Chasing Grace, the second CD by The Henrys, 1996

Chasing Grace, the second CD by The Henrys,
was released - like the first one - by Demon
Records in the UK. That was a cool label, but
then they were bought by a less-cool concern.
(Is that libelous these days? 'Less cool'? Cause
we used to be truly libelous in our earlier years.)
Anyway, this disc, like the next, was produced
by John Sheard, friend and polymath.
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Reviews

How can Toronto's finest lounge-lizard
instrumental band follow up last year's debut,
"Puerto Angel"? Simple - with an album that
stretches their musical adeptness and
boundaries still further...Plenty more of the
sinuous slide guitars and torque-wrench tight
rhythms that are easy to listen to but a long, long
way from Easy Listening...The compositions
and playing are impeccable...Make this one of
your essential albums."

-Folk Roots Magazine, U.K., Ian Kearey
====================

Musically, The Henrys arrive at a strange hybrid,
an almost ambient concoction of swinging jazz,
country and blues, tinged by flickering neon.
David Trevis's near dub bass pours out like hot
tar...The Henrys seem to have cultivated a
completely new genre.

-Q Magazine, U.K., review by Martin Longley,
October 1996

====================

Pop by any of the Henrys' live sessions and
you're bound to be treated to a set of edgy
instrumental ambience, blurring demarcation
lines between jazz, dustbowl twang and
sun-baked Hawaiian blues. All the parts appear
to be in place on Chasing Grace... There is an
unfaltering sense of ease with which Don Rooke
guides the sessions, juggling kona, acoustic,
lapsteel, National and Hawaiian King guitars with
relentless creativity. And each of Rooke's
compositions are impeccably arranged and
tastefully played, with the guitar/bass/drums
configuration augmented by trumpet, keys, and
conch shell and with Mary Margaret O'Hara
providing occasional flutters.

-NOW Magazine, review by Matt Galloway,
October 1996

====================

A mostly acoustic band with folksy roots and
progressive branches. A few tunes feature
vocals, but the album's most soulful singer is
Don Rooke's Kona guitar, a Weissenborn-like
slide instrument. Lovely stuff.

-Guitar Player, February 1997

====================

The Henrys play classic Americana - wonderfully
arranged, sharply talented and springing from
the sheer joy of playing. In a time where most
see "roots rock" as a return to simpler folk
forms, the Henrys distinguish themselves by
adding flourishes that accentuate and decorate
the music into something extraordinary. A
couple of songs feature stunning vocals from
Mary Margaret O'Hara, whose clear voice can at
times be confused with at theremin. Subtle and
immersive."