Chris Antonik

Chris Antonik report to the Casbah July 6, 2012
 
Chris Antonik was at the Casbah on July 5 and here, the second evening, the second surprise in the formula and added value: we expected a trio and a quartet that was presented. Josh Williams, a keyboardist, and guitarist accompanied Antonik left him plenty of room for the entire show. Besides adding to the ambience at the keyboard, Williams sang several pieces and played harmonica. Andrew Taylor on bass and Chris Chiarelli on drums complete the band.

The band we had new songs that will be on the next cd which will include several collaborations, including Mike Mattison of the Derek Trucks Band-, Shakura Aida, Suzie and Steve Marriner Vinnic. Antonik, very simple and very effective in his game, creating an atmosphere full of groove, these moods of shows where we realize we always have a body part that moves to beat the rhythm.

We heard that beautiful interpretations Antonik adds its own color, Five Long Years, Little by Little Junior Wells, Little Wing and also songs of Antonik's first cd. Some songs on acoustic guitar began the second set, Antonik accompanied Williams on vocals and guitar that has once again demonstrated his talents as a multi instrumentalist.

The crowd that filled the room was very appreciative and warm applause highlighted each piece. My moments, of Antonik solos, Sweet Inspiration, a frenzied gospel (if I can combine the words and frenzied gospel in the same sentence) sung by Williams and acoustic songs.

The blues series continues on July 6, Ross Neilsen will be at the Casbah.
- Blog de Tatieblues (Blues de Quebec), July 6, 2012

January 12th, 2012
Chris Antonik Review

The self-titled 2010 debut album of Chris Antonik is a promising preview for what’s to come on his next album to be recorded in early 2012. The album features different singers including Josh Williams (also on keys), Mark Stafford, Richard Underhill, Suzie Vinnick, as well as Andrew Taylor on bass and Chris Chiarelli on drums. The band as a whole works well together. The vocals are good and the instrumentalists are tight, but Chris’s guitar playing is what really shines on this album.
The album starts out with an up-tempo blues called “More to Give.” Chris’s guitar rings out strong from the beginning and continues throughout the song while the Hammond B3 adds a nice touch. Following “More to Give” is a song called “Roll With It.” The song is a funky mid-tempo tune that is a nice contrast to the more traditional blues songs on the album. “King of Infidelity” is also a nice contrast. The song sounds like it could be a blues crossover to pop and the kind of song that would be heard on more mainstream radio. The more straight up blues songs on the album are very well done. Chris covers “She’s a Burglar” by Jerry Ragovoy and “Double Trouble” by Otis Rush. Chris adds his own flare to the cover songs on his album while paying tribute to the artists who have clearly influenced him. The hidden gem on this album is a guitar instrumental tune. “Dhyana” shows off Chris’s skills as a guitarist but more importantly it shows his roots as a true blues guitarist.
Overall, the album has some great musicians and songs on it. With this album as a preview of Chris Antonik, the next album is sure to be greatly anticipated.
The Review: 7.5/10
Can’t Miss Tracks
- More To Give?- Roll with It?- The King of Infidelity?- Dhyana
The Big Hit
- More to Give
Review by Liz Lohnes?
- Blues Rock Review, January 2012

DOWNBEAT MAGAZINE – May 2011
Frank-John Hadley

On his studio debut, Antonik’s guitar cranks energy in a conscientious, unrushed and emotionally convincing manner that contributes volumes to the immediacy of his tunes (a generally good lot) and to his makeovers of Freddie King’s “She’s a Burglar” and Otis Rush’s “Double Trouble.” Acclaimed in Canada, this 35-year old Torontonian even has a lyrical side (hear “The King of Infidelity”). Not secure with being identified as a vocalist, Antonik nevertheless gives it a try on the Rush blues and gets a passing grade.
- Frank-John Hadley, DOWNBEAT Magazine, May 2011

French:



Quelle belle découverte que le spectacle de Chris Antonik <http://www.chrisantonik.com/> à la Casbah le 21 octobre. Un trio jeune qui nous a donné du blues classique. Par là, je ne veux pas dire du vieux blues, mais du blues que mes connaisseurs à ma table qualifiaient de pur et dépouillé, à la Clapton de la première heure. Chris Antonik, Andrew Taylor <http://www.andrewjtaylor.com/home/> à la basse et Chris Chiarelli à la batterie nous ont offert une performance empreinte de leurs propres couleurs qui a su nous surprendre tout au long de la soirée.

Antonik, dont le nom origine de l'Europe de l'Est, en était à sa première présence sur une scène de Québec. Il a une voix agréablement changeante au fil des styles, un jeu de guitare qui sait nous tenir attentifs et des crescendo dans les solos qui font qu'on en demande encore. Il a créé une attente en partant, jouant quelques chansons acoustiques, assis au micro. Un Ramblin' on my Mind et un Hoochie Coochie Man revampés laissaient déjà entrevoir que son blues n'est pas de la copie conforme.

Le trio nous a présenté son album éponyme qui a reçu plusieurs mentions dès sa sortie en 2010 et qui compte une majorité de compositions. À cela s'est ajouté de très belles interprétations de classiques que l'on n'entend pas si souvent et que j'ai beaucoup appréciées, entre autres, Sittin' on the Top of the World et Five Long Years.

Chacun à notre table avait son musicien préféré, le bassiste pour sa maîtrise, le batteur pour son jeu subtil et riche, le guitariste pour sa retenue et son originalité, ce qui me fait conclure que les musiciens qui jouent ensemble depuis 2009 ont une belle complicité qui laisse chacun s'exprimer pour donner le son d'ensemble. Le tout a donné une soirée très agréable et, comme souvent, les amis de blues se sont quittés en se donnant les dates des prochains rendez-vous à ne pas manquer.





English



What a great discovery that the spectacle of Chris Antonik <http://www.chrisantonik.com/> at the Casbah October 21. A young trio who gave us the blues classic. By this I do not mean the old blues, but blues connoisseurs my calling at my table clean and uncluttered, to Clapton the first hour. Chris Antonik, Andrew Taylor <http://www.andrewjtaylor.com/home/> on bass and Chris Chiarelli on drums gave us a performance of their own color imprint that has surprised us throughout the evening.

Antonik, whose name origin of Eastern Europe, was his first appearance on stage of Quebec. It has a pleasant voice changing with the styles, a guitar that keep us alert and aware of the crescendo in the solos that made this demand yet. He created an expectation thus playing a few acoustic songs, sitting at the microphone. A Ramblin 'On My Mind and Hoochie Coochie Man revamped its early glimpse of the blues is not true copy.

The trio has presented its self-titled album has received several notices upon its release in 2010 and has a majority of compositions. To this was added a beautiful interpretation of classics that we do not hear so often and I really appreciated, among others, Sittin 'on the Top of the World and Five Long Years.

Everyone at our table had his favorite musician, bassist for his master, the drummer for his subtle and rich, the guitarist for his restraint and originality, which makes me conclude that the musicians playing together since 2009 have a nice complicity leaving each expression to give the overall sound. All this gave a very pleasant evening, and as often, blues friends parted in giving the dates of upcoming appointments not to be missed.


- Blog de Tatieblues (Blues de Quebec), October 2011

French:



Quelle belle découverte que le spectacle de Chris Antonik <http://www.chrisantonik.com/> à la Casbah le 21 octobre. Un trio jeune qui nous a donné du blues classique. Par là, je ne veux pas dire du vieux blues, mais du blues que mes connaisseurs à ma table qualifiaient de pur et dépouillé, à la Clapton de la première heure. Chris Antonik, Andrew Taylor <http://www.andrewjtaylor.com/home/> à la basse et Chris Chiarelli à la batterie nous ont offert une performance empreinte de leurs propres couleurs qui a su nous surprendre tout au long de la soirée.

Antonik, dont le nom origine de l'Europe de l'Est, en était à sa première présence sur une scène de Québec. Il a une voix agréablement changeante au fil des styles, un jeu de guitare qui sait nous tenir attentifs et des crescendo dans les solos qui font qu'on en demande encore. Il a créé une attente en partant, jouant quelques chansons acoustiques, assis au micro. Un Ramblin' on my Mind et un Hoochie Coochie Man revampés laissaient déjà entrevoir que son blues n'est pas de la copie conforme.

Le trio nous a présenté son album éponyme qui a reçu plusieurs mentions dès sa sortie en 2010 et qui compte une majorité de compositions. À cela s'est ajouté de très belles interprétations de classiques que l'on n'entend pas si souvent et que j'ai beaucoup appréciées, entre autres, Sittin' on the Top of the World et Five Long Years.

Chacun à notre table avait son musicien préféré, le bassiste pour sa maîtrise, le batteur pour son jeu subtil et riche, le guitariste pour sa retenue et son originalité, ce qui me fait conclure que les musiciens qui jouent ensemble depuis 2009 ont une belle complicité qui laisse chacun s'exprimer pour donner le son d'ensemble. Le tout a donné une soirée très agréable et, comme souvent, les amis de blues se sont quittés en se donnant les dates des prochains rendez-vous à ne pas manquer.





English?



What a great discovery that the spectacle of Chris Antonik <http://www.chrisantonik.com/> at the Casbah October 21. A young trio who gave us the blues classic. By this I do not mean the old blues, but blues connoisseurs my calling at my table clean and uncluttered, to Clapton the first hour. Chris Antonik, Andrew Taylor <http://www.andrewjtaylor.com/home/> on bass and Chris Chiarelli on drums gave us a performance of their own color imprint that has surprised us throughout the evening.

Antonik, whose name origin of Eastern Europe, was his first appearance on stage of Quebec. It has a pleasant voice changing with the styles, a guitar that keep us alert and aware of the crescendo in the solos that made this demand yet. He created an expectation thus playing a few acoustic songs, sitting at the microphone. A Ramblin 'On My Mind and Hoochie Coochie Man revamped its early glimpse of the blues is not true copy.

The trio has presented its self-titled album has received several notices upon its release in 2010 and has a majority of compositions. To this was added a beautiful interpretation of classics that we do not hear so often and I really appreciated, among others, Sittin 'on the Top of the World and Five Long Years.

Everyone at our table had his favorite musician, bassist for his master, the drummer for his subtle and rich, the guitarist for his restraint and originality, which makes me conclude that the musicians playing together since 2009 have a nice complicity leaving each expression to give the overall sound. All this gave a very pleasant evening, and as often, blues friends parted in giving the dates of upcoming appointments not to be missed.


- Blog de Tatieblues (Blues de Quebec)

French:



Quelle belle découverte que le spectacle de Chris Antonik <http://www.chrisantonik.com/> à la Casbah le 21 octobre. Un trio jeune qui nous a donné du blues classique. Par là, je ne veux pas dire du vieux blues, mais du blues que mes connaisseurs à ma table qualifiaient de pur et dépouillé, à la Clapton de la première heure. Chris Antonik, Andrew Taylor <http://www.andrewjtaylor.com/home/> à la basse et Chris Chiarelli à la batterie nous ont offert une performance empreinte de leurs propres couleurs qui a su nous surprendre tout au long de la soirée.

Antonik, dont le nom origine de l'Europe de l'Est, en était à sa première présence sur une scène de Québec. Il a une voix agréablement changeante au fil des styles, un jeu de guitare qui sait nous tenir attentifs et des crescendo dans les solos qui font qu'on en demande encore. Il a créé une attente en partant, jouant quelques chansons acoustiques, assis au micro. Un Ramblin' on my Mind et un Hoochie Coochie Man revampés laissaient déjà entrevoir que son blues n'est pas de la copie conforme.

Le trio nous a présenté son album éponyme qui a reçu plusieurs mentions dès sa sortie en 2010 et qui compte une majorité de compositions. À cela s'est ajouté de très belles interprétations de classiques que l'on n'entend pas si souvent et que j'ai beaucoup appréciées, entre autres, Sittin' on the Top of the World et Five Long Years.

Chacun à notre table avait son musicien préféré, le bassiste pour sa maîtrise, le batteur pour son jeu subtil et riche, le guitariste pour sa retenue et son originalité, ce qui me fait conclure que les musiciens qui jouent ensemble depuis 2009 ont une belle complicité qui laisse chacun s'exprimer pour donner le son d'ensemble. Le tout a donné une soirée très agréable et, comme souvent, les amis de blues se sont quittés en se donnant les dates des prochains rendez-vous à ne pas manquer.





English?



What a great discovery that the spectacle of Chris Antonik <http://www.chrisantonik.com/> at the Casbah October 21. A young trio who gave us the blues classic. By this I do not mean the old blues, but blues connoisseurs my calling at my table clean and uncluttered, to Clapton the first hour. Chris Antonik, Andrew Taylor <http://www.andrewjtaylor.com/home/> on bass and Chris Chiarelli on drums gave us a performance of their own color imprint that has surprised us throughout the evening.

Antonik, whose name origin of Eastern Europe, was his first appearance on stage of Quebec. It has a pleasant voice changing with the styles, a guitar that keep us alert and aware of the crescendo in the solos that made this demand yet. He created an expectation thus playing a few acoustic songs, sitting at the microphone. A Ramblin 'On My Mind and Hoochie Coochie Man revamped its early glimpse of the blues is not true copy.

The trio has presented its self-titled album has received several notices upon its release in 2010 and has a majority of compositions. To this was added a beautiful interpretation of classics that we do not hear so often and I really appreciated, among others, Sittin 'on the Top of the World and Five Long Years.

Everyone at our table had his favorite musician, bassist for his master, the drummer for his subtle and rich, the guitarist for his restraint and originality, which makes me conclude that the musicians playing together since 2009 have a nice complicity leaving each expression to give the overall sound. All this gave a very pleasant evening, and as often, blues friends parted in giving the dates of upcoming appointments not to be missed.


- Blog de Tatieblues (Blues de Quebec)

When I met up with Chris Antonik, he just recieved word that the song “Roll With It” won an Honorable Mention in the Blues category in the 2010 International Songwriting Competition (ISC). Although the song did not place First, Second, or Third (or Grand Prize), with over 15,000 entries from 115 countries, for the ISC, this is a remarkable achievement, and one that Chris should be extremely proud of! Chris can add this great achievement along with his nominations for Canada’s Maple award.

Let’s go learn a little more about what Chris Antonik is about!

Monica: I see you consider yourself a debut artist, yet you are a finalist in a songwriting competition and are getting great reviews on your CD. Are you really new to the blues scene or have you been at it a while? Sort of like being a 5-year overnight sensation? What are your thoughts?

Chris: Well, up until a couple years ago, I had mostly been playing as a sideman in Toronto and not doing much original material. The record I released in 2010 (the self-titled “Chris Antonik”) represents my transition into a solo artist, original songwriter, leading my own band and presenting my own personal musical vision. So in that sense, it’s a debut. I am very grateful for the recognition the record has been receiving.

M: You are coming up in the blues scene at a very interesting time. How does this make you feel as an artist?

C: I am really excited. I am trying to bring something innovative to the table while remaining rooted in
tradition and paying homage to the pioneers. I think there is an appetite out there for that. I don’t want to stray too far from what my guitar heroes have done, but I want to see what I can do.

M: What made you create an album for repairing relationships and giving back?

C: Yes, those are some of the dominant themes on this record. It’s just where I was as a songwriter at the time. I put pen to paper. I was also intent on relaying honest and substantive ideas that stemmed from my own life, which helped make for stronger blues songs. Once those ideas, lyrics and structures were in place, I could really have a field day as a guitarist in the studio, because I knew I was coming from a real place.

M: Tell me about your new CD. What song was the most challenging to complete and why?

C: Sure. The record was recorded over the course of 2009 with post-production in early 2010. It was released in August 2010. I like to stretch these things out a bit. I also believe that a sort of democracy of musical ideas occurs over that length of time: you lay down a bed, leave it, then your vision may change a couple months later for a particular song as you reassess, or, perhaps, hear a new record that inspires you. While “live-off-the-floor” is great for blues, and I will engage in that as well, this was more of a studio blues and blues-rock effort. I wanted to experiment a bit while still creating a somewhat traditional blues- based record.

The most challenging song to complete was “The King of Infidelity.” I had grand visions for that one. That involved the tracking of various instruments and all sorts of different guitar tracks. I had always been inspired by that sort of guitar tapestry found on classic guitar-based recordings like the Layla record. A weave of different guitar tracks, some subtle, some in your face, all sort of speaking to each other. I also got to work with acclaimed Canadian blues singer Suzie Vinnick on that track. She did some vocal work. She’s amazing.

M: For your CD, what was the most important thing you wanted to accomplish? Tribute to the era, taking your music to a new place, working with particular artists? What was important to you in this project?

C: I wanted to make the best record I could. I also wanted to establish myself as a guitarist that focuses on songwriting. The recording process also served to connect me with so many great blues players that are quite renowned in Canada and abroad like Suzie Vinnick, harmonica player Mark Stafford, and Juno award- winning horn player Richard Underhill (a Juno is the Canadian equivalent of a Grammy).

M: Speaking of guest players, you used a lot of guest vocalists on this record. Why?

C: Mainly because I was not a vocalist at the time. I sing more now on stage, and I am constantly working on my voice, but I wasn’t ready to handle those songs at the time we recorded. As the producer of the record, I had to know when not to do stuff – i.e. knowing when to count yourself out of playing and/or singing certain parts and letting those with more skill in a certain area handle it. This let me focus on guitars and songwriting. On the next record, I hope to sing much more.

M: You were nominated for a 2010 Maple Blues Award for Best New Artist of the Year (Canada’s national blues awards). What has this done for your career?

C: That really floored me when the nominees were announced. I feel so honored. I mean, all of a sudden, there is a sense that I am on the right track and doing something that my peers recognize. It is truly a great feeling, and honestly, I don’t think it has fully set in for me. It’s definitely a call to raise my game – I don’t want to rest on my laurels...have to get back to work, play some great shows this summer and start work on album #2. The nomination has surely helped in securing some festival spots in Canada this summer.

M: How do you go about getting inspired to write music and how do you attack it? A good lyric or a good vibe first? Or, does it all come together at the same time?

C: A bit of both, but usually music first. I tend to keep song ideas floating around in my head for a while before they see the light of day. I am always putting ideas onto paper or in my little digital recording unit, sometimes just humming a riff or melody. These ideas can be full songs, but usually just vague structures. I populate them later, sometimes by collaborating with other songwriters. “The King of Infidelity” came about that way. I had always had the music figured out but I lacked lyrics.
A good friend of mine, Toronto songwriter Henry Lees, actually wrote the lyrics in one sitting. It was cool to watch him go to this place and create this narrative, this story, this projection about the moment in which someone tells their mate they have been unfaithful. He’s really creative.

I am also doing some writing now with a UK blues musician named Ben Fisher, who wrote a song for a recent Scrapomatic record (Derek Trucks Band vocalist Mike Mattison’s project). We have some cool stuff in the works that I’m really excited about. On the other end of the spectrum, I wrote the music and lyrics to “Roll with It” in one or two sittings. So, there are a variety of processes.

M: Do you find songwriting challenging or does it come fairly easy to you?

C: It does require a lot of effort and I am still learning how to be better at it. I find lyrics to be a product of what I am reading or what sorts of creative, non-linear type surroundings I am exposed to. All in all, writing the music is easier for me than the lyrics.

M: In March 2011, you were named a “finalist” in the annual International Songwriting Competition in the blues category. Tell me about the song that you wrote and why you thought it was a great song to enter the contest with.

C: Yeah, that was a cool surprise. The song entered was “Roll with It.” I entered that one because I think it has certain Americana simplicity to it. It just grooves with simple, catchy lyrics. It also features some Dobro slide guitar work that I am proud of. I figured the combination of all those things might be a good thing for the judges. I am honored that they liked the song.

M: Who would be on your co-write dream team?

C: Blue sky/dream world? Doyle Bramhall, Derek Trucks and Susan Tedeschi of course! Can you make some calls?

M: (We laughed) Who are your guitar heroes and why?

C: Buddy Guy, Eric Clapton, Muddy Waters, Duane Allman, Derek Trucks, Dickie Betts, Warren Haynes, Hendrix, Santana. And of course, the three kings – Albert, BB and Freddie. Listening to horn players like Coltrane, Davis, Shorter, etc. is cool for getting phrasing ideas. I am also really into Susan Tedeschi, Bukka White, Jimmy Reed, Doyle Bramhall II, JJ Cale and Robbie Robertson.

Just to give you a sense of why these players excite me: Buddy Guy/BB King/Freddie King: raw emotion; Clapton: thought process, economy; Duane Allman: choice of notes; Derek Trucks: sheer brilliance.

M: What is your gear of choice?

C: Mainly a mid-1990’s maple-neck fender Stratocaster. I use a Gibson Epiphone semi-hollow body for my “stripped down” old-school blues sets. A Martin acoustic and a Gold Tone resonator have been creeping into the live sets lately. Mostly fender amps. I’m not a big pedal player on stage, just a wah-wah.

M: I see that you have attended college and grad school. How has this contributed to your development as an artist?

C: A love of learning is always a good thing for a musician. I think it contributes to more imaginative songwriting and to a desire to keep growing as a guitarist and an artist. Back in university, I got to spend a lot of time practicing in my dorm (and keeping people up at night!), but it was an amazing time of musical and intellectual discovery. In the city where I went to school, I was also able to regularly attend open jam sessions with the late, great blues guitarist Mel Brown (past sideman with BB King, John Lee Hooker, among others). He provided me with very kind and powerful words of encouragement about my playing that have stayed with me to this day. That whole era of my life really laid some fundamental groundwork for me as a musician and as a person.

M: What do you wish to accomplish next?

C: The band will be playing out as much as possible in 2011. We have some festival shows lined up this summer in Canada and some out-of-province shows. Work on the next record is in the very early stages. I would also love to work with some of the great folks I met at the Maple Blues Awards this year. In 2012, we hope to make it to the US.

M: What is your view on the state of the blues music “industry”?

C: I know the whole music industry is experiencing a decline in CD sales, but, as new blues artists come along that pay tribute to the pioneers while bringing something new to the table, we can all get excited. Of course, the blues festival scene is very vibrant – especially in Canada – so that is always a primary arena to do your thing.

M: What would you like your audience to know about you that hasn’t been said?

C: Thanks Monica for the chance to speak with you and the people at American Blues Scene. I appreciate the opportunity. Your readers can check out my site at
www.chrisantonik.com. - American Blues News, May 2011

Chris was nominated for the 2010 Maple Blues Award for Best New Artist of The Year and his single Roll With It received an honorable mention in the blues category for the 2010 International Songwriting Contest and was selected from over 15,000 entrants. Eight originals, and covers She’s A Burglar and Double Trouble. Chris is the vocalist on Double Trouble and all the rest are sung by Josh Williams (Fat Cats) with the exception of Henry Lees on Persevering Kind and veteran Mark “Bird” Stafford on If We Start From Here. With a host of other special guests on most any instrument you can think of including harmonica, piano, Hammond organ and an assortment of horns, Chris shines on electric and acoustic guitar and his dobro playing on Dhyana is a treasure. This is not a Guitar God CD; this is a solid album with lots of blues “feel” guitar! (www.chrisantonik.com) – E.B. Bluesday CKUW 95.9FM, published on behalf of Manitoba Blues Society, May 2011 - Manitoba Blues Society, May 2011

VINTAGE GUITAR MAGAZINE – July 2011 Issue
Chris Antonik
Chris Antonik
Self-distributed

Blues guitarist Chris Antonik seems determined to prove the adage that every note counts. While his song structures are familiar, his playing keeps them from being cliche. The opener, “More To Give,” is nothing fancy – just a ninth-chord funky blues. But Antonik’s punchy fills and his solo immediately show his innate ability to pick the right note at the right time; a minor-chord played during a key modulation keeps things more than interesting.

From minor-key slinkiness to pop/ soul to shuffles, and even the prerequisite slow blues, the songs here cover the gamut. Antonik sings on just one cut, otherwise, vocals are handled by others, and if there’s a knock, it’s that the soul in their voices can’t match that in Antonik’s playing. On his take on “She’s a Burglar” – a song usually associated with Freddie King – Antonik spins a solo in and out of a bed laid by a killer horn section that pays tribute to King and helps show off his soulful playing. This debut demonstrates Antonik is one to watch in the blues. He writes well and plays wonderfully. – John Heidt
- Vintage Guitar Magazine, July 2011 Issue

Toronto’s Chris Antonik has moved from sideman to fronting his own band; he plays dobro and guitars (acoustic and electric) and he’s the writer or co-writer of the eight originals. The lyrics avoid cliché and the guitar solos support the songs, rather than overwhelming them – a pitfall of so many guitarists’ debuts. Vocals on most tracks are handled by Josh Williams, who also plays the Hammond and Wurlitzer. Rhythm section Andrew Taylor (bass) and Chris Chiarelli (drums) anchor the band; guests on several tracks include Mark Stafford, Suzie Vinnick, Geoff Daye and more. Chris debuts as vocalist on his cover of Otis Rush’s “Double Trouble” and the guitar on this track is impressive. - Ottawa Blues Society, Winter 2010 Newsletter

THE BLIND LEMON TOP TWENTY CANADIAN BLUES ALBUMS OF 2010
PLAYLIST - January 10, 2011

We counted down the Top Twenty Canadian Blues CD's, Plus there were 4 Honorable Mentions included in the show. An Honorable Mention is a CD that did well in the voting, but did not quite make it to the Top Twenty.
Artist - Album (Song Played)

20 JW-Jones - Midnight Memphis Sun (Howlin' With Hubert)
19 Wayne Buttery & Roly Platt - Tangled Roots (Deep Within These Lonesome Blues)
18 Krisanne Crowell - Right in the Middle of Wrong (I Need My Heart Back)

HM#1 - Ginger St. James & The Grinders - Spank Sparkle & Growl (Boom Boom Room)

17 Shakura S'Aida - Brown Sugar (Brown Sugar)
16 Mike "Shrimp Daddy" Reid - Messin' With My System (Messin' With My System)

HM2 Ross Neilsen & the Sufferin' Bastards - Redemption (Aflicted)

15 David Gogo, Different Views (Where The Devil Won't Go)
14 Marshall Lawrence - Blues Intervention (Going Down to Louisiana)
13 Matt Andersen - Live From The Pheonix Theatre (Working Man Blues)
12 Raoul & The Big Time - Blue Midnight (Don't Have To Hunt No More)
11 Rita Chiarelli - Sweet Paradise (Home)
10 Chris Antonik - Chris Antonik (King of Infidelity)
09 Porkbelly Futures - The Crooked Road (I Ain't Leaving ('Til the Wine's All Gone) )

HM3 Joe Murphy - She Moves Me (She Moves Me)

08 Mel Brown - Love, Lost and Found (Love, Lost & Found)
07 Paul Quarrington - The Songs (Wherever You Go)
06 Johnny Max Band - It's A Long Road (Daddy's Little Girl)
05 FATHEAD - Where s The Blues Taking Me (Easy Going Man)
04 C.C. Ryder Blues Band - Blues My Dog Likes (Dee Blues)

HM4 Little Miss Higgins - Across The Plains (Bargain Shop Panties)

03 Jeff Healey - Last Call (I'm Gonna Sit Right Down and Write Myself a Lette)
02 Lou DeAdder - Number 5 (Low Down Feelin' Blues)
01 Dylan Wickens & The Grand Naturals - Tattoo Black (Tattoo Black)

The Top Twenty Canadian Blues Albums of 2010 Countdown special is a Blind Lemon Radio Production, engineered and recorded through the facilities at CHMR FM, on the Campus of Memorial University, in St. John's, Newfoundland.

The show was researched, written and produced by Terry Parsons, Craig Hilliard and Steve Lake. Special Thanks to John Valyntyn of the Toronto Blues Society, Richard Flohil and Beth Ward, of Flohil & Associates, Sarah French at Sarah French Publicity, Mark Logan of Busted Flat Records, Bruce Morel, Jeff Liberty, Melissa Erletz of Cordova Bay Records and all the artists and Fans for their help in making this show possible.

Canada has a Vibrant and diverse Blues community, but it cannot survive without our help. Visit the Live Venues, check out the festivals or purchase CD's, but let's all do our part to help keep Canadian Blues Vibrant and Alive!
Thank you for listening

Many Thanks,

Terry Parsons,
CHMR FM
www.chmr.ca
- - - - - - - - - - - Terry Parsons, CHMR Radio, Annual "Top 20 Canadian Blues Albums"

Posted November 5th, 2010

CHRIS ANTONIK is a hard working, sharp dressing Canadianblues guitarist and vocalist who's gaining a lot of support in the blues community lately. He's a relative newcomer on the scene, but he's already broke into the 30s on the Roots Music Report last month for his new self-titled album! We were privileged to sit down for a few minutes of face time with Chris.

Chris, you just recently came out with your new self-titled album. I hear it's making waves. Tell me about the reception?

Yes, my self-titled record “Chris Antonik” was released this past August. Blues radio in Canada, the US and Europe have been spinning it. While some US stations are playing it, I really want to increase the exposure in the US. I am thrilled with the reception. It gives you a great boost to keep on growing and becoming an even better guitarist, songwriter and singer.

I just found out last week that I have been nominated for a Maple Blues Award in the “Best New Artist” category (these are Canada’s national awards for achievement in blues music). I am so honoured by this and I am still digesting it. It’s quite surreal. The blues community here is so supportive of emerging talent and of helping them learn and grow. What an amazing feeling.

What "style" of blues would you say you play? Your album's got a bit of a delta twang at times, and at others it simply rocks. Can you tell me a little about what you're doing?

It’s interesting. There are a handful of traditional blues styles on this record and quite a few other styles. I see the album more as a contemporary blues-rock record laced with a couple traditional numbers. Given the variety of styles on it, in a sense this record is my tribute to the broader genre. It’s also, in a sense, a reflection of my love of music – we even have an alt-country, acoustic song closing the record.
I think the various song structures on the record essentially try to pay tribute to a number of influences. For example, on “More to Give,” I am inspired by early 70’s Clapton/Derek & the Dominoes-type material. “Roll with It” is a tip of the hat to the short and sweet sensibility of JJ Cale. “The King of Infidelity” pays homage to 1980s radio blues rock. There is also a BB King-inspired double shuffle, an instrumental dobro song, a 70’s horn-based blues funk tune (the “She’s a Burglar” cover) and the minor key “Double Trouble.” “Reap What You Sow,” is a slow, crawling, southern, Allman-esque blues rock thing. That was fun recording that one!

As you can see, I am all over the map! I guess I just love blues music. Ultimately, what I set out to do was create smart and interesting vehicles for guitar playing, while paying close attention the importance and priority of good song-writing.

"King of Infidelity" is one of my favorite tracks on that album; so soulful! You're on the Roots music report this month. Where are you planning on going from here?

Feels great to have to the record charting and to see yourself up there with all those names….very cool.

From here, we are honing a solid live act for the festival circuit in Canada in 2011. I am based in Toronto and other parts of Ontario, but we’ll try and get out there as far as we can as The Chris Antonik Band in 2011. The core players from the album will be along for the ride – Josh Williams (vocals, organs), Andrew Taylor (bass) and Chris Chiarelli (drums). With the Maple Blues Award nomination now, I am hoping that will open the door to some really cool gigs in 2011. In addition, as someone keen on becoming a better singer, our live show will allow me to continue to grow in that area.

How did you get into the blues? How has it affected you?

I can’t explain it. One day, it just became apparent that this language on the guitar was something I was meant to tell stories in. I could always see notes in my head. I actually started my fascination with guitar soloing with Neil Young and Santana. I was fascinated with how deliberate and well-phrased their soloing was. How they could string ideas together on a fretboard – and how structured the fretboard really is while still allowing endless emotional note-bending, nuance and storytelling. I am sure its common for many players to start out like that. This led me to John Mayall’s Blues Breakers record with Eric Clapton – that blew me away. I was obsessed with playing in that style. Everything just stemmed from that – Freddie King, BB King, etc, but mostly Buddy Guy though. While I think Clapton and Freddie King have the most influence on me stylistically – Buddy is where I go when I need to find my voice again – that special place that only he can go – it is so inspiring…the way his Stratocaster becomes a visceral, soulful and unpredictable extension of himself. Truly mesmerizing. My wife actually took me to see him as a surprise gift last year. We were in the third row! That’s the technical side of how blues affects me. Emotionally, this was the outlet that chose me – it is where my strengths are in terms of expressing my appreciation for life and those around me.

Lately, I have been getting deeper into Muddy Waters and all the old Chicago players. On the side, I play in an old-school Chicago-type blues trio with a great harmonica player based in Toronto named Mark “Bird” Stafford and another guitarist, Pete Schmidt. Pete has played with everyone up here and I learn a lot from him. We do Little Walter, Sonny Boy Williamson, Jimmy Reed, Jimmy Rogers, Muddy, Howlin Wolf tunes. For this project, I needed to go back and listen to what these players were doing – how one of the players would effectively be playing basslines, etc. Not as many solos. Just structures and tone. I thank Mark Stafford for pushing me in this direction for the side project (whereas the Chris Antonik Band will be more contemporary).

You're a Canadian bluesman. Tell me about the blues scene in Canada?

The scene here is full of incredible talent and supportive fans. We also have some considerable funding for blues festivals, societies, and other events. A lot of our folks have also done very well done at the International Blues Challenge. For example, the amazing Matt Andersen won it last year. Of course, the late, great Jeff Healy was from Canada. It was such a huge loss when we lost him.

You're a pretty snazzy dresser; always wearing clean cut suits. It brings back memories of Muddy Waters, always dressed to the nines. Most people don't expect a bluesman to dress like that. Why do you do it?

Haha…thanks man. I will tell my wife you said that. She’s also my stylist!

Who are your blues heroes and influences?

Buddy Guy, Eric Clapton, Muddy Waters, the Allman Brothers - Duane Allman, Derek Trucks, Dickie Betts, Warren Haynes, Derek especially in the last decade. Hendrix. Santana. And of course, the three kings - Albert, BB and Freddie. Listening to horn players like Coltrane, Davis, Shorter, etc. is cool for getting phrasing ideas. I am also really into Susan Tedeschi, Bukka White, Little Walter, Sonny Boy Williamson, Jimmy Reed, Doyle Bramhall II, JJ Cale, The Band and Bob Dylan.

Thanks a lot for taking the time to share your thoughts with us! Any parting words?

Thanks Matt and keep up all the great work you do supporting the blues!

You can hear samples and pick up a copy of Chris Antonik's great new album at Bluescentric.com,chrisantonik.com, or on iTunes!
- Matt Marshall, American Blues Scene, November 5, 2010

See attached link to news item - John Vermilyea - Blues Underground Network, December 2010

Chris Antonik (self-released) - a surprising debut release from the young Canadian guitarist/songwriter....some very nice originals ("The King of Infidelity," "More To Give," "If We Start From Here," "Almost Free," "Persevering Kind") mixed with familiar covers ("Double Trouble," "She's A Burglar").....you'll be hearing more from this guy, too. - Graham Clarke, Bluesbytes.net, in his Friday Blues Fix Blog - December 31, 2010

Toronto guitarist Chris Antonik may not be a familiar name to most blues fans, but he’s been impressing Toronto blues fans for some time now as a sideman, currently playing as part of a trio. Antonik has now stepped forward and delivered a dynamite debut solo recording that’s loaded with a mix of traditional blues and powerful blues-rock. Chris Antonik shows that the guitarist is a gifted songwriter as well as guitarist.
Antonik’s songs deal with themes such as fixing broken relationships, learning from mistakes, and other related blues themes. The crisp opener, “More To Give,” rolls along with a strong vocal by keyboardist Josh Williams (Fat Cats), who supplies the bulk of the vocals on the disc. Antonik shines on slide guitar on “Roll With It.” “The King of Infidelity” is a blues-pop tune in its arrangement, and focuses on the consequences of stepping out on your mate. “If We Start From Here,” teams Antonik (playing some fat B. B. King-influenced licks) with singer/harmonica player Mark “Bird” Stafford. A haunting solo track with Antonik on dobro (“Dhyana”) at the disc’s midpoint shows the guitarist’s versatility.
Jerry Ragovoy’s “She’s A Burglar,” (the Freddie King track from the ’70s) is a highlight, as Antonik rips it up on guitar behind Williams’ fiery vocal. The only other cover on the disc is Otis Rush’s "Double Trouble," where Antonik makes his debut on lead vocals. The remaining tracks include “Almost Free,” which sounds like a funky ’70s southern blues-rocker in the Wet Willie tradition, “Reap What You Sow,” and “Persevering Kind,” a bouncy, optimistic track featuring Henry Lees on vocals.
Chris Antonik is a surprising debut recording with one highlight after another, thanks to Antonik and his supporting cast of fellow Canadian blues artists, who definitely came to play. If he continues to improve in the vocal department, Antonik is well on the way to becoming a triple threat with his outstanding fretwork and imaginative songwriting. - Graham Clarke, Bluesbytes.net, November 2010

I have never been to Canada but on the basis of some of the blues music that is produced there, I need to make travel plans as soon as possible! Following Canadian acts I enjoy such as Colin James, David Gogo, JW Jones and Downchild, here comes a new name to add to the list – Chris Antonik (pronounced Ant –onic, not as in Gin & Tonic). Chris is 35 and has played with a number of bands in the Toronto area. Now he is stepping out to front a band and promote this CD which is an impressive debut.

Chris plays guitar and produced the album. Bass and drums are handled throughout by Andrew Taylor and Chris Chiarelli respectively and vocals are mainly by Josh Williams who also plays keyboards. There are a number of additional players, including a horn section on two tracks. Chris wrote or co-wrote 8 of the tracks, with two covers.

With a new artist it is important to establish that they are more than a one trick pony so it is good to note that this CD covers a lot of styles. Opener “More To Give” follows a funky groove with Hammond to the fore and double tracked guitar from Chris. An organ solo launches an impressive guitar solo.
“Roll With It” follows with more of a country blues feel, slide dobro being featured heavily on a song that encourages us to ‘go with the flow’ in life. “The King Of Infidelity” is an impressive song with a classic rock feel to it. Stately piano and plaintive guitar underpin the lyrics which are sad and reflective while the backing vocals (Suzie Vinnick) and organ launch a great solo from Chris that reminds one of classic Allman Brothers.

Horns appear for the first time on track 4 “If We Start From Here”, punctuating the staccato rhythm of a classic shuffle. Crying guitar leads on to a harp solo from guest singer Mark “Bird” Stafford with whom Chris used to play. Track 5 is a moody solo piece for slide dobro entitled “Dhyana” which again adds variety to the album. Apparently this track was recorded in one take in the stairwell of Chris’ apartment, thereby providing natural reverb!

The horns reappear on Jerry Ragavoy’s “She’s A Burglar”, made famous by Freddie King. Chris channels Freddie’s style, with lots of sustain on guitar and the version really seems to take off from its funky underpinnings. “Almost Free” is that rarest of beasts, a blues song featuring flute! Starting with a conversation between Chris’ guitar and Josh Williams’ clavinet, the flute emerges half way through to solo immediately before a lyrical guitar solo from Chris.

Chris sings on just one track, a cover of Otis Rush’s “Double Trouble”. This is a song that has been so often covered that I worry when I see it on the set list but Chris’ version is a good one, with strong guitar and piano from the outset. Chris has a light voice, but it works fine on this track, so perhaps he will be encouraged to take the lead on more songs in the future. “Reap What You Sow” is not another Otis Rush cover but an original by Chris, a slow paced blues with harmonica by vocalist Josh Williams to the fore. Final track “Persevering Kind” is different again, Chris playing acoustic alongside the banjo of Eric Prince and vocals by Henry Lees (both co-authors of the tune with Chris). The harmonies of Eric and Henry, with the acoustic sound, lead to a tune that sounds like Crowded House or a West Coast band like CSN. A rousing chorus and an optimistic lyric provide a very positive finale to the album.

Good variety of mainly original material, smooth production, clear sound and nice guitar work – I enjoyed this album and would recommend it. It is available from I-Tunes, Amazon and from the artist’s website.

Reviewer John Mitchell is a blues enthusiast based in the UK. He recently attended the Blues Blast Awards in Chicago and had a great time! Back in the USA for the January 2011 Blues Cruise!
- John Mitchell - thebluesblast.com - November 2010

Toronto guitarist Chris Antonik may not be a familiar name to most blues fans, but he’s been impressing Toronto blues fans for some time now as a sideman, currently playing as part of a trio. Antonik has now stepped forward and delivered a dynamite debut solo recording that’s loaded with a mix of traditional blues and powerful blues-rock. Chris Antonik shows that the guitarist is a gifted songwriter as well as guitarist.
Antonik’s songs deal with themes such as fixing broken relationships, learning from mistakes, and other related blues themes. The crisp opener, “More To Give,” rolls along with a strong vocal by keyboardist Josh Williams (Fat Cats), who supplies the bulk of the vocals on the disc. Antonik shines on slide guitar on “Roll With It.” “The King of Infidelity” is a blues-pop tune in its arrangement, and focuses on the consequences of stepping out on your mate. “If We Start From Here,” teams Antonik (playing some fat B. B. King-influenced licks) with singer/harmonica player Mark “Bird” Stafford. A haunting solo track with Antonik on dobro (“Dhyana”) at the disc’s midpoint shows the guitarist’s versatility.
Jerry Ragovoy’s “She’s A Burglar,” (the Freddie King track from the ’70s) is a highlight, as Antonik rips it up on guitar behind Williams’ fiery vocal. The only other cover on the disc is Otis Rush’s "Double Trouble," where Antonik makes his debut on lead vocals. The remaining tracks include “Almost Free,” which sounds like a funky ’70s southern blues-rocker in the Wet Willie tradition, “Reap What You Sow,” and “Persevering Kind,” a bouncy, optimistic track featuring Henry Lees on vocals.
Chris Antonik is a surprising debut recording with one highlight after another, thanks to Antonik and his supporting cast of fellow Canadian blues artists, who definitely came to play. If he continues to improve in the vocal department, Antonik is well on the way to becoming a triple threat with his outstanding fretwork and imaginative songwriting. - Graham Clarke, Bluesbytes.net, November 2010

Toronto guitarist Chris Antonik may not be a familiar name to most blues fans, but he’s been impressing Toronto blues fans for some time now as a sideman, currently playing as part of a trio. Antonik has now stepped forward and delivered a dynamite debut solo recording that’s loaded with a mix of traditional blues and powerful blues-rock. Chris Antonik shows that the guitarist is a gifted songwriter as well as guitarist.
Antonik’s songs deal with themes such as fixing broken relationships, learning from mistakes, and other related blues themes. The crisp opener, “More To Give,” rolls along with a strong vocal by keyboardist Josh Williams (Fat Cats), who supplies the bulk of the vocals on the disc. Antonik shines on slide guitar on “Roll With It.” “The King of Infidelity” is a blues-pop tune in its arrangement, and focuses on the consequences of stepping out on your mate. “If We Start From Here,” teams Antonik (playing some fat B. B. King-influenced licks) with singer/harmonica player Mark “Bird” Stafford. A haunting solo track with Antonik on dobro (“Dhyana”) at the disc’s midpoint shows the guitarist’s versatility.
Jerry Ragovoy’s “She’s A Burglar,” (the Freddie King track from the ’70s) is a highlight, as Antonik rips it up on guitar behind Williams’ fiery vocal. The only other cover on the disc is Otis Rush’s "Double Trouble," where Antonik makes his debut on lead vocals. The remaining tracks include “Almost Free,” which sounds like a funky ’70s southern blues-rocker in the Wet Willie tradition, “Reap What You Sow,” and “Persevering Kind,” a bouncy, optimistic track featuring Henry Lees on vocals.
Chris Antonik is a surprising debut recording with one highlight after another, thanks to Antonik and his supporting cast of fellow Canadian blues artists, who definitely came to play. If he continues to improve in the vocal department, Antonik is well on the way to becoming a triple threat with his outstanding fretwork and imaginative songwriting. - Graham Clarke, Bluesbytes.net, November 2010

CHRIS ANTONIK
Chris Antonik
Silverbirch Productions.
Canada has a lot to offer these days. Anyone who cites Messrs Waters, Trucks, Guy, and Clapton as key in fashioning their musical identity is clearly worshipping in the right church. But many are similarly called – few are chosen. With such influences I was hoping for something more bucolic and dirty but that notwithstanding, this is a highly creditable debut; Blues with a more buffed-up production and scrubbed clean sound has many followers and on this form, Antonik will become their darling very quickly. He himself concentrates on the silky licks and largely delegates the vocal duties to the growlingly accomplished Josh Williams but the collection (8 penned by Antonik) demonstrates a wide instrumental range to offer plenty of future options; ‘If We Start From Here’ features Mark ‘Bird’ Stafford on harps and a swinging brass section to delight yet another demographic who like their blues with some swing. An interesting collection throughout, it is full of welcomed gear changes and tempo switches that some Blues albums eschew; the instrumental ‘Dhyana’ is Bonomassaesque in terms of style and quality and in ‘The King Of Infidelity’ it can boast one of the single track highlights of the listening year to date – it is so good you can imagine the clearly dedicated family man Antonik becoming synonymous with this single number for years ahead. He needs to be watched – something may be starting here, and my slight reservation is only a quirky taste thing. What do I know? Let’s not go there again.
Richard Thomas – BLUES MATTERS ISSUE 57. Subscribe at: www.bluesmatters.com
- Richard Thomas, BLUES MATTERS Issue #57, November 2010

Chris Antonik is a young man in a hurry – no multi-year stints as a sideman working in the trenches wanted. He has worked with Mark “Bird” Stafford and here he is with an excellent & attractive self-titled, self-produced first CD. He’s a fine guitarist whose major influences are Freddie King & Eric Clapton but he’s not happy with his vocals yet, so Stafford and Josh Williams of the Fat Cats handle those, although he does make his vocal debut here. He’s written most of the songs here and shows he has a knack for contemporary blues styles. “Roll With It” features Antonik on dobro and is a welcome indication that not everything has to be turned up to 11. “The King Of Infidelity” is a major effort, a song that Mr. Clapton would welcome on one his albums. Suzie Vinnick is featured on background vocals. A more traditional blues form is used for “If We Start from Here”. Mark Stafford does a fine job on vocals & harp. Producer Antonik does his own fine job on the horn arrangement. His nod to Freddy King is his version of “She’s A Burglar”, a Jerry Ragovoy tune featured on one of King’s last albums. And an excellent version it is, with Williams on vocals and the horns in full flight. Antonik’s vocal debut comes on Otis Rush‘s “Double Trouble” and he was probably right to delegate the other vocals. There is promise there, though, and I would not be surprised if he did much more of the singing on the next album. All in all a most welcome debut CD. - John Valenteyn, Toronto Blues Society, Maple Blues Magazine, October 2010

I had not heard of Chris Antonik before receiving his CD in the mail, but from what I have gathered it is clear that he is an extraordinary musician with electric, acoustic, and dobro, being his forte'. He is also, by all accounts a very thrilling sideman in and around the Toronto area, in bands that play mainly the Blues and Blues Rock.
Chris Antonik's Debut release consists of 10 Tracks, 8 which were written or co-written by Chris and 2 exceptional Covers, "Double Trouble" an Otis Rush Classic and Jerry Ragovoy’s “She’s a Burglar”, made popular via Freddie King. The Album clocks in at just over 4o minutes, which is a fairly healthy length for a Debut and consists of a good mixture of Blues and Blues Rock done very well, both Acoustically and Electrically.

This is one of the more unique Debuts Albums I have gotten, because the main man, Chris Antonik, is not the main vocalist, in fact he only lays down his vocals on one track, "Double Trouble". I do hope in the future that he does attempt more vocal duties, because he did sound pretty good for his vocal debut.

When it came to the Artists accompanying Antonik', on this Album, he picked a group of very talented individuals indeed, which included the amazing vocalist and keyboardist Josh Williams. With Chris Antonik deciding not to be a prominent vocalist on this Album, the decision to have Josh do that part, was masterful. Other players, in part or whole, included Andrew Taylor (Bass), Chris Chiarelli (Drums), Chris Hegge (Percussion), Geoff Daye (Piano/Hammond Organ), Richard Underhill (Alto Sax), Perry White (Tenor Sax), William Sperandei (Trumpet), Bryan Prince (Trumpet), Eric Prince (Electric Guitar/Banjo/Backup Vocals), Jef Kearns (Flute), Henry Lees (Lead Vocals), Don Forster (Bass), Anthony Lucic (Drums), Steve Dinunyk (Organ/Accordion). Mark “bird” Stafford and Suzie Vinnick also lend their unmeasurable talents to one track each on this Album.

Beyond Antonik's exceptional instrumental talents, it is very appearant that he is also an exceptional writer, which is highlighted in no uncertain terms on “The King of Infidelity”, and my favorite "Persevering Kind", the last track. In fact that last track was a double whammy for me, not only because of the great lyrics, but also because of the fact that Antonik' simply shined on Acoustic Guitar.

All in all I give very high grades for this Debut release. It was exceptional recorded, mixed, and mastered, thanks to Audiolab Recording Company in Toronto, Silverbirch Productions in Toronto.

I really enjoyed this Album and look forward to his next release. Highly Reccommended...
- John Vermilyea - Blues Underground Network, September 2010

If you were to go looking for Chris Antonik’s self-titled debut (and you should!), you’d likely find it filed under ‘blues.’ But there’s more on Antonik’s mind than endless rehashing of tired blue licks that have been done to death.
There’s never a shortage of up-and-coming guitar slinger determined to stretch the boundaries of the blues, of course. To his credit, Toronto-based Antonik isn’t out to redefine the genre; rather, he employs that sturdiest of musical forms as both starting and reference point, crafting songs – he wrote all but two of the disc’s ten tracks – steeped in blue feeling yet unfettered by the rules that say it all has to fall within twelve-bar convention.

Working with a fine cast of locals, Antonik delivers a thoughtful collection that avoids both musical and lyrical cliché, though he’s not above including a fine shuffle (“If We Start From Here,” featuring vocals and harp from Mark Stafford) or a moody cover of Otis Rush’s “Double Trouble” that hail from opposite ends of the blue spectrum - the former bouncy and bright, the latter a minor-key masterpiece of anguish and despair.

But there’s also “Dhyana,” a solo instrumental excursion on dobro that adds a bit of an exotic touch to proceedings. And “King Of Infidelity,” with Suzie Vinnick adding background vocals, is a heartland rocker with genuine emotional depth. The collection’s only other cover, Jerry Ragavoy’s “She’s A Burgler,” is a slinky dose of funk powered by a fine horn section including trumpeter William Sperandei and saxophonists Richard Underhill (alto) and Perry White (bari and tenor), who also add a brassy punch to the aforementioned “If We Start From Here.”

The simmering “Reap What You Sow” features both clavinet and flute (neither instrument common within the world o’ blues), while “Persevering Kind,” the disc’s acoustic closer, features tricky time changes and snatches of both banjo and accordion.

Yet as unconventional as instrumentation occasionally gets, there’s no doubt the blues is at the heart of Antonik’s music. His guitar work is concise and focused, more concerned with tone and taste than displays of virtuosity. His songs, too, are mature and intelligently crafted, with moody arrangements that are invariably appropriate for the material – Antonik is more concerned with getting the feel right than with impressive displays of instrumental prowess. Primary vocalist Josh WIlliams, who also contributes excellent keys throughout (he's responsible for that clavinet, as well as Hammond and Wurlitzer organs and Rhodes piano), is blessed with a gravelly voice that conveys effortless authority and Antonik holds his own quite nicely on "Double Trouble," his only vocal contribution.

Blues fans will find a lot to like here, but there’s also much on offer for those craving something a little different – music with a true-blue heart that’s not arbitrarily restricted by formula or convention. Antonik is definitely one to watch!
- John Taylor - Blogcritics.org, September 2010