Media

2017


Press Release
True North Records / Finkelstein Management
July 12, 2017

Bruce Cockburn Announces His First Studio Album In Seven Years – Bone On Bone

For Release on Vinyl, CD and Digital Download 

September 15, 2017

BONE ON BONE

States I’m In – Slide Show YouTube Video (photos: Daniel Keebler)
States I’m In – Soundcloud Stream (Album Version)

Pre-order from True North Records
Pre-order on iTunes
Pre-order on Amazon
Bio
Bruce Cockburn – At a Glance
2017 Promo Photo

 

TORONTO, July 12, 2017 – Bruce Cockburn has announced the September 15, 2017 release of his first full-length album in seven years, Bone On Bone (True North Records). The release coincides with his induction into the Canadian Songwriter’s Hall Of Fame, and the launch of his longest touring schedule in decades. 

Few recording artists are as creative and prolific as Bruce Cockburn. Since his self-titled debut in 1970, the Canadian singer-songwriter has issued a steady stream of acclaimed albums every couple of years. But that output suddenly ran dry in 2011 following the release of Small Source of Comfort. There were good reasons for the drought. For one thing, Cockburn became a father again with the birth of his daughter Iona. Then there was the publication of his 2014 memoir Rumours of Glory. 

“I didn’t write any songs until after the book was published because all my creative energy had gone into three years of writing it,” Cockburn explains, from his home in San Francisco. “There was simply nothing left to write songs with. As soon as the book was put to bed, I started asking myself whether I was ever going to be a songwriter again.”

Such doubt was new to the man who’s rarely been at a loss for words as he’s distilled political views, spiritual revelations and personal experiences into some of popular music’s most compelling songs. What spurred Cockburn back into songwriting was an invitation to contribute a song to a documentary film about the late, seminal Canadian poet Al Purdy and he was off to the races. 

Bone On Bone, Cockburn’s 33rd album, arrives with 11 new songs and there’s a prevalent urgency and anxious tone to much of the album, which Cockburn attributes to living in America during the Trump era. But, more than anything, Bone on Bone amounts to the deepest expression of Cockburn’s spiritual concerns to date. The 12-time Juno winner and Canadian Music Hall of Fame’s “Forty Years in the Wilderness” ranks alongside “Pacing the Cage” or “All The Diamonds” as one of Cockburn’s most starkly beautiful folk songs. “There have been so many times in my life when an invitation has come from somewhere…the cosmos…the divine…to step out of the familiar into something new. I’ve found it’s best to listen for, and follow these promptings. 

“Forty Years in the Wilderness” is one of several songs that feature a number of singers from the church Cockburn frequents, for the sake of convenience referred to in the album credits as the San Francisco Lighthouse “Chorus.” “Among other songs, they contribute call-and-response vocals to the stirring “Stab at Matter.” Other guests on the album include singer-songwriters Ruby Amanfu, Mary Gauthier, and Brandon Robert Young, along with bassist Roberto Occhipinti, and Julie Wolf, who plays accordion on “3 Al Purdys” and sings with the folks from Lighthouse, together with LA songwriter Tamara Silvera. 

Produced by Colin Linden, Cockburn’s longtime collaborator, the album is built around the musicianship of Cockburn on guitar and the core accompaniment of bassist John Dymond and drummer Gary Craig. Also, very much part of the sound is the accordion playing of Cockburn’s nephew John Aaron Cockburn and the solos of noted fluegelhorn player Ron Miles (check out his stunning work on the cascading “Mon Chemin,” for example). 

Cockburn, who won the inaugural People’s Voice Award at the Folk Alliance International conference in February and will be inducted into the Canadian Songwriters Hall of Fame in September, continues to find inspiration in the world around him and channel those ideas into songs. “My job is to try and trap the spirits of things in the scratches of pen on paper and the pulling of notes out of metal,” he once noted. More than forty years after embarking on his singer-songwriting career, Cockburn keeps kicking at the darkness so that it might bleed daylight.
 

Bone On Bone track listing: 

1. States I’m In
2. Stab At Matter
3. Forty Years In The Wilderness
4. Café Society
5. 3 Al Purdys
6. Looking And Waiting
7. Bone On Bone
8. Mon Chemin
9. False River
10. Jesus Train
11. Twelve Gates To The City

For more information, please contact:

Eric Alper, Publicity
True North Recordsv P: 647-971-3742
E: Eric@TrueNorthRecords.com


August 2, 2017
Toronto Star

Songwriters share their fave obscure Canadian songs
by Peter Goddard

This is an excerpt from the original article.


Bruce Cockburn

His pick: “The Black Fly Song,” by Wade Hemsworth

“The summer I was 15, I was working as a pot-washer at Camp Ahmek on Canoe Lake in Algonquin Park. It was my fourth summer there,” says Cockburn. “I had an electric guitar. I’d been playing for about a year. There was a kid named Jay Something-or-other who had a Martin acoustic on which he did rudimentary finger-picking. Tum tiddy tum tiddy tum tiddy tum tiddy. He played ‘The Black Fly Song’ with that rhythm. The lyrics resonated strongly in that Laurentian Shield rock, water, jack pine and no-see-um atmosphere. The song still resonates as a perfect expression of what for me was an archetypal Canadian experience.”

Editor’s note: Hemsworth is arguably the least prolific songwriter in Canadian history, with just some 20 songs in over 50 years. Originally from Brantford, he spent much of his life living, working and just plain surviving in the north. “The Black Fly Song” says everything about his love/hate relationship with the land he loved best. “I’ll die with the black fly a-picking my bones/ In north On-tar-i-o-io, in north On-tar i-o-i-o.”


July 7, 2017
The Vancouver Sun

Comox-bound Bruce Cockburn reflects on impact of his hit Rocket Launcher 
by Larry Pynn


It has been 33 years since the release of Bruce Cockburn’s darkly infectious hit, If I Had a Rocket Launcher, a stirring commentary on the injustices the Canadian singer-songwriter experienced during a visit to Central America.

Today, the song remains as valid — and potentially misunderstood — as ever.

“A lot of people relate to it currently, in terms of Iraq or Afghanistan or Syria, any number of places,” Cockburn said in a recent interview in advance of his July 15 appearance at the Vancouver Island Music Festival in Comox.

“Unfortunately, we don’t seem to be running out of war and pain.”

Cockburn recalls the “scary” experience of playing the song for 2,000 Christians at a music festival in England in the 1980s, and everyone enthusiastically singing: “If I had a rocket launcher … some son of a bitch would die.”

For reasons like that, he is not comfortable with people singing along to the song.

“There’s nothing joyful or celebratory about it. It’s truthful, but that’s not a pleasant truth to me. I don’t like reliving it.”

Cockburn also appeared in Santiago, Chile, to support banned artists during the military dictatorship of Augusto Pinochet. A Chilean singer repeated each line after Cockburn in Spanish. “When we got to the end, the audience was on its feet. That was also quite chilling. These people had a different perspective on it.”

The Ottawa-born Cockburn wrote Rocket Launcher after visiting a refugee camp in Guatemala.

“Most people relate to it for close to the right reasons. It’s a cry of outrage. Very few people understand it as a call to arms.”

Ultimately, what does he hope to achieve from a political song?

“I hope to write a good song and have people hear it. That’s it. I don’t think songs change the world. People change the world and if people embrace a particular song as a kind of anthem, then that song becomes part of the process of change.”

Cockburn is talking over the phone from a Starbucks in San Francisco, where he’s lived the last eight years and where his second wife, M.J. Hannett, works as a lawyer. This afternoon, he’s with his five-year-old daughter, Iona, and apologizes for the interruptions.

“Sorry, I am using a carrot to try to spread peanut butter on a piece of bread. Actually, I’m quite proud of myself.”

Over the decades, Cockburn has drifted between Christianity and spirituality, spurning the trappings of formal religious dogma and the unyielding conservatism of some movements. He’s found some solid ground at San Francisco Lighthouse Church.

“I am kind of coming back to calling myself a Christian again,” he says. “It’s a vibrant, alive place, and kind of free thinking. Everybody is here because they really want to be, not out of habit or social convention.”

Cockburn is an accomplished lyricist and guitarist who, at age 72, endures arthritis in his hands.

A few songs such as the instrumental Foxglove are now too difficult to perform.

“It’s not enough of an impediment to stop me from performing. If you come and hear a show, I won’t think, ‘Oh, he doesn’t play like he used to.’ ”

Cockburn has 32 albums to his credit. Some of his best-known songs include Tokyo, Lovers In A Dangerous Time, Wondering Where The Lions Are, The Coldest Night of the Year, and If A Tree Falls — a 1989 song that touched environmentalist David Suzuki.

“I was blown away by it because we were involved in a big battle to stop a dam in Brazil,” Suzuki recalls. “It was a powerful demonstration that music transcends language and culture and cuts straight to the heart.”

Cockburn’s 33rd project, Bone on Bone, is scheduled for release in September. He says fans can expect spiritual undertones, a “bluesier and rougher” sound than on past albums, with a political song about oil called False River.

What propels him at this stage of his life?

“The words demand the music. It’s not a deliberate process. The songs take the shape they do.”




July 5, 2017
Prince George Citizen

Cockburn playing free show in Prince George Tonight
by Frank Peebles

Rock 'n' roll poets are few, but Bruce Cockburn is one of those rare legends of both instrument and word. 

His songs have been quoted in books and movies and even in other songs (by U2 in God Part II). Cover versions of his songs have catapulted other acts to stardom (Barenaked Ladies). And his name has been evoked in global conversations for humanitarian efforts and social development. 

Other stars like Jackson Browne, Jimmy Buffett and Emmylou Harris are outspoken fans. Steve Bell, one of Canada's most notable Christian performers, did an entire album of Cockburn covers. 

Cockburn is, by any estimation, a master of the guitar. He plays a finger-style that was honed on jazz at the Berklee School of Music but the raw material was carved from the blues found around his Ottawa upbringing, then steeped in international concepts he picked up along the way. When Cockburn travels, he always brings a little something home. 

He also has a healthy appetite for poetry, from which his abundant lyrics emerge. 

He's written some lightning bolts, the most famous of which is "gotta kick at the darkness 'til it bleeds daylight" found tucked in the folds of his classic hit Lovers In A Dangerous Time. 

It is hardly alone. Sizzling metaphors and turns of phrase engorge the sails of his music career. 

He told The Citizen that he studies master poets and reads it for fun as well, but he knows his place on that bookshelf. 

"In a way, writing songs gives you an out. You can get away with - and sometimes you're obliged to get away with - things that wouldn't really stand up on the page very well, because they have to go with the music," he said. 

"I can say yeah, I'm a pretty good guitar player for a songwriter, or I'm a pretty good songwriter for a guitar player. It's not really poetry, what I do, but it's so much like it I hold myself to that standard."

He cites Robert Bly, Blaise Cendrars and Kenji Miyazawa as some of his favourites, but the first one that turned him onto poetry at all was Ars Poetica by Archibald MacLeish he discovered in 

Grade 6, and the first one who inspired some of his directions in life came with a beat. 

"Allen Ginsberg was for me what Bob Dylan was as a songwriter," Cockburn said of the back alley bard of San Francisco - the city in which Cockburn now lives. 

It wasn't a pilgrimage. Cockburn's wife has a job there, Cockburn's work is portable, so the move was academic. So was becoming the stay-at-home parent for their daughter, now five. 

He spent her first three years writing a different sort of composition. He penned his autobiography, Rumours Of Glory, during her first three years. 

"It seemed like the right time. It seemed like I was old enough to have a story to tell," he said. 

The topic of a book had come up before, but this one was suggested by publisher HarperCollins who urged him to talk about his spiritual Christian mentalities as much as his music and social activism. 

"During that period I didn't write any songs so I was kind of wondering if I would be a songwriter again after that was put to bed. And luckily, I think, I still am," he said. The album Bone On Bone is the echo of that, scheduled for release in September. 

Perhaps some of that new material will spread across Canada Games Plaza tonight when Cockburn performs at tonight's edition of the Heatwave Festival celebrating Canada's 150th anniversary. 

Cockburn has always been a proud representative of Canada, on the global stage. But he is also a fiercely realistic one. 

Songs like Stolen Land, They Call It Democracy, and If I Had A Rocket Launcher are but a few that prick the skin of abuse to indigenous people here and around the world. 

He has gone to places where these abuses are splattered in blood. Canada's power imbalance has been violent, there have been brutalities and victimizations, but he is cognizant that at least the conversations now are about reconciliation, restoring balance, and minimizing the ongoing damage. 

"We were duplicitous colonists and then we were bad friends," he said, knowing that this week's Canada Day celebrations are only valid if they take stock of the pain the making of Canada caused, and still causes with documents like the federal Indian Act still overlaying aboriginal relations. 

"It is obviously an ongoing concern," he said. 

"A lot of the right noises are being made but not a lot of the right actions are taking place, yet. There's some good talk, and good talk is better than no talk, and changes are slowly occurring but thing we have to remember on all sides is, we have no where else to go. We've got to deal with this like family members in a situation that needs rectifying. It's a dialogue that has to go on between brothers and sisters, not 'us' and 'them.'"

He also has his daily dose of local politics to keep his eyes clear on Canada's progress. He lives in the nation that can't seem to stabilize its rhetoric anymore. Cockburn likened Donald Trump to the demonic clown named Violator in the Spawn comic book series. 

"The dialogue is no longer civil," he said of the American cultural condition anymore. "There is no room for reasoned dialogue. There's no room for friendly persuasion. The only persuasion is at gunpoint, and we haven't quite gotten there yet, but it is on the horizon. It is amazing to hear where it's gone."

As a poet, a songwriter, an author, in almost any form he's ever taken Cockburn is above all an observer who conveys what he sees in forms of art. Tonight, he shares that with Prince George. 

The festivities get underway at 7 p.m. with opening acts Khast'an Drummers and Scarlett Jane. 



June 30, 2017
FYI Music

A Conversation With ... Bruce Cockburn
by Bill King

We lived in what was stamped a “hippie haven” in the early seventies – Gothic Avenue, which borders Quebec Avenue – in High Park, Toronto. The brown rice/alternative lifestyle sanctuary was a haven for writers, musicians – in fact the late Billy Bryans lived only a few steps away and was playing in a band called Horn. Music was big fun and discovery. You could start in the early morning after a hit of a hash/tobacco joint and walk in on neighbours. Music played day and night, in fact it was all about checking out the person next door’s album collection.

The progressives blasted Emerson, Lake and Palmer – the countrified – Pure Prairie League – and the folkies loved their Tea for the Tillerman/Cat Stevens and a newcomer rising on the Canadian scene, Bruce Cockburn.

Even if you didn’t pay much attention you learned who the artists were were through peripheral listening. I had Bruce’s voice memorized as well as his fluent guitar playing. Cockburn stuck with you like he belonged in your life. Right time, right place!

The debut – Bruce Cockburn, produced by Eugene Martynec, came with a single that seemed to follow Canadians everywhere – Going to the Country. I know the inhabitants of Gothic Avenue were served a new side each year we survived the developers wrecking ball – High Winds, White Sky – Sunwheel DanceNight VisionJoy Will Find a Way and In the Falling Dark.

Come September, Cockburn is inducted into the Canadian Songwriter’s Hall of Fame (CSHF)and releases his thirty-third recording, Bone to Bone. I connected with Bruce from his San Francisco home and collected his thoughts on a number of issues, episodes and events.

You have a couple of big events in September – induction into the Canadian Songwriter’s Hall of Fame and your 33rd recording – Bone to Bone. Your thoughts?

Any particular order? The exciting thing for me of course is the album – it’s been awhile since I’ve had an album out. I’m happy with the songs and how it came out. I’m anxious to get it out and get people to hear it. The Songwriter’s Hall of Fame thing is nice. There’s a lot of ‘halls of fame’ in the world. In one way, it’s delightful to be recognized by the scene – people who enjoy what I do and people who are close enough to it to appreciate what I do. That means a lot. I can also remember thinking, getting inducted into some kind of hall of fame means you should already be dead or about to be. I don’t feel like that now. It feels pretty good. I also remember being somewhere and there was the towing and removal hall of fame – every industry has one. This is a national one and a big deal – it’s nice and I’m very appreciative.

It’s about songwriting too – something very special.

It’s nice to be recognized by the people who understand what you do.

You have a healthy attitude about your career. It’s spanned decades and there is no reason to retire – just keep making music.

Yes – as long as I can keep doing it, that’s what I want to do. I don’t take it for granted or assume my feelings would ever change – it could, but hasn’t so far. I like what I do and I like performing the songs I write for people. It’s the way they get to hear them best and the way I get to share them in the presence of actual human feedback. As long as I’m physically able to do it, I expect I will.

Do you still enjoy your time on stage?

I’ve always been terrified on stage and that hasn’t really changed that much. Terrified would be overstating now but back in the beginning it was terrifying, now it’s just kind of stressful. When you perform your songs to actual human beings in a live situation, that’s where the song really lives and becomes meaningful. If nothing else, the experience of being there focused on the same thing with a whole bunch of people is a pleasant sensation. Then afterwards, it feels good for a few minutes and then you start thinking about all of the things you did wrong and then it takes a day or two before you start feeling good about it again. Along with the precarious situation is the idea of making a living without having a boss. Being able to travel – some people would find it as having an adventurous lifestyle. It’s a great thing – a gift and not everybody gets to do it.

You were there at a time when the “protest song” made a difference in people’s lives. It was impactful. The war in Vietnam came to a halt through song and action. Are there songs out there today having the same force or influence?

I don’t know. I don’t think it’s down to the songs in this generation, but means and distribution. You can write the best song in the world and it’s not going to change things itself. It has to fall on fertile ground. In the sixties and up to relatively recently, the way a song fell on fertile ground was when it got sung at a protest – when it was sung to an audience who understood what it was protesting about and sympathized with the message. Then it becomes an emotional rallying point for all of that popular feeling that’s out there. If you don’t have that, I don’t think the song is going to have that much of an effect. People relate to music in a different way from most of the time I’ve been around. I’m not sure what that adds up to. In the state that I’m living there’s more popular feeling than you kind of want – it’s so polarized. There’s a lot of angry people on one side and lot of bewildered and worried people on the other. Can somebody write a song that would establish common ground with those opposing views that would be effective?

You live in California – a state that’s kind of a country unto itself now.

It is sort of. It is certainly resisting some of the trends that are sweeping the rest of the country. How long that can go for, who knows? Once they get into the real contest – the vast sums of money that transfer between the federal government and the states – just like in Canada – the federal government has a significant amount of leverage over a state like California. It hasn’t come down to that kind of arm wrestle yet. California, by and large, is forward looking as a society. This is where people are paying attention to environmental concerns in a deeper way than a lot of places. With respect to some issues, California gets carried away. Like Etobicoke in Toronto – it’s famous for having more bylaws than anywhere else. Unnecessary things like how long your grass should be.

We tend to go that way – there are a lot of laws in this state. Some are not very smart, I think. There’s a significant amount of energy behind having a future and having influence over the quality of that future. I think that may have to do with the relative absence of fear. It’s also the kinds of jobs too. The jobs that aren’t skill jobs are mostly agricultural. In Kentucky or West Virginia where the economy has mostly been dependent on mining – they are screwed! They are worried and angry. You can’t blame them. It isn’t about environmental laws like the powers that be keep painting that way, because there are never going to be mining jobs again – it’s all going to be automated.

Even if they rolled back all of the controls and let corporations do whatever they want, there still won’t be work. California is lucky in that respect that it isn’t currently in such a state of collapse. What will happen with the agricultural industry with climate change is another thing. We don’t know.

Bone on Bone? Is there a theme or something that links each song?

They are linked by the period of time they were written. People will notice an emphasis on the spiritual side of things more characteristic of what I was doing in the seventies than what I’ve done recently. It’s a rawer kind of sounding record – kind of bluesy and deliberately rough around the edges than some of them have been. The songs seem to suit that treatment. I don’t think people are going to see this as a “political, quote, un-quote album”. I don’t think I’ve written anything people would call a protest song on this album, but there might be one. There’s a song called, “False River” that’s about oil. That I think would qualify. There are passing references to that state of things but it’s more interior.

Even the Stones reacquainted themselves with their past and just put out a blues side.

I haven’t heard that album and I hear it’s good. I liked it when they started writing songs that were more in line with their actual real roots. The music that came out of English culture, but heavily blues-based. They got more interesting after they started writing about their understanding of life. That said, there’s nothing wrong with honoring those old blues songs. I think that’s what they intended to do in the beginning and did again now.

Some day I have intentions of doing an album of other people’s stuff that would include that kind of thing. From the artists I learned from when I started out. In fact, there’s one of those on the new album, what we used to call a “negro spiritual”. It’s called “Twelve Gates to the City”. I used to hear the Reverend Gary Davis sing it, Brownie McGhee and Sonny Terry sing it and various others. The song keeps popping up – I don’t know why really. It’s a song I feel I have a relationship with.

With YouTube, Spotify and so many streaming situations it’s like the world of music has been harvested and archived. Do you spend time exploring?

I do that but I don’t have much time to do anything and don’t listen to as much music as I once did. There was a period back in the 70s’ I wouldn’t listen to anything I could be accused of imitating. I didn’t want to listen to any other songwriters. I didn’t listen to rock n’ roll or even the jazz I loved. I went around looking for music I hadn’t heard before. I got deep into European Renaissance music and ethnic music from various parts of the world and what we would now call “world music” and was not called that back then. It was just recordings of people’s folk music.

I was traveling in southeast Asia in connection with the land mine issue in Cambodia and ended up jamming with these two guys. One played percussion and the other the Cambodian equivalent to the erhu and the tunes were traditional music and sounded like a cross between Appalachian fiddle music and blues. Fast tunes really bluesy sounding in a minor key. A lot of sliding notes. I played rhythm – just tried to keep up. I’d never given a thought to what Cambodian music would even sound like. Here I am jamming with this guy – blind from a mine accident.

What’s taking up your time these days?

I have a five-year old. One more day of kindergarten then off for the summer. Going into grade one in the fall – and it’s takes a lot of attention. Some of it is terrific and some of it is draining – I’m too old for this. She’s a terrific kid and there’s a lot about this that is really wonderful. 



FOR IMMEDIATE RELEASE May 16, 2017

CANADIAN SONGWRITERS HALL OF FAME ANNOUNCES 2017 INDUCTEES

TORONTO, ON - On Saturday, September 23, 2017, after a five year hiatus, the Canadian Songwriters Hall of Fame (CSHF) Induction ceremony returns with four incredible inductees, Beau Dommage, Bruce Cockburn, Neil Young, and Stéphane Venne, at Toronto’s iconic Massey Hall .The bilingual ceremony presented by Richardson GMP, will feature remarkable tributes and performances from sought after Canadian artists including, Arkells, Blackie and the Rodeo Kings, Buffy Sainte-Marie, Damien Robitaille, Daniel Lavoie, Don Ross, Élage Diouf, France D'amour, Florence K, Julie Payette, k.d. lang, Randy Bachman, William Prince and Whitehorse with special surprise artists to be announced in the coming weeks.

Fans can expect an exhilarating live show with breath-taking music, moving stories and stunning visuals. Tickets will be available to the public on Friday, May 19 starting at 10:00 a.m. via www.cshfinduction.ca and www.masseyhall.com.

"We are thrilled to be back to celebrate the extraordinary careers of Beau Dommage, Bruce Cockburn, Neil Young and Stéphane Venne at this year's ceremony at Massey Hall," said Stan Meissner, Chair, Canadian Songwriters Hall of Fame. "These inductees truly highlight the depth and incredible legacy of the songwriting talent we have here in Canada."

The CSHF is a national, bilingual, non-profit organization, founded to honour and celebrate Canadian songwriters. Since 2003, theCSHFhas held seven highly successful induction ceremonies focusing on the unique craft of the song and celebrating the value of music in our society. This year's induction ceremony will be recorded for later broadcast by CBC Music in association with ICI Musique.

CSHF 2017 induction ceremony

Multi-platinum selling rock band Beau Dommage consisting of members Marie- Michèle Desrosiers, Michel Rivard, Pierre Huet, Robert Léger, Pierre Bertrand, Michel Hinton, and Réal Desrosiers, broke sales records with their self-titled debut album in 1974. Their second album, Où est passée la noce?, went platinum on the first day of sales. Beau Dommage went on to be the first group to receive the Medal of Honour at the National Assembly of Quebec and in 2013 they were chosen by Canada Post to be depicted on their own stamp.

"For nearly a century, from Madame Bolduc to Louis-Jean Cormier, thousands of Québec artists have sung and still sing, day in, day out and in French, the very soul of the people," said Beau Dommage. "Beau Dommage is proud to be one link in that chain. To us, this honour underscores the smiling tenacity ofla chanson Québécoise."

Bruce Cockburn's illustrious career has spanned over five decades. Cockburn has deftly captured the joy, pain, fear, and faith of human experience in song, earning him 12 JUNO Awards, a Governor General's Performing Arts Award, an induction into the Canadian Music Hall of Fame and has been named an Officer of the Order of Canada.

"I'm honoured and deeply gratified to have the recognition of my work expressed by my being inducted into the Canadian Songwriters Hall of Fame. It's a gas!” said Bruce Cockburn.

Rock & Roll Hall of Fame inductee Neil Young is one of the most influential and idiosyncratic singer-songwriters of his generation. From the beginning of his solo career in the late '60s through to the 21st century, he has never stopped writing, recording, and performing. The multi-platinum GRAMMY Award-winning artist has been inducted into the Canadian Music Hall of Fame and was honoured as an Officer of the Order of Canada.

Acclaimed songwriter, arranger, and producer Stéphane Venne has written over 400 songs (words and music) to date. Twenty of his works charted at number one and are currently among the SOCAN Classics for accumulating over 25,000 radio plays.

"Beyond the ultimate compliment of being inducted in the Canadian Songwriters Hall of Fame, I would like to make a wish. I have, for the vast majority of my career, been a writer and composer, with basically no exposure as an artist. I hope my experience can be an inspiration for those who like me, that have something special to contribute thanks to their writing and nothing but their writing," said Stéphane Venne.

"At Richardson GMP Wealth Management, we share a passion for the Canadian independent spirit and we recognize not only the great talent but the commitment of our songwriters to this country," said Andrew Marsh, CEO, Richardson GMP. "As we celebrate 150 years as a nation, we proudly support the CSHF Inductee Ceremony and the recognition of these four great artists."

For more information and to purchase tickets visit: www.cshfinduction.ca or www.massyhall.com.

The CSHF is also pleased to acknowledge this year's event sponsors, ole, SOCAN Foundation, CBC Music, ICI Musique, SOCAN and Gowling WLG along with the Province of Quebec, Quebecor and Boucher Guitars.

For press images please visit: https://canadian-songwriters-hall-of-fame.prezly.com/media

For more information on CSHF please contact:

Laura Steen / Strut Entertainment / laura@strutentertainment.com /416.300.9254

Or

Samantha Pickard / Strut Entertainment / samantha@strutentertainment.com / 647.405.1715

About CSHF

The Canadian Songwriters Hall of Fame (CSHF) honours and celebrates Canadian songwriters and those who have dedicated their lives to the legacy of music, and works to educate the public about these achievements. National and non-profit, the CSHF is guided by its own board of directors who comprise both Anglophone and Francophone music creators and publishers, as well as representation from the record industry. In December 2011, SOCAN (the Society of Composers, Authors and Music Publishers of Canada) acquired the CSHF. The Hall of Fame's mandate aligns with SOCAN's objectives as a songwriter and publisher membership-based organization. The CSHF continues to be run as a separate organization. www.cshf.ca

About Richardson GMP

Trusted. Canadian. Independent. Richardson GMP is Canada's largest independent wealth management firm, entrusted with over $30 billion in client assets. With offices across the country, we are home to some of Canada's most distinguished Investment Advisors. All Richardson GMP Advisors share a passion for professionalism and a commitment to delivering unbiased- and unparalleled-wealth management solutions. They are supported by the substantial resources of our founding companies and their respective track records of success in Canada. We are proudly Canadian. Fiercely independent. And dedicated to earning and rewarding your trust as stewards of your wealth. www.richardsongmp.com

Strut Entertainment / 545 King Street West / Toronto, ON M5V 1M1 / 647.405.1715 www.strutentertainment.com 


keebler-400x

May 13, 2017
Ottawa Start

For Bruce Cockburn, album tour a return to old ways
by Devyn Barrie

When Bruce Cockburn published his memoirs in 2014, he didn’t think he could go back to writing songs.

It was 2011 when the 13-time Juno award winning Canadian musician first sat down to bang out his book, around the same time his daughter Iona was born. As expected, becoming a father proved a distraction.

“It was weird,” he said in an interview with OttawaStart.com last month. “It was kinda a pain in the butt… I’d never gone that long without writing a song.”

After a while thinking he’d hung up his songwriting hat, the touch he is so well known for came back.

Soon, he’ll set out on a North American tour with his new album Bone on Bone, the 33rd album of his career. He’ll play at the NAC in Ottawa on Sept. 22.

“The tour will be a band tour, which I haven’t done in a while,” he said.

He’ll be alongside his nephew, accordionist John Aaron Cockburn, as well as drummer Gary Craig and bassist John Dymond, who are all featured on the album.

Opening their act will be Hamiltonian Terra Lightfoot, who spoke to OttawaStart.com last week.

Cockburn has become known for his politicized lyrics, often covering topics such as human rights and the environment. But there’s no mention of a very current political situation, he said.

“There’s nothing about Donald Trump,” Cockburn said. “I’d feel dirty if I did something like that.”

While he doesn’t sing specifically about Trump, he said some might interpret a cover of gospel song, Twelve Gates to the City, to be a reference to Trump’s Mexican border wall.

keebler-68x1058

“There’s a gate for everyone,” Cockburn said.

Lamenting the amount of time it takes to get an album out these days, which he says used to be much quicker, Cockburn said there isn’t a unifying theme in the album, or a single inspiration.

“The songs just come out wherever they come from,” he said. “I didn’t really write any of the songs with a theme in mind.”

Born in Ottawa on May 27, 1945, he was raised in Pembroke and attended Nepean High School. Today he lives with his family in San Francisco and looks forward to returning to the capital.

“I get back there every now and then,” he said, such as for the Juno Songwriters’s Circle at the NAC on April 2.

Growing up, Cockburn said, he felt the need to escape Ottawa’s bubble and travel more.

“I’ve always felt like a nomad,” he said. But he still feels a connection to his hometown.

“I feel very happy to come back and perform.”





dsc05304 keebler credit

April 3, 2017
Finkelstein Management

Bruce Cockburn Announces North American Tour


Bruce Cockburn Is embarking on a tour of North America.     

All of the dates from September 15, 2017 to February 17, 2018 will be band shows and all the dates before September will be solo shows.

Bruce’s band shows will consist of a quartette with drummer Gary Craig, bassist John Dymond and accordionist, John Aaron Cockburn.

All three or them are featured on Bruce’s new True North album "Bone On Bone,” slated for release in the fall of 2017.

And for the record, John Aaron is Bruce’s nephew.

There are likely to be other dates added after February 2018.


February 16, 2017
American Songwriter

Kris Kristofferson, Bruce Cockburn Bring Star Power to Folk Alliance Awards
by Lynne Margolis

The 29th annual Folk Alliance International conference kicked off Wednesday night in Kansas City with a star-powered awards show that signaled the organization’s growing influence, despite the fact that none of its musical award-winners accepted in person.

Michael Kiwanuka, Sarah Jarosz and Parker Millsap did record video thank-yous for their respective Song, Album and Artist of the Year awards; Kiwanuka and his band, Inflo, won for “Black Man in a White World,” Jarosz won for Undercurrent and Oklahoma native Millsap was recognized in part on the strength of his 2016 release, The Very Last Day.

2107-02-15-lynne-margolis

And Bruce Cockburn showed up to accept the inaugural People’s Voice Award from performer/presenter Kris Kristofferson, who drew swoons from emcee Paula Cole earlier in the night. Meanwhile, Actress Megan Mullally, who presented the music awards, cracked irreverent jokes and promised to get “naked and wasted” at her own late-night musical showcase. But the evening had many moving and meaningful moments as well, including the acceptance speech by Spirit of Folk Award winner Ramy Essam, whose song, “Irhal,” became the anthem for Arab Spring protesters. He became known as the movement’s “musical voice” — for which he was imprisoned and tortured in Egypt. Now living in exile in Sweden, he said he was lucky to witness the strength music has to unite people of different backgrounds, and how it can “describe people’s hearts when they can’t speak and talk.”

“Dictators are really afraid from the art, the music,” he said. “I saw it when my music was forbidden in my country. I saw that when they arrested me two times; I really saw it in their eyes. They were afraid because art and music is the only thing that dictators can’t stop … that they will never be able to stop. … So, music all the time!”

For veteran Folk Alliance conference-goers, the night’s most poignant moments came during the tribute to former executive director Louis Jay Meyers. Meyers passed away on March 11, 2016, just weeks after last year’s conference and hours before he was to attend then-President Obama’s opening speech at another conference Meyers had co-founded: South By Southwest. A nine-minute video memoriam drew both tears and laughter; even the fact that it had to be restarted when the images failed to appear caused amusement. Speaker Doug Cox joked afterward, “I [was] backstage, about to start crying, and then Louis turned the power off. Thank-you, Louis.”

Cox is director of the conference’s music camp, which Meyers started after he stepped down as executive director in 2014, after nine years, to become special projects director. Original director Mark Rubin called it Meyers’ “last great vision” and Cox announced that the camp was being renamed in honor of Meyers, who took a somewhat identity-challenged organization and turned it into a stronger, growing entity. Attendance at this year’s conference rose to 2,781, nearly 300 more than expected, from 2016’s figure of 2,423. About 1,000 are attending for the first time.

They include Cockburn, who noted his award — which the organization created to recognize “an individual who unabashedly embraces social and political commentary in their creative work and public careers” — was the first honor he’s received in the United States. A Canadian citizen who now lives in the U.S., Cockburn first gained stateside fame with his songs “Wondering Where the Lions Are” and “If I Had a Rocket Launcher.”

When he became known as a political writer, as opposed to previous tags of Christian writer or “the John Denver of Canada,” he said, “I had not thought much about the effect of the political aspect of my songwriting; I’d always felt, and I still do, that the job is to tell the truth of the human experience as we live it.”

“I’ve never been interested in protest for its own sake, or in ideological polemicizing,” Cockburn added. “Just fuckin’ tell it like you see it and feel it. If you don’t see it and feel it, write about something else. Songs need to come from the heart, or they don’t count for much.”

Earlier in the night, singer-songwriter Eliza Gilkyson presented another inaugural award, the Clearwater Award, named after the first organization to receive it, the Clearwater Festival. It will go annually to a festival “that prioritizes environmental stewardship and demonstrates public leadership in sustainable event production.”

The Elaine Weissman Lifetime Achievement Awards, named for the Folk Alliance organization’s co-founder, were presented to composer David Amram (Living), activist and songwriter Malvina Reynolds (Legacy) and Canadian folklorist Helen Creighton (Business/Academic).

Other Spirit of Folk awards went to musical activist Barbara Dane, Australian festival producer Chloe Goodyear, outgoing FAI board president Michelle Conceison, writer and producer Si Kahn and LGBT advocate SONiA disappear fear.

FAI also inducted its first honorees into the new Folk DJ Hall of Fame: Oscar Brand, Mike Regenstreif, Howard and Roz Larman and previous FAI award winners Rich Warren and Gene Shay.

And Meyers’ niece, Laura Callahan, announced the formation of the Louis Jay Meyers Music Project, which will foster and support new and emerging talent and “his insatiable desire to make a difference … by providing and being an advocate and voice for independent music and those who make it.”

The conference continues through Sunday at the Westin Crown Center in Kansas City.

Photo of Bruce & Kris by Lynne Margolis / Photo of Bruce, Kris & Bernie courtesy of Bernie Finkelstein 


February 16, 2017
Samaritan Magazine

Kris Kristofferson Presents Bruce Cockburn with First-ever People's Voice Award
by Kim Hughes

Bruce Cockburn will need to clear some space on the proverbial mantel. On Wednesday (Feb. 15), the legendary Canuck singer/songwriter and activist received the inaugural People's Voice Award from U.S.-based non-profit Folk Alliance International.

The award, presented to the San Francisco-based Cockburn in Kansas City, Missouri by no less a towering talent than Kris Kristofferson, recognizes “an individual who has unabashedly embraced and committed to social and political commentary in their creative work and folk music career.”

Indeed, the long-standing Folk Alliance International (a.k.a. the FAI and founded in 1989) could not have chosen a better torch-bear for its advocacy, professional development and networking initiatives than Cockburn.

His 40-year career has consistently highlighted environmental, social, and indigenous issues globally on behalf of such diverse NGOs as Oxfam, the UN Summit for Climate ControlAmnesty InternationalDoctors Without Borders and Friends of the Earth.

With some 30 albums spanning folk to jazz to rock, the 71-year-old Ottawa-born musician has drawn deep from his travels through Africa, Asia and the Americas, offering first-hand testimonials on environmental and social plights. 

Speaking of that crowded mantel, Cockburn is also the recipient of 13 Juno Awards, the Allan Waters Humanitarian Award (in 2006), nine honorary doctorates, the Governor General’s Performing Arts Award for Lifetime Artistic Achievement (1998), and the Queen Elizabeth II Diamond Jubilee Medal (2013).

He has been inducted into the Canadian Music Hall of Fame (2001), and is an Officer of the Order of Canada, a promotion he received in 2003 after first being awarded the Order of Canada in 1983. Pacing the Cage, a documentary film about his life, music, and politics was released in 2013. His memoir, Rumours of Glory, was published by Harper Collins in 2014.

Oh yes, and then there’s the seven million albums Cockburn has sold worldwide since his 1970 self-titled debut, notably Humans from 1980 (see the singles "Rumours of Glory" and "Tokyo”); Stealing Fire from 1984 ("If I Had a Rocket Launcher," “Lovers in a Dangerous Time"); and most recently, 2011's Small Source of Comfort.

In an interview with Rolling Stone in 1985, after observing the horrors of refugee camps along the Guatemalan-Mexican border, the normally pacifist Cockburn confirmed that he went back to his hotel room, cried, and wrote in his notebook, "I understand now why people want to kill."

The experience led him to write "If I Had a Rocket Launcher" from the above-mentioned Stealing Fire. It remains one of Cockburn’s best known and most iconic songs. 

“We can’t settle for things as they are,” the straight-shooting Cockburn has said. “If you don’t tackle the problems, they’re going to get worse.”

In addition to Cockburn’s People’s Voice Award, the FAI also presented the first-ever Clearwater Award in Kansas City this week, feting “a festival that prioritizes environmental stewardship and demonstrates public leadership in education and sustainable event production.”

The winner? Its namesake organization, the Clearwater Festival, dedicated to celebrating and preserving New York’s Hudson River, now in its 50th year and recognized as one the world’s largest and most proactive environmentally focused cultural events.



February 16, 2017
Montreal Gazette

'Keep singing': Bruce Cockburn calls on folk artists to push for free speech
by David Friend


Folk singer Bruce Cockburn is encouraging U.S. musicians to keep pushing for free speech under the Donald Trump administration.

While accepting an honour at the Folk Alliance International awards show in Kansas City, MO on Wednesday night he took a moment to address the volatile political climate.

"It seems evident that the current administration is not much interested in democracy," he said in prepared remarks.

"They are trying to stifle opposition across the board by a range of means. Looks to me like they're just getting started."

The Canadian singer, who lives in San Francisco, then urged musicians to be a catalyst for dialogue and debate.

"We may get tired, but we have to keep singing," he said.

Country singer Kris Kristofferson presented Cockburn with the People's Voice Award in recognition of his role in social and political commentary. His 1984 track "If I Had a Rocket Launcher" is widely considered a staple of activist music.

Cockburn reflected on his experiences as a young performer during the Vietnam War, and on later years when he found his voice during the U.S. presidency of Ronald Reagan in the 1980s.

He then turned to the current U.S. political climate and told songwriters to consider their music as more than just words, but a "focal point for collective energy" of the community.

"Doesn't mean we can't sing love songs," Cockburn reasoned.

"But if you think you can keep your head down and ignore the political side of things, it's liable to be waiting for you with a blackjack in the alley when you come out the stage door."



February 15, 2017
Folk Alliance International
Kansas City, MO

IMG 1048

Bruce, Kris Kristofferson and Bernie Finkelstein at the Folk Alliance International Awards


IMG 1056

Bruce and Kris Kristofferson 



February 2, 2017
Cape Breton Post
David Friend

Sainte-Marie, Cockburn on the return of the protest song and power of music

TORONTO — Folk singer-songwriter Lindy Vopnfjord climbed into bed stunned on the night Donald Trump won the U.S. presidency, but he awoke the next morning feeling activated.

Bristling with an urge to speak out, the Icelandic-Canadian musician wrote a series of lyrics that might've seemed alarmist at the time.

And even two weeks ago, when he finally released "Darkness is the Day" to coincide with Trump's inauguration, some of the words didn't resonate quite as much as they do now.

"Opinion is king, one-plus-one is three. The loudest truth is the truest, so repeat after me," Vopnfjord sings. "It takes a little time to get the spin to unwind. It takes a little time."

Vopnfjord is stunned by the evolution of his song's significance.

"There's so much that keeps feeding into the lyrics," he says. "There was more to it than maybe even I realized."

He's just one of countless musicians using their voice to push against what they see as an alarming political climate. Over the past month, prominent artists have contributed a chorus of anti-Trump anthems, which started flowing out ahead of the election last November.

Tracks by Arcade Fire and Mavis Staples ("I Give You Power"), Fiona Apple ("Tiny Hands") and the Gorillaz ("Hallelujah Money") have stood out as recent highlights.

Before that, artists like Franz Ferdinand ("Demagogue"), Jimmy Eat World ("My Enemy") and Amy Mann ("Can't You Tell?") collaborated for "30 Days, 30 Songs," a project that counted down to election day in the hopes of drawing attention to Trump's potential power. The campaign recently expanded to 1,000 songs that will be revealed throughout Trump's presidency.

Listeners appear eager to hear more protest songs too.

Several anti-Trump anthems became viral hits last year, including Ledinsky's "Donald Trump Makes Me Wanna Smoke Crack" and YG & Nipsey Hussle's "FDT," a rousing rap track which pairs an expletive with the president's initials.

All of this newfound inspiration has longtime social-activist musician Buffy Sainte-Marie a bit suspicious. She questions why some artists only decided to write protest songs when there's "going to be money" in it.

But she's also not against more people speaking out.

"The art of the two-and-a-half minute song — it's such a powerful tool," she says.

"If you can say something in three minutes that somebody else had to write a 400-page book about, the book is going to be shelved. The song can live forever."

Sainte-Marie says she writes her songs with the mindset of a photographer capturing snapshots of history.

Her 1964 protest anthem "Universal Soldier" was a portrait of the Vietnam War era while "Now That the Buffalo's Gone" tackled the centuries-old plight of indigenous communities that still continues today.

She wrote "Universal Soldier" as if she was a student crafting an essay for a hypothetical professor who didn't see eye-to-eye with her perspective.

"I was determined to get an 'A-plus' out of this guy," she says.

"(I was) deliberately trying to give people a different point of view than they may have come across before."

Fellow activist songwriter Bruce Cockburn is cautious when it comes to deciding how to express his opinions through music. 

With a career spanning nearly 40 years, he's found himself inspired by causes like the environment ("If a Tree Falls") and the devastation of war ("If I Had a Rocket Launcher"). But so far, the U.S. election hasn't motivated him to write anything pointed, and he says it might not.

He says he doesn't want to veer into territory where he's just spouting his political views against a backdrop of bad music.

"It's not always obvious to put it in a song that (doesn't simply become) a propaganda diatribe," says Cockburn, who will receive the People's Voice Award at the Folk Alliance International awards show in Kansas City, Mo., this month in recognition of his social and political commentary.

So many political songs just capitalize on anger, he argues, but don't have any artistic merit. He points to 1965's "Eve of Destruction," a song recorded by Barry McGuire that topped the Billboard charts, as one example of a misfire.

"It was a huge hit, but a terrible song," he says.

Cockburn suggests the track was too literal and sounds especially dated now. Many protest songs that attack their subject head-on suffer the same fate of becoming irrelevant, he adds.

Bob Dylan's "Blowin' in the Wind" stands as a far superior example, he suggests, or "We Shall Overcome," which began as a hymn in the early 1900s and evolved into an anthem of the civil rights movement.

"It had tremendous application over the years to any number of causes," he says of the latter.

"It's absolutely timeless."


January 10, 2017
Folk Alliance
Press Release
Posted by Jerod Rivers

Folk Alliance International to Launch People's Voice and Clearwater Awards

As part of a permanent commitment to honoring the socially-conscious roots of folk music, Folk Alliance International (FAI) will launch two new awards during the 2016 International Folk Music Awards show.The People’s Voice Award will be presented annually to an individual who has unabashedly embraced and committed to social and political commentary in their creative work and folk music career. The Clearwater Award will be presented annually to a festival that prioritizes environmental stewardship and demonstrates public leadership in education and sustainable event production. Additional awards include Lifetime Achievement, Spirit of Folk, and Album, Song, and Artist of the Year presented on Wednesday, February 15, 2017, at the Westin Crown Center in Kansas City, Missouri.

Folk Alliance International Awards Show
Wednesday, February 15, 2017, 6 pm 
Westin Crown Center Hotel, Century C Ballroom
Open to FAI conference delegates and registered members of the press.


Bruce Cockburn to Receive People’s Voice Award

The inaugural People’s Voice award will be presented to multi-platinum recording artist Bruce Cockburn, whose 40-year career has consistently highlighted environmental, social, and indigenous issues globally.  

Bruce Cockburn has been all over the world to Mozambique, Nepal, Vietnam, Baghdad, Nicaragua, and Guatemala to protest refugee camps, landmines, and Third World debt. He has been tirelessly vocal in support of native rights, the environment, the promotion of peace, and has highlighted the work of Oxfam, the UN Summit for Climate Control, Amnesty International, Doctors Without Borders, and Friends of the Earth.

His songs "Mines of Mozambique" from album  The Charity of Night, "Stolen Land" (Waiting for a Miracle), and "If a Tree Falls" (Big Circumstance) have traveled the globe providing context for some of the world’s biggest issues of the day, while exhorting to all who listen for engagement with our shared humanity.

In over 300 songs on 30 albums that range from folk to jazz-influenced rock, he has sold more than seven million records worldwide and prolifically captured the story of the human experience through protest, romance, spiritual searching, and politics. In an interview with Rolling Stone in 1985, after observing the horrors of refugee camps along the Guatemalan-Mexican border he shared that he went back to his hotel room, cried, and wrote in his notebook, "I understand now why people want to kill." The experience led him to write "If I Had A Rocket Launcher" from the album Stealing Fire.  

Cockburn is the recipient of 13 Juno Awards, the Allan Waters Humanitarian Award, nine honorary doctorates, the Governor General’s Performing Arts Award for Lifetime Artistic Achievement, and the Queen Elizabeth II Diamond Jubilee Medal. He has been inducted into the Canadian Music Hall of Fame, and is an Officer of the Order of Canada. Pacing the Cage, a documentary film about his life, music, and politics was released in 2013. His memoir, Rumours of Glory, was published by Harper Collins in 2014.

“We can’t settle for things as they are,” Cockburn has warned. “If you don’t tackle the problems, they’re going to get worse.”

Bruce Cockburn Book Signing
Thursday, February 16, 2017, 12 pm 
Westin Crown Center Hotel, location TBD
Open to FAI conference delegates and registered members of the press.


Clearwater Festival to Receive Eponymous Award

The inaugural Clearwater Award will be presented to its namesake organization, the Clearwater Festival now in its 50th year and recognized as one the world’s largest and most proactive environmentally focused cultural events.

Held along the banks of the Hudson River in Croton-on-Hudson, New York, the Clearwater Festival (also known as the Great Hudson River Revival) has roots based in the environmental movement.

Founded in 1966 by Pete and Toshi Seeger, the Festival began as a fundraising initiative in order to build a one-masted sloop called the Clearwater. The ship has been used for research, education, and advocacy to help preserve and protect the Hudson river, surrounding wetlands, tributaries, and waterways as well as communities in the river valley. To date, over half a million visitors have learned about the river while aboard.

Fifty years after the first event, the Clearwater Festival has become a steadfast defender, supporter, and advocate for the Hudson River. Through music, dance, storytelling, education, and activism it has helped over 250,000 people experience the wonders of its shores and has featured such luminary artists as Janis Ian, Arlo Guthrie, Tom Paxton, Michelle Shocked, Odetta, Buffy Sainte-Marie, Dar Williams, Taj Mahal,  Christine Lavin, and Buckwheat Zydeco, among many others.

The event strives towards zero festival waste, and the goals of sustainability and social responsibility inform all decisions and programs. Use of carpooling, bicycling, and public transportation are encouraged, and the entire festival is wheelchair-accessible and staffed with American Sign Language interpreters. There are many elements to the festival, including seven sustainable bio-diesel-powered stages, environmental education exhibits, Handcrafters’ Village, Green Living Expo, Working Waterfront, Artisanal Food & Farm Market, and Circle of Song. All proceeds go to support research, education, and advocacy to help preserve and protect the river.

The festival is produced by the nonprofit, member-supported, environmental organization the Hudson River Sloop Clearwater, Inc. The organization has received global recognition for advocacy, leadership, and its role in helping to pass landmark environmental laws including the federal Clean Water Act. Most recently, Clearwater, Inc. played a key role in the Environmental Protection Agency’s decision to remove manufactured organic chemicals (PCBs) from the Hudson River.

http://brucecockburn.com/about/at-a-glance/

© Daniel Keebler 1993-2017