A Few Things

In light of the fact that I have not posted in a while, and of the media trend towards rapid-fire twitteresque packets of information, I am going to do a quick catch up of my recent musical adventures in mini bytes.

A Very Foggy Christmas with the Foggy Hogtown Boys

When I flew home for Christmas this past December, I chose to postpone the reunion with my dear family and went directly from the airport to the Silver Dollar Room for a bluegrass fix. At least I’ve got my priorities straight. [To my family: I’m kidding]. The Foggy Hogtown Boys, kings of the Toronto bluegrass scene, hosted a holiday shindig with special Joey Wright, Corin Raymond, and my personal role models Jenny Whiteley and Simone Schmidt (of One Hundred Dollars). Drunk Fiddlin’ Santa also made an appearance. There’s nothing quite like a happy bluegrass family sing-along to get you in the holiday spirit.

New Years Eve at Stoneham, QC

After Christmas I went snowboarding with my sisters and friends at Stoneham in Quebec. On New Years Eve we went to the bar at the ski lodge and caught some local talent. I have no idea what the band was called, but they produced hit after hit of English-language top 40s covers. Think Rihanna, Lady Gaga etc. The lead singer had a killer voice, and the band was so tight that there was considerable discussion over whether or not they were using a backing track from the original recordings. I failed to hear any sounds that I couldn’t see being produced by one of the instruments, and so I concluded that they have simply got cover music down to an art. It goes to show that people really love hearing music they know all the words to, even if those words aren’t in your first language.

Jam night at the Langford Legion with Route 66

Just days after getting back to Victoria, I was coaxed out to participate in a jam night at the Langford Legion. Route 66 opened the night with some high-energy classic rock covers and had the whole crowd on the dance floor by the end of the set. This had me terrified, since I was scheduled to perform next. Fortunately by breaking out my secret weapon, Jenny Whiteley’s Dance Till Dawn, I was able to keep the energy levels up and win over the crowd. I also played Semi Charmed Life by Third Eye Blind and an original song. I got lots of great feedback and danced all night to the many rocking acts that followed.

The Tequila Mockingbird Orchestra with Blackberry Wood and Bucan Bucan

An amazing night of music and theatrics to celebrate the Tequila Mockingbird Orchestra’s latest CD release! Blackberry Wood won us over with their musical circus act and even had the whole audience lying on their backs doing the bicycle by the end of it all. Bucan Bucan dazzled us with their 11 piece gypsy marching band antics, which included marching through the crowd and playing among us. The TMO showed the crowd that they have what it takes to keep the dance party going through the night. Their songs were complimented by a very creative art installation that used a projector and paper cut outs to project images and scenes onto the wall behind the musicians. All three groups get an A+ for energy. I, on the other hand, was just about beat by the end of the night.

That’s all for now, but there’s more coming. I recently saw a show with Jon-Rae Flecther and the Great Lake Swimmers that deserves at least a couple paragraphs!

God's Away on Business - A Tribute to Tom Waits

I told a friend of mine I was going to a Tom Waits tribute night, and she said, "I like listening to Tom Waits when I'm drinking. He makes me feel sloppy."

Well for me the night was decidedly sober - the venue was unlicensed and I forgot to bring a mickey - but I did get caught up in the spirit of the evening and couldn't bear to take any notes. And I do have some memories…

The Solstice Cafe in Victoria hosts an annual celebration of Tom Waits on his birthday, and it is likely their biggest and most anticipated event. I got there 10 minutes before the doors opened and still had to fight for standing room.

The bill featured an impressive 17 acts and over 4 hours of music. I spent the first half squatting in the aisle over my bike helmet, huddled with other eager listeners. Next to me was an adorable 3 year old girl who isn't exactly familiar with Tom Waits, but knows for sure that it isn't "boring music," and was eager to dance along to even the most cacophonous renditions of his songs.

And the show did not start quietly. To kick things off we heard "Rain Dogs" complete with looped tracks of ratchets ratcheting, pot lids clanging and a number of other noisy noises. The effect was, well, effective. The first half ended with a stellar set by the Children of Celebrities, who skillfully applied their musical talents to Tom Waits' music. In between we heard piano ballads, rock and roll raging, country crooning and spoken word.

The second half was even more impressive than the first. Deserving special mention is the set performed by Jeff Andrew. He paid an emotional and heartfelt tribute to musician, poet and friend Tempest who was recently murdered on Hornby Island. He reminded us that we can only confront death head on, and sang "How's It Gonna End" and "Make It Rain," the latter a tribute to Tempest's strong connection to weather and storm.

The Outspoken Wordsmiths delivered a sweet set of beat box energy, including "Chocolate Dumpster," a twist on Waits' "Chocolate Jesus," paying homage to the wealth that can be found just by digging through the trash.

Aside from a raucous all-hands-on-deck sing along of "Come On Up To The House," C.R. Avery closed the night. He performed his first song in his signature solo beat box hip hop harmonica style, and ended by tinkering on the piano while telling the story of how he ended up playing with Tom Waits at a concert in Berlin. The set was awesome, but far too short.

The whole night was emceed by Wes Borg, who had a great comedic sense and was quick to jump into any performance with a rousing clarinet solo or back up vocals.

Over the course of the night we heard several songs more than once. The first time it happened the performer apologized in advance. But for me, the repeats were some of the most interesting moments of the evening. It exposed the incredible variety of styles espoused by the different performers. It showed the great skill with which the artists took Waits' songs and made them irrefutably their own.

Leading up to the event, my one anxiety was that it might have a bit of a "boys club" feel to it - who's got a more manly sound than Tom Waits, right? I was totally wrong. Women featured prominently both as leading ladies and back up musicians, and equaled the men in terms of talent and performance quality. We saw an a capella burlesque performance of "I'm Your Late Night Evening Prostitute" by a women with a stunning voice. Solstice Cafe employee Freya did a set with an accordion. She suffered a bout of nerves but the audience was behind her 100% and she had us hanging on to her every note. Jenny Ritter also delivered an amazing performance with her guitar and some help from her friend Bear. The list could easily go on.

The Tom Waits experience, at its core, is not gendered - it's about being broken. And that night at the Solstice was about allowing ourselves to feel like the broken, hurting, sloppy, riff-raff outsiders we all are. It was about strangers and friends coming together and letting each other in and letting it all out and feeling just a little bit better in our togetherness.

It's not boring music.

Post Script:

The 2004 album "Real Gone" got an inordinate number of shout outs that night, and I was able to track down a copy at the library today. I got home in the bright afternoon and threw it in the boom box. I had an immediate and visceral reaction and had to turn it off - only then did I remember Jeff Andrew's warning that "Real Gone" is the only Tom Waits album that can be listened to exclusively at night. It is now midnight and the album has spun one and a half times through. It has greatly aided the catharsis of writing this post, and I can't wait to hear it while driving some lonely highway on a sleepless road trip.

Initial Spin: Old Man Luedecke - Hinterland

I picked up Old Man Luedecke's Hinterland from the library today. I was familiar with a couple of the tracks (I Quit My Job, obviously) but it was great to hear the full album.

He sings about love, family, food, music, being lost and being found. The overall sound is light bleeds nostalgia for a simpler time and place.

It was the perfect accompaniment for my afternoon activity - baking lemon cranberry scones. The album came to a close seconds after I plunged both hands into a bowl of flour, sugar and butter. Without missing a beat or removing my hands I leaned towards the boom box and hit play with the tip of my nose.


For more Old Man Luedecke:
Official Site
MySpace
CBC Radio 3

Initial Spin: Chad VanGaalen - Soft Airplane

Killer opening track. Cool layers of inventive sounds and sweeping vocals. Child-like lyricism that belies the maturity of the songwriting. Throw in some Super-Nintendo inspired beeps and you've got a rock-y pop-y sound that is purely infectious. Worth a second spin? I've already hit play. I predict this album will be getting around a fair bit over the next few weeks.


For more Chad VanGaalen:
Official Site
MySpace
CBC Radio 3

Song of the Day: Mark Berube - Barber Shop

Have you ever had a fragment of something come to you,
like a dream, like you're on the edge
of something meaningful, but the details are fuzzy?

A memory, not mine, but part of me: A love affair between
a hitchhiker and the driver who let her in.

Like trying to recall a dream, I meditated on the feeling
and the image began to reveal its form.

A song.

It touched me recently and deeply.

The story of highway love is the crucial moment.

The lyrics, at least the critical lyrics, are spoken and not sung.

The song reminded me, at one point, of something by C.R. Avery, but isn't.

It came to me.

She leaned over and whispered "Have you heard about the story of what the river gave the boat?" I said "No, I haven't" She said "Don't worry," as she rolled down the window and gave the wind a smile to carry to the next car down the road "there's still a long way to go." -Mark Berube

Concert Review: Tim O'Brien with Old Man Luedecke

"I've died and gone to bluegrass heaven" was the opening line I planned for this post in my pre-show meditation on what I might write. But of course my actual experience was nothing like my expectations. As Tim O'Brien reminded me, if you want to make God laugh, make a plan.

The first reason that my opening line falls flat is a technicality: While there were elements of traditional bluegrass, particularly in some of the mandolin numbers performed by Tim O'Brien, the overall style of the evening of not so easily pigeon-holed. Old Man Luedecke sings his own brand of light hearted folk songs over clawhammer style banjo, which is associated with old time music, while Tim O'Brien plays both traditional and original tunes emerging from old time, bluegrass and country styles.

The show was hosted by the Victoria Bluegrass Association and held at Fairfield United Church in Victoria on Saturday November 14th. At $20 a head, it is in the steeper end of what I like to pay for a concert these days, but I would have paid that easily just to hear Old Man Luedecke remind me that "you can always live on rice and potatoes".

Old Man Luedecke has a special place in my heart because of his song "I Quit My Job", which was podcasted by CBC Radio 3 last year. I discovered the track right around the time I was struggling with the decision to quit my own job, which I eventually did, making the song my official anthem of summer and of freedom.

Most of the crowd, however, was there to see Tim O'Brien, who headlined, and apparently is a big deal. I felt personal responsibility to be the front row rep of the Old Man Luedecke fan club, defending against overheard comments like "I hear there's an opening act... I wonder how they're going to split the show... I hope it's not 50/50".

Ok, let's get to the music.

Photo credit: Kelly Sherwin

I had seen photos and video of Old Man Luedecke before, but I was still surprised by his physical presence when he came out on stage. He was smaller and more youthful than I expected.

The first few songs were a bit tenuous - him trying to win over a crowd largely unfamiliar with his work and me anxiously wanting the show to be as powerful as I need it to be.

He played "I Quit My Job" early in the set, and the cheers from the back of the hall when he introduced it reassured me that I was not the only one in the crowd who had been touched by the song. It was over in 3 minutes that felt like 3 seconds, a grin plastered to my face as I did my best to restrain myself from singing along too loudly or getting up and jumping around.

The crowd was fully on his side (and my side) by the time he told the story of how, at 16, he was grounded and spent months in the basement listening to records. Out of dozens of heavy hitting albums, the one that really grabbed him was a yodeling record. He asked his dad if he could learn how to yodel, and his dad said no, yodeling is something that you're born with. Old Man Luedecke attested that he proved his dad right 10 years later when he wrote the next song. The chorus began "yo-de-lay-hee, yo-de-lady of my dreams", and the crowd was invited to join in on the yodeling.

We went from sing-along to sing-along as we moved to the next song, an environmental ballad that Old Man Luedecke wrote after driving across the continent to see his hero Pete Seeger, who responded to the honour by remarking "you must have used 90 litres of gas to get here!" Ouch. But the song, "Little Bird", was great and the crowd really loved the chance to join in on the chorus.

He sang about turning to the good book for answers. Of course, the book was the Joy of Cooking, and the answer was bacon. In Old Man Luedecke's words, "that's sacrilicious!"

Old Man Luedecke's persona, like his music, is unassuming and good-natured, if mildly self-deprecating. Originally from Chester, Nova Scotia, he left Toronto at 23 for the Yukon, where he fell in love with a girl and with a banjo. His songs come from a place of hope, love and simple pleasures (like napping). "All I want is to be a little part of the things that I love [...] It seems there's lots of things that I could love." I relate easily to his story and his laid back approach to life. "Don't kill yourself about making it / Just be taking it easy, but be taking it / There's enough out there who are faking it / Don't let 'em take the joy that you make on your own." He says more to me with the line "this world is it, I'll make it my home" than most artists do with a whole album.

Moving on...

Photo credit: Kelly Sherwin

What I knew about Tim O'Brien before he graced the stage:
-When it comes to contemporary bluegrass and folk musicians, he is considered among the best,
-He performs on the banjo, guitar, fiddle and mandolin,
-He won an award for best male vocalist of the year, and
-Everyone around me was incredibly excited to see him.

I was really excited to see him, too. I'm a big fan of anyone who can play even one of the instruments in his repertoire well, and a bigger fan of anyone who can sing really well. If you can play and sing at the same time, I'm yours.

Technically, everything about his performance was incredible. He played sets on the four instruments, showing mastery of each and a great diversity in style. Traditional songs were heartfelt and performed with great skill. He showed great talent for song writing as well, with clever lyricism and rich musicality. Between songs he was funny and poignant and essentially likable.

I'll give you a list of personal highlights:

-He sang a song called "Get Out There and Dance". It includes the lyric "As long as you're doing it, you're doing it right," and was animated by Tim dancing along to the lyrics ("Step to the left" etc.)

-Leading into his banjo set, he told several one-liners about banjo players. Apparently Mark Twain once said that a gentleman is a man who can play the banjo and doesn't.

-He sang a song about thinking that your phone is vibrating in your pocket when it isn't. Favourite line: "6 months since you went away, 6 times I felt you call today."

-My absolute number one highlight was a song that took us back to the town where he grew up in West Virginia. He embodied the merchant who would come down the street in his truck every Tuesday to sell produce to the neighbourhood and sang about the fruits and veggies he had for sale that day. The mandolin accompaniment was perfect and the song was warm and nostalgic.

It was a great show by any standard. Which is why I feel crazy to admit that I felt a little bit empty at the end of it all. Like I had missed out on a personal connection to the artist, even though he was only a few feet from me and even though he put everything he had into the performance.

I think what was missing was a sense of vulnerability. The polished and perfectly produced performance left him with no chinks in his armour. The audience had been won over long before he stepped on the stage. There was no risk, no uncertainty.

I have come to know well that the way a concert is heard has as much to do with the person listening as it does with the person performing. Tim O'Brien wasn't singing for me that night, and that's okay. I still feel blessed to have heard his songs and his stories.

For more Old Man Luedecke:
Official Site
MySpace
CBC Radio 3

For more Tim O'Brien:
Official Site
MySpace

Song of the Day: One Hundred Dollars - Hell's a Place

I first came across this song when it was podcasted by CBC Radio 3's New Music Canada Track of the Day. It got set aside in my "fave track of the days" playlist and faded into the background of my 9-5 existence until I accidentally saw them live in Toronto when One Hundred Dollars opened for a Catl CD release party.

They have since become one of my favourite live acts. Lead singer Simone Schmidt delivers an intimate and emotionally charged performance that has brought me to tears more than once.

Their album, Forrest of Tears, made the long list for the 2009 Polaris Music Prize and is definitely worth checking out.

I'm posting about them in honour of their current and first tour of Western Canada. Unfortunately they won't be making it to Victoria this time, but they are playing tonight in Vancouver, so go check it out if you're in the area.

Hell's a Place is their crowd pleasing hit single, and you can stream it from CBC Radio 3, or download the podcast from CBC Radio 3 or by using iTunes.

Now, if you're like me, when a song gets into your head (and body, and soul), sometimes the only remedy is banging it out on the guitar.

So with some careful listening and a little help from the internet, I have come up with a close approximation of the lyrics and chord progression, which I will now share with you in case, after hearing the song, you fall under its powers the way I did.

The song follows an ABAB pattern, using an Am/Dm/F/Em progression for the A sections and a F/Am/Dm/Em progression for the B sections. Use Am for the intro and interludes. I've used a classic country boom-chuck (base-strum) rhythm with alternating base notes, but feel free to do anything that feels right and sounds cool.



One Hundred Dollars - Hell's a Place

Your eyes are scornful
And ours will be black
If we don't get our shit together and get track
Out from the mountains
Away from the West
Rumour has it there's a village where we can rest

It don't matter if our love is true
Them bigots have it out for girls like me and you
Their morals rain from that God up above
And according to him, Hell's a place for our love

Thumbs out at Quesnel
Through Vedder Crossing
Memories harden like the earth beneath the stranger's tires
They spare us guns of war, then,
They beat us in our homes
Convinced our interlocked legs are fuel for fire

If we don't make it I'll meet you in Hell
Where the hot, hot heat of our love can swell
Higher than the ego of righteous men
And larger than the expanse of this goddamned land

Now six days travelled
We just reached Broadview
I couldn't have another trucker's hand run up my thigh
He struggled sluggishly
You took the wheel
His breath cut short by CV radio wire

Don't worry, darling, 'bout the fires we'll meet
Heaven would have burned up with our hot heat
Don't worry, darling, it'll all turn out well
We'll get to that village, or I'll love you in Hell

Check out One Hundred Dollars:
CBC Radio 3
Blogspot
MySpace