Stereophile Goes Live!

by kelvin wetherell on February 22, 2025February 22, 2025

Hi Friends. Hope you’re all well and warm. At long last, Stereophile is done!!! Please have a listen to the audio below. Also on this page are the credits and story that unfolded while making the record and book. Buy links are below the player. Hope ya dig…

Purchase your copy via PayPal or eTransfer me at kdub@kelvinwetherell.com
It’s $20 for your digital download of the record and physical copy of the book
Canadian residents buying in person (at shows, etc.) please add $2.60 for tax. Total $22.60.
Online purchases are $1.75 to ship anywhere in Canada. Total w/tax and shipping $24.60.
Global shipping fees to be determined according to distance and packaging requirements
Once you’ve placed your order, please email us, along with your address, at kdub@kelvinwetherell.com and we’ll send you your copy of the book. A download link to the record will be sent to your email address.

If you live in Toronto, I might be able to hand deliver the book and give you a hug. It depends on where you live, or if you like hugs.

Thanks so much for your support!

Credits
Kelvin Wetherell – Vox, Acoustic Guitar, Les Paul, Bass, Piano, Organ, Drums, Percussion, String/Vocal Arrangements
Howard Ayee – Bass on Grip The Raven and Dark Horse
Kaleb Hikele – Piano on Kinder Things

Produced, Recorded and Mixed by Kelvin Wetherell
Acoustic Guitars recorded by Kaleb Hikele at The Townhouse
Mastered by Howard Ayee

All Songs Written, Composed and Arranged by Kelvin Wetherell Copyright 2025

The Stereophile Story
On an unseasonably cold and grey day at the end of April, 2022, I pulled round the last corner of an east end townhouse complex, checking each address and looking for the mailbox with the music stickers plastered all over it. After successful location, with acoustic guitar in hand, I knocked. Greeted by friend/studio owner (and fabulous singer/songwriter!) Kaleb Hikele, we navigated the barking of his dear doggo, Bear, and headed down to the basement to get to work. The idea was to record five of my songs with just my acoustic. I didn’t know at the time what the heck I was going to do with them. There was certainly no idea that they’d become part of an eight song, full length record and book. Over two days we succeeded in tracking five songs. I was down with most of what I played, then, in the true fashion of (usually unneeded) songster angst, I thought everything was shite. I needed a break from what I’d tracked.

Enter the studio upgrades. I’d just been turned on to the world of plug ins (digital instruments, recording hardware, etc.). I’d been recording at home for years. My beater of a laptop, eight years old at the time, therefore prehistoric in terms of technology, couldn’t handle the new oomph I was throwing at it. I’d recently reconnected with my old mate, Howard Ayee, who’d produced on of my records back in 2009. It was great to reconnect with him. He’s responsible for my new plug-in-fanboy-geek-out status. He was forever dangling the many new carrots that make modern recording truly awesome. I bought everything he sent me. I also bought a new laptop, which, after six months of agony trying to figure out why it wasn’t recording properly, made me so irate that I shelved the recording for months and spent the summer barefoot and busking at Jimmie Simpson Park here in Toronto. I returned the craptop and swapped it out for a new one. I got it set up and was off again…

I spent 2023 recording in bits, whenever energy or will permitted. Some of my peeps reading this are already aware of my chronic struggles. I’ve been living the effects of a botched hip surgery and was diagnosed with fibromyalgia in early 2023. At the end of that summer, I tore the medial meniscus in my knee and could hardly walk. My personal stars were not aligned and it felt like the universe was giving me the boots over and over. Still, we persist. I kept going, working my day gig and being a present, single Dad and solo householder. I kept up with my live playing and preparation, always wanting to keep my pickin’ and singin’ chops in shape, or “match fit”, as Jimmy Page calls it. 2023 was a great year for gigs. I played a bunch of out of town stuff and made some great friends. I was not much concerned that the progress of the record was not swiftly moving. In November, I decided to start creating the book that would accompany the record.

The written part of Stereophile, affectionately known as Booky, is a collection of lyrics and images that my daughter, Ava, and I created. The first drafts were created in a free, Word-light type program. My old friend, Alexis Campbell, recommended moving the creation of the book over to InDesign. I did so. She also let me use her Adobe suite, without which I couldn’t have made the book. I then spent many days wanting to fire my laptop through the sliding glass doors that lead out to our back garden. Anyone who’s used Adobe in the past can attest to how frustrating their proprietary, weird-ass way of doing things can be. Still, we persist. No laptops were harmed in the making of the book or record. Bit by bit, I was making progress. Through days of pain sometimes so severe I couldn’t think straight, the record and book were happening!

Sleep, eat, parent, work, parent, record, rehearse, repeat. So it went for the next year. The sonic elements of the record were the easy part. I’ve made many records and written many songs. Writing and designing the book were new, as was working with the plugins. These were steep learning curves, happening while I was in full creative singer/songwriter/arranger/producer mode. I loved building the colours around the acoustic spines of the tracks. I worked extensively with strings and choral vocal arrangements, as well as digging in and creating unique sounds out of whatever was available to me, digitally and otherwise. The parts came fluidly. If an idea wasn’t cooking, it was scrapped. I didn’t wrestle with stuff not working. Usually, the parts sang themselves in my head. It was a matter of extracting them and finding the right sound, the one that fit with the track.

Also new to me was mixing a full length record. I’d released a few singles during the pandemic years and beyond. Mixing a full record is a different beast. Another learning curve. I mixed as I went. There was little to do when the tracking was done. I tweaked a few of the acoustic guitars and made some small changes. It was then time to master.

With Howard on board to master the record, we set to work finding the right chain of gear to put the final stitches into the Frankenstein. It was a looooooooooooooooooooong process. I’d always left mastering to others. I was fully involved this time. It meant going back to the songs and massaging the vocals deeper into the sonic landscape of the arrangements. I also had to tweak some of the levels on the instruments to sit better in the tracks. We wrapped the mastering and the end result is a beautiful sounding record. When I was able to take myself out of the recording and listen as just listener and not creator, I was touched. It felt like the singer was in the room with me. The sonic wormhole surrounding the vocals were what I had first envisioned. That coming to pass was a feather in my cap. While mastering, I was working concurrently on finishing the book and getting it printed.

The design of the book was going amazingly. I added a dedication, table of contents, afterword, all the things to make it feel like a proper book. The printing then became an epic situation, due to a ghost in the machine. The first run of books did not look like the proof I signed off on. Something happened in cyberspace that made one of the images look wacky. This required another few weeks of back and forth with printer and Alexis, figuring out what the issue was. It was mad. Finally, out of the murky mist, the final proof was good and off to print we went. I received the first run of books in the middle of February of 2025, which is the same month I’m writing this. With the book and record done, here I am, getting it set up for all of you to read and hear.

The creation of the book was important to me. As I mention in the afterword, I wanted you to have something to hold. Something tactile and real, to compliment and help heal the disconnect of all our modern digital trappings. As a kid I used to love pouring over an album’s liner notes, reading all the details about what went into making it; the names of the band members, the lyrics, the artwork, where it was recorded, and the little tidbits of random info that made you feel like you were on the inside of something.

So, here we are. A new record that I never thought I’d make. My first book, the first of many, I hope. Against the odds, with the help and support of dear family and friends, these creations happened. In hindsight I’m aware of the Herculean effort that went into completing this phase of my artistic life. There were days I wanted to die, not because of any garden variety artistic crisis, but because living with intense chronic pain, along with prolonged use of pharmaceutical painkillers, have a way of taking their toll on a body and being. It’s hard to stay ahead of the black dogs of depression when sitting still hurts. Still, we persist. I made it. It was no small feat. The record and book are beautiful. I hope the songs on the record hit you. Here’s to creativity and connection.

K. xo

The Warmth of an Open Door

by kelvin wetherell on January 1, 2025January 1, 2025

Taken New Year’s Eve on Busy Street, just before meeting the man in the shiny jacket.

We chased our pleasures here
Dug our treasures there
But can you still recall
The time we cried
Break on through to the other side
Break on through to the other side

– Jim Morrison, Break On Through

He approached me through the drizzling rain, his jacket a twinkling shine large silver, green and red sequins. I think he was wearing antlers, or maybe they were alien antennae. It was dark. I was high on painkillers and THC oil and probably shouldn’t have been out in public, for I was not feeling at all fit for human consumption. He, in a gentle voice, said to me “Hi, good evening. We’re hosting a free event tonight. We have musicians set up and they’ll start to play in a few minutes. You’re welcome to join us.”

I looked through the open door into the event. Cartoons were playing on a large screen on one wall. The lighting was low and attractive. I felt a pull to go in. “Will you be here for the countdown?” I asked.

“Yes, we’ll be here until 1am.” he said.

I thanked him and kept on. This was on Busy Street, a short, charming stretch of road that runs behind the Value Village in Leslieville. It reminds me more of something out the the Bowery in 1970s New York City than something you’d see in modern day Toronto. While I walked home, I opened a discussion in my head, lobbing the pros and cons of going or not going. I felt like it was somewhere I should be, to ring in the fucking new year and all that.

“The fucking new year?” I can hear you saying to yourself. Where’s he going with this? Is this going to be a pile of major bitterness?” Well, yes, and no.

In the past, I’ve been the first one to hit the socials and ring in the annual turnover with all the righteous platitudes. This year was different, for two main reasons: the first is that I’m more and more sick of social media all the time. The clickbait, the phony, staged bullshit and, most of all, the desperation. We artists posting like crazy, our creations there for a nanosecond, then evaporated into the mists of digital nevermore. I get why we need to do this and admire those of us with the wherewithal to continue to do it without choking on the puke in our mouths.There are so many breathtaking bits of artistic heroism out there, but it’s so disappointingly momentary. And the sheer volume of it. I’m not good with too much of anything. I’d prefer less and social media is the not the landscape where less is the order of the day. It might help us all if I decided to shit or get off the pot. To go all in with it, especially with a new record to promote, or to delete all my accounts and go dark. The second reason is the deep depression that I’ve found myself in, and fighting against. It’s been here very intensely for the last year, ramping up towards year’s end, as my chronic pain issues have increased and become more debilitating. I’ve become, this season, acutely aware that the pain from my hip surgery and trashed nervous system may be things that I may have to live with for the rest of my life. Aware that management, rather than a curative solution, may be the new reality. It would require an acceptance and a process of grieving that I’ve been struggling with accepting for weeks. I’ve tried everything, and spent thousands in different therapies, working on a solution, all to no avail.

That said, I can’t help but wonder if my pain would lessen if I were spending my days doing what I love doing, instead of spending hours a day working at something that I’m not naturally inclined to excel at.

Yesterday I found myself cringing at the litany of posts on facebook and IG, with all the things everyone accomplished in 2024. Again, I’d usually be the first to champion my deeds. I don’t want to disparage anyone who worked their magic to make shit happen. This stuff is hard. I felt the way I did due to the stark reflection of my own feelings of failure and not meeting the sky high mark of my perfectionist standards staring back at me. I feel like I barely survived the year. My biggest accomplishments were taking Ava, my daughter, to New York City for our summer holiday, and, against the odds, finishing Stereophile (the record and the book). The latter took two and half years to complete. There were days and weeks where I was too damaged to make any progress. There were times where I worked longer sessions, in the timeless flow of creativity, only to suffer the physical effects of that, having to then take weeks off to heal. I had best laid plans to gig like hell last year, only to wake one night in February, from my second show of the year (which was great), with my body screaming at me to stand down. I listened, and stopped all work on the live shows, knowing that I couldn’t finish the record and gig concurrently, along with being a present Dad and solo householder with a day gig.

I didn’t go back to that warm and welcome room last night. I got home and barred the door, wept buckets for my broken body and battered mind, for the state of the world, and for what feels like the most disconnected and isolated I’ve ever been from everything. The attraction to that open door and the warmth within was the connection I’m missing and yearning for. Playing live music does this for me. It’s my primary source of feeling connected. It’s not just playing the music. It’s meeting people. It’s the hangs with friends old and new. It’s the natural high after the gig, that carries over into the days after. At that gig in February, which was through So Far Sounds Toronto, and in the basement of a local chap’s house, there was a queue for the bathroom after the show. One high point of the night was chatting with a girl in line. She was from Brazil and a few years new to Toronto. We didn’t get into anything deep. We connected. Plain and simple. Or not plain. Divine is a better word for it. The web of our humanity grows vaster and stronger with each of these interactions. We come away from them more beautiful for the experience.

I passed out last night listening to a live take of Roadhouse Blues. I woke this morning and listened to Break On Through. That lead to finding a clip from the Classic Albums series, where the people involved in classic records talk about what went into creating them. Often, if the engineers and musicians are still alive, they’re the ones involved. In the case of Break On Through, the engineer felt like Morrison had a Sinatra vibe, in that his vocals went from a crooner-type delivery to a soaring, visceral growl. When he showed Jim the vocal mic he’d be using, the singer was chuffed and said it was the same mic that Sinatra used. This is the stuff. I love it. Music nerdery at it’s best.

As I sit here at the local and write this, I’m feeling good. I’m writing and riffing on all the good feelings of creativity and connection. A dear friend sits beside me. People pass by, many bleary-eyed from last night’s revelry. We see other friends passing by. We meet new ones. It feels good to be here and feeling fine. Who knows what this year holds, what divine paths will cross and what wonders may come. Finishing the record and book are a massive victory. I hope to make a success of Stereophile. Mostly, I hope to connect with others via live music and real time social connection. Here’s to having the physical ability to do so. Here’s to the undeniable worth of us connecting through music. Here’s to seeing you out there sometime soon.

As always, thanks for reading. And Happy Fucking New Year 😉

K. xo

NYC

by kelvin wetherell on August 19, 2024August 19, 2024

“I want to wake up in the city that never sleeps…”

– Sinatra

“Now you’re in New York/These streets will make you feel brand new/Big lights will inspire you”

– Alicia Keys/Jay Z, Empire State Of Mind

“When you first took my hand on that cold Christmas Eve/You promised me Broadway was waiting for me”

– Shane MacGowan/Kirsty MacColl, Fairytale Of New York

“When you leave New York, you are astonished at how clean the rest of the world is. Clean is not enough.”

– Fran Lebowitz, Metropolitan Life (1978)

“I’m walkin’ here!!”

– Al Pacino, Midnight Cowboy

It’s been a minute. I’ve been missing the regularity of writing for you (and for me!) while the irregularities of the summer schedule play out. One of those irregularities was a very much welcome one; Ava and I recently took a four day whirlwind trip to New York City. It was Ava’s first time on a plane and, for both of us, our first time in New York. We got back a week ago and I’m still processing. I think I will be for a long time.

Anyone who’s been to New York might well attest to its immediate effect. We took an Uber from Newark Liberty Airport in New Jersey, across the bridge into New York. Total gridlock at 1pm. The traffic and our hunger after travelling couldn’t quell the excitement. We landed at our AirBnb in Harlem and dropped off our bags. Our host had left us snacks, which we made short work of, so we could get outside and start exploring. We were three blocks east of Central Park. Our first afternoon and evening was spent exploring the immediate area and finding a bodega to buy breakfast supplies at. So to sleep…

I’m writing this morning, not to give you a total play by play of the trip. I think that would be a ponderous exercise. I’m writing because I need to get the experience out of my head and onto the page. Since getting home, I’ve been met with intense flashbacks of our experiences, to say nothing of the level of havoc the amount of walking we did wreaked on my chronic pain issues. I could’ve posted a bunch more quotes to lead off today’s writing. The ones above all directly apply. I always assumed that Frank Sinatra and writer Paul Anka were talking about living the high, showbiz life when they talked about the city that never sleeps. I’ve always pictured Broadway and the eyesore that is Times Square when hearing this line. It was also true in our little neighbourhood; there was noise all night long: trucks, people, voices…constant vibration.

I’ve not travelled much. When I have, it’s never been in the tourist spirit. I prefer to take enough time to feel what life there is like. Well, what life is like from the perspective of someone curious beyond tourism, but nonetheless on vacation. I won’t pretend to know what living anywhere is like without experiencing all the usual suspects of adulting. I’m a helpless romantic, but even my romance has limitations. Life is hard. The cost of living is real. I will say that my attraction and connection to New York City were immediate.

On the morning of our second day, Ava and I took the tube south to the Brooklyn Bridge stop. Leaving the station, we were met with the bridge itself, on a misty, rainy summer morning, disappearing in a vanishing point across the Hudson River. My breath caught. Shivers. It only got deeper and sweeter from there. We wandered everywhere. One World Trade still has a gravity to it. There we stood, in a place where, all those years ago, the stupidity of mankind resulted in a staggering loss of life. I recently read a quote that said something about not finding anything typical of America in New York. This was true for me. I’ve longed held the way by which America is run, and attitudes typical of that ignorance and self-proclaimed superiority, in deep contempt. The line between the people and it’s financial/political/military rule must be drawn. Everyone we met in New York was amazing (except the security guards at the Chrysler Building, who had too much time on their hands and not enough to vent their testosterone on).

All the tube station names are done in this beautiful mosaic tile.

Since our return, some folks have asked what the highlight was. It’s almost impossible to pick one, but if I had to, it would be the revelation we received in the graveyard of The Basilica of St. Patrick’s Old Cathedral. The Basilica is an old church with catacombs beneath. Ava and I went in to ask what the tour was all about. Their 11:45 tour group didn’t show. We ended up having a private, guided tour of the church by a chap called Lee, who’d grown up in the area. He has a vast knowledge of local history. Martin Scorsese grew up in the neighbourhood, went to school across the road and was an altar boy at the church. The real life events from his film, The Gangs Of New York, took place where we were standing. The wall surrounding the church was put up explicitly to keep the church form being damaged by the warring religious factions. Ava and I are fond of graveyards and cemeteries, so this stop and our walk through St. Paul’s graveyard earlier in the day were high points, with their sacred sense of history and the Divine. We saw gravestones dating back to the 1700s. I still haven’t mentioned the highlight. While in the graveyard, Lee gestured to a building adjacent to it. It was an old brick buidling with a modern, grey addition added to the roof. Lee pointed out the terrace visible from where we stood. It was David Bowie’s condo from the time he bought it in 1999, up until the time of his death in 2016. Ava and I got all wide-eyed when he told us this. I have more shivers in the retelling. I pictured Davey coming out on to the terrace of a morning, coffee in hand and looking out across the big city. I saw him leaving the building to head to the studio to cut Blackstar, his last record and brilliant epitaph. I saw him in his final days, after the well-recorded courage with which he navigated his disease. This last image is the hardest, for obvious reasons. Oof.

The wall at the Old Basilica, where the Gangs of New York held court.

The other highlight for me happened unexpectedly, on our way to the subway to begin our journey back to Toronto. We started the day at a cafe near the AirBnb, I didn’t get the name of it. Coffee and pain au chocolat were excellent, as was our host. The scary part was paying for our stuff and needing the bathroom, only to find it occupied by some dude who was taking his time, if you know what I mean. After a few days of restaurant food my bowels were, aherm, compromised. I began to sweat, literally, but willpower trumped biological need, as I felt strongly that shitting my pants on our last day in New York City would be poor form. To be clear, not shitting my pants was not the highlight. Read on…

I was about to fork over about $175 CAD for the Uber back to Newark. There was a chap on the back patio of the cafe, with his babe sleeping in the stroller beside him. He was clearly a regular, as the owner came out to chat with him. I told them we were on our way back to T.O. and asked if they knew about flat rates with the NYC Yellow Cab Co. They didn’t, but it turned out that the young Dad, called Ajay, grew up in Scarborough. He told us how to get to the New Jersey trains down at Penn Station, which went directly to Newark Liberty. This info saved us a ton of money. It meant more legwork, but, even though the crush to get on the Jersey trains at Penn Station is intense and overwhelming, it was worth it. Reason being is that we had to walk across the top of Central Park to get the right line going south. On the walk, which happened to coincide with a car free Saturday morning in the area, not dissimilar to Pedestrian Sundays in Toronto’s Kensington Market, we came across Malcolm X Boulevard. This was unexpected. Ava was curious as to why I wanted a pic, as she and I have never discussed Malcolm’s legacy. Malcolm is a hero of mine. I read his autobiography in my twenties and it was hugely inspirational. That someone could emerge from where he started, as a criminal in the streets of Chicago, to where he ended up, is something. After his trip to Mecca, in the face of being blacklisted by the Nation Of Islam and subsequently assassinated by members of the same, he returned to America with the realization that there was hope for black and white to coexist. Mecca was the only place where he’d experienced being treated with love and equality by human beings with blue eyes and blond hair. His was a life of evolution and great courage. I feel glad in my heart that this was my final experience of New York.

The view from Central Park, looking east.

When we landed at Billy Bishop in Toronto and got in the Uber to head home, the first thing I noticed is how clean our city is. I was chuffed to come across Fran Lebowitz’s quote. It’s really true. I’m happy that my city is not filthy, but clean is not enough. There’s something about every aspect of New York City that gives it its depth. It’s magnetic. The city is magnetic. My most excellent travelling companion and I plan to return as soon as we can. We saw so little while we were there. What little we did see left indelible marks on our hearts and spirits. I see us being there together again. I see me playing shows there. I see more of New York in our lives.

Thanks so much for reading. I realize this is a longer entry and it’s not linear. It’s representative of the way the images and feelings of the trip continue to hit me, at random, inducing a fluttering of the heart and a wistful feeling for a city so new to me, yet so familiar. New York City had always been something that was almost a fictional point of reference. Some place I saw on a map and in movies, music and culture. Now it’s in me. So many cultural dots were connected on this trip. My world is a little bit smaller for the experience. There’s so much more to say, but I’ll leave it here for now. Maybe the rest will appear in song at some point…

K. xo