5440

The new member is veteran guitarist Dave Genn. Although Genn’s musical credits read like a who’s who of Canadian rock — having recorded with and/or toured with the likes of Mathew Good, Holly McNarland, Art Bergmann, Grapes of Wrath and Bif Naked — his presence on the 11 tracks found on Yes To Everything is much more than a grace note. It signals his arrival as a permanent contributing member of the group replacing Phil Comparelli. His entry into the mix was both organic and influential.

“Dave had been on the road with us for well over a year before we engaged him into the writing a new album. That was a very important step.” explains vocalist Neil Osborne. “ When musicians play together consistently they develop a collective rhythm or dance that is unique. Once that was established we started - in earnest - to create. Dave was very present and into it every step of the way.

Osborne also points to the impact concerning the timing of Genn’s arrival. “Dave was instrumental in re-injecting a lot of inspiration into 54-40,” says Osborne. “The guitar work alone is stellar and fits the intention of each new song. I guess that's what pleases me the most - how Dave fit so well into the 54-40 'vibe' in creating new material.”

From Genn’s point of view, joining 54-40 provided more than just a solid professional opportunity. He found himself with a unique offer to collaborate with a group of musicians that he not only respected as peers; but also had been a source of profound inspiration during his formative teenage years on the West Coast.

“My grade 12 year was one I'd like to forget, except for the fact that it was accompanied by a soundtrack that continues to influence my musical output to this day. U2's Joshua Tree, The Cure's The Head at the Door and The Smith's The Queen is Dead were recordings rotated ad nauseam along with 54-40's Green Album,” recalls Genn. ” This early 54-40 album was influential to me on several important levels. Here was a group of guys from just down the way who had proven that by doing something original you could release records, tour and enjoy the recognition that comes with making great music. I quickly honed my embryonic guitar skills on I Go Blind, Baby Ran and Take my Hand. The guys still catch me beaming like a schoolboy living out his fantasy when we perform these songs”

Genn, who has worked with many great artists over the years points out that this situation is different. “ A chance to collaborate with one of my favorite bands in a completely open and supportive creative environment.” says Genn. “ Personally, I think the album speaks for itself as some of 54-40's and my best work.”

The new material pumps with the vitality of a mature band of musicians in full stride — vibrant, self-aware and fully completely rock and roll. Lead track Easy to Love serves notice that this version of the group has not only found its groove but is collectively focused to what they do best — consistently creating some of Canada's most recognizable and memorable classic alternative rock. From the driving beat and bass attack of drummer Matt Johnson and Brad Merritt sliding into mondo guitar licks and then Neil Osborne’s ever-distinctive vocal timbre it’s a tightly wrapped, no nonsense package that continues throughout the album: A body of work that also reveals a moveable feast of tasty melodic hooks and a sophisticated range of creative sonic construction that in part, puts the spotlight on the talents of producer of Warne Livesey.

Livesey’s credits (Midnight Oil, Mathew Good Band and The The) speak for themselves but there is something else at work on this project - an intangible empathy that can only be created by an intuitive understanding of the band’s intent and close working relationship with the group.

“Warne and I are very good friends and we've been talking about this record since before the songs were written. About approach, sound and vibe etc, “says Osborne. Warne and Dave are also close pals as well - having worked on six albums together previously. So there was natural unity in place before one song is sung.”

Bassist Brad Merritt echo’s Osborne’s broad stroke and focuses on some of specific creative edge Livsey brought to the project.

“This friendship allowed us to communicate our ideas to each other, and for him to challenge us - like never before, “ says Merritt. Hs emphasis on pre-production was something we hadn't experienced on our other records but was welcomed enthusiastically. He particularly challenged the rhythm section early as players, and emphasized ‘keeping the groove going' through all sections.

Merritt adds that Livesey’s attention to detail and the finer points in preproduction prior to the actual recording was catalytic in providing a solid base for creative flow once in process.

“The sound concepts were all developed well before the first day in the studio. This gave us the confidence to really concentrate on performance and allowed for many spontaneous creative moments which were skillfully captured.”

Skill is a keyword with 54-40. Over time it becomes clear that the group has evolved into a collective of rock craftsmen with an ever-growing portfolio of world-class material. At the core of this creative conspiracy is the lyrical curiosity of group leader Neil Osborne.

On Yes to Everything he extends a muse that was kindled on 2003’s Goodbye Flatland inspired by the writings of humanist Ken Wilber. This, of course, all further filtered through Osborne’s philosophical worldview and knack of conjuring both touching and reaching perspectives on the complexity of the human experience. The back-story to standout track Right Here, Right Now illuminates this creative bridge.

“I went to Boulder Colorado to visit Wilber (along with some other artist types) to discuss various points along the integral process as they pertains to the arts” say’s Osborne. “ There, I befriended (over a couple of Guinness in the hotel lounge) Genpo Roshi - a Zen Roshi. He invited me to a Koan ‘big mind’ intensive weekend in Salt Lake City. At the end of the weekend he asked…you've just had about 30 years of Zen teaching compressed to 72 hours — how do you feel? Like writing a song! I said. The track This is Here, This is Now is based on that first conversation.

“Although each song (lyrically) contains some Buddha nature, each still remains hybrid of various elements of my take on relationships.”