Durand Jones and the Indications – Morning in America
Dominique Fils-Aime – We Are Light
Stone Foundation – The Light in Us
Alejandra Ribera – Courage
Blow Monkeys – Time Storm
Horsey – Lagoon
Gabriels – Love and Hate in a Different Time
The OBGMs – All My Friends
Paul Weller – In Another Room
All of Bob’s selections are from the sampler cd which accompanies the June 2021 issue of Mojo magazine. Paul Weller is the guest editor who picked all the tracks.
Durand Jones and the Indications – Morning in America
Durand Jones and the Indications are a multi-racial neo-soul band from Bloomington Indiana. Blake Rhein and Aaron Frazer, two students at Indiana University got together with singer Durand Jones
This is a 2019 song but sounds like a early 70’s soul classic reminscent of The Isley Brothers or Curtis Mayfield. It’s called, “Morning in America” Neo soul at it’s finest.
Dominique Fils-Aime – Three Little Words
Fils-Aime’s “Three Little Words UPDATED MAR 8, 2021 9:39PM EST – With touring off the table, Canadian musicians with anticipated new records are finding new ways to approach the traditional release cycle – PUBLISHED MAR 6, 2021 9:30AM EST” completes a trilogy of albums celebrating the history of Black-American music, while Tobi’s “Elements Vol. 1” fuses hip-hop, jazz, pop and R&B.
Stone Foundation (featuring Laville) – The Light in Us. From Warwickshire, and Inspired by Stax Records, the Spencer Davis Group, and the Style Council, this Warwickshire, England-based modern soul band released material at a steady rate for over a decade before Paul Weller offered to produce their 2017 album, Street Rituals. That record, and its 2018 follow-up, Everybody, Anyone, were their first albums to grace the U.K. Top 30, and paved the way for the late 2020 LP Is Love Enough?
Alejandra RiberaCourage (Single)
COURAGE – Collective Lockdown Music VideoAlejandra makes her most audacious move yet – bringing us an electronic pop creation to spread courage and strength in uncertain times. COURAGE May 22, 2020
Alejandra Ribera is a Canadian pop and jazz singer-songwriter, who performs material in English, French and Spanish.
Of mixed Argentine and Scottish descent, Ribera was born and raised in Toronto, Ontario, and has been professionally based in Montreal, Quebec. She released her debut album, Navigator/Navigateher, in 2009, and followed up with La Boca in 2014. NPR’s Alt.Latino referred to La Boca and her voice as Alt.Latino’s favorite of 2014.
Some of the proceeds from Courage will go to support Doctors Without Borders
Alejandra Ribera has written a song called ‘Courage’ to lift our spirits during these uncertain times. With the help of friends from Singapore to Switzerland – a collectively crafted “home lockdown music video” accompanies its release.
Co-produced by Rob Wilks and Brett Shaw (Florence + the Machine, Foals), this is Alejandra’s first foray into the world of electronic pop. “I normally write quite introspective mellow stuff. When I realised I’d written a whole song about the catharsis of facing what most frightens you I thought it should sound fairly epic. I knew it would take a lot more than me and an acoustic guitar.”
Blow Monkeys – Time Storm
The Blow Monkeys were an eighties band primarily know on this side of the pond for 1984’s “Digging Your Scene”
The band has been close to Paul Weller since then as both groups performed in the 80’s on the anti- Margaret Thatcher Red Wedge Tour
Londoners Horsey – centred around the core duo of Jacob Read (aka DIY fave Jerkcurb) and Theo McCabe – are almost certainly one of the most baffling yet brilliant new bands we’ve come across in a while.
Despite keeping a fairly low profile in terms of press and releasing only a handful of tracks online, the group have built up a firm live following, recently touring with King Krule and selling out none-too-small venues in their hometown.
Why? Because, from the glitzy gold sequinned jackets they sport onstage to the funny, noodling, dark-hearted jazz they tout, Horsey are intoxicatingly odd. Their tracks meander through chintzy piano, to shouty call and response heckles to – on occasion – something resembling a rock opera. They are basically uncategorisable and on new offering ‘Bread & Butter’ they’re doing nothing to make themselves more palatable.
This “Time Storm”from forthcoming album
Gabriels – Love and Hate in a Different Time
Gabriels – Love and Hate in a Different Time
Gabriels is a LA based group made up of singer Jacob Lusk and producers Ari Balouzian and Ryan Hope. ‘Love and Hate in a Different Time’ is their new single. This is anohter example fo how vintage soul music can be done in the 21st century. Gabriels explains, “Love and Hate in a Different Time is about how we appear to be losing the ability to peacefully be together in a space and express ourselves. Together. We have always endured agendas of hate, hardship and war but we have in someway always found a way to be together and put aside our differences. However in recent times with the development of the technology/disinformation it appears this is tested.” Here is an amazing video or as they call it, “a short film”
The OBGMs – All My Friends Album – The Ends
From Exclaim Magazine!
After returning with new single “Not Again” last month, the OBGMs have lifted the curtain on a new full-length record. The Toronto punk trio will release The Ends on October 30 through Black Box Music.
“This album is about death, wanting to die, and fighting for something to live for — it’s the end of all things. I feel this is the one of the most important cross-genre albums this century,” explained vocalist/guitarist Densil McFarlane in a statement. “We are Nirvana, we are the Beatles, and the Stones. We are really changing the dimensions of which the game is played like the Steph Curry of this rock shit. We all have feelings of doubt, uncertainty, and I used to live there. I’m trying not to die there. If I’m going out, I’m going out shooting.”
Produced by Dave Schiffman and recorded at Toronto’s Dreamhouse Studios, The Ends follows the OBGMs 2017 self-titled debut. McFarlane recalled that after touring that record, “I thought me and music was over… My life wasn’t very good at the time, people around me were dying, and everything I was making sucked. I thought it was a sign that I needed to do something else.”
Paul Weller – In Another Room was is a 2019 rarity released as a 7 inch on the experimental label Ghost Box. “Ghost Box is a record label for a group of artists exploring the misremembered musical history of a parallel world.”
Paul Weller, a British institution has been releasing music for almost 45 years. Whether as the leader of The Jam, Style Council or solo, Weller has had dozens of hits single and lps. In North America though, he is mainly remembered for 1982’s “A Town Called Malice”
Here is the Style Council Performing at Live Aid 1985.
The Daily Telegraph said of Weller: “Apart from David Bowie, it’s hard to think of any British solo artist who’s had as varied, long-lasting and determinedly forward-looking a career. The BBC described Weller in 2007 as “one of the most revered music writers and performers of the past 30 years”
I Used to be a Better Man – Small Sins – Album Volume II
This is the first album by Thomas D’Arcy in ten years. He is now mainly a producer (D’Arcy and Drew eventually founded the original Taurus near Cabbagetown. “We had this big huge control room, but I was still just using it for a writer space,” recalls D’Arcy. He quickly began working with friends like July Talk and Sheepdogs side project BROS.)in Toronto, but I think this is a great album, all tracks are pretty strong. One of a few musicians going strong again after a long career.
A few notes on Thomas D’Arcy
Yet, Volume II feels like the most personal work D’Arcy’s produced since, well, Small Sins’ debut. It inevitably fails to live up to it’s counterpart, but that hardly seems to have been the point. D’arcy clearly had some things he wanted to get off his chest that that record’s sound were uniquely suited to conveying.
Here is an interesting video that he self-produced in 2020 in Hyde Park on Christmas Day, featuring all the lyrics from his most recent album Volume II
Lee Perry – Run Evil Spirit
Lee Perry is an international Reggae legend as a performer and producer for such artists as Bob Marley, The Clash, The Beastie Boys and dozens and dozens of Jamaican artists. In 2019 in his 83rd year , he produced the lp Rainford from which “Run Evil Spirit” hails. Vinyl Factory offers an excellent primer in Perry’s work.
Also worth watching is this excellent documentary
How Not to Drown – Chvrches
This is a great track by the Scottish Indy band Chvrches. I love the vocalist Lauren Mayberry and the video is made all that more interesting by the menacing presence of Robert Smith of the Cure. Here are a few notes about the song, I think from Pitchfork.
“We’ve been working with Scott on all the visual aspects of Screen Violence and this video is the second installment in a connected trilogy,” Chvrches lead singer Lauren Mayberry explains. The video builds off of the surreal, film noir-inspired imagery from “He Said She Said,” now with the addition of the Cure frontman appearing on a television screen.
Screen Violence, which derives its title from one of Chvrches’ original proposed band names, will be released August 27th via Glassnote Records, and was largely recorded remotely between Glasgow and Los Angeles during the pandemic. The album follows the band’s 2018 LP Love Is Dead.
And because Robert Smith is such an iconic figure, Bob suggested we add this video
Edwyn Collins – I Guess We Were Still Young
Edwyn Collins is a Scottish Musician. Born in in 1959 , he became known in the early 80’s as the leader of post punk band Orange Juice. Here is the “Sound of Young Scotland’ performing on TV in the early 80’s.
In 2005, Collins was hospitalised after 2 cerebral haemorrhages as detailed here.
I Guess We Were Young
Squirrel Flower – Flames and Flat Tires Album Planet (i) 2021
I just had to add this pithy quote from the Guardian music page
We’re going to blame the trials of 2020 for Ella Williams – AKA Squirrel Flower – not being ranked up alongside the celestial likes of Angel Olsen and Sharon Van Etten. The songwriter released her debut album, I Was Born Swimming, at the exact moment everything changed for ever. Talk about timing. Flames and Flat Tires is a grunge-folk intoxicant that comes in at under three minutes but will stick with you for hours.
Pitchfork likes Squirrel Flower (Ella Williams) too. They write about her tendency to write about roads and cars. All to say, it is a pretty fine track for a 24-year old.
On Planet (i), the road is a nexus of nostalgia and intimacy: “Iowa 146” uses a whisper-sing delivery and gorgeous, fingerpicked guitar melody to capture the sweetness of a night spent on top of a car with a love interest. But it’s also a site of disasters that haunt Williams’s imagination: the careening firestorms of “Flames and Flat Tires,” or the Missouri floods that inspired “Deluge in the South,” which has the openhearted, country-speckled quality of a Waxahatchee deep cut. Williams’ vivid songwriting and versatile voice bring both sides to life.
Born 1946, Arnold sang backing vocals for Ike & Tina Turner Revue in the fall of 1966 after their tour with the Rolling Stones in the UK. She remained in London to establish a solo career, with the encouragement of Mick Jagger. This interview with PP Arnold gives her amazing story
She released her first album in 1967 on Immediate records. This is a promo video with the Small Faces for the single “If You Are Feeling Groovy”
It took 51 years to see the release of her second album. From “The New Adventures of…”, is the song “Baby Blue”
Yola – Stand for Myself
Yolanda Quartey (born 31 July 1983), known professionally as Yola or Yola Carter, is an English musician, singer and songwriter from Bristol, England. Yola received four nominations at the 62nd Grammy Awards, including the all-genre Best New Artist category.
Again, am going with the Guardian quote, but I don’t get the Banksy reference:
The best thing to come out of Bristol since the rumour that Banksy is actually the scrawny one out of Massive Attack, Yola’s powerhouse vocals will pin you against the wall and make you rethink everything you thought you knew about the modern diva. Stand for Myself is builder’s tea for the soul: strong, warm and a bit of a wake-up call.
When you read about Yola, it is obvious that this is an artist who has hit here stride. In a recent recording done for a benefit MusiCares and the National Bail Out Collective, she played with Sheryl Crow (piano), Jason Isbell (guitar) and Brandi Carlile (back-up vocals). Pretty good.
The statement she wrote about this song – Hold On is worth repeating here:
“Hold On” is a conversation between me and the next generation of young Black girls. My mother’s advice would always stress caution, that all that glitters isn’t gold, and that my Black female role models on TV are probably having a hard time. She warned me that I should rethink my calling to be a writer and a singer… but to me that was all the more reason I should take up this space. “Hold On” is asking the next gen to take up space, to be visible and to show what it looks to be young, gifted and Black.
So, I had to add a clip from one of here performances of Hold On
One final note about Yola, on February 21, 2020, Variety announced that she has been cast to play the role of singer Sister Rosetta Tharpe — dubbed the Godmother of rock and roll — in Australian director Baz Luhrmann’s still untitled drama on the life of Elvis Presley.
I didn’t know who Sister Rosetta Tharpe was, but Bob mentioned a session where she played a great guitar session live. I found one here from 1964. I think might be a great movie!
Tinariwen – Amalouna
Tinariwen Is a group of Tuareg musicians from the Sahara Desert region of northern Mali. which in the Tamashek language translates as The People of the Deserts or “The Desert Boys. This rotating roster of musicians have been performing and recording since the eighties. In 1980, Libyan ruler Muammar al-Gaddafi put out a decree inviting all young Tuareg men who were living illegally in Libya to receive full military training. Gaddafi dreamed of forming a Saharan regiment, made up of young Tuareg fighters, to further his territorial ambitions. Ag Alhabib and his bandmates answered the call and received nine months of training. Here, the band met additional Tuareg musicians and formed a loosely-organized collective, now known as Tinariwen, to create songs about the issues facing the Tuareg people. This NPR article explains Tinarwen in a nutshell.
Mali’s ‘Guitar Gods’ Tinariwen Receive Racist Threats Ahead Of U.S. Tour
A guitar band from Mali called Tinariwen is famous worldwide. The group’s fans and collaborators have included Robert Plant, Thom Yorke of Radiohead, Bono of U2 and Nels Cline of Wilco. The band has fought extremism in their home country of Mali, and been victims themselves. But ahead of a September show in Winston-Salem, N.C., social media commenters are leveling violent, racist attacks against the musicians.
A refresher on Tinariwen: This a group of Tuareg musicians from the north of Mali. The members have been hailed as guitar gods, playing rolling melodic lines and loping rhythms that evoke the desert sands of the Sahara — the band’s native home. The band’s name literally means “deserts” in their language, Tamasheq.
An interesting part of this article talks about The Festival in the Desert. When we broadcast yesterday we talked about the famous concernt and we wondered what had happened to it,.
Again from the NPR article:
The hope for a larger Festival in the Desert was that it could serve as an economic engine and encourage cultural tourism to northern Mali, a region that has often struggled, and to show cultural unity among Mali’s richly diverse peoples, in the years after the country suffered terrible and bloody conflict in the 1990s. To that end, the organizers invited some incredible Malian musicians who weren’t Tuareg to perform — artists like Ali Farka Touré and Oumou Sangare — along with Robert Plant. The 2003 Festival in the Desert became legendary — and it spurred Tinariwen to worldwide success. But the Festival in the Desert didn’t last. The political situation in Mali grew more precarious, and by 2012, Islamist extremists — many of them foreigners — fanned out across northern Mali, in hopes of gaining control. Musicians became a prime target. The Festival in the Desert went into exile, and transformed by necessity into an international touring collective.
Yet another musician Bob and I didn’t know about, Alex Little comes from a pretty interesting famil;y line of musicians. This profile is from the local Vancouver Weekly:
Music has always been a big part of Alex Little’s life. Growing up she watched her father drum for bands around Vancouver, playing for bands like The Payola$ and the Bughouse Five. She was raised to be comfortable in a rock’n roll crowd. Looking up to her father, she would eventually become a drummer herself, playing in punk bands around Vancouver for many years. During that time she was writing her own material on the side, but was a bit shy about it.
It wasn’t until she met fellow Vancouver rocker Andy Bishop that she started down the path of becoming a front woman. Bishop has been a mainstay of the Vancouver music scene for some time, having played in bands like Twin Rivers, Red Cedar, and White Ash Falls. He and Little happened to work together at the Wallflower when they met.
“It was just a fun thing that we never necessarily saw a future in,” Little recalls. “He was very helpful in getting me going. We went to Long and McQuade and he helped me pick out a guitar because, as a drummer, I knew nothing about guitars. Then we just jammed for awhile and wrote together.”
“My best songs are written when I’m having the worst time,” says Alex Little with a wry laugh. “There’s no songs about feeling good. It’s about connecting to that deep dark part of myself, which is the reason why I make music.” This blunt emotional honesty is the driving force behind Vancouver’s Alex Little & the Suspicious Minds, whose scorching garage-pop songs unflinchingly tackle drug addiction, mental health and heartbreak. And yet, despite the heavy subject matter, the group’s soaring choruses and loud guitars mean that the mood is cathartic rather than heavy.
Leanne Betasamosake Simpson – I Pity the Country (Paul)
Our updated Playlist
Classified – Powerless
selection by Bob
According to Classified, whose real name is Luke Boyd, the song, titled “Powerless,” is drawn from the experiences of multiple people who’ve reached out to the Nova Scotia musician.
Premiere: Classified’s ‘Powerless’ music video is an incredible ode to missing and murdered Indigenous women
Justin Chandler · CBC Music · Posted: Apr 04, 2018 12:00 AM ET | Last Updated: April 9, 2019
When rapper Classified released his new single “Powerless” two weeks ago, he wrote an impassioned post on his Facebook that concluded: “We need to speak up for these kids … don’t let them feel powerless.”
The track was inspired by responses Classified received when he posted about the news of a Newfoundland man who was sentenced to five years in prison for the rape of an 11-year-old girl. “I thought it was unbelievable,” he said, explaining his outrage towards the case, which led to his post on social media. As a result, he began writing “Powerless” to give a voice to children and women who have experienced abuse.
Buffy Ste Marie – You’ve Got to Run (Spirit of the Wind)
Selection by Bob
You Got to Run (Spirit of the Wind)” was inspired by champion dogsled racer George Attla, who competed in the inaugural Iditarod dog sled race in 1973 and whose story was the subject of 1979 film Spirit of the Wind.
For further exploration, try premier reissue label Light in the Attic’s compilation “Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985.” The following review from Pitchfork appears to hit the nail right on the head.
Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985 features artists from all over Canada combining Native American culture and popular music. The tracklist has been carefully curated to not only to emphasize the diversity of the artists and their ideas, but to reveal the vibrancy and energy of this large and largely undocumented scene.
Also worth viewing is Rumble:The Indians Who Rocked the World.
iskwe & Tom Wilson – Blue Moon Drive
selection and notes by Karen
Tom Wilson and Iskwe- Blue Moon Drive
Tom Wilson- I saw and heard him sing with Iskwe on an online music show during covid and I was so impressed by his stories and their beautiful voices which sound so great together.
He is a 62 year old Canadian rock musician from Hamilton Ont. whose career has included work in Blues, rock, psychedlic folk and folk you may have heard him as he has also been a major part of Blackie and the Rodeo Kings, Junkhouse and Lee Harvey Osmond along with members of the Cowboy Junkies and Skydiggers
He had a rough and tumble life, battled demons and addictions -with music and visual arts being a real life saver for him
He was raised by his great aunt and uncle but only recently found out that the woman he thought of as his cousin was actually his mother who is part Mohawk. His father was also Mohawk but Wilson didn’t learn of his Mohawk heritage until quite recently.
Tom was commissioned by the city of Hamilton to paint a mural depicting the history of music in that city and he has published a memoir in 2017 titled Beautiful Scars which discusses his discovery of his Mohawk heritage
His son Thompson Wilson is also a musician (formerly part of Harlan Pepper ) and they have toured together
Tom Wilson is very interested in learning more about and sharing his Mohawk culture. He partnered up with Ojibway trumpeter Chuck Copenace who sprinkles his notes, fluttering in the air, in space, and contributing a different breath to song and with
Iskwe( who has been featured on your podcast previously) whose name means blue sky woman- is an artist and creator and communicator of music and movements, pictures, poetry and prose. She’s a teller of stories that impacted our past and will inform our future. She has 3 albums and has performed 100s of shows in Canada and internationally and has been nominated for a Juno. She has a Cree- Metis background from Treaty One Territory who was born and raised in Winnipeg. She refers to herself as an urban indigenous 2-spirited woman from Red River Valley.
The single Blue Moon Drive is an incredible collaboration of 3 amazing artists, a celebration of 4 Indegenous nations uniting together to celebrate their art.
Greg Keelor – Black Feather
selection and notes by Karen
Most of you know him from Blue Rodeo fame but he also has 6 solo albums with the most recent one- Share the Love- coming out during the pandemic.
Greg had a studio version of the songs ready to go when the pandemic hit and decided to record them live in a community centre near Rice Lake with the same musicians. He actually liked the live version but both albums are available for purchase.
Greg says that writing songs is how he deals with “stuff”. He had recently lost a dear mother-like figure and his girlfriend of 5 years left and he was feeling rudderless. His good friend, Frank, who is Cree and from Saskatchewan invited Greg to go to a sweat lodge to pray and he realized Frank’s prayers were all about gratitude- thanking everyone and everything, sun, moon, everything. Frank had brought his pipe, sage and eagle feather and did a smoke ceremony and Greg felt relief for the first time in months.
During that same period, he visited Waskaganish Reserve in James Bay for a gig with Blue Rodeo and he felt a kindred connection to the place. The album grew out of a desire to get away somewhere and be isolated and think. He spent more time there and his friend Charlie Hester ( the director of culture, sports, leisure and tourism for the Cree nation of Waskaganish) took him on a tour of the community which Greg found to be healing in its own way- big beautiful landscape and generous and kind people. Greg had a lot of questions about the pipeline and other Indigenous issues across Canada and he found it a great place to gather his thoughts.
While there he saw a piece of art on the side of a local radio station and it said “Share the Love” on the front of a teepee with a heart in the centre. He found out it was there to honour the life of deceased resident- Claudia Stephen – who had shown many acts of love and kindness in the community and had passed away too soon. Greg obtained permission from Claudia’s family to use the design on his album covers as he was so touched by the 15 ft by 15 ft wall art in her memory.
A combination of his loss along with the generosity of spirit he found in Waskaganish and the example set by Claudia and the love the people had for her energized Keelor from his melancholy. Behind melancholy and sorrow and hardship, there is a river of love or energy that unites everybody and he felt that connection in James Bay very strongly.
Share the Love is a paradox of an album both reflective and uplifting and perfect for the times. Even though we are all isolated, we are all connected. There are many references to feathers on this album and their association with freedom, transcendence and communication with spiritual realms.
The Jerry Cans – Northern lights
selection and notes by Andrea
Shortly after Gord Downie passed away, I heard The Jerry Cans perform “Ahead by a Century” in Inuktitut. Having taught in an Inuit community, I loved hearing a familiar song performed in this beautiful language. The Jerry Cans are a band from Iqaluit, Nunavut. They combine traditional Inuit throat singing with folk music and rock. Their music is largely written in Inuktitut. “Northern Lights” incorporates throat singing and captures the power of the breath-taking land of the Arctic.
Snotty Nose Rez Kids – The Warriors
Selection and notes by Andrea
I first heard Snotty Nose Rez Kids during an interview with Eden Robinson, the Haisla and Heiltsuk author of Monkey Beach. They are a Haisla hip hop duo composed of rappers Darren “Young D” Metz and Quinton “Yung Trybez” Nyce. “Warriors” is a protest song as part of a benefit album for The Tiny House Warriors, a group that is fighting the Kinder Morgan TransMountain pipeline expansion into Secwepemc Territory in British Columbia, Canada.
Eqpahak by Jeremy Dutcher
Selection by Steve Ferracuti- family friend who is hunkering down in Nova Scotia having finally been able to pierce the Atlantic Bubble and see his new grandson, Fred, and 2-year old, Flo.
Aik pa HUK – where the tide stops Passamaquoddy-Maliseet Language
It is hard to know whether and what to celebrate and how to combine this with mourning. I don’t know how we approach all this apart from bringing a sense of humility and respect for our indigenous people and also a sense that these are present issues, not only historical ones, and I hope that we can also bring a sense of real responsibility to all of this. One little tiny part of the “answer” is the theme to this song, that is the songs. I thought it appropriate to celebrate that.
Lido Pimienta – Nada
selection by Mairi
Piqsiq – Artic Hallows – from their 2020 Album TAAQTUQ UBLURIAQ
selections by Claire
2 songs I chose:
1 – I have always been captivated by throat singing. Throat singing, katajjaq, ka TA jjaq was banned in the 20thcentury among many other Inuit traditions when Christian Missionaries went North. They believed throat singing was ‘Satanic’. The ban was only lifted in the 1980s. Watching a duet live has always given me goosebumps and is a beautiful tradition to be celebrated, not oppressed. Listening to throat singing is a reminder of the strength of the Inuit culture and their resilience. I am happy to share a song by this group named Piqsiq. The group consists of 2 sisters, Tiffany Kuliktana Ayalik and Kayley Inuksuk Mackay, with roots in Nunavut’s Kitikmeot and Kivalliq Regions, the sisters grew up in Yellowknife, NWT. They perform ancient traditional songs and eerie new compositions.
Ms.PANIK – Open Hearts from her 2018 Album Open Hearts
Another artist who is new to me is from the West Coast, Ms.PANIK. I was drawn to her beautiful voice, her mesmerizing musical loops and powerful lyrics. She lives in Tofino and the ancestral lands of the klaw-OH-kwee-awt Nation and is originally from the unceded Territory of the (Haida) Nation and member of the southern Kaayahl Laanaas Clan. Tla-o-qui-aht
An additional note from Claire
I wanted to share two artists that didn’t make the list because of the year cut-off. I thought you could hold onto them and add them to another show. Thank you again for organizing this episode. I truly enjoyed the process of consciously looking for Indigenous artists and love discovering new music.
Cris Derksen – Hindsight 20/20 – from the 2010 Album ‘the cusp’. Cris Derksen is from Alberta and is an Indigenous cellist and composer.
Digging Roots – Hwy 17 – from the 2014 Album ‘For The Light’. This song was written to raise awareness about the MMIWG and is a call to action.
Debbie – Claire’s mom who works actively in reconciliation in the Ottawa community and across Canada.
I would love to hear almost anything from Jeremy Dutcher
Maybe ‘Mehcinut’ – first song on his album (pronounced MEH-jin-nud)
I first heard Jeremy Dutcher about 4-5 years ago on CBC when I was driving somewhere. I had to pull over. My eyes filled with tears at his powerful voice, the haunting sounds and the voices from the past captured on wax cylinders. I told everyone about him. His music still stirs something deep within me. So thanks for playing one of his pieces today.
Blackbird sing by high school student, Emma Stevens, in Mi’qmaw, 2019
selections by Heather
Adapted from Paul McCartney’s song, re-written in Mi’kmaq to bring awareness to indigenous languages in 2019, International Year of Indigenous Languages.
Sung by Emma Stevens, performed by students at Allison Bernard Memorial High School in Eskasoni, Cape Breton.
“The Stranger” from Secret Path, Gord Downey, 2016
I chose “The Stranger” by Gord Downie as my second piece. It tells the story of Chanie Wenjack, a 12-year old boy who escaped from the Kenora residential school to make the 600 km journey home back to his family and never made it. He was found by the railroad tracks. This happened on 1966 and was actually reported on in 1967 by Macleans. Here is Downie’s introduction, better said:
Mike Downie introduced me to Chanie Wenjack; he gave me the story from Ian Adam’s Maclean’s magazine story dating back to February 6, 1967, “The Lonely Death of Charlie Wenjack.”
Chanie was a young boy who died on October 22, 1966, walking the railroad tracks, trying to escape from the Cecilia Jeffrey Indian Residential School to walk home. Chanie’s home was 400 miles away. He didn’t know that. He didn’t know where it was, nor know how to find it, but, like so many kids – more than anyone will be able to imagine – he tried. I never knew Chanie, the child his teachers misnamed Charlie, but I will always love him.
I have always wondered why, even as a kid, I never thought of Canada as a country – It’s not a popular thought; you keep it to yourself – I never wrote of it as so. The next hundred years are going to be painful as we come to know Chanie Wenjack and thousands like him – as we find out about ourselves, about all of us – but only when we do can we truly call ourselves, “Canada.”
Downie’s music and Lemire’s illustrations inspired The Secret Path, an animated film broadcast by CBC in an hour-long commercial-free television special in Sunday, October 23.
I used the book – illustrated by Jeff Lamire and the video in my grade 7 and 8 classes. In 2017, I had the opportunity to hear Gord Downie and Chaney’s sisters, Pearl and Daisy, sing an Ojibwe – Anishinaabe blessing.
Rose Cousins – The Benefits of Being Alone, 2020
selection by Colleen
a video about Rose Cousins. She mentioned that hers was the last concert we saw before the pandemic changed everything.
Ahead By a Century – The Jerry Cans
selection by Liam
The Jerry Cans are a band out of Iqaluit, who combine traditional Inuit throat singing with folk music and country rock. The band’s music is written mostly in Inuktitut, and reflects “the challenges and beauty of life in the far north.” The band had local success, but their popularity began to grow after Tanya Tagac won the Polaris prize in 2014 and gave prominence to Inuit throat singing. The band’s name comes from the band trying to rig up a drum set out of jerry cans.
I chose this cover of Ahead by a Century because it reminded me of a couple of things. First, the Jerry Cans and other artists are bringing Inuit music to the forefront, and reminding us that Canada or Turtle Island has many different languages, each of which should be celebrated. Second, this song feels like a bit of a bridge. Ahead by a Century was the last song played in concert by Gord Downie and the Hip. In that same concert, Gord called on us as Canadians to inform ourselves about the ongoing impact of colonialism on Indigenous peoples, and “figure it out.” To me, this song is an ode to Gord and the Hip, but a bridge towards an expanse of Canadian music beyond our traditional understanding, and a reminder of our collective responsibilities towards the process of truth and reconciliation in our country.
Julian Taylor- “The Ridge”
selection by Beth
Julian Taylor started out with Staggered Crossing, a band he formed while still in high school in the mid 90’s. They were fairly successful playing around clubs in his hometown Toronto. They were classified as rock music. In the early 2000’s he formed the Julian Taylor Band which is hard to classify as it mixed many genres but was still within the realms of rock. With his very different introspective 2020 album, The Ridge (of which I chose the title song), he writes about his Black and Indigenous roots. The song The Ridge speaks about this as he reminisces about his childhood and the family members who formed his sense of identity. “The ridge is like a cut- a divide, in half, of me- not only from an emotional standpoint but also from a social standpoint as a Black and Indigenous person growing up in a predominantly white experience .”
Hailing from Portugal, Marito Marques is a Grammy, Latin Grammy and Juno nominee drummer and producer, he takes the sounds of the world into his soul to produce melodies that bring the audience together in an unparalleled unity. Born July 11, 1987 in Arganil, Portugal, Marito began playing the drums at the age of 2, quickly moving on to live performances, including television appearances at 5 years old. Marques pursued his formal instruction at CETM in Coimbra, Portugal. Afterward, Marques moved to New York City to further his studies at the Drummers’ Collective and later at the Manhattan School of Music where he studied under some of the best instructors the school had to offer, including John Riley, Kendrick Scott, Ignacio Berroa or Greg Hutchinson.
Currently living in Toronto, Marques is considered one of the most requested and versatile drummers and producers in Europe and Canada, having performed World Tours with artists in the most diverse music genres; some of which include two Grammy Winners Ivan Lins and Carlos do Carmo, Camane, the Grammy nominees Helik Hadar, Adonis Puentes, Hilario Duran and Jeff Coffin, Anna Maria Jopek, Mino Cinelu. Larnell Lewis, Gregoire Maret, The Wilderness of Manitoba, Sara Tavares, Jesse Cook etc.
Leanne Betasamosake Simpson
I Pity the Country – Theory of Ice
Leanne Betasamosake Simpson is a renowned Michi Saagiig Nishnaabeg scholar, writer and artist, who has been widely recognized as one of the most compelling Indigenous voices of her generation. Her work breaks open the intersections between politics, story and song—bringing audiences into a rich and layered world of sound, light, and sovereign creativity.
A Note on Leanne’s Family – this I had to include, it is amazing how many hurdles Indigenous people have had to go through just to keep their own status!
Leanne’s grandmother, Audrey Williamson (nee Franklin) was born in Alderville First Nation in 1925, and moved to Peterborough, Ontario at the age of three, as her Dad and Leanne’s Great Grandfather, Hartley Franklin, previously a fishing guide on Rice Lake got a job in town building canoes. Leanne’s grandmother regained her Indian Status under Bill C-31 at the same time as her mom, Dianne Simpson (nee Williamson) in the early 1990s.Leanne and her sisters, Shannon, Ansley, and several of their cousins, regained their Indian Status under Bill C-3 after the bill became law in 2011, and their children regained their status after Bill S-3 became law in 2019. They are all off reserve band members of Alderville First Nation. Leanne was born and raised by her mom Dianne and her dad Barry, who is of Scottish ancestry, in Wingham, Ontario.
James Elkington & Nathan Salsburg – Reel Around the Fountain
Our show on Mixcloud
Quivers- You Are Not Always on My Mind
The Quivers performing some pop perfection:
Sharon Van Etten and Angel Olsen – Like I Used To
I have to start with another fun quote from the Guardian
“I strongly believe that if Sharon Van Etten and Angel Olsen teamed up to sing anything up to and including Las Ketchup it would be a moment so emotional we’d all emerge three minutes later with dewy eyes and a strong urge to become better people. So you can imagine what they’ve done with this swirling eddy of a song. Exhaustingly amazing.”
This is another artist(s) that seem to be really popular in the UK, but I have never heard them here. Not that this is any measure of note. But everything I read about this new single is really positive and the video is pretty good too. Last word goes to Pitchfork:
Their first collaborative single, “Like I Used To,” lives up to its potential, plays to their strengths, and still manages to pack a surprise.
Bleachers is an American indie pop act based in New York City. It is the official stage name of songwriter and record producer Jack Antonoff, who is also part of the bands Steel Train, Fun, and Red Hearse. Bleachers’ pop music is heavily influenced by the late ’80s, early ’90s and the high school-based films of John Hughes while still using modern production techniques. Their first single, “I Wanna Get Better“, was released February 18, 2014.
The world’s premier Springsteen tribute act is back with producer extraordinaire Jack Antonoff channelling the Boss into a skittery break-up song. It feels as if it’s trying to say one thing and do another, with the gang vocals attempting to build to euphoria, but coming off a bit like a bunch of lads worse for wear on the train after a match.
Instead, we featured the song Chinatown and there are several Youtube videos of this song, all with Bruce Springsteen. This is the one I liked
How did Jack Antonoff get Bruce Springsteen to play on this song? You will have to listen to the broadcast to get Bob’s reasoning which makes lots of sense.
Another great song, but outside our timeline is Roller Coaster
Their upcoming album including Chinatown and Stop Making This Hurt will be Take The Sadness Out of Saturday Night.
The Goon Sax are indie pop trio from Brisbane, Australia. Formed in 2013, the band consists of Riley Jones, Louis Forster and James Harrison.
I think Robert Christgau, (the “ Dean of US Rock criticism “) hits the nail on the head,
The Goon Sax
Up for Anything [Chapter Music, 2016] A-
We’re Not Talking [Wichita Recordings, 2018] A-
Consumer Guide Reviews:
Up for Anything [Chapter Music, 2016] My brilliant wife heard Go-Betweens in this high school band well before I learned that Robert Forster’s son Louis was a cofounder or that they were “driven” by a female drummer or even that they were Australian. Nah, I told her, though I liked them fine–too crude. And indeed, they’re cruder than even the earliest Go-Betweens, who were a university band after all, and somewhat static at their worst. Usually, however, they’re charming at least. When Louis fantasizes about a “Boyfriend” or James Harrison hates the “Telephone,” it just accentuates the specifically adolescent angst they pin down so much more candidly and affectingly than any other high school band that comes to mind. “If you don’t want to hold my sweaty hands / I completely understand”? Pretty mature, in its way. A-
We’re Not Talking [Wichita Recordings, 2018] Although Louis Forster takes fewer leads on this young threesomes’s smoother and trickier follow-up, their unpretentious affect, plain guitar, and flat groove still recall the early years of his dad’s Go-Betweens. True, Louis reports that he’s barely heard them. But I doubt de facto frontman James Harrison was so cautious, and can imagine drummer Riley Jones learning that Lindy Morrison never stepped up to the mike and deciding she’d better: “I don’t want distance / When distance always seems to be the thing / That comes and hurts us.” In any case, a university art band they’re not. Instead they’re still reflecting on adolescence with a humility and concentration that hurts. No one’s calling but they’re not picking up the phone. Passing your bus stop hurts even though they know you need time to yourself. Come to think on it, they “never knew what love meant” anyway. Yet already mortality impends in the form of “piles of books I’ll never read / And a list of things I’ll never be.” Twelve songs in half an hour that say more than they pretend and plenty they may only intuit. A-
Comparisons to the Go- Betweens are unavoidable. Here’s a neat little 5 minute bio with Louis Forster’s dad Robert.
Japanese Breakfast – Paprika
This is the second act that Bob and I were both planning to feature for this show. Here are some selected quotes from Exclaim Magazine.
“When the world divides into two people / Those who have felt pain and those who have yet to,” Michelle Zauner sings during the aching ballad “Posing in Bondage.” It’s clear that she falls into the former camp, but Jubilee, her third album as Japanese Breakfast, dances the pain away. Whether it’s the fashionable funk of “Be Sweet” and “Slide Tackle,” the stately Beirut horns of “Paprika,” or the honeyed pop classicism of “Kokomo, IN” and “Tactics,” Jubilee is always tinged with melancholy but never defeated by it.
I couldn’t find a good version of Paprika on Youtube so instead here is her performance on the Tonight Show with Be Sweet from the same album.
On the background to new album Showtunes, converting guitar into piano sounds, continuing to embrace technology and broadening his range of collaborators
Lambchop’s Kurt Wagner (Photo: Angelina Castillo)
As frontman of Lambchop for the best part of the last 30 years, Kurt Wagner has pursued a long, satisfying musical journey where developments within the band’s sound have been gradual and considered. Yet, there have also been discreet nods to different genres along the way, pleasing embellishments and expansions to their core alt-country aesthetic. New album Showtunes provides another stylistic detour of sorts, building on the fresh direction put in place on 2019’s This (Is What I Wanted To Tell You) and 2016’s FLOTUS as Wagner takes indirect inspiration from showtunes, American standards from the first half of the 20th century.
These aren’t covers or close appropriations however, but rather typically impressionistic pieces that bring together Wagner’s songwriting strengths and his broader interest in musical experimentation. Given the sense of progression that has defined Lambchop’s recent releases it feels oddly apt that when we catch up with Wagner to talk about the album, the conversation begins on a travel-related note. “I’m out here in Las Vegas visiting my in-laws at the moment. We haven’t seen them in quite a while, so we just drove on out here. It feels weird to actually travel. I haven’t been on an interstate for over a year. It feels like things are transitioning with the pandemic. Having driven across the country, it feels like we’re on the cusp of a lot of people getting out and about.”
Mahamadou Souleymane, known professionally as Mdou Moctar (also M.dou Mouktar; born c. 1986 or 1984) is a Tuareg songwriter and musician based in Agadez, Niger, and is one of the first musicians to perform modern electronic adaptations of Tuareg guitar music. He first became famous through a trading network of cellphones and memory cards in West Africa.
If it were up to Mdou Moctar, the fiery, psychedelic rock music that has made him one of the most respected guitarists working today would be kept far away from professional recording studios. “With all due respect to all engineers,” the Tuareg virtuoso recently confessed to Reverb, “I find it much too square.” Late last year, the Nigerien musician gathered his bandmates outside a friend’s house in Niamey to test out material from Afrique Victime in a more comfortable environment. In the open air, the quartet quickly attracted an audience: adults dancing, children air-drumming, and others just watching in awe as Moctar’s songs ascended and burst in the desert sky like fireworks. As Sam Sodomsky writes in his Best New Music review: “You get the sense that when the lights go down and he looks out at his audience, he doesn’t just see his community: He sees the future.”
His first guitar was made from wood and bicycle parts and his first songs were shared via Bluetooth in the desert. But the Niger musician has become international – and is taking aim at France
How do you even dream of making music when your family and religious leaders disapprove, when you live at the edge of the Sahara desert, and you cannot afford an instrument?
It helps that the Tuareg musician Mdou Moctar, from Niger, is not easily discouraged. Unable to acquire a guitar, he made one out of a piece of wood with brake wires from an old bicycle for strings, and taught himself to play in secret. “I was from a religious family and music was not welcome, but I would go and listen to local musicians and dream of being like them,” the 32-year-old singer-songwriter says over the phone while on tour in the US.
“My parents didn’t have the means to buy me an instrument and wouldn’t have done so. To them, becoming a musician would mean I was a delinquent, a terrible person drinking beer and taking drugs. I never told them I wanted to play the guitar, I didn’t dare. So I made one.”
The next challenge was reaching an audience. Moctar, born in the village of Abalak in the Azawagh desert of northern Niger, began playing at weddings, singing in Tamasheq, the Tuareg language. His first album Anar – composed for a lost love – was recorded in Nigeria in 2008: it introduced Moctar’s simple, raw guitar sound and haunting lyrics, a style known locally as “assouf”, a word that does not easily translate, but evokes desert blues. Anar wasn’t officially released; instead, it spread across the continent via Bluetooth swaps between mobile phone data cards.
Mdou Moctar – Full Performance (Live on KEXP)
Mdou Moctar immediately stands out as one of the most innovative artists in contemporary Saharan music. His unconventional interpretations of Tuareg guitar and have pushed him to the forefront of a crowded scene. Mdou shreds with a relentless and frenetic energy that puts his contemporaries to shame.
James Elkington & Nathan Salsburg – Reel Around the Fountain
James Elkington & Nathan Salsburg are an instrumental duo who play original compositions and a stunning diverse set of cover songs. Who would think of covering The Smith’s, “Reel Around the Fountain”?
Here’s the original version juxtaposed to scenes from the film, “Atonement.” I guess both song and film have fountains?
Nathan Salsburg is also the Curator of the Alan Lomax Archive at the Association for Cultural Equity. This is the website. It is definitely worth diving into.
I mentioned Brador in passing. In celebration of June 24th, here is a stubby of Brador!
On June 17th, two articles were published that really struck me. A third piece, written in the winter of 2019/20 by Dr. Timothy Stanley about the removal of Sir John A. Macdonald’s statue in Victoria in 2018 acts as an important piece that links these two events. They all have to do with belonging – who belongs here and who is honoured and respected. Who feels like the ‘other’ and whose history do we understand.
It seems to me that we are going through a radical transformation right now in Canada. The first article about Mumilaaq Qaqqaq’s decision not to run again in the next election doesn’t seem to have received too much attention, but I think it is really important. She talks about the House of Parliament as being an ‘uneasy place’
It’s a place where they make laws that result in Indigenous death and result in turmoil for a lot of our communities. I feel that.
There is a connection to this very brave declaration by this Inuit lawmaker and the movement to roll back the symbols of racism and genocide from our places of honour and prominence. To me, it is intolerable that a young woman who represents all of Nunavut should be stopped by security guards while in the Parliament Buildings and questioned whether she really belonged.
The statues of John A. MacDonald really do not belong – if there is a lingering spirit of the man circling around the statues and buildings with his name on it, it is this spirit who should feel like it does not belong.
The CBC article – Kingston to move Sir John A. Macdonald statue from City Park is significant because Kingston is seen as the home of Macdonald and many people feel that the removal of the statue offends their sense of community. Plans seem to be in play to move the statue to his gravesite also in Kingston. I have a better idea (not my own), but more about that later.
The article by Dr. Stanley is really important here. This statue removal he writes about took place in 2018 so we have gained a bit of perspective on what the removal means in Victoria, the community where it stood. His article Commemorating John A. Macdonald: Collective Remembering and the Structure of Settler Colonialism in British Columbia ( BC studies, no. 204, Winter 2019/20), available here, it an important read especially now.
There are so many issues circulating around Macdonald and the central role he has played developing the institution of Residential Schools in Canada. You would think that we could all get behind a rethinking of his place in our history, but we are a nation in conflict. We seem unwilling to understand the implications of colonial politicians like Macdonald.
It is not as simple as the removal of the statues of Confederate Generals from sites in the United States – even though this is not all that simple. MacDonald never made war on Canada, but you could easily say he did make war on the different Indigenous and Metis populations his government encountered.
One idea that Dr. Stanley explores is the whole notion that by removing statues of Macdonald we are somehow erasing history. This is usually said by people who really have a really poor notion of what history really is.
What we emphasize and retell changes over time. The history we look to tells us much more about the messages governments want put out there at a particular time. It has little to do with faithfully rendering a clear narrative.
There are so many interesting ideas in Dr. Stanley’s article I encourage you to take some time to go through this. He does sum up early in the article the idea of ‘settler colonialism’ a label used to describe the opposition to challenging the traditional narrative that Macdonald, Ryerson, Cornwallis or Langevin were simply good public stewards doing the best they could with the resources at hand.
This form of colonialism exists today in Canada and is manifest in all those who are currently opposing the removal of Macdonald’s statues.
While the structure of settler colonialism is all too real for Indigenous peoples, for most settlers it is largely invisible until such time as monuments get taken away or dominant systems of representation get challenged.
Stanley p. 2
The council debate in Kingston illustrates how far apart Indigenous voices are from those espousing a colonial settler mindset. Delegates against the removal used arguments including ‘two wrongs don’t make a right’ and that the removal of the statue was a harsh judgment of a historical figure, and that such a move would constitute “cancel culture.” (Kingston Whig Standard, June 16).
For sure there will be more of this type of talk as the statue is scheduled to come down this Friday ( June 25). It was the same in Victoria as Dr. Stanley quotes from a CBC report:
Matthew Breeden, reported as having travelled from Vancouver to protest, told CBC: “It’s part of our history I feel is being ripped right out and gutted down. I think that’s just terrible.” He continued: “They just pushed it right through – the public wasn’t allowed to have a say.”
An interesting side note, Doug Ford, then the newly elected Premier of Ontario called on Vistoria to send the statue to Ontario. In their official request they noted:
As a Father of Confederation and our first Prime Minister, Sir John A. Macdonald holds a significant place in the hearts of many Canadians and should be honoured accordingly
Globe and Mail August 14, 2018
These reactions, especially about not having ‘our say’, really shows the state we are still in as a country. When we talk about ‘our’ we are still talking about colonial settler mentality. When we think again about Mumilaaq Qaqqaq , it becomes clearer how alienated she must feel being at the center of colonial power in Canada. The lack of any noticeable reaction to this story is telling. Our House of Parliament is not inclusive, it does not speak for all; it still speaks, as it did in the days of Macdonald for the colonial settler.
The new resting spot for the Kingston statue is supposed to be at his grave site at the Cataraqui Cemetery just outside of Kingston. There was no consultation with Indigenous groups about this, just a last-minute vote of council to move it to another place of honour.
This is not the right decision on what to do with the Macdonald statue. If we want to develop a holistic historical narrative, one where a young Inuit MP feels like she belongs, we need to do some radical retelling of the story of this land. First, when it comes to honouring people responsible for genocide, Dr. Stanley has a suggestion to pass along:
In this respect, the controversy over Macdonald shows that there is much work to be done in encouraging Canadians to come to terms with their own complicity in settler colonialisms and racisms. Here are two suggestions regarding what to do with Macdonald monuments. One comes from a man from the Muskeg Lake Cree Nation in Saskatchewan who has the unfortunate name of John A. McDonald. He suggests melting the statues down and making medals to give to residential school survivors: “He stole a piece of you, here’s a piece of him … you survived, and he didn’t, and let’s give it to every survivor of residential schools, everybody that survived the cultural genocide that he attempted.”
We are a building on fire, but many of the occupants are not smelling the smoke. We need to start with a new idea about what ‘our history’ is and at the same time stop honouring the men of power who have so much to answer for.
So, we tried something really fun and different this week. Instead of Bob and I choosing the music, we asked our wonderful grown-up kids to do the selections and then come on to talk about their choices. Almost all of them were able to make it to the show and everyone contributed.
Here is what they came up with
Misterwives – Superbloom
Dvsn – Angela
The Flatliners – Hang My Head
The Halluci Nation – Land Back
Andrew Bird – Sisyphus
Bernice – He’s the Moon
Belle & Sebastian – The Power of Three
Gypsy Kumbia Orchestra – Pescador de Aguas Turbias
The East Pointers – Country Cable
What a wonderful thing to have them all together on the radio to share their music. It was a great show with lots more variety than Bob and I could have put together.
You can listen to their music and comments here on Mixcloud
So, fewer notes this week as the young ones speak best off the cuff. I will add here what they suggested plus a video or two.
Dvsn – Angela – by Colleen
This song is Angela by DVSN, who are an R&B duo from Toronto. I like this song because of their incredible vocal range, they can go really high and low which is beautiful. I heard this song on Marvin’s Room, which plays on CBC radio.”
Some of the lyrics
Everybody’s got different sides to ’em
She’s no exception to the rule
One day she’s hotter than the sun
Next she’s colder than the moon
They say you want to feel appreciated
So before you come around
Recognize how far it’s come
To be ready for us now
Always thought she was the prettiest
But she don’t know
So nice to meet you, Angela
Now how shit begins, don’t represent the end
It’s not always what it’s about
There’s ups and downs, to the East and the West
Sometimes it’s north and south
I’m praying for her on my knees
And I hope to God, hope that he can hear me
Don’t let her get caught up now
Cause the world out there is less forgiving
Bob also mentioned that they are nominated for a Polaris this year – dvsn – A Muse In Her Feelings as are Lido Pimienta and William Prince who we played last week.
The electronic producer duo say their track “Land Back” is a testament to using music as a mechanism to encourage unity and help give others a voice.
The collaboration with Boogey the Beat and Chippewa Travellers is available for free download on A Tribe Called Red’s SoundCloud page.
The performers say the song can be used by anyone working to promote Indigenous land sovereignty and “a true nation-to-nation discussion between the Indigenous nations of Turtle Island and our Canadian settlers.”
Bernice – He’s the Moon – Mairi
They’re a Toronto based band- I haven’t listened to their other stuff but was really drawn to this song because it’s fun and different and draws on a couple different styles
We first heard it on After Dark on CBC. Perfect song to listen to on a cozy, dark evening!
Gypsy Kumbia Orchestra – Pescador de Aguas Turbias – Liam
Montreal’ GKO is an explosion of music, dance and circus. The orchestra fuses Colombian Caribbean rhythms with musical styles from around the world in a melodic chaos.
Nominated for the prestigious Canadian Juno Awards, GKO is promoting their second album “VelkomBak”. A dozen songs that greatly expand the band’s musical palette and that invite us on a musical journey from the Andes to Quebec, passing through India, Spain and the Balkans.
A unique and tasty Canadian recipe, connecting disparate cultures and traditions through thecommon thread of the rhythmic language of Cumbia, with hints of ska, jazz and funk.
GKO has to its credit more than 300 concerts in Canada and 3 international tours (Colombia in 2014, France in 2015 and the Czech Republic and Austria in 2016). It is a rhythm machine getting ready to invade the world with its madness and magic.
Bob mentioned that he would love to see these folks live. I really agree. Here is a recording of a live performance
Here are a few videos of other bands we played this week – all would be great to see live!
This is a really fun video by the Flatliners, suggested by Brendan. You will have to listen to the show to heard about his connection to the band. I want to go!!
This is such a beautiful song. Thanks to Dylan for suggesting this one. I too love the whistling!
I love this song and this great band that Brendan suggested. You really need to listen to what he has to say about the unique ability of this band. I found this, I hope it does justice to this great band.
So, for this week, we have two versions of the show. A 60-minute version that is already up on Mixcloud and an extended version for Saturday night on VoicEd Radio. So to make these easier to find – we will archive the 90-minute version on Spreaker and keep the recording of the live Mixcloud show archived there.
Here is the extended play version
Here is the 60-minute version we uploaded to Mixcloud earlier this week.
Mother Mother released two songs in March 2021 – I Got Love and Stay behind. The band has been producing great music on the west Coast of canada for years, but now seem to be best known for having a Tik Tok hit. Canadian Beats Media continues:
Mother Mother, the Vancouver-based alt-rockers have released two new songs; “I Got Love” and “Stay Behind.” The brand new music is Mother Mother’s first offering on the heels of their recent explosion on the platform TikTok.
After over a decade of releasing music and touring, a new global audience discovered and organically began using the band’s catalogue on the platform, resulting in rapid growth in the millions across all streaming and social platforms, and a Rolling Stone feature on this unique artist development story.
The new music was written during the first wave of the COVID-19 pandemic and was produced by frontman Ryan Guldemond and Howard Redekopp, who produced much of the older music that is connecting with the global audience today. Both “I Got Love” and “Stay Behind” are available now. The release of “I Got Love” and “Stay Behind” also marks the first under the band’s deal with their new label Warner Music Canada.
The Linda Lindas are a group of LA youngsters playing punk rock. In May 2021, the Los Angeles Public Library posted a video of the Linda Lindas playing “Racist, Sexist Boy” at a “TEENtastic Tuesdays” event. In the video, 10 year old Mila explains the song’s origins.
The band first came to Bob’s attention in Amy Poehler’s teen comedy Moxie. Here, they perform a cover of Bikini Kill’s “Rebel Girl”
I have loved her music and her style ever since she started out winning the Polaris for her first album.
From Pitchfork Magazine
“She is still an extreme rarity in Canadian music: an Afro-Colombian queer woman with indigenous Wayuu heritage, a single mother, a Spanish speaker. The great promise of Miss Colombia, and of her new leadership in a predominantly white scene, is that brown girls will hear it and be inspired to surge to the front.”
That it was because of you, that I stopped being me
You are not to blame for being like this
And don’t give me anything if you don’t want
You can read more about this great musician and rebel here
Mountain Goats – Clemency for the Wizard King
The Mountain Goats are an American band formed in Claremont, California, by singer-songwriter John Darnielle. The song selected was “Clemency for the Wizard King” In this Vanity Fair article, Darnielle gives some background to how Dungeons and Dragons inspired the album.
Anyone who has kept a project going for more than a quarter century has a right to be a little set in his ways. Which is why it might come as a bit of a surprise to hear that John Darnielle, songwriter and front man of the Mountain Goats, was willing to entirely change his attitude in the recording studio when he started to record his 17th album, In League with Dragons, out next month.
Here’s a video of The Mountain Goats performing their ode to reggae great Dennis Brown.
Pokey Lafarge – End of my rope
Pokey Lafarge is a discovery I made this week while listening to a great show on Mixcloud by David the Worm – his taste in music is amazing and I listen whenever I can. He is usually on at 2;00 PM Monday to Friday plus an extra show with his partner on Sundays.
More about Pokey Lafarge from his Bandcamp page
Pokey LaFarge is a musician, songwriter, bandleader, entertainer, innovator and preservationist, whose well-rounded arsenal of talents has placed him at the forefront of American music. His music transcends the confines of genre, continually challenging the notion that tradition-bearers fail to push musical boundaries.
Here is a great ‘unplugged’ version on Youtube of this week’s song End of My Rope
If you want another great song by Pokey Lafarge, you have to listen to Something in the Water
Plants and Animals – House on Fire
Plants and Animals are a 3 piece band from Montreal. This the video for their latest. “House on Fire”. As one YouTuber put it, “ LCD Soundsystem meets Talking Heads. Love it.”
More on Plants and Animals, another Montreal band here from Under the Radar Magazine
“House on Fire” was inspired by Spicer’s concern for a friend of his. The band collectively further explain in more detail in a press release: “We started working on this a couple of years ago. Warren was afraid for a friend’s health. He thought he was self-medicating too much and not taking care of himself. He couldn’t let go of this image of an overworked dude swallowing too many sleeping pills and falling asleep with the stove on. So it began as the place next door, sometime before Greta Thunberg turned the expression into a rallying cry, where Earth is the house and the people are sleeping. It’s terrifying, and on the whole we’re not unlike this friend, are we?”
My last track is by William Prince who I saw on the underwhelming Juno production last week. His performance of this song was certainly the highlight on a show that could have done so much more.
Holly GoLightly – Satan is His Name
Holly Golightly (born Holly Golightly Smith is a British singer-songwriter. Her mother christened her after the main character of Truman Capote’s Breakfast at Tiffany’s. She’s been performing her brand of garage rock for years.Perhaps she is best known for contributing the song “There is an End” to the movie Broken Flowers starring Bill Murray.
We featured the tempting little number “Satan is His Name” from 2018’s “Do the Get Along”
It’s a cover of an obscure 1962 single by Steve King
If you like Holly, this is the album to grab if you can find it.
Real Estate – White Light
We closed with a great indie band from New Jersey, “Real Estate”
There are times in our collective story when something really stops people in their tracks. The story of the 215 unmarked graves beside a residential school in Kamloops is one of these instances. Even though the Truth and Reconciliation Commission’s report has been out since 2015, it seems to take the pictures of 215 little pairs of shoes on Parliament Hill to bring all this home to us.
We have known about the appalling death count in residential schools since at least 1907. That year, Dr. Peter Henderson Bryce produced a report on the state of health in Canada’s residential schools. The conclusions of the report were astounding:
“It suffices for us to know, however, that of a total of 1,537 pupils reported upon nearly 25 per cent are dead, of one school with an absolutely accurate statement, 69 per cent of ex-pupils are dead, and that everywhere the almost invariable cause of death given is tuberculosis.”
The Bryce Report, 1907 p.18
Bryce focused on one particular school where the results were particularly heart wrenching:
Thus, of a total of 31 discharged from the File Hills school, 9 died at the school, of 6 others there is no record of condition on discharge, but all are reported to be dead, 7 others died from within a few months to three years after discharge and 9 are reported as in good health,
The Bryce Report, 1907 p. 18
The reason for this very high death rate was well understood. Scientific medicine had made great strides in the past 40 years and the health effects of good and proper ventilation were well understood. In many of the schools however, there was a criminal inattention to what was needed to keep kids well and protected. Bryce continues:
in the absence of regular and sufficient ventilation, extremely inadequate; that for at least 7 months in the long winter of the west, double sashes are on the windows in order to save fuel and maintain warmth and that for some 10 continuous hours children are confined in dormitories, the air of which, if pure to start with, has within 15 minutes become polluted, so as to be capable of detection by ordinary chemical tests. It is apparent that general ill health from the continued inspiration of an air of increasing foulness is inevitable; but when sometimes consumptive pupils and, very frequently, others with discharging scrofulous glands, are present to add an infective quality to the atmosphere, we have created a situation so dangerous to health that I was often surprised that the results were not even worse than they have been shown statistically to be.
The Bryce Report p. 19
The report goes on to talk about a general inadequate level of physical activity provided for the students and the absolute disregard for daily health and sanitation in the schools.
Such a report could have been a clarion call for action. These children were the responsibility of the state and it was clearly the state’s responsibility along with the various churches to make amends and vastly improve every aspect of the residential learning environment.
But here is where the story get sinister. Dr. Bryce reported to Duncan Campbell Scott, federal Deputy Superintendent of the Department of Indian Affairs and Scott suppressed the report. It was leaked to the media causing a public outcry, but very little was done to follow through on Bryce’s recommendations that included “the handing over of the school system to the Chief Medical Officer and be made in its first essentials a sanitorium system rather than an educational one: That each child must be primarily considered an “individual case of probably tuberculosis.” That improvements be made in the buildings so that open air work-rooms and dormitories shall be provided. That increased expenditure for extra clothing be provided for, also a special dietary. Also improved water supply for bathing &.” Indian Residential Schools & Reconciliation
In fact, the report was seen as an irritation:
It will be obvious at once that Dr. Boyce’s recommendations while they may be scientific are quite inapplicable
to the system under which these schools are conducted. Even were the Department prepared to take the schools
over from the Churches, it is self evident that the Churches would not be willing to give up their share of the
joint control. These preliminary examinations by Dr. Lafferty and Dr. Bryce have already caused considerable
irritation and brought protests from the Roman Catholic authorities who have the larger number of pupils under
Department of Indian Affairs File 140,754-1 “Correspondence relating to tuberculous among the Indians in the various agencies across Canada 1908-1910” (c10167)
Scott continued to block Bryce at every turn. In 1913, he denied him the funding he needed to continue his work. Bryce was not allowed to present his findings at conferences. He was denied positions in the Federal Public Service that he was certainly qualified and by 1921 he was forced into retirement (First Nations Child and Family Caring Society). All techniques used by large institutions that have no need for the truth.
But we still don’t seem to get it. Decades after the suppression of The Bryce Report by Duncan Campbell Scott and the Canadian Government, there is still no willingness to call the acts of our churches and governments genocide.
Collins is a smooth operator and he brushed aside any thought that there are records that have yet to be disclosed, even as the head of the Oblate order, Rev. Ken Thorson, is in the process of digitizing the records from their Kamloops school (CBC, June 6, 2021).
It is the smug arrogance of church leaders like Collins that will really make the struggle for reconciliation so much harder. No need for apologies, no grand gestures, just a little bit of work here and there.
When the mighty fall, they fall hard. Trite statements and interviews by complacent, comfortable men do not help. Yesterday Egerton Ryerson’s statue in Toronto came tumbling down and it has been announced it will not be reinstated.
Ryerson was responsible for the early design of the residential school model in Canada. He believed that white and indigenous students should not be taught in the same schools due to their different cultural backgrounds. He was also responsible for developing the separate school system in Ontario – another outmoded idea that might also soon face the chopping block.
As we reexamine our history, who do we still honour? Who do we now comdemn?
All history is relative and the judgement of current times will have to be meted out on people like Scott, MacDonald and Ryerson. These are Canadian icons no more and they must all be toppled from their ridiculous pedestals so we can move on.
’Yoru Ni (which translates from Japanese to ‘At night’) was literally written in the middle of the night, guitarist Nakauchi-Pelletier explains, ‘’I woke up suddenly at night and had this melody in my head, as if it had come to me from another world. After letting it simmer a little longer, I decided to actually get up and grab my guitar. It really felt like I was following some kind of spirit or ghost, it was taking my hand and wanted to take me somewhere. So it did, and it gave me the idea for the song lyrics which Maya took further and romanticized, while the music was basically ‘pushed’ into my brain by some strange unknown forces.’’
This part of my research was really interesting, but I don’t think this has anything to do with the band.
Teke Teke (テケテケ), also spelled Teke-Teke,Teketeke, or Teke teke, is a Japanese urban legend about the ghost of a schoolgirl who is said to have been tied by her bullies onto a railway line, where her body was cut in half by a train. She is an onryō, or a vengeful spirit, who lurks in urban areas and around train stations at night. Since she no longer has a lower body, she travels on either her hands or elbows, dragging her upper torso and making a scratching or “teke teke“-like sound. If she encounters an individual, she will chase them and slice them in half at the torso, killing them in such a way that mimics her own disfigurement.
Formed from ex Vulvets, the new group Oodooo presents a very promising first EP. The Montreal group, in which we find some warriors from the local scene, offers in five tracks (three songs in French and two that they cover in instrumental version) a small glimpse of their universe. Combo mainly focused on studio work rather than the stage, Oodooo evolves in spheres that fans of vaporous 60’s tones, psyches and fuzzies will undoubtedly recognize and appreciate. If the references of the four musicians are obvious, they are nevertheless very well assimilated and skillfully mastered. Liminanas, Juniore, Gainsbourg de Vannier or de Colombier come first as much for the French-speaking fact as for the music and the subtle arrangements,just like the Allah-Las or La Luz on the American side. This nifty little album, impeccably produced and with a very pretty cover, has only one big flaw: it is much too short! We are waiting for the rest ..
Boston Levi – Thief Album Prophecies
As I said on the show, this is one of those stories that leads to the song. Mike McNamee, former Carleton Ravens Captain is moving into music with this first release. Managed by Jay Emmons of The Glorious Sons, this is all still very new to him.
“The response has been a lot bigger than I thought it would be,” said McNamee, whose first song will officially be introduced on Apple Music and Spotify Friday at midnight. “I’m learning along the way. I’m not giving up everything. I’m a down to earth guy, but I think about it a lot. Four months ago, I didn’t know much about how to write a song or record a song. It has been wild.”
He has a unique playing style that you can see on this video – not the song we played on the show.
Monowhales – RYLD
Some information on Monowhales – Canada’s most played unsigned artists on Canadian Alternative radio. From a recent article
Toronto’s Monowhales is set to roar back on March 5 with the new album, Daytona Bleach, but they’ve been building anticipation over the past year with the singles RWLYD (Really Wanna Let You Down) and All Or Nothing, which demonstrate the hard-hitting sonic diversity that marks the album as a whole.
The latest single from Daytona Bleach, Out With The Old, is the group’s most powerful statement so far, with its message of generational change delivered in a taut, modern hard rock package. Indeed, Monowhales has been leading its own indie-rock revolution, having earned the distinction of being 2020s’ most played unsigned artist on Canadian alternative radio.
I really love this band. This is their first single in awhile and I am really looking forward to the album release later this year.
Jaffa Road is from Toronto and they mix ancient and modern Hebrew, Arabic, Spanish and English poetry into their work.
About the song we chose, Until When
This traditional melody from the Maghreb is traditionally sung in either Hebrew or Darija (Moroccan dialect of Arabic). The Hebrew version ( Eli Shema Koli אֵלִי שְמַע קוֹלִי) is a liturgical poem where the protagonist cries out to God in the hope of redemption. The Darija version (Sidi Habibi سيدي حبيبي) is a secular love song about unrequited love between the protagonist singer and the imagined lover. We call our mash up of the two versions UNTIL WHEN named after the first line of the first Hebrew stanza – עַד מַתָי אֲקַוֶה לִרְאוֹת גְאוּלָתְךָ –Until when shall I wait to see your redemption?
It has previously been recorded by many Jewish Algerian and Moroccan musicians in both Morocco and Israel as well as many Arab musicians from the Maghreb. As far as we know, this is the first recorded version to alternate complete verses of the Hebrew and Arabic versions of the song.
also from Bandcamp
Mo Kenney – Slowdeath
Mo Kenney is an East Coast singer songwriter. Her new lp; however, is a set of great cover versions.
Kenney has a new album coming out next year that will be all covers, performed with just the basics – her clear, rich voice and a guitar.
“I was in the studio and recorded this right before the pandemic started,” Kenney said. She was thinking about doing an acoustic record of her own songs, but ultimately decided it would be more interesting to do an album of covers. “A lot of these songs are songs that I put in my live sets.”
Kenney says she grew up listening to old country standards that played on the radio in her grandparents’ kitchen. “I don’t think I really fully appreciated it back then, but I have a real love for those old country songs now.” Her favourite Patsy Cline tune is You Belong To Me – Bill played Mo’s own cover on the show. “That song was written in the 50s and it still holds up,” she says.
Here is her cover of fellow Nova Scotian Dog Day’s Seth Smith’s song Slow Death
End of the Night – A Place to Bury Strangers
This is a really interesting band that has been around in some form since 2002. The song is jarring and really great and I found out about it through an online music magazine out of Toronto – Spill Magazine. It was their single of the week and you need to watch the video and listen to this great track.
More from Spill Magazine
In 2003, Brooklyn’s A Place To Bury Strangers emerged on the scene out of Oliver Ackermann’s psychotropic vision. Often cited as “the loudest band in New York,” APTBS is known for their vicious live performances overloaded with all-consuming visuals, experimental sonic warfare, and treacherous stage antics.
2021 welcomes a lineup change for A Place To Bury Strangers. New members John Fedowitz (bass) and Sandra Fedowitz (drums) of Ceremony East Coast cement the most sensational version of the band to date. John and Oliver were childhood friends who had played in the legendary underground shoegaze band Skywave, crafting futuristic punk music together. This next phase is a sonic return to APTBS’s most raw and unhinged endeavors, pushed even further into a new chaotically apocalyptic incarnation.
During the ongoing global pandemic, Ackermann spent his time building this new band, raising money and awareness for those in need, establishing the record label Dedstrange, designing futuristic space synthesizers for his company Death By Audio, and producing this brand new A Place To Bury Strangers EP. The Hologram EP will be released July 16th on Dedstrange.
Culture Addicts offers a nice little assessment of this Montreal Band’s latest effort.
SUNFIELDS shares new track Got Some (But It Ain’t Enough), which is lifted from their upcoming album ‘Late Bloomers’. It’s all too easy to feel defeated in life. This song pokes fun at that notion. Not everything in life needs to be taken so seriously; it’s okay to laugh at yourself sometimes.
Got Some (But It Ain’t Enough) toys a lot with the notion of the bigger picture, the thing most of us fear and dread, the one thing lots of us avoid… the void. It’s got a toe-tapping, uplifting, anti-downer feel to it, with the lyrics taking a piss out of things.
Canadian legacy artist Melanie Durrant drops her third studio album, Where I’m At. This album follows the release of her latest single “Listen,” and the song’s accompanying music video.
With the release of “Listen” and the drop of her new album, Ms. Durrant is flooded with support from notable American and Canadian talent. Many notable people, including Ray Robinson, Grammy-nominated artist Glenn Lewis, Grammy-Award winning artist Jill Scott, award winner and Walk of Fame inductee Tanya Mullings, JUNO-Award winner Dru Grange, and Grammy-nominated multi-platinum music producer Allstar (produced SWV) have shown their support and champion the new album release on Durrant’s Instagram page.
Where I’m At is fused with vintage 90s R&B, boom-bap, soul and encompasses faint sounds of latin and reggae. Written by Durrant, each track encompasses raw heartfelt emotion drawing upon personal experiences of the award-winner and her closest friends. Since 2013, Durrant has received three JUNO Award nominations. In 2013, “Made For Love” was nominated for Reggae Single of the Year, in 2014 her second single, “Gone,” was nominated for R&B/Soul Recording of the Year, and in 2015 Durrant picked up another nod in the R&B/Soul category with her single “Four Seasons.” She was also nominated for Soul/R&B Artist or Group of the Year at the 2015 SiriusXM Indie Awards.
This album encompasses themes of narcissistic abuse, personality disorders and the way it affects the mind. Every track on Where I’m At has different mindsets, but keeps true to the album’s overall theme.
Next week, another 9 songs this upcoming week we will be on Mixcloud at 7:00 PM EDT. Come see us LIVE!!
Consider this the latest page in a story he’s spent the past few years writing. His back story includes fleeing Vancouver years ago to hole up in a sprawling island home to care for an ailing grandmother, the relative solitude giving him ample time to invent the character that would become analogue-obsessed rocker Art d’Ecco. And what a great character that creation is, all pageboy hair, greasepaint-and-rouge makeup, and Rodney Bingenheimer fashion cues—right down to the retina-searing flares and platform shoes.
More on how he came up with his unique look:
I was getting my keys cut, and kind of stewing while I waiting,” the singer recalls with laugh. “Out of the corner of my eye I saw a wig store that had this $300 human-hair bob wig. I was like ‘I’ve never been more excited in my entire life.’ I was walking through the Bay on the way back to my car at after getting my keys cut, and figured I might as well go whole hog and buy some makeup. I had no idea what I was doing. I was just freewheeling.
Bob picked his selections from groups that he saw over the last five years at the wonderful Beau’s Oktoberfest in Vankleek Hill, Ontario.
Sadies – Riverview Fog
A group never fails to put on a great show, The Sadies. Here performing this Riverview Fog
Austra – Messiah Album Hirudin 2020
Austra is a singer I have liked for a long time. I first heard her on CBC with her 2011 song Lose It. Pretty amazing display. You can see a 2017 version of the song on CBC here. The voice is something very different.
Katie Stelmanis has a voice like a beacon, a sound that can shear through any accompaniment, no matter how drab. She shares this power with ANOHNI and Zola Jesus, singers who enchant their surroundings with the depth and richness of their timbres, who are instantly recognizable in any setting. Her voice comprises the central pillar of her synthpop project Austra, the feature around which her music crystallizes. The Canadian artist’s previous album, 2017’s Future Politics, shifted deeper into the icy trappings of club music, laminating Stelmanis’ voice inside the production styles of deep house and trance. On HiRUDiN, Austra’s fourth LP, the project breaks from that rut, swinging for big, embodied pop moments that let the warmth of Stelmanis’ voice shine through.
Pitchfork May 6 2020
Kathleen Edwards – Options Open
Kathleen Edwards is represented here this week with a song from her “return from exile” album, ” Total Freedom”. The song is “Options Open” and it looks like she hasn’t missed a beat.
A David Lettermen fave, Edwards was a frequent guest on The Late Show. Dave discards his usual sarcastic goof persona here as shows is a genuine fan.
This is another artist heard first on CBC Frequencies, my go to place to hear new and exciting music.
From the bandcamp bio:
Born in Kinshasa and settled in Montréal since 2001, Pierre Kwenders learned music and found his voice in a catholic choir in the city. With his two EPs and two full-length records, the singer-songwriter has earned multiple awards. Passionate about offering music without borders, he’s also one of the founders of Moonshine, a collective that throws some of the best parties around the world.
Here is the great video we are playing from his most recent release, the song is Ego
Pierre Kwenders has been known to allow every style of music he hears to influence his own. This is even more remarkable given the diversity of influence that would have entered his realm; he emigrated from Kinshasa to Montreal at the age of 16. French-Acadian, hip-hop and Congolese Catholic church music are just some of the many influences in his path. His latest project, Classe Tendresse, is a collaboration with Parisian musician Clément Bazin, who is equally in love with technology and the steelpan.
The blending of traditional African melodies with post-human electronica is complete and seamless. In a sense, this is nothing new. All popular music is influenced by traditional African music and is impacted by advances in musical technology. What is interesting here is that it is not really a blend at all, as one cannot tease out traditional and electronic elements; this is traditional African music as heard through digital technology.
Sloan – The Day Will Be Mine
Sloan perform “The Day Will Be Mine” as part of the East Coast Music Awards (ECMA’s) at the Marquee in Halifax, NS on May 3, 2018. The Marquee is a legendary club in Halifax which is one of the 2 bars immortalized in the song, “ Marquee and the Moon” from the 1999 album “Between Two Bridges.” The Misty Moon closed down a number of years ago, but the Marquee lives on.
A clip advertising their upcoming 2018 appearance at Oktoberfest. The concert clips were taken from the June 28 show at Ottawa’s 27 Club. We were lucky to see both performances.
Rae SpoonThere’s No End, album Mental Health 2019
Another feature heard on CBC Radio 3 Grant Lawrence. Very happy I heard this one. Rae Spoon is an artist I was totally unfamiliar with (I say that a lot).
The narrator is a queer, guitar-wielding musician who arrives in Vancouver in 2000 at the age of 19. Written in Spoon’s usual highly accessible style, the story of youthful exuberance, excessive drinking, and emotional angst plays out across Vancouver—on the bus system, at the beaches, and in various neighbourhoods.
It’s astonishing to consider how far the trailblazing Spoon has come from being a poor couch-surfing, sometimes homeless trans youth living on the East Side. In addition to four books, including the Lambda Award finalist collection of short stories that kicked off their career, Spoon has created a dozen albums. In addition, they achieved their dream of touring extensively.
Here is the trailer from the NFB film made about Rae Spoon. All the music in the film was composed and performed by them.
John K Samson – Fantasy Baseball at the End of the World
“I manage my fantasy baseball team better than I manage my anger these days,” Samson sings. “And I’d trade my best pitcher for a draft-pick and picture of the president writhing in pain.” John K. Samson. Great video from Manitoba’s finest that combines his love of baseball with his loathing of Trump.
Here he is at Beau’s Oktoberfest performing his classic “One Great City”
Rural Alberta Advantage – Beacon Hill
Bob asked during the show which Beacon Hill the Rural Alberta Advantage is singing about. This is another band that he saw at Oktoberfest.
I think if you look at the video below you may get a clue.