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An intimate, sincere and diverse release from Cary, providing a contemplative, at times pensive and plaintive, folky narrative. Enjoyable and thought-provoking, these songs speak right to your heart. If you like British singer-songwriter folk of a certain vintage, John Martyn, Ralph McTell and Nick Drake, you will hear the very clear influences herein.

"Blue Rain" album review...

Vancouver based singer-songwriter Cary Heuchert is well known on Facebook for his keen insights into progressive rock history. Like many musicologists, Cary is also a gifted recording artist in his own right. On his CD debut, entitled Blue RainCary Heuchert delves deep into the archetypes of rock and pop music and provides a fascinating assortment of folk-rock, psych-pop and progressive rock sounds of his own design. Blue Rain is self-produced and, while it may be more Emitt Rhodes than Paul McCartney, it’s Cary's songs that will have you coming back for seconds and thirds. One track here called “Maoershan” is very much in the Mike Pinder tradition of mellotron styled instrumental music. Speaking to mwe3.com about the wide variety of folk-rock meets progressive rock sounds on Blue Rain, Cary explains, "Yes, it started off as folk-rock, but in a progressive way, because I realized early that I wanted each song to be a little different and show diversity. I've always admired artists who were diverse. The Beatles perhaps started this trend and opened the doors and inspired other groups like Pink Floyd, Spirit, Traffic, Family and others. Bands which you couldn't classify so easily..." The tracks on Blue Rain vary widely from track to track, but there’s a cutting edge sounding early Traffic meets Nick Drake kind of approach here. A very cool album by a rising artist with a lot to offer, Cary Heuchert's Blue Rain is a fascinating look and listen into the art of 21st century progressive music. www.oddiyorecords.com www.cdbaby.com

"A masterpiece of lo-fi progressive, psych-pop, "Blue Rain" establishes Cary Heuchert on the cutting edge of 21st century music." - mwe3.com


Canadian singer/songwriter Cary Heuchert is re-releasing his 2014 album "Blue Rain" with new liner notes and a brand new song "Mirror Of Dreams/Nightwish." The original 10-track album displays Cary's amazing songwriting ability as his acoustic-based psych-folk-pop sound allows you to follow his words while the music relaxes your mind as in "Every Morning Comes." He adds a middle-eastern rhythm to "The Girl Of Dreams" and finds the perfect blend of adult contemporary pop to the soft rock of "Rainfall." His original album finishes up with the acoustic folk ballad "Someday" and the psychedelic feel of "Ode To The Sun." The new bonus track, "Mirror Of Dreams/Nightwish" has a classical backdrop as Cary gentle delivers his storied lyrics. To find out more about Cary Heuchert and his latest release "Blue Rain," please visit oddiyorecords.com.

Review Summary: An excellent musical overview of late Sixties, early Seventies psychedelic/progressive folk.


They like their psychedelia/progressive rock over in Vancouver. All those psychedelic/pop licks of The New Pornographers, and one of their predecessors, Zumpano, and more recently Grateful Dead inspired Ponytails. And then there’s a guy from Vancouver that, judging by his posts on Facebook, seems to be a living encyclopedia of psych-folk and progressive folk. No wonder then that Blue Rain, his self-produced debut album sounds exactly like one, particularly the British side of things.
Syd Barret, Nick Drake, Incredible String Band, Moody Blues and quite a few others seem to be completely set in Heuchert’s musical subconsciousness. But, his songwriting and arrangements are better for it. Heuchert seems to have absorbed the sounds he loves completely and that he has made a seamless flowing whole out of them. From the moment the Nick Drake inflected title song opens the album it is obvious where Heuchert is coming from - he’s dreaming (actually, three songs here have dream in their title, and they are among the standouts) of those late Sixties times when psychedelia is turning into progressive music and all the disparate musical elements were able to find their rightful place. 
Heuchert’s arrangements work, particularly on “The Girl of Your Dreams (shades of Incredible String Band) or Moody Blues inspired mellotron sounds of “Maoershan” or the simple acoustic “Someday”, that could be a perfect fit for one of those two Syd Barrett albums. Although there’s not much wrong with his production, he could have used some help on recording and producing the drums on a few tracks, like “Rainfall” and “Ode to the Sun”, each of which still has merits that do not really bring them down - “Rainfall” has a great melody reminiscent of those by former XTC stalwart Colin Moulding and “Ode to the Sun” rises above the clunky drumming with its brass and organ arrangement.
Heuchert first issued this album in 2014 and unfortunately, it did not register much, so he decided to reissue it, adding the medley “Mirror of Dreams - Nightbreak”, which actually exemplifies all the good music elements he has in himself. Hopefully, this time around, at least psych/prog/folk fans should take more notice.

Being described as a walking encyclopaedia of the psych folk and progressive folk scene due to his knowledgable and insightful contributions on facebook, multi-instrumentalist and vocalist Cary Heuchert has also turned his hand to recording. Back in 2015 his Blue Rain album was enthusiastically received by a handful of critics but went largely unnoticed in wider circles. Keen to give his baby a second chance to spread its wings, Heuchert has reissued said album, while including a new track, "Mirror Of Dreams/Nightbreak", which the musician described as his first single of 2017, with more new music to come.
With his deep knowledge of the folk side of psych and prog already established it's no surprise that this is exactly where this multi-talented chap sets his musical sights, a vintage attack authentically bringing to mind the likes of Syd Barrett, Nick Drake, early era The Moody Blues and even Ralph McTell. And if any of those artists are regulars on your playlist or turntable, then Blue Rain will slot beautifully in alongside. Heuchert handles all the instrumentation, everything from six and twelve string acoustic and mellotron to guitalele, multi-oud and drums brought into play as the vintage sounds are woven. Hence there's no doubt that this is not only a labour of love but a singular vision. And while that's to be hugely admired, as is so often the case, it is also possibly where things come a little undone. For while the stripped back and (intentionally?) ramshackle approach reeks of days gone by and lands Blue Rain exactly where I'd guess Heuchert intended, the naivety that seemed so appealing way back when, simply comes off as a little too loose in this current age. More than likely Heuchert would pooh-pooh this notion and say I'm missing the point, and doubtless he's correct but in 2018 I personally would like to hear a drummer that feels much more natural taking a dip round the toms than the stilted clatters that appear in the wistful "Winterlude". Unfortunately it's an affliction that runs through quite a lot of what's on offer here. The desire to not just be inspired by the sounds of old, but also its feel, mood and limitations, leading to moments that feel, from the outside looking in, just too rough and ready and, at risk of being unkind, a little shoddy. The drums at the start of "Not Just Another Day" are a prime example of this approach, which is a real shame, because once the guitar strum kicks into gear the mood created is uplifting, if plaintive, although it's maybe "Someday" that makes the clearest statement of the older material through a bravely stripped back guitar and vocal approach. New track "Mirror Of Dreams/Nightbreak" very much feels like it belongs with its older album mates but there's a depth and daring incorporated that's never quite attempted elsewhere and, while I can't say it knocked me sideways, it is by far my favourite moment on this album.
If this faithful, vintage recreating of the past appeals to you, then, as there has been elsewhere, you may feel a lot of love for Blue Rain. Personally I find it to be too weighed down by its own intentions and too wilfully naive to be anything more than a brief stopgap listen. If you've similar passions to the man who created this album, then you'll likely think otherwise.

Title - 'Blue Rain'
Artist - Cary Heuchert

For those not in the know, Vancouver based singer-songwriter Cary Heuchert is one of the best artists-you've-never-heard-of that I myself have finally heard of!

Coming complete with an extensive progressive rock history, like many musicologists, Cary is also a gifted recording artist in his own right.

On what has turned out to be an incredible debut (although he did release Nocturna And Other Stories beforehand), Blue Rain, Cary reaches into his assortment of musical past experiences and loves and brings forth an album that persons the best elements of both rock and pop. Not stopping there, he also lovingly includes elements of folk-rock, psych-pop, and even clearly improvisational moments too.

The self-produced debut sees Cary playing all I the instruments himself, with each song featuring different instrumentations, with multi-tracked songs aplenty, all played entirely in his very own studio. A long process, for sure, but one that provides us, the listener, the (new) fan with a musical experience that's as honest, as raw, as heartfelt as quite like anything I've heard in the past decade.

From start to finish, Blue Rain is a completist's album of music. For example, on the title track alone, Cary plays acoustic 12-string, something he's always obviously loved the sound of, and a Roland guitar synthesizer for harmony. Oh, and by the sound if it, a fretless bass.

“Every Morning Comes” is a quietly passive cut, whilst one of my favorite tracks, “The Girl Of Dreams” incorporates a delightful '60s vibe along with an ethnic backbeat. Quite clearly inspired by groups such as Pink Floyd, Spirit, Traffic, Family and others, next on Cary's debut album is “Rainfall,” which keeps to the overall theme of the album, and that's backed by both the keyboard-infused “Winterlude” and the acoustic/electric guitar work on “Not Just Another Day.”

Stand out track “Maoershan” is up next and wow, what a cut it truly is. “Maoershan,” which is actually the Mandarin Chinese name for a mountain in Heilongjiang province, a place that Cary knows all too well, heavily leans into the mellotron, thusly giving it a sound that becomes unique to the overall recording. “Lost In Your Dream” has a defiant Moody Blues vibe to it, whereas the optimism of the folk-oriented "Someday” is beyond delightful.

Rounding out the album is, funnily enough, another optimistic track in “Ode To The Sun", where both the Mellotron brass and organ provide a stunning contrast to one another

This is an album that flew very low under the DPRP’s progressive radar, given that its prog-rock credentials are tenuous to say the least. Late 60s / early 70s psychedelic folk rock would be much closer to the mark.

Canadian multi-instrumentalist Cary Heuchert originally released Blue Rain in 2015. This remastered version appeared in 2017 with the addition of the bonus track Mirror Of Dreams. Although this is Heuchert’s second album (following the 2012 debut Nocturna And Other Stories) it's his first on CD.

This is very much a one-man band effort, with Heuchert responsible for all compositions, production, vocals and instruments including acoustic and electric guitars, keyboards, bass and drums. The sound is very sparse at times, with a home-made, demo feel that the revealing remastering cannot disguise. I was reminded of Tyrannosaurus Rex before Marc Bolan reinvented himself as the “electric warrior”. Guitar is clearly Heuchert’s first instrument, and whilst he’s also a proficient keyboardist, the drums and percussion are rudimentary to say the least.

Although Heuchert doesn’t have a particularly strong voice, his singing has a mellow warmth reminiscent of The Moody Blues’ John Lodge that’s perfectly in tune with the retro, laidback songs. Factor in the vintage sound of the Mellotron on several tracks, and the melancholic charm of late 60s Moodies, circa On The Threshold Of A Dream, is never far away. When his voice is paired with acoustic guitar, the songs have a folky vibe, bringing to mind Roy Harper and Gordon Lightfoot amongst others.

With 11 tracks mostly around the three to four minute mark, cleary there is little room for excess here, but the occasional solo does allow Heuchert the opportunity to flex his instrumental muscles. Although it’s the shortest track on the album, the instrumental Maoershan, with its authentically out-of-tune Mellotron is one of the most engaging. The longest track, Not Just Another Day, is really two songs in one, featuring a taut guitar solo, whilst the pastoral Someday has a haunting quality that’s hard to resist.

Whilst Heuchert clearly has an ear for melody and Moody Blues-ish song titles (with “dreams” being a recurring element), if there was ever an album that would benefit from higher production values and dynamics, this is it.

Canadian Cary Heuchert's most recent album is Blue Rain (2015) but it has been reissued (and remastered) in 2017, with an extra track that ends perfectly this very good record.

Heuchert's music is very much influenced by the late 60's early 70's psych/folk/prog music in a singer/songwriter style. Many of the songs are in the ''voice, acoustic guitar, bass and discreet drums (or percussions)'' format. Some vintage sounding keyboards (mellotron?) are also in evidence on a number of tracks.

Heuchert is a very good musician and singer. His voice has hints of a young David Gilmour or Pye Hastings. His main strength is his songwriting. Early Pink Floyd does come to mind, John Lennon (i.e. ''I'm so Tired'') and even Leonard Cohen (circa Songs from a Room) are acceptable references. The title track even makes me think of French Canadian superstar Roch Voisine's biggest hit: ''Hélène'', but without the pop chorus.

I don't think that Cary Heuchert will attract many Justin Bieber fans with Blue Rain, but those that enjoy late sixties folk/psych songs should really give this guy a try. Recommended.

Cary Heuchert is a Vancouver based singer/songwriter who released his debut album titled Blue Rain in 2014. In November of 2017 the album was remastered and rereleased on Oddiyo Records and in case you missed it the first time around this is well worth a listen for fans of ‘60s influenced psychedelic folk pop music. The Moody Blues, The Beatles, Nick Drake and The Byrds are decent reference points but Heuchert really does have a sound all his own even if is affection for decades past is clearly evident.

Heuchert plays all the instruments himself adding vocals, 6 and 12 string acoustic and electric guitars, nylon string guitar, guitar synthesizer, Mellotron, piano, organ, mandolin, guitalele, multi-oud, fretless bass, drums and percussion. He is a multifaceted musician with a voice that is very heartfelt and laid back.

Beautiful acoustic guitar and guitar synths are gently played with Heuchert’s melodic vocals recalling a ‘60s psychedelic/folk sound can be heard in the album opening title track. It is a wistful sound that occurs throughout the disc. With the following track “Every Morning Comes” an East Indian sound unfolds as Heuchert uses the oud and what sounds like tablas. On “The Girl Of Dreams” there is a bit of a Moody Blues feel with the flute-like Mellotron clearly visible. “Rainfall” is another lovely track subtlety reminding of the melody from Ringo Starr’s “It Don’t Come Easy”. His brief use of slightly enhanced vocals is really cool. Other notables include the Floydy psychedelic pop of “Winterlude” and the Mellotron drenched “Maoershan”, an enchanting instrumental that unfolds in a delightful fashion. “Lost In Your Dreams” is another Moody Blues inspired track, very melodic with a laid back vibe and accented with lush Mellotron strings.

Plaintive and easy going, Blue Rain is a lovely album that music fans would love if the word got out. Thoughtful and melodic, his take on ‘60s folk and psychedelic pop rock is a real head turner. Highly recommended.