John Allaire

Ottawa folk-rocker John Allaire kicks his music up a few notches on his second solo album "Thank You Waitress!". The former Town Cryer's gift for a sharply turned lyric is also in evidence in songs about punk rock tourists, hapless touring musicians and dead-end jobs. It's a stalwart addition to Ottawa's strong roots music scene.
- Andrew Carver - Staff Writer

[Translated from Dutch to English]

John Allaire & The Campistas / Thank You Waitress / Flat & Black FBR-007

“Thank You Waitress” is the second solo album from well-known Canadian roots rocker John Allaire, who fronted such bands as the Town Cryers and the Mercy Miners in days past. These bands can perhaps offer a frame of reference, but his new backing band, the Campistas, bassist Jeff Tanguay, pianist Tony Dunn, slide guitarist Glenn Torresan, cellist Thomas Marsdon, trumpet player Juan Gratton-Dominguez, flautist Valerie Daley and drummers Zeke Smythe and Tom Simpson help shape this album into a unique experience. This Ottawa-based singer-songwriter seems to be the missing link between perhaps the Clash and the Replacements, or at least between their respective front-men, Joe Strummer and Paul Westerberg. And just like these guys, Allaire is a master at breathing life into the visual images he creates in his songs, they are narrative, realistic and easy to relate to (read: catchy and interesting) both lyrically and musically. However, different from Strummer and Westerberg, this Canadian finds ways of enhancing his songs with very rootsy and fluid instrumentation. A certain warmth and a sparseness is created vocally and musically particularly with the use of instruments like the banjo, slide guitar, flute, cello and sax. We give this our “Heartfelt Recommendation”. Listen and shiver!
- http://www.ctrlaltcountry.be/Pagina1ArchiefJanuari2006.htm#JohnAllaire

...add one part Strummer, one part Westerberg, sprinkle with rootsy guitars and a Canadian accent, eh ... infectious North Americana. - CBC Radio

Lots of people have been compared to Neil Young or Jeff Tweedy but John Allaire has both the ragged voice and the songwriting talent for the comparison to actually hold true. The songs on this disc are clever, catchy, classic, and odd-edgy all at the same time but, mostly, they stick in your brain. Punkrocktown, the title cut, Shut Your Mouth, Nottinghill, Pick Up The Slack, For Me take your pick. You can punch any track at random on this disc and end up with a gem. This is going to be considered a landmark disc for this artist a few years down the road.

By Barry Hammond. - Penguin Eggs

John Allaire brought his array of guitars and harmonicas to Lop Lops last night, playing an inspiring and often hilarious solo show to a near capacity crowd of 225. Allaire played two hour-long sets featuring just about every song from his new release Thank You Waitress, along with a smattering of songs from his previous CD, Crime and Punishment, a few of his songs from his Town Cryers' days and a couple of oddly chosen cover songs.

Allaire pointed out that this was his first trip back to a Sault stage since 1991 when he played here with his popular roots/punk band The Town Cryers. His often humourous recollections of playing such places as the Canadian, Algoma College and the now defunct Zak's and Chancies brought forth the opportunity for him to launch into covers such as Hank Williams' "Jambalya", and "Family Tradition" by the younger Hank. He said he learned these songs specifically for the Sault show because in 1990, the audience at the Canadian demanded such country classics, and Allaire was afraid of being drawn and quartered if he arrived here unprepared.

This time around, a few requests for Neil Young songs were throw up and Allaire obliged. Highlights of the evening were a stirring version of "Blue Skies" a song Allaire wrote about the loss of his mother, Punkrocktown, the lead song from his new release, and of course the evening ender, the title track for Thank You Waitress that had much of the crowd singing and clapping along to the jovial chorus.

In conversation after the show Allaire said of the Sault audience, "It's funny, Northern Ontario audiences are quite different from those in the south and east of the province. They have no problems or reservations here about shouting comments, requests or whatever up at the performer. In most other places, folk and roots type audiences are content to kinda sit on their hands and watch the show without interruption. But there'll be none of that up here! It's very much like playing the east coast in that way".

John will be hitting the road a little harder than his current "mini-tour" in the coming months, vowing to take on a coast-to-coast venture, as well as hopping down south of the border and even over to Europe. We hope Sault Ste. Marie is on his list of places to stop next time through.

- Peter Sheldrick
- SOO News

JOHN ALLAIRE
Up Hill ... Both Ways (Flat and Black)4.5 stars

I love my job. Some days I open my mailbox and find a bouquet of CDs from all around the world. And sometimes in this bouquet there is a rose. The rose this time is another fantasitic roots/folk rock album courtesy of our friends north of the border. The bio says the 43-year-old John Allaire is an award-winning singer-songwriter from Ottawa. But mining deeper into his website, I noted that he tours quite extensively here in the US. Let’s hope a tour in the near future brings him here to Denver. Here’s why:

He has the lyrical sense of Dylan, the chops of Neil Young, and his backing group reminds me of The Band (and I am aware that there is more than just passing Canadian reference here). He opens with a track called Highway 105, a dusty rural road complete with steam trains, sharp turns, and bugs that’ll bite your head clean off. Then Allaire takes you into the home of one of these rural folk in Lonesome Fiddle, a beautiful number about a man who hides his musical talent from the world.

As you wade through the stories on this album, Allaire draws you in and lets you back out with his whiskey-soaked, soulful voice, like a skilled fisherman tiring out a smallmouth bass. Standouts are St. Eugene, the hilarious Candy Aplpe Killer and the old-time folky Swing the Hammer Down. But the song that puts this album in the “must have” category for me is a song called Magnets. It’s a simple song about being drawn to a person or place, but the line “I’ve got steel in the soles of my boots / and you’ve got magnets in the floors” threw me backwards in my chair. Listening on, lyrics like “something’s living in the insulation / in between my heart and your front door” made me feel like I was in rural Canada waiting for a long lost love to come back to the cabin.

Allaire’s CD (and it’s on vinyl too!) is available on-line at CDBaby.com and his whole catalogue is on his official website johnallaire.com. Do yourself a favor and pick up a copy.
RA - Mile High A&E Denver

Last year I gave a rave review to John Allaire's "Thank You Waitress" disc. Trying to come up with new superlatives about his latest disc makes me feel like I'm just repeating myself and that I could simply just reprint that review again under this new title. This Ottawa guy is the real deal. He can write terrific songs, play guitar and harmonica like a new Neil Young, and sing with soulfulness and authority and even humour.

If you haven't heard either of these discs, check them out. If he goes on like this for a few more years, no shit, he's on his way to being the next Canadian music legend. A solid, solid talent. It's almost embarrassing to have to keep saying this, but he's really that good. Great duet with Amanda Rheaume on the opening track, Angels, too.

Barry Hammond - Penguin Eggs - Winter 2007

Last year I gave a rave review to John Allaire's "Thank You Waitress" disc. Trying to come up with new superlatives about his latest disc makes me feel like I'm just repeating myself and that I could simply just reprint that review again under this new title. This Ottawa guy is the real deal. He can write terrific songs, play guitar and harmonica like a new Neil Young, and sing with soulfulness and authority and even humour.

If you haven't heard either of these discs, check them out. If he goes on like this for a few more years, no shit, he's on his way to being the next Canadian music legend. A solid, solid talent. It's almost embarrassing to have to keep saying this, but he's really that good. Great duet with Amanda Rheaume on the opening track, Angels, too.

Barry Hammond - Penguin Eggs - Winter 2007

[English]
John Allaire & the Campistas - Thank You Waitress (Oct. 2005)
Alt-country roots rock with folky blues influences

The second album of the Ottawan folk-rocker John Allaire, reminds me of the classic Neil Young albums and Buffalo Tom. Varying from pure country to rockers, from pleasant good feeling folk to the adventures of Wilco. And everything accompanied by just one guitar, horn section or strong distorted guitars. "Thank You Waitress!" has it all. Eclectic is an understatement, indeed.

On first encounter the record sounds happier than its predecessor "Crime And Punishment" (2003), but when you listen more closely you’ll discover that John Allaire has enough demons at hand. The cow-punk-country-rock influences remain of course, but Allaire's voice echoes the one of Paul Westerberg. But having said that, this record can’t be labeled... Or perhaps the label of folk/country, but this album has so many styles; jazz in the sax, rock and blues in the harmonica and guitars, country in the slide, etc. After listening to 13 songs our jaws dropped from amazement and respect and we were ready to shout it from the top of every building: this record is so awesome -- beautiful. We knew that John Allaire, who started his musical carrier way back in 1984, is a great talent, but to prove that in such a convincing and and mindblowing way, no…….. we never saw this coming.

Then again, he can count on The Campistas, a strongly driven and motivated band with Tony Dunn (keyboards and sax), Glenn Torresan (slideguitar), Jeff Tanguay (bass), Tom Simpson (percussion) and Zeke Smythe (drums). Just listen to opener "Punkrocktown", the titletrack or the more punkish track “Shut Your Mouth". All songs about punk rock tourists, touring musicans (" Halton Country Inn") and deadly jobs. You’ll understand, "Thank You Waitress!" is a more than legit follow up to"Crime And Punishment" and will not leave my cd-player. John Allaire and The Campistas might become very big worldwide. (Freddy Celis)
From http://www.rootstime.be/

[Dutch]
Het tweede album van de Ottawa folk-rocker John Allaire, doet denken aan klassieke albums van Neil Young of Buffalo Tom. Van pure country tot rockers, van sfeervolle folk via een knipoog naar uitspattingen à la Wilco. En dat begeleid door afwisselend een enkele gitaar, een blazersectie of sterk vervormde gitaren; "Thank You Waitress!" heeft het allemaal. Eclectisch is een understatement, inderdaad. Op het eerste gehoor klinkt de plaat vrolijker dan zijn voorganger "Crime And Punishment" (2003), maar wie goed luistert, ontdekt dat John Allaire nog altijd genoeg demonen achter zich aan heeft. De cow-punk-county-rock invloeden zijn natuurlijk gebleven, en Allaire's stem doet nog steeds regelmatig aan die van Paul Westerberg denken, maar verder valt deze plaat absoluut niet in een enkel hokje onder te brengen. Of dat zou het hokje folk/country zijn, maar dit album heeft zoveel stijlen, jazz in de sax, rock en blues in het harmonica en de gitaren, country in de slide, enz... Na het beluisteren van de dertien nummers stond onze mond wijd open van verbazing en ontzag, en wilden wij het wel van de daken schreeuwen: dit is godsgruwelijk mooi. Wij wisten wel dat John Allaire, die zijn muzikale carrière begon in1984, een groot talent was, maar dat hij het op zo'n overtuigende en overrompelende wijze waar zou maken, nee. Daarbij kan hij rekenen op The Campistas, een zeer gedreven band bestaande uit Tony Dunn (toetsen en sax), Glenn Torresan (slidegitaar), Jeff Tanguay (bas), Tom Simpson (percusie) en Zeke Smythe (drums). Luister maar eens naar bijvoorbeeld de opener "Punkrocktown", de titeltrack of het meer punk-getinte nummer "Shut Your Mouth". Allemaal songs over punk rock toeristen, toerende muzikanten ("Halton Country Inn") en dodelijke jobs. U begrijpt het, "Thank You Waitress!" is een meer dan waardige opvolger van "Crime And Punishment" en voorlopig niet meer uit mijn cd-speler weg te krijgen. John Allaire and The Campistas kunnen wel eens heel groot gaan worden. - Rootstime - Belgium

[English]
John Allaire & the Campistas - Thank You Waitress (Oct. 2005)
Alt-country roots rock with folky blues influences

The second album of the Ottawan folk-rocker John Allaire, reminds me of the classic Neil Young albums and Buffalo Tom. Varying from pure country to rockers, from pleasant good feeling folk to the adventures of Wilco. And everything accompanied by just one guitar, horn section or strong distorted guitars. "Thank You Waitress!" has it all. Eclectic is an understatement, indeed.

On first encounter the record sounds happier than its predecessor "Crime And Punishment" (2003), but when you listen more closely you’ll discover that John Allaire has enough demons at hand. The cow-punk-country-rock influences remain of course, but Allaire's voice echoes the one of Paul Westerberg. But having said that, this record can’t be labeled... Or perhaps the label of folk/country, but this album has so many styles; jazz in the sax, rock and blues in the harmonica and guitars, country in the slide, etc. After listening to 13 songs our jaws dropped from amazement and respect and we were ready to shout it from the top of every building: this record is so awesome -- beautiful. We knew that John Allaire, who started his musical carrier way back in 1984, is a great talent, but to prove that in such a convincing and and mindblowing way, no…….. we never saw this coming.

Then again, he can count on The Campistas, a strongly driven and motivated band with Tony Dunn (keyboards and sax), Glenn Torresan (slideguitar), Jeff Tanguay (bass), Tom Simpson (percussion) and Zeke Smythe (drums). Just listen to opener "Punkrocktown", the titletrack or the more punkish track “Shut Your Mouth". All songs about punk rock tourists, touring musicans (" Halton Country Inn") and deadly jobs. You’ll understand, "Thank You Waitress!" is a more than legit follow up to"Crime And Punishment" and will not leave my cd-player. John Allaire and The Campistas might become very big worldwide. (Freddy Celis)
From http://www.rootstime.be/

[Dutch]
Het tweede album van de Ottawa folk-rocker John Allaire, doet denken aan klassieke albums van Neil Young of Buffalo Tom. Van pure country tot rockers, van sfeervolle folk via een knipoog naar uitspattingen à la Wilco. En dat begeleid door afwisselend een enkele gitaar, een blazersectie of sterk vervormde gitaren; "Thank You Waitress!" heeft het allemaal. Eclectisch is een understatement, inderdaad. Op het eerste gehoor klinkt de plaat vrolijker dan zijn voorganger "Crime And Punishment" (2003), maar wie goed luistert, ontdekt dat John Allaire nog altijd genoeg demonen achter zich aan heeft. De cow-punk-county-rock invloeden zijn natuurlijk gebleven, en Allaire's stem doet nog steeds regelmatig aan die van Paul Westerberg denken, maar verder valt deze plaat absoluut niet in een enkel hokje onder te brengen. Of dat zou het hokje folk/country zijn, maar dit album heeft zoveel stijlen, jazz in de sax, rock en blues in het harmonica en de gitaren, country in de slide, enz... Na het beluisteren van de dertien nummers stond onze mond wijd open van verbazing en ontzag, en wilden wij het wel van de daken schreeuwen: dit is godsgruwelijk mooi. Wij wisten wel dat John Allaire, die zijn muzikale carrière begon in1984, een groot talent was, maar dat hij het op zo'n overtuigende en overrompelende wijze waar zou maken, nee. Daarbij kan hij rekenen op The Campistas, een zeer gedreven band bestaande uit Tony Dunn (toetsen en sax), Glenn Torresan (slidegitaar), Jeff Tanguay (bas), Tom Simpson (percusie) en Zeke Smythe (drums). Luister maar eens naar bijvoorbeeld de opener "Punkrocktown", de titeltrack of het meer punk-getinte nummer "Shut Your Mouth". Allemaal songs over punk rock toeristen, toerende muzikanten ("Halton Country Inn") en dodelijke jobs. U begrijpt het, "Thank You Waitress!" is een meer dan waardige opvolger van "Crime And Punishment" en voorlopig niet meer uit mijn cd-speler weg te krijgen. John Allaire and The Campistas kunnen wel eens heel groot gaan worden. - Rootstime - Belgium

[English translation]
39 year old Canadian John Allaire started his career way back in 1984. In 1987 he recorded a true vinyl EP with his band the Town Cryers. Two CDs followed.
Knuckle Sandwich was the CD he recorded with punk band The Mercy Miners.
In 2003 his first fist solo-CD Crime And Punishment was released, a record that sounds like a type of cow-punk.

Just out is the follow up: "Thank You Waitress" (Flat & Black Records). He writes all the songs himself and records them with the band The Campistas, with Tony Dunn (keyboard and sax), Glenn Torresan (slide guitar), Jeff Tanguay (bass) and Breeze Smith (drums). They keep the energy flowing, but the first song starts off with a slow tempo. In Punkrocktown he is looking for the Chelsea Hotel, of Sid and Nancy fame, and Rockaway Beach, a Ramones reference, i.e. Johnny and Joey), meanwhile longing for a certain Christina. The title track is just as beautiful and concerns the dreams of a waitress for a career in New York. Many doubts about the future in Cut ’n Dried because "maybe you told the truth but I think you lied." Shut Your Mouth, just like Halton Country Inn a song about life on the road, proves that punk is still in his body. Possible too Scratch Is On The 45 (a drug song) may be an echo of that. In between a sad Nothing Is Free, when life starts to become a tredmill and Nottinghill about aging.

Finishing off with the reminicing For Me this CD brings a lot of variety, with sometimes a flute or a saxophone for something completely different. (Peter Pleyte)

[Dutch]
De nu 39-jarige Canadees (hij komt uit Ottawa) John Allaire begint zijn muzikale carrière in 1984. Met zijn band The Town Cryers maakt hij in 1987 nog een ouderwetse vinyl-ep. Er volgen twee cd’s Surprise Surprise (1989) en Stanley’s Cup (1992). Daarna gaat hij aan de slag bij The Mercy Miners, een punkband die in 1997 de cd Knuckle Sandwich uitbrengt. In 2003 verschijnt dan zijn eerste solo-cd Crime And Punishment, een plaat die een soort cow-punk laat horen. Net uit is de opvolger daarvan: Thank You Waitress (Flat & Black Records). Hij schrijft alle nummers zelf en maakt hem met een band The Campistas, waarvan de kern bestaat uit Tony Dunn (toetsen en sax), Glenn Torresan (slidegitaar), Jeff Tanguay (bas) en Breeze Smith (drums). Ze zitten hem af en toe flink achter de broek. Nog niet in het eerste nummer Punkrocktown waar hij op zoek is naar het Chelsea Hotel van Sid en Nancy en Rockaway Beach van Johnny en Joey, ondertussen verlangend naar een zekere Christina. Het titelnummer is al even fraai en gaat over de dromen van een serveerster richting een carrière in New York. Veel twijfel over hoe verder in Cut ’n Dried want maybe you told the truth but I think you lied. Dat de punk nog niet geheel uit zijn lijf is bewijst Shut Your Mouth, net als Halton Country Inn een song over het leven on the road. En mogelijk is ook Scratch Is On The 45 (een dopesong) daar wel een reflectie van. Daartussendoor nog een treurig Nothing Is Free, als het leven lopen in de tredmolen dreigt te worden en Nottinghill over ouder worden. Om tenslotte te eindigen met het mijmerende For Me. Afwisselende muziek met af en toe een fluit en saxofoon voor net even anders. (Peter Pleyte) - Alt-country Netherlands

[English translation]
39 year old Canadian John Allaire started his career way back in 1984. In 1987 he recorded a true vinyl EP with his band the Town Cryers. Two CDs followed.
Knuckle Sandwich was the CD he recorded with punk band The Mercy Miners.
In 2003 his first fist solo-CD Crime And Punishment was released, a record that sounds like a type of cow-punk.

Just out is the follow up: "Thank You Waitress" (Flat & Black Records). He writes all the songs himself and records them with the band The Campistas, with Tony Dunn (keyboard and sax), Glenn Torresan (slide guitar), Jeff Tanguay (bass) and Breeze Smith (drums). They keep the energy flowing, but the first song starts off with a slow tempo. In Punkrocktown he is looking for the Chelsea Hotel, of Sid and Nancy fame, and Rockaway Beach, a Ramones reference, i.e. Johnny and Joey), meanwhile longing for a certain Christina. The title track is just as beautiful and concerns the dreams of a waitress for a career in New York. Many doubts about the future in Cut ’n Dried because "maybe you told the truth but I think you lied." Shut Your Mouth, just like Halton Country Inn a song about life on the road, proves that punk is still in his body. Possible too Scratch Is On The 45 (a drug song) may be an echo of that. In between a sad Nothing Is Free, when life starts to become a tredmill and Nottinghill about aging.

Finishing off with the reminicing For Me this CD brings a lot of variety, with sometimes a flute or a saxophone for something completely different. (Peter Pleyte)

[Dutch]
De nu 39-jarige Canadees (hij komt uit Ottawa) John Allaire begint zijn muzikale carrière in 1984. Met zijn band The Town Cryers maakt hij in 1987 nog een ouderwetse vinyl-ep. Er volgen twee cd’s Surprise Surprise (1989) en Stanley’s Cup (1992). Daarna gaat hij aan de slag bij The Mercy Miners, een punkband die in 1997 de cd Knuckle Sandwich uitbrengt. In 2003 verschijnt dan zijn eerste solo-cd Crime And Punishment, een plaat die een soort cow-punk laat horen. Net uit is de opvolger daarvan: Thank You Waitress (Flat & Black Records). Hij schrijft alle nummers zelf en maakt hem met een band The Campistas, waarvan de kern bestaat uit Tony Dunn (toetsen en sax), Glenn Torresan (slidegitaar), Jeff Tanguay (bas) en Breeze Smith (drums). Ze zitten hem af en toe flink achter de broek. Nog niet in het eerste nummer Punkrocktown waar hij op zoek is naar het Chelsea Hotel van Sid en Nancy en Rockaway Beach van Johnny en Joey, ondertussen verlangend naar een zekere Christina. Het titelnummer is al even fraai en gaat over de dromen van een serveerster richting een carrière in New York. Veel twijfel over hoe verder in Cut ’n Dried want maybe you told the truth but I think you lied. Dat de punk nog niet geheel uit zijn lijf is bewijst Shut Your Mouth, net als Halton Country Inn een song over het leven on the road. En mogelijk is ook Scratch Is On The 45 (een dopesong) daar wel een reflectie van. Daartussendoor nog een treurig Nothing Is Free, als het leven lopen in de tredmolen dreigt te worden en Nottinghill over ouder worden. Om tenslotte te eindigen met het mijmerende For Me. Afwisselende muziek met af en toe een fluit en saxofoon voor net even anders. (Peter Pleyte) - Alt-country Netherlands

John Allaire sure tosses in a load of instruments on this rootsy recording, Ghosts Of The Royal Motel, which gives it a little more pizzazz than most – vibraphone, organ, sax, pedal steel, banjo, cello, viola – but it’s not overpowering. The 12-song collection is perfect barroom cool. He’s got one of those rough ‘n’ tumble voices that lures you in right with the opener, “Angels,” a lyric about everyday angels that features a verse by prominent guest vocalist Amanda Rheaume. A great storyteller, Allaire has some standout lines in “Bourbon.” It’s a shame the lyrics aren’t included in the liner notes. Strange a song so enjoyable is about a suicidal guy with nothing to live for except the woman who pours his bourbon. More warped humour pops up in the boogie-piano lament “Keep The Rhythm,” complete with effective pauses and a chuckle at the end. The singer-songwriter did time in the ’80s and ’90s in a band called The Town Cryers and in 2003 released his solo debut, Crime And Punishment. In 2005, he linked up with a backing band, the Campistas, and put out Thank You Waitress, which received chart-topping play at many campus radio stations and even got some attention in Europe. To date, the self-funded album has sold about 1700 copies. Ghosts Of The Royal Motel should easily do the same.
- Canadian Musician Magazine

John Allaire sure tosses in a load of instruments on this rootsy recording, Ghosts Of The Royal Motel, which gives it a little more pizzazz than most – vibraphone, organ, sax, pedal steel, banjo, cello, viola – but it’s not overpowering. The 12-song collection is perfect barroom cool. He’s got one of those rough ‘n’ tumble voices that lures you in right with the opener, “Angels,” a lyric about everyday angels that features a verse by prominent guest vocalist Amanda Rheaume. A great storyteller, Allaire has some standout lines in “Bourbon.” It’s a shame the lyrics aren’t included in the liner notes. Strange a song so enjoyable is about a suicidal guy with nothing to live for except the woman who pours his bourbon. More warped humour pops up in the boogie-piano lament “Keep The Rhythm,” complete with effective pauses and a chuckle at the end. The singer-songwriter did time in the ’80s and ’90s in a band called The Town Cryers and in 2003 released his solo debut, Crime And Punishment. In 2005, he linked up with a backing band, the Campistas, and put out Thank You Waitress, which received chart-topping play at many campus radio stations and even got some attention in Europe. To date, the self-funded album has sold about 1700 copies. Ghosts Of The Royal Motel should easily do the same.
- Canadian Musician Magazine