Friends, I don’t know that BOOKMARKS will get a more satisfying review than this one from Tor Lukasik-Foss, a Hamilton-based writer/storyteller of whom I’m a HUGE fan. Tor saw BOOKMARKS at the Hamilton Fringe and was inspired to write it.  Speaking as the creator and performer of BOOKMARKS, it's high reward to feel this understood; to have the work I’ve done be this perceived, and articulately enjoyed : 


“I’m a sucker for good storytelling, but I’m also finicky—I don’t like it when stories are told in a way that feels acted, I don’t like it when stories have been polished to a high precision, and I don’t like it when stories are delivered solely for weightless amusement. I do like it when the craft of the storytelling is so hidden within a conversational delivery that I don’t notice it—when the teller seems to be speaking casually and only when I’m knee deep in their narrative do I realize that I’m enmeshed in something that is both poetic and precisely crafted.  

This is why Bookmarks, written and performed by Corin Raymond, currently on view at the 2022 Hamilton Fringe, whalloped me as much as it did. It starts off so unassuming, and then in small, deliberate increments builds to a finish that is equally emotional and revelatory. No small feat for a play whose premise suggests nothing more than ‘books are cool”.  

Through a succession of 5 or 6 monologues (I wasn’t counting), Raymond alternates between alliterative tributes to the tactile, talismanic quality of books and key biographical moments where his attachment to them has been forged. Within the weaving of these pieces is a seemingly inconsequential tale of losing a Helen Garner paperback in an Australian airport, and Raymond’s subsequent overreaction to the loss. This moment soon becomes a toggle switch for a more foundational trauma.  

Normally, I think I might write it off as a storyteller’s trick to take a slight moment and then extrapolate on it so that it can talk to bigger and more elemental themes. But in Bookmarks, the sheer ferocity of Raymond’s conviction, and the urgency and vulnerability of his telling erase any notion that he is either contriving or being clever. By the end of the piece, it is evident that books are not just books for Raymond; they are tools essential for his survival. And those things that give us solace and stability should never ever be taken for granted; indeed, we should take time to recognize and venerate them.  

And this is what Raymond has done. I’m grateful for it.”

LIVE-ZOOMIN' my one-person show The Great Canadian Tire Money Caper! 


I'm live-Zooming my one-person show The Great Canadian Tire Money Caper, followed by a little music, on Tues Sept 28!

Tickets can be had here (hover cursor over link): 

(Bookworm on Tues Oct 26 and the "workshop debut" of a brand new show on Tues Nov 30)

Stay in tune,


ps. This poster is making use of a gorgeous painting by Hamilton's James Thomas.


Friends out there in the front row, 

Sliding scale tickets to my Thursday, June 24th performance are to be found right here; just hover your cursor over this sentence or on the picture above.

The front row of the third and last of this 3-show series is as magic as ever: everyone gets to be there.

My last "Haircut" (presented by Home Routes back on May 13th), 234 folks bought front-row tickets; and lots of those ticket-buyers brought their partners, their sweethearts, their kids –– in the end, there were about 400 beautiful beating hearts, all in the FRONT ROW –– all together, hailing friends and chatting and communing and snacking on the sweetness of the crowd as much as on the show itself.

I'm telling you, magic has attended these "Haircuts" both times. 

But before I get you any more EXCITED about this third and last "Haircut" (my final online appearance until the fall), I need to acknowledge something that I don't express enough: half of what makes my shows so special is that I have such a good crowd.

I'm miraculously fortunate this way. My audience is just made of good people. I don't say this to flatter; I say it because you're the caramel secret in the Cadbury's Caramilk bar of what I do –– you're the magic-front-row ingredient that makes my whole enterprise feel so right –– and when you all get together, well, that's the non-technical, intangible other thing –– that's the confluence of hearts at the heart of my long sought-after Caramilk secret.

My first show (back on April 1st), we had 214 ticket buyers! Our goal for the May 13th show was 215, and we hit 233

My dream is to end this 3-show season on 234! –– is that so wrong? Friends, is it WRONG TO DREAM?

I, for one, believe in us. I know we can; and there's joy in numbers.

But hey, before I leave you to purchase your tickets and to sweetly ponder the faces of far-flung friends or faraway family (or friends you haven't had the chance to do something utterly joyful with in a while) whom you might be inspired to suggest join you in my magical front row, let me tell you what you can expect from me on Thursday, June 24th:

1. As with my each of these three shows, this one will feature 80% different material than the others did.

2. I'll be debuting at least two totally brand-new songs: "Just For the Record" and "Wasn't Done Falling in Love." (I'm hoping to finish a third new song called "Listenin'" between now and the 24th.)

3. I'll be fulfilling several requests that I was unable to satisfy for the last show or the one before that: "Blue Mermaid Dress" or "The Law and the Lonesome," anyone? –– to name a couple. I'm even gonna break down one of the verses of "The Law and the Lonesome" and tell you the origin of each line. (For those of you who are into that kinda thing.)

4. I'm excited to share two new Bookworm monologues from the show I'm currently working on, which I'll be debuting in its entirety with Home Routes in the fall (more on that 3-show series soon enough).

5. Along with the requests and songs from earlier records, I'll be revisiting new material such as "The First Hundred Years Are the Hardest," "Sorry Love (For This Sorry Love of Mine)" and "We Are So Lightly Here."

6. I will make you belly laugh.

7. Furthermore, I promise you at least one good cry –– in other words, feelings of sweet sorrowful human joy and relief.

I dare you to bring someone who's never heard of me. 

I dare you to bring someone who has.

I dare you to bring someone you love.

Share the magic front row! 

I dare you to purchase your ticket without further internal dialogue, as I'll feel the effect of that inspiration immediately, and it will be channelled directly into the work I'm doing to prepare for this mystical event!

Again, sliding scale tickets are HERE (hover your cursor), my Patreon is THERE (hover)

And I remain, 

Promotionally yours,

Corin Raymond 

ps. Bahoozbahhh! 


Friends out there in the front row,

Sliding scale tickets to my Thurs May 13th performance are to be found right here, hover your cursor over this sentence or on the picture above –– and I dare you to bring someone who's never heard of me.

I did my very first solo online show last week (Thurs Apr 1, 2021) and it was warm and wooden and wonderful! If you were one of the 214 who attended that one, thank you for making my month.

Aside from the joy it gave me to sing you 14 songs as well as share a "bit" from my next Bookworm show (I performed a monologue called "Airport Books" which I'm this week putting up on my Patreon, hover your cursor here if you're curious), the biggest joy –– as it so often was in the Before Times –– was being an excuse for my fans and friends to get together.

I read the chat the following day and it glowed like a magical transcription of the best Cameron House convergence ever! I'm very lucky to have a fanbase that's just a benevolent horde of warm hearts. Friends, I love you.

This is the greatest thing about my work in the Small Time is that fundamentally, it's made of people like you. If you know someone who would be made happier for having Corin Raymond in their lives, I already know that I'll be happier to have them in mine. We're in a trying final stretch of the Pandemic and we need all the joy and inspiration we can find. I've got some of that stuff! So my suggestion for Thursday, May 13th is that you bring someone who's never heard me.

Bring a friend –– bring your uncle! Bring your sister who lives out in Burnaby now. Bring someone you miss, someone you wanna commune with in a way that's warm and winsome and open-hearted. Bring someone who likes to laugh.

Someone to share the front row with!

Again, sliding scale tickets are HERE (hover your cursor), my Patreon is THERE (hover)

And I remain,

Corin Raymond

ps. Bahoozbah!


"Dirty Mansions is the magnificent sum of all its parts: the book, with so, so many great stories; heart achingly sad and funny and everything in between. The CD with the exquisite mix of these now favourite songs. And of course, the album release shows (THE BEST SHOW YOU WILL SEE THIS YEAR). Go see this! You need this today, tomorrow, and let’s face it, you probably needed it yesterday. Corin Raymond, you are music’s true alchemist. Pure Gold." – Jen Kirkwood


All dates and tickets at TOUR DATES, and note that LONDON is separate, at the top of the page.  All advance ticket purchases for London go straight to me, and there's no fee for those. Bahoozbaaaah! CR


  You might’ve noticed that I’m willing to go some extra distance for what I do. Not just with what you’re holding in your hands, but at every step. If a song proves resistant in the studio, if we’re not feeling the direction we’ve taken, despite the time and money that’s been spent, I’ll go back, and begin again. This is my gift, and my curse. I’ll put a thousand bucks into a song and then, later on, make it walk the plank. It happens. It’s just not the usual practice in the Small Time, where money and deadlines are tight. Hey, we’re all in the same boat. None of us can afford to make records, and to make a good one is expensive. It costs to record, to mix, to master; to book your studio time, pay your producer, your engineer, your players. It costs to bring them back, if that’s called for. You don’t want to spend more than you have to, but sometimes it’s part of the job. 

  Furthermore, it’s extravagant to make a book, to print it, and ship it to where it needs to be. It may feel excessive to pay to publicize, promote, and put it out there, but to honour the time, money, and energy you’ve expended––well, as Scott Cook says, “You know I didn’t come this far not to go all the way.” And don’t get me wrong. It’s a lot of work, but it’s work that’s fun to do, and most of the time, it’s rewarding as all heck. But to finally have a record that’ll stand the test of time requires no small amount of potatoes. As a previous example, my album Hobo Jungle Fever Dreams cost $60,000.00 to make. All in, all told, top to bottom. Dirty Mansions will be similar, but you know what? It’s worth it. I wouldn’t take back a penny. I’ll listen to Dirty Mansions on my deathbed and go out grinning. Of course, none of this touches on the thousands of hours, the years it takes to write the songs, or to learn how to play them, or the never-ending grind of “writering,” as opposed to “writing,” by which I mean the mountain of administrative work that stands between me and my having a career. 

  Which, for me, raises the question: “What’s it worth?” What’s the figure we can put on the music that heals our souls? What’s the empirical value for the work that’s brought us these songs? Can it even be tabulated? Could I ever remunerate Tom Waits, or Leonard Cohen, or any of my friends, for that matter, for what they’ve given me? I certainly bought Tom Waits and Leonard Cohen records when they were for sale, and paid, multiple times, to see them, but even so. The five times I saw Leonard Cohen in concert, we applauded like every single song was his final encore. We couldn’t clap hard, or long enough, because we weren’t applauding only the momentary performance of that song––we were applauding for everything that song had ever meant to us, over a lifetime. Perhaps the nominal amount we spend on that ticket is an inadequate way to express this gratitude, but a way nonetheless. Perhaps there can never be a price on what Leonard Cohen’s music means to us. Maybe it’s this exchange of our money for his lifelong dedication to music that provides us the rare opportunity to turn our money into love. 

  As a working songwriter, I need to find a way to let people know I have albums for sale––or steins, t-shirts, what have you. I’m an entertainer, so I’m expected to make jokes, and keep it light. When I say, “This is your chance to turn your money into pure love,” people laugh, because “Hahaha, listen to the funny man asking us to buy something! He’s so funny!” When I describe this alchemy of money into love, it’s not a gag. We’re just not socialized to think about money this way, but given the current consumer climate, I deserve as much as any working stiff to say something about the money I earn. Do you remember a little thing I like to call “The Great Canadian Tire Money Caper”? Remember how much joy was yielded by each, single paper nickel? How extraordinary was that? What a beautiful, living example of our reciprocity! What a revelation of value. Because, of course, each of us needs more than a single nickel made of paper, to keep our engines turning. This isn’t about the money, and of course, it’s about the money. Because I need the money, like everybody does––and yet, at the same time, it’s not the money I really need. This is the paradox of what I do. So where does it bring us? 

  Perhaps, on a smaller scale, our relationship as audience and artist, works something like this: I’ll agree to give you everything I have. I’ll invest it all, go all in. The whole kaboodle. For reasons which are not money reasons. Reasons which, at first, aren’t even aware of money. Motivations that would be impossible for our present Premier of Ontario, or for the current President of the United States to understand. Because they aren’t profit reasons. This exchange between us, this “Economy of Generosity,” isn’t about anyone getting richer––at least not in any way that capitalism would approve. In fact, it’s about us being allowed to forget the money. Let’s face it. This is the beautiful irony of how this weird job works: You will never be able to pay me for what I give to you. But the money you do give me has value beyond its denomination, beyond the banker’s eye. This deal of ours will never be successfully added up on any abacus, or personal computer. Do you see what I’m getting at? This is how we turn our money into love.

(Excerpted from the upcoming Dirty Mansions book. To get involved, CLICK HERE and slide on over to my Dirty Emporium...)

Subscribe to Corin's Email List and get a FREE DOWNLOAD of "Trains and Boats and Buses"!

* indicates required

Previous events

Corin Raymond

 —  —


Proudly presented by Home Routes, this show will be broadcast live to your home or bubble, safely and securely via zoom. Tickets begin at $10 and are available for purchase at SHOW DETAILS: The Stay-at-Home Troubadour Revue: with Scott Cook, Corin Raymond and Jonathan Byrd Tuesday, February 2, 2021 8 - 9:30pm ET LIVE on zoom. Broadcasting live from: Teer, North Carolina, USA - Jonathan Byrd Edmonton, AB - Scott Cook Hamilton, ON - Corin Raymond Tickets: $10 (pay a little less) $15 standard price or $25 (pay a little more) Purchase: TICKETS: Tickets range from $10 - $25 CAD, and all ages are welcome. Show takes place on zoom, safely and securely. All ticket buyers will receive a purchase confirmation email, and another email with an access link to join the show within 24 hours of show time. If you are purchasing multiple tickets, please specify one individual email address per ticket.

$10 to $25

Corin Raymond @ Edmonton House Concert

Hargrave House Concert, Edmonton

My last show before the Junos... 30 tickets available. I'm definitely bringing new songs to this one. I'll be accompanied by Shari Rae and Tyler Allen for some cozy magic. Note: there will be NO late entries once the show begins.

Tad's address is 10927 89 Ave., right above the Saskatchewan River, just behind the Highlevel Diner.


I love when I get to bring Bookworm to a badass bookshop! Sellers & Newell is a beautiful place, and you should drop by if you're ever in Little Italy. It's on College just west of Grace - and you'll want to drop by if you're planning on being at this show. Tickets are available in advance (cash only) at the shop itself. Which, as I say, you should treat yourself to whether you're coming on March 1st or not. Bookworm followed by a set of mostly new songs. Doors 7pm, Show 8pm, and this WILL be a licensed event.

Hobo Jungle Fever Dreams: Coffee Table CD
  • Hobo Jungle Fever Dreams: Coffee Table CD

Hobo Jungle Fever Dreams: Coffee Table CD

In cart Not available Out of stock

The physical album package is 80 pages of beauty, featuring liner notes, chords and lyrics to the songs, as well as 19 paintings by Travis Charuk (like the one you see of Corin on the cover). Gorgeous design and layout by Pearl Rachinsky.

Read more…
Coffee Table CD - SOLD OUT
  • Coffee Table CD - SOLD OUT

Coffee Table CD - SOLD OUT

In cart Not available Out of stock

This "coffee-table CD" consists of a 144-page hardcover book and two CDs. 20 songs by songwriters from across Canada (including Corin himself), stories about where the songs were found and who the artists are, the words and chords to every song, and 57 pictures. Basically, liner note heaven.

Read more…
There Will Always Be A Small Time: CD
  • There Will Always Be A Small Time: CD

There Will Always Be A Small Time: CD

In cart Not available Out of stock

Corin Raymond's 2009 of release There Will Always Be A Small Time went to #5 on the Roots Charts in the States, was nominated by the Independent Music Awards for Best Story Song ("Blue Mermaid Dress") and won the People's Choice for Alternative Country Album. The album features songs like "Better Him Than Me," "I Wish I Was In Love," "Paid To

Corin Raymond's 2009 of release There Will Always Be A Small Time went to #5 on the Roots Charts in the States, was nominated by the Independent Music Awards for Best Story Song ("Blue Mermaid Dress") and won the People's Choice for Alternative Country Album. The album features songs like "Better Him Than Me," "I Wish I Was In Love," "Paid To Party," and the anthemic title track, "There Will Always Be A Small Time."

Read more…
Doghouse Dreams: CD
  • Doghouse Dreams: CD

Doghouse Dreams: CD

In cart Not available Out of stock

Acoustic songwriting duo, draws from American Blues, R&B, Gospel, Ragtime and Country to create their own brand of of Canadian "folk music theatre".

Read more…
Cherry Wood Stein (20oz) - 7 Left in Stock!
  • Cherry Wood Stein (20oz) - 7 Left in Stock!
  • Cherry Wood Stein (20oz) - 7 Left in Stock!
  • Cherry Wood Stein (20oz) - 7 Left in Stock!
  • Cherry Wood Stein (20oz) - 7 Left in Stock!

Cherry Wood Stein (20oz) - 7 Left in Stock!

In cart Not available Out of stock
Out of stock

Gorgeous handcrafted 20 oz stein, bevelled and finessed together seamlessly from twenty pieces of cherry wood. Stained and finished with hemp oil. Each order comes with a bottle of hemp oil, for future upkeep, along with stein-care instructions. Album title burned into the wood, with "Album Release 2016" on the underside.

Initialled by Alex Ferri,

Gorgeous handcrafted 20 oz stein, bevelled and finessed together seamlessly from twenty pieces of cherry wood. Stained and finished with hemp oil. Each order comes with a bottle of hemp oil, for future upkeep, along with stein-care instructions. Album title burned into the wood, with "Album Release 2016" on the underside.

Initialled by Alex Ferri, of Mystic Wood, the maker of these little vessels of beauty.

Read more…