Hippiefest 2008Toronto ON2008-07-25Featuring: Eric Burdon and the AnimalsJack BruceThe TurtlesBadfingerThe Hollies

In a year where I've bought tickets to see Lesley Gore, George Jones, Bruce Springsteen, Leonard Cohen, Robert Gordon and Bob Dylan, I couldn't very well turn down a free invitation to see this 60's flashback. It seems being a steady customer of LIVE NATION has it's benefits. Received an email the day before the show with an offer of two comps. Very nice seats too.

Hippiefest, almost enough to keep any self-respecting counter-culture wannabe away...but not me.

I'll start with this: I never was a big fan of these bands when they were in their heyday. I'm too young for Cream and The Animals and both the Turtles and Badfinger were kind of marginal pop-bands in my view. I've since come to love Flo and Eddie, if only for persevering, likely in the face of advice to do otherwise. Jack Bruce or Eric Burdon don't need my vote to validate their impressive contributions to the rock pantheon. (Burdon's biggest contribution came when he copped Dylan's arrangement of the very familiar House of the Rising Sun, which Dylan had dutifully stolen from Dave Van Ronk, short-ciruiting any chance that guy had at mainstream success. Jack Bruce was in that band with god.) Joey Molland of Badfinger is also on board, reminding us that someone actually tried to fill the hole The Beatles left behind. Toronto resident Terry Sylvester of The Hollies, opens the night, which makes this a pretty hit-laden show.

I wouldn't normally come down to this hell-hole of a venue on purpose. It's windy; if it ain't muggy and hot, it's damp and cold. The thing was built to insure that 1/3of your body gets fried by the setting sun. Let's not even talk about the swarming, swooping, sea gulls.

The food at this place leaves a lot to be desired...for your animals. It's like a colon-based version of Russian Roulette if you're human and want to eat before a show. (note: The Marina Grill has decent fare, don't let this scare you away from the park.)

The parking rates are usurous, if you can get one. The nearest transit interchange, before you exit the downtown core to traverse our sprawling, industrialized waterfront, is miles away, should the parking not be available. And then there's all those happy-smiling people enjoying the Provincial park. Uggghhhh.

Not to mention the security, which is very tight. After watching the yellow-jackets molest hundreds of incoming guests I decided to remove my mics from the collar of my shirt because their process would certainly have uncovered them. I do have an alternate subterfuge and it worked.

Strange crowd. I guess for "Hippiefest" that should be assumed. My guess is 25% of the people here haven't been to a concert since their kids were born. 10% of those have dragged their kids out to this show. 50% haven't been to more than one show a year since they were still popping zits. About 1 in 2 patrons are impaired beyond belief. 24 % are out here to enjoy the evening. Cece and I are here for the music. We are outnumbered. And yes, if you're doing the math, we did make up 1% of the crowd. (hyperbole alert!)

While oil may be at an all-time high, concert etiquette is at an all-time low. And getting worse. Let me give you a short-list of the annoyances:

Your ticket has a section, row number and seat...it's not rocket-science to figure out where you're supposed to be sitting. If you don't know, recognize that I don't work here and really don't give a sh*t if you find it, except to get you away from me.

While the patron in front of you may like beer, it's unlikely they use it as a cologne. If you can no longer keep your beer in the cup, it's time to stop drinking.

If you're gonna clap, get rhythm.

If you're gonna sing the words out loud, get laryngitis.

It's about $130 cheaper to chat with your girlfriend/boyfriend/bunkmate/significant other/hooker on hire OUTSIDE the venue, than inside. And you'll hear just as much. I'll hear more.

If you talked through the song, don't clap. You're not fooling me and you're only expanding your disrespect to the artist.

By now you might be wondering why this surly b*astard even bothered to head out on a Friday night. Well, I like the music. To paraphrase Denis Leary; you see this scar on my wrist? I got that when American Idol hit the air.

Just another note before we start. The sound was brutal. Whoever was in charge could not decide on which version of "not nearly good enough" to settle on. I've seen a few shows where the acts were marred by less than stellar sound but the sound was usually bad in the same way all night. These guys managed to find a myriad of manners to muddy the music. The first two acts suffered from being mixed too low, the vocal mics were almost drowned by the bass. The Turtles should sue for the treatment their set got, from the lack of a working microphone for Mark Volman, to the 30 decibel spike in volume that just let us hear that mic distorted. During Bruce's set, which was already hampered by having the lead instrument be the bass, another spike in volume during Sunshine of Your Love resulted in my recording getting a little 'hot'. It also marked the beginning of the 'concusive' portion of the show, which lasted through to the last Animals song, where, I swear, the volume was increased yet again. Whales that had wandered into the Island waters from the Eastern Gap beached themselves in search of the droning call.

In spite of that I managed to obtain a capture that's 'listenable', and, if you don't listen too hard, enjoyable. MP3 samples are marked by the * and hyperlink.



One of the first songs I remember taking a shine to as a kid was The Herman's Hermits cover of Bus Stop. This eventually led me to The Hollies, who didn't break in America at the level of some of the bands that preceeded them in the extended British Invasion of the '60's, but produced a handful of classic pop tunes. Ironically their biggest hit Stateside was the 'unHollie' like anthem, Long Cool Woman in A Black Dress, devoid, as Terry points out, of the trademark harmonies that made this band so listenable. But the song didn't suck, either. The early sets never get enough volume and the crowd is just not settled enough to let you soak it in, but song after song elicits a smile and a chorus of cheers from the audience. Every song a hit! Though Terry wasn't around for the early years, he replaced Graham Nash in the band in 1969 joining them for the "Hollies Sing Dylan" album, he placed his mark on their history with the mega-hit He Ain't Heavy, He's My Brother.

Terry looked happy to be included, he enjoyed playing these songs as much as we enjoyed hearing them. For bottom billing he was an added bonus.

Terry Sylvester (formerly of The Hollies)

Track 01 Flo & Eddie Intro

Track 02 Carrie Ann

* Track 03 Bus Stop

Track 04 Long Cool Woman In A Black Dress

* Track 05 He Ain't Heavy, He's My Brother


Joey Molland looked happy to be alive. He survived the blessing and curse that was being a member of Badfinger. He got in just under the wire, after McCartney had offered The Iveys his left-over track from The Magic Christian, Come And Get It. Last minute band changes resulted in the Liverpool native being added to the roster on lead guitar just before the release. And a new band name. All those good things...how could they be refused. The Apple label, McCartney producing your first hit record, Harrison providing the slide on your biggest hit...always a price to pay and this band has had a history marred by industry squabbles and member suicides. All sorts of sad stories in rock...and all sorts of survivors. Molland laid the hits down and the audience ate it up.

Joey Molland (formerly of Badfinger)

Track 01 Flo & Eddie Intro
Track 02 Baby Blue
Track 03 Come and Get It
* Track 04 Day After Day

Track 05 No Matter What

The Turtles are a gas because they are so camp. They've been camp since the tour where they fronted Zappa's Mothers of Invention. Truth be told, they were putting us on from day one when they happened upon a monster hit with a Dylan tune and found themselves as real rock stars. They are the Cheech and Chong of popular music. Imagine if Corky and the Juice Pigs had recorded Paul Anka's My Way. Ok, don't imagine. They fronted the evening as MC's and put in a rather loose set of #1 hits. Terry Sylvester had noted earlier that the bands from the '60's are now in their
'60's. Howard Kaylan proposed that The Turtles are now, as they always have been, a drug-band. 'Course the drugs are no longer hallucinogenic, they are more along the line of diuretic or selective inhibitors.

The Turtles (aka Flo and Eddie, aka Mark Volman and Howard Kaylan)


Track 01 Flo & Eddie Intro
Track 02 You Baby
Track 03 It Ain't Me Babe
Track 04 Elenore
Track 05 Band Intro
* Track 06 She'd Rather Be With Me
Track 07 Happy Together

Flo & Eddie lay the love-juice on Jack Bruce. His long list of accomplishments are read, his closeness to god is remembered, and his set hit's the two high-marks of Cream's career while tossing in a wonderful surprise in the guise of the Mississippi Sheiks' Sittin' On Top of the World. (note: second of three "dylan-related" occurences onf the evening, Bob covered this on one of those mid-90's roots records, and wrote The Turtles first hit and introduced the greater listening public to VanRonk's arrangement of Rising Sun.)

Way too much bass on this set but Bruce lends a gravitas to the proceedings, his accomplishments grander, his talent more enduring, he's a real-life link to the glory days of modern Rock. (Just kidding about the bass. I dig DFA79, The Carps, and The White Stripes, who don't have a bassist but Meg kicks a bass drum that will concuss you back to the Stone Ages.)

Jack Bruce (formerly of Cream)

Track 01 Flo & Eddie Intro
Track 02 As You Said
* Track 03 Sunshine Of Your Love

* Track 04 Sitting On Top Of The World
Track 05 I Feel Free
Track 06 We're Going Wrong
* Track 07 White Room


Eric Burdon was another pleasant surprise. Unlike all the performers before him this evening he is still developing his art. This ain't the album version of any of these songs. His renditions of the hits challenged the audience. Lots of energy and not nearly as brooding as you'd remember them. The only things missing to make this a perfect set were Sky Pilot, Monterey and Spill the Wine!
The dub mix of Rising Sun, with the wonderful Louis Armstrong snippet to open, was the highlight of the evening.

Eric Burdon and The Animals

Track 01 Flo & Eddie Intro
Track 02 We Gotta Get Out Of This Place
Track 03 San Franciscan Night
Track 04 Don't Bring Me Down
* Track 05 When I Was Young
Track 06 It's My Life
Track 07 Paint It Black
* Track 08 Do You Know What It Means To Miss New Orleans
(L.Armstrong)/House of the Rising Sun

Track 09 Boom Boom

Micky Dolenzformerly of The Monkesswith The SpoonsCapitol Event TheatreToronto ONJuly 10,2008

In what may be the strangest pairing of acts I've seen in a good long while, 1980's synth-darlings The Spoons opened a show for Monkees drummer Micky Dolenz at the I'm A Believer Benefit for the Utopia Conservation Area and Gristmill Restoration Project. While I generally go for the more basic pop-stylings of the Monkees, I dabbled in synth-pop for a brief while when there was little else to choose from...those were dire years, my friends, the mid-80's. I'm open to all types of music, though I don't usually like to mix my medicines on the same evening. What's the drug of choice for a show like this? Acid or X? Think I'll opt for the natural high of the sweet smell of excess.

The Capitol Event Theatre is a converted turn-of-the-century movie house, recently restored to it's 1918 splendor...which is good, as long as you weren't in Paris in 1918. Pretty sure it hosts more weddings than concerts, but space is space, eh?

Saw The Spoons open an early version of The Police Picnic, back in 1982. They were very close to the front of the bill with Flock Of Seagulls; there's a dueling-hairstyles contest in the making. They were followed by The English Beat, who caused my friend to comment "What's this? Song 1 Version 3?"; not everyone had an ear for dance music. Joan Jett was there too, in what is the closest example I can find in my concert history to the OTHER mismatched artist combination. She was pelted with fruit, threatened to leave the stage if it didn't stop, but eventually bore the abuse and did her set, to her credit. That show closed with The Talking Heads absolutely blowing the limp Police off the stage. I'm sure I recognized most of The Spoons set, however it's not like it was memorable, in light of the talent that followed.

But that was then. This is now.

Saw Micky Dolenz come through Toronto in 1986 with Davey Jones and Peter Tork, bringing all the fun of The Monkees with him, but leaving most of the musical song-writing talent back home in White-Out heir, Michael Nesmith. Micky was to Davey Jones what Keith was to Mick, what John was to Paul or what Danko was to Manuel...the rock'n'roll heart of the band. Always preferred his tunes, though the girls seemed to have a hankering for the syrupy sweet, more melodic offerings, of Davey.

The Spoons opening set was very good. Though they had difficulty enticing the crowd to get up on their feet they plowed through their hits with enthusiasm and energy. Their sound is actually much better when you strip off the multiple layers of harmonies and electro-pop noise that were put on in the studio. Set up as a strict rock band; guitar, bass, drums and the keys, they were being more true to their roots in a Burlinton garage than the dated music put to disc a couple decades ago. Underneath all that sound were some more than decent songs. And let me tell you...they're looking good as well. Gordon Deppe was in fine voice but it was Sandy Horne, on bass, who was surprisingly impressive. I got what I expected from Gordon, maybe more, but her work was stellar.

Highlights of the set were; Old Emotions, the silent gaps where the overlayed harmonies used to be do a better job conveying the passion in this song. Arias and Symphonies was an excellent opener and deserved a standing ovation. Romantic Traffic suffered from a failed attempt to get the crowd to sing-a-long. Nova Heart finally pulled 50 or 60 patrons out of their seats. It was nice to see the band get the response their performance deserved, at the final end, anyway.

Micky's set was nothing short of a gift. I've been seeing a lot of acts lately who are in the twilight of their careers. Some are performing at close to their best; Springsteen, Neil Young and Leonard Cohen among them. Others are giving a more-than-respectable account of themselves, artists like Lesley Gore, Timm Finn and Joe Jackson. Some are proving that maybe it's time to pack it in; Dylan and George Jones come to mind. Micky's out there giving a good accounting of himself.

Of course Micky's talents preceed and exceed his fortuitous involvement with The Monkees. His versatility, (he's had jobs in front of and behind the camera, worked onstage and off, and maintained a foot in the door of rock n roll), would likely have found him successful even if there was no Don Kirshner.

Even though he doesn't tour much (he's got about a half dozen concerts booked the rest of this year) he has obviously paid attention to the show he's put together. From the song selections to the onstage patter, he has an idea of who he is to his audience and who he was as a young man in those wild times. Much like he was the 'devil-may-care' character in his Monkees incarnation, he holds the same type of worldview now...a little more aged, but with that, a humility and gratefulness that shines through the good natured goofiness.

The show opens with the band onstage, singing the first verse of The Monkees Theme (Boyce/Hart). It cuts short and Micky appears onstage to launch into the apropos, That Was Then, This Is Now (V Brescia). Kind of sets the tone for the evening. We're gonna get something old...but a new look at it.

With no delay we're into the first song I remember being released as a single before it appeared on any album, A Little Bit Me, A Little Bit You (N Diamond). In my young years this was the beginning of the end of my massive interest in the band. It's not that they didn't keep making great 60's pop songs but it got us past those first two great albums that were jammed with hits. It was nowhere near the end of their popularity as it became their 4th consecutive #1 hit on the CHUM Charts. They would have 4 more before their career wound down.

She (Boyce/Hart) follows quickly. I love this song, I really favour a lot of songs that never charted, album tracks that grew on me from repeated listenings to the LP's. I would watch the weekly TV shows hoping we'd get one of these lesser known tracks. Micky's starting to loosen up his vocal chords on this song. He's been a little tentative early, hitting his mark, his vocal styling distinct, but fully controlled. What a terrific hidden gem, a song of betrayal and longing, a real stinging assault, unlike most of the songs that were blanketing the airwaves in the Summer of Love.
Of course it wasn't unlike their subsequent summer hit, Words (Boyce/Hart), which charted at #1 in July of 1967. Micky's really hitting his stride at this point, good and warmed up, a handful of songs under his belt in rapid order.

He follows with a bit of a breather in the more moderately tempoed Sometime In The Morning (Goffin/King). His delivery here displays his stage experience as it's a very controlled projection of his voice that carries well, adding some punch to an otherwise somnabulant tune.


Micky takes a moment out to speak of the great songwriters who wrote tunes for The Monkees. Though he didn't make a special note of it I recollected seeing the Boyce/Hart name on more than a few of the tracks, and they've been featured already, with their biggest hits yet to come. It's quite an impressive array of writers and Micky's gratitude for being fed these songs is obvious and unabashedly heartfelt.


He follows that homage with the tune that started it all, Last Train To Clarksville (Boyce/Hart). Easy to say a fan favourite. And band favourite as there were smiles all around as they punched out a rocking version.



The talk breaks start coming a little quicker. Let's face it...I'm getting winded just watching. We get some insight into the audition for The Monkees as the band breaks into the tune that "got me the gig", a song he played regularly on the bar circuit when he fronted the cover-band Micky Dolenz and the One Nighters, Johnny B Goode (C Berry) .



Another talking break, which are beginning to follow the all out rockes, as Micky regales us with the absurb story of Jimi Hendrix opening for The Monkees. Turns out Micky had seen Hendrix perform at Montery Pop and thought he was 'theatrical'. He thought the Monkees theatrical as well and recommended the pairing. Unthinking industry people went along with it. The scene was...weird, as 10 & 12 year old girls sat in the arena's with their Mom's and got bombarded by Hendrix' sonic assault. He follows the tale with a blistering version of Purple Haze (J Hendrix).

Of course, that means another little catch-your-breath chat. Still giving credit to the songwriters he highlights the talents of fellow band member, Mike Nesmith, with a rendition of, The Girl I Knew Somewhere (M Nesmith). Kind of in the mold of the syrupy Sometime In the Morning we got earlier.

Nesmith is highlighted again as Micky's sister, Coco, takes the lead on The Stone Pony's hit, Different Drum.

Mega-hit (I'm Not Your) Stepping Stone (Boyce/Hart) is next and the band is really plowing through this stuff, this ain't no half-assed Oldies effort.

Highlight of the evening is next. Another 'rare' tune, the B-side to Daydream Believer, the runaway-train, band-penned tune, Goin' Down (The Monkees) . This was a real treat to discover back in those heady days at the end of the '60's. It's Micky at his manic best. Machine-gun fast delivery of a story of rejection and salvation. And it's got nothing to do with God...it's a river-ride to New Orleans.

Micky leaves the stage for a well-deserved breather as Coco moves to the center to cover White Rabbit (G Slick). This is followed by another brief talk where Micky tells us something about his entertainment industry upbringing and he duets with Coco on the first song they ever sung, a lovely harmonic (Acapulco)(g) version of Bye Bye Blackbird (trad).

The introduction to the next song includes the story of meeting the Beatles during the Sgt. Peppers Lonely Hearts Club Band sessions. John called Micky "Monkee-Man", and knowing John's penchant for sarcastic and biting humour, it may not have been good-natured. Turns out Micky was overdressed in his paisley-tie-dye-Nehru jacket and sandals outfit. The boys were sitting around in jeans and tees, laying down tracks, one of which we get tonight in the powerful version of Oh Darling (Lennon/McCartney).

It's like the show has become a love-in for all the great songwriters of the '60's. Even Leiber and Stoller get a few moments before the band launches into the stage-number D W Washburn (Leiber/Stoller) . Even Micky was surprised to hear this song when he attended a stage performance of Smoky Joes Cafe, a Tony award winning revue filled with classic rhythm 'n blues. Micky's stage experience shines on this peculiar song, it's really his forte, all this rock n roll is just for fun. Unfortunately, the release of this song marked the beginning of the end for the phenomenom that was The Monkees. After 8 #1 songs this was the second consecutive release that failed to scale those heights. Their next single, the ironically titled, It's Nice To Be With You, would be their swan-song from the Top 40 charts. But that's ok, 'cause it was quite a run.

We're still not done thanking the giants on whose shoulders The Monkees stood. Former Kingston Trio, recently deceased John Stewart is remembered through a cover of Davey Jones' Daydream Believer (J Stewart) . Micky tosses in a gratuitous 'short joke' by adjusting the mic stand to knee level before undertaking the song. The audience giggles.

Carole King gets another nod, she created a sh*t-load of great pop songs through the years, with the wonderfully sardonic Pleasant Valley Sunday (Goffin/King) .

A rather loose version of Gimme Some Lovin' (Spencer Davis Group) opens the encore and the show ends, after a brief comment to the kids about Shrek, with the title song of the evening, I'm A Believer (N Diamond) .

All in all, an excellent show. Musically, it rocked, much more than I'd anticipated. The show itself is so well put together with just the proper spacing of hits among the lesser-known songs, a good mix of rock and pop, and a great sense that we're all fortunate to be able to take a couple hours out to tap our feet and remember when life was simple...and so were we.


Complete set list. * designates mp3 download

Track 01 Intro/Monkees Theme (Boyce/Hart)

Track 02 That Was Then, This Is Now (V Brescia)

Track 03 A Little Bit Me, A Little Bit You (N Diamond)

*Track 04 She (Boyce/Hart)

Track 05 Words (Boyce/Hart)

Track 06 Sometime In The Morning (Goffin/King)

Track 07 talk - thanks to the great songwriters

*Track 08 Last Train To Clarksville (Boyce/Hart)

Track 09 talk - Monkees audition

Track 10 Johnny B Goode (C Berry)

Track 11 talk - Hendrix opening for The Monkees

Track 12 Purple Haze (J Hendrix)

Track 13 The Girl I Knew Somewhere(M Nesmith)

Track 14 Different Drum (M Nesmith) Vocals by sister Coco

*Track 15 (I'm Not Your) Stepping Stone (Boyce/Hart)

*Track 16 Goin' Down (The Monkees)

Track 17 *White Rabbit (G Slick) Vocals by sister Coco

Track 18 talk - Coco and Micky

Track 19 Bye Bye Blackbird (trad)

Track 20 talk - Meet the Beatles

*Track 21 Oh Darling (Lennon/McCartney)

Track 22 talk - Leiber/Stoller

Track 23 D W Washburn (Leiber/Stoller)

Track 24 Daydream Believer (J Stewart)

Track 25 Pleasant Valley Sunday (Goffin/King)

Track 26 encore

Track 27 Gimme Some Lovin' (Spencer Davis Group)

Track 28 I'm A Believer (N Diamond)

George Jones Massey HallToronto ON2008-04-08

My Dad turned 78 last December and back in April Cece and I took him (and his girlfriend) to their FIRST concert! An appropriate choice too as Dad grew up with the likes of Hank Williams providing the soundtrack to his youth.

They seemed to enjoy the whole thing. Of course, Massey Hall's not a bad place to bust your concert cherry.

George Jones ain't as strong as he used to be but at least he showed up. The show had an Opry feel to it, much like the ensemble Loretta Lynn brought through here a couple years ago.

The set list was full of George's best, including a smattering of covers.

(For a more complete review please read between the lines)
"Jones ain't as strong as he used to be" = " couldn't hit a high note if you kicked him in the gonads"
"the show had an Opry feel to it" = "real hokey, with everything from familial-sing-a-longs to hawking George Jones Tennessee Sippin' Water"
"including a smattering of covers" = "arrgghhhh, but no Hank Williams"

Highlight of the evening was the sentimental presentation of "Who's Going To Fill Their Shoes" complete with pictures of all the great traditional country singers splashed across a screen.

Best songs were He Stopped Loving Her Today and the Medley.

My favourite was The Race Is On as it reminded me of a terrific afternoon cruising through the rolling hills of Kentucky and listening to Dave Edmunds' version.

Mp3's, right-click and save.

The Race Is On

Bartenders Blues

Who's Gonna Fill Their Shoes?

Medley: The Window Up Above/The Grand Tour/Walk Through This World With Me/She Thinks I Still Care/White Lightning

He Stopped Loving Her Today


George Jones and the Jones Boys (w. Brittany Allen)
2008-04-08
Massey Hall
Toronto ON

Disc 1

The Jones Boys

Track 01 Victim of Life's Circumstances (V.Gill)
Track 02 Only Daddy That'll Walk the Line (W. Jennings)
Track 03 I'll Be There (M McBride)
Track 04 I Will Always Love You (D Parton)
Track 05 Whole Lotta Shakin' (J.L.Lewis)


George Jones

Track 06 Why Baby Why
Track 07 Once You've Had the Best
Track 08 The Race Is On
Track 09 Bartenders Blues
Track 10 Choices
Track 11 I Always Get Lucky With you(M Haggard)
Track 12 Black Mountain Rag (instr)
Track 13 I'm Not Ready Yet (T.T.Hall)
Track 14 Sinners and Saints
Track 15 A Picture of Me Without You
Track 16 The Corvette Song
Track 17 Who's Gonna Fill Their Shoes?
Track 18 Fiddle Tune(?, instr)


Disc 2

Track 01 Yesterday's Wine (w. Jason Byrd)
Track 02 Me and Jesus (T.T. Hall) (w. Brittany Allen)
Track 03 Same Old Me (F.Lewis?)
Track 04 Take Me (w. Brittany Allen)
Track 05 I'm A One Woman Man
Track 06 Near You (w. Brittany Allen)
Track 07 Fire On The Mountain (instr)
Track 08 Medley: The Window Up Above/The Grand Tour/Walk Through This World With Me/She Thinks I Still Care/White Lightning
Track 09 Band Intro
Track 10 He Stopped Loving Her Today
Track 11 Golden Rings (w. Brittany Allen)
Track 12 I Don't Need Your Rocking Chair (w. Jason Byrd)

Lesley Gore Oakville Performing Arts Center2008-03-07

The summer concert season is a little slow this year...which is surprising. It's not that the bands aren't out on the road, it's just they're all playing festivals. Short sets. Big crowds. Hours getting in and out of monstrous venues. No chance of decent food. Makes me wonder what I ever liked about them. So I'm gonna fill up some space by revisiting some shows of the past year that didn't make it to the blog.

First up...It's My Party!

Cece and I had a wonderful evening in the old town of Oakville. Took the day off work, beat the storm out there, then got back home during a brief lull in the snow. Just in time to head down to Massey Hall for Finger Eleven and Chevelle.

But first, the show. Lori Cullen (JUNO nominee) one of a rash of female Canadian singers making a splash these days, brought her easy listening jazz stylings to the stage. Not my cup of tea, really, but not horrible. She was helped by the prescence of Kurt Swinghammer on guitar. His playing was a definite highlight. Three interesting covers also helped: Lightfoot's Pussywillows and Cattails,Herb Alpert's This Guy's In Love and Anne Murray's Talk It Over In the Morning.

There were a lot of blue-hairs in the audience. Women outnumbered men by 2:1. People born in the '40's or early outnumbered the rest of us by about the same margin. But what a respectful and attentive crowd. No talking between songs, even though there were periods with relatively obscure material. I don't think they were serving liquor either. Wonder if there's a correlation?

Our seats were awesome, 10 rows back, dead center. Capacity in this small theater is probably 800. My guess is our crowd numbered around 600. Very cozy.

Lesley Gore's just a tiny little thing. She's looking very nice and proving that 60 IS the new 40! Her voice has lost it's 'girlish' quality but what she lacks in giddyness she makes up for in unbridled enjoyment. The mature voice is smoky, reminiscent of Marianne Faithfull in some
ways, but not as edgy. Her newer material ranges from jazzy (Cool Web) to country (Not The First) to torch ballad (Someday), a varied palette. She played all the hits and more than one or two of them sounded better than in the day.

Lesley Gore
2008-03-07
Oakville ON

01 She's A Fool
CHUM Chart Position #8, 14 weeks on the chart 1963
02 Sunshine, Lollipops and Rainbows
CHUM Chart Position #8, 9 weeks on the chart 1965
03 talk - Classic Songs
04 Ever Since
05 talk - Jersey Girl, American Bandstand & Quincy Jones
06 Judy's Turn To Cry
CHUM Chart Position #5, 10 weeks on the chart 1963
07 Not The First
08 Cool Web
09 Maybe I Know
CHUM Chart Position #14, 8 weeks on the chart 1964
10 It's Gone (from Flannel Pajamas soundtrack)
11 Words We Don't Say (featured on The L Word)
12 Look of Love
CHUM Chart Position #40, 3 weeks on the chart 1965
13 Better Angels (featured on CSI:Miami)
14 talk - Pink House & the Piano
15 Out Here On My Own (from Fame)
16 California Nights
CHUM Chart Position # 16, 7 weeks on the chart 1967
17 Someday
18 It's My Party (and I'll Cry If I Want To)
CHUM Chart Position # 1, 13 weeks on the chart 1963
19 You Don't Own Me (and Band Intro)
CHUM Chart Position # 5, 13 weeks on the chart 1964
--------
20 encore break and Mom's B'Day talk
21 We Went So High


Some mp3's, just 'right-click' and SAVE:

Judy's Turn To Cry

Not The First

Someday

It's My Party (and I'll Cry If I Want To)

You Don't Own Me

It's Always Something...Else Gilda's Club FundraiserThe Drake HotelToronto ON2008-06-24

On behalf of Gilda's Club, the Toronto chapter. This is an organization, spread throughout North America, that provides assistance to those living with cancer, in honour of Gilda Radner.

With a cast of millions!

Just happened upon this event while stalking new favourite artist, Buck 65.
A Tuesday night show in Park(ing hell)dale wasn't enough to keep us away.
The added cost of dinner to ensure a place wasn't enough to keep us away.
15 other acts, including comics and dj's, wasn't enough to keep us away.
Hell, even having Ron Sexsmith on the bill wasn't enough to keep us away.
You can't get enough Buck.

Of course, we had no idea what we were getting ourselves into at this venue. A call to the Hotel didn't clarify matters as I was seeking out the order of appearance. I was told things would be happening "all over the building." Check me if I'm wrong but that doesn't seem to be conducive to actually enjoying anything. In the end I decided they'd have the performing artists and comics in the 8-11 pm slot and the listed dj's in the 11-2am slot...which means we should be done at 11:02 pm.
Turns out it was a little more complex than that, even. Comics were in the upperloft and the best of the bunch was Sean Cullen, so there was no enticing me to climb the stairs. Both Dala and Most Serene Republic were playing in one of the two main floor lounges but they were bracketed around a couple hours of 'workshops' with various artists, and we didn't come out tonight to listen to people practice. So we found ourselves in The Underground with some live music.

The night opens with the solo acoustic stylings of Pat Robitaille. A folk-singer with a little edge. Most of it in his interesting guitar play. His current single, The Summer of Love, was his most notable song. I do think he named 1969 though, and if I'm not mistaken (and I could be, because I was around then), I thought the summer of love was 1967. By 1969 the reactionaries had already taken hold. Woodstock and Altamont were the dying throes of the counter-culture...not it's heyday.

Julie Crochetiere , or Julie C as her friends and the linguistically challenged call her, has the trappings of a sultry, bluesy, songstress/temptress. At least that's her goal. What she really has is a band made up of Chess Club graduates, backing the best-sounding cheerleader at Our Lady of Cursed Maladies High. Her voice is more than decent, if a little canned. Her songs are as good as Ron Sexsmiths. And she's cute as a button. All that's missing is any hint of authenticity. Most memorable song...well, that's where you got me.

Set List
Julie Crochetiere

t01 Hillside
t02 The Only Thing I Know For Sure
t03 Maybe We'll Meet Again
t04 A Better Place
t05 talk
t06 Rich Girl
t07 You Got A Hold Of My Soul
t08 Shine

Sample: Rich Girl

We're stuck in the basement here because to leave would be to relinquish the terrific seats we have a mere 5 meters from the booming PA system. While there's lots of activity (ostensibly) in the other three performing rooms we are spending a third of our time watching acts unravel cables and bag drum sets. A little more organization could have resulted in one less room with the comics doing their bits in between sets.

The Dunes look interesting as they take the stage. A bunch of youngun's that seem to be aiming for an audience that doesn't miss Cole Porter. Pretty well straight-ahead power-pop with lots of guitar; a breath of fresh air in The Underground.
It's not easy playing to a dead room. Most everyone is hanging a good 30 feet away from the stage, near the back of this small venue, standing around tables. Cece and I are on the wall, close to the stage and PA and it wasn't until Sexsmith's set that anyone stood between us and the stage. Julie C's set suffered from the same distancing of the audience. The Dunes just punch harder and louder and go for the end. After their set lead-singer Kevin Pullen, while side-stage packing his gear, commented to Cece he saw her moving her foot. It was a good-natured poke at our reticent nature and a shy thank-you for being interested, amongst a crowd a little less so. Good job by this band, they've got a set that demands attention...soon it may command it.

Set List
The Dunes

t09 Lost (?)
t10 talk
t11 Shock You
t12 Let It Go (?)
t13 talk
t14 No One Knows(?)
t15 drum solo
t16 World Needs A Change (?)

Sample World Needs A Change


Buck 65

I've gone on about Buck on a couple occasions. Check out these other blog reviews for past dates and more detail:
Annotated 1957 (incomplete)
VFest 2006
2008 Music Hall show

Tonight he's running solo. Just Buck and the laptop. We get a short 20 minute set but it made the whole night out worthwhile. Same disinterest from the audience, until he ratcheted up the volume with the Dang remix. We got reworked versions of all the songs, excepting the unreleased Break Chains. Enjoyed them all. He didn't have much time to 'wow' the crowd but, as always, he's paying attention to the art and he painted a different picture tonight. That's why I try not to miss him.

Set List
Buck 65

t01 Indestructible Sam
t02 talk
t03 Way Back When
t04 Dang (remixed)
t05 Kennedy Killed the Hat
t06 Break Chains
t07 Bandits

Sample Dang (remixed)

Who let the Pillsbury Doughboy in? Ron Sexsmith is doing some live rehearsals of songs on his upcoming album Exit Strategy Of the Soul. He's always been a bit of a cherub but he's moved on to portly now, and his stage-patter shows he's aware. I've got to admit I've never quite got Ron Sexsmith, in much the same way I've never quite got Barry Manilow. This is the third time I've seen him...and never on purpose. He was an unannounced opener for John Prine back in '05. He was a 3 song guest performer at a Nick Lowe concert in '07. Tonight he's headlining a show I attended for 20 minutes of Buck 65.

Set List
Ron Sexsmith

* denotes from upcoming album

t08 Never Give Up On You
t09 *This Is How I Know
t10 *One Last Round
t11 Gold In Them Hills
t12 *Brandy Alexander (Sexsmith/Leslie Feist)
t13 talk
t14 Former Glory (w/ Sean Cullen)
t15 *Brighter Still (?)
t16 Listen
t17 *Thoughts and Prayers
t18 Lebanon, Tennessee

Sample Brandy Alexander

And here's an afterthought, you can make of it what you will. Every artist tonight made a "call out" to the artists following them during the evening. Robitaille, Julie C and Buck 65 all mentioned Ron Sexsmith's set with different degrees of enthusiasm. The Dunes made small talk about being big fans of Buck 65. Ron, on the other hand, was not so aware. Even though he was being followed by local hip-hop icon k-OS, he just mumbled something about wondering/thinking that someone else was coming up...maybe, maybe not. We opted out of k-OS's set, due mostly to morning appointments, but I'm sure he succeeded in waking everyone up for the duration.


On a final note...nice job by The Drake . Dinner was actually very reasonably priced, at a mere $20.00. They had a special 'event menu', for the Gilda Club benefit. I'm sure everything was at a reduced price but they didn't chintz on the quality. The meal begins with a cocktail...some lemon based concoction, tart but tasty. The appetizer is a pea soup with a dollop of cream...a little cold though (bg). We passed on the salmon dish and had the best pasta dish I've ever tasted at a restaurant. Nice light scone and creme desert to end the evening. Many thanks to them for being there hosting these types of informal, interesting and innovative nights of entertainment.

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Billy Braggwith CR Avery opening2008-06-17Sirius Satellite Radio StageHarbourfront Toronto ON

Billy Bragg was back in town for his almost yearly visit...he seldom misses Toronto and for that I'm grateful. He's touring his recently released album Mr. Love and Justice. He played I Keep Faith and Farm Boy when he was last through here in the fall of '06...tonight we got a little more of the record.

Billy's an easy act to see. You don't need to know a single song he's ever written because his stage-manner is so engaging he will win you over on affability and talent alone. You have to tune your ear to his accent and your sensibilities to his humour but once you cut through that it's almost like he's half-English.

As an added bonus we're mired in the midst of what seems like a couple months of steady rain. Late afternoon, tropical like stuff. Pay no heed to global warming. If that's not enough there's a cold front coming along with todays rain, which isn't conducive for a trip to the lake and an outdoor concert. There's only about 7 days a year you can sit by the lake, in the evening, and be comfortable...today's not one of them. The Harbourfront grounds are a wonderful testament to pork-barrel politics. 5 things to do, packed tightly into a mere 46 acres. It could use an internal transit system. It's been in constant development for most of my adult life...I think Trudeau bequeathed it to Toronto in exchange for an election victory back in 1972.

Billy brought an opener with him, CR Avery. From the content of his online press it seems he's an eclectic mix of Canadian folk and hip-hop. On the surface, that would be Buck 65's schtick. And I'm a big fan of the little guy from Nova Scotia, so CR's got his work cut out to win me over. I mean, how much room for folk-based-hip-hop do you have on your calendar? I was certainly hoping CR was better at performing than his web designer is at designing websites. When did it become cool to make a site non-user friendly? Some days I miss my Olivetti. Alas, not only is a quart of milk no longer a dollar (actually, it's not even a quart)...Olivetti's not a typewriter company anymore.

It turns out the worst mistake we made wasn't booking a lakeside show in June.
It wasn't even deciding to go in the middle of this monsoon season.
Can't even say it was taking the car into downtown Toronto at rush hour.
No, the worst decision we made was to wait until we got to Harbourfront to eat.
For a place that purports to be on the cutting edge of cultural and heritage promotion, they've certainly overlooked the culinary arts. Stay away from Lakeside Eats if you're in the area. Bag a lunch.

It's a cool and windy night, which explains the odd 'mic-boom' on the recording.
The rain held off, so we had that going for us.

CR Avery is one funky act. He opens the set with a vaguely familiar beat-box-with-the-mouth-on-the-mic chuk-a-chuk, chu-chuk, thing...accompanied by a few harmonica blasts. And something about Sylvie. Turns out it's a warped cover of a Leadbelly tune.

Avery moves behind the piano, starts tinkling away, and introduces the next song by saying; "this is a Blind Boy Grunt song", tinkle, tinkle, tinkle. I'm thinking...'ah, interesting, a blues cover, um hang on...' "he goes by a lot of names..." Hey wait, that's a Bob Dylan pseudonym. Unfortunately I'm unable to react in any manner 'cause I'm on duty as a human mic-stand. He's quickly into a sultry, Waits-like, rendition of Dylan's Oscar winning Things Have Changed.
He does a lot of great things to this song besides the Waits approach. He changes lyrics...normally not something I like done to a Dylan song, kind of like drawing a moustache on the Mona Lisa. Instead of Dylan's line, "There's a woman on my lap and she's drinking champagne, we get Avery's rewrite, "Just a woman that I can't seem to get off my miserable brain."

He also throws in a lovely tempo change that is in sync with the lyrics. What has been a rolling, bluesy tune abruptly shifts into a beatbox mix at the chorus, following the lines; "any minute now I'm expecting all hell to break loose." And it does.

Unforunately, he's taken on another affectation of Bob's...he drops verses. I'd be more pissed at this if it wasn't for the fact that Bob deconstructs his songs, both old and new, for live performance. In this version we lose the "wrong town/Hollywood" verse and the "i hurt easy" verse. We also get only 2 out of the 4 bridges, leaving the "first woman I meet/wheelbarrow" and the "Mr Jinx and Miss Lucy" bridges in the dust.
Both things work. It's a very inventive interpretation.
He does co-opt another Dylan trick...closing the song with the same couplet that opened it.


He had me at 'hello', but Avery still has some stuff to show off. He comes to the forward mic with some kind of bizarre rhythm twanging thing and launches into the spoken-word homage to Paul Simon's The Boxer, a poem called The Boxer Who Just Returned From London. Avery uses the 'beat-box-mouth-harp' combination to syncopate boxing gloves bouncing off faces and flashbulbs popping at a press conference. It's an engaging story, well delivered with a couple wonderful flips, most notably the build up to the "moment of clarity" and "I was knocked out in the 5th"
Not sure if Avery realized it but he follows a Dylan cover with a song that's copped another Dylan-reference... "there's always going to be a country music station playing somewhere softly certainly seems to be transtexualized from Dylan's Visions of Johanna: "In this room the heat pipes just cough/The country music station plays soft/But there's nothing, really nothing to turn off. The song closes with a couplet from the original; "I am just a poor boy and my story's seldom told."

Folk-Singer seems to be an open letter to Ron Sexsmith. A tongue-in-cheek look at aspiring folkies and their foibles. Actually, it's more stick-in-the-eye than tongue-in-cheek as Avery takes apart the pretentiousness of the coffeehouse circuit warblers. The critics ARE severe.

Love Song is an anti-love song, seeing as it's lines nearly all start with "don't you hate" followed by a laundry list of annoying things people do...like saying "excuse me" after you've bumped some one, or congregating outside the exit door, or just plain reality tv. He uses a Herbie-Hancock type kee-tar to give this an epileptic seizure inducing beat.

More spoken word with a tribute to the last great leader in the Western World, Canada's own Pierre Elliot Trudeau. I'm a big fan of the man, so this was just a few minutes of Liberal circle-jerking.

His set ends with the closest thing we're getting to a 'real song' tonight, the hypnotically melodic, Door By The River, which actually rolls along lazily, just like a river...until the end.

Outstanding set! I came to have a fun evening with Billy Bragg and ended up with a new artist to track.


Here's the complete set list with some links to audio samples on a few songs:



Track 01 Sylvie (Leadbelly)
Track 02 Things Have Changed (Bob Dylan)
Track 03 The Boxer Who Just Returned From London (spoken word)
Track 04 talk - Grant Showbiz
Track 05 Folk-Singer
Track 06 Love Song
Track 07 Pierre Elliot Trudeau (spoken word)
Track 08 talk - I reside in Moosejaw
Track 09 Door By The River

Billy's set was the usual excellent stuff. I wrote about his 2006 show at The Danforth Music Hall in this piece.

There were some interesting occurences. The Sirius Stage is a small venue, fans sit on circular bench-seats with their back to the lake. If you had a partly cloudy day with a warm breeze blowing over the lake, from the south, it would be wonderful. We had a cold, rainy day with the wind bearing down from the northwest. The artist is looking out over the lake...a nice setting, if you're making gelatin. Billy was buzzed by a seagull and forgot the lyrics to The Warmest Room. At another point he was taken aback by the sight of a plane landing at the Island Airport. If you didn't know there was an airport there it would be a disconcerting sight. He spent an inordinate amount of time talking to a young kid in the audience. By his admission he tends not to allocate so much time to a fan who isn't drunk out of his mind. He delivered on his witty patois. I'm always impressed with his knowledge of current events in the region. Tonight he spoke in honour of the CAW action out in Oshawa...a gutsy attempt to save manufacturing jobs.

Here's Billy's set list with some sound samples as well.


Track 01 Intro
Track 02 This Guitar Says Sorry
Track 03 The Warmest Room
Track 04 talk - Thanks A Yacht
Track 05 Farm Boy
Track 06 The Myth of Trust
Track 07 talk - Fear of Stage Rush
Track 08 Mr Love & Justice
Track 09 talk - Throat Coat
Track 10 Greetings to the New Brunette
Track 11 talk - Heckling Kids
Track 12 I Almost Killed You
Track 13 talk
Track 14 The Space Race Is Over
Track 15 Sexuality
Track 16 talk
Track 17 For Maya/The Internationale
Track 18 Way Over Yonder In A Minor Key(Woody Guthrie/Billy Bragg)(thx for the info doug t.)
Track 19 Ain't Got No Home (Woody Guthrie)
Track 20 talk - Your Rights

Disc 2

Track 01 O Freedom
Track 02 Pinball Wizard
Track 03 Old Clash Fan Fight Song
Track 04 talk - Seeing the Clash
Track 05 I Keep Faith
Track 06 Power In A Union
Track 07 encore/talk
Track 08 Waiting For The Great Leap Forwards
Track 09 Sing Their Souls Back Home
Track 10 A New England


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Leonard CohenSONY Centre 2008-06-06 & 06-072 Nights in TO

Hamilton was nice. First time seeing Leonard in over 14 years and he was in good form...but the first two Toronto shows were outstanding.
On the Friday (Night 1) we had the benefit of an off-day preceeding the show and you could tell Leonard was not wanting for energy or enthusiasm as every word was lovingly delivered when required or powerfully delivered when called for.
On the Saturday (Night 2) we had a much more lively, and intrusive, crowd. In some ways they added to the ambiance...in others, their intrusiveness impacted the flow of the concert, causing them to lose some preambles in front of the songs.
Every night was a different experience, all were top-notch entertainment.

After a lengthy East Coast opening to this tour, where Leonard graced a number of smaller stages, he's now moving the tour into 'big city' mode. The venue is slightly larger in Toronto and, as he moves on from here, he will be playing festivals and large halls in Europe. So the 'cozy confines' part is done, not that the SONY Centre is a cavern or anything.

Having had time to digest the shows since I wrote this report on the Hamilton show, my appreciation only grows with each listen.
Not a single trick was missed with this production. On Friday night my seats were situated in the first balcony so I was able to enjoy the lighting that accompanies the very orchestrated playing onstage. Even it was luscious, with a predominantly blue theme. Much like Leonard's songs. Of course the irony is that no one's misery can make you happy like Leonards.

Did I mention that they don't miss a trick? Not a one, and there are plenty around.

The show opens with the band ambling onstage to a light smattering of applause that grows slowly until Leonard is seen trotting into position, at which time the whole dame place goes crazy; making it twice. Immediately you notice something...the guy's got a smile that could outshine the sun in the sky. Where's the dour, brooding, introspective poet? Well, we'll get introspection, but time's too short and life's too sweet for the dour-brooding part.

Both nights in Toronto he starts a monologue to thank the fans for coming out. His vocal mic is turned waaaaaay down low and though the crowds have been well seated before the start of show, sometimes people don't focus immediately. This little trick brings everyone forward. If they were cats you'd be able to see their ears turn towards the stage as they strain to hear what the master is saying. Except he's saying nothing of consequence, just assorted thanks and mention "that some of you came from great distances," (vocal volume begins to increase), "and at great expense..." by now the crowd chuckles as the volume is at 'speaking level', all can hear clearly and the seat rustling is down to a minimum. He goes on to humbly say that his and his crack ensemble have some songs to "present"...and the music starts, leading us into Dance Me to the End of Love, from the 1984 Various Positions release. A great opening song, it's got a nice beat, you can dance to it, I give it an 82. The beauty is it's not a tune that requires rapt attention. It warms the band and the audience up, and if you don't enjoy the swing, then maybe music ain't your thing. Plus, it's the opening salvo, an invitation to excitation on a journey of discovery.

In a way it's a shame that so much of Leonard's creative musical career fell in and around the 80's...i mean all that synth stuff. This band overcomes that problem, making what was once a cold electronic beat, sound warmer, more inviting, less annoying. It was explained best by my friend Tim Swaddling: "Cohen presented his songs with a band, a real honest to goodness band, one that even came with some steel guitar and a Hammond B3 instead of a Yamaha synth-cheap imitation of an organ...If Leonard is smart, a live album will follow and they won't over polish all the subtle rough edges the band managed to chip into the clean glossy coating Cohen usually paints with. And if Leonard is even smarter, this band will follow him into the studio and he will record drums to sound like drums and guitars that sound like guitars and organs that sound like them. What I wouldn't give to hear a Cohen album produced by someone like Rick Rubin or Steve Albini or even Brendan O’Brien for that matter. And Cohen is a very smart man, so I look forward to the possibility and potential of a future release from him now. Which should make up for the anticipation I had for the release of "Ten New Songs", only to listen to it and find that someone had forgotten to tell Leonard the 80's were over once he had came down from his mountain of monk-dom..."

The Future is evidence that this millenium's Leonard is kinder, gentler and warmer. Not only is the music less 'digital', the lyrics have a slight modification; what once was "give me crack and anal sex", has now become "give me crack and careless sex". Hard to tell if this was changed so as not to offend the sensibilities of the patrons. Perhaps it's a by-product of the realization that the scourge of the '80's, aids, has proven to be more than a gay disease and that the reference to 'anal' sex may marginalize the scope of the problem. Not sure and it's notable only because there are very few lyric changes in any of these songs. Leonard does a lovely little move during the line "white man dancin'" that elicited a different response each night. In Hamilton the audience cheered loudly with the first move...a little less so the second time. On Friday in Toronto there was no response to the first little jig and Leonard skipped the move on the second pass of those lyrics. On the boisterous Saturday night the response to the first dance resulted in a more animated second pass.

Ain't No Cure For Love was prefaced with the "kid with a crazy dream" speech in Hamilton but we don't get it tonight as Leonard leads the band right into the song. The whole setlist is heavily weighted to I'm Your Man and The Future, which serves the show well as those records make up the bulk of what is familiar to the audience and the songs are strong. The backing vocals on this are wonderful and on the Friday night Leonard nails the timing when he implores, "tell 'em angels", as the trio weave their heavenly tapestry. The second night sees him jump in a little early, stumbling into their harmony and kind of spoiling the moment.

Bird on the Wire is Leonard's Blowin' in the Wind , so simple in structure yet so evocative. The audience listens, mesmerized, as each image is unveiled, as each line paints a portrait. It's a very visual song...i can see that woman leaning in her darkened door. The song also contains one of the steepest cliffs in the rock pantheon: "like a baby...still born" For only 5 words it's one roller-coaster ride of emotion. A perfect poem, efficient use of words, for sure.

Everybody Knows doesn't wear quite as well as the other foreboding tales, like The Future or Democracy. If we all knew back then why haven't we fixed anything?

Musical collaborator Sharon Robinson is spotlighted in the melodic In My Secret Life. Honey sweet everytime.

There's an extended solo for string-virtuoso Javier Mas that precedes Who By Fire as Leonard continues to rely heavily on the mid-career songs...to no one's chagrin. It's already been a pretty impressive representation of the best of his career as we near the one hour mark of the show...only 1/3 done.

The opening set closes with Anthem. On the Friday show Leonard moves his "just a kid with a crazy dream" speech to the front of this song. It fits well with the spoken word into that admonishes us to "ring the bells, that still can ring/ forget your perfect offering..." How much time's been wasted in the pursuit of perfection, eh? I always marvel at the economy of words. The song also contains a couplet that is the emotional opposite to the 'still born baby' image from earlier: there is a crack in everything...that's how the light gets in In Bird On A Wire a happy thought is thrashed; in this song a sad thought is elevated. Like I said, roller-coaster. As the song runs into it's musical outro Leonard advises they will return as we're given 20 minutes to catch our breath. As winded as I am...I wanna get back on!!

I don't leave my seat for break. I just wait.

Leonard's in front of a Fisher-Price type piano to open the second set with a joke. Knowing most of his audience is likely techno-phobic he warns them before he turns on the synthesizer and the rhythm-beat to Tower of Song starts playing. Another fan favorite that elicits chuckles at the Hank Williams line and loud roars at the "gift of a golden voice" line. He even interjects a joke after "they don't let a woman kill you in the tower of song"...elsewhere, not there." His feel for the mood each evening is amazing. His patter, jokes and even delivery of the songs seem to change for each dynamic created by the individuals and the surrounding.

With a solo amplified acoustic guitar Leonard stands center stage to deliver Suzanne, a song he reports in interviews, is difficult. It is BIG. Big with imagery, emotion, sentiment and ambiance. I'm making a mental note to go down and stare at that Lady of the Harbour the next time I'm in Montreal. Also got a strange craving for tea and oranges. Some songs are bigger than the artist, this is one.

Now every concert has a 'dead zone', that spot where the show lags just a tad. In a three hour set to have only a momentary lapse in the excitement is pretty amazing. Even Springsteen, the undisputed master of live concert performances, has a 5 song lull in his most recent tour. The next two songs mark that low intensity point in this show but they are put to great use. The Gypsy's Wife and Boogie Street showcase the back up singers and give Leonard a little break, for which we'll all be grateful soon. I saw Anjani perform The Gypsy's Wife twice when she stopped in Toronto last year. It was the highlight of the show...so you know it's not the song, it's where it's placed in the set.

So after that stellar opening set we are three songs into the second one and really haven't been challenged. Everyone's comfortably seated after the short intermission, all drinks are drunk. We've passed the 'dead zone' and now it's time to get the audience back.

Hallelujah starts quickly, with no extended musical intro, and quietly as the first few words are whispered. Leonard stands, knees bent, almost huddled over the microphone and begins his prayer. The vocal level rises from verse to verse in this song as Leonard's delivery increases in intensity. It builds slowly at first but within a minute everyone recognizes this is the center-piece of the show. His voice is strong, the song is stronger still. There's no way to adequately review this performance. The Friday night version is amongst the top 5 most powerful songs I've seen done live (ok, maybe top 10 and maybe I can't name 'em all but it's right up there with the best I've witnessed).

Leonard could have walked off the stage right here and no one would have been cheated but we're only at the half way mark.

Well, the half way mark of the concert...we're just about done with this review.

Democracy is a peculiar song for a Canadian audience. I'm sure most misread the intent...we just love the thought of democracy coming (to get) the USA...that's our nature. But as Leonard's introduction notes, he loves the country and this is his love song to America, "the cradle of the best and the worst." It's a hope, more than a threat. We are blessed to be alive in the time of the American Century...and cursed to live in interesting times. But no empire has been built on loftier ideals, so our best bet still seems to be an ascendant America.

The performance on the Friday night show (Night 1) was excellent but the version of I'm Your Man we received on Saturday night was worthy of it's own spotlight. The crowd had a lot to do with it, the more lively mood during the evening, while robbing us of some sublime moments, opened the door to a more raucous enjoyment of a downright bluesy-dirty song. Cat-calls rained down with every sexy line and Leonard's smile, pacing and delivery showed he was loving every minute.

He follows it with an even more overtly sexual recitation, A Thousand Kisses Deep. Another knockout punch that quiets the crowd.

The second set closes with a lively outing for Take This Waltz and two dance songs have bracketed the evening.

Like I said...not a trick was missed.

The encore on Night 1 opens with the jaunty, country-tinged, Heart With No Companion. Think of it as an upbeat Chimes of Freedom. Where Dylan's chimes rang for the downtrodden and dispossesed, Leonard sings for the lonely, unfulfilled and unrequited. Strange how such a song could be joyous. Guess you had to be there.

Waiting For the Miracle To Come was added to the setlist a week or two into the tour. It's a nice addition and a fan favorite. You can tell it means a lot to Leonard, his phrasing is subtle and attentive.

The first encore concludes with First We Take Manhattan and who can bitch about the biggest radio hit Leonard's ever had?

The band doesn't leave the stage between the first and second encores, just Leonard and only momentarily as he runs back out to the mic to deliver a song about his drinking problems, That Don't Make It Junk, some comedic relief, if you can imagine that.

The sublime Webb sisters are spotlighted in the newly added If It Be Your Will. Leonard recites the first two verses before he dissolves into the shadows to allow the two sisters to perform an angelic version of the song.

All bets are off as Closing Time gives allowance to the crowd to let loose.

A quick move offstage and Leonard's back for the final encore. Standing center stage with guitar in hand he starts I Tried To Leave You and every audience breaks out in laughter. A fitting song as it ends with Leonard standing there, hand outstretched, telling the audience he's simply a man "still working for your smile."

How cool is that? Like I said, not a missed trick...and plenty of smiles.

Job well done.

From a critical perspective I would have preferred more songs from earlier in the canon and a handful less band introductions during the show...but that's like saying honey could be sweeter...maybe it could, but there's not a lot of room for improvement.



1 song from debut album Songs of Leonard Cohen (1967)
Suzanne
1 song from Songs From A Room (1969)
Bird on A Wire
0 songs from Songs of Love and Hate (1971)...c'mon Joan of Arc!
also hoping for Passing Through from Live Songs (1973)
2 songs from New Skin for the Old Ceremony (1974)
Who By Fire?, I Tried to Leave You
0 songs from Death of A Ladies Man (1977)ah, c'mon, where the hardon song?
1 song from Recent Songs (1979)
The Gypsy's Wife
4 (out of 9) songs from Various Positions (1984)
Hallelujah, If It Be Your Will, Dance Me To the End of Love and Heart With No Companion
6 (out of 8) songs from I'm Your Man (1988)
First We Take Manhattan, Ain't No Cure For Love, Everybody Knows, I'm Your Man, Take This Waltz, Tower of Song
5 (out of 9) songs from The Future (1992)
The Future, Waiting For The Miracle, Closing Time, Anthem, Democracy
4 (out of 10) songs from 10 New Songs (2001)
In My Secret Life, A Thousand Kisses Deep, That Don't Make It Junk, Boogie Street
0 songs from Dear Heather

Two Nights In Toronto Set List

t01 Dance Me To The End Of Love
t02 The Future
t03 Ain't No Cure For Love
t04 Bird on the Wire
t05 Everybody Knows
t06 In My Secret Life
t07 Who By Fire
t08 Anthem (w/ Band Intro)

(break)

(Set 2)
t09 Tower of Song
t10 Suzanne
t11 Gypsy Wife
t12 Boogie St

Disc 2

t13 Hallelujah
t14 Democracy
t15 I'm Your Man
t16 A Thousand Kisses Deep
t17 Take This Waltz

(encore#1)
t18 Heart With No Companion (not played on Night 2)
t19 Waiting For The Miracle To Come
t20 First We Take Manhattan
(encore#2)
t21 That Don't Make It Junk
t22 If It Be Your Will
t23 Closing Time
(encore#3)
t24 I Tried To Leave You
Whither Thou Goest (not played on Night 1)

The RaconteursTeddy ThompsonToronto ON2008-06-05

Jack White passed through town last night, with his backing band The Raconteurs. Now I know there's a lot of you out there screaming "The Raconteurs are NOT Jack White's backing band!" Right. Hold on to that dream. This is not to disparage Brendan Benson, Patrick Keeler or Little Jack on the bass but when you're onstage with Jack White, you're just taking up room. Benson's got a great voice and his guitar work is more impressive than you might think. Keeler is the best live drummer I've seen in the past 5 years. Little Jack does a yeoman's job on bass. Then there's Jack.

Caught a break when the lone Raconteurs show in my general vicinity fell right in between three Leonard Cohen shows. Didn't have to dump any tickets.

Caught another break when the show was switched from the semi-arena, Ricoh Coliseum, to the more cozy confines of the KOOL HAUS. Scheduling conflicts (read: low ticket sales) was given as the reason.

Didn't catch a break when The Black Lips found out it ain't as easy to get into Canada as DHS would have you think. I was really looking forward to the eclectic offerings of that band. Instead we get The Sadies, who bring a Juno nomination and a nod for the #1 Roots album of 2007 from Rolling Stone magazine.

For my tastes The Raconteurs are not the best vehicle for Jack's talents but, hey, I'd rather be in a Buic than walkin'. If there's any consolation it's that the 'cover' songs this year are blues-based (Keep It Clean, Baby Please Don't Go) rather than the 'pop' covers of 2006 (Bang, Bang and It Ain't Easy). I'm not expecting many surprises as the second album release doesn't leave a lot of room for non-Raconteur songs.

Normally I set up in front of the right speaker banks when visiting the KOOL HAUS. I find most fans don't make it past the crowd at the entrance and they tend to settle in on the half of the venue closest to the bar. Even though that's also Jack's side I've decided to set up on the left speaker banks so I can make a quick exit at shows end. Tonight's crowd is a little pushy. No one seems to be concerned with anyone else's concert experience anymore...a little sad. I find a spot behind a 6' 7" behemoth which isn't as bad as it sounds. I could see the stage clearly over his shoulder and no one crowded in behind me. Now the 'stage bargers' they were another story. Line after line of drunk, beer-totin' mullet-heads pushing their way to the front like they were at a Kim Mitchell concert.

The Sadies were impressive. If you like surf-guitar you'll love this band. The songs WITH lyrics, well they weren't as impressive.

The show is a little late as the Racs don't take the stage until close to 9:30 pm. They have this annoying little dance they let their roadies do before the show. For a good 20 minutes after they've laid down the cue sheet for evening (usually the '5 minute' signal) they move on and off the stage, plucking or poking at one instrument or another but in a very choreographed manner. One enters stage left as another is leaving stage right. You think the stage is clear then someone moves behind the drum kit to check the bass drum. As he leaves another roadie emerges from the shadows picks up guitar and leaves with it. Eyes stage left and someone is laying down a guitar on a rack. It goes on and on and serves no purpose other than to keep you fixed on the stage. Pre-show music was killer...a half hour of Howlin' Wolf blues.

Brendan has a number of decent songs this year...tops among them: Switch and the Spur and Many Shades of Black; one a great spaghetti-western pastiche, the other a barn-burner live.

Jack begins to take over the show with his piano stint during You Don't Understand Me followed by his lead on the bitter break-up song, Top Yourself.

The band has come up with interesting rearrangements of most of the songs from the first record, especially Steady As She Goes and Level. Lots of impromptu guitar dueling and toying with the rhythm of the songs. Intimate Secretary and Broken Boy Soldiers get reworked as well.

The show reaches it's pinnacle the with first set closing extravaganza of Charlie Jordan's Keep It Clean followed by the Hank Williams Ramblin' Man dub of Blue Veins.
20 mintues of Jack madness that has to be seen to be believed.

Brendan opens the encore with the lovely Many Shades of Black. The next two songs don't keep up the momentum as Salute Your Solution and Attention come out as a wall-of-sound...all sounds indistinct from each other.

Show closes with a masterful, epic tune, Carolina Drama. Though Jack's been having trouble with his voice tonight he pours all he has left into the finale. A job well done.


Here are some sound samples from the show:

The Raconteurs

Keep It Clean

Ramblin Man/Blue Veins

Carolina Drama

The Sadies

The 400




I saw about 50 shows last year, at least half of them had an opening act. Of all those the only one that was added to my "must see" list was Teddy Thompson. He opened for Nick Lowe and put in a pretty impressive set. Unfortunately his date in Toronto coincided with The Raconteurs show. Fortunately he was playing The Legendary Horseshoe Tavern which has a late time slot for headlining acts: 11 pm on weeknights, later on the weekends. So I thought I'd give it a go.
Unfortunately I got there about 20 minutes into the set. If my taxi driver had run a couple of red lights I might have got the complete Tonight Will Be Fine, a cover of a Leonard Cohen song...but NO, he had to drive safe. I did get about 45 minutes, including an acoustic Everybody's Movin' to open the encore and a reprise of the new single, In My Arms.

Teddy has a full band with him and this show was their tour opener/rehearsal. Sounded fine from 10 feet away. Will have to do a real concert with this guy in the near future.

Sound Sample

In My Arms

Leonard Cohen Hamilton ON 2008-06-03

What can be said about Leonard Cohen returning to the stage after an abscence of 14+ years? Prior to his East Coast debut on May 11th of this year in Fredericton, the last time he'd graced a concert stage was July of 1993 in Victoria BC.
The big white elephant in the room...well, actually it wasn't because everyone was talking about it, was can the old man still do it?
Well, i hope to put that stuff to rest as fast as Leonard did.

Short answer is YES.

The long answer is much more complicated.

Age is a primary component of this tour. It was the source of pre-tour speculation about the potential quality of the performance. When the scope of the first leg of the tour was announced (over 50 shows in 3 months with THREE ocean crossings)As the tour rolls out these are being put to rest. Early looks at the show via YouTube postings have been beyond encouraging. All accounts have the audiences heaping a palpable amount of reverence on Leonard. Reviews have said it's like a religious experience. Men have been seen weeping. Menopausal women are reporting a rise in libido. The price of oil is plummeting...er, ok, but you get my point, eh? It's all too much and it's just right.

The heartfelt response is genuine. It wasn't created by the star-making machinery. Concert reviewers say Leonard is visibly humbled by the adulation.
Having said that, a good part of the global dementia that has taken over his fans is due to...dare I say it, age. The age of the artist. The age of the patrons. The Age of Man. All these elements converge to make this the perfect show for the present.

And it's not like Leonard's unaware either. He knows he's been gone and the world has turned. His stage patter references this: "It's been so long since I've been on the stage...the last time I was here I was 60 years old, just a kid with a crazy dream..." audience laughs. He follows with a litany of the drugs he's been prescribed, to get him through his crazy dreams; "...Paxil, Welbutrin... Prozac... Ritalin...how have you been?" (more uproarious laughter). In Hamilton a MILF-wannabe yells out "VIAGRA" which causes Leonard to stumble and giggle before he adds this final observation in his preamble to "Ain't No Cure For Love"; "And I also studied all of the religions and the philosophies but cheerfulness kept breaking through..."

In Moncton, while introducing his translation of Federico Garcia Lorca's Viennese Waltz, renamed Take This Waltz, he recounts the same story used in the '90s about finding a book of poetry in a used bookstore and reading the words: "I want to pass through the arch of Elvira, to see her thighs and begin weeping" He says from that moment on that's what he wanted to do. "Where was that arch?" he asks, giggling. He also notes that he feels differently about thighs now and cries for a different reason.

He also knows that while on the surface nothing is the same, underneath nothing has changed. While to some the world is as it's never been, to others it's as it always was. It's as if when he left in '93 he was telling us what we needed to know about what was coming. And now, he's here to say not so much "I told you so" as "I told you it would be so."

And it's not like the audience is unaware. The contemplative songs are met with a wall of silent appreciation. Appreciation for the song and the moment.
Interspersed through the set are a few lively dance songs, sometimes country, sometimes rock and you can almost feel the mood shift from one of studious
attentiveness to the unbridled excitement of the sock hop...from the library to the gym.
The salacious songs are greeted with loud cheers; cheering both the memory of the fire and the lingering desire for life and love that burns still. During the Moncton rendition of I'm Your Man, each declaration of love without limits was met with howls of appreciation from the audience (mostly female exhultations). The line "if you need a doctor i'll examine every inch of you", elicited an almost orgasmic response from one patron.

From the stage each evening Leonard takes the opportunity to thank the fans for keeping his songs alive. The songs themselves are timeless and need no help
enduring. This tour feels like it follows the last by mere months rather than years. It's the subjects of the songs that make them timeless; the ongoing battle in each of us between the mind, the soul and the body; the ego, the superego and the id; the good, the bad and the ugly...a Holy Trinity of Holy Trinities. There is a war and it's further complicated by the addition of passion; a passion for love or hate, for power or freedom, for hanging on or letting go.

The mind vs the soul vs the body. The dynamics of that war changes throughout our lives but the battle never ceases. This tour gives us a chance to put that life-long fight in context. The songs have new meaning when you add a couple decades to them, when they've had time to, ummm, age.

The set lists have been pretty static but the show, as it's built, really leaves very little to be desired. No artist with a 40 year catalogue can do everything. No fan can be dismayed at what they do get. As the tour left the East Coast for a two day stop in rural Quebec, Leonard added a minor twist by including "Hey That's No Way To Say Goodbye" for the first time on tour. The monday night show in Kitchener saw the first outing for "Waiting for the Miracle". More reports from the field hint that another half-dozen songs are being readied...among them the very rare, Passing Through.

Day of show sees us busy with afternoon doctors appointments (that likely applies to about 38% of Leonards audience, so we're well within the norm). We met a couple friends from Toronto for some pre-show drinks and chat at a bar close to the venue and found ourselves comfortably seated at quarter of eight. This small hall fills quickly and with every seat taken the lights dim a couple minutes after 8; out stroll 9 musicians and some old guy in a hat. The old guy's got game.

Don't have much to give you on the musicians and back up singers...they are professionals, the music is lush, the sound is heavenly. Of course, if Leonard weren't on the stage we wouldn't be talking about them either.

Cohen moves with caution, like a man who knows that there's no time left for recovery. He stands, mic in hand, bent at the hip, pouring his emotion into each line. There's no caution in his voice. The audience in Hamilton wasn't hypnotized but they were attentive. Except for a bad case of whooping cough that affected the row behind me there were no distractions during the songs and appropriate responses at all the right times. Leonard plays the audience like it was an instrument...same way he plays his women, apparently. His skills have not diminished.

So what can be said about Leonard's return to the stage?

Nothing that will do it justice.

Here's some sound samples from last night, followed by the complete set list.
(just right click and save)

Democracy

Everybody Knows
Disc 1

(Set 1)
t01 Dance Me To The End Of Love
t02 The Future
t03 talk
t04 Ain't No Cure For Love
t05 Bird on the Wire
t06 Everybody Knows
t07 In My Secret Life
t08 Who By Fire
t09 Anthem (w/ Band Intro)
(break)

(Set 2)
t10 Tower of Song
t11 Suzanne
t12 Gypsy Wife
t13 Boogie Street

Disc 2

t14 Hallelujah
t15 Democracy
t16 I'm Your Man
t17 A Thousand Kisses Deep
t18 Take This Waltz

(encore#1)
t19 Heart With No Companion
t20 Waiting For The Miracle To Come
t21 First We Take Manhattan
(encore#2)
t22 That Don't Make It Junk * static was on inhouse PA *
t23 If It Be Your Will
t24 Closing Time
(encore#3)
t25 I Tried To Leave You
(encore#3)

source:Church Audio Cardioids>CA STC-9000 Pre-Amp >Edirol R-09 at 24/48 >USB >Sonic Foundry 16bitwave> FlacFrontend
recorded by Krewe Chief

Mike Ford formerly of Moxy FruvousHugh's Room2008-05-31

Today's the day Mike Ford's Canada Needs You Volume 2 hits the stores. Run right out and buy it! Last night he hosted a CD Release party for a couple hundred (paying) fans at Hugh's Room in Toronto. Mike's found a niche in the Canadian music scene as the custodian of curiousities Canadiana. This guy is so Canadian I bet he bleeds red. If you have children in school struggling with the history curriculum then drop the textbooks and pick up Mike's catalogue. The kids will come out with a renewed interest and a novel way at looking at the world...with eyes wide open to wonder. Hugh's Room is a decent enough little venue...it would be perfect without the food. They assign the best tables to those who have a dinner reservation, making for a pricey night out if you want a close seat but aren't up for dinner. Their interest in serving food (and drinks) takes precedence over your interest in listening to the artist, so it can be distracting. On the other hand, the concert special is only $30, choices are varied and it's more than filling. If you don't mind the ambient noise it's worth a visit just to enjoy the cozy confines.

Mike Ford's act is a 'feel good' night. He's got considerable talents; lively guitar work, strong vocals and witty lyrics, combined with his 'boy next door' demeanor, it makes for an enjoyable evening. The past couple times I've seen him it's been at the cozy Renaissance on the Danforth, usually helping fill out the bill for his friends Mike Skliar and Ken Ficara who visit from NYC periodically. Tonight he's enlisted the help of, ex-Fruvous now Great Big Sea, bassist Murray Foster. Along on drums is Mark Mariache, currently backing Ron Sexsmith on tour. Jennifer Bush, who appeared with Mike on "Canada Needs You" is along to help with some backing vocals.

We arrive in time to catch part of the soundcheck and I'm real torn about turning on my mic. When we were here for Steve Forbert he played a great song at soundcheck (which I missed recording) but didn't play it during the show. I decide to be discreet. I'm able to corral Mike for a moment and pass along the DVD my son created from his last night at the Ren in 2007. We also tried to get our reservation changed from a table for two because it looks like there'll be six of us along tonight. The show is sold out though and those accomodations couldn't be made...we were able to get two tables close to each other so we were set for the show.

When we see Mike at The Ren we're usually with a large group of Toronto-area Dylan fans and he spices up his set list with the odd Bob-cover or roots classics. Not tonight. Tonight we get a deep look into Mike's passion for Canadian history and the works he's created, and played for many a Grade 10 student, over the past few years.


Here's the set list, with links to some evening highlights.

Disc 1

Mike Ford (vox, guitar)
T01 Talk - Red Kelly/Giants intro
T02 The Giants (Clayoquot Trials)
T03 Talk - Giants outro
T04 The Story of The Fraser
T05 Talk -Voyageur camp
T06 Les Voyageurs
T07 Talk - Arthur Meighan to D'Arcy McGhee
T08 Darcy McGhee
T09 Talk - Frankenfood
T10 Monsanto(?)
T11 Talk - Thank the teachers
T12 I've Been Everywhere
Mike Ford (vox, guitar), Murray Foster(b.vox, bass), Mark Mariache (Drums)
T13 Talk - Band Intro
T14 Saskatchewan
T15 Talk - Saskatchewan Outro/Intro
T16 In Winnipeg
T17 Talk - EXPO '67 Handbook
T18 Expo 67!
T19 Talk - Jennifer Bush intro
Mike Ford (vox, guitar, piano), Murray Foster(b.vox, bass), Mark Mariache (Drums) Jennifer Bush (b.vox)
T20 I'm Gonna Roam
T21 Talk - $50 bill
T22 Tea Party
T23 A Woman Works Twice As Hard
T24 Talk - Vimy
T25 Creeping Barrage

Disc 2

Mike Ford (vox, guitar, piano)

T01 The Seaway
T02 Talk - Laker Music Project
T03 The Eastern Gap
T04 Talkin' Ten Lost Years
T05 Talk - chorus training
T06 Jacques Cartier
T07 Talk - stree bike racing
T08 Canada Doesn't Need You
T09 Talk - band intro
Mike Ford (vox, guitar, piano), Murray Foster(b.vox, bass), Mark Mariache (Drums)
T10 Crossroads
T11 Maurice Richard
The Cocksure Lads: Reg Topping (vox, guitar, piano), Dusty Fosterville(vox, bass), Mark Mariache (Drums)
T12 Admiral Trafalgar
T13 A Case of the Dropsies
T14 Talk - Arrogant Worms
T15 Late of October
T16 Talk - towel boy
T17 Tank
T18 Talk - Brian Mulroney Sold Out Canada
T19 Open For Business
T20 Heat-Seeker Boy
T21 (encore break)
Mike Ford (vox, guitar, piano)
T22 stars shone on toronto
T23 La Mer


World Debut of Open For Business from a 2007 performance at the Ren. (filmed, edited and rendered by MrMikeL Productions



For a review of Mike's 2007 show at The Ren, click here.

To see where Mike Ford is playing this summer, click here.

Buck 65 Toronto ON Danforth Music Hall 2008-04-25

This guy is one of the best Canadian wordsmiths out there today. If these were different times, in an alternate universe, he might be called "The Next Dylan."

First let's get by the part that pigeon-holes him:
He's a hip-hop artist. Self-confessed even. But he's much more than that. A few years ago he had a falling out with his musical 'community' because he spoke negatively about the direction of hip-hop. He even went so far as to abandon the 'movement'. (remind you of anyone?)
Still, there's no getting around the sound, it's hip-hop. He stands onstage accompanied only by his DJ, Skratch Bastid. The canned music and the rap-cadence definitely fits the narrow definition of 'hip-hop'. If you let that stop you, you're really missing something special.

There are two reasons why he's worth a listen:

1) It's about the words, man (remind you of anyone?)

2) To paraphrase Jack White: He respects the art of the show

I would use a different set of words to characterize this artist: street-poet, folkie, beat poet, roots music...and the inevitable, rapper.

His stage prescence is really captivating. He loves to dance...and not like Michael Jackson, more like Charlie Chaplin (remind you of anyone?)
He's an 'anyman', a geek from a remote rural outpost at the far reach of his country (remind you of anyone?). He's got a great eye for the peculiar in everyday life. He has little time for fakery or hypocrisy. He chronicles his times with non-blinking eyes and shines a light on the injustices of the empowered while not moralizing about the plight of the disposessed. (remind you of anyone?)

But it's really about the words and the art of the show.

His writing strength comes from the use of short phrases or couplets that evoke so much more than a few words should. (remind you of anyone?) Images are tossed out, sometimes they seem unrelated, they hit the canvass of your ears and meld into a tangible, if elusive, picture. You can't listen without a phrase or passage or verse reaching out to tap your consciousness. (remind you of anyone?)

I've pasted random lyrics under some of the songs below for reference.

Full lyrics for the songs from Situation.


This album is worth checking out if you're into historical themed music...and, hey, who isn't? A fun and eye-opening look at a watershed year.

More lyrics here.

Great show last night. Sandwiched in between the "Situation" songs was a good representation of Buck's career. So many 'samples' I don't think I got them all. Mighta heard Grand Master Flashs' "White Lines", we got a snippet of the Fresh Prince theme, terrific use of The Cure's "Close to Me", a couple covers tossed into the dub (Fine Young Cannibals "Blue", Louvin Bros. "Satan/Kingdom" and the "Coo Coo song" version of Wicked and Weird), a 'good-guy/bad-guy' medley from the new record and some great versions of Fifty Seven, Indestructible Sam, Roses and Blue Jays and 4-6-3.

From start to finish Buck and Skratch didn't miss a beat...if you can excuse the pun.



Buck 65 (w/ Skratch Bastid)
Danforth Music Hall
2008-04-25

Track 01 I'm Buck 65 (intro)
Track 02 Dang

If you can't move to this one...you can't move.

Track 03 Lipstick

A song about making money by making porn: The girls side.

"The camera loves me more than the typewriter or drink tray...
It’s necessary. Better than being a secretary.
Oddly assuming there’s nothing wrong with the human body.
But this month there’s a witch hunt. They chase me today.
I wish a flying saucer would take me away sometimes..."

Track 04 Shutterbuggin'

A song about making money by making porn: The guys side.

"He wants to be a cowboy and she wants to be an actress.
I just want to stash some money under my mattress...
Fifty thousand names on the mailing list estimated.
Under attack, being tested and investigated.
Juvenile delinquency my ass! What is this shit?!
Fought by some of the same men that I do business with...
Leaves a bad taste in some peoples mouths, maybe bitter.
Don’t want your manure, I’m an entrepreneur not a babysitter..."

Track 05 Hot Lunch
Track 06 Driftwood
Track 07 Fifty Seven

This one is so good I've pasted the complete lyrics:
"I saw the best minds of my generation destroyed.
Devoid of conviction, conflicted, annoyed.
Kicked at and worn down. 6 6 6.
Beat. Looking for the next quick fix.
Unpopular prophets with problems
Up against angels in disguise who want to rob them;
Who didn’t want to end up crushed by god’s embrace
In the age of the cold wind blowing and dogs in space;
Who’s faces are fading. They’re the loneliest drunk.
In empty rooms haunted by Thelonious Monk.
Felonious punks and plate glass squares
That see empty eyes that look straight past theirs.
Street walking cheetahs with a gun in each hand
Who are lost at sea and are desperate to reach land.
Orpheus descending. Swimming in the crooked waters.
Hello Sid Vicious, goodbye Brooklyn Dodgers...
No joke. Hit the low note.
We all go to heaven in a little row boat.
1957 Chevy Bel Air. Interior velvet especially.
Bloody probably. Stereo: Buddy Holly, Elvis Presley.
Black Flame Trilogy. Quadruple louder bass.
Battle sites. Little Rock. Satellites in outer space
Words won’t help but a few bucks can.
Crew cuts and black leather. Ku Klux Klan.
Men wear hats. In fact, harems are shared.
Opiates addicted to and parents scared.
The underground is real. Delivered greens to river queens.
Perpetual motion of free-thinkers and libertines.
Who suffer alone all night with pains
Hooked on drums and who fight with chains.
It’s Faulkner and Baldwin. Insult and curse reality.
Spy vs. spy and the cult of personality.
What can the numbers and the words in my head mean?
Killroy was here and so was Buster Crab and Ed Gein.
No joke. Hit the low note.
We all go to heaven in a little row boat.
The pen keeps moving in attempt to sink the jingoes.
Fight ‘em with hula hoops, frisbees and pink flamingoes.
Up running all night. Late sleep ordered.
‘Have gun will travel’. Great leap forward.
Man on the corner with dark glasses free and preaching.
Appetite is monstrous. Diet is Dionysian.
All over the world, so much peril in one show.
Playwright Arthur Miller marries Marilyn Monroe.
Hard rain falling. Babies sleeping in God’s palms.
Alarm clocks ringing. Warrior monks and bomb squads.
Invasion Of The Body Snatchers. Clairvoyants and mediums.
Believers in nothing. Speed freaks and bohemians.
Red is the new black. Identity files.
Rebels and grand dragons. Obscenity trials.
Lolita and Bobby Fisher country. No part is red,
Just black and white. Humphrey Bogart is dead.
No joke. Hit the low note.
We all go to heaven in a little row boat."

Track 08 Break Chains
Track 09 talk - Skratch Test
Track 10 Rough House Blues (Close to Me dub)

Woody Guthrie meets Robert Smith!
" I'm going down the road feeling bad, bye and bye
Deep fried blues but I'd rather die than cry
Gas station food bound to go stale soon
There's a curse in the air and a toe-nail moon..."

Track 11 Kennedy Killed the Hat

Check this out! Video and lyrics to "Kennedy"


Track 12 The Rebel

50's style, like Eddie Cochrane, James Dean and the like.
"Johnny Guitar. Scarred quicker. Part time card flicker.
Bootlegger. Roustabout. Douse the flames with hard liquor.
Hair pins and wide turns. Do things on my terms.
Cuffs in my jeans, leather jacket and sideburns -
That’s class. At last, slowpokes I blast past.
Cold war brewing? I don’t give a rat’s ass.
Miserable fights for civil rights. Bag faces,
Pinball, pretty girl in bondage and drag races..."

Track 13 The Outskirts
Track 14 Cop Shades/Heat Wave/Spread 'Em
Track 15 Indestructible Sam

You don't get many songs about post-civil war grave diggers. This one evokes the ballads of Johnny Horton in some ways.
"The other gravediggers lamented their blown chance
Decided to take matters into their own hands
Thoughts full of poison and making a trap
They blew up the shed where Sam was taking a nap
The others were astonished and totally annoyed
Cause Sam walked away while the shed was destroyed..."

Track 16 Satan Your Kingdom Must Come Down/Coo Coo Song/Wicked and Weird
Track 17 Way Back When

"Men of the rodeo and women of burlesque.
Epic battles and apples on the teachers desk."

Track 18 Leftfielder
Track 19 Roses and Bluejays/Blue

Track 20 The Centaur
------------
Track 21 Benz (w/ Cadence Weapon)
Track 22 4-6-3