Whiteboy Slim | aka Whiteboy Slim

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Blues: Electric Blues Blues: Jazzy Blues Moods: Mood: Quirky
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aka Whiteboy Slim

by Whiteboy Slim

This is music that is true too its roots, but always pushing the envelope. Traditional blues wedded to jazz and funk, with a little hip hop thrown in for good measure.
Genre: Blues: Electric Blues
Release Date: 

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  Song Share Time Download
1. It Ain't Art
3:00 $0.89
2. Hey Hold On Stop
3:02 $0.89
3. 20% Alcohol
4:55 $0.89
4. Too Many Drivers
4:26 $0.89
5. Blue Murder
5:42 $0.89
6. Cards on the Table
3:42 $0.89
7. I've Been Down So Long
3:45 $0.89
8. It's Strange out There
3:04 $0.89
9. Krispy Kreme Woman
3:51 $0.89
10. She's Into Something
3:42 $0.89
11. Be Cool baby
4:40 $0.89
12. Tears on My Pillow
2:52 $0.89
13. You're Perfect, I Love You. Now Change
4:44 $0.89
14. She Caught the Katy and Left Me a Mule To Ride
5:26 $0.89
Downloads are available as MP3-320 files.


Album Notes
Maurice Richard Libby is a musician and visual artist. He takes a consistent approach to his work in both media, mixing and matching his tools on tried-and-tested structures. Musically, he draws on experience and a diverse set of influences, including jazz, funk, world music and hip-hop, to create a very personal, coherent and enduring blues sound.

Ray Charles and Louis Armstrong sparked Maurice's interest in music and in 'blue' sounds. He started to experiment with a number of instruments as a child and was soon winning awards with his first band.

Still in his teens, Maurice sang and played harmonica in the blues group Red Meat, which featured his brother Michael on Drums and Ray Montana, the Regina guitarist who went on to back up Sawyer Brown, the Nitty Gritty Dirt Band, Waylon Jennings and Johnny Paycheck.

After moving to Toronto, Maurice took on the persona of Whiteboy Slim. His driving blues outfit, Automatic Slim, was a popular live attraction, filling classic venues like the El Mocambo, The Silver Dollar Saloon, and the Black Swan. Automatic Slim was the house band at four different clubs on different nights of the week, and was noted for having best grossing Wednesday night downstairs at the El Mocambo. Maurice shared the stage during this period with other key Canadian blues artists, such as the brilliant guitarist and harmonica player, Michael Picket, and the Kendall-Wall Blues band.

When personnel changes eventually shut down Automatic Slim, Maurice embarked on a solo career, playing jazz in Toronto clubs, then returning to Saskatchewan, where he plays his blues solo and in various group formations.

Maurice learned his craft in impressive company. While studying Jazz and Composition at the Berklee College of Music in Boston, he hung out with fellow students and teachers including jazz great Gary Burton, pianist Al Copley (co-founder of Roomful of Blues), and bassist Ron McClure (bassist with Charles Lloyd, Wynton Kelly, Quest, The 4th Way, Joe Henderson, Blood, Sweat & Tears, The Pointer Sisters, Sarah Vaughan, Thelonious Monk).

In life, as in their work, blues musicians are typically improvisers. In committing to their music, they must often struggle to reap the rewards that come more easily to their peers in more popular genres. So, how does Maurice Richard Libby see things?

"Everything is changing; the music business is in a mess, with pre-fabricated popstars who have little talent and less creativity flitting through our lives known more for their clothes or sex lives than they are for their music. . .

. . . it's time once again that musicians stand up and make music that means something, that stands for something, it's about more than than bling, abs and phoney sex."

In September 2005 Whiteboy Slim was nominated Best Blues Act --Toronto Independent Music Awards.

In November 2006, after many delays, and too many personnel changes, he released his second cd, the envelope-pushing "aka Whiteboy Slim."



to write a review

Rice B. and the RadioIndy.com Reviewer Team

Great Chicago-style blues from north of the border
Whiteboy Slim knows the Blues. With a voice that channels the spirit of outsized legend, Howlin’ Wolf, the harp skills (and tone) to rival Little Walter, the confidence to stretch the blues lexicon without betraying its artistic center, and a crack band that could’ve cut its teeth on the west side of Chicago, his CD, “aka Whiteboy Slim,” is a living testament to the enduring legacy of the Chicago blues style. “It Ain’t Art,” opens the album with a defiant declaration of the bluesman’s credo, funkifying the blues with roots-deep soul. Other standouts include “Cards on the Table,” a terrific minor-key jam with fine Santana-like guitar work; “20% Alcohol,” which impeccably mines an Howlin’ Wolf-style groove; the jazz-inflected “It’s Strange out There;” and the updated Muddy Waters nugget, “She’s Into Something.” Loud, gritty, raucus and down-&-dirty, “aka Whiteboy Slim” is a flat-out 14-track blues gem. And like fellow Canadian blues trailblazer, King Biscuit Boy, Whiteboy Slim’s CD proves the blues ain’t about where you’re from, it’s about who you are.