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Archive for the ‘Frankie Goes to Hollywood’ Category

SOUNDTRACK: BIDINIBAND-Call the Office, London, ON (April 18, 2008).

Dave Bidini played some solo shows in 2007 but by 2008 he had cobbled together a band: Bidiniband.  The band includes Dave, Paul Linklater, on lead guitar, former Rheo Don Kerr on drums and Doug Friesen on bass.

I’m not sure when they started playing together, but this is the first live show at Rheostatics Live.  The set list hasn’t changed much since his solo shows, but the songs sound really different with the full band.

Some of Dave’s solo work is about telling real life stories of unsung people.  They

re usually really interesting the first one or two times you hear them, but they kind of lose their power after multiple listens.  So “Zeke Roberts” and “The Land is Wild” (except for the fantastic chorus) wear out their welcome a bit.  But again, it’s a nice change to hear them with the full band.

“Fat” is interesting to hear with other musicians.  The ending isn’t quite as wild as with the band but these guys chant the “everyone’s a robot” with great energy.  After the song Dave says “Good  night everybody” to much laughter.  For the next song he says, “This is basically the same song but with a more ironic joke.  The irony is not in the tuning or lack thereof.”

Someone says, “You guys and your new strings. I haven’t changed my strings in like two years.”  “I thought t would be cool, you know, on a new tour.”

“This Song Ain’t Any Good” has a very different delivery than the folksier style that I’m used to.  He asks the band, “You want to do it sad, what did you mean?” They do the chorus in a kind of repeated downbeat “singalong.”

Thanks to Andy and The Two Minute Miracles for playing tonight.  We’re gonna do another song based in our country: “The Moncton Hellraisers.”  It has a rather country flair to it.

Someone shouts, “Do a hockey song.”  Dave says, “I think you’re out of luck tonight  Oh, no there’s a longer one later tonight….we’re making you wait for it.”

I love the jazzy opening of “Memorial Day.”  But even better is the full band rock of “Terrorize Me Now.”  Who ever in the band is screaming “And then we killed again,” is totally intense.

Dave asks, “Could anyone deliver a water to the stage, or I could put my guitar down…  From off stage: “only whiskey and cold coffee!”  “cold cuts?”

This next song is gonna feature Dog Paul’s on double bass for a song about cannibalism and Canadian rock.  “Desert Island Poem” features the line   “Rheostatics eat their drummer who would cook and season the body?”

Dave once described the song: “Yeah, and that’s sort of a true story in a way. I mean not the cannibalism part. But one time the Rheos were stranded in Drumheller [Alberta] and we were listening to the radio and we heard this story about that plane that crashed in Alaska. And we began to wonder what would happen to us if we never got out of Drumheller.”

For “The List”, the replaced Zack Warner with Sass Jordan (a Canadian singer) which features the line “you say I suck but it’s that suckdom of which I’m proud.”  Some one shouts, “that’s a fucking song that needed to be written.”  Dave says he has one more verse but he can’t remember who its about.

“The Continuing Story of Canadiana and Canadiandy” has a cool slide guitar solo in the middle of the folk.  Dave, “That’s from back in the day where all the Canadian folk singers looked like Jesus.  Those nice sweaters on, a nice beard.”  Mitsou?  “When I think of Canadian folk I think of Mitsou too, ironically.”

Someone in the band proposes the “Top five Canadian folk albums: Summer Side of Life, Old Dan’s Records,”  Dave notes: “That’s two from Gordon Lightfoot are you allowed to pick two from the same artist?” “And The Way I Feel.” Dave: “You’re just doing Gordon Lightfoot.”  “That’s what I’m trying to say, dude. “I’m getting your drift that you like the Gord.”  “Gordon never looked like Jesus did.” “No, he looked more like Bruno Gerussi.”

“Is everybody ready for a long death ballad?  You look like the kind of crowd who would like a long death ballad.”  Someone in the crowd shouts: “kill us, kill us Dave.”

We haven’t performed this song successfully ever life.  “Zeke” sounds better with the guitar sliding up and down and in the middle when there’s a few complex moments  and the band really takes off.  But there’s all kinds of flubs at the end.  Dave says, “you’re too kind.  That was the best first half we’ve done for sure.”

They play “My First Rock Show” at a slower pace.  “A bit of banjo for this, Paul?”  After the swan dive, there’s some crazy feedback and effects manipulation and then Dave starts singing “Happy Jack.”

They finish “Rock Show” and then begin with “Won’t Get Fooled Again,” and then Slade’s “Run Run Away.” (did that song have a chorus?).  And then it shifts to Bidini’s “Pornography.”

“Rock Intro?  Is it a rock intro nigh?” “Progtro.”  Someone says something about YouTube.  Dave says “Whats YouTube. They’re an Irish rock band, right?”  There’s great noisy opening to “The Land is Wild.”  It quiets down but sounds great with the full band.  I like the lead guitar line that runs through the song.  During the slow part, the person who mentioned Gordon Lightfoot sings “Ode to Big Blue” as the song gets bigger and noisier.

It segues into a really fast version of Rheostatics’ “Earth.”  Its rocks.  “Don Kerr on the drums everybody.”  And then a romping “Horses.”  Midway through the song he starts reciting the lines to “Once in a Lifetime” by Talking Heads and then some of “Another Brick in the Wall. Pt 2.”  He also throws n the “facts” portion of Talking Heads’ “Cross-eyed and Painless.”

This all segues into a stomping, guitar-light version of “Life During Wartime.”  Dave starts singing lines from “One Thing Leads to Another” (“one gun leads to another”), “Relax Don’t Do It”  then “When Two Tribes go to war, war is something you can’t ignore.”

As the song ends Dave thanks everyone for coming: “a small but mighty crowd for a small but mighty band.”  Then he introduces the band: Douglas Friesen from Manitoba, Paul Linklater from Manitoba, Dave born and raised in Etobicoke, Ontario.  Donald S. Kerr from Mississauga, Ontario.

As they finish, the crowd is screaming screaming for an encore with one guy even telling him not to put their instruments down.  But there is no encore.

[READ: April 15, 2017] Writing Gordon Lightfoot

The title of this book is unusual–it’s hard to even figure out what it means (until you read the book), but it’s also deceptive.

The title means writing to Gordon Lightfoot.  Bidini is basically writing Lightfoot a series of letters. But it is far more than that.  In fact the scope of the book is really the Mariposa musical festival that took place in Toronto in 1972.  Lightfoot appeared (along with many other folk luminaries).  Interspersed with his documentation oft he festival (he was too young to go so it’s all research) are his letters to Lightfoot.

The reason he is writing letters to Lightfoot in a book is because Bidini believes that Lightfoot won’t speak to him.

His band Rheostatics, recorded a cover of his “Wreck of the Edmund Fitzgerald.”  It was one of their big songs when they were first starting out.  And then, as a brash young kid, Bidini once said that it was actually based on an old Irish melody and that it really wasn’t Lightfoot’s song anyway.  Yipes.

So, assuming that Lightfoot will never talk to him (I wonder if he actually tried), he decides to write letters.  But the letters aren’t “hi how are you” letters, they are a biography of Lightfoot’s life as written by a fellow musician.  He bases most of his notes on things that were in other biographies and he says he makes a lot of it up too.

So it’s an unusual book in many ways. (more…)

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commitSOUNDTRACK: KANYE WEST-Late Registration (2005).

I lateregcan’t get over how much I’ve been enjoying Kanye West’s music as of late.  So much so that I went back and bought Late Registration.  I wanted to check out his early stuff, so naturally I started with…his second album.  And it’s a really enjoyable, soulful, gospel-filled rap album. Complete with Kayne’s bizarre, humorous and often offensive lyrics.

Musically the samples are wonderful—they create a very specific feel of pop soul that both works with and sometime against the lyrics.  The album suffers from two things that I’ve found I do not like in rap, and in articular in Kayne’s albums.  It bugs me when rappers intro their songs with several “uh, yeah”s.  I don’t know why but it does and that’s how Kanye opens the disc.

And, I wish there weren’t so many guests on the record.  While I understand the guest singers who provide backing vocals, I don’t get all the guest rappers (and there are a lot: Paul Wall, GLC, Lupe Fiasco, Common, Game, Jay Z, Really Doe, Nas, Cam’ron Consequence).  I mean, I’m not here for them, so why devote so much time to others, it makes you seem like you couldn’t thin of enough to say (and we know that’s not true about Kanye).  After a few listens, I have grown to appreciate the guests, but I like Kayne’s style so much that the other guys are just distractions.

Late Registration is largely produced by Jon Brion, who has made some amazing music with Fiona Apple and Aimee Mann—and while it is certainly stripped down Brion, the flourishes that Brion often employs are apparent here.  Like the tinkly pianos and farty bass that opens “Heard ‘Em Say.”  There’s some falsetto R&B-esque vocals from the singer from Maroon 5 here—I had no idea he sang like that.  It fits very well with the song.  And the instrumental section at the end is very Brion.

“Touch the Sky” uses a long sample (slowed down quite a bit) of Curtis Mayfield’s “Move on Up.”  But the sample is so much of that original song that it almost seems like cheating.  Except that he has slowed it down and modified it somewhat, and…his raps work perfectly with it.  The other really crazy sample is from Gil Scot-Heron which samples “Home is Where the Hatred Is.”  The strange thing is that the song is 1:44 and the last 45 seconds of the song are just Scot-Heron’s song playing along by itself.  It’s weird to have given up that much to another song…but it sounds great.

“Gold Digger” is a very funny song about, well, gold diggers.  The topic isn’t new (the fact that it samples an ancient Ray Charles song attests to it), but the chorus of “I ain’t saying she’s a gold digger, but she ain’t messin’ with no broke niggers” is great.  There’s also an intro section with Jamie Foxx doing his now patented Ray Charles.  It’s a pointed song but done with a very funny twinkle in his voice (the Kayne twinkle).  “Drive Slow” is a cool slow-tempoed number with a great sample from Hank Crawford and an interesting slowing effect at the end of the song.  “Crack Music” is a great political song equating making records to selling crack.  The metaphor works well.  And this is one of Kayne’s strong pro-black songs.  It’s really powerful.

The surprising thing is the two really sensitive songs: “Hey Mama” which is a sweet song to his mother in which he promises to go back to school and get his doctorate and “Roses,” which is an angry but beautiful song about his grandmother being in the hospital.  There’s a great verse about her being poor and therefore not getting the best care: “you telling me if my grandmother was in the NBA right now she’d be okay”   As well as a line about a nurse asking for his autograph while they are worried about his grandmother—although, realistically, how often is a nurse going to meet a star like Kayne?  The end of the song has some great soulful crooning by (as far as I can read) an uncredited singer.  And I feel like Brandy, who opens up the next song really falls flat in comparison to this unnamed singer (I don’t care for the way newer black singers wail their scales).  But the Etta James sample of “My Funny Valentine” that floats through “Addiction” is gorgeous.

“Diamonds from Sierra Leone: is a surprisingly political song that samples “Diamonds are Forever.”  There’s two version on the album.  I like the remix featuring Jay-Z a lot less, in part because I’ve never been a huge Jay-Z fan, but also because his verses completely interrupt the flow of the song.  “We Major” has  a very retro, almost easy listening vibe. There’s a lot of backing vocals going on and they remind me somewhat of Ben Folds Five’s backing vocals (which is pretty weird, I suspect). This song is interesting for its talk of worrying about daughters—as with many rappers, women are bitches and hos unless they are your grandma, your mama or you daughter—which is kind of awkward, really.

“Celebration” is perhaps the weirdest juxtaposition of contents.  It’s a celebration, bitches.  A celebration apparently about the fact that he and a woman (who had a fatty) accidentally had a baby (“You my favorite accident”).   That line makes it sound like the child is at the party, which makes the chorus “Grab a drink, grab a glass, after that I grab your ass” hard to fathom.

 “Gone” has a nifty piano melody (and some cool interstitials very Brion-infused melodies) that plays under Cam’ron and Consequence’s raps.  The song is kind of a muddle (although a funny muddle) until Kanye comes in at around 4 and a half minutes.  I really like the way the album ends: with Kayne rapping “Sorry Mr West is gone” and the music completely cutting off.

The bonus tracks include the original of “Diamonds from Sierra Leone” and “We Can Make It Better” (which features Q-Tip, Talib Kweli, Common and Rhymefest). It’s an interesting track (especially the sped up backing vocals) but it seems like a bit of a throwaway (which is surprising given the number of guests).  “Late” is a unlisted bonus track which is very strange.  There’s lots of “ah ha ha has” in a posh sounding falsetto).  But there’s some witty lines in here, especially this verse:

They said the best classes go to the fastest
Sorry Mr. West there’s no good classes, and that’s what yo’ ass get
Not even electives? Not even prerequits?
You mean I missed my major by a couple of seconds?
Now I’m in the shop class or the basket weavin
With all the rest of the muh’fuckers underachievin

So Kayne is clever and stupid.  A great rapper and a not so great singer.  And amazing producer and a good song writer.  And this is as good an album as I’ve heard it was.

[READ: August 8, 2013] The Commitments

I have been reading a number of big, heavy books lately (which I have yet to post about…later in the week), so I decided to take a break with a light, fun book. And one that I’ve read before (and seen the movie of many times).  I looked on the inside cover where I wrote the date of acquisition (a thing I did for a while until I realized it was kind of silly, and yet I’m glad i did it here) October 1993, almost twenty years ago.

But aside from Jimmy playing songs on vinyl, there’s very little that’s dated about the album–which may even be the point of the book.

This is the story of a bunch of misfits in Ireland who join together to form a soul band.  The nucleus of the band is Jimmy Rabbitte, a local kid who lives and breathes music.  He had Frankie Goes to Hollywood before anyone else and he knew they were shit before anyone else.

Some of his mates have started a band (called hilariously And And! And) which plays new wave.  Jimmy tells them they should play soul instead.  He plays them some James Brown and they love it.  Which leads to the talk of music and sex.  And they are really into it.  And then there’s  the oft quoted line from the movie: “The Irish are the blacks of Europe. And Dubliners are the blacks of Ireland. And the Northside Dubliners are the blacks of Dublin. So say it once and say it loud, I’m black and I’m proud.”

And so they begin a quest to find the rest of the band.  Jimmy puts an ad in Hot Press (the Irish music magazine) and interviews everyone (some very funny jokes in there).  And the recruits form a crazy quilt of characters.  (more…)

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