My buddy, L.A. musician and songwriter (and artist on Guitar Hero III) Davidicus Schacher, sent me some comments on Connor’s CD that he’s given me permission to share with you:

“i was under the impression it was close to folk, (not sure why), but i think of it as acoustic pop now. lyrically authentic, i’m jealous. the melodies aren’t as bombastic as what i usually listen to, but it’s a very sophisticated album that deepens over time. the performances are skillfully played and beautifully polished. the arrangements are perfectly refined and drive the album forward. i’m particularly fond of Whenever I Talk and Easy (great choice with the mandolin). a very honest and mature collection. i’m very glad to have a copy.”

A review from Connor’s show at the Wired Monk last Saturday:

There’s been so much else to talk about, I haven’t mentioned some of the fine musical adventures I’ve had over the last few weeks. I must start with my dropping in on Connor McGuire at the Wired Monk in Crescent Beach. (By the way, this fully licensed coffee bistro is warm, cozy, intimate, and a perfect spot as an acoustic venue.) As usual when Connor performs, people of all ages were there, on this occasion flowing out the door, and as always, lots of love in the room. Rarely have I known a performer who has such an intimate connection with his audience as he interacts with them between and sometimes during his songs. Each time I’ve seen Connor perform, the audience becomes part of the show, and before the night is done he has everyone singing along. Connor was joined by his friend Kieran Mercer to sing an original song they wrote together called “On my way”. Connor sings both covers that he makes his own and his own songs: “Sweet Caroline”, “You don’t know” and “Easy” …

For me, the way I know when someone has had a big impact on me is when I can’t get a song out of my head, and this was the case this evening as the lyrics, which he had us all singing along with him “It seems to me that either way, you’re surrounded by the people surrounding you today…” kept playing in my head for days afterwards. A unique sound, strong songs with big hooks and powerful lyrics, the audience in the palm of his hand, and a warmth that invites you in and makes you a part of a night you want to go on and on, it’s always a treat to catch a performance by this fine young singer / songwriter.

~ Doug LaChance

My son Connor has recorded his first album. It’s full of power, grace, poetry, honesty, and passionately performed music and singing. He wrote every note, every word. He created all the arrangements, played all the instruments (except the Cello, Viola and two violins on two of the songs), sang all the harmonies and wrote a large part of two string quartet arrangements. I helped him make the record, and so did Debbie. But, short of expressing our opinions when he asked us for them, we had nothing to do with the creation of his amazing songs.

I was nervous about the project from the moment we began talking about it. I wanted to help Connor make the record but I was conflicted. We work really well together and I’ve had a lot of experience with producing recording sessions – budgeting time, tending the vibe and generally keeping things running smoothly – and I could provide many of the services of a producer without the expense. But, I was concerned that my involvement might hurt as much as help.

A few years ago at a friend’s wedding, a drunk musician cornered Connor and belligerently chastised him for, essentially, being my son. He was angry that Connor had been given what he saw as an unfair, and undeserved, advantage in the music business. Connor was hurt and confused by the encounter, but I recognized a variation on a theme I had experienced when Trooper’s first album came out. Despite the fact that Randy Bachman, the guitar player from the Guess Who and BTO, had chosen to produce our band because of the quality of our songs and performances – we were often branded as his pet project and accused, repeatedly, of riding his creative coat-tails. Some people (including Randy in later years) even insinuated that Bachman had taught us how to write the hit songs we were performing when he first heard us.

Living in someone’s shadow diminishes the already minimal rewards of success. In Trooper’s case, our initial breakthroughs were seen by some as unearned. I didn’t like that, and didn’t want it to happen to my son.

Connor, Debbie and I talked it out. We agreed that I should help with the production of the record. Although I wanted to co-produce without credit, Connor insisted that my name be used in order to acknowledge the time and energy I had contributed.

While I was away, Connor and Debbie spent weeks preparing an application to “FACTOR” – the Foundation to Assist Canadian Artists On Record – an organization that awards talented songwriters and performers a sizable loan to help with recording costs. After months of waiting Connor was turned down. Although he received the highest marks for all categories related to the songs and their performances, they were apparently unimpressed with his “marketing plan”. So Connor took a loan.

My good friend, and award-winning engineer, Pat Glover signed on as part of the studio team. We recorded all the music, including the string quartet, at Whitewater Studio. We recorded all the vocals at home. We worked hard and conscientiously and had a great time making great music. We started in April and are days away from finished. There are two songs that Connor wants to re-mix and he’s been listening to them over and over in our upstairs music room that he wants to call “Liberty Studio”.