I am a part-time instructor at the Faculty of Education, University of Ottawa. Very interested in social media and the potential new technology represents for the future of our teachers and students. Climbing Mt. Kilimanjaro for Christie Lake Kids in July 2021 https://arcg.is/05rXmu
Matt Sweeney and Bonnie Prince Billy – Resist the Urge
Merchant – Dead days and Gatorade
Sufjan Steven’s & Angelo De Augustine-Reach Out
Silk Sonic –Skate
Bobby Gillespie and Jehenny Beth – Chase it Down
John Sally Ride – Putting It Off
Hiss Golden Messenger – Sanctuary
Olivia Rodrigo – Brutal
Gram Parsons – Streets of Baltimore
Silk Sonic – Leave the Door Open
Sufjan Stevens – Mystery of love
Father John Misty – Real Love Baby
John Sally Ride – Don’t Flatter Yourself
Duran Duran – Invisible
Bob’s first 2 selections were suggested by good friend Lisa Riipi. Duran Duran has returned after a 5 year absence with the new single is “Invisible”. The music video for the song was created by an artificial intelligence system called Huxley.
16 years after their original underground classic, Matt Sweeney and Will Oldham reunite for an album that plays like the continuation of a decades-long conversation.
Afew years after he’d decided to start calling himself Bonnie “Prince” Billy, Will Oldham released a song called “A Wolf Among Wolves.” It’s about a person who doesn’t feel properly seen, and it’s exceptionally sad, even for the guy who wrote “I See a Darkness.” “Why can’t I be loved as what I am?” he sighs. “A wolf among wolves, and not as a man.” Wildness, ferocity, heart, all the things wolves tend to signify—the way he sings, it’s as if they’ve all been drained away by loneliness. In the years since, Oldham has made collaboration central to his work, partly, as he recently told GQ, in the hopes of “turning aspects of an innate introversion into something that resembles extroversion.” And while he’s had innumerable artistic successes, both on his own and with others, he never sounds more at home, more fully himself, than he does when writing and recording with guitarist Matt Sweeney. Not for nothing did they name their first album together Superwolf.
personally, I could really only find one or two. Bob added this song from Bonny Prince Billy. Nice song!
Merchant – Dead days and Gatorade
Lisa also suggested the song “ Dead Days and Gatorade” by Merchant because it features Duran bassist John Taylor. Looks like the song gives a excellent advice in how to deal with a hangover.
Sufjan Stevens & Angelo De Augustine – “Reach Out”
Heather suggested this song, and here are her notes. This sums it up for sure.
I chose this song because it has been a while since I have listened to Sufjan Stevens. I love the guitar plucking, like tiny thoughts flying through the air, the reflective lyrics and their beautiful voices together.
Bob’s other 3 suggestions were all taken from the blog. “Burning Wood”. This is an excellent blog that contains the musings and tastes of former New York record store owner Sal Nunziato Explore it here. http://burnwoodtonite.blogspot.com/
Silk Sonic is an American R&B superduo consisting of recording artists Bruno Mars and Anderson .Paak. The duo released their debut single, “Leave the Door Open”, on March 5, 2021, with a forthcoming debut album, An Evening with Silk Sonic, announced for release. To quote the blog’s author Sal Nunziato, “I took a walk around the neighborhood on Saturday and heard a song coming out of some guy’s car, as he was fiddling with something under his hood. I knew what it was but I couldn’t place it. The Whispers? Tavares? No! Shuggie Otis! I couldn’t place it. Then, while scrolling through one of Brooklyn Vegan’s email blasts, the word “vintage” followed by “R&B” jumped out at me. Could it be Silk Sonic? Yes. It could. “Skate” is the brand new second single from Anderson.Paak and Bruno Mars doing business as Silk Sonic and it’s a good one. The first single “Leave The Door Open” got by me, and it too, has a classic summer soul sound, though I think “Skate” is the better of the two.
The Primal Scream frontman trades brashness for contemplation in this rewarding collaboration with the former Savages singer
During the course of a 35-year career, “sensitive” and “mature” are not adjectives that have often been wheeled out to describe Bobby Gillespie’s lyrics. Indeed, the Primal Scream lead singer’s canon of work has generally favoured MC5-lite rebel posturing over insight and depth. All of which makes this collaboration with former Savages frontwoman Jehnny Beth such a welcome surprise. The pair have written a set of songs located within the wreckage of a marriage that is falling apart, with both parties torn between looking back with remorse and nostalgia on what’s been lost, and moving on and making a new start alone. We’ve come a long way from Bomb the Pentagon.
Recorded with Gillespie’s Scream bandmates, as well as Beth’s regular foil Johnny Hostile, as much care has gone into the arrangements as the lyrics. Opener Chase It Down is a gorgeous slice of southern soul, made all the more powerful for its devastating “I don’t even love you any more” line. Grievances are aired in the despairing Living a Lie. Your Heart Will Always Be Broken, meanwhile, recalls Gram Parsons’s work with Emmylou Harris. Throughout, there are echoes of the rootsier moments from Give Out But Don’t Give Up, but with the earlier swagger replaced by vulnerability. It’s as pleasing as it is unexpected.
Next is “Putting it Off” by the John Sally Ride. Sal Nunziato plays the drums in this trio. Check out the band’s link for some excellent power pop
Hiss Golden Messenger – If it comes in the Morning
Album – Quietly Blowing It
MC Taylor offers up soulful Dylan-esque country rockers about the impact of the system on ordinary lives
At the start of the pandemic, MC Taylor, AKA Hiss Golden Messenger, sat in his North Carolina basement studio and began several months’ of pouring out songs about “life as I felt it”. There was a lot going on outside – protests after the murder of George Floyd, the presidential election, and fires burning across the US – but his thoughts turned to some of the deeper issues underpinning it all, from class and inequality to the climate crisis.
The title track finds him watching the news and sighing “things don’t look too good”. However, the tunes are stirring and uplifting and the overall spirit is optimistic. As the father-of-two sings in the exquisite If It Comes in the Morning: “There’s a new day coming, we’ve been a long time running … but all hope is contagious.”
Olivia Rodrigo – Brutal
Finally we wrap it up with, at this moment, one of the most popular performers on the planet. Olivia Rodrigo.
Sal comments, ““Rodrigo’s “Brutal” is a rip of Elvis Costello’s “Pump It Up,” which it is, to some extent. Costello’s response? “This is fine by me, It’s how rock and roll works. You take the broken pieces of another thrill and make a brand new toy. That’s what I did.” Is a rip? You be the judge…
Just a note – this episode has extra songs, some come out of our conversations during the show. he extra songs are basically in context and were added to give the show the 90 minutes for VoicEd Radio – thank-you Stephen Hurley!
As they are extras, we are not writing about these ones.
We all have preferred styles of attention and ways that we perceive what is happening to us. It takes lifelong practice of what I call “mirror-wiping” to see things as they are, instead of as we are! “I” am always my first problem, and if I deal with “me,” then I can deal with other problems much more effectively. Similarly, grief work begins with cleansing the lens of my perception, and simply being “here” to what is. Buddhist teacher Cuong Lu is a student of Thich Nhat Hanh, and here he describes a practical way to be present to our pain.
Do you want to put an end to the dark thoughts racing through your mind, the pressures you feel every day, the many ways you don’t feel seen or heard? What do you really want? What do you really want to end? Your thoughts bombarding you 24/7? Your loneliness? Your despair? What do you think happens when life ends? Do you think you won’t feel anything, that you won’t suffer anymore? . . .
Instead of acting on these impulses—stop, wait, and study the details of your life: the skin on your hands, the despair in your throat, the searing currents running through your veins. Study these things as if your life depended on it. When you stay fully present with your feelings, your sensations, and the world around you, even when it seems dark and cold, joy will arise. Joy and suffering are two sides of the same coin.
The way to free yourself from pain is to feel it, not to run away, as difficult as that may be. Be a mountain and be porous at the same time. Become interested in yourself, your thoughts, your emotions, your sensations. This might not make sense now, but it will. . . .
Pain and suffering make life beautiful. This might be hard to believe while you’re suffering, but the lessons you can learn from hardships are jewels to cherish. If you’re suffering, it means you have a heart. Suffering is evidence of your capacity to love, and only those who understand suffering can understand life and help others.
The world needs your suffering, your courage, and your strength. Don’t try to kill your pain. Share it with another, communicate it. If the first person you talk to isn’t the right one, find someone else. Somebody somewhere wants to listen to your pain, to connect with you and understand you. When you find them, when you lighten your burden and discover the jewels and joy that are alive beneath the pain, later you’ll be present for others who are suffering.
I never do this in a blog post, but I am making an exception
The most important part of this post is the quote by Cuong Lu. I found it yesterday by chance after I clicked on Richard Rohr’s site – something I haven’t done in a very long time. It certainly speaks to me and what I am going through now as a result of a year and a half of Covid, and I think there are lots of people out there who could benefit from these words, so I am putting it all out there.
One of the distressing byproducts of Covid is the anxiety and depression it can induce in people. One of the high risk groups are people who have dealt with anxiety disorders in the past. In my case, Covid has led to a recurrence of an old anxiety condition that has not surfaced in seven years.
Now it is back and I am working really hard on drawing myself out from a prolonged period of pretty high anxiety. It is certainly a very slow road.
Many others I suspect are going through this too so I hope this is helpful to those who read my blog. These are extraordinary times and I really think we need to be communicating about how we are doing right now. To do so normalizes the distress and helps everyone to feel part of a community that is struggling with the prolonged pandemic.
No one likes to feel bad, whatever form this takes, but I sincerely believe there is value in times of distress. When we suffer, it causes us to lean in, to learn more about ourselves and grow. Growth and learning can be really hard, but it still is an opportunity to look inside with compassion and interest to see ourselves in a new way.
I have written about my own mental health struggles in the past and these posts are usually the ones that get the most response. That is a good thing. I don’t mind putting myself out there, especially if it helps someone else who is suffering.
We don’t like suffering and we usually do whatever we can to avoid this. While this is natural, I suggest that we have to be present to the challenging times, not just the good ones. We need to learn not to judge these times as ‘bad’, they really are just a part of what it means to be human and we all go through these at various times in our lives.
The best response is to take the time to settle in and reflect.
As Cuong Lu says, “Become interested in yourself, your thoughts, your emotions, your sensations. This might not make sense now, but it will. . . .”
I hope people respond to this post, especially if this helps. I hope people post on how they are doing right now so we can all realize we are a brave bright community that is struggling. I do believe that there is comfort in all of this and that this particular post may help out as people contribute to what I am writing here now.
Even if you don’t write anything, I hope you find some comfort in the notion that the dark times are times of opportunity to learn and grow. Even in discomfort and distress there can be the beginnings of joy.
This was a big week for me picking up songs on CBC Radio 3. This is one of three great ones I listened to during the week. All are pretty obscure, all are worth a listen!
Album – Love Songs for End Times
Ghost Twin is a dark synthpop duo – Jaimz & Karen Asmundson from Winnipeg, that combine roaring synthlines, dirty pulsing bass, dreamy guitar, and a haunting vocal dichotomy where Baroque meets Industrial, with live video percussion that feeds cinema through a cut-up technique imbuedwith occult aesthetics.
Here is a sampling of some of their music:
GHOST TWIN: “Blue Sunshine” LYRIC VIDEO #ARTOFFACT
from a 2017 CBC article:
They are getting ready to release their first full-length album, three years after the couple decided to bring their own brand of dark, brooding electronic music to Winnipeg stages.
On Plastic Heart, fans will get more of the sound they love from the band’s first EP, but this time, with cranked production values.
Jaimz and Karen Asmundson started writing the album in 2015, and after two failed attempts at securing funding to make it, finally got somewhere.
“On the third try, [Michael P. Falk], who is the co-producer and engineer, said, ‘What songs are you submitting?’ and it turned out we were submitting the weirdest songs, that nobody was getting, so we submitted all the really pop-y stuff and then we got the money [from FACTOR and Manitoba Film and Music],” said Jaimz.
The album was produced by Maya Postepski, who has worked with two major sources of inspiration for Ghost Twin: Austra and Tr/st.
The pair have more than a decade of filmmaking experience, including a short film in 2009 that got so much attention it took them to Cannes.
“We made one really silly film together called Goths on the Bus. That was stupidly successful,” said Jaimz. “I still kind of feel ashamed that that’s the most successful film I’ve ever made.”
But for fans of the “really silly” Goths on the Bus, there’s a bit of a callback in their upcoming music video. It’s set in a gym for goths.
All of Bob’s selections this week came from the Amazon Prime TV show Sneaky Pete. You can find which songs are on any movie or Television show using the website TuneFind
The Bright Light Social Hour – Harder Out Here
The Bright Light Social Hour is an American psychedelic rock band from Austin, Texas. The band performs its song, “Harder Out Here’’” over the opening credits of the show. Here is a version of the song live.
Packs – Silvertongue
Another CBC Radio 3 find.
Album – Take the Cake 2021
Initially a solo songwriting project of Link’s (Madeline Link)that she pursued between gigs as a set dresser for commercials, the band blossomed into a four piece, composed of Shane Hooper (drums), Noah O’Neil (bass), and Dexter Nash (lead guitar). Anchored by Link’s voice, which brings such an easy charm to her songs that it’s easy to miss her keen ear for acrobatic vocal lines, together they turn Link’s melodically adventurous and introspective songs into the purest and brightest kind of indie rock. The band’s debut is a collection of songs that marry the loose but incisive jangle of early Pavement with the barbed sweetness of Sebadoh and the wide-eyed wonder of the first Shins LP. It will be released in partnership with buzzy Brooklyn label Fire Talk (Dehd, Deeper, Mamalarky), and Toronto mainstays Royal Mountain (Alvvays, Wild Pink, Mac Demarco).
Just a note, Bob didn’t hear Pavement in this song. Or I would say the Shins either. Still, a good song.
PACKS – Silvertongue (Official Music Video)
To celebrate the announcement, the band have shared new single “Silvertongue” and an accompanying video. The fuzzed-out tune merges Pavement’s laconic flair with Sonic Youth’s simmering menace, while the video finds vocalist Link strutting, staggering and flailing across the Toronto harbourfront, looking effortlessly cool as she rocks a series of stylish jackets.
Of the song, Link said: “It’s easy to be lured into the comforts of past relationships. What’s harder is dealing with years of exhaustion, mistrust, and always hoping. Ditch the whiplash of manipulation and decide what YOU want out of love!”
Gospel Machine is garage gospel band out of Northeast Minneapolis resurrecting the soul and R&B styles of the 1960’s. Gospel Machine formed in 2011 when leader Kyle Burdine wrote a soul/gospel liturgy for a church in Minneapolis. Lutheran Church.
The band perform the featured track, ‘That Ring”
Russell Louder – Vow
My last CBC Radio 3 tune for this week.
Russell Louder is a trans Performance Artist and musician from Charlottetown, Prince Edward Island, now based in Montreal, Québec.
Borrowing inspiration from the Eurythmics, Florence and the Machine with a hint of Fleetwood Mac for good measure, the Charlottetown-born, Montreal-based Louder says the single “is the introduction. It is the wandering protagonist who sets the tone for the entire album. The idea of finding “home” is now a question, not an answer. Elements of preparation, the romanticizing of arrival, deep, deep uncertainty, pain, lack of belonging – yet bursting with hope.”
Louder’s upcoming album, Humor, is set to explore themes of liberation through an exploration of memory, grief, and identity, with each song representing different characters with some overlapping.
Louder says “some (of the songs) are written in the first person and some are witnessing other characters so it’s like the listener can be a character and also on a journey with other characters in the songs. The characters can be developed and formed in the listener’s mind from the feelings described in the songs and the questions being asked in the lyrics.”
White Denim – Mirrored in Reverse
White Denim is an American four-piece rock band from Austin, Texas, United States. Even after 14 album releases, they still managed to remain active during the pandemic.
Here is a great article about the band and how they dealt with the pandemic
The Pandemic Separated These Band Members. It Didn’t Stop Them From Creating an Album. – Texas Monthly
White Denim playing “Mirrored and Reversed” in Colorado
Los Pinguos – Debajo del Pelo
Debajo del Pelo | Los Pinguos | Playing For Change
Album – Hummingbird 2021
“Debajo del Pelo,” meaning “Under the Hair,” is a beautiful metaphorical song that speaks about life’s experiences and the many lessons learned throughout. Featured on Los Pinguos’ latest album, ‘Hummingbird,’ this video brings together a few of Los Pinguos’ friends across the globe in PFC style. Enjoy!
I am adding a note here about Playing for Change because they always offer such wonderful music and I think they are trying to do some pretty important things right now.
Playing For Change (PFC) is a movement created to inspire and connect the world through music, born from the shared belief that music has the power to break down boundaries and overcome distances between people. The primary focus of PFC is to record and film musicians performing in their natural environments and combine their talents and cultural power in innovative videos called Songs Around The World. Creating these videos motivated PFC to form the Playing For Change Band—a tangible, traveling representation of its mission, featuring musicians met along their journey; and establish the Playing For Change Foundation—a separate 501(c)3 nonprofit organization dedicated to supporting music programs for children around the world. Through these efforts, Playing For Change aims to create hope and inspiration for the future of our planet.
and about the band
Los Pinguos came to the United States from Buenos Aires, Argentina, with a mixture of Latin rhythms, reggae, rumba flamenca and rock. The sound of the band has claimed fans worldwide. The story began in 1999 when Adrián Buono, Enzo Buono, José Agote, Juan Manzur and Juan Manuel Leguizamón (later joined by bassist Santiago Lee) formed the band. In early 2001, Los Pinguos arrived in the City of Los Angeles and began playing on the street (3rd Street Promenade in Santa Monica) and local bars.
exmagician is Belfast duo Danny Todd and James Smith. The track Kiss the Wealth Goodbye’ was taken from their debut album, “ I Scan the Blue”
BELFAST BAND HAVE PLENTY OF TRICKS UP THEIR SLEEVES.
While it was a sad day when Cashier No. 9 fizzled out a few years ago, fans of their sterling album To The Death Of Fun can turn their frowns upside down now, as the Belfast band’s song-writing nucleus have returned in the form of Exmagician. Featuring childhood friends Danny Todd and James Smith (and not to be confused with the latter’s initial foray under that moniker a decade ago), their debut is a dazzling collection of songs that dispenses with the sunny West Coast vibes of their previous incarnation and delves deeper down the rabbit hole to explore darker, grittier themes and soundscapes.
If her day job as one of America’s best if most underrated songwriters doesn’t work out for Laura Stevenson, her surreal lyrics could make for a poetry bestseller. But it would be criminal to miss out on the air-punching power pop showcased in her latest single, a tackling of heartbreak that’s as knotty and sticky as spaghetti chucked at the wall.
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”