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Bryn Scott-Grimes | Room On Ossington

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Bob Dylan The Beach Boys The Beatles

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CANADA - Ontario

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Rock: Adult Alternative Pop/Rock Pop: 70's Pop Moods: Solo Male Artist
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Room On Ossington

by Bryn Scott-Grimes

Genre: Tin Pan Fantasy Pop Rock All music written, instruments played and voices sung by Bryn Scott-Grimes.
Genre: Rock: Adult Alternative Pop/Rock
Release Date: 

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  Song Share Time Download
1. Something Else At Play
5:00 $0.99
2. Young Man Tortoise
2:38 $0.99
3. Mr. B
4:18 $0.99
4. My Quarter Crescent Moon
3:00 $0.99
5. Emerald in the Fall
4:57 $0.99
6. I Me One Boy Single Time
4:24 $0.99
7. If Only I Could Lease You
5:48 $0.99
8. Snare Drum Come Save His Life
4:19 $0.99
9. The Boiler Room
5:03 $0.99
10. Spring Is Not Too Far Away
2:08 $0.99
11. The Velvet Carnival
4:57 $0.99
Downloads are available as MP3-320 files.


Album Notes
PUT YOUR EAR TO THE DOOR that leads into this tiny room on Ossington and you will be astonished at the size and sounds of the quirky magical world that throbs behind it. This young man plays every instrument and sings every note you hear. You have not heard music quite like this. Maybe the poetry of the lyrics will remind you of Leonard Cohen or Joni Mitchell, but the voice is more joyful and the spirit more playful. At every turn, you may think you know what is coming, but you don’t, because Bryn’s imagination has several Bryn Buddies whispering things in his ear.

The Beatles
Leonard Cohen
Foster the People
Randy Newman
Bob Dylan
Tin Pan Alley
Blues Bands
British Invasion Bands

Acoustic guitar
Electric guitar
Drum Kit
Lead Vocals
Back up Vocals
Tin Whistle
Street Organ

There is FANTASTIC ALBUM ART--one surrealist illustration that goes with each song. Go to www.brynscottgrimes.com (starting July 10th 2014) for details on obtaining delightful merchandise, lyric booklets, posters, and prints.

ROOM ON OSSINGTON Was born out of a desire to reach full musical expression. I had spent the last year of university focusing solely on harmonica—unknowingly, preparing myself to start the business that would eventually keep me afloat. However, the virtuosic, one-instrument-guy thing was getting old, and I felt incomplete. One night, alone in the kitchen in a wall-staring reverie, I realized I must start playing guitar and singing again, and I had to make song-writing my main pursuit. The way to get back on track was to record my first real debut album.

I recorded everything in my apartment: two rooms in a second-storey flat on Ossington Street in downtown Toronto, beginning in the summer of 2012 and ending in March 2014. The “studio” was my bedroom and a small adjoining room—actually, the old laundry room measuring 1.5 by 2.5 meters—just big enough for clothes and a full drum set.
My method was as follows: assess the likelihood of the neighbours having an impromptu party, shut the door and windows to block outside noise, press “record” on the computer, do a take in the laundry room, stop recording, listen, re-record or edit if necessary, apply plug-ins so I’d know roughly what the sound would be like in a mix, then repeat. I did this for every track and every overdub—in total, thousands of times.

The first time I tried playing all of the instruments without loops, samples, or electronic drum beats, I nearly broke down. It was so difficult to get things tight. Recording solo requires a lot of experimentation. For example, drums, which are usually recorded first, were recorded last, which meant having to match every drum stroke to each note of every instrument. However, the further I got in the process, the more I told myself I could do better, and you can hear these progressions. For example, vocals in the first song recorded, “My Quarter Crescent Moon,” pale by comparison to “Mr. B.,” recorded near the end. My vocal abilities, as well as my ear and determination, strengthened over time. The album isn’t perfect, but luckily, I’m the only one who knows where all the mistakes are!

Thanks to everyone who helped out. The awesome folks at Number 9 Studios gave me a whole new appreciation for the art of mixing. My sister, Cailleah Scott-Grimes, took the family DIY genes to another level, producing incredible art work for each song. My harmonica students, whom I teach out of the same room where I’ve record, help pay the rent. My folks formatted and edited this charming booklet.

Despite all odds and most predictions, I am a working musician in the city. Thanks to everyone who has made my day in some small way. Even small kindnesses have carried over into my ability to write, re-write, record and re-record—day in, day out.



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