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Archive for the ‘Amelia Curran’ Category

SOUNDTRACKAMELIA CURRAN-Live at Massey Hall (April 29, 2016).

I knew of Amelia Curran but I didn’t know her work before this show.

She says that growing up in Newfoundland it’s all about original music and the oral tradition and story discovering.  She loves to play at the pub back home.

But she continues that when you move into a more professional scene–recording your first album–you also become a Canadian musician, which is an extra thing that happens later.  You look to Neil Young and Joni and Massey Hall.  You come from a musical place like Newfoundland and then coming to Canada and “arriving.”

She plays great folkie songs.  Lyrically her songs are rich, but I find the drums to be quiet compelling on most of the songs.  There;s nothing flashy, but I really like the way the drums are somewhat unconventional or rhythmically interesting, like on “Song on the Radio.”

She is also quite sweet as she says, “Well thanks, oh golly.”

After “Blackbird on Fire” she says “the teenage me on the inside is really freaking out.”

Before “The Reverie,” she says “I’d like to play you a love song and to introduce you to this handsome fellow on the electric guitar Dean Drouillard.”

Before the nest song, “The Modern Man: she says, “Ladies and gentlemen, I don’t know if you know, but this handsome lad on the bass guitar has the best hair in the business.  This is Devon Henderson”

And before “The Mistress” (which is probably her biggest hit), she says “I know it’s hard to believe but there’s even more handsome up here.  This man behind me on the drums is Joshua Van Tassel.”  This song is more jagged and sharp than the others.  It’s a darker, more pointed song and it’s really great.

“Devils” is a slower, moodier song, with snaky electric guitar leads.  Next up is “Time” which is  a beautiful song that’s just her on the acoustic guitar.  It’s quite different from the other songs, much more stark.

For the final song, “Somebody Somewhere,” she says, “Here’s a happy-sounding song I wrote about being depressed.”  This song has more great drums and some cool guitar sounds that change on each verse, including a great buzzy sound during the second verse.

[READ: June 18, 2018] “Omakase”

Even though I love sushi, I had never heard of the titular “omakase” which is a meal consisting of dishes selected by the chef, typically with suggested wine pairings.  And frankly it’s something I’d likely never do (if I was paying for it).

This is the story of a couple who’d met online two years ago.  Three months ago they had moved in together.  They both liked sushi and omakase–they liked the element of surprise.   It also worked for their personalities–she second guessed herself too much and he liked to go with the flow.

They went to a tiny room with a sushi bar and cash register.  The woman (their names are never given) imagined it could fit no more than six people.  How had he even heard of it?  There was a young waitress and old sushi chef who ignored them longer than she imagined they would.

The story leaves the meal from time to time. The first time is for aside about New York City trains.  How she has not gotten used to the subway and the delays.  Tonight’s delay was because of someone jumping in front of the tracks.  In Boston people rarely did that, “probably because the trains came so infrequently, there were quicker ways to die.” (more…)

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SOUNDTRACK: RHEOSTATICS-Starlight Social Club, Waterloo, ON (April 24, 2016). 

After reuniting for the AGO shows back in 2015, Rheostatics decided to make a proper go of it again.  This included yet another show at Massey Hall (this time with Martin’s voice working).  In order to prep for that show, they first played this show

Warm Up show prior to April 29 2016 Massey Hall show. First club show since March 29 2007 at The Horseshoe Tavern. The Band consisted of Dave Bidini, Don Kerr, Martin Tielli, and Tim Vesely. With Hugh Marsh on Violin and Kevin Hearn on Keyboards/vocals. Trent Severn guested on Fan Letter To Michael Jackson and Making Progress. Norman Blake from Teenage Fanclub was in attendance at this show.

This is a great show with everyone sounding in good form.  Although I love Hugh Marsh and think he is amazing, his violin does tend to take front and center for a lot of this material.  Same with Kevin Hearn’s piano.  They are both essential, but they sometimes feel like more than the other guys (especially he soaring solo of “Stolen Car”).

As the show starts, Dave Bidini begins the banter: Great to be in Kitchener, Waterloo… you’ve changed.  The first show we ever did as Rheostatics was in the hotel across the way.  We slept in the carpark and couldn’t escape Alexanian Carpet (which they talked about back in 2007).  Here’s a bunch of songs.  Hope you like them.

“King of the Past” seems subdued but lovely, with Hugh Marsh’s soaring violin.  It’s followed by “California Dreamline” which opens with soaring guitars from Martin.

It’s followed by “Claire” which sounds great.

Dave says it will take a while for our patter to come back.  Then there’s some new country played on the monitors and Dave suggests that a new direction for them.

“P.I.N.”  sounds bright and positive although I think Kevin’s keys are too much in the chorus.  Martin even sneaks in a “Dirty Boulevard” line.

Dave notes that they were a band before drinking out of a water bottle was cliched–to give you an idea of the age of the band.  We predated grunge.  Actually we invented grunge and then decided it was a bad idea but we left it lying around and someone found it.

The first of Dave’s songs comes in with “Mumbletypeg” it is of course poppy and fun.

Then Kevin recites some of the story of Dot and Bug before starting “Monkeybird.”  Martin makes some wonderful crazy sounds and by the end Kevin starts a chant: I say banana you saw worms.

“It’s Easy To Be With You” is also very keyboardy, with a solo from Hugh or Martin, I’m not sure.

“Song Of The Garden” almost feels entirely like Kevin and Hugh.  It’s lovely.

Kevin starts a sample from Mister Rogers which can only mean “Fan Letter To Michael Jackson.”  Dave says they’ll play this for Prince and for Michael.  Trent Severn (Lindsay Schindler, Dayna Manning and Emm Gryner, in the flesh) sing the “it feels good to be alive” part.  The entire ending (with Martin joining in) is spectacular.

There’s a pretty one-minute guitar segue into “Making Progress” with a very cool long solo by Marsh.

They play a great version of “Self Serve Gas Station” at the end of which Martin says, “and then that guys escaped out of the bathroom window, he’s climbing down the side of the building.”

“Queer” has a lengthy piano solo from Kevin but there’s no “find me another home” outro.  “Dope Fiends and Boozehounds” has a big drum (and much percussion) solo by Don Kerr.  The song ends with some great howling while Martin’s guitar soars.  Martin even brings up the old jokes about someone misunderstanding Don Kerr’s name:  In heavy accent: “Why do you call yourself ‘dont care.'”

“Shaved Head” sounds great as they head into the first encore break.

When they come back out Dave says “I’m working on this solo bass project if you’ll bear with me…..no?  your loss.”

Kevin asks “how many of you are going to Massey Hall?  Don’t share the setlist online so it’s a surprise for everyone.”  It will be next Friday at Massey hall with Amelia Curran

After many requests, they play a slow and powerful “Palomar.”  It’s followed by a pretty version of “Stolen Car” with what I think is a drum machine.  When it’s done, Martin says, “Let’s all smoke cigarettes!”  Dave tells everyone, “Enjoy Game of Thrones.”

There’s a five-minute encore break.  After 4 minutes you can hear country music playing as if it over, but the boys come back out.  Dave: “Now I’m gonna miss Game of Thrones for sure!”

They return with Kevin’s “Yellow Days Under A Lemon Sun” and then a great version of “Saskatchewan” (even if Martin forgets some of the words).

They end with “Legal Age Life At Variety Store.”  The special guest on guitar: “Ladies and gentlemen, Martin Telli’s son… they’ve never met before.  It’s beautiful.”  I don;t know who it is but he plays a solid rockabilly guitar solo followed by a ripping piano solo from Kevin.  It’s all over after 5 minutes.

With a total show time of just over 2 hours, it’s a nice welcome back.

[READ: January 11, 2018]  A Legacy of Canadian Art from Kelowna Collections

I find the subject of Canadian Art to be rather fascinating (possibly because it’s more digestible than the expansive European or American histories).  This stems from my appreciation of The Group of Seven.  They loom (probably unfairly) large in the Canadian Art world.  So it’s interesting to see how the fit in with the rest of the history of Canadian Art.

This book is the publication from an art exhibit that from July 1 to October 15 2017 at the Kelowna Art Gallery.  What I found especially interesting about this show was that the pieces came from eight probate collections in Kelowna (as well as the gallery’s permanent collection).  But basically eight art collectors in Kelowna allowed the public to see their private collections.   That’s fascinating to me and I have no idea how common that is.

The book opens with thanks and kind words from the director and the curator with a longer essay from Roger Boulet.  He talks about the history of art and artists in Canada as well as collectors and their beneficence to artists and the public at large.

The book is divided up into eras. (more…)

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