Miller Anderson – Through The Mill (2016)

FrontCover1.jpgMiller Anderson (born 12 April 1945, Houston, Renfrewshire, Scotland) is a UK-based blues guitarist and singer. In the formative years of the 1960s, before either of them achieved significant success, he worked extensively with Ian Hunter in bands such as The Scenery and At Last The 1958 Rock ‘n’ Roll Show (later called Charlie Woolfe) and is referenced in the title track of Hunter’s 1976 album All American Alien Boy (“well I remember all the good times me and Miller enjoyed, up and down the M1 in some luminous yo-yo toy”). Anderson would later guest on two Hunter solo albums.

Apart from pursuing his own solo career, he was a member of the Keef Hartley Band (this band played with Miller in Woodstock). Other groups Anderson has been associated with are; the Spencer Davis Group, Broken Glass, The Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack. In early 2006, he joined The British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen.

In the Spring of 2016 Anderson returned to the studio and in July 2016 released a new album, Through The Mill. (by wikipedia)


In 2018 and 2019 he toured with Pete York´Rock & Blues Circus (featuring, Zoot Money, Roger Glover and Albie Donnelly) and played many gigs with his own Miller Anderson Band.

This album from 2016, recorded with established media composer Jeremy Sherman, is a varied collection of 12 original compositions ( one co-written with Sherman ) taking in Blues, Rock, Folk , Americana & Latin.

His partner on this album was Jeremy Sherman:

Jeremy Sherman has spent over 30 years playing in a wide variety of bands in the UK and abroad, taking in such styles as Ska, Folk, Jazz, Cajun, Country, Rock, and Blues. Over the past 10 years, he has pursued and developed his love of writing and recording his own material for a variety of Film, TV, and Commercial projects.

Jeremy Sherman.jpg

Jeremy also produces CDs for local musicians and his own Celtic/Americana/World outfit. A completely self-taught musician, he is proficient on electric and acoustic guitars, dobro, bass, and keyboards. (by

Top notch Miller Anderson effort. I have most of his work and this one is right up there with the best of them. Better with age just like fine wine. A must have for fans and a good place to start if you are new to Miller Anderson. (Bill)

On other word: Another superb album by one of the most criminally underrated musician … hew´s a realo unknown hero …

His mixture of Folk, Jazz, Cajun, Country, Rock, and Blues is unbelieveable good !

And the song “Broken Glas” was recorded in 1975 for a rare Stan Webb project called “Broken Glass” (s real fantastic album) featuring Miller Anderson.


Miller Anderson (vocals, guitar, harmonica)
Jeremy Sherman (keyboards, synthesizer, guitar, pedal steel-guitar, banjo, dobro, drums, percussion)


01. Strange Days (Anderson) 4.35
02. John Sugrue (Anderson)4.23
03. Where Is Your Heart (Anderson/Sherman) 4.59
04. Through The Mill (Anderson) 4.11
05. Life Is All We Have (Anderson) 4.29
06. Broken Glass (Anderson) 3.33
07. Old Friends (Anderson) 4.07
08. The Island (Let Yourself Go) (Anderson) 3.52
09. Here Come The Tears (Anderson) 4.17
10. Nobody Knows (Anderson) 4.14
11. A Hard Road Down (Anderson) 4.08
12. Wintertime Blues (Anderson) 2.29




Joanna Connor – Six String Stories (2016)

FrontCover1.jpg“Six String Stories” was Joanna Connor’s first studio album release in 14 years !

In the language of social media, the video clip of Joanna Connor at the 2014 North Atlantic Blues Festival went viral. She gives the rapt audience a three minute display of her astounding slide guitar playing, a performance that has been viewed over 870,000 times on-line. For many people, that may have been their first exposure to Connor – but Chicago-area fans have reveling in her club performances for several decades, reaching back to her first release, Believe It, in 1989 on Blind Pig Records.

After a fourteen year recording hiatus that had Connor focusing on raising her daughter, she is back with her second release for M.C. Records. Exploring that vast territory where blues and rock converge, she offers plenty of fiery playing that mirrors what viewers saw in the video. Take “Halsted Street,” a brooding instrumental with some gentle acoustic guitar wrapped around eerie, effects-laden electric tones. Suddenly, her guitar erupts with a solo sequence that would make Eddie Van Halen proud. The slow blues, “We Stayed Together,” centers on her impassioned vocal bracketed by two penetrating guitar interludes.

Joanna Connor01.jpg

Her slide guitar dominates the first two tracks. On “It’s A Woman’s Way,” Connor encourages her daughter to take advantage of the expanding opportunities available to women, then illustrates the message with taut slide licks over the hard-charging rhythm laid down by Marion Lance Lewis on drums, bass, and percussion. Personal relationships are explored on “By Your Side,” but it quickly becomes apparent that any man would struggle to match the attachment Connor has to her guitar. The ballad “Golden,” penned by Jill Scott, shifts to a softer approach centered on the acoustic guitar and Jeff Lewis on an electronic keyboard A spoken passage finds the singer asserting, “I am not second-rate or an after-thought for anybody. Come direct or don’t come at all. No silver or bronze for me!”

Joanna Connor02

“Love Coming On Strong” is a primal stomp about love swirling out of control, following the instrumental “Swamp Swim,” with guest Omar Coleman’s harp intertwining with unearthly slide tones to form a haunting sonic landscape. Connor shifts to a more positive frame of mind on “Heaven,” the arrangement bolstered by Charlie Kimble on tenor sax, Gary Solomon on alto & soprano sax, and Charles Pryor on trumpet/flugelhorn. Lewis is moved by the spirit, preaching with the fervor of true believer. A staple of her shows, Connor shows her interpretive skills on a live recording of the Elmore James classic, “The Sky Is Crying,” her nimble six-string phrasing mirroring the agony in her voice. “Young Women Blues” is a dreamy stroll that mixes jazz elements through a tremolo-induced haze.

Appropriately titled, Six String Stories should build on the world-wide interest generated by that short video. Once people hear Joanna’s new disc, no one is going to classifying her as as anything other than first-rate. (Mark Thompson)

Joanna Connor03

Omar Coleman (harmonica)
Joanna Connor (guitar, vocals)
Charlie Kimble (saxophone)
Jeff Lewis (keyboards)
Marion Lance Lewis (bass, drums, percussion, synthesizer, vocals)
Charles “Richard” Pryor (flugelhorn, trumpet)
Gary Solomon (saxophone)
background vocals:
Hope Lewis – Steve Lewis


01. It’s A Woman’s Way (Connor/M.Lewis) 4.11
02. Your Side (Connor/M.Lewis) 5.05
03. We Stayed Together (Connor/M.Lewis) 5.32
04. Golden (Bell/Robinson/Robinson/Scott) 4.32
05. Swamp Swim (Connor/M.Lewis) 4.09
06. Love Coming On Strong (Connor/M.Lewis) 4.00
07.  Heaven (Connor/M.Lewis) 5.58
08. Halsted Street (Connor/M.Lewis) 4.39
09. The Sky Is Crying (Robinson/Lewis/James) 5.47
10. Young Women Blues (Connor/M.Lewis) 4.30



Batalion d’Amour – Fenix (2016)

FrontCover1.jpgEleven long years after their last full-lenght, Niya, the Polish female fronted combo Batalion d’Amour returns among the living with their sixth album. If the band went through some major line-up changes in the past, current members are surprisingly the same as in 2005, but from the original line-up (note that this band was founded in 1989), remains only the bassist Piotr Grzesik and drummer Mariusz “Pajdo” Pająk. Batalion d’Amour released their debut album, Labirynt Zdarzeń, almost ten years after the formation, and at that time their style was typical dark wave/gothic rock, but soon after their sound got new dimensions, especially when the current singer Karolina Andrzejewska replaced Anna Blomberg-Gahan in 2001. Songs of the band got more depth, even more heaviness with addition of heavy riffs, but most of all everything became more subtle, catchy, romantic and with a high dose of sensibility.

As the band stated, the name of the album symbolizes rebirth, magic and creativity. Fenix consists of eleven original tracks plus four bonuses, and like in the past almost all of them, except one, have Polish lyrics, but believe me that this is just a plus to their already magical soundscapes. Karolina’s captivating, dynamic, rich, yet romantic and highly emotive voice combined with Polish lyrics is so very flowing and soothing, for some listeners it might be also a bit exotic. Also the instrumental side, with many addictive parts, leaning now more than ever towards synth rock, gothic and even progressive rock/metal, with a huge dose of atmosphere and catchy pop melodies offers sometimes an otherworldy sonic experience. There’s still present some dark wave and absolutely the band doesn’t forget their roots in gothic rock, just listen to those typical sparkly gothy guitars and strong reverberate bass lines in almost every song, not to mention those gloomy synths and electronics that so smoothly deepens the whole ambiance.

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The first two tracks, “Bez Nas” and “Charlotte”, are nothing but mesmerizing hits that are so very addictive, catchy, with great melodies and rich ambiance that it’ll be nothing strange if you’ll start subconsciously to sing those choruses. Great vocals, intriguing guitar job, almost danceable rhythms, but still very emotional and melancholic. I was also moved by rather dark and climatic piece “Moje Remedium”, where Karolina gets company by Tomasz Grochola from their country mates, industrial act Agressiva 69. Tomasz deep and dark voice perfectly suits Karolina’s sensitive voice and together they offer such a fantastic vocal duet. As well the most experimental, yet very progressive with some driving heavy guitars and in its essence still dark song, “Mechaniczny”, nicely shows that Batalion d’Amour are capable of crossing genre borders with style just to make their sonic output even more dramatic and intriguing. Oh, and how tender, vulnerable and almost erotic is the voice of Karolina, but as well how very haunting is the instrumentation in “Za Granica Marzen”, absolutely beautiful. All of these elements are then perfectly blended together in the epic “Zawróceni” which is more than nine minutes long composition. As well the groovier tracks like “Miedzy Slowami” and “Ktos Calkiem Obcy” are quite elegant and add a lot to the dynamics of this album. There are some mellow tracks, one of them is a try with English lyrics in the sensual, with a celtic scent, acoustic ballad “The Lost Diary”, which features John Porter as Karolina’s duet partner, and also typical gothic/pop rock in “Dwie Prawdy” could be more elaborated. But ok, I’m fine even with this, it’s not that those songs are bad in any way, but the band set the standards so very high with previously mentioned highlights.

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The album ends with four bonus songs that are all alternate versions of the hit single “Charlotte”. One is a nice acoustic version, the next one is an English version of the song, where the band finally shows that they can make great songs also with English texts, plus there is an interesting dancefloor mix of the song done by Pawel Penarski, who’s the author of remixes of such famous artists like Ellie Goulding, and in the end the shortened radio edit of it. If the band put a lot of effort in those compositions, unfortunately I must give some critics to the front cover artwork, it’s just too simple and it doesn’t reflects the music as it should, but on the other side the inlay, the twenty page booklet is done just fine, where beside nice artwork the band inserted English translations of all lyrics. All in all, Fenix is a great return for Batalion d’Amour and I hope that we’ll not have to wait another ten or more years for the next release. Fenix is an addictive and captivating storm of beautiful yet refreshing dark rock music! Believe me that it’ll be a huge mistake if you’ll miss this album. (


Karolina Andrzejewska (vocals)
Piotr Grzesik (bass, vocals)
Robert Kolud (guitar)
Mariusz “Pajdo” Pająk (drums, vocals)
Mirosław Zając (keyboards)

Batalion d'Amour03.jpgTracklist:
01. Bez nas 5.56
02. Charlotte 5.08
03. Między słowami 4.28
04. Zawróceni 9.33
05. Za granicą marzeń 4.51
06. Moje remedium (featuring Tomasz Grochola) 4.42
07. Ktoś całkiem obcy 4.17
08. Dwie prawdy 5.44
09. Zaklęty 5.55
10. The Lost Diary (featuring John Porter) 4.08
11. Mechaniczny 4.33



Soul Asylum – Change Of Fortune (2016)

FrontCover1.jpgChange of Fortune is Soul Asylum’s 11th full-length studio album and the long-awaited follow-up to their 2012 studio release Delayed Reaction. It was released on March 18, 2016. It is their first album released on Entertainment One. (by wikipedia)

Minneapolis, Minnesota-based Alternative Rock band Soul Asylum has been a force to be reckoned with for thirty-five years. Influenced by local area Punk legends such as Suicide Commandos, the band led by Vocalist/Guitarist Dave Pirner forged their own sound and quickly hit the tour circuit in their home state. Then, in 1984, their dreams came true when signing on with Minnesota’s own Twin/Tone Records to release their debut album Say What You Will…Everything Can Happen. Sleeping on floors and not eating the best food, the band continued on for many years, releasing four more studio albums before really breaking into the mainstream with their 1992 Columbia Records debut, Grave Dancers Union. Anchored by hit singles such as “Somebody to Shove,” “Black Gold,” and of course, “Runaway Train,” Grave Dancers Union has since gone triple platinum.

Soul Asylum01.jpg

Following up their commercial success strong in 1995 with Let Your Dim Light Shine, 1998’s Candy from a Stranger would be their final record of the millennium and with an uncertain future. Taking time to reassess what they wanted, tragedy struck in 2005 when long-time Bassist and friend Karl Mueller passed from cancer. Extremely emotional from the loss, Pirner carried on and returned with Soul Asylum in 2006 with The Silver Lining. A record well-received by fans, Soul Asylum would continue on touring with a few different lineups and has been settled with Drummer Michael Bland, Bassist Winston Roye, as well as Guitarist Justin Sharbono since around 2012. Now following up four years after the impressive Delayed Reaction record, the band is back with Change of Fortune. Released via new label Entertainment One, Change of Fortune is the band’s eleventh overall album and was released as of March 18th.


A record a few years in the making, Change of Fortune is twelve tracks of high energy beginning with “Supersonic” as sound effects bring in an upbeat melody as the group seems to sing about addiction. Next, “Can’t Help It” has a Funk vibe driven by a sharp guitar riff with the banding singing about temptation. Moving on, “Doomsday” has a hair band flavor, but with Soul Asylum sensibilities with Pirner’s unique vocal inflections while he sings of the inevitability of the end of the world coming, but not now, so live it up. Cellos lead into “Ladies Man.” This track has a Pop-like feel as the melody progresses, then, listening to the lyrics, the tongue-in-cheekiness comes through by the end, “He’s a ladies man/and she’s a lady…man.”

“When I See You” takes some light, retro Electronica and mashes some Pop to come up with a catchy tune that has a confessional feel as the message of being the person you really are. A high-tempo anthemic beat is “Moonshine.” This track has a fun melody, but there seems a bit of uncertainty as Pirner wonders if the good time is genuine, or helped with drink. Going harder, “Make It Real” has a drum-driven melody with the guitars shredding in the accompaniment. The group seems to sing of someone who spins a web of stories that there is no possible way they can make true. Returning to the Funk flavor, “Dealing” has an “I told you so” vibe to the beat with the head-bobbing drumline as the guitar slides in as the group seems to continue the last track’s theme, but taking it further with the person being out.

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“Don’t Bother Me” has a mid-tempo, “take it in stride” melody, literally. This song has an Alternative Folk/Pop beat that accompanies the lyrics that talk about rolling with the punches of life. Pirner’s voice gives “Morgan’s Dog” the Black Comedy, story-esque delivery it needs with the mid-tempo, Folksy melody. This track just needs to be experienced. The album’s title track, “Change of Fortune,” is a Ska-esque intro followed by an Alternative/Psychedelic melody with a hip, laid back vibe where the band sings of life not always being one-note. Change of Fortune draws to a close with “Cool,” a funky finale with tasty riffs as the band wants to know if they are cool enough for their ladies.

Soul Asylum’s long career has had extreme highs and lows to channel those feelings into a fun, sometimes confessional set of songs that are relatable without being preachy. This latest effort sees the band expand their horizons and push the envelope in a variety of different directions. In all, it is successful and Soul Asylum should finally get the attention they deserve as one of the best Alternative Rock bands of the last three decades. (by Jason Rhode)


Michael Bland (drums)
Dave Pirner (vocals, guitar)
Winston Roye (bass)
Justin Sharbono (guitar, background vocals)

Soul Asylum02
01. Supersonic 3.01
02. Can’t Help It 3.01
03. Doomsday 2.59
04. Ladies Man 3.23
05. Moonshine 4.03
06. Make It Real 2.19
07. When I See You 3.47
08. Dealing 4.05
09. Don’t Bother Me 3.28
10. Morgan’s Dog 3.36
11. Change Of Fortune 2.56
12. Cool 2.55

All songs written by Dave Pirner



Yoshiko Ieki – Toccatas Vol. 1. (J.S.Bach) (2016)

FrontCover1.jpgThe Japanese harpsichordist, Yoshiki Ieki, studied harpsichord with Gustav Leonhardt at the Amsterdam Sweelinck Conservatory, where she graduated wirh a soloist diploma in 1981.

And on this album she played on a very old instrument from Johannes Ruckers, part of the legendary Ruckers family:

The Ruckers family (variants: Ruckaert, Ruckaerts, Rucqueer, Rueckers, Ruekaerts, Ruijkers, Rukkers, Rycardt) were harpsichord and virginal makers from the Southern Netherlands based in Antwerp in the 16th and 17th century. Their influence stretched well into the 18th century, and to the harpsichord revival of the 20th.

The Ruckers family contributed immeasurably to the harpsichord’s technical development, pioneering the addition of a second manual; the quality of their instruments is such that the name of Ruckers is as important to early keyboard instruments as that of Stradivarius is to the violin family. In the 18th century, Ruckers instruments were often modified by French makers in a process known as ravalement, to allow for an extended range and other additions.


The Colmar harpsichord from 1624

Joannes Ruckers (variants: Ioannes, Hans, Jan) (15 January 1578 – 29 September 1642) was the first son of Hans Ruckers, and also became a harpsichord and organ maker. He lived his life in Antwerp. He and brother Andreas became partners in their father’s business upon his death, Joannes becoming sole owner in 1608. He joined the Guild of St Luke in 1611; his entry reads ‘Hans Rukers, sone, claversigmaker’; following this he engraved ‘IR’ into the rose of his instruments, rather than his father’s ‘HR’. He worked for the archdukes of the Netherlands in Brussels from 1616. His nephew Joannes Couchet joined his workshop around 1627, taking it over after his death. Around 35 of his instruments are in existence today. (by wikipedia)

And here´s a short biography of Yoshiko Ieki:


This album was recorded at the Under Linden Museeum in Colmar/France … on an original harpsichord from 1624 !

And … the music is just brilliant … listen to this fascinating melodies and sounds of an old harpsichord ! Enjoy this trip … !


Yoshiko Ieki (harpsichord)


01. Fantasia & Fugue in A Minor, BWV 904 / 8.45
02. Toccata in E Minor, BWV 914 / 8.21
03. Toccata in D Minor, BWV 913 / 13.21
04. Toccata in F-Sharp Minor, BWV 910 / 11-36
05. The Well-Tempered Clavier, Book 2:  Prelude & Fugue No. 14 in F-Sharp Minor, BWV 883 / 6.59
06. Toccata in G Major, BWV 916 / 9.12

Music composed by Johann Sebastian Bach



Yoshiko Ieki

Márcio Tubino And Artet – Community – Live At The Bird’s Eye (2016)

FrontCover1Márcio Tubino was born on 27th of March 1963 in Santa Maria, wich is in the brazilian state Rio Grande do Sul. His parents also come from this state. His father is from the castal area, while his mother was born in the uruguayan border area.

In the year 1969 the family moved to the capiltal Porto Alegre where Márcio Tubino grew up. The Land was going trough a military dictatorship since 1964 and experienced the euphoria caused by the victories of the brazilian soccer team. Behind this fade there seemed to be calmness and order but also a lot of repression and violence. Performers and artists had to be careful and develop a lot of creativity. The protest against the regime had to be well hidden behind allusions. Demanding texts combined with elegant and spirited harmonies in the tradition of Bossa Nova together with varios rhythms gave the brazilian Popmusic a very interesting touch.

Márcio experienced this musical impulses by various “rodas de samba”, by making music with his family and frends. Then Márcio sang together with his brothers and sisters. The elder ones discussed the lyrics and for fun they invented new vocal arrangements for the period songs, Sambas and traditional Bossa Nova.

In the year 1978 he started to study with his transverse flute. Tubino attendes the music academy of the Symphonic Orchestra Porto Alegre. At the same time he took part in various seminars, where he was taught the harmonies of e-and u-music, arrangements, history of classic and modern and also brazilian music.


Since 1980 M.Tubino is a professional musician. ” Raiz de Pedra” was the first group he played with. Here he developed his ability for saxophone and flute as well as composer. Highly acclaimed by critics and audience the group started their first tour to Germany in 1990, where Tubino lives now since 1995.

The brazilian performer has worked together with artists like Egberto Gismonti, Djalma Corrêa, Joe Zawinul, Dusko Goykowich, Alegre Corrêa, Renato Borghetti, Rosanna&Zélia. Next to an amount of recordings with others artists from Brazil and Europe Tubino has publisched 4 CD’s with “Raiz de Pedra”, wich contain various of his own compositions. His tours took him trough South America, Europe, to China, Japan and Egypt.

As arranger he wrote for many artists like Rosanna&Zélia, Dusko Goykowich and Jenny Evans. His writes for diferents formations like Jazz Combo, Strings and Jazz Big Bands. (


ARTet is the band and project of Brazilian saxophone player Márcio Tubino. This ensemble is neither quartet nor quintet but an “ARTet” capable of transforming any kind of influences into musical ideas – that’s the leitmotif of the band.
With his LIVE concerts Márcio Tubino sticks to his roots. To perform on stage he assembled famous Brazilian musicians who live in Germany.

After four years of numerous gigs together, the 2nd CD of ARTet was recorded live within two days at the Bird’s Eye Jazzclub in Basel. Due to being that well-rehearsed the result is an album which is wonderfully harmonic, virtuosic and coherent to listen to.
The idea of ARTet as a boundless formation remains – Márcio Tubino goes even further and understands a concert as a musical dialogue between audience and band.
Furthermore, the band provided the concept of global networking via a QR code in the artwork: the portal “Community” opens new doors and the “community” is globally present. There is not just more information about the current CD but also links to other artists and art forms, as well as about projects for development aid, protection of nature and much more.


“Community” derives from natural events:
Musicians are playing in a charming Jazz club and still stay grounded in our technological world full of possibilities. Back to the roots, still spiced with a plenty of innovative sounds.
The songs connect traditional elements of South American Jazz with modern elements. Just in ARTet style not bound to any genres. Anything can and should flow in – a groovy globalization!
Or to quote composer and band leader Márcio Tubino: “Brazilian music, recorded in Switzerland, released in Germany and at home all over the world!”


Ricardo Fiúzapiano (keyboards)
João Luis Nogueira (guitar)
Fernando Paiva (drums)
Ciro Trindade (bass)
Márcio Tubino (saxophone, flute)

01. Marcha 6.56
02. Água 7.56
03. Onde todos estão 8.48
04. Da janela 5.55
05. E a vida segue 6.57
06. Batatinha 7.37
07. Azuis 10.50
08. Sol 6.04

Music composed by Márcio Tubino




More from GLM Records:


Simple Plan – Taking One For The Team (2016)

FrontCover1.jpgTaking One for the Team is the fifth studio album by Canadian rock band Simple Plan. It was released on February 19, 2016 through Atlantic Records and represents the band’s first full-length record in nearly five years. Following the release of three buzz singles in mid-2015, the band released “I Don’t Wanna Go to Bed” featuring American rapper Nelly as the official lead single for the album on October 16, 2015. It debuted at number 4 on the Canadian Albums Chart, earning the band their fourth consecutive top-5 and a perfect streak of top-10s for their first five studio albums.

“I Don’t Wanna Go to Bed” was released October 16, 2015 as the album’s official lead single. The song features pop and funk influences in a stylistic departure from the pop punk and pop rock of the group is earlier work. A Baywatch-inspired music video premiered October 15, 2015 – a day before the song is digital release It has since peaked outside the top 50 on the Canadian Hot 100 at number 54.

“Singing in the Rain” was released as second single from the album on March 25, 2016. However, the single version of the song does not feature R. City. The music video for “Singing in the Rain was released on April 12, 2016; set in the 1960s, it was a tribute to the movie That Thing You Do.


“Perfectly Perfect” was announced as the third official single on September 26, 2016.

The first song released from the era was “Saturday” on June 22, 2015.[14] In September 2015, drummer Chuck Comeau revealed the song would not be featured on the album.

“Boom” was released August 28, 2015 as the second promotional single after its music video premiered a day earlier.

A third buzz track, “I Don’t Wanna Be Sad”, was released September 18, 2015.[18] Initially presumed to be the album’s first official single, it was later announced to be a promotional track only.

The band released the album tracks steadily leading up to the release date. A music video for “Opinion Overload” was released on February 5, 2016.”Farewell” was released on February 14, followed by “I Refuse” on February 15, “Nostalgic”, “P.S. I Hate You” and “Perfectly Perfect”.


At the end of the album, Canadian sports announcer Bob Cole calls a fictional ice hockey game featuring Simple Plan, concluding with, “Oh my goodness, can you believe it? Just like that, Simple Plan have won the game!”.

Taking One for the Team received generally favorable reviews from music critics. On Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 65 based on 4 reviews, indicating “generally favorable reviews”.


Neil Z. Yeung of AllMusic called the record “pure, no-frills, feel-good fun, a start-to-finish crowd-pleaser for fans of that classic pop-punk sound.” He concluded about the band’s musical stance they made with their album: “When music is presented this directly, and after so many years holding firm to a particular style, it’s hard to root against them. They’re aware of their legacy and position as now-veterans in a scene that has already experienced another revival with young bands like Neck Deep and All Time Low. Simple Plan — whose members were in their late thirties at the time of recording — are the comeback underdog team, winning whether critics like it or not.”

A real pretty good high energy power rock album !


Pierre Bouvier (vocals)
Chuck Comeau (drums, vocals)
David Desrosiers (bass, vocals
Sébastien Lefebvre (guitar, vocals)
Jess Stinco (lead guitar, vocals)
Howard Benson (organ)
R. City (vocals on 05.)
Bob Cole (play-by-play announcer on 14.)
Nelly (vocals on 08.)
Jordan Pundik (vocals on 04.)
Juliet Simms (vocals on 14.)
Lenny Skolnik (keyboards, vocals)
baackground vocals:
Jonny Litten – Chady Awad – Melanie Fontana – Sidnie Tipton – Myah Langston

01. Opinion Overload (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Company) 3.19
02. Boom! ((Bouvier/Comeau/Desrosiers/Lefebvre/Stinco//Ogren/Bailey) 3.10
03. Kiss Me Like Nobody’s Watching (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.23
04. Farewell (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco//Ogren/Bailey)3.21
05. Singing In The Rain (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/ Th.Thomas/ T.Thomas) 3.43
06. Everything Sucks (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.32
07. I Refuse (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.19
08. I Don’t Wanna Go To Bed Nelly (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/ Baran/Haynes) 3.09
09. Nostalgic (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Company) 3.06
10. Perfectly Perfect (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Stewart/Higgenson) 3.07
11. I Don’t Wanna Be Sad (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.14
12. P.S. I Hate You (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco(Stewart) 3.03
13. Problem Child (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Tranter) 3.41
14. I Dream About You (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.09