar Point Centre For The Arts bookings manager, Ratspace Rehearsal Studio manager and sound engineer, music festival production assistant, event driver, arts council jurist, arts organization board member, voice teacher, photographer, poster artist, and milliner.

Rebecca's rehearsal studio at  ratspace.com  >




 

 

 

 

 

Perfect Shell


Rebecca Campbell 
LEAD VOCALS, BACKUP VOCALS

Bucky Wheaton 
DRUMS

Morgan Moore 
BASS

Eric Siblin 
ACOUSTIC AND ELECTRIC GUITARS

Jo Simonetti 
ORGAN

Ellwood Epps 
TRUMPET

Gavin Gardiner. 
TAMBOURINE


(ALTERNATE VERSION)


Eric Siblin 
LEAD VOCALS

Jo Simonetti 
BACKUP VOCALS

Recorded and mixed by Howard Bilerman at Hotel2Tango. (Vocals and tambourine recorded at Gavin Gardiner's home studio.) Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

Excerpt 8C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was p including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.

Basement Rainbow


Eric Siblin 
LEAD VOCALS, ACOUSTIC AND ELECTRIC GUITARS

Bucky Wheaton 
DRUMS

Morgan Moore 
BASS

Michael Leon 
ACCORDION

Jo Simonetti 
BACKUP VOCALS


(ALTERNATE VERSION)


Rebecca Campbell 
LEAD VOCALS AND HARMONIES

Recorded and mixed by Howard Bilerman at Hotel2Tango. Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

Excerpt 9C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was p including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.


Michael Leon

Michael Leon is a Montreal-based historian and composer/sound designer. He has composed and performed music for numerous theatre, film, and spoken word projects, including Talisman Theatre's productions of The Medea Effect, The Flood Thereafter, Rock, Paper, Jackknife, Down Dangerous Passes Road, That Woman, as well as Marilyn Perreault’s Ligne de bus at Theatre aux Ecuries. Leon can also be heard playing in the power pop band the Tibaldos with his wife Emma Tibaldo. He plays piano, guitar, accordion, and is making progress on the bagpipes. He is a history professor at Dawson College.

The Tibaldos.com  >




 

 

 

 

 

Another Man's Crime


Michael Leon 
LEAD VOCALS

Eli Krantzberg 
DRUMS

Peter Wilson 
BASS

Eric Siblin 
ACOUSTIC AND ELECTRIC GUITARS

Steven Corber 
KEYBOARDS

Jo Simonetti 
BACKUP VOCALS


(ALTERNATE VERSION)


Shaharah 
LEAD VOCALS

Recorded and mixed by Eli Krantzberg at his home studio. Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

Excerpt 10C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was p including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.


Jo Simonetti

Jo Simonetti has been singing for her supper since the age of four when her parents prevailed upon her to perform the "I love Turtles" commercial at dinner parties. She composed her first piece of music at 8, and first pop song at 15, which was about a boy. Has been writing songs about boys ever since. In 2015, she was proudly selected as the subject of an all-time favorite composer project by a 3rd grade student at a downtown Montreal school (who also happens to be her son).

Her non-musical jobs have included magazine writer, behavior therapist for children with ASD, real estate broker, and property manager. Mother to a beautiful son (and her number one fan), she has come to terms that it's not the size of the audience that counts, but how biased it is in her favour.

Listen to Jo at  Soundcloud.com  >




 

 

 

 

 

s

Cherries


Jo Simonetti 
LEAD VOCALS, BACKUP VOCALS

Eric Siblin 
ACOUSTIC AND ELECTRIC GUITARS

Kristina Koropecki 
CELLO

Bucky Wheaton 
EGG SHAKER AND BASS TOM

Howard Bilerman 
TAMBOURINE


(ALTERNATE VERSION)


Bucky Wheaton 
DRUMS

Morgan Moore 
BASS

Jo Simonetti 
ORGAN

Ellwood Epps 
TRUMPET

Recorded and mixed by Howard Bilerman at Hotel2Tango. Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin.



 

 

 

Excerpt 11C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was p including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.

Achilles


Eric Siblin 
LEAD VOCALS, ACOUSTIC AND ELECTRIC GUITARS

Bucky Wheaton 
DRUMS

Morgan Moore 
BASS

Michael Leon 
ORGAN, BACKUP VOCALS


Recorded and mixed by Howard Bilerman at Hotel2Tango. Mastered by Harris Newman at Grey Market Mastering. Words and music by Eric Siblin, based on Homer’s Iliad.

 

 

 

Excerpt 12C


EXCERPT.... text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was p including versions of Lorem Ipsum.

Dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.






 

 

 

Download this song or the entire album on iTunes  +

or enter the code obtained
from the book STUDIO GRACE
to download for free

GO

A free download of this song is available for password holders only on dektop or laptop computers.

BOOK
MEDIA
PHOTOS


STUDIO GRACE


by Eric Siblin

> Purchase the book

With a dozen original songs percolating in his head, bestselling author Eric Siblin had two chance encounters in the same month: one with a real estate agent named Jo, a talented singer with pop star dreams; and the other with a college acquaintance named Morey, a fiery guitarist, record exec turned digital music producer, and manager of his teenage daughter’s burgeoning singing career. These two serendipitous events mark the start of a musical odyssey.

In Studio Grace, Eric Siblin chronicles the twelve-month realization of a long-held dream: recording an album of original material. To get there he plunges into the joyful and painful heart of songcraft, grappling with elusive verses and choruses until they are ready for recording. Siblin’s songs are captured in three very different studios reflecting the evolution of sound recording: a tiny basement studio run by a wedding band drummer; the famed Hotel2Tango analogue studio, where a former producer of Arcade Fire connects Siblin with hipster musicians; and the mansion attic where his new friend Morey creates songs on a laptop using the latest in digital technology and the global distribution network that is YouTube.

Published to coincide with the release of the album of the same name, Studio Grace is an entertaining and demystifying look at the making of a record filled with songs about love gained and love lost, about modern identity theft and ancient battlegrounds, about life and death, fleshed out by a host of eclectic characters, from ambitious young singers to veteran session musicians and persnickety engineers to high-profile producers — all of whom are pursuing the multi-layered dream of a four-minute pop song.





 

 

 



MEDIA


Check back for updates.

Journalists and event organizers contact:
Emily Mockler
House of Anansi Press
emily@anansi.ca
416 363 4343  x225





 

 

 

 

 

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BIO
THE CELLO SUITES
Journalism


ERIC SIBLIN


> CONTACT

Eric Siblin is a writer with interests in history, music, hockey, and olive oil. Educated at Concordia University in Montreal, he has worked as a staff reporter for The Canadian Press and The Montreal Gazette. His first book, The Cello Suites, explores the multi-layered story of an epic composition by Johann Sebastian Bach. The Cello Suites was a No. 1 national best-seller in Canada and named an Economist Book of the Year for 2010. It won the Mavis Gallant Prize for Non-Fiction, and the McAuslan First Book Prize, and was shortlisted for the Governor General’s Award (Non-Fiction), the Writers’ Trust of Canada Non-Fiction Prize, and British Columbia’s National Award for Canadian Non-Fiction. It has been translated into nine languages. Studio Grace, published in 2015 to coincide with an album of the same name, is his second book.


Journalism


POLITICS



PROFILE

Rosie the Red Takes Power

How Canada's “national-security risk” became prime minister of a Caribbean island

READ THE PDF

ARCHITECTURE

Designs on Jerusalem

Moshe Safdie’s ambitious blueprint for a city

READ THE PDF

OBITUARY

Passion Before Reason

Former Prime Minister Pierre Trudeau's turbulent marriage showed his human face

READ THE PDF

ELECTION COVERAGE

Separatist Fortress

For Quebec Premier Lucien Bouchard, independence goes with the territory

READ THE PDF

NEWS

Quebec Cliffhanger

Province narrowly votes against sovereignty in divisive 1995 referendum

READ THE PDF

ANALYSIS

Where to Draw the Line

History provides abundant examples of partition and secession, but few rules govern national breakup

READ THE PDF

Shrinking Heads of State

Can psychoanalysis cure political problems?

READ THE PDF




CULTURE



LEISURE

Holy Rollers

Ultra-Orthodox Jewish bowlers focus on the straight and narrow

READ THE PDF

BOOK REVIEW

Presssed Into Service

Novel is a shimmering ode to beloved olive tree

READ THE PDF

Factual Fiction

Who killed Canada’s ambassador to Moscow?

READ THE PDF




MUSIC



PROFILE

Uncommon Virtuoso

Is Marc-André Hamelin the world's greatest pianist?

READ THE PDF

Showman in the Shadows

R&B hitmaker Vann “Piano Man” Walls re-discovered half a century after making his mark

READ THE PDF

AUDIO FILE

There is no Accounting for Musical Taste

Why listeners are set in their ways from an early age

READ THE PDF

INTERVIEW

Punk Paleontology

Bad Religion frontman Gregg Graffin finds time for ancient vertebrae

READ THE PDF

Björk's Dream

An Icelandic techno pop diva wakes up slowly

READ THE PDF

NEWS CONFERENCE

Exporting World Rhythm

Cuba's Compay Segundo is an overnight success at 91

READ THE PDF

RAVE

Escape from Electronica

Prodigy, Bran Van 3000 headline 13-hour even

READ THE PDF

CONCERT REVIEW

Hanson Plays to Hormones

Teen phenom drowned out by girl-powered screams

READ THE PDF

REHEARSAL

The Basement Tapes

Child 44 combats suburban boredom with peanut butter, girlie mags, and three chords

READ THE PDF

FUGUE

Neo-Punk Meets Old Folk

Bruce Cockburn cut and pasted with Green Day

READ THE PDF




 

 

 

 

 

 



THE CELLO SUITES


> The Cello Suites web site

My first exposure to Bach’s Cello Suites, after working as a pop music critic for a daily newspaper, rewired my audio circuitry. It took place in a small concert hall where a cellist with a shock of white hair, dressed in formal black attire, was bent over a 17th century instrument. In the hands of Laurence Lesser, the instrument with the intricately carved wooden scroll and curving sound holes seemed to defy the laws of musical gravity. With only four strings and one bow, the cello said so much with so little. I heard courtly music that would have made Louis X1V hit the dance floor, but also riffs that could have been powered by Jimmy Page; there were Celtic jigs and spiritual dirges, a spy-movie theme, near-eastern flourishes, modern minimalism, and the merriment of a medieval tavern fiddler.

The program notes written by Lesser, an eminent cellist from Boston, encouraged my suspicion that there was a story somewhere in the music. Lesser noted that the Cello Suites were all but unheard in 1890 when a thirteen year-old cellist was out for a stroll with his father in the old port district of Barcelona. The cellist was Pablo Casals, and when he stumbled on the sheet music of the Cello Suites in a secondhand shop, both his career and the course of music history were transformed. Casals spent the next dozen years mastering the music before summoning the confidence to play an entire suite in public. This image of a boy cellist discovering the music was the dramatic kick-start for the story I now knew I needed to tell. Soon enough, as I listened to this sublime music again and again, I seemed to hear that serendipitous stroll in the prelude of the first suite.

But Casals was only part of the story. The program notes mentioned a handful of mysteries surrounding the Cello Suites. Why did Johann Sebastian Bach write this unprecedented solo music in the first place? It is thought to have been composed around 1720, but there is no hard evidence as Bach’s original manuscript disappeared. There are other question marks and clues. Suite No. 5, composed for a strange tuning, also exists in a gorgeous version for solo lute dedicated to a “Monsieur Schouster”, about whom nothing was known. And Suite No. 6 was written for a mysterious five-string instrument.

Such questions are typical when it comes to Bach. Unlike his main competitors in the classical music pantheon – Mozart and Beethoven – he has received only passing attention in popular culture. That’s partly a result of the sketchy historical record. Only one authentic portrait has survived, by the Saxon court painter Elias Hausmann, which depicts a bewigged, somewhat dour, solid citizen, a bit on the heavy side, holding a sheet of music for posterity to puzzle over. There’s no sign of the mischievous Mozart or rebellious Beethoven.

Yet Bach’s life was not stuffy. He was very fond of his drink (wine, beer and brandy), his pipe tobacco, his 20 children (10 of whom lived to adulthood), his first wife (who died young), and his second wife (who was young when they married). On one memorable occasion he brawled with a rowdy bassoonist and drew his sword. Another time he was thrown into a duke’s jail.

One thing Bach did not experience in his lifetime – he lived from 1685 to 1750 - was great fame. The road to major success for a composer in his day ran through the opera house, and Bach never lived in a city that supported an opera. He toiled in relative obscurity in places such as Arnstadt, Mühlhausen, Weimar, Cöthen, and Leipzig.

Bach’s fame was like a time-release capsule. Nearly eighty years after his death, the fame started to kick in when a 20-year-old Felix Mendelssohn staged a performance of the St. Matthew Passion. It was a box-office triumph that produced rave reviews and led to repeat performances. But the so-called Bach Revival – the first time that a long-dead composer was plucked from the realm of specialists and given a popular audience – remained slow-going.

So when Pablo Casals laid eyes on cello music he never knew existed, it was very much in keeping with the story of Bach. For those musicians who knew of them, the Cello Suites were considered dry, technical exercises, of some pedagogical value, but not fit for the concert hall.

Even a musical giant of the nineteenth century like Robert Schumann, a major booster of Bach, had no luck reviving the Cello Suites when he wrote a piano accompaniment for the music in the 1850s. Schumann felt that adding piano was a way of providing “harmonic braces.” His aim was to make challenging music accessible to the general public – solo cello with training wheels. But Schumann’s pieces were rejected for publication.

When Casals started figuring out the music he didn’t have any model to go by. He had to reinvent the music. Which is fitting, because Bach’s music often seems as if it was invented to be re-invented. This is very much the case for the Cello Suites. Because Bach’s autograph manuscript went missing, the few copies of the music that survived differ in details. We still don’t know what Bach had in mind for tempo, dynamics, bowing, or styles of play. The sheet music, as a result, comes with a poetic license attached. And an ink-blot test. Cellists tend to put their own personal stamp on the music.

Every cellist of the past century, though, would measure their performance against that of a short, balding musician from a small town in Catalonia, who suffered regular bouts of stage fright and clenched his eyes tightly shut when playing. For a long time nobody sounded anywhere near as good.

The earliest evidence I came across of Casals performing a Cello Suite was in the autumn of 1901. He was on a joint concert tour of Spain with the British pianist Harold Bauer. The newspaper Diario de Barcelona noted that on October 17, Casals played “the ‘Suite’ of Bach.” His performance was lauded for its diction and dignity; the prelude and sarabande were praised for sounding robust and belleza. Later in that tour, Madrid’s El Liberal reported that “a Bach suite earned Señor Casals a prolonged ovation.” The music that had lain dormant for nearly two centuries was finally being heard.

But it would take some time before the music would become that great baritone soliloquy so familiar to our ears. It was not until the 1930s that Casals finally recorded all six suites. The Catalan cellist made the recordings during and shortly after the Spanish Civil War that was convulsing his homeland, and that first-ever complete recording of the music sounds terrifically urgent and desperate and hopeful in ways that peacetime might not have produced.

Casals, an anti-fascist Republican, recorded the second and third suites at London’s Abbey Road Studios in 1936, at the very moment that the epic Battle of Madrid was raging and civilians were being bombarded. Suites one and six were made in Paris in 1938 while the Spanish Republic was still holding out against the fascist onslaught. And finally, suites four and five were recorded in June 1939 after General Franco, aided by Hitler and Mussolini, had won the civil war.

The iconic recordings, which have never gone out of print, were released in the U.K. as 12-inch 78 rpm records in two installments in 1938, with suites four and five not seeing the light of day until 1948. That was more than half a century after Casals’s serendipitous stroll in Barcelona.

Since then, the suites have become a rite of passage for cello players. On a recent trip to the Virgin Megastore in Manhattan I found no fewer than 24 versions. Yet Casals’s historic recording remains a top seller. And for the purposes of a writer looking for a narrative in the music, Casals is unbeatable.

Whenever I hit a brick wall trying to write the story of the Cello Suites I would listen to the music, which never failed to point me in some narrative direction. Each of the suites have their own personality. Bach may have never written a teenage cellist from Catalonia into the first suite but he did make it sound optimistic and full of youthful energy. The second suite, for me, has become one of tragedy, with evidence that it might express Bach’s grief at the death of his first wife. The third suite represents love, the fourth struggle, the fifth mystery, and the sixth – bursting the boundaries of all that came before and composed for an instrument with one extra string – transcendence.

When I was at the end of my cello journey, researching the sixth suite, I happened to be in Brussels and one afternoon found a business card advertising a second-hand music shop called Prelude. I was intrigued and tracked it down. It was a bare-bones setup, with a snoozing black dog and a similarly listless salesman. There was precious little to purchase except for some musty stacks of sheet music. I went through the pile earmarked for cello, and recognized the names of pedagogues from the 19th century. Then I leafed through a custom-bound piece of music selling for six euros. The room seemed to spin. It was the Grützmacher edition of the Suites, the same edition that Casals stumbled on in a similar shop in 1890. The old-fashioned cash register rang up my purchase. I had strolled into a scene I had always imagined.

Eric Siblin

An abridged version of this was published in The Guardian in 2010