It's funny how all these amazing songs are preserved through commercials.
An Illinois lottery commerical borrows it for its slogan.
I learned recently that this tune is incredibly old. It was first recorded in 1931 by Ozzie Nelson and his Orchestra. It however experienced top 20 success recorded by Frankie Laine in 1950.
My personal favourite is Mama Cass' version that she released in 1968, immediately after the breakup of the Mamas and Papas. This 'live' version is clearly lip synched but it's absolutely lovely and she looks incredibly glamourous. My personal favourite TV version of this song is on the Smothers Brothers show. It makes me laugh everytime!
Louis Armstrong does a very candid version of the tune too.
As does Zooey Deschanel.
Monday, May 31, 2010
"Happy Together" by the Turtles
I had the opportunity to see the Turtles a couple of years ago at Hippie Fest (completely lame I know!) and I was completely shocked by what nuts they were. For those of you who don't know the Turtles are from time to time they are also also Flo & Eddie, two of the founding members of the band - Howard 'Eddie' Kaylan and Mark 'Flo' Volman. As Flo & Eddie, they took their offbeat style to work with Frank Zappa on a handful of albums and serve as backup vocals to the likes of T-Rex, Steely Dan, The Ramones and the Boss. At Hippie Fest (!!) it was just Flo & Eddie. They seemed more like a comedy act, than the clean cut sound I so often heard on their epic tune "Happy Together".
They also made music too, in 1975 they released - "Rebecca."
Seeing Flo & Eddie live really shattered by impression of the band behind "Happy Together." I always perceived them as a serious band, and a serious love song. You can however see how goofy this band really was in this 'live' video of them from the '60s. The song was also spoofed on That 70's show.
Believe it or not but "Happy Together" was my parents wedding song. It doesn't strike me as a dancing song fit for the wedding song, but my parents made it work with my brother who was six or seven at the time in between the newlywed couple. Anytime the song is heard, my parents immediately call each other to tell the other that it's playing. It's their way of refreshing their vows.
They also made music too, in 1975 they released - "Rebecca."
Seeing Flo & Eddie live really shattered by impression of the band behind "Happy Together." I always perceived them as a serious band, and a serious love song. You can however see how goofy this band really was in this 'live' video of them from the '60s. The song was also spoofed on That 70's show.
Believe it or not but "Happy Together" was my parents wedding song. It doesn't strike me as a dancing song fit for the wedding song, but my parents made it work with my brother who was six or seven at the time in between the newlywed couple. Anytime the song is heard, my parents immediately call each other to tell the other that it's playing. It's their way of refreshing their vows.
The Zombies
The Zombies sound like every other sixties rock band with their clean cut image and sweet, harmless tunes.
They've somehow however managed to distinguish themselves from the other brit-pop bands of that time. On the surface, it was probably in large part because of their breakthrough hit "Time of the Season." Of which you might recognise from countless commercials suggesting love or lust. Even though it's well overplayed, I still find myself listening to this song. There's something really seductive about it.
Beyond just their smash hit, The Zombies stick out to me personally because of their brilliant album the 'The Odessey and the Oracle.' This album is the epitomy of the sixties, it has Rod Argent's impressive keyboard work and Colin Blunstone's pretty, pretty vocals.
I don't think there is one song on the entire album that I don't like. The style of song on the album is so fit for its time but it has something that is so advanced about it. It's like the macbook of the sixties, hip and ageless. For instance, a few years back I played my Dad "Saint Simon" by the Shins and he immediately said they're ripping of the Zombies' sound. I definitely felt the correlations.
My favourite track of 'The Odessey and the Oracle' is the beautiful "Care of Cell 44". It plays as a letter and is incredibly repetitive but it's so harmless I can't help but love it. I found an Elliott Smith cover of this song, and amazingly it's of high quality!
Another brilliant track is the tune - "This Will Be Our Year." I read in an interview somewhere that Zooey Deschanel-Gibbard (ha!) wanted to play that song at her funeral. I thought it was kind of an odd choice, but I have to give it to her that is quite the mood lifting tune to have. The lyrics are completely perfect in that song. Deschanel thinks funeral and I think i'd play it at my wedding!
I've noticed 'The Odessey and the Oracle' has been getting a lot of attention from friends of mine for its artwork. It's funny because I've had the album for quite sometime and the artwork always struck me as weird, nothing remotely impressive. To be quite honest, keeping their admirations in mind, it just seems like a big colour swoosh to me.
They've somehow however managed to distinguish themselves from the other brit-pop bands of that time. On the surface, it was probably in large part because of their breakthrough hit "Time of the Season." Of which you might recognise from countless commercials suggesting love or lust. Even though it's well overplayed, I still find myself listening to this song. There's something really seductive about it.
Beyond just their smash hit, The Zombies stick out to me personally because of their brilliant album the 'The Odessey and the Oracle.' This album is the epitomy of the sixties, it has Rod Argent's impressive keyboard work and Colin Blunstone's pretty, pretty vocals.
I don't think there is one song on the entire album that I don't like. The style of song on the album is so fit for its time but it has something that is so advanced about it. It's like the macbook of the sixties, hip and ageless. For instance, a few years back I played my Dad "Saint Simon" by the Shins and he immediately said they're ripping of the Zombies' sound. I definitely felt the correlations.
My favourite track of 'The Odessey and the Oracle' is the beautiful "Care of Cell 44". It plays as a letter and is incredibly repetitive but it's so harmless I can't help but love it. I found an Elliott Smith cover of this song, and amazingly it's of high quality!
Another brilliant track is the tune - "This Will Be Our Year." I read in an interview somewhere that Zooey Deschanel-Gibbard (ha!) wanted to play that song at her funeral. I thought it was kind of an odd choice, but I have to give it to her that is quite the mood lifting tune to have. The lyrics are completely perfect in that song. Deschanel thinks funeral and I think i'd play it at my wedding!
I've noticed 'The Odessey and the Oracle' has been getting a lot of attention from friends of mine for its artwork. It's funny because I've had the album for quite sometime and the artwork always struck me as weird, nothing remotely impressive. To be quite honest, keeping their admirations in mind, it just seems like a big colour swoosh to me.
Sunday, May 30, 2010
Neil Quin/Zeus
Neil Quin! An amazing find.
I had only heard of Quin from his work in Zeus... I however felt that because there is such a great amount of instrument change within the band that they were each individual song writers. I was completely right - I stumbled upon Neil Quin's Myspace which has a few "Zeus" that were very clearly his own.
I've harped on this before but they remind me so much of the Beatles.
I had only heard of Quin from his work in Zeus... I however felt that because there is such a great amount of instrument change within the band that they were each individual song writers. I was completely right - I stumbled upon Neil Quin's Myspace which has a few "Zeus" that were very clearly his own.
I've harped on this before but they remind me so much of the Beatles.
Zeus
I can't stop thinking about the Zeus show. They put on such a stellar show.
I have been left completely speechless, and in awe. I was entertained and excited.
I can't stop listening to:
"Greater Times on the Wayside"
"River by the Garden"
"Heavy on Me"
I have been left completely speechless, and in awe. I was entertained and excited.
I can't stop listening to:
"Greater Times on the Wayside"
"River by the Garden"
"Heavy on Me"
Saturday, May 29, 2010
Carole King and James Taylor at the Air Canada Centre; Friday May 29, 2010
The Air Canada Centre is a place to see sports events not live concerts. I watched ninety percent of the Carole King and James Taylor show on the big screen. Our tickets were in the 300 section, ten rows back. From where I could see, King and Taylor were half the size of my index finger. I will never, ever see a show at the ACC.
Large venue aside, I really enjoyed listening to these artists. Taylor and King had all the energy and sound that they had forty years ago. Their set was planned like a stage show, they had cued images that reflected their prepared speeches throughout the performance. James Taylor was the talker and Carole King said her thank yous only.
Taylor and King entered the revolving stage, which was located in the centre of the skating rink. King had her Yamaha grand piano set up, while taylor had an acoustic guitar. They played two slower songs to start of the show. I'm less familiar with Taylor's music so my knowledge will be very limited. The second of the two stripped down songs they started off with was "So Far Away." Her voice was ridiculously scratchy and she had a difficult time making many of the notes. I was really wry whether as to if King could make the high notes in the rest of her tunes. We realised nearing the end that this was simply her warm up. She modestly said that her voice was not in top condition today. King really struggled with the slower songs, rather than her more upbeat tunes.
Her voice was absolutely stunning. She had a raspy sound to it that showed wear. I really liked her drive and energy that was very distinct. King is a performer, she's comfortable keeping her dialogue to a minimum, but she dance and frolicked around like she was twenty again.
It seemed like this concert series was based on a show they played at the Troubadour in the seventies. Before seeing the show I stumbled upon this video of King's tune titled "So Far Away" and I realised that these two people had serious chemistry in the past. It was also evident from their live show that they still have chemistry today.
Here are a few tunes that I really love, both old and new:
"You've Got a Friend" (1971)
"You've Got a Friend" (2010)
"So Far Away" (1971)
"So Far Away" (2010)
"I Feel the Earth Move" and "(You Make Me Feel) Like a Natural Woman" (1971)
"I Feel the Earth Move" (2010)
"(You Make Me Feel) Like a Natural Woman" (2010)
**you can notice in her 2010 version of "(You Make Me Feel) Like a Natural Woman" she was really pushing to get the chorus out. It's really amazing to see just how effortless her 1971 performance was. She really pushed audience participation at her Air Canada Centre show - she only sang one of the chorus' and it was at the very end.
I would love to see both artists again, but I think it would have been a truly remarkable show if it was at a smaller venue like Massey Hall (four night stand perhaps?). I'm really looking forward to seeing Levon Helm at Massey Hall in a month or so. This is a brilliant video from the Last Waltz - Levon's singing and play the drums.
Large venue aside, I really enjoyed listening to these artists. Taylor and King had all the energy and sound that they had forty years ago. Their set was planned like a stage show, they had cued images that reflected their prepared speeches throughout the performance. James Taylor was the talker and Carole King said her thank yous only.
Taylor and King entered the revolving stage, which was located in the centre of the skating rink. King had her Yamaha grand piano set up, while taylor had an acoustic guitar. They played two slower songs to start of the show. I'm less familiar with Taylor's music so my knowledge will be very limited. The second of the two stripped down songs they started off with was "So Far Away." Her voice was ridiculously scratchy and she had a difficult time making many of the notes. I was really wry whether as to if King could make the high notes in the rest of her tunes. We realised nearing the end that this was simply her warm up. She modestly said that her voice was not in top condition today. King really struggled with the slower songs, rather than her more upbeat tunes.
Her voice was absolutely stunning. She had a raspy sound to it that showed wear. I really liked her drive and energy that was very distinct. King is a performer, she's comfortable keeping her dialogue to a minimum, but she dance and frolicked around like she was twenty again.
It seemed like this concert series was based on a show they played at the Troubadour in the seventies. Before seeing the show I stumbled upon this video of King's tune titled "So Far Away" and I realised that these two people had serious chemistry in the past. It was also evident from their live show that they still have chemistry today.
Here are a few tunes that I really love, both old and new:
"You've Got a Friend" (1971)
"You've Got a Friend" (2010)
"So Far Away" (1971)
"So Far Away" (2010)
"I Feel the Earth Move" and "(You Make Me Feel) Like a Natural Woman" (1971)
"I Feel the Earth Move" (2010)
"(You Make Me Feel) Like a Natural Woman" (2010)
**you can notice in her 2010 version of "(You Make Me Feel) Like a Natural Woman" she was really pushing to get the chorus out. It's really amazing to see just how effortless her 1971 performance was. She really pushed audience participation at her Air Canada Centre show - she only sang one of the chorus' and it was at the very end.
I would love to see both artists again, but I think it would have been a truly remarkable show if it was at a smaller venue like Massey Hall (four night stand perhaps?). I'm really looking forward to seeing Levon Helm at Massey Hall in a month or so. This is a brilliant video from the Last Waltz - Levon's singing and play the drums.
Friday, May 28, 2010
Zeus at the Mod Club, Thursday May 27, 2010
By the end of this note, I want you to love Zeus like I do. I want you to understand how I felt at this show. And finally, I want you to see how talented this band really is.
Zeus have a raw energy to their live show that few bands have that I've seen. Everything they do has been thought through, not hard, but in a way that they can do exciting things live in a clean, manageable way. Most notably is their serious instrument change ups. Everyone with the exception of the drummer played piano, bass, guitar and sang lead vocals.
I couldn't help myself but to think of comparisons in seeing this show. I took two friends who hadn't experienced the Zeus live show and I myself had forgotten just how innovative and fun they were live. We all agreed they sounded a bunch like the Beatles. My favourite tune is called "Greater Times by the Wayside," followed by the tune "River by the Garden." Two songs that could easily be blended together like the Guess Who's "No Sugar Tonight/New Mother Nature" and the Beatles' "A Day in the Life." They always play these songs together in the live show, as it is represented on the album, tonight was no exception. I was very surprised that they played it so early in their set (probably four and fifth). It was definitely my climax of the show, as it was the very moment I craved to hear. "Greater Times..." sounds a bunch like a John Lennon tune. This song is very clearly a Neil Quin song. Whereas, "River by the Garden" is a very Ringo Starr like song, clearly written by Mike O'Brien. The tipper is if someone sings the song, it's a safe bet to say it's theirs.
Much like the Beatles, this band songs are very divided. However, not so much as a disjointed way, but more as a collective. I can't help but think those songs that say Quin brought to the band are so much like those that say Lennon brought to the Beatles. Although a good chunk of Lennon's tunes were credited as Lennon/McCartney.
Zeus also has the energy that the Beatles had when playing live. It is very evident it comes ridiculously easy to these guys, and I truly admire that. Zeus put on an extremely fun show, a show I want to dance at (and I'm not very good at dancing!).
Another comparison that came to mind was to Jason Collett. These guys have served as Collett's back up band for as long as I've been sneaking in underage to see Collett's shows. Although not altogether, Mike O'Brien has always been there, a former member of Paso Mino, Collett's back up band from 2005/6. This comparison was an observation of how much Zeus has influenced the way Collett's more recent albums have turned out. Both 'Here's to Being Here' and 'Rat A Tat Tat' ooze Zeus. The first notable shift on a Collett album that I heard (and really didn't like) was "Charlyn, Angel of Kensington," from the weird guitar riff (Mike O'Brien) and the odd tube-like instrument that Carlin Nicholson plays imitating the streets sounds in the chorus. I really truly hated this song. After really hearing Zeus, I've come to realise that that song is as much Zeus as it is Jason Collett.
They closed up their set with a Genesis cover titled "That's All," which made it on to their first release titled 'Sounds Like.' It's tremendously edgier than the soft original.
Zeus put on a real charismatic show. They've completely won my heart over. By the end of it, I turned to my friends and said - "Can you imagine seeing, Zeus, Jason Collett and Bahamas altogether for a revue?" My dearest friend replied - "WHEN WAS THAT?" I said calmly in return (and mighty proud) - "Oh, a few months ago..."
After the show, I was walking my bike by the venue, there was a man taking up too much of the sidewalk. That man was Jason Collett and I very politely asked him to move out of the way. He was quite engaged with the conversation to the amazing Afie Jurvanen (Bahamas). I've never been one to confront artists that I really admire, but I felt good just asking him to make some room for me. This is why I love Toronto, music lives here. In six months time when I don't have the comforts of this city, that is something I'm going to really miss.
Zeus have a raw energy to their live show that few bands have that I've seen. Everything they do has been thought through, not hard, but in a way that they can do exciting things live in a clean, manageable way. Most notably is their serious instrument change ups. Everyone with the exception of the drummer played piano, bass, guitar and sang lead vocals.
I couldn't help myself but to think of comparisons in seeing this show. I took two friends who hadn't experienced the Zeus live show and I myself had forgotten just how innovative and fun they were live. We all agreed they sounded a bunch like the Beatles. My favourite tune is called "Greater Times by the Wayside," followed by the tune "River by the Garden." Two songs that could easily be blended together like the Guess Who's "No Sugar Tonight/New Mother Nature" and the Beatles' "A Day in the Life." They always play these songs together in the live show, as it is represented on the album, tonight was no exception. I was very surprised that they played it so early in their set (probably four and fifth). It was definitely my climax of the show, as it was the very moment I craved to hear. "Greater Times..." sounds a bunch like a John Lennon tune. This song is very clearly a Neil Quin song. Whereas, "River by the Garden" is a very Ringo Starr like song, clearly written by Mike O'Brien. The tipper is if someone sings the song, it's a safe bet to say it's theirs.
Much like the Beatles, this band songs are very divided. However, not so much as a disjointed way, but more as a collective. I can't help but think those songs that say Quin brought to the band are so much like those that say Lennon brought to the Beatles. Although a good chunk of Lennon's tunes were credited as Lennon/McCartney.
Zeus also has the energy that the Beatles had when playing live. It is very evident it comes ridiculously easy to these guys, and I truly admire that. Zeus put on an extremely fun show, a show I want to dance at (and I'm not very good at dancing!).
Another comparison that came to mind was to Jason Collett. These guys have served as Collett's back up band for as long as I've been sneaking in underage to see Collett's shows. Although not altogether, Mike O'Brien has always been there, a former member of Paso Mino, Collett's back up band from 2005/6. This comparison was an observation of how much Zeus has influenced the way Collett's more recent albums have turned out. Both 'Here's to Being Here' and 'Rat A Tat Tat' ooze Zeus. The first notable shift on a Collett album that I heard (and really didn't like) was "Charlyn, Angel of Kensington," from the weird guitar riff (Mike O'Brien) and the odd tube-like instrument that Carlin Nicholson plays imitating the streets sounds in the chorus. I really truly hated this song. After really hearing Zeus, I've come to realise that that song is as much Zeus as it is Jason Collett.
They closed up their set with a Genesis cover titled "That's All," which made it on to their first release titled 'Sounds Like.' It's tremendously edgier than the soft original.
Zeus put on a real charismatic show. They've completely won my heart over. By the end of it, I turned to my friends and said - "Can you imagine seeing, Zeus, Jason Collett and Bahamas altogether for a revue?" My dearest friend replied - "WHEN WAS THAT?" I said calmly in return (and mighty proud) - "Oh, a few months ago..."
After the show, I was walking my bike by the venue, there was a man taking up too much of the sidewalk. That man was Jason Collett and I very politely asked him to move out of the way. He was quite engaged with the conversation to the amazing Afie Jurvanen (Bahamas). I've never been one to confront artists that I really admire, but I felt good just asking him to make some room for me. This is why I love Toronto, music lives here. In six months time when I don't have the comforts of this city, that is something I'm going to really miss.
Thursday, May 27, 2010
Beach House's "Use to Be"
Wow! I definitely didn't listen to this video in full.
Once you arrive at the 2:32 bit starting with "even if we tried so hard..." The original version released as a 7" in 2008 was not featured on their album 'Teen Dream'. Instead they've chopped this bit out:
Even if its simple from the start
we will give the pieces of our hearts
and when there is nothing left to pretend
we will know its coming to an end
Even if we tried so hard
we will give the pieces of our hearts
It's always good to see you again
even if its come to an end
We could wait until the summer
see what happens to the other
We could stay inside all summer
see what happens to the other
Not to mention the TLC jump at the very end!
Note: I just spent the last half an hour researching where this last bit of the song came from... Frantically looking, I found it was released on a 7" from a couple of years back. One that I had actually purchased for a friend two Christmas' ago. All I can think of is how much I want it now, while before all I appreciated was the album art work!
VOILA! I've found the original version!!! -
Once you arrive at the 2:32 bit starting with "even if we tried so hard..." The original version released as a 7" in 2008 was not featured on their album 'Teen Dream'. Instead they've chopped this bit out:
Even if its simple from the start
we will give the pieces of our hearts
and when there is nothing left to pretend
we will know its coming to an end
Even if we tried so hard
we will give the pieces of our hearts
It's always good to see you again
even if its come to an end
We could wait until the summer
see what happens to the other
We could stay inside all summer
see what happens to the other
Not to mention the TLC jump at the very end!
Note: I just spent the last half an hour researching where this last bit of the song came from... Frantically looking, I found it was released on a 7" from a couple of years back. One that I had actually purchased for a friend two Christmas' ago. All I can think of is how much I want it now, while before all I appreciated was the album art work!
VOILA! I've found the original version!!! -
Radiohead's "Nice Dream" and How I Met Your Mother
I recently got into the TV program How I Met Your Mother. After a couple of seasons of intensive watching, I reached the conclusion that this show has no good music on it. That was until the season three finale where Radiohead's brilliant song "Nice Dream" off of 'The Bends' was featured. A strange choice of song but it completely worked with the chain of events.
"Nice Dream" (album version)
"Nice Dream" (Live in 1996, that's fourteen years ago!)
"Nice Dream" (album version)
"Nice Dream" (Live in 1996, that's fourteen years ago!)
Tuesday, May 25, 2010
Beach House 'Teen Dream'
Beach House two years ago meant absolutely nothing to me.
Now, I have to say, they're direction into more upbeat music has won my heart. 'Teen Dream' is my favourite album of the year for the guitar work on the album. It's simple, pretty and distinct in each song.
I've sort of steadily watched more and more Beach House live videos pop up on youtube... From bad covers to poor quality videos to decent videos... To videos of Jay-Z and Beyonce watching Beach House...
Victoria Legrand's vocals are pretty spot on as well.
I hope they can win your heart over too -
"Used to Be" (in a rock)
"Zebra"
"Silver Soul" (Live at Coachella 2010)
"Silver Soul" (The ridiculous hula hoop video... Hula hooping is my hidden talent by the way!)
"Silver Soul" (This is still my favourite "Silver Soul" video, for the teaser guitar bit at 0:07!)
As you can probably tell, "Silver Soul" is my favourite tune off of the record. It's beautiful, simple and repetitive in the best way possible. It use to give me the chills, but due to my incredible song killing, it has lost its lustre. Every once in a while it surprises me though...
And I really couldn't help myself, after I stumbled upon this video of Beyonce and Jay-Z at the Beach House performance in Coachella 2010...
"Two Weeks" (featuring Victoria Legrand)
Now, I have to say, they're direction into more upbeat music has won my heart. 'Teen Dream' is my favourite album of the year for the guitar work on the album. It's simple, pretty and distinct in each song.
I've sort of steadily watched more and more Beach House live videos pop up on youtube... From bad covers to poor quality videos to decent videos... To videos of Jay-Z and Beyonce watching Beach House...
Victoria Legrand's vocals are pretty spot on as well.
I hope they can win your heart over too -
"Used to Be" (in a rock)
"Zebra"
"Silver Soul" (Live at Coachella 2010)
"Silver Soul" (The ridiculous hula hoop video... Hula hooping is my hidden talent by the way!)
"Silver Soul" (This is still my favourite "Silver Soul" video, for the teaser guitar bit at 0:07!)
As you can probably tell, "Silver Soul" is my favourite tune off of the record. It's beautiful, simple and repetitive in the best way possible. It use to give me the chills, but due to my incredible song killing, it has lost its lustre. Every once in a while it surprises me though...
And I really couldn't help myself, after I stumbled upon this video of Beyonce and Jay-Z at the Beach House performance in Coachella 2010...
"Two Weeks" (featuring Victoria Legrand)
Monday, May 24, 2010
"For No One" by the Beatles
I'm having one of those moments I so often have where I think of the Beatles catalogue retrospectively and my mind explodes. It's really remarkable to consider just how much material the Beatles have put out, the progression of the band and the quality of the music.
I decided to listen to the ream of Elliott Smith Beatles covers... The one that stuck out to me in part because of it's superior quality was the tune "For No One". It's really cute that he tries to fill in the beautiful french horn solo with his careless voice noodles.
This is a lovely break-up song... from the beginning lyric: "Your day breaks, your mind aches, you find that all the words of kindless linger on when she no longer needs you." It clocks in at two minutes, the Paul McCartney specailty. Although Elliott's cover brings charm I don't think anything can top the timeless charm and simplicity of the Beatles version.
Apparently, the song's original titled was slated to be "Why Did It Die?" John and George made no contributions musically to this track, while McCartney played the clavichord, piano and bass with Ringo on the drums. The French horn bit was performed by a fellow named Alan Civil, which more than likely made his career. Ironically, the song was credited as a Lennon/McCartney, but as always incredibly easy to distinguish.
I decided to listen to the ream of Elliott Smith Beatles covers... The one that stuck out to me in part because of it's superior quality was the tune "For No One". It's really cute that he tries to fill in the beautiful french horn solo with his careless voice noodles.
This is a lovely break-up song... from the beginning lyric: "Your day breaks, your mind aches, you find that all the words of kindless linger on when she no longer needs you." It clocks in at two minutes, the Paul McCartney specailty. Although Elliott's cover brings charm I don't think anything can top the timeless charm and simplicity of the Beatles version.
Apparently, the song's original titled was slated to be "Why Did It Die?" John and George made no contributions musically to this track, while McCartney played the clavichord, piano and bass with Ringo on the drums. The French horn bit was performed by a fellow named Alan Civil, which more than likely made his career. Ironically, the song was credited as a Lennon/McCartney, but as always incredibly easy to distinguish.
Saturday, May 22, 2010
Susan Sontag's Memoirs
I recently took interest in Susan Sontag, a brilliant writer from New York. She was born in 1933 and died in 2004, at the ripe age of seventy-one.
A few weeks ago, I got my paws on her memoir titled Reborn. Her personal notes are sexy, engaging and absolutely contraversial. However, since they were her personal journals, these ideas are significantly more personal...
My favourite I stumbled upon so far is...
Can you imagine canoodling to these classic gems?
6/4/49
Shostakovich Piano Concerts
Scriabin Preludes
Franck D Minor Symphony
Prokofiev Symphony #5
[Bach's] Mass in B Minor
Sex with music! So intellectual! (34, Sontag, Reborn)
A few weeks ago, I got my paws on her memoir titled Reborn. Her personal notes are sexy, engaging and absolutely contraversial. However, since they were her personal journals, these ideas are significantly more personal...
My favourite I stumbled upon so far is...
Can you imagine canoodling to these classic gems?
6/4/49
Shostakovich Piano Concerts
Scriabin Preludes
Franck D Minor Symphony
Prokofiev Symphony #5
[Bach's] Mass in B Minor
Sex with music! So intellectual! (34, Sontag, Reborn)
Matmos
Matmos are a weird electronic band originally from San Francisco, now residing in Baltimore. The two guys in the band are a couple and one is even a professor at Johns Hopkins University.
I first heard them on the Matador At Fifteen compliation. I thought it was a fantastic simple song. I have yet to find a Matmos song I really adore, aside from the song "For the Trees".
I found out today there's an alternate version that's more laid back and fudges around a bit more than the original version. I don't like it as much, but I think it's a good listen.
"For the Trees"
"For the Trees" (Return)
They're playing here June 11 at the Meta Gallery (124 Ossington)!
I first heard them on the Matador At Fifteen compliation. I thought it was a fantastic simple song. I have yet to find a Matmos song I really adore, aside from the song "For the Trees".
I found out today there's an alternate version that's more laid back and fudges around a bit more than the original version. I don't like it as much, but I think it's a good listen.
"For the Trees"
"For the Trees" (Return)
They're playing here June 11 at the Meta Gallery (124 Ossington)!
While on the Talking Heads...
I just stumbled upon this interesting cover of "Naive Melody (This Must Be the Place)" by the Talking Heads... By Kyp Malone of TV on the Radio.
'This Movie Is Broken'...
I've said it before, and I'll say it again
as much as Broken Social Scene are a band, they are a business. The film This Movie Is Broken is a golden example of the business outlook that this band fosters so well. It seems this film is a film about love and Broken Social Scene. Judging by the video, it seems that the show they're using was the show I missed last summer at Harbourfront.
I am certainly going to see this film, and I will more than likely enjoy it. It's just kind of an interesting route for the band to take. I took a film course this past year at school, and we had a couple of classes dedicated to music and film. We discussed The Last Waltz, Stop Making Sense and Woodstock. Three films that were glorified for different reasons. I will now attempt to explore those concepts:
The Last Waltz, a Martin Scorsese film made in 1976 documenting the last show of The Band. They chose Scorsese based on his music selections in the incredible film Mean Streets. Stop Making Sense is a concert film of the Talking Heads. This film was staged for the camera, the audience was merely a sidenote, and featured very minimally throughout the film. It marked a shift in concert-going experience, as people were now able to better experience a concert in the comforts of a movie theatre or in their own homes.
Woodstock, provided an altered concert experience. It is a film that shows the audience presence. Similar to both the Last Waltz and and Stop Making Sense, Woodstock is a film that captures a concert. It differs from in that the show is very detached from the camera. The audience watches from the numerous angles the camera captures. A great example of this is the Who's brilliant song "See Me Feel Me".
This Film Is Broken was directed by Bruce MacDonald. The trailer only gives you a hint as to what the movie is about. It's safe to say it is about love, as the underdog finally gets the girl. I sense a hint of youth in the first song featured - "Anthems for a Seventeen Year Old Girl". Finally, I sense adventure in live music and the shear juxtaposition of images nearing the end of the trailer. The hook for the film is "A Rock Show Romance". It claims that the film is no longer a concert film, but it's love as well. It's funny how in creating a live concert film, they now dictate how you have to feel in seeing it. Very differently, the concert films in the past have served as an agent to make people feel, and give the sense they too, were at the show. This Film Is Broken is going to rob people of those raw emotions.
So come, June 25, less than a week after their big island show. You can bet twentysomething music lovers will secretly hope they will find love when they go to see the film in its opening days... And I am no exception.
as much as Broken Social Scene are a band, they are a business. The film This Movie Is Broken is a golden example of the business outlook that this band fosters so well. It seems this film is a film about love and Broken Social Scene. Judging by the video, it seems that the show they're using was the show I missed last summer at Harbourfront.
I am certainly going to see this film, and I will more than likely enjoy it. It's just kind of an interesting route for the band to take. I took a film course this past year at school, and we had a couple of classes dedicated to music and film. We discussed The Last Waltz, Stop Making Sense and Woodstock. Three films that were glorified for different reasons. I will now attempt to explore those concepts:
The Last Waltz, a Martin Scorsese film made in 1976 documenting the last show of The Band. They chose Scorsese based on his music selections in the incredible film Mean Streets. Stop Making Sense is a concert film of the Talking Heads. This film was staged for the camera, the audience was merely a sidenote, and featured very minimally throughout the film. It marked a shift in concert-going experience, as people were now able to better experience a concert in the comforts of a movie theatre or in their own homes.
Woodstock, provided an altered concert experience. It is a film that shows the audience presence. Similar to both the Last Waltz and and Stop Making Sense, Woodstock is a film that captures a concert. It differs from in that the show is very detached from the camera. The audience watches from the numerous angles the camera captures. A great example of this is the Who's brilliant song "See Me Feel Me".
This Film Is Broken was directed by Bruce MacDonald. The trailer only gives you a hint as to what the movie is about. It's safe to say it is about love, as the underdog finally gets the girl. I sense a hint of youth in the first song featured - "Anthems for a Seventeen Year Old Girl". Finally, I sense adventure in live music and the shear juxtaposition of images nearing the end of the trailer. The hook for the film is "A Rock Show Romance". It claims that the film is no longer a concert film, but it's love as well. It's funny how in creating a live concert film, they now dictate how you have to feel in seeing it. Very differently, the concert films in the past have served as an agent to make people feel, and give the sense they too, were at the show. This Film Is Broken is going to rob people of those raw emotions.
So come, June 25, less than a week after their big island show. You can bet twentysomething music lovers will secretly hope they will find love when they go to see the film in its opening days... And I am no exception.
Beirut
I first dipped into Beirut about two years ago. It was a family reunion, a first for the Stemshorn side of me. My cousin was playing the tune "Nantes" in his rental car and we were on our way to a Mississauga lounge bar...
Beirut, or Zac Condon is an acquired taste, but with time I think anyone could like him (and should!).
Here are a few of my own personal suggestions to charm you:
"Elephant Gun"
"Nantes" (La Blogotheque)
"The Penalty"
"Postcards From Italy" (Live at Glastonbury)
"A Sunday Smile"
Beirut, or Zac Condon is an acquired taste, but with time I think anyone could like him (and should!).
Here are a few of my own personal suggestions to charm you:
"Elephant Gun"
"Nantes" (La Blogotheque)
"The Penalty"
"Postcards From Italy" (Live at Glastonbury)
"A Sunday Smile"
Thursday, May 20, 2010
The Morning Benders and their "Excuses"
Thank you Devan Patel for introducing me to this gem. Ever since I stopped working in a record store I've sort of fell off the band wagon as far as new music goes.
The Morning Benders are from San Francisco, CA. To be quite honest I only know one song of theirs but I really, really love it. They're also opening for the Black Keys in August, so I have really got to do my homework with this one... Something tells me this won't be so hard.
You can too:
"Excuses" of the Yours Truly Session
"Excuses" album
The Morning Benders are from San Francisco, CA. To be quite honest I only know one song of theirs but I really, really love it. They're also opening for the Black Keys in August, so I have really got to do my homework with this one... Something tells me this won't be so hard.
You can too:
"Excuses" of the Yours Truly Session
"Excuses" album
Tuesday, May 18, 2010
Bahamas, yet again
Bahamas, aka Afie Jurvanen is quite possibly the most dreamy man alive. His songs are about love and trivial live problems, and he's completely charmed me. He's live show is full of confidence and good humour.
This interview has just served to strengthen my stance. Although there is nothing more dreadful than the strictly Q & A interview, this one is pretty weak. I however am one to talk because my stint as a radio personality really flopped. I was completely microphone shy, and uninspired by what I was talking about.
This interview has just served to strengthen my stance. Although there is nothing more dreadful than the strictly Q & A interview, this one is pretty weak. I however am one to talk because my stint as a radio personality really flopped. I was completely microphone shy, and uninspired by what I was talking about.
Sunday, May 16, 2010
Monica on Lhasa
Working in a record store has brought me to know the names of many artists without actually hearing them. So in a conversation with a music pal, I often will reply "I've heard of them, but have never actually heard them".
Of them, Lhasa de Sela, the "Canadian" singer-songwriter was one that came up recently due to her death on the first day of 2010. Thanks to my talented friend Monica who covered a tune by the Lhasa titled "Fool's Gold". I wish I could post her version because it's really pretty and hollow, in the best way possible. It's a real shame I didn't get into Lhasa until some time after her death because she has made some really pretty tunes!
Here's a link to the original version live less than a year before she passed away.
Of them, Lhasa de Sela, the "Canadian" singer-songwriter was one that came up recently due to her death on the first day of 2010. Thanks to my talented friend Monica who covered a tune by the Lhasa titled "Fool's Gold". I wish I could post her version because it's really pretty and hollow, in the best way possible. It's a real shame I didn't get into Lhasa until some time after her death because she has made some really pretty tunes!
Here's a link to the original version live less than a year before she passed away.
The Black Fever at the Tranzac; Saturday May 15, 2010
The Black Fever are a Toronto band that are heavily influenced by Brit pop and the nineties. The set at the Tranzac tonight was an acoustic gig, stripped down to guitar, bass and the occasional tambourine. As soon as they played the first song, I realised that this band is an electric band. I felt that everything that was done tonight would have carried much better if they had their edge. Lead singer and gutiarist, Sumon Mukherjee's vocals I felt got better with every song. Unfortunately, I can't say the same for his guitar, for a good chunk of the set he was fighting a battle with the connection between his guitar and the amplifier. I really admire his resilience throughout and his determined struggle. Cutting their set short, he played the last thirty seconds of the song completely unplugged, a great move. In doing this he made me appreciate his music, playing and effort, I wish he did that from the start. I was really surprised by how well I could hear his unplugged guitar from the back of the room, amongst all the crowd chit-chat.
'Exit Through the Gift Shop' and Richard Hawley
I saw the Banksy film Exit Through the Gift Shop tonight. Going into it I thought it was going to be a film about Banksy, little did I know it was a documentary about his pal and long time camera man Thierry Guetta. Guetta is originally from France, but immigrated to Los Angeles where he opened up a hip vintage clothing store that Beck even digs (as featured in the film for a split second). While selling trendy threads to the celebrities, Guetta's quirk was filming his entire life. At all times the man carried a camera on him, filming everything he experienced, first hand. It was in doing this he began to follow legendary street artists such as the Invader (his cousin) and Banksy. I didn't know who the Invader was until this film, but I without knowing it had previously seen his stuff. I was looking up record stores in Paris, France before exploring the city last November and I saw a picture of a place with a little yellow space invader detailed at the top of the record store.
There's a bit of the Invader in Toronto as well. If you are observant at all, you would have noticed the tacky yellow circles lined across the street car stops. Some individual put pacman on the street car shelter gobbling up the yellow circles... I highly recommend you check out this innovative gem right now! It unfortunately was removed shortly after, i'm just so glad I had the opportunity to see it first hand.
The film showcased great edge, yet a lot of heart. It was very well-thought through. I've sort of come to realise that what makes a great documentary film for me is one that can intrigue the way a storyline the way a film can. I saw another film that really moved me at Hot Docs this year. The film is called Waste Land, an incredible documentary on Jardim Gramacho, the largest landfill in the world, located in Brazil. This film was shown to the brilliant music of Moby. This brings me to the other feature I feel every film must have... a fantastic soundtrack. Exit Through the Gift Shop's soundtrack was incredibly minimal - but it did showcase a pop tune called "Tonight the Streets Are Ours" by Richard Hawley, former Pulp guitarist. The song began and completed the film. The other bits of the soundtrack was by Portishead producer Geoff Barrow, whose stuff sounds like a modest RJD2.
I really liked the Banksy film, it was extremely misleading to have Banksy plaster his art across the city in promotion for a film that he just was featured in. Regardless, I apprecite the buzz, it's definitely an exciting feeling to be able to seek out his art, it's just a shame it has to be secured in by plastic.
There's a bit of the Invader in Toronto as well. If you are observant at all, you would have noticed the tacky yellow circles lined across the street car stops. Some individual put pacman on the street car shelter gobbling up the yellow circles... I highly recommend you check out this innovative gem right now! It unfortunately was removed shortly after, i'm just so glad I had the opportunity to see it first hand.
The film showcased great edge, yet a lot of heart. It was very well-thought through. I've sort of come to realise that what makes a great documentary film for me is one that can intrigue the way a storyline the way a film can. I saw another film that really moved me at Hot Docs this year. The film is called Waste Land, an incredible documentary on Jardim Gramacho, the largest landfill in the world, located in Brazil. This film was shown to the brilliant music of Moby. This brings me to the other feature I feel every film must have... a fantastic soundtrack. Exit Through the Gift Shop's soundtrack was incredibly minimal - but it did showcase a pop tune called "Tonight the Streets Are Ours" by Richard Hawley, former Pulp guitarist. The song began and completed the film. The other bits of the soundtrack was by Portishead producer Geoff Barrow, whose stuff sounds like a modest RJD2.
I really liked the Banksy film, it was extremely misleading to have Banksy plaster his art across the city in promotion for a film that he just was featured in. Regardless, I apprecite the buzz, it's definitely an exciting feeling to be able to seek out his art, it's just a shame it has to be secured in by plastic.
Thursday, May 13, 2010
Broken and Band of Horses
I have this really great memory of Kevin Drew performing... at what I think was the Dakota for his substitute night for Collett's basement revue in December 2007. Perhaps it was another time I saw them... Regardless, there was a time when Drew busted into the brilliant Band of Horses song "Is there a Ghost?" for a few bars in talking about a ghost in the room.
Can you believe it's been two years since this band has released anything!?
Can you believe it's been two years since this band has released anything!?
REGRET: Band of Horses at the Horseshoe
I am absolutely crushed that I missed Band of Horses at the Horseshoe Tavern this past Tuesday. Apparently they had annoucned the show eleven hours prior on Twitter. They had a two day break between gigs and they stopped at the Horseshoe.
Lousy. Here's a few words to ease the pain and a CMJ gig from a couple of years ago.
Lousy. Here's a few words to ease the pain and a CMJ gig from a couple of years ago.
Sunday, May 9, 2010
Broken Social Scene at Criminal Records; Sunday May 10, 2010
Broken Social Scene are the heart of the Toronto music scene. Kevin Drew and company has made a wonderful collective that has served to launch many careers of otherwise forgotten musicians. What is so incredible about this band is they always seem to find their way back into the hearts and pockets of people. As much as I like Broken, I look at them as a business. They are a band that have mastered the industry, understanding timing and effort. It's interesting to really observe how the band has developed over the years. They began more like a pick me up game - where they literally included anyone they can get. In doing this they adopted the title of the "collective" or the large band. It also served to launch countless careers. Following this, they put out the epic self-titled album filled with hooks and anthems. This album served to expand their music to different artists like K-OS who guest appeared on this album. It was bold, but not too adventurous.
A few days ago I wrote my preliminary thoughts of the album. I felt pretty empty as a far epic highs and anthem songs went. The only song that really core shook me was "World Sick" which brought my climax to a very quick end as the song is their first single and the first track on the album.
I was anticipating that the show on Sunday would be solely pushing their new album. In truth, I wasn't that far off... They however opened and closed the show with two gems from You Forgot It in People. They opened up their set with "Lover's Spit," I was completely elated. Although there were no women there, the boys had this one under control. Kevin Drew held most of the vocals for their five or six song set, with the exception of the set closer "Looks Just Like the Sun." Between these two classic tunes, they played all new songs of their latest release Forgiveness Rock Record. Including, "Texico Bitches," "Forced to Love" and "Ungrateful Little Father" (very appropriately on Mother's Day).
I have to admit, I liked the way the songs sounded live. They sounded very stripped, with little production - as the album really glistens.
There's also something absolutely alluring about seeing Andrew Whiteman live. He has a presence like no one I've ever come across. He does it so effortlessly, with the exception before he started playing "Looks Just Like the Sun," he asked what the lyrics were to the second verse. Naturally, no one knew, including myself, because although I can sing along to ever word of that song, I don't believe I actually know what the words actually are.
I have no idea what the other shows that day were like, but Kevin Drew claimed that the Rotate This gig, which I believe was to be held in a back alley was going to be all b-sides tunes. This teaser gig has made me insanely excited for the island gig. To see Zeus, Band of Horses, Beach House, Broken Social Scene and Pavement all in one day, really makes me excited, absolutely unreal, tailor made just for me.
A few days ago I wrote my preliminary thoughts of the album. I felt pretty empty as a far epic highs and anthem songs went. The only song that really core shook me was "World Sick" which brought my climax to a very quick end as the song is their first single and the first track on the album.
I was anticipating that the show on Sunday would be solely pushing their new album. In truth, I wasn't that far off... They however opened and closed the show with two gems from You Forgot It in People. They opened up their set with "Lover's Spit," I was completely elated. Although there were no women there, the boys had this one under control. Kevin Drew held most of the vocals for their five or six song set, with the exception of the set closer "Looks Just Like the Sun." Between these two classic tunes, they played all new songs of their latest release Forgiveness Rock Record. Including, "Texico Bitches," "Forced to Love" and "Ungrateful Little Father" (very appropriately on Mother's Day).
I have to admit, I liked the way the songs sounded live. They sounded very stripped, with little production - as the album really glistens.
There's also something absolutely alluring about seeing Andrew Whiteman live. He has a presence like no one I've ever come across. He does it so effortlessly, with the exception before he started playing "Looks Just Like the Sun," he asked what the lyrics were to the second verse. Naturally, no one knew, including myself, because although I can sing along to ever word of that song, I don't believe I actually know what the words actually are.
I have no idea what the other shows that day were like, but Kevin Drew claimed that the Rotate This gig, which I believe was to be held in a back alley was going to be all b-sides tunes. This teaser gig has made me insanely excited for the island gig. To see Zeus, Band of Horses, Beach House, Broken Social Scene and Pavement all in one day, really makes me excited, absolutely unreal, tailor made just for me.
Saturday, May 8, 2010
Zeus meets La Blogotheque
AHHHHH! My favourite Zeus tunes - "Greater Times on the Wayside" performed on a fire escape exit. I'm the happiest girl in the world right now. The only thing is I think it needs to bleed into the next song on the album "River by the Garden", like they do in studio and in their live show. Epic back to back songs. However, this Blogotheque video really made my heart skip two beats faster.
I have no idea how a minute long song can make my heart beat so fast.
I have no idea how a minute long song can make my heart beat so fast.
Jason Collett meets La Blogotheque
This is quite possibly the most beautiful La Blogotheque clip i've seen in quite some time.
Jason Collett you completely charm me.
Jason Collett you completely charm me.
Air's "Playgroud Love"
I really want to learn to play Air's "Playground Love" on the piano - as inspired by Coeur de pirate's cover.
So after probably seven years of enjoying the song, I realised that the original Air version of "Playground Love" with vocals was sung by Thomas Mars (of Phoenix). In the liner notes of the album he was credited as Gordon Tracks. Which explains a lot!
I found a great stripped down Phoenix version of it. The video sounds and looks great.
A live version from a 2007 Toronto gig - I am completely amazed that they would play this song live!
There are at least three different versions of this tune that accompanied the Virgin Suicides soundtrack... Here's one of the instrumental ones, I only wish I could track down the one with the vibes, because it's my favourite.
So after probably seven years of enjoying the song, I realised that the original Air version of "Playground Love" with vocals was sung by Thomas Mars (of Phoenix). In the liner notes of the album he was credited as Gordon Tracks. Which explains a lot!
I found a great stripped down Phoenix version of it. The video sounds and looks great.
A live version from a 2007 Toronto gig - I am completely amazed that they would play this song live!
There are at least three different versions of this tune that accompanied the Virgin Suicides soundtrack... Here's one of the instrumental ones, I only wish I could track down the one with the vibes, because it's my favourite.
River Wild, CSNY and folk pop
In the past two decades high schools have been creating enriched programs. I myself am the victim of two - middle school business program and high school arts program. I can personally claim that the latter definitely ruined any desire to excel in musical performance. I have now come to terms that I am not a performer and will never be in a band. I am simply a listener and to some extent a critic. So now, everyone once in a while I get to watch some of my art school friends do something absolutely breathe taking.
My friend Jeff has amazed me once before with a little ditty about a spaceship and big love. Maturing ten fold, he put out a pretty little gem with a few chums under the name River Wild. It sounds like if Crosby Stills Nash and Young gave Fleet Foxes a good punch in the stomach. If you hope to 5:26 or the bridge of the second song, I can't help but think of Crosby Stills Nash and Young, a comparison I never thought to mash the campfire like indie sensations to.
Which brings me to push the tune: "Suite Judy Blue Eyes" written by Stephen Stills and performed by Crosby Stills and Nash. It's this beautiful tune about how it's not working out between Stills and Judy Collins (folk sensation of the sixties). It's a really remarkable song and it definitely got me through a lonely race last fall. It also is a fond memory of a friend that passed away recently, it was his favourite song.
Or alternatively, the amazing breakdown in the tune "Carry On" off of their album Deja Vu.
So mushy sentiments aside, get on Youtube and check out River Wild and revive your CSNY albums.
My friend Jeff has amazed me once before with a little ditty about a spaceship and big love. Maturing ten fold, he put out a pretty little gem with a few chums under the name River Wild. It sounds like if Crosby Stills Nash and Young gave Fleet Foxes a good punch in the stomach. If you hope to 5:26 or the bridge of the second song, I can't help but think of Crosby Stills Nash and Young, a comparison I never thought to mash the campfire like indie sensations to.
Which brings me to push the tune: "Suite Judy Blue Eyes" written by Stephen Stills and performed by Crosby Stills and Nash. It's this beautiful tune about how it's not working out between Stills and Judy Collins (folk sensation of the sixties). It's a really remarkable song and it definitely got me through a lonely race last fall. It also is a fond memory of a friend that passed away recently, it was his favourite song.
Or alternatively, the amazing breakdown in the tune "Carry On" off of their album Deja Vu.
So mushy sentiments aside, get on Youtube and check out River Wild and revive your CSNY albums.
Thursday, May 6, 2010
Coeur de pirate at the Gladstone; Thursday May 6, 2010
Coeur de pirate is the title and image that Beatrice Martin hides behind. It boggles my mind to think that this young pup has made it so big. However after seeing her live I can definitely understand why her album is a hot item in Paris, France. It is more unbelievable that she's done all this by twenty.
She casually hopped on stage around half past seven and introduced herself as Beatrice and Coeur de pirate, the name she plays her songs under. She was wearing a beautiful purple dress with white sneakers and two arms full of tattoos. She immediately began playing Rich Terfry's favourite tune "Le long du large" and the only song I knew before going into her show.
She baffled me most with her beautiful cover of Air's "Playground Love". She described the band as a group that she used to like but no longer does. She described the song as one that use to be great and was from an amazing film the Virgin Sucides. My heart stopped a bit when she was describing it because I really love that song and I really love the movie. I knew immediately what she was talking about from the get go. I assume that she hated how huge the movie became, or she perhaps simply loved Air strictly on the Virgin Suicides soundtrack. She very childlishly shrugged air off upon launching into the tune. I though her rendition of the song was inspired, yet true to the original. It was also the only song she sang in English.
In the past I heard Damien Rice's ex-leading lady singer Lisa Hannigan perform this song. I however felt that Martin's version captured that longing and desire that the song really emphasises. A while back I also found a Phoenix cover of this song too.
I can't say that I love Coeur de pirate, but I think she's got a lot going for her. Her voice is quirky and different without going over the top. She makes nice light pop songs and can core shake as well. I thought she would've made a nice contribution to the soundtrack to the film An Education.
She casually hopped on stage around half past seven and introduced herself as Beatrice and Coeur de pirate, the name she plays her songs under. She was wearing a beautiful purple dress with white sneakers and two arms full of tattoos. She immediately began playing Rich Terfry's favourite tune "Le long du large" and the only song I knew before going into her show.
She baffled me most with her beautiful cover of Air's "Playground Love". She described the band as a group that she used to like but no longer does. She described the song as one that use to be great and was from an amazing film the Virgin Sucides. My heart stopped a bit when she was describing it because I really love that song and I really love the movie. I knew immediately what she was talking about from the get go. I assume that she hated how huge the movie became, or she perhaps simply loved Air strictly on the Virgin Suicides soundtrack. She very childlishly shrugged air off upon launching into the tune. I though her rendition of the song was inspired, yet true to the original. It was also the only song she sang in English.
In the past I heard Damien Rice's ex-leading lady singer Lisa Hannigan perform this song. I however felt that Martin's version captured that longing and desire that the song really emphasises. A while back I also found a Phoenix cover of this song too.
I can't say that I love Coeur de pirate, but I think she's got a lot going for her. Her voice is quirky and different without going over the top. She makes nice light pop songs and can core shake as well. I thought she would've made a nice contribution to the soundtrack to the film An Education.
Wednesday, May 5, 2010
Music and Dumplings
For the past few months I have worked at a dumpling house. The type of music that is played is a mix of everything - some adult contemporary, pop and music I will ambiguously label "Asian". I reached the point where I was comfortable enough to suggest my own person playlist to ease the store away from playing the same Brazillian tunes six times over in my 12 hour shift.
I felt a little uneasy, but sure enough I picked some safe tunes. Selections from Feist's remix album, Colplay's Parachutes and Bahamas. I always get really excited when I hear good music at a restaurant or music that makes me whip out my song detecting telephone application. I really hope the mixes I made for work get heavy rotation - ha. Doubtful, but here's to it.
I felt a little uneasy, but sure enough I picked some safe tunes. Selections from Feist's remix album, Colplay's Parachutes and Bahamas. I always get really excited when I hear good music at a restaurant or music that makes me whip out my song detecting telephone application. I really hope the mixes I made for work get heavy rotation - ha. Doubtful, but here's to it.
Tuesday, May 4, 2010
Broken Social Scene's 'Forgiveness Rock Record'
Ladies and gentlemen don't hold you breath if you're waiting for an epic follow up to Broken Social Scene's self-titled album. Forgiveness Rock Record is a lengthy album, in a different way from their last release. It clocks in just shy of sixty four minutes.
Broken Social Scene has changed in composition, they have finally established their core group - with Lisa Lobsinger as the lone permanent female member. Combined with Andrew Whiteman, Kevin Drew, Brendan Canning, Justin Peroff, Sam Goldberg, John McEntire and finally Martin Davis Kinack. Still hard to say in one breath, the band has it's core members and its padding to make the shows just that much more interesting.
Broken has character that few bands have. Maybe it's because I've watched them blossom into Toronto music veterans over the last six or seven years, maybe it's just because they are that epic. Regardless, they've definitely struck something within me. It's unfortunate, but the only song that has struck me in that way off the latest release is their first single titled "World Sick".
I'm grateful that more thought has been put into this album than Kevin Drew's solo record, but there's something missing that their last two full-lengths have really embodied.
On a brighter note - Broken Social Scene will be putting on four free shows in Toronto on Sunday May 9. Seems as though they've been ticketing them based on record sales with each CD store (or venue)... But there's nothing against listening from a far...
2:00pm - Criminal Records
4:00pm - Rotate This
6:00pm - Soundscapes
8:00pm - Sonic Boom
They've dubbed the performances to be unique. I really need to get rid of my shift in the day and also need to get out of my Mother's Day dinner.
Broken Social Scene has changed in composition, they have finally established their core group - with Lisa Lobsinger as the lone permanent female member. Combined with Andrew Whiteman, Kevin Drew, Brendan Canning, Justin Peroff, Sam Goldberg, John McEntire and finally Martin Davis Kinack. Still hard to say in one breath, the band has it's core members and its padding to make the shows just that much more interesting.
Broken has character that few bands have. Maybe it's because I've watched them blossom into Toronto music veterans over the last six or seven years, maybe it's just because they are that epic. Regardless, they've definitely struck something within me. It's unfortunate, but the only song that has struck me in that way off the latest release is their first single titled "World Sick".
I'm grateful that more thought has been put into this album than Kevin Drew's solo record, but there's something missing that their last two full-lengths have really embodied.
On a brighter note - Broken Social Scene will be putting on four free shows in Toronto on Sunday May 9. Seems as though they've been ticketing them based on record sales with each CD store (or venue)... But there's nothing against listening from a far...
2:00pm - Criminal Records
4:00pm - Rotate This
6:00pm - Soundscapes
8:00pm - Sonic Boom
They've dubbed the performances to be unique. I really need to get rid of my shift in the day and also need to get out of my Mother's Day dinner.
Monday, May 3, 2010
Revisiting 'You forgot it in people'
"Late Ninties Bedroom Rock For The Missionaries" and "Shampoo Suicide" are the eigth and ninth tracks respectively on the Broken Social Scene album You Forgot It In People. It wasn't until I heard them open up with those two tracks and a year and half of time after that that I realised the two tracks would sound marvellous together as one song.
However, in rethinking my position - Half Nelson would have a difficult time creating their scene fit for the tune "Shampoo Suicide".
Videos that make my heart swoon:
"Shampoo Suicide" - a good video to look close at Andrew Whiteman's alluring stage presence.
"Shampoo Suicide" - the entire song great quality crummy video! Yes I wrote a lame comment that I'm not sure how to remove. I should really get rid of my full name too!
However, in rethinking my position - Half Nelson would have a difficult time creating their scene fit for the tune "Shampoo Suicide".
Videos that make my heart swoon:
"Shampoo Suicide" - a good video to look close at Andrew Whiteman's alluring stage presence.
"Shampoo Suicide" - the entire song great quality crummy video! Yes I wrote a lame comment that I'm not sure how to remove. I should really get rid of my full name too!
Sunday, May 2, 2010
Sia at the Phoenix; Wednesday April 28, 2010.
The last time I saw Sia it was at the Opera House, which is one of my favourite venues to see a concert... The venue allows you to move up to the front without being smooshed or too sweaty. I remember leaving that show in a better mood than when I had entered it. I suppose I had no expectations, thus it enabled my impression to soar.
This go 'round I wasn't overly excited because I truly disliked her new material, especially the overly catty tune "Clap Your Hands". I was a little crushed to find she lost her edge to the mainstream feel that her good pal Christina Aguilera has mastered. There were two things that really pushed me to go to this show, despite my strong feelings against going. First - Sia was the closest thing I have ever gotten to seeing Zero 7 in their prime with the album Simple Things. I was incredbly let down earlier this year with Zero 7's live show. Secondly - an interview with Sia I had heard on NPR a few days before the gig. She oozes sincerity and heart with her naivety and compassion towards people.
Of those two very dear expectations to me - she let me down on the first one only. Much to my chagrin, Sia neglected the Zero 7 material she had sung in the past. She however was full of humility that made up for skipping out on my favourite tunes. She took the time to individually talk to her fans when necessary... and sometimes when not. Regardless, she let everyone chime in and it was a very collective experience. As lame as that sounds Sia's consideration for the audience's experience was big.
Her back drop was the big tipper - an oversized quilt wiht Sia written on it out of balls of yarn. She apparently had let audience members jump on stage if they knew how to knit... (to knit something for her). She didn't seem to do that this show but she was still engaging the audience.
The last show it was evident that she hated the idea of an encore. She even splashed back on stage claiming that the audience didn't need to clap for her return as it was all fake anyways. At this time she was wearing large wings that served as a bubble wand.
Sia is a great singer, but she is as much a singer as she is a performer and that speaks at great lengths about her.
This go 'round I wasn't overly excited because I truly disliked her new material, especially the overly catty tune "Clap Your Hands". I was a little crushed to find she lost her edge to the mainstream feel that her good pal Christina Aguilera has mastered. There were two things that really pushed me to go to this show, despite my strong feelings against going. First - Sia was the closest thing I have ever gotten to seeing Zero 7 in their prime with the album Simple Things. I was incredbly let down earlier this year with Zero 7's live show. Secondly - an interview with Sia I had heard on NPR a few days before the gig. She oozes sincerity and heart with her naivety and compassion towards people.
Of those two very dear expectations to me - she let me down on the first one only. Much to my chagrin, Sia neglected the Zero 7 material she had sung in the past. She however was full of humility that made up for skipping out on my favourite tunes. She took the time to individually talk to her fans when necessary... and sometimes when not. Regardless, she let everyone chime in and it was a very collective experience. As lame as that sounds Sia's consideration for the audience's experience was big.
Her back drop was the big tipper - an oversized quilt wiht Sia written on it out of balls of yarn. She apparently had let audience members jump on stage if they knew how to knit... (to knit something for her). She didn't seem to do that this show but she was still engaging the audience.
The last show it was evident that she hated the idea of an encore. She even splashed back on stage claiming that the audience didn't need to clap for her return as it was all fake anyways. At this time she was wearing large wings that served as a bubble wand.
Sia is a great singer, but she is as much a singer as she is a performer and that speaks at great lengths about her.
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