Few artists navigate the musical landscape with the unbridled curiosity and genre-bending mastery of John Mars. His musical style and influences aren't just eclectic; they form a rich tapestry woven from the raw energy of rock and roll, the soulful depths of the blues, and the cerebral freedom of avant-garde jazz. Forget neat categorization; Mars invites listeners on a journey that defies expectations and celebrates the boundless possibilities of sound.
At a Glance: John Mars' Musical Landscape
- Rock & Roll Roots: From 60s British Invasion to 50s rockabilly and garage rock, Mars' early work crackles with rebellious energy and pop sensibility.
- Blues Authority: A deep reverence for blues traditions, evident in collaborations with legends like Willie "Big Eyes" Smith and Jack deKeyzer, showcases his authentic connection to the genre.
- Avant-Garde Explorer: Alongside Stuart Broomer, Mars delved into free jazz and experimental music, pushing boundaries with prepared pianos and double drum sets, influenced by figures like Albert Ayler and Michael Snow.
- Acoustic Storyteller: His recent works reveal a more intimate, singer-songwriter side, focusing on vocals and acoustic guitar, eschewing conventional rhythm sections.
- Master Collaborator: A recurring theme in Mars' career is his ability to attract and collaborate with top-tier musicians and producers across the musical spectrum, from Juno winners to industry icons.
The Roaring Foundations: A Rock & Roll Heartbeat
From the outset, John Mars’s musical journey was fueled by the electrifying spirit of rock and roll. His early projects, Brian’s Children and later, The Children, laid down a potent marker, showcasing a style that was both fiercely independent and deeply rooted in rock's classic eras.
With Brian’s Children, Mars co-wrote "Cut Her Hair" and "Oh Yeah" with D.M. Templeton. These tracks, famously recorded in a "stupidly drunk" session engineered by the legendary Daniel Lanois, became cult items. "Cut Her Hair," a tribute to Brian Jones of The Rolling Stones, perfectly encapsulates that era's raw, garage-rock ethos. The production technique—double-tracking every part except the drums—resulted in a thick, immersive sound that resonated with fans and critics alike, earning FM radio play and even attracting a Japanese fan club. This period highlights Mars’s early knack for catchy songwriting coupled with a rebellious, DIY attitude that captured the zeitgeist of underground rock.
The evolution into The Children brought a slightly more polished, yet still vibrant, sound. Their "Electric Playground" E.P. featured original co-writes and a cover of "I'm On Fire," demonstrating a continued lean into dynamic, radio-friendly rock. Collaborations with musicians like Aurelio Lanzalone and Mark Sinkowski reinforced a collective energy focused on crafting memorable tunes with driving guitar riffs and solid rhythms. It's a testament to his adaptability that Mars could transition from the unbridled chaos of Brian's Children to the more structured, yet still energetic, sound of The Children, all while maintaining his distinct vocal presence.
The "WHASUP?" CD serves as a vivid snapshot of Mars's rock and roll influences at their most diverse. Critics lauded it as "100% pure unadulterated rock'n'roll," drawing comparisons to the "Sticky Fingers"-era Rolling Stones, Stax/Volt soul, and classic rockabilly. This record demonstrates a profound understanding of rock's various dialects, blending the swagger of British Invasion flagbearers with the emotional depth of Memphis soul. Songs on "WHASUP?" possess the "verve, flair and confidence of Eddie Cochran," an artist Mars would later cover with remarkable prowess. The album's co-production with Jack deKeyzer, a Juno Award-winning artist himself, speaks to Mars's ability to forge powerful creative partnerships that bring out the best in his rock sensibilities. Even Jimi Hendrix Experience bassist Noel Redding was "amazed" by their rendition of "Nervous Breakdown," a clear indicator of the authentic rock spirit Mars channels.
During the NATURAL BORN LOVERS era, Mars embraced the full spectrum of 1950s rock 'n' roll, R&B, and jazz, albeit through covers. This band, featuring the talented Mike Ardelli, delivered electrifying live performances of classics from Chuck Berry ("Little Queenie," "No Money Down") and Eddie Cochran ("C'mon Everybody"). This period wasn't just about recreation; it was about immersion. Ardelli's deep knowledge of these foundational genres, combined with Mars's powerful lead vocals, highlighted a genuine passion for the roots of rock, showcasing the raw, improvisational energy that defines the genre. The tragic loss of Ardelli prematurely ended their plans for original compositions, but the live recordings serve as a vibrant testament to Mars's rock 'n' roll heart.
Deep Roots in the Blues: From Delta to Urban Echoes
Beyond the high-octane world of rock, John Mars possesses an undeniable, authentic connection to the blues. This isn't a superficial flirtation but a deep immersion, evidenced by his collaborations with some of the genre's most respected figures and his co-authorship of songs performed by blues royalty.
His partnership with Jack deKeyzer, a true blues maestro and Juno Award winner, has been particularly fruitful. Their collaboration on "Jump Right To It," featured on deKeyzer's "Six String Lover" album, is a prime example of Mars's blues acumen. Mars conceived the lyrics and melody, even suggesting a "jump Blues counterpoint" between deKeyzer's guitar and Michael Fonfara's Hammond B3 organ. The song, initially written to inspire Mars's father, beautifully captures the uplifting, resilient spirit of jump blues. Its success, including a Juno Award for deKeyzer's album and airplay on BRAVO TV, underscores the quality and authenticity of their blues songwriting.
Perhaps the most significant testament to Mars's blues credibility is his co-authorship of "Big Wig Woman" with Jack deKeyzer, a track that found its way onto Willie "Big Eyes" Smith's album, "Blues From The Heart." Smith, a legendary drummer for Muddy Waters for many years, a Grammy winner, and a veteran who played with Bo Diddley and appeared in "The Blues Brothers" movie, is blues royalty. For a song co-written by Mars to be featured on Smith's album, with Smith himself on vocals and drums, alongside an all-star blues cast including Jack deKeyzer, Al Lerman, Michael Fonfara, and Alec Fraser, speaks volumes about the genuine blues sensibility embedded in Mars's songwriting. This isn't just an influence; it's a direct contribution to the blues canon, cementing his place within its rich tradition.
The presence of seasoned blues and R&B musicians in his projects further illustrates this influence. Michael Fonfara, a co-founder of Rhinoceros and bandleader for Lou Reed, brought his formidable grand piano and Hammond organ skills to Mars's recordings, including "Detroit or Buffalo" and "WHASUP?". Fonfara's extensive work with artists like Solomon Burke and The Downchild Blues Band provided Mars with an invaluable link to the heart of blues and soul music. Similarly, Ray Harrison, leader of The Cameo Blues Band, contributed his Hammond organ and grand piano to "Detroit or Buffalo," infusing the album with a deep, soulful groove. Even Danny Weis, a founder of Iron Butterfly and Rhinoceros, known for his work with Lou Reed and Bette Midler, lent his electric and nylon string classical guitar to "Detroit or Buffalo," adding layers of sophisticated instrumentation that echo the intricate arrangements found in classic blues and R&B. These collaborations are not incidental; they are fundamental to understanding the depth of John Mars's blues influences, forming a core part of All about John Mars's diverse career.
The Avant-Garde Frontier: Exploring Free Jazz and New Music
Perhaps the most surprising, yet equally profound, aspect of John Mars's musical style is his deep dive into the experimental realms of avant-garde jazz and new music. This is where Mars truly breaks free from conventional structures, demonstrating an intellectual curiosity and a fearless approach to sound creation that sets him apart.
His extensive partnership with pianist Stuart Broomer in a piano/drums duo from 1979 to 1986 marked a significant period of exploration. Together, they transcended typical genre boundaries. Broomer, a pioneer of the "prepared piano" technique, combined with Mars's "double drum set" and percussion, created a sonic landscape described by Peter Goddard of The Toronto Star as "so altered and personalized that their origins have all but vanished." Mark Miller of The Globe and Mail succinctly noted their music existed "between definitions," perfectly capturing its elusive nature.
Their album, "Annihilated Surprise," recorded direct-to-master, showcases their unique improvisational style. Tracks like Mars's "WIND" and "DEDICATION," alongside Broomer's compositions, demonstrate a duo capable of immense texture and emotional range without vocals. This work received global airplay, highlighting its universal appeal despite its experimental nature. Critical acclaim from Downbeat Magazine, which called their music "a rational extension of everything from New Orleans funeral music, Albert Ayler, Sun Ra, 'Jellyroll' Morton," provides crucial context for their influences. It reveals a sophisticated understanding of jazz history, from its earliest forms to its most avant-garde expressions, all channeled through their unique duo dynamic. CODA magazine praised Mars as a "propulsive drummer" capable of producing a "wide variety of textures," underscoring his technical prowess and innovative approach to percussion.
Their Live at UB Katharine Cornell Theatre recording from 1984 further illustrates their groundbreaking work. Here, Mars incorporated a digital synthesizer into his double drum set, expanding the duo's sonic palette. "Expressionism," their original soundtrack for the 1919 film "The Cabinet Of Dr. Caligari," is particularly telling. This project, performed numerous times, speaks to Mars’s engagement with interdisciplinary art and his ability to translate visual narratives into improvised sound. The film itself was a "profound influence" on Mars, suggesting a deep connection to expressionistic art.
An earlier quartet concert in 1975 at A Space, featuring Broomer, Mars, Bill Smith, and the legendary multidisciplinary artist Michael Snow, further cemented Mars's ties to the avant-garde. Snow, whom Mars considers the "most important Canadian artist of the 20th Century" and a personal mentor, also recorded Albert Ayler for his film "New York Eye And Ear Control." The track "Extempore" from this concert, described as moody and turbulent, reveals influences from classical avant-garde composers like Varese and Harry Partch in its percussive build-up. The mournful, Albert Ayler-inspired horn contributions from Smith and Snow underscore the free jazz lineage that Mars, along with Broomer, was actively exploring and expanding upon. This collaboration with Snow is vital in understanding Mars's intellectual and artistic development within the broader context of avant-garde art.
The Hamilton Public Library Auditorium (1984) concert recording, specifically Broomer's "WOUND," captures the raw, acoustic power of the duo in an intimate setting. Mars's detailed notes on the recording—his use of a stereo SONY Pro Walkman and subsequent EQ work—show his meticulous attention to capturing and preserving these unique sonic experiments. These live recordings are not mere historical artifacts; they are windows into a dynamic, improvisational process that was constantly pushing the boundaries of what piano and drums could achieve together.
The Unadorned Voice: Singer-Songwriter Sensibilities and Acoustic Intimacy
Amidst the vibrant rock, deep blues, and challenging avant-garde soundscapes, John Mars also reveals a remarkably intimate and introspective side, showcasing his prowess as a singer-songwriter with a profound appreciation for acoustic arrangements and lyrical depth. This facet of his work offers a striking contrast to his more bombastic or abstract projects, emphasizing melody, harmony, and the direct emotional power of the human voice and acoustic guitar.
The "Detroit or Buffalo" CD stands as a pivotal example of this direction. What immediately strikes listeners is the deliberate absence of a traditional rhythm section – no drummers, no bass players. This choice pushes Mars's lead vocals and the acoustic guitar work of Lucas Stagg to the forefront, creating a more sparse, vulnerable, and direct sound. The focus shifts entirely to the song's narrative and melodic contour, allowing for a deeper emotional resonance.
This album, co-produced by Mars and Lucas Stagg, features a stellar lineup of vocalists and instrumentalists who, despite their diverse backgrounds, contribute to a cohesive, unhurried sonic tapestry. Stagg’s acoustic guitar and harmony vocals, along with harmony contributions from Craig McNair, Mary 5e, and Suzie Sweetman, create rich vocal textures. The presence of grand piano and Hammond organ by Michael Fonfara and Ray Harrison adds layers of warmth and sophistication without ever overwhelming the core acoustic sensibility. It’s an album that allows the nuance of Mars's voice to shine, demonstrating his ability to craft compelling narratives and evoke deep feelings with fewer elements.
The rehearsal recordings provide further glimpses into this intimate approach. The intended inclusion of Donovan Leitch’s "Sadness" for "Detroit or Buffalo" speaks to Mars's appreciation for classic folk-rock songwriting. Michael Fonfara’s enthusiasm for the demo underscores the song’s potential for emotive piano and organ arrangements, even if the formal recording didn't materialize. This anecdote highlights Mars's collaborative spirit and his willingness to interpret the work of other impactful songwriters, bending it to his unique vocal style.
Similarly, the rehearsals for "The Skye" (co-written with Paul Chapman) and Gretchen Peters’ "When You Are Old" showcase Mars's commitment to lyrical storytelling and poignant melodies. "The Skye," a tribute to a woman, suggests a personal, reflective tone, while "When You Are Old" is described as a wistful song about aging. These choices reveal Mars's engagement with themes of human experience, nostalgia, and contemplation, delivered through the unadorned beauty of voice and acoustic guitar. His plans to record these properly in the future signal a continued dedication to this more tender, introspective side of his musical persona.
This emphasis on acoustic instrumentation and vocal clarity demonstrates Mars’s versatility. He's not just a powerhouse rocker or a fearless improviser; he's also a nuanced interpreter and a sensitive storyteller, capable of captivating an audience with the simplest of arrangements. This facet of his work allows listeners to appreciate the clarity of his vision and the expressive range of his voice, proving that true musical depth isn't always about complexity, but often about heartfelt delivery and thoughtful composition.
A Master of Collaboration: The John Mars Signature in Action
Throughout his varied career, John Mars has consistently demonstrated a profound talent for collaboration, not just as a participant, but often as a catalyst and producer. His ability to connect with, inspire, and co-create with an astonishing array of musicians and engineers is a defining characteristic of his musical style and a testament to his innate leadership and artistic vision.
This collaborative spirit is evident from his earliest recordings. The Brian's Children 45rpm, produced by the band itself and engineered by Daniel Lanois at Grant Avenue Studio, speaks volumes. Working with Lanois, a future Grammy-winning producer for U2, Bob Dylan, and Peter Gabriel, even in a "stupidly drunk" session, indicates Mars's early immersion in high-caliber musical environments. The shared songwriting credits with D.M. Templeton on this project further highlight a fundamental aspect of his process: making music is a collective endeavor.
With The Children, Mars co-produced the "Electric Playground" E.P. alongside Aurelio Lanzalone and Mark Sinkowski. This shared production responsibility, coupled with co-writing credits for most of the tracks, underscores his hands-on approach and his belief in collective authorship. He cultivated talent, bringing in musicians like Al Burnham at just 17 years old, showcasing his eye for promising artists.
His most recent CD, "Detroit or Buffalo," again features Mars as co-producer with Lucas Stagg. Stagg, himself a former leader of Room 101, has co-produced his latest two solo CDs with Mars, illustrating a reciprocal and enduring creative partnership. Similarly, Craig McNair's first solo acoustic CD was produced by John Mars, marking him as a trusted mentor and sonic architect for other artists. These roles go beyond simply performing; they reflect Mars's ability to shape entire soundscapes and guide other artists' visions.
The caliber of individuals Mars attracts to his projects is nothing short of remarkable. Consider the engineering talent: J.P. Riemens, who engineered for Gordon Lightfoot, and Nick Blagona, who mastered "Detroit or Buffalo" and boasts a resume including Keith Richards, Deep Purple, Rush, The Police, The Bee Gees, Tom Jones, and Cat Stevens. These are industry giants, and their involvement speaks to the professionalism and artistic merit of Mars's work.
On the performance front, the list reads like a "who's who" of Canadian and international talent. Danny Weis, a co-founder of Iron Butterfly and Rhinoceros, not to mention Bette Midler's bandleader. Michael Fonfara, a co-founder of Rhinoceros, bandleader for Lou Reed, and a veteran of The Downchild Blues Band. Ray Harrison of The Cameo Blues Band. Jack deKeyzer, a Juno winner who has played with Bo Diddley and Ronnie Hawkins. Chris Robinson (Mars's cousin), a jazz bandleader and former member of John Mars And The Martians. Brigham Phillips, a Juno-winning jazz trumpet/trombone player. Mark French, drummer for Blue Rodeo. Even Willie "Big Eyes" Smith, a Muddy Waters legend, featured Mars's songwriting.
These collaborations are not incidental; they are intrinsic to understanding John Mars' profound impact. Mars has a unique ability to assemble diverse talents, drawing on their expertise to enrich his own musical vision, whether it's crafting a gritty rock anthem, a nuanced blues track, or an expansive avant-garde improvisation. His role as a co-producer and collaborator is a consistent thread, demonstrating his multifaceted contributions to the music world beyond just performing.
Synthesis and Signature: Beyond Easy Labels
The sheer breadth of John Mars’s musical exploration naturally leads to the question: How does an artist seamlessly transition between such disparate styles—from the raw energy of garage rock and the soulful cry of the blues to the challenging intellectualism of avant-garde jazz and the intimacy of acoustic folk? The answer lies in Mars’s unique artistic synthesis, a signature approach that makes his work cohesive despite its apparent diversity.
Firstly, there's a fundamental authenticity that underpins all his ventures. Whether he’s belting out a Chuck Berry cover or engaging in abstract percussive dialogue with Stuart Broomer, Mars commits fully. There's no sense of dabbling; each genre feels lived-in, deeply understood, and respectfully channeled. His voice, adaptable yet distinct, acts as a consistent anchor across these different sound worlds. It can be raw and bluesy, smooth and melodic, or an instrument of percussive texture itself.
Secondly, Mars demonstrates a profound respect for the roots and innovators of each genre he explores. His rock and roll isn't a superficial imitation; it's steeped in the reverence for Eddie Cochran, the Rolling Stones, and the British Invasion. His blues comes from a place of genuine admiration for Willie "Big Eyes" Smith and the traditions of jump blues. And his avant-garde work is built upon the challenging legacies of Albert Ayler, Sun Ra, and the mentorship of Michael Snow. This deep historical and theoretical understanding allows him to push boundaries from a place of informed respect, rather than random experimentation.
Thirdly, his work reveals an instinct for impactful collaboration. Mars doesn't just play with great musicians; he actively co-creates and co-produces, fostering environments where mutual inspiration thrives. He understands how different musical personalities can intertwine to create something greater than the sum of their parts. The detailed liner notes and collaborator lists on his albums aren't just credits; they are a map of his artistic journey, highlighting the critical role played by others in shaping his sound.
Finally, there is a fearless spirit of inquiry. John Mars isn't content to settle into a comfortable niche. He seeks out new sonic territories, new expressive possibilities. This is evident in his choice to use a "double drum set" for avant-garde performances, or to strip away the rhythm section entirely for the intimate "Detroit or Buffalo" album. This constant pushing of personal and genre boundaries is perhaps the most defining characteristic of his musical style: an unwavering commitment to exploration and artistic growth.
This unique blend of authenticity, historical reverence, collaborative genius, and fearless inquiry is the true John Mars signature. It's what allows his influences to span such vast territories without his work ever feeling disjointed or disingenuous. Instead, it forms a coherent, compelling narrative of an artist perpetually in motion, always seeking the next sonic truth.
Where to Begin Your Exploration
John Mars's expansive discography might seem daunting at first, but understanding his core influences provides a perfect roadmap for diving into his world. Here's how to approach his music, depending on what resonates most with you:
- If you love classic Rock & Roll, British Invasion, or garage rock: Start with the "WHASUP?" CD. It's lauded for its pure rock 'n' roll energy and diverse influences from The Rolling Stones to Eddie Cochran. Also, seek out the Brian’s Children 45rpm, particularly "Cut Her Hair," for a taste of raw, cult-classic garage rock. The NATURAL BORN LOVERS live recordings offer an energetic tribute to 50s rock and R&B.
- If you're drawn to authentic Blues: Dig into anything featuring Jack deKeyzer, especially "Jump Right To It" on deKeyzer's "Six String Lover" album. The story behind its composition and its jump blues feel is compelling. Don't miss "Big Wig Woman" on Willie "Big Eyes" Smith's "Blues From The Heart" to hear Mars's songwriting embraced by a true blues legend.
- If Avant-Garde Jazz, New Music, or Experimental Sounds intrigue you: Your starting point must be his work with Stuart Broomer. The "Annihilated Surprise" LP (and any potential re-issue) is essential. Explore the live recordings from UB Katharine Cornell Theatre for "Expressionism" and A Space Quartet Concert for "Extempore." These works showcase his innovative approach to percussion and his collaboration with figures like Michael Snow. This is where Mars truly pushes the envelope of sound.
- If you prefer intimate, acoustic, or singer-songwriter styles: The "Detroit or Buffalo" CD is your go-to. Its unique instrumentation, focusing on vocals, acoustic guitar, piano, and organ without a traditional rhythm section, offers a deeply personal and melodic experience. Seek out the rehearsal recordings of "Sadness," "The Skye," and "When You Are Old" for a glimpse into his introspective side.
John Mars’s career is a testament to an artist unwilling to be confined by genre. Each chapter of his musical journey offers distinct pleasures and profound insights into the rich tapestry of his influences. The beauty is that you don't have to choose just one path. Like a seasoned journalist uncovering layers of a story, you can explore each facet, appreciating how these seemingly disparate styles converge into the unique and compelling voice of John Mars. Dive in, and let the journey begin.