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Stay Tuned For New Music and Upcoming Shows From The Devin Cuddy Band
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The Devin Cuddy Band on Spotify
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Kitchen Knife
Devin Cuddy has always made music his way, and some might argue, the hard way. As the son of Blue Rodeo’s Jim Cuddy, country rock has been the soundtrack to Devin’s entire life — he was born the same week Blue Rodeo began recording its 1987 debut album, Outskirts. But from the moment Devin was drawn to playing music, he was determined to get as close as possible to the sources of all the sounds he loved, whether they were made by rock and roll’s founding fathers, the Grand Ole Opry’shonky-tonk heroes, or Jelly Roll Morton and the kings of jazz. Thus far, that path has already led to a Juno Nomination for Roots / Traditional Album of the Year for his first record, Vol 1.
Produced by Greg Keelor (Blue Rodeo) at his Lost Cause home studio, with the help of Nichol Robertson on guitar, Zack Sutton on drums, andDevon Richardson on bass, The Devin Cuddy Band went in to studio with a different approach than before. “I brought all the new tunes to the studio, so the band hadn't played most of them yet,” says Cuddy. “Each song was arranged as we heard it, very natural approach. We took more of a studio approach as opposed to the 'live off the floor' feel we have on the first record. You'll hear more instruments, bigger sounds and a more realised sense of song.”
No one can accuse Cuddy of not paying his dues over the past several years, and while his father has taken great pride in Devin’s accomplishments, he has also shown tremendous respect in keeping a safe distance away. The audience for Cuddy’s music continues to grow with each new step. He recently earned the honour of being the special guest on Blue Rodeo’s last cross-Canada tour, performing an opening set and playing after-show club gigs in almost every city, showcasing his barrelhouse style in its natural environment.
“Even as I carve my own path, there are some things I can’t say no to,” Cuddy says, “specifically doing things with Blue Rodeo. Not only is that a great opportunity for me, but it’s family and it means a lot to me and my father as well. I’ve come to embrace that for sure.”
Produced by Greg Keelor (Blue Rodeo) at his Lost Cause home studio, with the help of Nichol Robertson on guitar, Zack Sutton on drums, andDevon Richardson on bass, The Devin Cuddy Band went in to studio with a different approach than before. “I brought all the new tunes to the studio, so the band hadn't played most of them yet,” says Cuddy. “Each song was arranged as we heard it, very natural approach. We took more of a studio approach as opposed to the 'live off the floor' feel we have on the first record. You'll hear more instruments, bigger sounds and a more realised sense of song.”
No one can accuse Cuddy of not paying his dues over the past several years, and while his father has taken great pride in Devin’s accomplishments, he has also shown tremendous respect in keeping a safe distance away. The audience for Cuddy’s music continues to grow with each new step. He recently earned the honour of being the special guest on Blue Rodeo’s last cross-Canada tour, performing an opening set and playing after-show club gigs in almost every city, showcasing his barrelhouse style in its natural environment.
“Even as I carve my own path, there are some things I can’t say no to,” Cuddy says, “specifically doing things with Blue Rodeo. Not only is that a great opportunity for me, but it’s family and it means a lot to me and my father as well. I’ve come to embrace that for sure.”
Volume One
"Well, it says here on the bio that he's Jim Cuddy's son, but from the opening notes, you can throw your preconceptions away. This is no junior singer-songwriter trying to find his way around the acoustic guitar with heartfelt tunes. He's on the piano for one thing, and no, he's no Elton balladeer either. Instead, it sounds like he's from some other generation entirely, some made-up one that has touches of country in the 50's, New Orleans in the 20's, and Cab Calloway in the 40's. Jazzy-bluesy numbers are swapped with rollicking proto-rockabilly, everything swinging.
Everything here was written by Cuddy, who is arriving on the recording scene fully formed. Each number is a little gem, a cool story, whether tongue-in-cheek (My Son's A Queer), or passionate retro. There's not a nod to anything post-1959, aside from some lyrics, with the few instruments the same ones those old jazzers or Sun Studio guys were using. The piano leads it all, and it sounds like an old upright workhorse, something rolled onto the stage in the high school gymnasium when the dance band arrived. Engineer Tim Vesely (Rheostatics) adds no effects, no ambiance or layers, adding to the antique flair. Zach Sutton's drums go boom, Nichol Robertson's guitar solos sound like a 50's guitar, Devon Richardson's bass is felt more than heard. It was recorded live, no overdubs, and you can tell, in the very best ways. Even Cuddy's voice is out of time, and certainly sounds way older than 25. But he's been in love with Armstrong-era jazz since his teens, has studied both classical and jazz, and has been workshopping this sound at weekly gigs in Toronto for three years. And he's absolutely developed a style and blend like no other.
Most of all, it's fun. This is a good-time sound, a few laughs, lots of rollicking playing, great music to groove to. Cuddy defies the expectations of any new, young performer, and especially with that surname. But Cuddy fans, you'll love him still, just for completely different reasons.." - NOW magazine" By: Bob Mersereau
- Top 100 Canadian
Everything here was written by Cuddy, who is arriving on the recording scene fully formed. Each number is a little gem, a cool story, whether tongue-in-cheek (My Son's A Queer), or passionate retro. There's not a nod to anything post-1959, aside from some lyrics, with the few instruments the same ones those old jazzers or Sun Studio guys were using. The piano leads it all, and it sounds like an old upright workhorse, something rolled onto the stage in the high school gymnasium when the dance band arrived. Engineer Tim Vesely (Rheostatics) adds no effects, no ambiance or layers, adding to the antique flair. Zach Sutton's drums go boom, Nichol Robertson's guitar solos sound like a 50's guitar, Devon Richardson's bass is felt more than heard. It was recorded live, no overdubs, and you can tell, in the very best ways. Even Cuddy's voice is out of time, and certainly sounds way older than 25. But he's been in love with Armstrong-era jazz since his teens, has studied both classical and jazz, and has been workshopping this sound at weekly gigs in Toronto for three years. And he's absolutely developed a style and blend like no other.
Most of all, it's fun. This is a good-time sound, a few laughs, lots of rollicking playing, great music to groove to. Cuddy defies the expectations of any new, young performer, and especially with that surname. But Cuddy fans, you'll love him still, just for completely different reasons.." - NOW magazine" By: Bob Mersereau
- Top 100 Canadian
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