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Archive for the ‘Live at Massey Hall’ Category

SOUNDTRACK: HANNAH GEORGAS-Live at Massey Hall (March 5, 2018).

Hannah Georgas grew up outside of Toronto and always thought it was a treat to come to Massey Hall.  She says “My 18-year old self would be pretty psyched to play here.”

Georgas has two backing musicians Robbie Driscoll on bass/ableton and Dean Stone on drums/SPD.  She also plays keys but not for every song.

Most of her songs are quite spare–primarily featuring her voice.  The music is often slow washes and a drumbeat.

“Elephant” opens with warping synth sounds and Hannah singing.  The song builds nicely over four minutes with an interesting guitar accent and some powerful drumming.  Hannah also jumps  on the keys a bit for the end.

“Lost Cause” starts with Hannah playing keys and singing.  It’s spare with just the piano and drums and a nice melody.  Her voice is quite lovely.

“Rideback” has great interesting sounds from her keyboard–like horns or harmonicas or something.  I’m more intrigued by these sounds than the song itself.

“Naked Beaches” sounds like a slow dance song–a simple beat with a single note keyboard riff ringing through the song.  Her voice is echoed a lot on this song (both echos and harmonies) and it sounds really nice.

“Don’t Go” is another spare track.  It’s almost all drums with washes of synth and Hannah’s voice.

I was surprised to see her play a cover.  It was the Eurhythmics’ “Love is a Stranger.”  Hannah doesn’t sound like Annie Lennox, but she doesn’t sound all that different from her–it’s a good pairing for her and her band.

“Waste” has a whole series of wonderfully weirdo noises in its melody.  It starts fairly quietly but after the first few vocal lines, a kind of distorted synth line starts the melody, but its the chorus that really adds the weirdness with horns that sound like horns but also like screams.  Its really fun and funky, and is my favorite song of her set.

“Waiting Game” is a pulsing song with some chugging guitar and synth stabs as accents.  The set ends with “Enemies,” a quiet song with pulsing synths and drums and lights to accompany them.  For the chorus, things smooth out with some nice synth washes.

This show was on the same night as Rhye, and I honestly can’t tell who was the headliner.

[READ: May 15, 2019] “Going Up the Mountain” 

I loved this short story which speculates how our lives might turn out in a few years.

The story begins “The mountain sits in the middle of town.”  The mountain has always been there and it will continue to always be there.  It’s right in the middle–a brief walk for everyone.  You can’t miss it.

When people see each other in town the ask if they have gone up the mountain that day.

A neighbor “grins a tight grin and gives the sort of shrug people always give when they haven’t gone up the mountain.” (more…)

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SOUNDTRACK: RHYE-Live at Massey Hall (March 5, 2018).

Rhye opens with the sweetest story about Massey Hall thus far–“My parents’ first date was at Massey Hall.”  He also says the first show he saw there was Sigur Rós, which must have been amazing.  (They played there 6 times, so I’m not sure which one).

He knew that he had to play there…somehow.  Setting a big goal makes you subconsciously have to do it.

Rhye is a Canadian R&B act created by Mike Milosh.  As such (the R&B, not the Canadian part), I don’t enjoy this show all that much.  Although Milosh has a wonderful high-pitched voice and a  second listen got me to come around to a lot of what he was doing.

Prior to Rhye, Milosh had a band called Milosh and they released two albums.  But these songs are form the two Rhye albums.

His band is made up of organic and electronic instruments.  He’s got horns and strings as well as synths.

The first song is “3 Days” and despite all of the live instruments the entire middle of the songs is overtaken by a weirdly cheesy keyboard solo (performed by Theresa Womack ).  The key board sound they chose is so unpleasant.   But I do like the way the solo ends in utter chaos.  During the solo Milosh plays a small drum kit (there is already a drummer, Zacahary Morillo) which he plays harder during the crescendo.   I really enjoy the crescendos of his songs.

“Waste” is a gentle song with cello from Claire Courchene and Milosh gently singing.  It’s quite a pretty melody and ends with a cool trombone solo (also from Claire Courchene!).

“Please” continues in the same mellow vein.  As with the other songs, the bass (from Itai Shapira) sounds great throughout.  The middle gets loud with a clap-along “give me all of that sugar cane, one more time.”

For “Count to Five” Milosh removes his jacket and gets back on the tiny snare and high hat.  This song is much funkier than the others.   By the middle of the song, the guitars (Patrick Bailey and Paul Pfisterer) kick in full–the keys soaring and the bowed upright bass roars along.  It’s a shame it doesn’t last longer, but it does act for a nice dramatic middle section.

“Song for You” opens with a quiet keyboard melody and gently strummed guitars.  The trombone comes back adding some nice washes of sound.  The gentle trilling of strings works really nicely along with Milosh’s quieter and quieter singing.  For the end of the song he steps away from the mic and up to the front row as he sings along.  This whole denouement goes on for about four minutes of intimacy.

“Taste” gets things moving again with a clap-along into and a funky bass line.  And indeed this turns out to be a dance song “I’m dancing with my eyes closed” and even throws in a disco bass line during the rather wailing guitar solo.  It’s my favorite song of the set.  The song is quite long and the dance part segues into a pretty piano based denouement for the show.

Rhye’s not my thing, but I did enjoy this show.

[READ: April 10, 2019] “Monster”

This story won The 1999 Esquire Fiction Competition.  I have no idea what the criteria were for that competition–previously unpublished? No idea, although she doesn’t seem to have written anything else that I can easily discern.

This story opens by telling us that a motorcycle is definitely in the town’s pond.  It has been there as long as anyone can remember.  But no one can remember whose it was.  And no one owns the pond.  So it just sits there.

Seventeen year old Dale Roberts would go almost daily to the pond with his little brother Davey,  Their father said there was no bike down there–it was more likely a monster.  This excited Dave more than the motorcycle.

Dale imagined that motorcycle under him.  He imagined riding fast, riding the hell away from here.  Dale’s father has a motorcycle and Dale is forbidden from touching it.  He said the only place Dale was going “was juvey hall if he didn’t straighten up and fly right.” (more…)

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SOUNDTRACK: WHITEHORSE-Live at Massey Hall (December 8, 2017).

I saw Whitehorse open for Barenaked Ladies a few years ago and they blew me away.  I really want to see them again.

When I saw them it was just the two of them and the magic of their interplay was what really impressed me the most.  For this special Massey Hall show, they have a full band.  But as Melissa McClelland explains:

This is the first time playing the Massey stage with a full band.  We wanted to … finally invite some friends on stage with us and play music.

Those friends include John Obereian on drums, Ryan Gavel on bass, guitar and backing vocals and on keys and bongos and guitar, the second best singer in this band Gregory MacDonald.  He replies, “Thanks to the second best guitar player in the band.”  I have seen MacDonald on tour with Sloan a bunch of times and he is awesome.

As to why they are a duo, she says

we knew that Whitehorse was always going to be just the two of us and that everyone would know that we are equal partners in the band.  But we didn’t want it to be a folk duo so we started brainstorming and bought looping pedals and a kick drum and a stomp box and we  found new arrangements and once we got it we were like Yeah!

The show opens with hand clapping from the band and the audience and then Melissa’s slinky bass intro to “Baby Whats Wrong.  Then comes Luke Doucet’s echoing Western guitar. Their voices are wonderful together and I love when Doucet sings in that weird telephone microphone.  He also plays a ripping guitar solo.

Luke introduces “Tame as the Wild Ones” by saying they needed to write a sexy song so “Melissa kicked me out and said she’d do it alone.  I go to the bar to get drunk and when I come home, she plays me this song.  And nine months later our son Jimmy was born.”  I love the way the bridge (or is it a chorus) builds and settles–that melody is just gorgeous.

“Pink Kimono” has a simple rocking riff and the two singers singing at the same time.   Doucet’s soloing is on fire in this song.

“Die Alone” is a showstopper.  A slow moody piece in which Melissa sings over a wash of synths.  The music so much build as just unfold as first Luke sings with her and then the band kicks in.  Wow can Melissa belt out a song.

“Downtown” is a celebration of how you can put hundreds of thousands of people in a city and for the most part everyone gets along.  It s got a great throbbing bass and some cool guitar scratching and riffs from Doucet.  It’s a bummer that they interrupt the awesome middle solo section with an interview, even if it is quite interesting.

After Melissa lays out how they wanted the band to sound, Luke says that when people ask him about what it’s like to do Whitehorse, he says

we were solo artists first but we had been involved with each others albums as singer or producer  or touring musician.

So in order to be successful

you have to hang out together for five or six years and play in each others bands and make eight albums together and then you have to go on tour as freelance/hired gun musicians working for Blue Rodeo or Sarah McLachlan and then you have to live together for five or six years and listen to music together and fight and then you have to get married and once you’ve done all these things and listened to 10,000 hours of music and dissected Tom Waits entire catalog and argued about which is the best Beatles record and had fights on stage about who is speeding up or slowing down and once you’ve done all those things together then start a band.

It certainly worked for them.  The only bad thing about this show is that it’s only 30 minutes.

[READ: January 24, 2019] Hits & Misses

It has been a while since Simon Rich published a collection of his stories.  This one was pretty enjoyable.  Overall, not as much fun as some of his previous collections, but still a lot to laugh at.  Rich tends to write what he knows, which is often a very good sign.  However, sometimes what he knows is limited to writing and filming, which tends to miss the everyman silliness of his earlier pieces.

Having said that there are still some hilarious pieces that anyone can enjoy and some pieces about writers that are very funny.

A few of these pieces appeared in the New Yorker, and I indicate as much, with a link to my longer review.

“The Baby.”  This was a highlight.  A sonogram reveals that their baby is holding a pen–he is going to be a writer!  But when word gets out that the baby is already getting a reputation AND representation, well, that baby’s writer father is pretty damned jealous.  Wonderful absurdity based on reality taken to its extremes. (more…)

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SOUNDTRACK: LA FORCE-Live at Massey Hall (June 15, 2018).

I’d never heard of La Force.  Turns out La Force is Ariel Engle, vocalist and newest member of Broken Social Scene.  In her pre-show interview she says something that concludes with “life’s a bitch and then you die,” which didn’t bode well, but her sound is interesting (if maybe too much saxophone).

The show starts with “Upside Down Wolf.”  I love the weird square guitar she plays (and the cool sound that comes from it).  There’s also an acoustic guitar, sax and drums.  The drums from Evan Tighe are really dynamic with some great unexpected rhythms (and electronics).

The blurb describes “You Amaze Me” as infectious.  It’s a more dancey song with lots of drum-triggered sounds.  The sax from David French works pretty well here because it adds to the swells of music that are triggered by the drums.  And when the sax does add a solo, it;s a nice deep sax, which is a nice change of sound.

“Lucky One” opens slowly with a great guitar sound–a slow intro that is accented wonderfully by the acoustic guitar (there seems to be a cool echo on Warren Spicer’s sliding his hand up and down the strings).

“The Tide” swings faster.  Both guitarists add some cool sounds while the drums shuffle quickly.  Before the next song she explains she got the name La Force from a tarot card.  The La Force card had a picture of a woman opening a lion’s mouth and she loved the idea of the power that represented.

“Can’t Take” is a moody, slow piece, with some cool lead guitar from Spicer while Engle plays a very pretty minor key melody.

“TBT” opens with a simple two note guitar riff (that’s quite infectious) and a cool tribal drum beat.  The end of the song is a wonderful jam of the guitar, sax and drums totally rocking out.  It’s my favorite moment of the show and a great end.

[READ: January 20, 2019] Scarlett Hart: Monster Hunter

I get the feeling that this book may have been initially intended for an older audience and then they brought it down to be more family friendly.  Or maybe it feels more like a pilot episode than a confident story.  It just didn’t feel natural.

I enjoyed a lot of the book, but it felt forced in places.  Especially because Scarlett says all kinds of exclamations that seem odd–Leaping Lizards! or Gaskets! or Piston Heads!  I mean, she’s not a car person, so why would she scream car epithets?

I also didn’t love the darkness of the story.  I realize times are bleak, but the art doesn’t have to be.

The premise is that Scarlett Hart is a monster hunter (duh).  But by law, she is too young to fight monsters (not sure how old she is or what the age of consent is, but she is younger than it).  This seems like a strange law, but many laws are strange.  She has help, though, from her butler Napoleon White and his wife.  They also helped her parents fight monsters.

But her parents were killed several years ago while on the job.  She can’t get revenge against the monsters that killed them but she can become the best monster hunter she can be. (more…)

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SOUNDTRACK: TERRA LIGHTFOOT-Live at Massey Hall (December 8, 2017).

I know of Terra Lightfoot because she has done some (very minimal) work with Rheostatics.

Amazingly, she is not related to Gordon Lightfoot (how many people have this last name?).

Terra Lightfoot opened for Whitehorse (a double bill I would love to see).  She plays a half a dozen songs.  I thought she might be a sensitive folkie (again that Gordon connection), but it turns out that she rocks (and blues), has a powerful voice and plays a pretty wicked guitar as well.

Lightfoot is a great front woman–engaging and funny–and she has some great stories to tell about each of her songs.

“Stars over Dakota” just rocks out–big guitars, smashing drums (from Joel Haynes) and then settles into a swinging shuffle.  Lightfoot has a singular voice which I quite like.  I also like the little guitar riff she gives after the “gin martinis make dizzy” line.  She is joined mid-song by Melissa McClelland of Whitehorse who sings some amazing harmonies.  That’s two killer voices on one stage.

Drifter is a slower song, with a really lovely opening guitar melody.  She has been inspired in her career by her grandmother and her aunt who both played music.  Her grandmother recently died, but her aunt is still playing.

Introducing the next song “You Get High,” she says she has a special new guitar–a woman made it for me Ashley Leanne from Waterloo, she’s 26.  While Terra’s going to play this acoustic, she invites Daniel Lanois up on the stage.  “Can we get a spotlight on the man here?”  They can’t so he scooches over to her spotlight amid much chuckling.  Lanois plays a beautifully fluid electric guitar while she picks out a lively melody on the acoustic.

“Norma Gale” is about a famous musician from the 70 who played with Loretta Lynn and Johnny Cash and went on a date with Conway Twitty (I guess he didn’t call her back).  While she was doing all these cool things, she was also raising a young son on her own.  So Terra wrote this song for her.  It starts as a pretty, slow ballad but builds nicely with the addition of keys (from Alan Zamatis).

“Hold You” rocks up again, and it’s got a cool call and response with a bass melody (from Maury LaFoy) rumbling along.  “Two Hearts” is a song she wrote in a couple of places in Europe when she was very much in love…. with a couple of people.   The song starts slowly but build to an intense climax with pounding drums and Terra on her knees rocking out,.

Having had a total mis-perception of Terra Lightfoot, this show blew me away and I want to hear more from her.

[READ: January 19, 2019] All Summer Long

This was a fun story about friendship, distance and guitar playing.

As the story open we see Austin and Bina getting ready for 7th grade summer vacation.  They have been friends since they were five years old and have spent all of the previous summers together.  They even created the Combined Summer Fun Index–a way to tally just how much fun they have each summer.

Last summer’s included:

  • Cats petted: 22
  • Went swimming: 51 times
  • $idewalk change: $1.18
  • Sneaked into R-Rated movies: 2 times

But this summer, Austin can’t participate.   He is going to soccer camp for a month.  A whole month.  Summer is ruined–for Bina at least. (more…)

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SOUNDTRACK: EMILY HAINES AND THE SOFT SKELETON-Live at Massey Hall (December 5, 2017).

I really like Metric a lot.  They hit all the poppy sweet spots that I like with enough rough edges to keep them interesting.

I had heard a song from Haines’ Soft Skeleton album and really liked it–the bass line outstanding.  When this tour came to Philly I conisdered going but ultimately didn’t.  So I’m glad I get to see an abbreviated version of it here from Massey Hall.

This is also the final show (I assume) of the fifth season of Live at Massey Hall as the historic venue now undergoes two years of renovations!

Haines says that Massey Hall is the place that when you’re growing up on Neil Young that you dream of playing someday. She did two nights with metric in 2010 and now to do it solo is an incredible honor.

The show starts with chirping birds and Emily walking around the stage which looks made up like a bedroom.  She takes off her coat, puts on a dressing gown and a sleep mask and lays down on a “bed.”

An alarm goes off and when she shuts it off, a piano melody starts with backing vocals.  It’s the song “Planets,” and she lays down on the bed and sings the lyrics.  The pretty piano melody and swelling backing voices are lovely.  Then she brushes her teeth and a voice (hers?) starts talking to her.  What are you doing here?  Did you sleep at all?

What revelation are you after?  Do you want to go back or are you scared you never left?  This is an introduction to “Nihilist Abyss.”  For this song, she plays the piano and sings.  As the song ends the voice returns, calling “Emily” (echoing) “come back now its time to come back.  You’ve got to get dressed, you have to play a show tonight.  You booked a tour for some reason and you’re on it now….”

“Put on your jacket…”  She stomps around the stage as the rest of the band comes out–Jimmy Shaw, guitar; Sam Goldberg, bass; Justin Peroff, drums (all of whom were in Broken Social Scene, which Haines performed in as well).  She sits at the piano and a robotic voice introduces “Emily Haines and The Soft Skeleton.”

“Our Hell” has  thumping drums and bass as washes of guitars flood in while Haines plays piano and sings.   It’s a dramatic change from the first songs, but not as immediate or poppy as Metric.

“Detective Daughter” is interrupted by her saying that this record and band are a different state of mind than metric–challenging in a different way.  The music and her role is to push herself to the threshold of emotion without cracking.  “It’s raw strong and real.”  There’s more intense guitar from Shaw (who has worked with her on nearly everything she’s done).

“Minefield of Memory” has a scratchy guitar playing a rhythm with the drums, while “Legend of the Wild Horse” has the biggest chorus yet.

“Doctor Blind” has a woozy da da da da middle section along with the echoing distorted guitars.

The set ends with “Fatal Gift,” the song that I love from this album. It starts with a slow piano but after a few minutes the song gets bigger and louder and that bass line is just a knockout.  I don’t rally like the that she repeats over and over “you own it and it owns you,” as it takes away from the music.  But this section of the song is so good the music is intense and wonderful.

I’m not disappointed that i didn’t see this live, although it sounds like an interesting theatrical experience (the venue is usually standing but for this show seats were being sold).

Over the credits she comments that now “because of technology people can use algorithms to pander and give the people what they want a feeling of pandering.  But what I have to offer is a glimpse of someone attempting to access their authentic self.”

[READ: April 15, 2016] “The Five Wounds”

This story surprised me right from the outset with the line “This year Amadeo Padilla is Jesus.”  There’s a few ways that could be taken and I was wrong about all of them.  The closest I came was thinking that Amadeo was a boy in a school play.

But no, Amadeo is a 33 year old man and being Jesus is very real.

People in the village are saying that Amadeo is the best Jesus they’ve had in years.  People are lining up to peek through the chain link fence and watch Amadeo.  He has build his cross out of heavy oak, not pine, and he’s even thinking of adding more nails to make it heavier.

But whats so surpring is that Amdeo is pockmarked and bad-toothed and worse.  If you name the sin, he’s done it: gluttony, sloth, fucked a second cousin on the dark bleachers at the high school.

Amadeo is working so hard at his cross that he is sweating–typically he only ever sweats when he eats and drinks too much. (more…)

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SOUNDTRACK: DAVID BECKINGHAM-Live at Massey Hall (December 5, 2017).

I don’t know Beckingham or his main band Hey Ocean.

Beckingham says that he and Ashleigh Ball from the Hey Ocean started playing together in their early 20s.  They met Dave and formed Hey Ocean and it took off in a surprising way.

He’d always wanted to do something solo but felt he wasn’t ready and then they took time from Hey Ocean and worked on it.  But he never expected to play Massey Hall.

The show begins with “Explosion” which has a sweet vocal line and a very friendly sound with strings.  As he starts “Window Frame” they interrupt it with an interview in which he says that Hey Ocean is more around Ashleigh and her vocals while the solo stuff is more personal.  He feels a lot more exposed physically as well as with the material.

Adi’s Song is a quiet powerful ballad

Late in the evening
She starts to cry
She’d been down on her luck since summer now she’s stuck
In the longest ever winter of her life

She called the doctor
Asking for pills
To make it all seem far away like the stars in outer space
She says the feelings doesn’t hurt, she says it kills

And the salt in her tears carves a line down her cheeks
So when the drops reach her mouth, well you’ll almost believe she was smiling

Just when the light hits it right

During “Slowly” he gets the crowd to sing along “don’t it take the words from you sometimes.”

The final two songs are his biggest: “Soldier” and “Forest.”  His music is quite consistent–pretty and folkie without a lot of drama.  But these last two songs have something extra.  The bridge in “Soldier” bombs overhead / trying my best to find you / I was blind and deaf is really powerful with the strings.  “Forest” has a distinctive catchy melody up front, which a lot of these songs don’t.

He’s joined by Mike Rosen on the keyboards and a small string section Michelle Farhermann (cello) Rachael Cardiello (viola) and Kelly LeFaive (violin) and he thanks them for pulling this all together in a few days time.

[READ: January 7, 2017] “Stuff”

“Stuff” is a terrible name for a story.  But this story is pretty much full of stuff, so maybe it does work here.

I’m not really sure what happened to this story because it started out so linear and interesting (a little weird, yes, but interesting) and then it turned into something else–much more weird.

Henry was in the doctor’s office.  His own doctor was not there, so he was seeing a new doctor.  This new doctor told Henry that he had lung cancer and would die soon.

Henry talked about the cigarettes he smokes–called the work sticks because they help him write. (more…)

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