Windy City Opry celebrates two years with Peter and the Wolves’ rockabilly

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It is great to see Shaela Miller’s monthly Windy City Opry doing so well. They almost always have great crowds, especially for a Wednesday night. I would have expected no less for this month’s show, Wednesday, Dec. 12, because it featured Calgary rockabilly trio Peter and the Wolves, who are always a good draw in Lethbridge no matter what day.Peter Cormier stands on Pedro  Lopez’s bass during Peter and the Wolves’ second anniversary Windy City Opry show, Dec. 12 at the Slice. Photo by Richard Amery
 Eve Hell on the Razors were also supposed to be on the bill, but they missed them and didn’t even see Eve Hell, who I was looking forward to saying hello to.


 Peter and the Wolves  were amazing as usual, especially as frontman  Peter Cormier had injured his hand during load in.
 I caught the end of their set, fortunately they stuck around for a second and most of the audience stayed with them despite the long set break.


 Their first set ended with a couple of tracks from their third  CD “Howlin and Prowlin,” including a couple of my favourites, “Jailbird Josephine” and “Sundae Monday Blues,” which ended the set. They also played their usual strong version of blues classic “St. James Infirmary.”


 As expected, they played straight ahead guitar/upright bass/drum driven rockabilly music, which got toes tapping and couples trying out their best ’50s dance moves. I missed the keyboard powered rock and roll potion of the show, which came earlier.


 After a long set break, the trio returned to the stage at 11:15 to knock off a hot version of Hank Williams“ Long Gone Lonesome Blues.”


 A highlight after that was “Ain’t Nobody going to Love Me like the Devil Do.”
 Cormier and company took advantage of their second set to try out a few new songs and some deep cuts from Chuck Berry.


 They also welcomed Windy City Opry host Shaela Miller on stage to play country classic “Thanks A Lot” with them.

They ended their spirited second set  with Cormier performing at a popular old school rockabilly trick, by playing guitar while standing on the end of Pedro Lowe’s upright bass.

— By Richard Amery, L.A. Beat Editor
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Last Updated ( Wednesday, 19 December 2018 10:42 )