Changing Colours

Available in Audiophile 96kHz/24bit

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Album Name Length Format Sample Rate Price
Changing Colours 0:49:35 $17.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 Nobody 04:30 96/24 Album only
2 I've Got a Hole Where My Heart Should Be 03:14 96/24 Album only
3 Saturday Night 02:54 96/24 Album only
4 Let It Roll 03:42 96/24 Album only
5 The Big Nowhere 03:40 96/24 Album only
6 I Ain't Cool 03:26 96/24 Album only
7 You Got to Be a Man 02:16 96/24 Album only
8 Cool Down 02:37 96/24 Album only
9 Kiss the Brass Ring 01:50 96/24 Album only
10 Cherries Jubilee 02:17 96/24 Album only
11 I'm Just Waiting for My Time 04:19 96/24 Album only
12 Born a Restless Man 01:39 96/24 Album only
13 The Bailieboro Turnaround 01:30 96/24 Album only
14 Up in Canada 03:46 96/24 Album only
15 Hms Buffalo 00:59 96/24 Album only
16 Esprit Des Corps 02:33 96/24 Album only
17 Run Baby Run 04:23 96/24 Album only

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℗ 2018 Sheepdogs Music Inc. under exclusive license to Dine Alone Music Inc.
© 2018 Sheepdogs Music Inc. under exclusive license to Dine Alone Music Inc.


For a new album that The Sheepdogs didn’t initially set out to

make, Changing Colours is a stunning achievement.

Proud purveyors of guitar-driven modern-day retro rock, the triple

Juno Award-winning Saskatoon-based quintet has expanded its sound on

Changing Colours to encompass more styles and hues to enhance the

Sheepdogs’ trademark beef-and-boogie twin-axe riffs, hooks, shuffles

and long-haired aesthetic.

“We identify strongly with rock ‘n roll, but there’s definitely some

branching out,” says Ewan Currie, The Sheepdogs’ singer, guitarist,

songwriter and occasional - and yes, you’re reading this correctly -

clarinetist. “The sounds we use on this – there’s more keyboards

featuring Shamus and more stringed instruments. It’s still rock ‘n roll

but there are more colours.”

It’s also great, passionate music born out of spontaneity: first

resonating in the 17-song album’s euphoric opener “Nobody” and

continuing to flavour such invigorating numbers as the electrifying

“Saturday Night” and the driving “I’ve Got A Hole Where My Heart Should

Be,” the record’s infectious first single.

But The Sheepdogs haven’t only stretched their sonic palate:

they’ve also expanded stylistically, tastefully embracing other genres as


There’s the country-lite feel of “Let It Roll,” the Stax-soul aura of

the mid-tempo anthem “I Ain’t Cool” that features trombone -- and the

resplendent Latin-rock vibe that fuels “The Big Nowhere.”

This is what occurs when The Sheepdogs are left to their own


when the band completed its global responsibilities in promoting its

fifth album, 2015’s Future Nostalgia, the band took a busman’s holiday,

renting Toronto’s Taurus Studio and hiring its owner, Thomas D’Arcy, to

engineer and co-produce whatever emerged from their creative loins.

“It was very low key,” says Currie. “We didn’t have a clock. We

would work until we were bored or tired. Then we would stop.”

Drummer Sam Corbett said the music that eventually evolved into

Changing Colours benefitted from the relaxed approach.

“Most of the records we’ve made have been under a short time

constraint,” Corbett explains. “This one was done over six months, with

some songs sitting around for two months. Then we’d come back and try

different things, so I think that as a result, some of the songs took a

different shape.

“In some situations, there’s more of a ‘jamming’ feel because we

could experiment.”

The Changing Colours sessions also marks the recording debut of

the newest Sheepdog: guitar wiz Jimmy Bowskill, parachuted into the

lineup as a live, last-minute replacement.

“He joined us on tour, learned our whole set basically in one

rehearsal and has been with us ever since,” says bass player Ryan Gullen.

“He gave us a new sensibility – he plays a bunch of instruments as

well – mandolin, steel, banjo and fiddle.”

The band honours Bowskill’s addition with an instrumental tribute

to his Bailieboro, Ontario hometown in the folk-flavoured “The

Bailieboro Turnaround,” part of a six-song medley that begins with

“Born A Restless Man” and concludes with “Run Baby Run.” Medleys, in

general, have become something of a Sheepdogs signature.

“We like having those medleys that run together at the end of the

album,” says Currie.

As far as the songs themselves, Currie says Changing Colours songs

like “Nobody” to the one-two combo of “Cool Down” and “Kiss the Brass

Ring” cover topics like the freedom of a good road trip and compromises