In the past I have been unduly hard and embittered on the topic of Amy Winehouse. I wish to retract the past comments and negative review of her. This afternoon I came across an early interview she had on the Jonathan Ross show on YouTube. She so endearing, I urge you to stay with it and watch her acoustic performance of "I Heard Love Is Blind".
A few years after her debut album Frank, she released an even greater album, Back To Black. In thinking about what is so depressing about her situation with addiction is that she is undeniably super talented and she may be making like a shooting star across the sky - brief beauty soon to be erased as if it never existed at all.
Not only was Trees Lounge a great flick with great acting performances from Steve Buscemi, Michael Buscemi, Elizabeth Bracco and Carol Kane, it had a great title track by Hayden.
One of the best online radio shows is "Morning Becomes Eclectic" on LA's KCRW. Morrissey was the guest on August 29th and yes, bugger, I missed it live. But here's the good news. You can listen to the interview Here. LINK Here are His Majesty's recommendations:
1. The Courteenas - A new Manchester Band
2. The Buzzcocks "You Say You Don't Love Me" (boy, do I relate) 3. Sparks - who "crashed" into Morrissey's life when he was only 14 - the single "Moon Over Kentucky"
It is day two for the remodeled national FM station, CBC Radio 2, which Canadians have come to rely upon for steadfast classical music programming and I’m wondering what to think and where to stand on these changes. I will never hear again the radio's slogan, "Everywhere music takes you." What a shame. Somehow the new slogan "Music Lives Here" is a little lame for my liking. I mean, when they stated "everywhere music takes you" it was all encompassing, suggesting that something more than just music was going to happen here on the national station.
Several months back the entire country was in an uproar over the CBC’s heavy-handed change orders. I remember reading a National Post article where even the “young” listeners were in complete disapproving mode over the prospect of losing the Nation’s classical culture dose. There was even a Facebook Group called “Save Classical Music at the CBC.” Pathetically there were only 16,000 people to join.
Now according to CBC Executive Director of Programming, Chris Boyce, the new Radio 2 “will be more relevant to more Canadians.” When I first read this statement I thought – great, now CBC can be as mainstream, dull, boring, unintelligent, monotonous and characterless as the rest of radio programming in the Country – just what Canada needs.
As I drove down Taylor Way and approached the Lions Gate bridge this morning, I crinkled my brow and listened to dear old Tom Allen almost struggle to introduce discs and albums of alternative groups like Broken Social Scene, (a band I dearly love by the way), and I thought what a shame it was to mute all of his amazing knowledge for classical music and its composers. Now we’ll get nothing out of our dear Tom Allen, because this genre of music is simply not his thing.
I for one will long for the mornings where I can relax and listen to Bach, Haydn, Mozart and Chopin – and true disc-jockeys like Tom Allen and Peter Togni, as they would enlighten and account for the lost golden age of music. Thanks to the bind-folded executives at the CBC, the shovels are heaving the last piles of soil over the crypt of symphony, chamber and choral music in Canada.
Well, at least I still have my iTunes Radio where Public Radio reigns supreme on a Sunday morning.
Classical Facts: Since we won't be hearing from our beloved CBC Radio 2 for this relevancy
Classical Music describes the specific period from 1750 – 1820 and the music of major composers such as Johann Christian Bach, Mozart and Haydn when music was modeled after the ideals of the philosophy and art of Ancient Greece and Rome – balance, proportion and disciplined expression. There are many styles of music within classical music, including symphony, opera, choral works, chamber music, Gregorian chant, the madrigal, and the Mass.
Classical music is broken down into historical periods: Medieval (including Gregorian chant and all monophonic music before 1400); Renaissance (1400 – 1600, music that was related to the church and expression of piety); Baroque (1600 – 1750, including the music of Bach and Handel. This was the period during which opera began and music became more ornate and textured); Classical (1750 – 1820, including the music of Johann Christian Bach, Mozart and Haydn during which music became an expression of balance, and discipline and the structure of its harmonies were transformed. Public concerts became very popular.); Romantic (1820 – 1915, including the music of Johannes Brahms, Beethoven, Debussy, Chopin, Mendelssohn and Tchaikovsky. Music became more centered on ideas of fantasy, spontaneity and sensuality); Modern (1915 – present day, including Copland, Gershwin, Stravinsky, Barber. During this period older forms have been revisited and reinvented and technology has played an increasingly important role).
The term classical music was not used until the early 19th century in order to canonize the period from Bach to Beethoven as an impressive, "golden" era of music. Many studies have proven that early experience with music provides the basis for more serious study later, so many parents expose their children to classical music at an early age and introduce them to instrumental lessons. The 1990s showed an interest in research papers and popular books on the so-called Mozart effect: a temporary, small elevation of scores on certain tests as a result of listening to Mozart. Other similar studies of different composers have produced positive effects on academic studies and child development. Classical music is often associated with communication of transcendent emotion and universal ideas about the human condition. Many times composers will express inspiration from folklore, poems, paintings or other pieces of fine art and culture.
The Symphony is revered as one of the largest and most impressive fixtures in classical music. The following symphonies are some of the most perfectly representative of the structure: Mahler Symphony No. 9 in D Major; Haydn Symphony No. 34 in d minor; Beethoven Symphony No. 5 in c minor; Mozart Syphony No. 25 in g minor; Barber Symphony No. 1 in G Major; Haydn Symphony No. 94 in G Major; Dvorak Symphony No. 9 in e minor; Ives Symphony No. 1 in d minor; Brahms Symphony No. 2 in D Major; Beethoven Symphony No. 9 in d minor.
The first Band of Horses' song I heard was The Funeral, around the time John's dad passed away. I bought the album, got hooked and became an instant fan. I love this South Carolina indie rock sound - though BOH is completely unique. Ben Bridwell's vocals are hard to miss. It's music that I love to put in the car and just drive to.
If you like Sparklehorse or Built To Spill, you'll adore this band. I play both albums "Everything All The Time" and "Cease To Begin" a lot. It's just music I never tire of. The other day I went in to a local women's clothing store and there was that unmistakable sound playing. I asked the store manager if it was Band of Horses. She wasn't sure so she went over to the counter to collect their playlist, saying they never play top 40 (top 40 being a swear word in my presence). Sure enough, it was. It was a song I hadn't listened to yet. The moment I arrived back at my apartment, I got on my iTunes and just reveled in it's soaking guitar churns and Ben's brilliant phrasing. Love these guys.
Another "Walking" video - strange how many there are. That latest one, "All You Need Is Me" actually made me chuckle. There's a blog who's author has listed all these "Morrissey Walks". Check out their very valid point HERE.
I love this one though. I cannot resist the lyrics: "Monday - humiliation, Tuesday - suffocation, Wednesday - condescension, Thursday - is pathetic, By Friday life has killed me, By Friday life has killed me, Oh pretty one, Oh pretty one"....
and then this line "And why did you stick me in self deprecating bones and skin?"
So this past Friday, May 16th, 2008, my article for Kathleen Edwards' latest release Asking For Flowers, was published in The News. I'll publish the full review here and make one thing clear: I would NEVER write or describe anything as "genuine gems". That's editing for ya.
Couple of things before the article. First, her official website is really quite lovely. Check out kathleenedwards.com
I found a great photo shoot collection of KE on Flickr here. Then I found what just may be Kathleen Edwards' own Flickr Site HERE.
This is the unedited, unprofessional version.
Artist: Kathleen Edwards Album: Asking For Flowers Label: MapleMusic Recordings Rating: 8 out of 10
Kathleen Edwards is a musician with a flair for thrashing the monotony of modern-day, anesthetized country music. She’s young, she’s severely talented, and she’s the exact opposite of music’s mainstream. She’s proved herself for a third time with “Asking For Flowers”, a jagged country-alternative album laden with slide guitar, pedal steel, harmonica and piano, all christened by Edwards’ not so perfect but ever provocative voice.
Born only a blink of an eye ago in 1978 in Ottawa, yet Edwards is as confident and reflective as Lucinda Williams. Her radiant 2003 debut album “Failer” wildly transcended the country and folk genres like a bucking bronco. Five years on and still wise beyond her years, these eleven new songs are genuine; heavy with murky, poetic lyrics, all delivered hard with plaintive, true-grit intent.
In the studio she’s taken on co-producer role along with Jim Scott and extolled a pioneer posse of backing musicians. These include Keyboardist Benmont Tench (from Tom Petty’s Heartbreakers), pedal steel ace Greg Liesz (feature musician for Wilco, The Jayhawks and Lucinda Williams), Don Heffington (Bob Dylan’s lineage) and of course her husband, guitarist Colin Cripps, all contribute to this wonderful creation.
From the very first line on the very first track, Edwards establishes certain sentimentality as she wisps “The summer months left me alone/But the fall rolled in on the back of a storm”. With a pesky beat, “The Cheapest Key” is in second position; an alphabetized litany of complaints and objections to perhaps an old boyfriend. But the unquestionable stunner of the album is its unyielding coda, “Goodnight, California”, where Edwards has never sounded so good.
I turn on MSNBC and see that Paul Davis has died at the age of 60. Back in the day I loved this song and I used to dart back and forth from CKLG and CFUN just to see if I could catch it playing. I know. Brutal days before having iTunes and playing music on demand.
This song is about the suckiest song you're gonna hear on this blog - so indulge me. No hate mail please. And by the way, had I'd known what a horrific lid he had (God bless his soul), I probably wouldn't have loved the song as much as I did.
Don't even get me started - I'll be posting Ambrosia and Player videos soon.
Echobelly - so if you don't have any Echobelly, go to HMV and seek out your copy of their 1995 album "ON". It's fantastic front to back, but I have to say "Pantyhose and Roses" and "Something Hot in a Cold Country" are my favorite singles. Oh yes, and "Four Letter Word" is also very good. But then there's "Nobody Like You". It totally reminds me of something Morrissey himself would love.
Now that's something for Morrissey to go do. Team up with Sonya Aurora. What a duo they would make!
One of my musics greatest disappointments is the disappearance of The Jayhawks. Rainy Day Music was the album I first bought of theirs and I played it to death. Jayhawks' frontman, is Gary Louris who reminds me in his looks, of Paul Westerberg. What crazy hair eh? I don't know what it is about them - whether you call it folk or roots rock - they ain't country-western - but they just have an easy-going and such a harmony. You can't find actual Videos of their songs on YouTube, just a bunch of badly recorded live set stuff.
Jayhawks' lyrics are fantastic and most of their stuff I listen to and think "Hey, does that guy know me?" Particularly with "Save It For A Rainy Day" or "Stumbling In The Dark". You can check out their website on Lost Highway HERE, where better quality recordings can be heard.
That's the Jayhawks. Nothing fancy, honest just roots rock.
Besides the new Morrissey Greatest Hits completely breaking my heart, so is the fact that the little band that could, Blue Merle, is no longer. They've got a collection of cool roots rock songs that'll please anyone. Except if you're missing your cool bone. If you have the need to do some grave digging, get on the http://www.bluemerle.com/main.html bandwagon. They're fantastic.
In the crowded downtown HMV store, the pulsating guitar intro of “Irish Blood, English Heart” is amplified over the sound system and with immediate detection I’m grinning to myself. Besides the tattooed and pierced twenty-something employee spinning today’s new CD picks, I am perfectly alone in recognizing Morrissey’s renaissance single from 2004’s You Are The Quarry. Today the single plays as the fourth song on his latest recording, yet another Greatest Hits album.
Considering his solo career has spanned twenty years now, Steven Patrick Morrissey is still far from being a North American household name; typically identified as the former lead singer for The Smiths. Under a veil of uncommonness, Morrissey languishes in the safekeeping of his devotees, sanctioned by ex-Smiths’ patriots and a fierce brigade of Latinos. He has become an icon among the survivors of the by-gone 1980’s rave culture and indeed the most successful out of the former Manchester quartette.
Picking up the pieces immediately following the 1987 demise of The Smiths, issuing his first solo album “Viva Hate” in March of the following year, Morrissey contrives a formula of releasing original albums with B-side compilations and best-ofs in between. Now, several record labels later, he still finds it reasonable to pander an eighth compilation – this one under London’s imperial Decca Music Group. The packaging is gorgeous and features a heavenly black and white close up photograph of Moz with eyes wistfully closed – from about ten years ago albeit. But sadly, the song selection here is quite dumbfounding, too cumbersome with material from his last two studio recordings which aren’t the definitive of Morrissey for anyone. When it finally whirls its way through to track 7, we revive the faithful standby “Everyday Is Like Sunday” and three other interchangeable best-knowns. Thank God for the bonus CD, Live At The Hollywood Bowl and that gorgeous packaging. I ached over his oversight of Piccadilly Palare, At Amber, Boxers and my treasured Late Night, Maudlin Street. It’s simply puritanical of him to omit those and include his cover of Patti Smith’s Redondo Beach on a Greatest Hits.
And as if this were all not enough to make me completely despondent, I then subjected myself to watching the lop-sided documentary film Inside The Smiths, Through the Eyes of Mike Joyce and Andy Rourke, which seemed more like an attempt at time travel for the neglected “rhythm section” of the band than an upright documentary. Curiously devoid of any Smiths soundtrack (more royalty quibbling), the most poignant tangible is that Rourke and Joyce come out as the most devoted of Smiths fans. Yet this doesn’t stop me from wincing at their raw refusal to move on with their careers and lives.
The same cannot be said for Morrissey, who may routinely toss in classic Smiths’ songs at live concerts, he emphatically revolts the idea of reuniting. As for his latest and greatest; this Greatest Hits is a pulverization that shows little of his brilliance and proves his contentment in being the commander-in-chief of his own eccentric musical machine. I love him but I’d never recommend this album-I’d stick with the 2001 The Best of Morrissey. - Stephanie Kiernan
I'm trying to get my review started for Morrissey's "Greatest Hits". Unfortunately I'm truly crushed with this 'retrospective' so I'm forced to go back to Morrissey's beginnings - from his first solo album, Viva Hate, I've found this amazing live version of one of my FAVORITE Morrissey songs, "Late Night On Maudlin Street". I'm restored when I absorb this creation - pure Morrissey lyrics and pure melancholy.
I was playing an old mixed CD in the car tonight on the way home and came across this old favorite - THE THE "Love Is Stronger Than Death". THE THE is the English band Johnny Marr joined post Smiths. The album that this video belongs to is "Dusk" - Great Album and I happen to have the Re-master Edition in my iTunes, thanks of course to my George Harvey - gatekeeper of all 80's alternative UK CDs. The song is blaring in the apartment as I type this.
Artist: City & Colour (Dallas Green) Album: Bring Me Your Love Label: Dine Alone Records Release Date: February 12, 2008 Rating: 8 out of 10
In the complete opposite vane of Dallas Green’s Alexisonfire incarnation, City And Colour releases a second solo album, Bring Me Your Love.
This album is radiating of velvety acoustic authenticity, exceeding the 2005 effort of “Sometimes”, Dallas Green delivers an acoustic-folk reverie that’s bursting with his heartfelt narratives of love, loss and the human condition.
Along with that, the instrumentation is more sophisticated - burrowing down and lifting off with echoing string the odd whiff of Bob Dylan inspired harmonica and banjo. Bring Me Your Love is unpretentious, trustworthy folk-roots based and without a song to dislike. The immediate loves would include “Waiting”, “Constant Knot” and “Sleeping Sickness”, which begins inconspicuously before the tempo is carried up by a hand-clapping chorus, then the recognizable vocal of Gord Downey swaggers through the third verse. Downey’s cameo demonstrates stirring approval of this young Saint Catherine’s talent.
Listening to the City And Colour recordings I feel as though I’m back in the open air of the Malkin Bowl amphitheatre, beguiled by the purity of Dallas Green’s voice and washed away by gentle sashaying guitar. The 2-minute opening track Forgive Me immediately gives that off and as un-commercial as City And Colour is, Jack Johnson might aspire to cover “Against The Grain” or “The Girl” in a live set.
The order of the album is part of Green’s great intuitiveness. Songs fall into place effortlessly and the final track “As Much As I Ever Could” is as soft as silk, transporting the line taken for the album title, bring me your love, to a diaphanous lullaby - until that is, its abrupt end and your iTunes library barrels in The Clash’s Combat Rock.
A weird topic keeps popping up. It's name is Amy Winehouse. Let me just say this: I don't get it. Thank God for one of my favorite people, who totally NEVER got the attraction from the beginning, I can roll around in a common mind set around this thing.
Let me point you in the direction of people much more talented.
First - if you like blues/jazz, try Jully Black instead. She's like 20x the artist and talent of the winehouse variety and she doesn't have to be crane lifted into a concert hall half conscious. I heard her this morning on the way in - the song was 7-day fool.
(love this photo by the way)
Second, Neko Case. Formerly of Vancouver-based The New Pornographers (that's a band not career title by the way), she's totally cool and a definite throw back. Check out "Hold On" and you'll see what I mean.
I'm much more sedate this morning...After my blast/post on Airborne Confessions, I'm busying myself at lunchtime to navigate around some oddball sites and arming myself with novelty. I think I'm in need of some cheering up - same with the New Yorker because of her little pet mouse went to Heaven last week :(
So here it is: something called "Sleeveface". Flickr's got an entire Pool on the matter and I've sourced the best of them here with this guy.
I just may have to rethink my profile picture and exchange it for this one:
You can tell who's got it going on and who aint but their sleeveface, so be prepared to be terrorfied and impressed by a few of them. I couldn't find Tom Waits or Lee Hazelwood. Email me if need be.
Watershed Review (published February 15, 2008 North Shore News) - Stephanie Kiernan \Rating: 7 out of 10
It’s two years short of a decade since k.d. lang gave way to writing and recording her own music, she now comes to us at the age of 46 without frills, props or stunts, pouring forth Watershed – a collection of 11 original songs. Whether a case of artistic drought or a self-imposed retreat, there is something more innate and profound yet to be unearthed within her mellow scale and tune. Perhaps it’s her found spiritualism as a Buddhist that accentuates the sincerity of these pieces. Watershed gently trickles through restrained, tolerant and mild sounds that leave little trace of our Prairie prancing cowgirl. Kathy Lang emerges soulful from her quiet L.A. existence to write, perform and even produce her latest endeavor that will take her on full tour of North American dates including an impressive three-night stand in New York – not too shabby.
From the frisk and frolic of Invincible Summer to the honour of reminiscing Canadian classics on Hymns of the 49th Parallel, not to mention the duets with the iconic Tony Bennett, k.d. lang still reminds us of a throw-back of sorts.
What seems to make this album tick is an inconspicuous blend of all her incarnations – but all softening of edges. Tender jazz influences like the bossa nova reverberation gelling with steel guitar and rustic banjo, plush piano and string congealing magically with her distinguished vocals. From the push off of track one, I Dream of Spring (her confessed personal favorite) melding into Je Fais Le Planche and Coming Home, it’s subdued delivery that is uncomplicated and natural; just as our homespun chanteuse has become - at ease and comfortable in her own skin, unpretentious and ever humble. Whatever her secret in maintaining such strong appeal, Watershed melds and drifts across a Sunday morning playlist like a meditation, easily absorbed through the most brittle of senses.
Thanks to Dan Johnson who gifted me this iTunes video! Bless your heart for understanding me. Especially after a week where THEY KNOW NOTHING OF ME.
I was confused with their name "Pilot Speed" because I immediately thought of Pilate, a Canadian band, which is in my iTunes (album called "Caught by the Window"). Ah ha! Pilot Speed IS formerly Pilate. Okay. That makes sense. Jared needs to go to their MySpace site - check out the song Into Your Hideout - that's the one I knew them by. I love this little video. It reminds me of that Blur video "Good Song" - a sad little cartoon critter - reminding me more of myself these days :( Anyways, these guys are good and I wish I wasn't working on the Watershed review now - I mean, yeah Watershed's okay, but it's just okay - it's exactly what to expect. A mellow little album for Sunday morning coffee. But that's not what makes me tick. I need guts pouring out on the floor - like this song. Real sad. I need REAL SAD dammit! Don't come to me with your drool. I have enough drool at work. Oh no - that's not drool - those are Drips. Right.
