“...Hope you’ll be glad to know, you’ve been nice to me in my dreams.”
The words: "A Pandemic Duet” may not officially be in the song title, but there’s no way around it - that’s what this song is. A conversation between two artists, rooted in that strange expanse when all of us, individually and together were grappling with the changing of seasons and the marching of time while life as we knew it stood seemingly still. Two artists, two people, a man and a woman, getting closer before everything stopped, checking in on each other. "How are you getting along?" Asking even though they knew the answer. City Mouse, Country Mouse, different views, same reality. Shipwrecked, landlocked. Exercising resourcefulness and industriousness in states of secret silent panic and creeping depression. "What to do when it’s time that kills?” Looking for beauty in the most and least familiar location for touring musicians: home.
Over her 6 original album releases, Kathryn Rose has received critical acclaim for her sexy-smart, funny-sad cinematic pop pen. Since her last solo album she has been raising her two kids on her own, running a touring company performing with symphonies across North America, teaching voice, collaborating with other artists, working as a session vocalist and voice actor, releasing a song at a time, and trying to get back to her songwriting. Getting Along is a return to the collision of Kathryn Rose’s unique voice and world view. It’s nice to hear that voice again.
Kathryn asked her friend, singer songwriter Julian Taylor to hold up one side of the conversation in Getting Along, and he brought his signature unaffected, genuine sensitivity to the song. Filmmaker/director Scott Dobson and producer/cinematographer Michael Wojewoda conspired to create a compelling video starring Kathryn and Julian, and some inventive pandemic sets. Song producer Creighton Doane helped KR capture the iso-vibe, using her home demo ukulele performance as the starting point for the track.
Kathryn says: "After everything we’ve all been through it's a sweet relief to create something new, like you used to do, even though it can be harder than ever to find the well.”
I see this song as
an attitudinal, jaded commentary on misplaced idolatry. There’s a certain timeliness in its themes of alienation, isolation, and the questioning of belief systems.
‘‘One of the Greatest Songs of All-Time’’
- Rolling Stone
A high octane, driving rock cover of Depeche Mode's Personal Jesus. A trio of powerful female voices - led by Kathryn Rose - breathe fresh energy into this 1989 smash hit.
Juno winning vocalists Melanie Doane and Emilie-Claire Barlow share perfect unison and stacked harmonies with Kathryn Rose against a badass, muscular rhythm section of bass, electric guitar and drums.
More about KR
Raised in Vancouver and based in Toronto, Kathryn Rose is known for her artful brand of sexy/sad/funny original, cinematic pop over the course of five solo albums. She’s also very highly regarded as a top session vocalist, having sung on hundreds of other artists’ albums, and as a busy voice artist in TV and radio.
As a voice in demand she’s worked with: Barenaked Ladies, Sarah McLachlan (world tour), Kinnie Starr, Kevin Breit, Emilie-Claire Barlow, Melanie Doane, Patti Labelle, Sir Tom Jones, Anne Murray, Martin Fry (ABC), and Ian Thomas, and many many more.
In normal times, Kathryn can generally be found singing on lovely stages in front of wonderful symphony orchestras across North America, with acclaimed symphonic rock touring company Jeans 'n Classics.
Kathryn started in the clubs in the late '80s at age 17 with then-bandmates Jason Collett and Kersti McLeod, in band Lazy Grace, performing every Monday at Toronto’s Spadina Hotel at the invitation of Andrew Cash, alongside what would soon become the Skydiggers. Kathryn was also a teen actor in film, television, and stage, and right away became a member of ACTRA, CAEA, SOCAN, and later, AFM. As an actor, she had lead guest roles in many major (1980s, 1990s, and 2000s) TV series', commercials, feature films, and live theatre productions.
After two albums and a number of successful years on the '90s Toronto music scene with her next band Wind May Do Damage, she embarked on her solo music career. She headed to Vancouver (the scene of her childhood), to make her first solo album “Every Lurid Detail" (1997), produced by Sarah McLachlan keyboardist David Kershaw, and featuring Sarah's whole band.
Meantime, in favour of music, to the chagrin of her acting agent, she quit the acting business after a solid successful decade. To replace her on-camera acting income, Kathryn set her sights on jingles as a means of funding her music/album-making habit, and became a top jingle singer. She also became an in-demand voice on the Toronto music scene, singing live and on over 100 albums of many other artists, as well as in feature films, and on TV shows Canadian Idol (house band), Battle Of The Blades, and many feature film soundtracks and underscoring, with song placements in film and TV, and her songs recorded by various other artists, including Sarah Slean, Melanie Doane, and Art of Time Ensemble.
Her second solo album “My Little Flame” was released in 2001, and then re-released with bonus tracks in 2003 on then-manager RH Guha/Jake Gold’s label Kindling Music and distributed by EMI/then Warner Canada.
Kathryn then joined Sarah McLachlan’s band as her backing vocalist for the Afterglow world tour in 2004, performing around the world, and at The Grammys, the Junos, Conan O’Brien, The Tonight Show with Jay Leno, Good Morning America, and more, and appearing on the live concert DVD.
“Kathryn Rose” was released in 2005, and in 2010 she put out “Something I Can Use” (2010).
Her newest singles, a pop-funk re-imagining of Michael McDonald's "I Keep Forgettin'" Is available on all streaming platforms, and a power-pop-rock cover of Depeche Mode's Personal Jesus is available now.
"Producer/musician Creighton Doane and I have been friends and colleagues for so long now. We don’t get to work together all the time, but it’s always such a treat when we do. When you have collaborated on so many different types of projects, and when you have been at it as long as we both have, and perhaps with a pandemic thrown into the mix, you can find yourself at a point where you just want to do what really strikes your fancy, and have as much fun as possible doing it. At the moment Creighton and I are exploring a mini Michael McDonald song cycle. What will we do next!!
Our decision to cover this song came from the realization it’s a track we both loved when it first came out. We didn’t transform the piece, but this is definitely not a straight lift. Our version of “I Keep Forgettin’” is our chance to stretch out and do what we do, with no holds barred. Although it may be the opposite of minimalist, I think it’s tasteful, with every moment in its place, and some very fine playing by other musicians we love: Pat Kilbride on bass, and Justin Abedin on guitar. Creighton did all the drumming, programming, keyboards, and the deft mix, and we collaborated on the intricate lead and backing vocal arrangements, which I sang myself. (Crafting and executing backing vocals are my favourite parts!)
This cover is a bit of an event, where everybody shines, and thrives on one another. Headphones on!"
All vocals: Kathryn Rose
Electric bass: Pat Kilbride
Electric guitars: Justin Abedin
Drums/keys/programming: Creighton Doane
Produced/recorded/mixed: Creighton Doane
Mastered: Harry Hess