JOHN GOW

Since receiving his first guitar on his 13th birthday, singer-guitarist John Gow can’t remember a time when he wasn’t playing and singing in “some kind” of band. As with many aspiring young musicians of the late 1960’s and early 70’s, John’s emulation of the British and American rock and blues heroes of the day lead him through numerous band gyrations playing Toronto west-end talent shows and dance parties. By the late 70’s John was fronting a five-piece classic and progressive rock cover band called Duke. The polished stage act played the local bar scene and performed at regional festivals into the early 1980’s, until discontent amongst band members and pressures of a burgeoning full time career forced a hiatus from the music scene. Ten years later however, while seeking solace in his guitar during a major career interruption, John summoned his muses and began playing with a loose collection of musicians at several west-end neighbourhood bars. During yet another lull between bands, John had a chance introduction to now fellow guitarist Paul Wesley at a guitar specialty shop they both frequented. That fateful meeting eventually delivered John and his impassioned voice and guitar to front Shakin’ Not Stirred.

Gear:
“Over the years, I’ve gone through a whack of guitars, amps and effects”, John humbly admits. “Now the only guitars I use are Les Paul Standards fitted with ’59 rounded necks and humbuckers going through a few Roland-Boss pedals to a ’95 Fender tweed Blues Deluxe loaded with NOS tubes”. Pausing to reflect, John points out that his stomp-boxes certainly do add texture and dimension to his sound, but he believes it’s his guitar-tube amp combination and Gibson Vintage strings and hand-honed Jim Dunlop nylon picks that really helps make his guitar sing. He shakes his head and chuckles, “One of the best back-handed compliments I’ve ever had came from a gnarly heavy metal flash guitarist during a jam night he and his band mates were hosting at a bar in Oakville, Ontario”. After delivering a number of searing soulful blues tunes through a solid-state powered stage rig to an appreciative audience, the host band’s young metal guitarist sidled up to John and slurred; “Hey man, for an old dude you don’t play too fast, but f*** you got tone!!” Unruffled, John wryly smiled and whispered, “It’s all in the wrist, son – all in the wrist.”

KEITH RILEY

Some of my earliest memories are that of the whole extended family down at the cabin singing and playing (and drinking!) until all hours of the morning. I think I was 5. I don't remember the songs but I do remember being caught up in the energy and enjoyment that permeated the place. As a lover of blues I would love to be able to say that I was weaned on the music of Koko Taylor or Howlin' Wolf, alas no, in reality I was immersed in Irish jigs, reels, show tunes and folk songs at my grandfather's cabin on Frenchman's Bay. My first guitar was a beat up old Suzuki 6 string that was cheap enough to warrant the purchase if the music passion didn't stick. It did, and at the ripe old age of 10 I bought a brand new guitar and amp at Whaley-Royce on Yonge St in 1968. I soon realized that amplifiers make everything louder, especially mistakes, and started to think about technique … this lead to lessons and eventually a stint downtown at the Royal Conservatory.

The electric guitar and a smidge of talent got me in with a number of bands while I was at school and it was a blast. I would encourage every kid to pursue reckless abandon while they can because eventually the music stops. For me university, career, wife & kids (not necessarily in that order) soon took priority and music became a personal hobby and I retreated to classical guitar. This changed when I joined Stoneboat in the '90s as their bass player, and after a couple personnel changes we brought in a real bass player in the form of Brett Weisbrod so I switched to lead guitar. All good things come to pass and so it was with Stoneboat in 2005. Skip ahead five years and Brett gives me a call because Shakin's going through personnel changes and now I'm the newbie!

The thing that’s constant throughout my journey is the pure enjoyment of bringing people together to have fun singing and playing (and drinking!).  I think I’ve found kindred spirits in my ‘Shakin’ band mates.

Gear:
main axe: '54 Strat Re-issue; minor axe: '72 Les Paul standard; minor-minor axe: 1968 Fender Coronado; 1968 Princeton Reverb. Other goodies to pull from: 2 acoustic dreadnaught guitars; Sakurai classical ; tenor ukulele; 5 string banjo; 4 string banjo; Precision bass.

BRETT WEISBROD

Bassist Brett Weisbrod began playing in his teens for various cover bands before “hanging it up” in favour of the proverbial family and career. He got back into the music groove about 10 years ago hooking up with local band Undercover, followed by Stoneboat. After re-connecting with guitarist John Gow, with whom he played in bands during his teen years, Brett joined Shakin’ Not Stirred in early 2005. “I was looking for a new musical challenge, and I just thought it would be very cool to be able to bookend my musical career with someone that I had started it with”, Brett says. As a purchasing analyst for Karbelt Speed & Custom, a performance car-parts distributor, he also plays in the “industry” band Ledfoot, based out of California, at select events. Brett’s bass-playing lays down a rock-solid, thundering bottom end to the band. “Man – you rock!” and “You were really in the pocket tonight” are typical of the comments Brett receives from his bandmates after their performances. In addition, he provides some great backing vocals and harmonies.

Gear:
Having experimented with a variety of gear over the years, his current rig consists of a 4-string Warwick Streamer Stage 1 bass running through a Gallien-Krueger 400RB head and then into a 2-10 Eden cabinet, with an Ampeg 1-15 cabinet added for larger venues. Wireless duties are handled by a Samson Airline system for Brett’s bass and a Shure PSM400 system for his in-ear monitors.

TOM JACKSON

"The dashboard isn't a drum - STOP IT!" then whack right upside the head. How long before you go down to the pawn shop and pick up a real set of drums? It took a while. Hey, I'm a drummer!

I joined my first band shortly after that. I was told I beat out another guy (not beat up) for the spot. I knew he was way better than me but I wasn't saying anything. Anyway, how hard could it be….It didn't take much time to figure that one out! Becoming acutely aware of just how difficult the art is and desperately trying to avoid being the poster boy for the famous old joke "How do you get a drummer off your porch? Pay him for the pizza", I earnestly started taking lessons.

Well, several bands, road tours across the country, and a few decades haven't dulled my passion for playing. In fact, my realization that there is so much to learn and so little time has poured more fuel on the fire. Just ask my wife and family (I think they're still living upstairs)! Now, playing for the sheer love of the music and the development of my skills spurs me on. It sure isn't for the money! I'm exploring new techniques and technologies as they relate to drumming.

Gear:
Currently I'm using a Taye Studio Maple acoustic kit with Sabian cymbals or a Roland Vdrum TD-12 setup with a Mackie Thump Monitor depending on the venue. Both are great pieces of hardware that can fill any size room. Oh, and a cow bell because the music ALWAYS needs more cowbell!