INDIE MYTH OR NOT– DOWN TIME – make the best of it...

The title kind of says it all: as a musician, whether you're an indie or major label artist, unexpected downtime will happen. A sick or injured band member, a hiccup with your management team—it’s inevitable. So, what do you do with this time? You could sit around and mope, or you can seize it to catch up on things that need your attention. My advice? Use this time for everything you possibly can. The behind-the-scenes of “Downtime” depends on how long it’s expected to last, but it’s a gift if you approach it right.

Songwriting is my favorite way to make the most of it. There’s something magical about diving into a new song, letting ideas flow from a stray melody, a lyric sparked by a conversation, or even a feeling from a late-night walk. I’ll sit with my guitar, sometimes for hours, teasing out chords until they feel just right, or scribble lyrics in a notebook, crossing out lines until the story clicks. It’s a process of discovery—sometimes messy, sometimes effortless—but always rewarding. Beyond writing, I work on arrangements, thinking about how to track these songs, what overdubs might add texture, where vocal harmonies could lift a chorus, and what instrumentation fits the vibe. I also consider who the side musicians might be, their availability, and where we’ll record—studio scheduling takes time, and downtime is perfect for sorting it out.

This “free” time—though, let’s be real, nothing’s free; someone, somewhere paid for it—also gives you a chance to take care of yourself. Book those overdue doctor or dentist appointments; investing in yourself is never a bad idea. Get outside, breathe some fresh air, go for a hike, swim, or play some sports. Catch a movie, start a new book, or flip through a magazine for inspiration. For me, art galleries are a haven—there’s something about a painting’s colors or a sculpture’s form that sparks ideas for songs or visuals. Inspiration can strike anywhere: a character in a film, a line in a book, or even a stranger’s story overheard at a café might ignite a new lyric or concept. You never know where creativity will lead.

Then there’s the less glamorous but essential stuff: reaching out to clubs, agents, and booking gigs. Updating your band’s website and social media platforms is non-negotiable these days. It’s not sexy, but it’s the backbone of moving forward as an artist. These tasks fill the gaps and keep the momentum going. Check out our new website and let me know what you think. Grahambrownsongs.com

So, “Downtime”? It’s not really downtime at all. As an indie artist, I’m always working on something—whether it’s a new riff, a lyric, or the logistics of the next gig. My days are full, and I cherish every moment of this “gifted” time. They say a good person’s hands are always busy, and I believe it.

Right now, I’m thrilled to channel this energy into my latest album, Outside Within, which just dropped and captures the raw, introspective journey of balancing inner dreams with the outer hustle of this life. It’s packed with songs born from moments just like these—stolen hours of downtime turned into stories and melodies. Check out my new single, Courage Comes, a track that’s close to my heart. It started with a quiet moment, just me and my guitar, reflecting on resilience and the spark it takes to keep going. The writing process was intense—I spent nights tweaking lyrics to get that feeling of pushing through fear just right, layering harmonies to give it soul. You can stream Courage Comes and the full Outside Within album on all platforms—Spotify, Apple Music, you name it. Grab a listen, share it with your crew, and let me know what it sparks for you. Support indie artists.

Keep rockin’, and let’s make every moment count.

Cheers, GB.

Graham Brown's Musical Evolution: the legacy continues...

Graham Brown Band

Last post, we traced Jr. Gone Wild’s rise and eventual breakup, paving the way for a new chapter. Now, let’s dive into the evolution that shaped me as a solo artist and bandleader. After *Brand New Smile*, I rejoined Happyman for our final album, *Just Like You* (1999), my fourth with Stomp Records. Jay Homenchuk and I had shared a decade together, and though parting was tough, that record brought us some closure. Recorded on a shoestring budget, its songs earned solid reviews and have stood the test of time.

By 2001, I returned to the studio for my second solo effort, *Good ‘n Broke*, with Mark Gruft on drums and Gary Vincent on bass. Paul Baker engineered, and we laid down bed tracks in four hours, with most vocals as first takes to capture that raw edge. Completed in 36 hours, it opened global doors with strong reviews. Touring as a trio with Mark Gibbs on bass and vocals was a thrill, though the road eventually wore us down.

For my sixth Stomp release, *Stand Your Ground* (2005), we shifted to Lemon Loaf Studios in Burnaby with engineer Blair Calibaba. Mark Gruft, Mark Gibbs, and I recorded in 40 hours. When Gibbs stepped back from touring, I recruited Dave Bridges after seeing him live—his smooth bass lines and harmonies were a perfect fit. He quickly mastered my catalog, and we hit the road, earning more good reviews.

My seventh release, *Do What You Should* (2008), featured friends like Robbie Steininger (slide), Gary Comeau (fiddle), and Rick Hopkins (Hammond B3), recorded with Paul Baker. The Prairie Dogs name stuck, reflecting our wild prairie runs. We played the CCMA roots/rock showcase in New Brunswick and the Cavern Club in Liverpool—a surreal night on Beatles turf—followed by a BBC live recording, a hazy Marquee Club gig after 36 sleepless hours (where I pulled off guitar and bass solos), and promoter interest.

Tensions rose, and Dave Bridges left after a Saskatoon blowout. I ditched the Prairie Dogs label to avoid a country tag, launching The Graham Brown Band to record freely. My eighth Stomp release, *Hiwatt* (2011), a double album, featured John Werner (bass) and Rob Blackburn (piano/guitar). Paul Baker began engineering but, after his cancer diagnosis, passed the reins to Dave Meszaros. Paul’s death hit hard—he called from his hospital bed to ensure the record’s completion. We honored him at a wake with Chilliwack and Colin James. *Hiwatt* received solid international reviews, and I felt I had my strongest band yet.

After years on the road, we recorded *Give & Take* (2014) with the same lineup—Mark Gruft (drums), John Werner (bass), Rob Blackburn (keyboards/guitar/harmony vocals), and me (vocals/guitars/harmonica). Dave Meszaros engineered as we laid down 20 songs live off the floor in one afternoon at a large room, with minimal overdubs. Tracks like “Waiting” became fan favorites, and extensive prairie touring yielded strong reviews across Canada, the USA, and Europe.

The cycle continued with *Let Me In* (2018), my first on Word Song Records, recorded at Bryan Adams’ Warehouse Studio in Vancouver. With Dave Meszaros, we tracked 18 songs on Saturday, followed by acoustic overdubs on Sunday. Unhappy with the initial mixes—possibly due to Dave’s busy schedule with Colin James—I turned to Bill Buckingham at Palace Studios. Bill’s fresh mixes elevated the album, which I consider my best-sounding record yet, earning rave international reviews. Road work followed the pattern.

After a Calgary gig, a cancelled Edmonton interview led us to Edmontone Studios for a 5-hour session, recording 19 songs live off the floor with acoustic overdubs. Covid halted gigs, but rediscovering those masters at home prompted Bill to mix *Spirit and Soul* (2021). The result blew me away, garnering critical acclaim worldwide, sparking more tours and videos.

In 2023, with some band members unavailable, I recorded *Solo* at Palace Studios with three vintage acoustics, laying down 15 folk tracks in a few hours. It’s a freeing experience, and I’ve embraced solo gigs for their raw sound.

Now, with *Outside Within* (2025), we’ve hit a new high. Recorded live at Hipposonic Studios—once Little Mountain, where legends were made—we tracked 18 songs in just 7 hours on a Saturday, with me adding acoustic overdubs on Sunday. Bill Buckingham mastered the mixes, capturing the band’s electric energy with Rob Blackburn, John Werner, and Mark Gruft. The 12-track album, released on Word Song Records, bursts with raw rock, from the Tom Petty-inspired “Courage Comes”—written spontaneously after a Terry Fox-inspired morning and nailed in two takes—to the gritty “Graveyard Trees” and the soulful “Tell the World.” It’s a return to my roots, blending heartland rock with personal stories of resilience, recorded in one blazing afternoon to keep it real and unpolished.

The response has been incredible, with fans loving “Courage Comes” and the "Discover Me' video racking up over 10K views. We’re gearing up for the Coho Festival on September 7 at Ambleside Beach, where this energy will light up the stage. Check out grahambrownsongs.com for the full album, videos, and merch—download "Courage Comes" for free and join the journey.

The road ahead holds more twists—

—turn on, turn up, tune in. Cheers, GB.

The COHO Festival

September 7, 2025, 1:30–2:30 p.m.|Ambleside Park Main Stage

Register Now

Ozzy Has Left The Building...

Thank You – Ozzy, Geezer, Bill, and Tony

Black Sabbath circa 1970, courtesy of Billboard Magazine

Black Sabbath was my band of bands back in Grade 7. I used to sneak out of class early every day, rushing home before the rest of the family arrived. I’d crank up their debut album, *Black Sabbath* (1970), on my dad’s stereo console, which had a ¼-inch jack—perfect for plugging in my Kent guitar, a pale green Stratocaster copy with a whammy bar. I loved that thing and learned so much playing along, even before I was a teenager. Sabbath was truly rocking! Then, when *Paranoid* dropped later that year, I was addicted. I followed closely up to *Vol. 4* (1972), but my musical tastes shifted toward the singer/songwriter groove for a while.

Getting back to Ozzy and Sabbath, Ozzy had such a distinctive voice—different, recognizable, and, to me, filled with pain yet brimming with truthfulness. Let’s not forget what a rocking band Sabbath was—and still is. Many might not realize it, but the Black Sabbath rhythm section is incredibly tight and killer: Bill Ward on drums and Geezer Butler on bass formed an incredible pairing. Add Tony Iommi on guitar, with his chunky, tight rhythms, fierce solos, and killer tones—words can’t fully capture how good these guys were. If you’re a player—bassist, guitarist, or drummer—try playing along with their songs properly. Geezer’s fluid, rocking bass lines, Bill’s double-stroke fills, and those time signature changes are truly wonderful. As for Ozzy, some underestimate his talents, but he had a marvelous melodic sense, crafting vocal melodies to complement Sabbath’s heavy riffs. When a melody didn’t work, he’d follow the guitar riff instead, which paired perfectly with those iconic tracks.

Let’s touch on a few albums. *Black Sabbath* (1970) opens with the sound of heavy rain, leading into songs like “The Wizard” and “N.I.B.”—this debut is superb and sets the stage for what’s to come. Then came *Paranoid* (1970), wow, two masterpieces in one year, with “War Pigs,” “Iron Man,” “Paranoid,” “Planet Caravan,” and “Fairies Wear Boots.” Sabbath cemented their place in rock & roll history. Listen to “Planet Caravan”—Ozzy’s melody is trippy, dreamy, and haunting all at once. Just a year later, they released *Master of Reality* (1971), featuring Ozzy’s coughing intro on “Sweet Leaf” (a nod to cannabis) with a riff that pulls you right in. Then, another year later, *Vol. 4* (1972) arrived—I still love this album today. Tracks like “Wheels of Confusion,” “FX,” “Snowblind,” “Supernaut,” and “Changes” deliver great guitar riffs and hooks, with Ozzy adding the perfect vocal performance. The exception is “Changes,” a heavy piano piece where Ozzy sings a sweet, heartfelt melody. As I mentioned, by the early ‘70s, I drifted toward the singer/songwriter vibe, but those Sabbath records still hold up and stand the test of time.

Sadly, Ozzy eventually left the band and was replaced by some very fine singers. But to me, he couldn’t be replaced—his voice suited Sabbath best in my opinion. I’d like to end by saying thank you, Ozzy, Geezer, Bill, and Tony, for the songs and fond memories.

Cheers, GB