Derek Christie‘s musical styles have traveled from garage to gospel, folk/roots to rock, and ska/reggae to soul with a Leonard Cohen meets Patti Smith sensibility. Born and raised in Montreal, and now based in Toronto, Christie’s first band was a punk band named Civilians, that hit the scene in 1979. Enigmatic activist band Conditioned Response and then Mayday followed on Queen Street West’s music scene in the ‘80s. Christie released his first solo album, the acoustic-based Undecided in the ‘90s, and launched heavy rock-funk duo DarkRide, which will release its sixth album this July. Going it alone for the album Secrets in 2011, Christie’s sophomore solo effort is the eponymous DC, a deep dive back to earlier influences unearthed after years of playing clubs and festivals in and around Ontario and Quebec, Canada. Produced by mutlti-instrumentalist, songwriter, band mate and longtime friend, brilliantfish (Hush and Rush, Frank Patrick, Baby Is a Bombshell) along with Christie, the songs are the result of a deep dive back into the early stages of Christie’s many musical influences.
DC was recorded intermittently over a three-year period (2019-2021) then mixed at Session House in Port Perry, Ontario. With a global pandemic, the death of a family member, social upheaval and a first-hand Covid related brush with death himself all going on, the songs tackle mature themes, both personal and political, from oppression and empowerment, the rock bottom moment to sobriety, heartbreak to healing. The end message is that of redemption, survival and resurrection. Christie’s overall approach was to produce a recording that sounds - and should be listened to - like a vinyl album. The ten-track album was mastered by Taras Petryk, SerpentOne. Style-wise, the album is soulful, with an impassioned return to earlier influences, addressing mature themes both personal and political. The opening track “Chains” is about breaking the chains, shedding that old skin and beginning again. What I like already about Christie’s sound and style, is that he mixes a little soul, rock, gospel and a whole lot of trumpets! Sure, Christie’s work has some of the Cohen influence, but I’m also hearing bands like Hothouse Flowers in this song. Next is “The Messenger is Dead” and this one has got a great driving force and plenty of low-end bass grooves and rumbling drums. Great rocking energy! “Wherever It Takes You” is about finding something special within your life and letting it take you wherever it leads. It features a shuffling reggae beat, a bold and fat horn section and some extra percussive elements. This was a fun song to listen to. “The Stars” is a gentler sounding song, featuring the acoustic, a softer drum rhythm and a trumpet and flugelhorn, both played by Bryden Baird. Lyrically, the words seem to suggest that the stars are telling us humans that our world is in a world of hurt. As far as who it reminded me of, I’m thinking Bowie, Steely Dan and Sting – how’s that for a mix? Next up is “This Is Your Time” and this tune’s message is an uplifting one. Despite older generations “letting things burn” and leaving the younger ones unguided, Christie sings, “Come on shine the light / Children of the world / This is your time.” “These Are Your Best Years” features more fantastic trumpet sounds and reflective words on what now, or maybe what once was, your best years. Good guitar solo on this track – I only wish I knew which years Christie was singing about, I kind of would like to know. “Evangeline” showcases more horn section sounds and a slower beat. Lyrically, the words are a confession of sorts to someone named Evangeline. It’s about “coming clean” but I’m not sure what from. Moving onto the next number, “Nothing Left to Burn” has got a smokey, alt-rock feel to it. Perhaps there’s a little Bob Seger in here, maybe Springsteen or later Bon Jovi (much later). Steve Frise plays electric guitar on this track. Great backing vocals from guest singers and classic organ sounds accompanies this number as well. The next track is an all-out reggae tune. “Long Way to Go” may have you longing to soak your feet into some sand on a beach. The backup singers on this track, remind me of the singers during Bob Marley’s time, or Clapton’s journey into reggae music back in the ‘70s. Christie’s last track is called “Going Home,” and the singer really taps into the spirit of Leonard Cohen, but I also thought of Tom Waits here, too. His style is smokey and mysterious, his range deep and low. Cam MacInnes is featured here on lead guitar. Laurelle Augustyn and Michelle White on backing vocals. All in all, I thought Derek Christie’s DC, with its deep dive into past influences, had a rich sound and varied approach. There’s lots of good qualities about this recording that I enjoyed. I think Christie’s invitation for many other musicians and singers to record with him helped to achieve a rich sounding album.
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