We are pleased to announce the new song by Will Ludford KEEPING MY EYES ON YOU.
More info on his sites:
https://www.facebook.com/bigbuzzardrecords
https://www.facebook.com/willludford/
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JAM 66 RADIO BRINGS YOU THE NEWEST ROCK, BLUES AND BLUES ROCK!
JUNO Award-winning powerhouse Crystal Shawanda releases "Come Unto Me" today on all streaming platforms, a heartfelt cover of The Mavericks classic and the first single from her forthcoming album 'Homesick Indian Blues'. The recording carries deep personal meaning for Shawanda, serving as a tribute to Raul Malo, the Mavericks' famed frontman, whose early support helped launch her career.
The story reaches back to Shawanda's earliest days in Nashville, when she and her band played for tips in the back room upstairs at Tootsies on Broadway, a room reserved at the time for acts the industry had given up on. Performing a mix of pre 1975 country, blues and rock and roll, Shawanda’s group built a devoted following among the songwriters, artists and producers who came to watch, Malo among them. "We never bothered Raul when he came in," Shawanda recalls. "We could see he was trying to lay low."
That changed the night of her RCA Records showcase, when Shawanda looked up and saw Malo in the crowd. His presence meant everything to a young artist who admired him precisely because he never fit the country music mould. "That support, that interest, it inspired me and encouraged me," she says, calling it one of the breadcrumbs that told her to keep going. When The Mavericks reunited years later with Eddie Perez joining the lineup, Shawanda and her husband, producer and guitarist Dewayne Strobel, began dreaming of one day collaborating with the band whose records had shaped them both.
That dream took on new urgency when the couple began working up "Come Unto Me" just before Malo's passing in December 2025. Strobel encouraged Shawanda to carry the song forward as a tribute rather than set it aside, and invited Perez to be part of the recording. Perez accepted, contributing electric and acoustic guitars and backing vocals, and personally walked Shawanda through his parts on the track. "I was like a little kid, so nervous and excited," she says of the session, describing Perez sharing stories of his years alongside Malo.
Malo himself once explained that the song drew inspiration from the film King Kong, the idea that even a giant can be rendered vulnerable by love. Shawanda has embraced that same spirit in her version, delivering the material with the commanding, full throated vocal power that has defined her blues catalogue for over a decade, set against the Tex Mex textures of a Flamingo Pink Stratocaster that Strobel acquired directly from Perez. "My husband and I have lived these words," Shawanda says, "and I think that really shines through in this track."
Born and raised in Wiikwemkoong First Nation on Manitoulin Island, Shawanda signed with RCA Nashville in her early twenties and released 'Dawn of a New Day' in 2008, the highest charting album by a full blooded Canadian Indigenous country artist in the SoundScan era. She became the first Indigenous woman to win the Canadian Country Music Award for Female Artist of the Year in 2009, before shifting fully into the blues, a run that has produced JUNO wins for 'Church House Blues' and a Billboard Blues Chart Top 10 debut with 'Midnight Blues.' Her most recent album, 'Sing Pretty Blues,' topped the Indigenous Music Countdown in 2025 and earned JUNO and Canadian Blues Music Award nominations. In 2012, she founded New Sun Records, the first female and Indigenous owned record label in Canada, which she continues to run while mentoring emerging Indigenous artists.
Crystal Shawanda Tour Dates:
July 31 @ 10:00 AM, Wikwemikong Park Centre, Wikwemikong, ON
August 6 @ 7:00 PM, Red Arrow Brewing Company, Duncan, BC
August 8 @ 6:30 PM, Maffeo Sutton Park, Nanaimo, BC
August 15 @ 6:00 PM, Berczy Park, Toronto, ON
August 29 @ 8:00 PM, Massey Fair, Massey, ON
September 5 @ 8:00 PM, Playland Amusement Park, Vancouver, BC
September 11 @ 6:00 PM, Port Credit Memorial Park, Mississauga, ON
September 12 @ 5:30 PM, Badlands Amphitheatre, Drumheller, AB
September 26 @ 7:30 PM, Palais Montcalm, Québec, QC
September 27 @ 3:00 PM, Lakefield United Church, Lakefield, ON
January 16, 2027 @ 8:00 PM, Italian Cultural Centre, Thunder Bay, ON
January 18, 2027 @ 7:30 PM, Dryden Regional Training and Cultural Centre, Dryden, ON
January 21, 2027 @ 7:30 PM, Townshend Theatre, Fort Frances, ON
https://heezerband.com/
David Clayton-Thomas, the Grammy Award-winning Canadian singer and songwriter whose powerhouse voice propelled Blood, Sweat & Tears to the summit of popular music, died peacefully on the evening of Wednesday, June 24, 2026, at St. Michael's Hospital in Toronto. He was 84.
One of the most recognizable voices of his generation, Clayton-Thomas sang the hell out of every song he touched, soaring and sunny one moment, a deep and somber shade of blue the next. Over a career that carried him from the streets of Toronto to the stage at Woodstock and beyond, he sold more than 40 million records and helped shape the very sound of jazz-rock.
Born David Henry Thomsett in Surrey, England, on September 13, 1941, he was the son of Fred Thomsett, a Canadian soldier, and Freda, an English music student who met while she entertained troops at a London hospital. After the war the family settled in Willowdale, a suburb of Toronto. His early years were marked by hardship and a troubled relationship with his father, and by the age of fourteen he was living on the streets, surviving however he could and passing through a series of jails and reformatories. It was there, with a battered guitar left behind by a departing inmate, that he taught himself to play and discovered the talent that would change his life. For the first time, in jailhouse concerts, he found acceptance, and he never looked back.
Released in 1962, he gravitated to Toronto's Yonge Street strip, where the rhythm and blues drifting up from Detroit and Chicago became his education. The rockabilly legend Ronnie Hawkins recognized his formidable gift and took him under his wing, and before long Clayton-Thomas was fronting his own bands, first David Clayton-Thomas and the Fabulous Shays, then the jazz-infused Bossmen, one of the earliest rock bands anywhere to weave jazz musicians into its ranks. In 1966 he wrote and recorded the blistering anti-war anthem "Brainwashed," which stormed to the top of the Canadian charts.
His destiny changed one night in New York City, where folk singer Judy Collins heard him perform and told her friend, drummer Bobby Colomby, about the extraordinary voice she had encountered. Colomby's band, Blood, Sweat & Tears, had recently fractured, and he invited Clayton-Thomas to help rebuild it. The result was history. The band's 1968 self-titled album, his first with the group, sold ten million copies worldwide, topped the Billboard chart for seven weeks, and remained on the chart for an astonishing 109 weeks. It won five Grammy Awards, including Album of the Year, famously besting the Beatles' 'Abbey Road,' and spun off three signature hits that each reached No. 2 on the Billboard Hot 100: "You've Made Me So Very Happy," "And When I Die," and Clayton-Thomas's own composition, "Spinning Wheel." His searing rendition of Billie Holiday's "God Bless the Child" became a signature of his own.
With Clayton-Thomas at the microphone, Blood, Sweat & Tears became one of the defining acts of its era, headlining the Royal Albert Hall, the Metropolitan Opera House, the Hollywood Bowl, Madison Square Garden, the Newport Jazz Festival, and Woodstock, and following up with hit albums including 'Blood, Sweat & Tears 3' and 'Blood, Sweat & Tears 4,' which featured his hits "Lucretia MacEvil" and "Go Down Gamblin'." In 1970 the band made history as the first rock group to break through the Iron Curtain, touring Eastern Europe at the request of the U.S. State Department, an extraordinary and fraught chapter later chronicled in the acclaimed 2023 documentary 'What the Hell Happened to Blood, Sweat & Tears?' Exhausted by years of relentless touring, he left the band in 1972, returning mid-decade and ultimately leading the group through its many incarnations until 2004.
Throughout a remarkable solo career, Clayton-Thomas released nearly a dozen albums under his own name. Among them was 'The Evergreens' in 2008, which he often named as his personal favourite, and 'Combo' in 2015, a labour of love that returned him to his roots, singing jazz and blues in the intimate clubs of Toronto where it all began. With the big, brassy sound of Blood, Sweat & Tears long behind him, he pared his band down to a bare minimum on that record, relying on a quintet of Canada's finest jazz musicians to showcase that unmistakable voice. His later work grew increasingly fearless and political, culminating in 2020's 'Say Somethin'.' He also hosted his own CBC television series, and in 2010, the same year he survived serious heart surgery, performed at Massey Hall with the Toronto Symphony Orchestra.
In his later years, Clayton-Thomas became a passionate advocate for justice-involved youth, drawing on his own hard adolescence to lift up young people facing the same struggles he once knew. He became a devoted champion of Peacebuilders Canada, the Toronto-based charity that promotes restorative youth justice, alternatives to incarceration, and conflict resolution in schools and communities. He wrote and recorded the song "The System" specifically to support the organization's restorative justice programs, and headlined numerous fundraising galas and benefit concerts on its behalf, including major shows at Toronto's Koerner Hall. His advocacy, like his music, came straight from lived experience, and a fierce belief that no young person should be defined by their worst moment.
His contributions were honoured many times over. He was inducted into the Canadian Music Hall of Fame, received a special Juno Award for his outstanding contribution to Canadian music, earned a star on Canada's Walk of Fame in 2010, and in 2007 saw "Spinning Wheel" enshrined in the Canadian Songwriters Hall of Fame. His searing 2010 memoir, 'Blood, Sweat and Tears,' told the unvarnished story of his journey from homeless street kid to international stardom, a story, above all, of grit, courage, and survival.
Living back in Toronto in his later years, the city he always considered home, Clayton-Thomas continued to perform and record with characteristic passion. “People like me don't retire,” he once said with a grin. “This is what I was put here to do.”
David Clayton-Thomas is survived by his daughters, Ashleigh Clayton-Thomas and Christine Graham. A memorial concert celebrating his life and music will be held at a later date, with proceeds benefiting Peacebuilders Canada, the cause so close to his heart. He leaves behind one of the most extraordinary voices in the history of Canadian music, and a legacy that secures his place among the finest vocalists this country has ever produced.
Recognized as one of Canada’s greatest voices, Molly Johnson announces her new album Talk To Me, arriving June 26 via Universal Music Canada. The 10-track project combines music from Johnson’s recent All I See and Long Time Running EPs with four new recordings, including lead single “Holiday,” out now, further showcasing her unmistakable voice and continued artistic evolution.
Across the album, Johnson collaborates with artists from across generations of Canadian music, including JUNO Award-winning rapper Haviah Mighty, rising producer and artist CUBE, and Jim Cuddy of Blue Rodeo. The result is a deeply collaborative body of work that blends soul, jazz, R&B, and rock through Johnson’s singular artistic lens.
At the heart of the album is “Talk To Me,” a call-and-response collaboration with Haviah Mighty centred around listening, dialogue, and connection across generations. Pairing Molly’s signature vocal style with Haviah’s sharp lyricism, the track reflects a meaningful exchange between two distinct voices and perspectives.
“What does a 67-year-old woman and a 21-year-old kid have in common? A real love of great music,” says Johnson about working with producer and artist CUBE. “I really believe we need to listen to younger voices, and I feel so excited that I get to be part of this new generation of music. The future looks bright to me.”
The album also features Johnson’s stirring interpretation of The Tragically Hip’s “Long Time Running,” recorded with Jim Cuddy of Blue Rodeo. First released in 1991, the song remains a defining piece of the Canadian musical canon, here reimagined with a sense of intimacy and reverence that honours its enduring legacy.
“This has been a long time coming,” says Johnson. “I’ve always wanted to record a duet with Jim. We’ve been friends for years, so to finally collaborate on a song by our beloved The Tragically Hip feels like real magic.”
Across the album, Johnson is joined by her long-time collaborators, including Davide Di Renzo, Mike Downes and Robi Botos, whose enduring musical partnership remains central to her sound. New recordings including “Holiday,” “Happy,” “Sunday Morning,” and “Just As Bad As You” further expand the album’s rich and deeply collaborative musical world.
Talk To Me will be available June 26 via Universal Music Canada.
Kyle Gordon is an Atlanta-based indie musician whose songwriting lives in the quiet space between reflection and release. Rooted in melodic honesty and emotional clarity, Gordon’s work carries the weight of lived experience without losing its sense of warmth. His songs often unfold slowly, revealing stories about love, time, and the moments that reshape who we become.
His new single, “Dead Oceans,” is a long-simmering piece that began in 2012 during a recording session for another band’s album, then finally found its full voice nearly a decade later. Written by Gordon and produced by Kristofer Sampson, the track features additional performances from Ben Davidow, Kris Sampson, and Tyler Hobbs. “Dead Oceans” is a song about deep gratitude for a profound love—one that only makes sense after surviving the ones that didn’t. It acknowledges past relationships not with bitterness, but with clarity, recognizing them as necessary steps toward something fuller and more enduring.
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The Canadian Blues Music Awards made history at The Phoenix Concert Theatre in Toronto, crowning the first-ever winners of Canada's new national blues recognition programme across 16 competitive categories. The inaugural gala brought together the finest performers in Canadian blues for a landmark celebration that was more than an awards show. It was a statement about the depth, diversity, and resilience of blues music in this country.
The evening's biggest winner was Brandon Isaak, who took home Electric Blues Recording of the Year, Blues Song of the Year for "Walkin' With The Blues," and Blues Guitarist of the Year, all for his album 'Walkin' With The Blues.' Steve Marriner claimed Blues Producer of the Year for his work on three recordings: 'Hear My Heart,' Big Dave McLean's 'This Old Life,' and David Gogo's 'YEAH!' Sue Foley won Acoustic Blues Recording of the Year for 'One Guitar Woman, A Tribute to the Female Pioneers of Guitar.' Crystal Shawanda took Female Blues Vocalist of the Year for 'Sing Pretty Blues,' while Marcus Trummer claimed Male Blues Vocalist of the Year for 'From The Start.' Kenny "Blues Boss" Wayne won Blues Keyboard Player of the Year for 'Ooh, Yeah!', and Ollee Owens was named Emerging Blues Artist or Group of the Year for 'Nowhere to Hide.'
The Canadian Blues Music Awards is a fully independent, incorporated national not-for-profit organization built from the ground up with a mandate to govern, develop, and operate Canada's premier blues recognition programme. Initially formed in spring 2024 by Brant Zwicker and Cindy McLeod, the CBMA Governing Committee spent more than a year in extensive research, national consultation, and programme development before incorporating as an independent organization. All artist category awards are decided exclusively by a jury panel of industry professionals drawn from a national pool spanning radio, print, labels, engineering, production, promotion, academia, associations, festivals, and venues. "The Canadian Blues Music Awards represents a complete overhaul," said Quisha Wint, Chair of the Toronto Blues Society. "A whole new programme created to serve the Canadian blues community with greater transparency, fairness, and unity from coast to coast to coast."
Lifetime Achievement honours were presented to five foundational contributors to Canadian blues: Amos Garrett, Bobby Dean Blackburn, Kenny "Blues Boss" Wayne, Russell Jackson, and Tim Williams. The gala also featured live performances from Steve Marriner, Crystal Shawanda, Kenny "Blues Boss" Wayne, Brandon Isaak, and Dana Wylie of Secondhand Dreamcar, with host Danny Marks opening the evening. The after-party featured sets from emerging artist nominees Glenn Marais and The Mojo Train, Ollee Owens, JP LeBlanc, and Secondhand Dreamcar.
The Canadian Blues Music Awards are now established as the gold standard of blues recognition in Canada, a programme built on transparency, coast-to-coast representation, and a genuine commitment to the music and the people who make it.
2025 Canadian Blues Music Awards Winners:
Emerging Blues Artist or Group of the Year
Ollee Owens (Ollee Owens: Nowhere to Hide)
Blues Song of the Year
Brandon Isaak: Walkin’ With The Blues (Walkin’ With The Blues)
Acoustic Blues Recording of the Year
Sue Foley: One Guitar Woman, A Tribute to the Female Pioneers of Guitar
Electric Blues Recording of the Year Brandon Isaak: Walkin’ With The Blues
Blues Producer of the Year
Steve Marriner (Steve Marriner: Hear My Heart; Big Dave McLean: This Old Life; David Gogo: YEAH!)
Female Blues Vocalist of the Year
Crystal Shawanda (Crystal Shawanda: Sing Pretty Blues)
Male Blues Vocalist of the Year
Marcus Trummer (Marcus Trummer: From The Start)
Blues Guitarist of the Year
Brandon Isaak (Brandon Isaak: Walkin’ With The Blues)
Blues Keyboard Player of the Year
Kenny “Blues Boss” Wayne (Kenny “Blues Boss” Wayne: Ooh, Yeah!)
Blues Harmonica Player of the Year TIE
Guy Bélanger (Guy Bélanger: Postcards from London)
Steve Marriner (Steve Marriner: Hear My Heart; Big Dave McLean: This Old Life; David Gogo: YEAH!)
Blues Horn Player of the Year
Jerry Cook (Wailin’ Walker: All Fired Up)
Blues Drummer of the Year TIE:
Jim Casson (Davis Hall & The Green Lanterns: Canboro Canborough)
Sylvain “Sly” Coulombe (Chambers DesLauriers: Our Time To Ride)
Blues Bassist of the Year
Jasmine Colette (Blue Moon Marquee: New Orleans Sessions)
Blues Video of the Year
The Harpoonist: Show Me The Green (Did We Come Here To Dance)
Blues Industry Person of the Year TIE:
Bruce Morel (Morel Music International)
Ken Simms (Think Tank Music Network)
Lifetime Achievement Recipient
Tim Williams
Fan Favourite Award for Blues Artist or Group of the Year
Blue Moon Marquee
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