Brand New continually amazes me.
I was first taken back by their versions of "Oh Comely" and "Upward Over the Mountain".
But now, most recently I stumbled upon a very lovely cover of "Two Headed Boy":
The former and latter are Neutral Milk Hotel, while "Upward.." is an Iron and Wine song.
Original:
Saturday, July 31, 2010
Friday, July 30, 2010
'Wasteland' and Vic Muniz
I am completely inspired by this. This is probably the best motivation I could get to get into Moby, he did the whole soundtrack:
Brand New
It's funny to see a band's progression. I began liking Brand New in 2003 when their big wave of fame first went through. I'm really not sure if I caught the polished new Brand New, or back when they had edge...
Edge (around 2002). You'll notice the mic tossing an Adam Lazarra thing to do. Brand New use to be rough, especially with their release of 'Your Favourite Weapon'. This video is of a Taking Back Sunday - I don't want to even imagine the camera that it was taken on. Jesse Lacey makes an appearance. It's funny to watch the raw energy and youth that these guys had:
Polish (2008), they come off as almost being cocky, or just good musicians. The energy that was once there, is no longer there in their live show. I do still like seeing them live:
Edge (around 2002). You'll notice the mic tossing an Adam Lazarra thing to do. Brand New use to be rough, especially with their release of 'Your Favourite Weapon'. This video is of a Taking Back Sunday - I don't want to even imagine the camera that it was taken on. Jesse Lacey makes an appearance. It's funny to watch the raw energy and youth that these guys had:
Polish (2008), they come off as almost being cocky, or just good musicians. The energy that was once there, is no longer there in their live show. I do still like seeing them live:
Kathleen Edwards
Kathleen Edwards is one of Canada's Folk Sweethearts. I would also clunk Sarah Harmer, McLachlan and Alanis Morissette in that category as well.
A very well-played track on CBC is Kathleen Edwards' "Hockey Skates":
Which reminded me of Bahamas' "Hockey Teeth":
A very well-played track on CBC is Kathleen Edwards' "Hockey Skates":
Which reminded me of Bahamas' "Hockey Teeth":
Thursday, July 29, 2010
"Oh Geography, you're going to make a mess of me"
The words that are going to get me through my grad school application for... you guessed it! GEOGRAPHY!
The sweet sounds of Thao with the Get Down Stay Down's "Geography":
The sweet sounds of Thao with the Get Down Stay Down's "Geography":
Andre Ethier
Andre Ethier has to be one of the most original artists to come from the Toronto music scene. I know that's saying a lot because artists like Timber Timbre and Ghost Bees are also equally 'different' and 'ground breaking'. But Ethier has a different kind of energy that is lost in older, more timeless sounding tunes.
I first found him on the soundtrack for the flop Canadian film 'Everything's Gone Green'. His tune "Little Saddy" was sort of the uplift of the entirely Canadian soundtrack I was more or less already familiar with.
I worked with the pianist in his band. He really gave me the push I needed to really dip into Ethier's catalog. He's released four albums since 2004 and that's in addition to the four albums he put out with the Deadly Snakes.
I've only had the opportunity to see him once. It was at the Steamboat record release party at Sneaky Dee's, where he played three or four songs. Of them he played one of my favourites - "Pride of Egypt"...
I missed the Blue Fog Revue gig he played at Lee's with a bunch of his pals of other Toronto bands. I love the 'Revue' gigs that are being held, there's something really refreshing about the collaborative effort.
For good measure, you should get your ears on "The Best We Ever Had":
I first found him on the soundtrack for the flop Canadian film 'Everything's Gone Green'. His tune "Little Saddy" was sort of the uplift of the entirely Canadian soundtrack I was more or less already familiar with.
I worked with the pianist in his band. He really gave me the push I needed to really dip into Ethier's catalog. He's released four albums since 2004 and that's in addition to the four albums he put out with the Deadly Snakes.
I've only had the opportunity to see him once. It was at the Steamboat record release party at Sneaky Dee's, where he played three or four songs. Of them he played one of my favourites - "Pride of Egypt"...
I missed the Blue Fog Revue gig he played at Lee's with a bunch of his pals of other Toronto bands. I love the 'Revue' gigs that are being held, there's something really refreshing about the collaborative effort.
For good measure, you should get your ears on "The Best We Ever Had":
Radiohead's "Banana Co."
I am by no means the biggest Radiohead fan. I completely lucked out two years ago in scoring great seats for their gig at the Molson Amphitheatre.
I grew up with 'The Bends' because of my brother's stellar taste in '90s alternative music. I dabbled with 'OK Computer' and completely immersed myself in 'In Rainbows'.
The real gems that I managed to find were the b-side tracks they released with their deluxe re-issues a year or two ago. The most recent find is the song "Banana Co," a b-side from 'the Bends'. It's a short, short tune that sounds a great deal like their work in the mid-'90s.
It's a must must hear:
Studio:
Stripped:
I grew up with 'The Bends' because of my brother's stellar taste in '90s alternative music. I dabbled with 'OK Computer' and completely immersed myself in 'In Rainbows'.
The real gems that I managed to find were the b-side tracks they released with their deluxe re-issues a year or two ago. The most recent find is the song "Banana Co," a b-side from 'the Bends'. It's a short, short tune that sounds a great deal like their work in the mid-'90s.
It's a must must hear:
Studio:
Stripped:
Badfinger
I first heard this band on one of my Dad's crazy hunts for a band's entire discography on CD.
I managed myself to get copies of 'No Dice' and 'Straight Up'.
They're definitely one of those bands that you probably don't know off hand by name, but would know a tune if you heard one. They're often pitted as a Beatles rip off band - even though they hail from Wales, rather than Liverpool. Additionally, McCartney produced some of their work. So I suppose that overlapping is acceptable in this case.
Even though the band wasn't that incredible. I can give them credit for solid hits, great '70s hair and fabulous album artwork.
I am really impressed by anyone my age who knows this band.
Reasons why I love Badfinger:
"No Matter What" -
"Baby Blue" - a song I completely forgot for about three years until now
"Come and Get It" (Badfinger, this version is much better!):
"Come and Get It" (Paul McCartney, who composed the song):
"I Can't Live" is a classic for that longing chorus:
I managed myself to get copies of 'No Dice' and 'Straight Up'.
They're definitely one of those bands that you probably don't know off hand by name, but would know a tune if you heard one. They're often pitted as a Beatles rip off band - even though they hail from Wales, rather than Liverpool. Additionally, McCartney produced some of their work. So I suppose that overlapping is acceptable in this case.
Even though the band wasn't that incredible. I can give them credit for solid hits, great '70s hair and fabulous album artwork.
I am really impressed by anyone my age who knows this band.
Reasons why I love Badfinger:
"No Matter What" -
"Baby Blue" - a song I completely forgot for about three years until now
"Come and Get It" (Badfinger, this version is much better!):
"Come and Get It" (Paul McCartney, who composed the song):
"I Can't Live" is a classic for that longing chorus:
Kelly Clarkson has taste
In searching for live clips of the Black Keys, I stumbled upon Kelly Clarkson's cover of the tune "Lies" off of 'Attack and Release'.
It's got a lot of the soul and longing that the original had, but it's a little slower than bearable.
The original:
It's got a lot of the soul and longing that the original had, but it's a little slower than bearable.
The original:
Wednesday, July 28, 2010
Nada Surf's 'Let Go'
Nada Surf have always been a band I have liked, admired and respected but never really dove into arms wide open.
'Let Go' is the album that I've really gravitated towards in all my dabbling with this band.
"Blonde on Blonde" -
"Happy Kid" -
Nada Surf is a great pop rock band.
'Let Go' is the album that I've really gravitated towards in all my dabbling with this band.
"Blonde on Blonde" -
"Happy Kid" -
Nada Surf is a great pop rock band.
Monday, July 26, 2010
On Reviving 'Rubber Factory'
So,about three posts late, I would just like to acknowledge that this here is my three hundred and third post! Pretty crazy. Thanks for letting me induldge in my digital music diary.
Mush aside.
I am getting more and more excited for the Black Keys gig next week. I remember the first time I 'got into' the Black Keys, I was only seventeen. I bought 'Rubber Factory' to impress a guy I was dating at the time. They were one of those bands that I knew the name from working at a record store, but had no idea what they sounded like. I survived the next three or so years just calling them blues rock, I was far too into 'punk' music at the time to give a hoot about a quality band like the Black Keys. Flash forward five or six years and here I am. I am in love with the Black Keys.
This'll be the second time i've seen Dan Auerbach in the flesh, but the first time i've seen the Black Keys. It's going to be pretty epic, I can feel it.
So, in my backwards quest of discovering the Black Keys - I have recently pulled out 'Rubber Factory,' an album that has been in my collection for five or six years to listen to.
Here's my favourite track for now:
Mush aside.
I am getting more and more excited for the Black Keys gig next week. I remember the first time I 'got into' the Black Keys, I was only seventeen. I bought 'Rubber Factory' to impress a guy I was dating at the time. They were one of those bands that I knew the name from working at a record store, but had no idea what they sounded like. I survived the next three or so years just calling them blues rock, I was far too into 'punk' music at the time to give a hoot about a quality band like the Black Keys. Flash forward five or six years and here I am. I am in love with the Black Keys.
This'll be the second time i've seen Dan Auerbach in the flesh, but the first time i've seen the Black Keys. It's going to be pretty epic, I can feel it.
So, in my backwards quest of discovering the Black Keys - I have recently pulled out 'Rubber Factory,' an album that has been in my collection for five or six years to listen to.
Here's my favourite track for now:
Charlotte Cornfield
Charlotte Cornfield, is not an artist I'd lose sleep over, but she's seriously talented. Great voice and lyrics.
I would really like to see her live.
I'm a real big sucker for close to home related titles, see "Grace and Harbord".
I would really like to see her live.
I'm a real big sucker for close to home related titles, see "Grace and Harbord".
"Summertime"
The brilliant tune "Summertime" was originally written by George Gershwin for the musical Porgy & Bess.
Porgy & Bess has to feature some of the most inspiring tunes. I had the fortune of getting into it through a band arrangement of the entire musical. Again fortunate, I played the flute, which showcased some of the musical's most beautiful melodies.
Why I return to my love for this musical is because I have been easing my way back into the Zombies. They do a terrific cover of "Summertime" that pushes and pulls better than any other version i've heard. It's the perfect arrangement, tailored for their band and style of music.
I am completely inspired and smitten by this cover.
Porgy & Bess has to feature some of the most inspiring tunes. I had the fortune of getting into it through a band arrangement of the entire musical. Again fortunate, I played the flute, which showcased some of the musical's most beautiful melodies.
Why I return to my love for this musical is because I have been easing my way back into the Zombies. They do a terrific cover of "Summertime" that pushes and pulls better than any other version i've heard. It's the perfect arrangement, tailored for their band and style of music.
I am completely inspired and smitten by this cover.
Sunday, July 25, 2010
'One Week'
one one eoneoneoneone week!
I am about twenty-four days late in my celebration of my Canadian herritage.
This film was a beautiful homage to Canada from every angle possible.
Although not featured in the film, I can't help but listen to Julie Doiron's "Dark Horse" -
I am about twenty-four days late in my celebration of my Canadian herritage.
This film was a beautiful homage to Canada from every angle possible.
Although not featured in the film, I can't help but listen to Julie Doiron's "Dark Horse" -
Saturday, July 24, 2010
The Kinks
I've never owned a Kinks full-length album, I've always sort of just took comfort in the hits. I really hate learning about a band from a compilation, it really cheapens the experience. A hand selected collection of tunes by what the masses dictated. Not my idea of getting familiar with a band.
Kinks full-length albums are pretty hard to find used and I can't seem to find one for less than fifteen bucks in stores. Here's to the search.
I have always liked the tune "Victoria." It's poppy and fun. However, anytime I found myself singing along to it I only knew one word - "Victoria". In looking up the lyrics today I found out it was a song written about QUEEN Victoria. Ah ha. Makes sense! Ray Davies delivers each word really differently, it's really hard to track what he's saying. The words are rather minimal, I rather like how he belts "Victoria" throughout the song. This is a feel good song, even if he is talking about how wonderful the Queen is - and all her colonial conquests.
Kinks full-length albums are pretty hard to find used and I can't seem to find one for less than fifteen bucks in stores. Here's to the search.
I have always liked the tune "Victoria." It's poppy and fun. However, anytime I found myself singing along to it I only knew one word - "Victoria". In looking up the lyrics today I found out it was a song written about QUEEN Victoria. Ah ha. Makes sense! Ray Davies delivers each word really differently, it's really hard to track what he's saying. The words are rather minimal, I rather like how he belts "Victoria" throughout the song. This is a feel good song, even if he is talking about how wonderful the Queen is - and all her colonial conquests.
Friday, July 23, 2010
SONG-BY-SONG: Saves the Day's 'In Reverie'
I am completely inspired by Saves the Day's 2003 release 'In Reverie'. It's absolutely stunning.
It received a bunch of flack because it was a very dynamic shift from all of the other Saves the Day material. My biggest fixation is what a transition it was from their previous work. 'Stay What You Are' (2001) was a very big shift as well - towards better production and finer instrumentation. The biggest leap was their shift from the fast driving music of their older punk albums. Both 'I'm Sorry I'm Leaving' and 'Through Being Cool' show a very distinct punk sound, with fast moving drumming bits and tons of power chords. Chris Conley said that 'In Reverie' was inspired by heavy listens to the Beatles. Conley even went on to say in retrospect, that this was his very favourite album.
Chris Conley's vocals are very different. They're significantly softer than in previous albums. Everything, instrumentation especially are a bunch more melodic, it's as if they were on drugs while making this album. There's a calmness that no other Saves the Day album possesses to date.
In 2003, they went on tour with Grandaddy. I will always remember it as the show that I was able to easily move around at. The attendance was so low that I could move around at ease. It was a bit of a weird mash up as far as line ups go, but it really showed Saves the Day's transition into a less punky world.
This really worked against them because shortly after their release of 'In Reverie' they were dropped from their major label debut - Interscope. Apparently, the label went belly up shortly after.
This album is another bench mark album because it was the last album that two core Saves the Day members were to appear on together. Bassist Eben D'Amico left the band shortly after - as well as Dave Soloway the guitarist left a couple of albums later. To me, this was the last true Saves the Day album to be released. Everything after was very Chris Conley.
Saves the Day's biggest weakness is their lack of consistency. This has forced their dedicated fans on a roller coaster of sounds. I personally love the albums released from 1999-2003. They have consistently released albums every two years. I feel as though the band comfortably found their sound in the album 'Stay What You Are' and ambitiously started to explore other niches with 'In Reverie'. Like a confused fifteen year old girl, Conley picked up his aggressive sound in the later years that he nurtured well as a teenager. For this reason, Conley, not Saves the Day, have completely lost my loyalty as a fan.
1. "Anywhere With You"
This tune served as the band's first single off of the album. I was never really drop dead crazy about it, but it has some old Saves the Day elements to it that I really love. It's significantly rougher than the other songs on the album.
2. "What Went Wrong"
This song is totally weird. I'm not sure I know what's going on in it. I feel like it was just a bunch of odd words slapped together. Like "Molly shook like a fish dangling on a line..." This is definitely one of my least favourite songs on the album.
3. "Driving in the Dark"
From one of my least favourites to one of my very favourites. I am a hopeless romantic when it comes to music. So, with that being said, to have a song that's chorus reads - "Ever since I first saw you, standing in the dark frozen night, I've been blind, I'm driving in the dark towards you, not stopping until I catch the sunlight in my eyes. And nothing's left to hide". Complete sap. This song is catchy as hell though in my sappy defense.
4. "Rise"
I will forever and ever remember this as my friend Nicole's favourite song off of the album. I think anything I felt for this album was because she felt something for it. I like the beginning, it's a bit of a weird guitar vocal mimic. I think the song loses serious weight nearing the end.
5. "In Reverie"
This song's really lousy. It's definitely a song I love for nostalgic purposes. This song has very little effect in retrospect. I will always love it for personal reasons. Oddly enough, this is the song they gave most emphasis to. I have no idea why.
6. "Morning in the Moonlight"
This is a decent song. It's upbeat and happy, along with chiming bells nearing the end. This song is heavily based on power chords which it loses a lot of it's greatness on. I do really like the driving guitar that catches the power chords at the end of the tiny chorus. This song is a very Dave Soloway song, it's completely driven by the guitar. Chris' vocals are greatly overshadowed by the driving guitar line that was intended to follow his words.
7. "Monkey"
Amazing transition. I love the ending of Dave Soloway's guitar work bleeding into the ease of the guitar bits on this track. The opening guitar lines remind me a bunch of the opening guitar bits on "This is Not An Exit". They're incredibly simple, with Chris' vocals slowly integrating in as the song builds momentum.
As for the content of this song. Again a little bit of the dreamy, oddball lyrics that almost every song on the album possesses. "Drop your things and burn your clothes. Why we're here no one knows, Watch the bombs explode." - again really odd lyrics. In listening to this song, I have no idea what's going on. I however think that lyrics mean nothing to both this song and the album in its entirity.
Great Dave Soloway guitar solo around the 1:45 point.
8. "In My Waking Life"
I think upon first hearing this album, it was this song that I really loved. I'm not really sure why.
I can say for now, the guitar bits are very Dave Soloway. He's a fantastic lead guitarist, ridiculously innovative while upholding his trademark sound. This song showcases it really well. Chris Conley upholds the easy guitar lines that parallel Eben D'Amico's bass lines while Dave noodles away.
This is a very '60s song. I think that's one of the alluring points for me. I really love how Chris Conley's voice sounds on this song - it's very smooth and fluid.
Around 1:52, there's a terrific drum bit that is very subtle - it sort of serves as a dialogue between the guitar.
This song upholds the album's motif of dreaming and the act of being 'in reverie'.
9. "She"
The worst song on the entire album. But for some odd reason I know every word, which only reflects that I listened to it seven years ago.
It's a love ditty that I feel he tried to emulate McCartney on with very little success. I still stick to my guns in saying that Paul McCartney writes a love song like no other individual.
I'm not sure why the clunked this song in the middle of the album. It seems like an outro tune.
The final words in the tune are "drink melon sky." There's definitely a reoccurring theme of "melon" on this album.
10. "Where Are You?"
An odd transition from a mellow song like "She". It serves as the punch in the belly for such a sappy song before.
This is a great song, for it's former Saves the Day punk energy. It's different because it's completely harnessed. There are very distinct pauses in this song that are dynamic. I really love the instrumentation on this song. I am not listening to it for the lyrics because yet again they're pretty weak, but the push pull sounds of the instruments.
"Moon and melon sunset" - ah ha, another melon, yet again tucked at the end of a song.
11. "Wednesday the Third"
I love this song for the lyrics. Chris sings in sync with Dave Soloway's guitar lines throughout the entire song. It's very melodic and very easy to listen to.
I always found it funny that the chorus sings "Oh, Haven't you heard the news. Surprise a rise, opening up to you." The "rise" bit throws me off a ton because there's tune by that title on the album. I feel as though he wanted to call this one "Rise Pt. 2".
In a closer listen with headphones, I caught that the first eight seconds' sounds shift from right to left. This is definitely a bonus for the song. I found myself repeating the first eight seconds over and over.
This song is definitely one of the stronger tunes of the album for every aspect imaginable.
12. "Tomorrow Too Late"
I began really liking this song for the last few lines muttered at the end of the song - "I need you now be my light. Tomorrow is much too late I need you now".
This is a '60s song. I feel as though he really tries to achieve this at the beginning, and they actually succeed big.
The lyrics are total fluff, but the single line "Tomorrow too late" holds the song together. It sort of gives the impression that something's missing, or that something was lost.
I really like what Chris Conley does with his voice in this song. He dances with it a bit. The beginning chunk has a very distinct sound and then he launches into the "When was the last time, I held you all through the night..." - which has a much more aggressive feel to it.
I love that this song is so lyrically simple. There's really not much to it at all. For every weakness that "What Went Wrong" has, this song compensates for it. Few words and stronger instrumentation.
It received a bunch of flack because it was a very dynamic shift from all of the other Saves the Day material. My biggest fixation is what a transition it was from their previous work. 'Stay What You Are' (2001) was a very big shift as well - towards better production and finer instrumentation. The biggest leap was their shift from the fast driving music of their older punk albums. Both 'I'm Sorry I'm Leaving' and 'Through Being Cool' show a very distinct punk sound, with fast moving drumming bits and tons of power chords. Chris Conley said that 'In Reverie' was inspired by heavy listens to the Beatles. Conley even went on to say in retrospect, that this was his very favourite album.
Chris Conley's vocals are very different. They're significantly softer than in previous albums. Everything, instrumentation especially are a bunch more melodic, it's as if they were on drugs while making this album. There's a calmness that no other Saves the Day album possesses to date.
In 2003, they went on tour with Grandaddy. I will always remember it as the show that I was able to easily move around at. The attendance was so low that I could move around at ease. It was a bit of a weird mash up as far as line ups go, but it really showed Saves the Day's transition into a less punky world.
This really worked against them because shortly after their release of 'In Reverie' they were dropped from their major label debut - Interscope. Apparently, the label went belly up shortly after.
This album is another bench mark album because it was the last album that two core Saves the Day members were to appear on together. Bassist Eben D'Amico left the band shortly after - as well as Dave Soloway the guitarist left a couple of albums later. To me, this was the last true Saves the Day album to be released. Everything after was very Chris Conley.
Saves the Day's biggest weakness is their lack of consistency. This has forced their dedicated fans on a roller coaster of sounds. I personally love the albums released from 1999-2003. They have consistently released albums every two years. I feel as though the band comfortably found their sound in the album 'Stay What You Are' and ambitiously started to explore other niches with 'In Reverie'. Like a confused fifteen year old girl, Conley picked up his aggressive sound in the later years that he nurtured well as a teenager. For this reason, Conley, not Saves the Day, have completely lost my loyalty as a fan.
1. "Anywhere With You"
This tune served as the band's first single off of the album. I was never really drop dead crazy about it, but it has some old Saves the Day elements to it that I really love. It's significantly rougher than the other songs on the album.
2. "What Went Wrong"
This song is totally weird. I'm not sure I know what's going on in it. I feel like it was just a bunch of odd words slapped together. Like "Molly shook like a fish dangling on a line..." This is definitely one of my least favourite songs on the album.
3. "Driving in the Dark"
From one of my least favourites to one of my very favourites. I am a hopeless romantic when it comes to music. So, with that being said, to have a song that's chorus reads - "Ever since I first saw you, standing in the dark frozen night, I've been blind, I'm driving in the dark towards you, not stopping until I catch the sunlight in my eyes. And nothing's left to hide". Complete sap. This song is catchy as hell though in my sappy defense.
4. "Rise"
I will forever and ever remember this as my friend Nicole's favourite song off of the album. I think anything I felt for this album was because she felt something for it. I like the beginning, it's a bit of a weird guitar vocal mimic. I think the song loses serious weight nearing the end.
5. "In Reverie"
This song's really lousy. It's definitely a song I love for nostalgic purposes. This song has very little effect in retrospect. I will always love it for personal reasons. Oddly enough, this is the song they gave most emphasis to. I have no idea why.
6. "Morning in the Moonlight"
This is a decent song. It's upbeat and happy, along with chiming bells nearing the end. This song is heavily based on power chords which it loses a lot of it's greatness on. I do really like the driving guitar that catches the power chords at the end of the tiny chorus. This song is a very Dave Soloway song, it's completely driven by the guitar. Chris' vocals are greatly overshadowed by the driving guitar line that was intended to follow his words.
7. "Monkey"
Amazing transition. I love the ending of Dave Soloway's guitar work bleeding into the ease of the guitar bits on this track. The opening guitar lines remind me a bunch of the opening guitar bits on "This is Not An Exit". They're incredibly simple, with Chris' vocals slowly integrating in as the song builds momentum.
As for the content of this song. Again a little bit of the dreamy, oddball lyrics that almost every song on the album possesses. "Drop your things and burn your clothes. Why we're here no one knows, Watch the bombs explode." - again really odd lyrics. In listening to this song, I have no idea what's going on. I however think that lyrics mean nothing to both this song and the album in its entirity.
Great Dave Soloway guitar solo around the 1:45 point.
8. "In My Waking Life"
I think upon first hearing this album, it was this song that I really loved. I'm not really sure why.
I can say for now, the guitar bits are very Dave Soloway. He's a fantastic lead guitarist, ridiculously innovative while upholding his trademark sound. This song showcases it really well. Chris Conley upholds the easy guitar lines that parallel Eben D'Amico's bass lines while Dave noodles away.
This is a very '60s song. I think that's one of the alluring points for me. I really love how Chris Conley's voice sounds on this song - it's very smooth and fluid.
Around 1:52, there's a terrific drum bit that is very subtle - it sort of serves as a dialogue between the guitar.
This song upholds the album's motif of dreaming and the act of being 'in reverie'.
9. "She"
The worst song on the entire album. But for some odd reason I know every word, which only reflects that I listened to it seven years ago.
It's a love ditty that I feel he tried to emulate McCartney on with very little success. I still stick to my guns in saying that Paul McCartney writes a love song like no other individual.
I'm not sure why the clunked this song in the middle of the album. It seems like an outro tune.
The final words in the tune are "drink melon sky." There's definitely a reoccurring theme of "melon" on this album.
10. "Where Are You?"
An odd transition from a mellow song like "She". It serves as the punch in the belly for such a sappy song before.
This is a great song, for it's former Saves the Day punk energy. It's different because it's completely harnessed. There are very distinct pauses in this song that are dynamic. I really love the instrumentation on this song. I am not listening to it for the lyrics because yet again they're pretty weak, but the push pull sounds of the instruments.
"Moon and melon sunset" - ah ha, another melon, yet again tucked at the end of a song.
11. "Wednesday the Third"
I love this song for the lyrics. Chris sings in sync with Dave Soloway's guitar lines throughout the entire song. It's very melodic and very easy to listen to.
I always found it funny that the chorus sings "Oh, Haven't you heard the news. Surprise a rise, opening up to you." The "rise" bit throws me off a ton because there's tune by that title on the album. I feel as though he wanted to call this one "Rise Pt. 2".
In a closer listen with headphones, I caught that the first eight seconds' sounds shift from right to left. This is definitely a bonus for the song. I found myself repeating the first eight seconds over and over.
This song is definitely one of the stronger tunes of the album for every aspect imaginable.
12. "Tomorrow Too Late"
I began really liking this song for the last few lines muttered at the end of the song - "I need you now be my light. Tomorrow is much too late I need you now".
This is a '60s song. I feel as though he really tries to achieve this at the beginning, and they actually succeed big.
The lyrics are total fluff, but the single line "Tomorrow too late" holds the song together. It sort of gives the impression that something's missing, or that something was lost.
I really like what Chris Conley does with his voice in this song. He dances with it a bit. The beginning chunk has a very distinct sound and then he launches into the "When was the last time, I held you all through the night..." - which has a much more aggressive feel to it.
I love that this song is so lyrically simple. There's really not much to it at all. For every weakness that "What Went Wrong" has, this song compensates for it. Few words and stronger instrumentation.
Tuesday, July 20, 2010
Rain at the Canon Theatre; Tuesday July 20, 2010
I have never been big on cover bands, but there's something ridiculously charming about a Beatles cover band. It's probably because I will never in my life have the opportunity to see this band, so seeing a cover band satisfies this desire.
Rain are pretty good and they've been around since the '70s and have performed around the globe. And after their stint in Toronto, they'll be shifting their act on over the Broadway.
It's unfortunate, but I just wasn't convinced. A good cover band to me, is a band that I can lose myself for just a minute in. This band really only had me in the first bit of their set, playing their early '60s material. They played all the usual suspects - "Twist and Shout" and "I Saw Her Standing There". These songs were most convincing because they're straight rock, everything is played live.
I was really disappointed when they launched into the second half of their set as most of the tunes were pre-recorded. The Beatles managed to avoid this problem by turning into a studio band, for this reason capturing all of the Beatles' music live is super difficult - for any band.
The one thing beyond pre-recorded tracks Rain could do was create amazing sets. The only other Beatles cover band I've seen in the past go as 'The Cast of Beatlemania'. They were a good local cover band that played at smaller venues, like the Great Hall. 'The Cast of Beatlemania' were however unable to create such brilliant back drops. My favourite was the back drop for Shea Stadium. They had large baseball diamond-like lights that shone towards the audience. The ground was flooded with green lights to mimic the grass, while the screens on the side had images of the 1960s screaming fans juxtaposed with images of the crowd tonight in black and white. Additionally, the screen behind the band showed an image of the baseball diamond. I felt like I was there - they completely had me at this point.
At the beginning, they had a really great introdcution by Ed Sullivan. Throughout the show they played old commercials and TV shows that to the modern viewer seem ridiculous and obsolete, but charming nonetheless.
In a heartbeat I would see the Cirque du Soleil production Love over a cover band. I was super luck a couple of winters ago to see the documentary 'All Together Now' at the Royal, with maybe two people in attendance with me. The documentary followed the production of Love with teasers laced throughout the film. More compellingly, the soundtrack was comprised of Beatles tunes that were remixed by the honourary fifth Beatle - George Martin. Martin is 84 years old, it's really remarkable he can have more style and conciousness of music than someone a quarter of his age. For some reason because Martin revisioned the music, it's not percieved as a wrong-doing. It is rather a homage to everything they've done.
I suppose that's what Beatles tribute bands seek to do as well. Fake Paul McCartney even jumped out of character a quarter of the way through the set to highlight their mission as a band. I found this very damaging to their show because from that moment on, they weren't even trying to be that person in the show.
I would see a Beatles cover band again, it would just have to be in a small venue. I would kill to hear a band like Rain play 1960s Beatles at Lee's Palace.
My choice off of the 'Love' - there's something really haunting about the "Cry Baby Cry" bit at the end. They loop the ending bit that is given very little weight on the original version.
Rain are pretty good and they've been around since the '70s and have performed around the globe. And after their stint in Toronto, they'll be shifting their act on over the Broadway.
It's unfortunate, but I just wasn't convinced. A good cover band to me, is a band that I can lose myself for just a minute in. This band really only had me in the first bit of their set, playing their early '60s material. They played all the usual suspects - "Twist and Shout" and "I Saw Her Standing There". These songs were most convincing because they're straight rock, everything is played live.
I was really disappointed when they launched into the second half of their set as most of the tunes were pre-recorded. The Beatles managed to avoid this problem by turning into a studio band, for this reason capturing all of the Beatles' music live is super difficult - for any band.
The one thing beyond pre-recorded tracks Rain could do was create amazing sets. The only other Beatles cover band I've seen in the past go as 'The Cast of Beatlemania'. They were a good local cover band that played at smaller venues, like the Great Hall. 'The Cast of Beatlemania' were however unable to create such brilliant back drops. My favourite was the back drop for Shea Stadium. They had large baseball diamond-like lights that shone towards the audience. The ground was flooded with green lights to mimic the grass, while the screens on the side had images of the 1960s screaming fans juxtaposed with images of the crowd tonight in black and white. Additionally, the screen behind the band showed an image of the baseball diamond. I felt like I was there - they completely had me at this point.
At the beginning, they had a really great introdcution by Ed Sullivan. Throughout the show they played old commercials and TV shows that to the modern viewer seem ridiculous and obsolete, but charming nonetheless.
In a heartbeat I would see the Cirque du Soleil production Love over a cover band. I was super luck a couple of winters ago to see the documentary 'All Together Now' at the Royal, with maybe two people in attendance with me. The documentary followed the production of Love with teasers laced throughout the film. More compellingly, the soundtrack was comprised of Beatles tunes that were remixed by the honourary fifth Beatle - George Martin. Martin is 84 years old, it's really remarkable he can have more style and conciousness of music than someone a quarter of his age. For some reason because Martin revisioned the music, it's not percieved as a wrong-doing. It is rather a homage to everything they've done.
I suppose that's what Beatles tribute bands seek to do as well. Fake Paul McCartney even jumped out of character a quarter of the way through the set to highlight their mission as a band. I found this very damaging to their show because from that moment on, they weren't even trying to be that person in the show.
I would see a Beatles cover band again, it would just have to be in a small venue. I would kill to hear a band like Rain play 1960s Beatles at Lee's Palace.
My choice off of the 'Love' - there's something really haunting about the "Cry Baby Cry" bit at the end. They loop the ending bit that is given very little weight on the original version.
Jack Johnson at the Molson Ampitheatre; Monday July 19, 2010
"So he's no Dylan?" my Dad asked.
"Uh, well, he's pretty good with words" I replied.
I've been on about this for a while - I'm a little bit embarrassed that I like Jack Johnson. The 16,000 people in attendance would probably feel irked by that comment.
It was undeniable, Johnson had complete control of the audience. Everyone, myself included, were captivated by his talent, presence and ease.
If you've been keeping up to date with this blog (I won't hold it against you if you haven't), then it is safe to say you know of the exact moment that I realised that it wasn't 'cool' to like Johnson. I was with a new friend when Johnson came up and he told me about how his roommate does the best impression of him. Which rubbed off on me more like a Jimmy Buffett impression - easy, tropical ukelele sound with floppy lyrics. I can laugh at that now in retrospect with all things considered, it was actually a good impression, even though at the time I took serious offense.
I had a wry feeling even on the streetcar to the show. The car was filled with beautiful, young twentysomething girls pumped for their expensive beer and Johnson tunes. Some even took the liberty of serenading the entire streetcar.
I got to the gig pretty early, ALO (Animal Liberation Orchestra) was about half way through their set. I had seen them once before, five years ago at the previous Johnson concert I saw. The only song I really took with me was "Girl I Wanna Lay You Down" - a song that compares a woman to the smooth and creaminess of peanut butter.
G. Love was up next. I was most excited to see G. Love in action. I felt his short set really didn't do justice. His sound really doesn't carry well at this venue and I think he even acknowledged that in making shout outs to the venues he had played in the city before... "Have ya'll been to the Opera House? Yeah, good times had there..." or something along those lines. It was just G. Love, alone on the stage with his guitar and an attached harmonica. His sound was full but it came off messy in such a large, open venue. My Dad said one of his songs reminded him of a particular song by the Band.
Johnson came on quite a bit later. The sun was setting at this point, it was around 9pm. He opened up with a couple of new tunes. I am a little fuzzy because Johnson has more or less fell off my radar in the last four years. After the Curious George children's album he lost my vote of confidence. Since then he has released two albums, that are pretty unknown to me.
He played a great chunk off of the two new discs. I found myself taken by the new music for every reason I like Johnson - ease, clarity and flirty lyrics. I have no desire to run out and get these albums, but I wouldn't turn it off if it was playing on the radio.
I however, much preferred hearing the familiar. He dug deep into the three older albums which now are over five years old! Loved hearing classics like "Flake," "Bubble Toes," "Banana Pancakes," and his always closer "Better When We're Together". The one tune I wish I had heard him play was "Inaudible Melodies".
I especially loved his slip in "Bubble Toes" - he busted out the second verse when the first was to come. He said how embarrassing it was to make this mistake. The audience went nuts for his humanity.
Johnson was stunning live, he kept the chatting down low until the very end for the encore. He came back alone at the very end and talked a bunch to the audience. He mentioned how a couple of fans ran into him when he was leaving somewhere with his wife. The girls asked him if that's who the tune "Bubble Toes" was written about. Johnson replied, "this is the woman I write all my songs about!" The girls asked how long he'd been with her for, and he replied "since 1993!" The girls said in return "That's when I was born". Johnson proudly said before singing "Do You Remember" that the lyrics read "over ten years has gone by..." (in response to how long he's been married) At the show he said, "In reality it's seventeen years." He won the audience over with his sincerity and good, clean image.
G. Love did so to earlier when he made an I love you shout out to his girlfriend who surprise visited him in Toronto earlier today.
Speaking of G. Love, I was really amazed by his bits in Johnson's set. He came out to sing "Rodeo Clowns," which was perfect with his subtle vocal contributions.
Music abilities aside, these guys defnitely have heart. I think that's why I like his music, it's honest. I like honesty.
I said to my Dad at the beginning of the show that Jack Johnson was probably one of those people who are good at everything. University of California grad, professional surfer and beach ballad superstar.
"Uh, well, he's pretty good with words" I replied.
I've been on about this for a while - I'm a little bit embarrassed that I like Jack Johnson. The 16,000 people in attendance would probably feel irked by that comment.
It was undeniable, Johnson had complete control of the audience. Everyone, myself included, were captivated by his talent, presence and ease.
If you've been keeping up to date with this blog (I won't hold it against you if you haven't), then it is safe to say you know of the exact moment that I realised that it wasn't 'cool' to like Johnson. I was with a new friend when Johnson came up and he told me about how his roommate does the best impression of him. Which rubbed off on me more like a Jimmy Buffett impression - easy, tropical ukelele sound with floppy lyrics. I can laugh at that now in retrospect with all things considered, it was actually a good impression, even though at the time I took serious offense.
I had a wry feeling even on the streetcar to the show. The car was filled with beautiful, young twentysomething girls pumped for their expensive beer and Johnson tunes. Some even took the liberty of serenading the entire streetcar.
I got to the gig pretty early, ALO (Animal Liberation Orchestra) was about half way through their set. I had seen them once before, five years ago at the previous Johnson concert I saw. The only song I really took with me was "Girl I Wanna Lay You Down" - a song that compares a woman to the smooth and creaminess of peanut butter.
G. Love was up next. I was most excited to see G. Love in action. I felt his short set really didn't do justice. His sound really doesn't carry well at this venue and I think he even acknowledged that in making shout outs to the venues he had played in the city before... "Have ya'll been to the Opera House? Yeah, good times had there..." or something along those lines. It was just G. Love, alone on the stage with his guitar and an attached harmonica. His sound was full but it came off messy in such a large, open venue. My Dad said one of his songs reminded him of a particular song by the Band.
Johnson came on quite a bit later. The sun was setting at this point, it was around 9pm. He opened up with a couple of new tunes. I am a little fuzzy because Johnson has more or less fell off my radar in the last four years. After the Curious George children's album he lost my vote of confidence. Since then he has released two albums, that are pretty unknown to me.
He played a great chunk off of the two new discs. I found myself taken by the new music for every reason I like Johnson - ease, clarity and flirty lyrics. I have no desire to run out and get these albums, but I wouldn't turn it off if it was playing on the radio.
I however, much preferred hearing the familiar. He dug deep into the three older albums which now are over five years old! Loved hearing classics like "Flake," "Bubble Toes," "Banana Pancakes," and his always closer "Better When We're Together". The one tune I wish I had heard him play was "Inaudible Melodies".
I especially loved his slip in "Bubble Toes" - he busted out the second verse when the first was to come. He said how embarrassing it was to make this mistake. The audience went nuts for his humanity.
Johnson was stunning live, he kept the chatting down low until the very end for the encore. He came back alone at the very end and talked a bunch to the audience. He mentioned how a couple of fans ran into him when he was leaving somewhere with his wife. The girls asked him if that's who the tune "Bubble Toes" was written about. Johnson replied, "this is the woman I write all my songs about!" The girls asked how long he'd been with her for, and he replied "since 1993!" The girls said in return "That's when I was born". Johnson proudly said before singing "Do You Remember" that the lyrics read "over ten years has gone by..." (in response to how long he's been married) At the show he said, "In reality it's seventeen years." He won the audience over with his sincerity and good, clean image.
G. Love did so to earlier when he made an I love you shout out to his girlfriend who surprise visited him in Toronto earlier today.
Speaking of G. Love, I was really amazed by his bits in Johnson's set. He came out to sing "Rodeo Clowns," which was perfect with his subtle vocal contributions.
Music abilities aside, these guys defnitely have heart. I think that's why I like his music, it's honest. I like honesty.
I said to my Dad at the beginning of the show that Jack Johnson was probably one of those people who are good at everything. University of California grad, professional surfer and beach ballad superstar.
Monday, July 19, 2010
Seb
Sometimes it's really hard to like friends' music projects.
This one was super easy, sings like Bonnie 'Prince' Billy a bit with the effortlessness that Kevin Drew has mastered.
Give Seb's project a listen.
This one was super easy, sings like Bonnie 'Prince' Billy a bit with the effortlessness that Kevin Drew has mastered.
Give Seb's project a listen.
Broken Social Scene's "Meet Me in the Basement"
The longtime Broken Social Scene show closer anthem has been made into a video.
All I could think of while watching this was how close to home the G20 Summit was.
This video's a healthy reminder of how local things can be. It was put together by a fan, but the band has approved and adopted it.
I still don't know how I feel about the G20. Mixed.
All I could think of while watching this was how close to home the G20 Summit was.
This video's a healthy reminder of how local things can be. It was put together by a fan, but the band has approved and adopted it.
I still don't know how I feel about the G20. Mixed.
Mogwai's "Take Me Somwhere Nice"
I'm chipping away when it comes to getting into Mogwai. I really like their stuff, but I find it really difficult to connect with their material.
I was watching Sex and the City and I recognised a song that was playing. It was Mogwai's "Take Me Somwhere Nice". They took the instrumental bits at the beginning to follow Charlotte's first major break-up with Trey (Kyle McLachlan).
Very appropriately, the song is titled "Take Me Somwhere Nice".
The song really goes downhill when the vocals kick in at around the two minute point.
I was watching Sex and the City and I recognised a song that was playing. It was Mogwai's "Take Me Somwhere Nice". They took the instrumental bits at the beginning to follow Charlotte's first major break-up with Trey (Kyle McLachlan).
Very appropriately, the song is titled "Take Me Somwhere Nice".
The song really goes downhill when the vocals kick in at around the two minute point.
Sunday, July 18, 2010
SONG-BY-SONG: 'With the Beatles' by the Beatles
I dare you to find a band better than the Beatles. I can't think of a colour they didn't sport.
I love those moments when you have a song hankering. I for some odd reason was struck with the tune "Hold Me Tight," for it's supreme innocence and sweetness.
This is definitely a Beatles summer for me. I'm going to see RAIN on Tuesday and at the beginning of August I'm seeing Paul McCartney. So this haze of Beatles is well needed.
I'm going to do a bit of a different song-by-song review of this album, a new feature to my blog.
1. "It Won't Be Long"
Fabulous album opener, full of excitement. There's something about the excited shout delivery right at the beginning with the echoing "yeahs". I thought the movie 'Across the Universe' used this song really well.
2. "All I've Got To Do"
Nice changes in tempo, they keep the listener on their toes. This is a very John song, it's edgy and super confident, without being overly cocky. This is one of the nine original compositions on the album, it however still has that Motown sound that the covers've got.
3. "All My Loving"
I first heard this song in the seventh grade. The girls were trying out for choir and this was one of the songs they were singing. I remember when I first heard my friend sing it alone, I thought it was a really slow song. There's something really amazing about the format of this song, it's very unconventional - it breaks into what I can only label as the chorus for it's repetition throughout the song. There's really nothing to this song, it's incredibly simple vocals and music wise. George's very beautiful guitar work wins me over - the country western-Esq guitar riffs.
4. "Don't Bother Me"
George's debut! George's voice has been double-tracked. Musically it's a bit of an odd ball which can only serve to foreshadow George's brilliance in the years following. It's a little bit of an odd shift lyrically as it's a bit more bitter than the tracks that start the album. Less love, more loss.
5. "Little Child"
I like the echoing harmonica bits. This is a song that astonishes me for its musicality. Paul's natural piano bits really flourish in this song - he had very little formal training. His father apparently always pushed him to take formal lessons but he preferred to play by ear. As much as this blog is critical of McCartney's piano bits, it still impresses me how musically inclined he is. I'm incredibly jealous.
6. "Till There Was You"
This is a very Paul McCartney song. I know I say that a lot, but this song to me is a trademarked McCartney song. He pens a good love song that would win any lady over. This song, although incredibly slow, was a popular play at the Cavern Club. Quite surprising for the songs slow tempo.
7. "Please Mister Postman"
I think this is my favourite cover off of the album. The song belongs to the girl group the Marvelettes. What I love about this song is that it strikes me more as a song written for a girl to perform, but the boys pull it off with ease and confidence. The clever swap from "boyfriend" to "girlfriend". This song gets me moving.
8. "Roll Over Beethoven"
Originally belonging to Chuck Berry, the Beatles' take is true. I like their version better, it's polished and very put together. At 1:11, it takes great shift that sets you up for the Berry guitar bit. This song begs to be danced to.
I saw She & Him about a month ago and they closed with this song. A surprising close, M. Ward took the reigns on this one. He also played it at his solo gig in support of 'Hold Time' in 2009. Very M. Ward for its audience shocking ornate guitar parts.
I love love love this section in the tune, it appears only once but the music, pace and feel of this part really reflects what the lyrics are illustrating.
"Well, if you feelin' like it
Go get your lover, then reel and rock it.
Roll it over and move on up just
A trifle further and reel and rock with it,
Roll it over,
Roll Over Beethoven, dig these rhythm and blues. "
9. "Hold Me Tight"
Hand clapping galore. This song is happy and optimistic. The Beatles were true smooth talkers. This is the tune that swayed me to listen to this album tonight.
10. "You Really Got A Hold On Me"
Probably my second favourite cover on this album. It wasn't this version that "got me" the most. It was She & Him's version, which I insist you hear.
I think when I first listened to 'Volume One' by She & Him, this was the song that sealed the deal. It's really delicate, unlike the Beatles' version. If you can tough it out to 2:45, you may share what I first felt when giving this song a listen.
The Beatles' version is brassier. It reflects the original by the Miracles a lot more than She & Him's take.
George Martin's playing the piano on this track.
11. "I Wanna Be Your Man"
This album is really a call for the lovestruck people out there, whether they've found it or not. I love the desperation of this song.
This is a very unconventional Ringo song. I am joining the band wagon here in my dislike for Ringo Starr, or Richard Starkey. His later songs tend to have a simplicity that this song has. It's very evident that Ringo did not write this song.
12. "Devil in Her Heart"
A real hidden gem the original was actually labeled "Devil in His Heart," yet another gender swap. This song was originally recorded by the Donays, a must hear:
I love the skepticism of this song.
This song was really well put together by the Beatles. It has, like many of the other covers, a more polished sound to it. George is singing this one.
13. "Not A Second Time"
This is probably my least favourite song off of the album.
14. "Money"
George Martin's piano masterpiece closer. I can't get over how genius the piano part is, it really picks up vigour nearing the end of the song too.
In the liner notes, McCartney describes this song as 'a real big screamer' for the audience at the Cavern Club. I recently heard it at Goin' Steady, a 50s/60s dance party, and it held that excited quality that it possessed over forty five years ago.
It's also a serious screamer for John's trademark voice spoiling effort.
I never give this song enough credit. It is the perfect album closer.
I always like to think of things in perspective to where I am in my life. When the boys released this album they were my age. What the hell am I doing with my life?
I love those moments when you have a song hankering. I for some odd reason was struck with the tune "Hold Me Tight," for it's supreme innocence and sweetness.
This is definitely a Beatles summer for me. I'm going to see RAIN on Tuesday and at the beginning of August I'm seeing Paul McCartney. So this haze of Beatles is well needed.
I'm going to do a bit of a different song-by-song review of this album, a new feature to my blog.
1. "It Won't Be Long"
Fabulous album opener, full of excitement. There's something about the excited shout delivery right at the beginning with the echoing "yeahs". I thought the movie 'Across the Universe' used this song really well.
2. "All I've Got To Do"
Nice changes in tempo, they keep the listener on their toes. This is a very John song, it's edgy and super confident, without being overly cocky. This is one of the nine original compositions on the album, it however still has that Motown sound that the covers've got.
3. "All My Loving"
I first heard this song in the seventh grade. The girls were trying out for choir and this was one of the songs they were singing. I remember when I first heard my friend sing it alone, I thought it was a really slow song. There's something really amazing about the format of this song, it's very unconventional - it breaks into what I can only label as the chorus for it's repetition throughout the song. There's really nothing to this song, it's incredibly simple vocals and music wise. George's very beautiful guitar work wins me over - the country western-Esq guitar riffs.
4. "Don't Bother Me"
George's debut! George's voice has been double-tracked. Musically it's a bit of an odd ball which can only serve to foreshadow George's brilliance in the years following. It's a little bit of an odd shift lyrically as it's a bit more bitter than the tracks that start the album. Less love, more loss.
5. "Little Child"
I like the echoing harmonica bits. This is a song that astonishes me for its musicality. Paul's natural piano bits really flourish in this song - he had very little formal training. His father apparently always pushed him to take formal lessons but he preferred to play by ear. As much as this blog is critical of McCartney's piano bits, it still impresses me how musically inclined he is. I'm incredibly jealous.
6. "Till There Was You"
This is a very Paul McCartney song. I know I say that a lot, but this song to me is a trademarked McCartney song. He pens a good love song that would win any lady over. This song, although incredibly slow, was a popular play at the Cavern Club. Quite surprising for the songs slow tempo.
7. "Please Mister Postman"
I think this is my favourite cover off of the album. The song belongs to the girl group the Marvelettes. What I love about this song is that it strikes me more as a song written for a girl to perform, but the boys pull it off with ease and confidence. The clever swap from "boyfriend" to "girlfriend". This song gets me moving.
8. "Roll Over Beethoven"
Originally belonging to Chuck Berry, the Beatles' take is true. I like their version better, it's polished and very put together. At 1:11, it takes great shift that sets you up for the Berry guitar bit. This song begs to be danced to.
I saw She & Him about a month ago and they closed with this song. A surprising close, M. Ward took the reigns on this one. He also played it at his solo gig in support of 'Hold Time' in 2009. Very M. Ward for its audience shocking ornate guitar parts.
I love love love this section in the tune, it appears only once but the music, pace and feel of this part really reflects what the lyrics are illustrating.
"Well, if you feelin' like it
Go get your lover, then reel and rock it.
Roll it over and move on up just
A trifle further and reel and rock with it,
Roll it over,
Roll Over Beethoven, dig these rhythm and blues. "
9. "Hold Me Tight"
Hand clapping galore. This song is happy and optimistic. The Beatles were true smooth talkers. This is the tune that swayed me to listen to this album tonight.
10. "You Really Got A Hold On Me"
Probably my second favourite cover on this album. It wasn't this version that "got me" the most. It was She & Him's version, which I insist you hear.
I think when I first listened to 'Volume One' by She & Him, this was the song that sealed the deal. It's really delicate, unlike the Beatles' version. If you can tough it out to 2:45, you may share what I first felt when giving this song a listen.
The Beatles' version is brassier. It reflects the original by the Miracles a lot more than She & Him's take.
George Martin's playing the piano on this track.
11. "I Wanna Be Your Man"
This album is really a call for the lovestruck people out there, whether they've found it or not. I love the desperation of this song.
This is a very unconventional Ringo song. I am joining the band wagon here in my dislike for Ringo Starr, or Richard Starkey. His later songs tend to have a simplicity that this song has. It's very evident that Ringo did not write this song.
12. "Devil in Her Heart"
A real hidden gem the original was actually labeled "Devil in His Heart," yet another gender swap. This song was originally recorded by the Donays, a must hear:
I love the skepticism of this song.
This song was really well put together by the Beatles. It has, like many of the other covers, a more polished sound to it. George is singing this one.
13. "Not A Second Time"
This is probably my least favourite song off of the album.
14. "Money"
George Martin's piano masterpiece closer. I can't get over how genius the piano part is, it really picks up vigour nearing the end of the song too.
In the liner notes, McCartney describes this song as 'a real big screamer' for the audience at the Cavern Club. I recently heard it at Goin' Steady, a 50s/60s dance party, and it held that excited quality that it possessed over forty five years ago.
It's also a serious screamer for John's trademark voice spoiling effort.
I never give this song enough credit. It is the perfect album closer.
I always like to think of things in perspective to where I am in my life. When the boys released this album they were my age. What the hell am I doing with my life?
Saturday, July 17, 2010
Saves the Day (Chris Conley) Interview
So, I made a comment earlier about Saves the Day releasing albums after 2003. It's sort of interesting because by 2003, there were only two original members of the band. Many critics have labeled current Saves the Day as the "Chris Conley Show". Perhaps by him keeping the band name, it preserves him as a musician.
Saves the Day died in 2003 to me.
Chris Conley's response:
"Well I don’t see myself ever stopping, I love it so much. I’ve been the only original member of Saves the Day since 2001 when Bryan and Eben quit. I’ve been doing it for almost ten years since being the only original member. So I can’t imagine stopping. I can only pray that I’m allowed many more years of writing and touring because I love it so much." (pulled from this website)
I found this great interview between Chris and a magazine of some sort. He cites Elliott Smith's 'Figure 8' as perfection. I couldn't agree more.
Saves the Day died in 2003 to me.
Chris Conley's response:
"Well I don’t see myself ever stopping, I love it so much. I’ve been the only original member of Saves the Day since 2001 when Bryan and Eben quit. I’ve been doing it for almost ten years since being the only original member. So I can’t imagine stopping. I can only pray that I’m allowed many more years of writing and touring because I love it so much." (pulled from this website)
I found this great interview between Chris and a magazine of some sort. He cites Elliott Smith's 'Figure 8' as perfection. I couldn't agree more.
A comment on 'In Reverie'
This is gold -
Steve Evetts, producer of Saves the Day albums Can't Slow Down, Through Being Cool, and Sound the Alarm described the vocals as if "Chris were singing while sitting on the couch eating a ham sandwich".
Steve Evetts, producer of Saves the Day albums Can't Slow Down, Through Being Cool, and Sound the Alarm described the vocals as if "Chris were singing while sitting on the couch eating a ham sandwich".
Saves the Day
When faced with the question of who my favourite band really are, the band that entered my mind was Saves the Day.
In working at a record store, I've come to naturally categorise bands by genre. I feel pretty awful to associate 'Punk' Saves the Day as one of my favourite artists.
The first issue is - I'm not sure what genre i'd clunk them under. For sake of organisation in a record store, yes, I would probably put them under punk, by sheer association and accessibility. But really, what punk band would release an album like 'In Reverie'. 'In Reverie' in sound, is an album of the sixties (actually put out in 2003!!). I can't even believe it was seven years ago that I purchased 'In Reverie'.
The second issue is that Saves the Day were my gateway band. I think I found a tiny article in one of my teen girly magazines citing Saves the Day as a cool band to watch out for. From there I purchased Saves the Day's third full-length album 'Stay What You Are,' which is still today one of my favourite albums from start to finish. I have these really fond memories of buying random albums at Sunrise in Dixie Mall wiht my Dad. He would spend hours in the store while i'd just listen and sample records in the meantime. I sadly got a job there shortly after and spoiled my music sprees with my father.
There's nothing wrong with liking Saves the Day, in fact, I wrote this to glorify how amazing they really are. From their roots in pop-punk with the album 'Through Being Cool' to their more sophisticated pop songs on 'Stay What You Are' to their well crafted, thoughtful pop-rock songs on 'In Reverie'. Their catalogue sort of stops there for me. Saves the Day to me, disbanded in 2003 and have played tours since. Unfortunately, that's not the reality, in reality, Saves the Day has only one original member and have produced crap since.
I will never understand this band, ever!
"Shoulder to the Wheel" off of 'Through Being Cool'(1999)
"This is Not an Exit" off of 'Stay What You Are' (2001)
A total grower, the brilliant "Tomorrow Too Late" off of 'In Reverie' (2003)
Funny, they pretty steadily released albums from 1997 with 'Can't Slow Down,' the band members were only 17! It's sort of interesting to watch the progression of this band, I have no idea what spurred it. Seems they've begun to regress.
In working at a record store, I've come to naturally categorise bands by genre. I feel pretty awful to associate 'Punk' Saves the Day as one of my favourite artists.
The first issue is - I'm not sure what genre i'd clunk them under. For sake of organisation in a record store, yes, I would probably put them under punk, by sheer association and accessibility. But really, what punk band would release an album like 'In Reverie'. 'In Reverie' in sound, is an album of the sixties (actually put out in 2003!!). I can't even believe it was seven years ago that I purchased 'In Reverie'.
The second issue is that Saves the Day were my gateway band. I think I found a tiny article in one of my teen girly magazines citing Saves the Day as a cool band to watch out for. From there I purchased Saves the Day's third full-length album 'Stay What You Are,' which is still today one of my favourite albums from start to finish. I have these really fond memories of buying random albums at Sunrise in Dixie Mall wiht my Dad. He would spend hours in the store while i'd just listen and sample records in the meantime. I sadly got a job there shortly after and spoiled my music sprees with my father.
There's nothing wrong with liking Saves the Day, in fact, I wrote this to glorify how amazing they really are. From their roots in pop-punk with the album 'Through Being Cool' to their more sophisticated pop songs on 'Stay What You Are' to their well crafted, thoughtful pop-rock songs on 'In Reverie'. Their catalogue sort of stops there for me. Saves the Day to me, disbanded in 2003 and have played tours since. Unfortunately, that's not the reality, in reality, Saves the Day has only one original member and have produced crap since.
I will never understand this band, ever!
"Shoulder to the Wheel" off of 'Through Being Cool'(1999)
"This is Not an Exit" off of 'Stay What You Are' (2001)
A total grower, the brilliant "Tomorrow Too Late" off of 'In Reverie' (2003)
Funny, they pretty steadily released albums from 1997 with 'Can't Slow Down,' the band members were only 17! It's sort of interesting to watch the progression of this band, I have no idea what spurred it. Seems they've begun to regress.
On seeing bands live...
Rarely do I miss a band that I really love live. It's kind of amazing that almost any artist that I have an affinity for I can pretty much see.
One of the only bands that I really fell in love with and didn't see was Tegan and Sara. I really only fell in love with the album 'So Jealous' but it was a hard fall.
I tend to want to see a band less when more material is released that I don't love, or love the way I use to with another album.
For the first time since 2003, I passed up seeing Saves the Day. I have really lost touch with their last two albums and I really didn't want to see New Found Glory.
I like that I can see any band I want on Youtube, it's a really beautiful invention. And as much as I hate those knobs with their cameras at concerts, I appreciate the memories they're saving in doing so.
One of the only bands that I really fell in love with and didn't see was Tegan and Sara. I really only fell in love with the album 'So Jealous' but it was a hard fall.
I tend to want to see a band less when more material is released that I don't love, or love the way I use to with another album.
For the first time since 2003, I passed up seeing Saves the Day. I have really lost touch with their last two albums and I really didn't want to see New Found Glory.
I like that I can see any band I want on Youtube, it's a really beautiful invention. And as much as I hate those knobs with their cameras at concerts, I appreciate the memories they're saving in doing so.
Thursday, July 15, 2010
Bon Iver Gems you MUST MUST hear
"Brackett, WI"
"Creature Fear" and "Team" (Album Version, keep open ears for those brilliant swells):
"Creature Fear" (A live video I've never got my eyes or ears on! His voice is much lower.. I don't blame him for the change, he's probably sang this song more times than he can count)
"Blood Bank"
"Skinny Love"
"Skinny Love" by Kiersten Holine, "Justin Vernon, you are better than me," very modest.
"Lovin's For Fools" (Sarah Siskind Cover, this was a live song for him, so it was really hard to find a good sounding version! Apologies!)
"Lovin's For Fools" (Kiersten Holine's Cover inspired by a Cover)
Must sleep! Posting these takes way too long. I hope you appreciate all my fatigue!
"Creature Fear" and "Team" (Album Version, keep open ears for those brilliant swells):
"Creature Fear" (A live video I've never got my eyes or ears on! His voice is much lower.. I don't blame him for the change, he's probably sang this song more times than he can count)
"Blood Bank"
"Skinny Love"
"Skinny Love" by Kiersten Holine, "Justin Vernon, you are better than me," very modest.
"Lovin's For Fools" (Sarah Siskind Cover, this was a live song for him, so it was really hard to find a good sounding version! Apologies!)
"Lovin's For Fools" (Kiersten Holine's Cover inspired by a Cover)
Must sleep! Posting these takes way too long. I hope you appreciate all my fatigue!
Bon Iver's 'Blood Bank'
This album came out a year and half ago. I bought the record version on a trip to Arizona, I was so excited because the record came out a few weeks before the CD.
At that point, I had been listening to Bon Iver for about a year and I had seen him live twice.
I don't think I had any expectations when first approaching 'Blood Bank.' I only expecting something mildly like 'For Emma, Forever Ago'. Even considering 'For Emma,' i'm not really sure what attracted me to it. It's probably heart, it's gotta be heart.
Back to 'Blood Bank'...
It's only four songs in length, less than seventeen minutes in total. And the sole reason why I'm considering my originally harsh comments is because of the song "Beach Baby." An easy ditty, that sways with easy lyrics. It ends real nice with a gentle guitar slide.
But the one song that kills the album for me is the transition into "Babys." A stupid track that reflects its spelling mistake well. It starts with a pulsing piano chord... and when I listen to it, that's normally where it ends.
Bon Iver's strength is his simplicity. That's why the tune "Beach Baby" resonates so well with me. It had a soothing effect when I was studying for an exam. Minutes before I played it over and over and over until my jitters were set to ease.
I really like the title track. It's got the vigour that "Skinny Love" had on his older album. It's sort of the skeleton holding the bare album together.
I even like what he did to "Woods" on his other project The Volcano Choir. "Woods" is the last track on the short album 'Blood Bank'. It's all voice. I wasn't initially wowed, i wrote it off as the male response to Imogen Heap's TV soundtrack smash hit "Hide and Seek".
Bon Iver's "Woods":
Volcano Choir's "Woods," disguised by the title "Still" on their album 'Unmap':
At that point, I had been listening to Bon Iver for about a year and I had seen him live twice.
I don't think I had any expectations when first approaching 'Blood Bank.' I only expecting something mildly like 'For Emma, Forever Ago'. Even considering 'For Emma,' i'm not really sure what attracted me to it. It's probably heart, it's gotta be heart.
Back to 'Blood Bank'...
It's only four songs in length, less than seventeen minutes in total. And the sole reason why I'm considering my originally harsh comments is because of the song "Beach Baby." An easy ditty, that sways with easy lyrics. It ends real nice with a gentle guitar slide.
But the one song that kills the album for me is the transition into "Babys." A stupid track that reflects its spelling mistake well. It starts with a pulsing piano chord... and when I listen to it, that's normally where it ends.
Bon Iver's strength is his simplicity. That's why the tune "Beach Baby" resonates so well with me. It had a soothing effect when I was studying for an exam. Minutes before I played it over and over and over until my jitters were set to ease.
I really like the title track. It's got the vigour that "Skinny Love" had on his older album. It's sort of the skeleton holding the bare album together.
I even like what he did to "Woods" on his other project The Volcano Choir. "Woods" is the last track on the short album 'Blood Bank'. It's all voice. I wasn't initially wowed, i wrote it off as the male response to Imogen Heap's TV soundtrack smash hit "Hide and Seek".
Bon Iver's "Woods":
Volcano Choir's "Woods," disguised by the title "Still" on their album 'Unmap':
Wednesday, July 14, 2010
"The" + (band name)
I remember getting ridiculously mad when I purchased a ticket for a Stars gig five years ago. Right on the ticket, just before the band's name was printed a big, fat, THE.
Now, I find it always kind of funny when people get defensive over three letters. It's an easy mistake nowadays because I feel as though every band has a "the" clunked to the front of their name... ie.. The Hives, The Shins, The Roots, The Smiths, The Decemberists, The Beatles, The The, The Good Life.
Enough said.
Now, I find it always kind of funny when people get defensive over three letters. It's an easy mistake nowadays because I feel as though every band has a "the" clunked to the front of their name... ie.. The Hives, The Shins, The Roots, The Smiths, The Decemberists, The Beatles, The The, The Good Life.
Enough said.
Friday, July 9, 2010
Study Mix July 9, 2010
Carrying on from yesterday a bit...
Nada Surf - 'Let Go'
Califone - 'All my Friends are Funeral Singers'
Camera Obscura - 'Underachievers Please Try Harder'
Bonnie 'Prince' Billy - 'Ease Down the Road'
Bonnie 'Prince' Billy - 'The Letting Go'
and a few new contenders:
Rilo Kiley - 'The Execution of All Things'
Brand New - 'The Devil and God are Raging Inside Me'
Nada Surf - 'Let Go'
Califone - 'All my Friends are Funeral Singers'
Camera Obscura - 'Underachievers Please Try Harder'
Bonnie 'Prince' Billy - 'Ease Down the Road'
Bonnie 'Prince' Billy - 'The Letting Go'
and a few new contenders:
Rilo Kiley - 'The Execution of All Things'
Brand New - 'The Devil and God are Raging Inside Me'
Thursday, July 8, 2010
Study Mix for July 8, 2010
I've been grabbing a pile of CDs each day and giving things a spin that I wouldn't normally...
So here's my picks -
The Decemberists - 'The Crane Wife'
Nada Surf - 'Let Go'
Califone - 'All my Friends are Funeral Singers'
Camera Obscura - 'Underachievers Please Try Harder'
Bonnie 'Prince' Billy - 'Ease Down the Road'
Bonnie 'Prince' Billy - 'The Letting Go'
M. Ward - 'Transistor Radio'
KT Tunstall - 'Eye to the Telescope'
Pedro the Lion - 'It's Hard to Find a Friend' and 'Control'
Will letcha know how I feel about each one real soon.
So here's my picks -
The Decemberists - 'The Crane Wife'
Nada Surf - 'Let Go'
Califone - 'All my Friends are Funeral Singers'
Camera Obscura - 'Underachievers Please Try Harder'
Bonnie 'Prince' Billy - 'Ease Down the Road'
Bonnie 'Prince' Billy - 'The Letting Go'
M. Ward - 'Transistor Radio'
KT Tunstall - 'Eye to the Telescope'
Pedro the Lion - 'It's Hard to Find a Friend' and 'Control'
Will letcha know how I feel about each one real soon.
Wednesday, July 7, 2010
Ohad Benchetrit's solo project 'Years'
I really like anything Ohad Benchetrit's beautiful guitar work grazes. There's something really special about everything he noodles on.
Years was a natural, easy progression for his work.
He, with a pile of other Do Make Say Think collaborators released the self-titled album last year. I had the luck of seeing him play it live at the Enwave theatre, down at the Harbourfront. There was a lot of looping and group effort help, but for the most part it was Benchetrit that took the spotlight.
In finishing up my final papers, I have nested well in the library with a pile of CDs to curb my Youtube interests. I brought Years' album after recently talking about it with a friend. Musically, it's brilliant. It paints the images that the song titles suggest, while upholding seriousness throughout the entire album. The only thing I think it really lacks is continuity. Continuity is something Do Make is incredibly good at - they link each song seamlessly. I don't have that same connected feel while sporting Years' album.
The songs are also a bunch shorter, the average being just shy of three minutes.
I still really like this album, it's musically all there. It just doesn't have that timeless feel that I get from Do Make Say Think albums. It will very likely get less rotation than albums that coreshake me.
"Do" by Do Make Say Think, and Ohad at his finest!:
"A Tender History in Rust" by Do Make Say Think, Ohad again:
"The Major Lift" by Years - Probably the most accessible tune on the album:
"Are You Unloved" by Years - LISTEN TO THIS SONG WITH HEADPHONES, stereo!
Years was a natural, easy progression for his work.
He, with a pile of other Do Make Say Think collaborators released the self-titled album last year. I had the luck of seeing him play it live at the Enwave theatre, down at the Harbourfront. There was a lot of looping and group effort help, but for the most part it was Benchetrit that took the spotlight.
In finishing up my final papers, I have nested well in the library with a pile of CDs to curb my Youtube interests. I brought Years' album after recently talking about it with a friend. Musically, it's brilliant. It paints the images that the song titles suggest, while upholding seriousness throughout the entire album. The only thing I think it really lacks is continuity. Continuity is something Do Make is incredibly good at - they link each song seamlessly. I don't have that same connected feel while sporting Years' album.
The songs are also a bunch shorter, the average being just shy of three minutes.
I still really like this album, it's musically all there. It just doesn't have that timeless feel that I get from Do Make Say Think albums. It will very likely get less rotation than albums that coreshake me.
"Do" by Do Make Say Think, and Ohad at his finest!:
"A Tender History in Rust" by Do Make Say Think, Ohad again:
"The Major Lift" by Years - Probably the most accessible tune on the album:
"Are You Unloved" by Years - LISTEN TO THIS SONG WITH HEADPHONES, stereo!
Tuesday, July 6, 2010
Brand New meets Taking Back Sunday in "Seventy Times 7"
Incredible mash up. In high school I cherished Brand New, Taking Back Sunday and Straylight Run.
It was no secret there was a bit of band rivalry between Brand New and Taking Back Sunday. So to hear this was kind of a nice reminder -
"Seventy Times 7" with a hint of "There's No "I" in Team"
It was no secret there was a bit of band rivalry between Brand New and Taking Back Sunday. So to hear this was kind of a nice reminder -
"Seventy Times 7" with a hint of "There's No "I" in Team"
Monday, July 5, 2010
Saves the Day
Saves the Day are one of my favourite bands.
I still can listen to most of 'Stay What You Are' and have a really cathartic moment where I remember why I love music.
I was stumbling around Youtube in efforts to delay my painful last two essays and I found this wonderful gem. It's an old video of Chris Conley the singer, playing in the back alley way. He was probably less than twenty at that time, somewhere around ten or eleven years ago. The video was shot with a VHS camera.
Nostalgia.
I still can listen to most of 'Stay What You Are' and have a really cathartic moment where I remember why I love music.
I was stumbling around Youtube in efforts to delay my painful last two essays and I found this wonderful gem. It's an old video of Chris Conley the singer, playing in the back alley way. He was probably less than twenty at that time, somewhere around ten or eleven years ago. The video was shot with a VHS camera.
Nostalgia.
The Tallest Man on Earth's Tiny Desk performance
Kristian Matsson is dreamy for his poetic words.
Go on, fall for him:
Go on, fall for him:
RIP Musa
Yesterday afternoon I was making my way to Mississauga and I found my streetcar was incredibly derailed and a bit off its normal route.
There were two accidents yesterday affecting the Spadina streetcar. The first being a power shortage at Spadina and College. The second was a massive fire at Euclid and Dundas, the home of my favourite restaurant, Musa. At the time I wasn't aware of the latter...
Musa was a skip away from my last digs. It was the place I took comfort in finding a quiet eat on a Monday night, or an incredibly crowded breakfast on a Saturday. I pretty much always ordered the same two dishes. 2010 marked their nine year anniversary.
I'm almost certain the owner was also a neighbour of mine last year at the Palmerston house. It's a real shame, the building itself was 120 years old.
Musa was also the place where I was pleasantly surprised by their musical selection. I would often year Nancy Sinatra's cover of Cher's "Bang Bang" or selections from Velvet Underground's 'Loaded'. Or my personal favourite, near and dear to my heart, Elliott Smith's 'Figure 8'.
I hope they get their feet on the ground soon. I could really go for a chili chicken right now!
There were two accidents yesterday affecting the Spadina streetcar. The first being a power shortage at Spadina and College. The second was a massive fire at Euclid and Dundas, the home of my favourite restaurant, Musa. At the time I wasn't aware of the latter...
Musa was a skip away from my last digs. It was the place I took comfort in finding a quiet eat on a Monday night, or an incredibly crowded breakfast on a Saturday. I pretty much always ordered the same two dishes. 2010 marked their nine year anniversary.
I'm almost certain the owner was also a neighbour of mine last year at the Palmerston house. It's a real shame, the building itself was 120 years old.
Musa was also the place where I was pleasantly surprised by their musical selection. I would often year Nancy Sinatra's cover of Cher's "Bang Bang" or selections from Velvet Underground's 'Loaded'. Or my personal favourite, near and dear to my heart, Elliott Smith's 'Figure 8'.
I hope they get their feet on the ground soon. I could really go for a chili chicken right now!
Saturday, July 3, 2010
Rilo Kiley 'More Adventurous'
Jenny Lewis, you write beautiful music with good words to follow!
"Late at night, I get the phone. You're at the shop sobbing all alone. Your confession, It's coming out. You only married him because you felt your time was running out. Now you lov ehim, and your baby. At last, you are complete. But he's distant and you found him on the phone pleading saying, "Baby I love you and I'll leave her and I'm coming out to California..." Let's not forget ourselvse, good friend. I am flawed if i'm not free. Your husband will never leave you, he will never leave you for me."
"Late at night, I get the phone. You're at the shop sobbing all alone. Your confession, It's coming out. You only married him because you felt your time was running out. Now you lov ehim, and your baby. At last, you are complete. But he's distant and you found him on the phone pleading saying, "Baby I love you and I'll leave her and I'm coming out to California..." Let's not forget ourselvse, good friend. I am flawed if i'm not free. Your husband will never leave you, he will never leave you for me."
On Levon Helm's performance at Massey Hall; Tuesday June 29, 2010
Levon Helm is legendary. He's worked with Dylan as his back up band and made it on his own with the Band.
There's something really incredible about a drummer who can sing well, while playing the drums.
His most famous songs are "The Weight," "Up on Cripple Creek" and "Ophelia." He played "The Weight" and "Ophelia" at his gig last Tuesday.
I really loved how great he sounded for 70 years old! It's pretty incredible to think just how long the Band has been around for. The Last Waltz was created 32 years ago! Remarkable. Completely ageless.
Levon barely did any singing. He opened up the show with a complete song of his own and sang a verse here and there throughout his set. He had an incredible band to boot, including his daughter Amy Helm (check out her band Olabelle). He's got my sympathy points as just ten years ago he lost his voice to a whisper. He miraculously got it back six or seven years back. It's just such a shame he only sang one verse of "the Weight" at this show.
"The Weight" 2008:
"The Weight" 1978:
I hope I'm half as lively has him when I'm 70. It's moments like these I'm really sad that I wasn't alive forty years ago when the music scene was booming. Not to say that now it isn't, but there was something special about the sixties and seventies.
Opener John Hiatt sounded musically good. I really am not into his sound though, definitely a leave it relationship.
There's something really incredible about a drummer who can sing well, while playing the drums.
His most famous songs are "The Weight," "Up on Cripple Creek" and "Ophelia." He played "The Weight" and "Ophelia" at his gig last Tuesday.
I really loved how great he sounded for 70 years old! It's pretty incredible to think just how long the Band has been around for. The Last Waltz was created 32 years ago! Remarkable. Completely ageless.
Levon barely did any singing. He opened up the show with a complete song of his own and sang a verse here and there throughout his set. He had an incredible band to boot, including his daughter Amy Helm (check out her band Olabelle). He's got my sympathy points as just ten years ago he lost his voice to a whisper. He miraculously got it back six or seven years back. It's just such a shame he only sang one verse of "the Weight" at this show.
"The Weight" 2008:
"The Weight" 1978:
I hope I'm half as lively has him when I'm 70. It's moments like these I'm really sad that I wasn't alive forty years ago when the music scene was booming. Not to say that now it isn't, but there was something special about the sixties and seventies.
Opener John Hiatt sounded musically good. I really am not into his sound though, definitely a leave it relationship.
Thursday, July 1, 2010
Subscribe to:
Posts (Atom)