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Mike Maves: News

Brand New CD - August 25, 2006

Mike has Just released the 'Kandahar Deluxe E.P.' The lead off single from the album is the poignant "Sunny", a story of a young man who is forced to enlist in hopes of a better future. His new CD is a dark, brooding masterpiece of social concience and political relevance. Mike's guitar and voice are the stars, delivering great stories with his signature melodic honesty. Featuring a stellar cast of supporting musicians including Roger Marin and Willie P. Bennett, 'Kandahar Deluxe' is but a taste of the great things still to come from Mike.

Everlows To Record in Toronto in May - March 21, 2006

The Everlows, consisting of Mike Maves, Roger Marin Jr., Matt Keighan and Mike Butler will be recording their first EP May 27, 2006 in Toronto.

More Details to follow soon.

Atone Sessions - Recording Completed - February 23, 2006

The sessions which began in Port Elgin in October are now complete and the Atone project is mixed and in the can. The project became far larger than originally intended and now comprises more than two discs of material.
The project now consists of 26 songs spanning more than two hours.

To accomodate the volume of material a 4 song EP release will be followed by two full length releases later in the year.

Thanks to all for your patience and to the musicians for great playing and support.

This Side of Town Now Available on Yahoo Music - December 9, 2005

Thsi Side of Twon is now available for download at Yahoo Music's Y Music Unlimited. Check it out.

New Songs to Be Added to New Album Atone - November 15, 2005

Release of the new album Atone will be delayed until February, 2006. Songs already recorded include:
Atone, Ghost Town Now, A Man I Never Got to Know, Double Shot of Country, Ashes, Empty Bottles, Rain and covers of Long Black V eil, Sam Stone, After Midnight, Dark End of The Street and Love Hurts.

The album as it stands clocks out at north of 56 minutes and Mike has a number of additional songs he would like to add to this release that will make it a CD equivalent to an "old school" double LP.

Stay tuned for more on the development of this record.

Death Row Lament and Our Hour Now Both Win Garagband Track of the Week - October 11, 2005

Death Row Lament has been selected by as track of the week in Americana, while Our Hour Now has been selected simultaneously in the Folk Rock Category as Track of the Week both for the week of October 10, 2005.

Only 52 songs per year are given this award in these categories.

Recording Completed For 2nd Album - October 10, 2005

Recording has been completed for the followup album to This Side of Town.

The new record was recorded October 3rd-6th in a remote location in Ontario. The new album which will be called Atone consists the music that 5 people made over 3 and a half days at a cottage in Port Elgin, Ontario. Matt Keighan, who produced the album, helped put together a band for the project and all headed north in two vans filled with vintage amps, guitars, basses, Roger Marin’s pedal steel, a 50 year old Slingerland drum kit and Thundering Waters Recording Studio’s Roland VS2480 workstation.

The album will be mixed and mastered by Matt Keighan and Roger Marin Jr. at Thundering Waters Recording Studio and should be available December 1st, 2005.

This will be Mike Maves 2nd release of 2005.

More to come.

Raves and Awards for This Side of Town - October 3, 2005

Best Male Vocalist, Best Lyrics, and Best Mood were all awarded to "Death Row Lament" in the Americana category at This melody has reached 12 on the charts and continues to wow the reviewers.

"Our Hour Now" has reached number 10 on the charts, receiving Best Keyboards and multiple Track of the Day honours.

"Hot Damned", "Tonight the Devil" and "Prayin' to God for Rain" have also each recieved "Best of" recognition or are sitting better than 100 on the charts.

This Side of Town Now Available at - September 8, 2005

As of today This Side of Town is now available for download online at the Internet's premier digital music outlet

Visit Or if you already are an itunes user visit:
to open itunes on your computer and link straight to the album.

Death Row Lament to Be Track of the Day - September 6, 2005 has advise this morning that Death Row Lament will be Americana Track of the Day September 14, 2005.

This Side of Town Receiving airplay in Europe - September 6, 2005

This Side of Town is receiving airplay in Europe and has received a 4 1/2 star ranking and a glowing review from European music ezine Rootstime ( The review should appear at the site in Dutch on September 12, 2005. Reviewer Braeken Francois advises that this is only the second time a debut album has scored this high a rating. A link to the review and a translation will be provided shortly.

Maves, Marin and Keighan begin new Band Project - The Everlows - - September 1, 2005

A lunch meeting to discuss the recording schedule for Mike Maves' second album resulted in the formation of a new band. Mike Maves, Roger Marin Jr. and and Matt Keighan, all songwriters, are getting together to cut an album this fall for release in the new year.

The planned album will be comprised of original material written by the three, some select covers, and bonus tracks of new mixes and alternate takes from each of their solo careers.

Recording will be done at the Keighan owned Thundering Waters Recording Studio and Mike Maves' label Bitter Tinder Music Canada will release the album online and digitally.

More on this to come!!


Mike Maves Debut Album Now Availabe - July 21, 2005

Just six months after recording began Mike Maves' debut album This Side of Town is now availabe for sale. Recorded in four different studios with an eclectic group of some of the finest musicians in southern Ontario "This Side of Town" is a mix of roots music, country and rock. Among the notable players is Greg Dechert formerly of Uriah Heep, Bad Company and the David Gilmour Band, long time members of the Fred Eaglesmith touring band Roger Marin Jr. and Darcy Yates, former Fifty Diamond Rocks drummer and Vegalite frontman Matt Keighan, Karen Graves from the Shaw Festival Orchestra, as well as Mike Butler and Frank DiTillio from Matinee Slim and the Ultralight Orchestra. Greg Dechert and Matt Keighan share producer credits along with Mike Maves.

The album was mixed by Sean Baillie and mastered by Juno award winner Nick Walsh (Slik Toxik, Revolver).

This Side of Town will be available at select retailers in Southern Ontario and online at and with digital distribution planned to begin in the fall.

To promote the album Mike will be playing a number of intimate acoustic performances throughout the fall with plans being made for a followup album to begin this fall and touring plans in the works for 2006.

Mike Maves Interview - Part 1 - July 20, 2005

July 21, 2005 Interview for

Q: Can you tell me a bit about your record This Side of Town?

“The record is basically a dark questioning piece of roots rock with a few lighter points so no one kills themselves. (laughs) This Side of Town is the first installment of three records that I have written in the last year and a half. There is a story that connects all of the songs that I hope to eventually release, and I am working right now with a script writer to develop a treatment for the stage based on the story that the songs will attempt to play out. If a larger production never happens the songs and the respective albums I hope will still stand on their own as entertaining pieces of music.”

Q: So this record tells a story.?

“This record tells part of a story. There are still two albums worth of material to be recorded to complete this project, but yes the idea is that the three albums will form a connected piece.

Q: How did you get into roots rock and country music?

“My parents used to play a lot of country music on car trips so while I was blasting Led Zeppelin at home I’d be listening to Crystal Gayle, Barbara Mandrell, Patsy Cline, Ray Price, Willie Nelson, Hanks Williams every time I got into the car because that’s what they were listening to at the time. My dad had a great Hank Williams two record set he ordered from TV. It was a K-tel deal but the songs were there. Right now country music, roots music in general, is what I like to play, what I feel I want to project when I pick up an acoustic guitar. The edgier side of country is what I am most attracted to. The older stuff in particular. I like where it comes from emotionally and where it comes from historically. When I wrote and recorded Harvest of Stone, for instance, the idea was to make a recording where you can’t really tell if this tune is a week old or a hundred years old. I wanted to try to get it in one take and I wanted it to sound like it could have just been a performance maybe caught on someone’s front porch. Trying to make it perfect I think would have been a mistake. Same with Death Row Lament. Made it in a living room and hoped it would sound like it was made in a prison.”

Q; So you were shooting for something old-timey?

“Yes. That is what I wanted to do with those tunes. Base them on familiar chord progressions and sounds that feel like they go way back. We nearly put crackles onto Harvest of Stone to make it sound like it had been taken off of vinyl. Nick Walsh, who mastered the record, had an effect that we were going to try but it never happened because it felt kind of cheesy. It would have seemed like a cheat”

Q: Nick Walsh the heavy metal guy?

“Yeah, he mastered the record. Nick sings in a band called Revolver now. Sean Baillie mixed the record. We also have some amazing board mixes that Matt Keighan threw together that I will probably put on as bonus tracks if we ever do a second run of CD’s. I kind of want to get them out because although we left a lot of flaws on this record, the board mixes are still the most authentic representation of the actual music we made. Some of the raps and comments are a riot and there are a couple of jaw dropping mistakes that still worked. On Hot Damned, which Sean souped up with Pro Tools, Sal Piccirillo and I were playing absolutely different chords at several points. I liked the sort of dissonant sound it added. There was an edge that to me felt right. Sean, probably rightly, tuned the guitars with the computer when he mixed the record so we got a thicker, safer more “radio-friendly” mix, but I think that I still want to put the raw version of that tune out at some point. We had some beer bottles clanging at the end and the sound of a bottle opening started the song off. There were a lot of people in the studio drinking when we cut that song.”

Q: What attracts you to country music?

“Country music and folk based music is attractive to me because that is where the big issues always seemed to be tackled best. Addiction, infidelity, disease, death, incarceration, and on and on. The real issues and the real drama always seem to play out best in country music. Blues music is great for this too, but I don’t feel convincing singing blues. The bar is so high there, Muddy Waters, John Lee Hooker, Memphis Slim. How can a white boy from Niagara Falls expect to touch that?

Q: You are a blues music fan.

Of course. I appreciate it the same way I appreciate country music or jazz. If it is good, it is good. I guess that is why great artists in other genres like Charlie Parker of Ray Charles always had a deep respect and love of country music. The stories spoke to them. Today I don’t hear mainstream country, Nashville country I guess, delivering the stories the same way. There is almost always a happy ending or a moral or something and it seems to be colored somewhat by a sort of right wing Christian agenda. That is fine I guess, but that shouldn’t be all there is. I want to try to do something a little less safe, a little subversive and a little more questioning in religious terms where things don’t necessarily get resolved, where the endings aren’t so happy, where circumstances preside of morality. So sometimes things lean a little more towards rock and blues.

Q: This record does have some blues and rock on it. Where does that come from for you now?

“It comes from stumbling onto a riff and then being compelled to write a song around it. That is what happened with Went to Memphis, which is based on a blues riff, but I wouldn’t really call that song an authentic blues piece. On Tonight the Devil, which is really a heavy rock song, almost a psychedelic sort of thing, I just thought that the topic of contemplating this thread of universal evil was best addressed in a rock setting. Maybe for some people that song doesn’t belong on this collection of songs, but I am not thinking about that. I am thinking that it is a song that I want to release and this is the album I am releasing right now so on it goes. I also know that I am not likely to record an album full of songs like Tonight the Devil any time soon, so how else would it ever get released. On top of that, I liked the idea of ending the record with an uncomfortable jolt. In putting it all together and in writing songs I still have this need to rock out once in a while. I also have a need to challenge people to consider a broader view of what I am trying to do. I don’t really see rock and country being separated from each other fundamentally. This is somewhat like Gram Parsons view and even though I prefer the funkiness of acoustic guitar sounds sometimes there is nothing that will give you the necessary crunch you get from an electric guitar. I used to practice a lot of Townshend windmills in my bedroom mirror and it would be kind of wrong to just let that training go to waste. (laughs)”

Q: So there is a Gram Parsons influence in what you are doing?

Yes, but not in the way that you might think. It is really not about the style of his music but just the spirit of combining different sounds and styles and sitting back and judging whether it sounds good and feels right or not. That attitude and approach was the key. I love the music, but the spirit that inspired the music seems to be more important than the music itself. That to me is his legacy. That is why we are still talking about him. That said, Chris Hillman and others were taking that approach at the same time and it all is really just an extension of the first rock star, Hank Williams. Whether the sounds are rock sounds or country, folk, classical or whatever shouldn’t matter. In particular they don’t matter to me. All that really matters is that there is some sort of communication that feels right musically.

Q: Hank Williams the first rock star?

Lived like a rock star. Died like a rock star. Wrote songs like a rock star. You hear it in the feel of the songs, the looseness and freedom of it and in the attitude. Listen to Move It On Over? Later, basically the same tune was Bill Haley’s Rock Around the Clock.

Q: What do you listen to?

Apart from country records I still listen to a lot of my own record collection, things that I have always listened to. Zeppelin, Springsteen, ACDC, The Who, The Stones, Tom Petty who I just saw play along with the Black Crowes, Steve Earle, lots of stuff. I love Tony Bennett. I’ve also been listening to Nick Drake and Jeff Buckley. Roger Marin turned me on to Hayes Carll, Todd Snider, Adam Carroll, Blaze Foley, Chris Knight and a bunch of other American songwriters. I try to listen to people that I have played with and try to take in the music that they are making and that they are listening to. I bought a Uriah Heep CD recently because Greg Dechert who played on my record and produced the tunes we did in the first session at Sunmbler House in Fenwick had played in Uriah Heep. He also played in Bad Company for a while and was part of David Gilmour’s touring band in the 80’s. I listen to the funk band that Mike Butler and Frank DiTillio play in, Matinee Slim and the Ultralight Orchestra. They have a record out called Above and Beyond the Call of Booty, which is pretty wild and as good as it is it still doesn’t come close to how great their live shows are. That is refreshing to me. That they are a real band that can deliver in spades live. When they get the feel and energy of those live shows onto tape everything should blow wide open for them. I listen to Roger Marin’s record and to the D.Rangers from Winnipeg. The New Kings in Toronto have a record out that is just wild. Darcy Yates who played bass on some of my tracks is playing with that band right now. I think Michael Johnson is quite fantastic. I’m interested in the music that Matt Keighan is making right now in the studio with Mark Murphy and Sal Piccirillo.

to be cont'd

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