Records Store Day

........woops I spaced.

So foolishly enough I completely missed Record Store Day this past Saturday (April 18th).

For those not in the loop, here's what I missed:

The original idea for Record Store Day was conceived by Chris Brown, and was founded in 2007 by Eric Levin, Michael Kurtz, Carrie Colliton, Amy Dorfman, Don Van Cleave and Brian Poehner as a celebration of the unique culture surrounding over 700 independently owned record stores in the USA, and hundreds of similar stores internationally.

This is the one day that all of the independently owned record stores come together with artists to celebrate the art of music. Special vinyl and CD releases and various promotional products are made exclusively for the day and hundreds of artists in the United States and in various countries across the globe make special appearances and performances. Festivities include performances, cook-outs, body painting, meet & greets with artists, parades, djs spinning records and on and on. Metallica officially kicked off Record Store Day at Rasputin Music in San Franscisco on April 19, 2008 and Record Store Day is now celebrated the third Saturday every April.

http://www.recordstoreday.com

So basically I feel like a complete fool. I do hope that some people headed out to their local record store and picked up some good finds. The important of supporting local records stores cannot be stressed enough. And I know such spots as Red Cat, Zulu, Scratch, Noize & others all had great sales and live events going on, so there was surely something for everyone.

However, I'm fairly confident no one here in Vancouver picked up the Tom Waits special 7 inch Record Store Day exclusive as apparently it was an exclusive release in the USA only....free trade my ass!

Oh well there's always next year.

Budos Band Blows Us Away

Its been a busy weekend of riding down the Deet Street. In between Easter festivities and spats of good weather, this long weekend has been rife with musical happenings. Most notable (and enjoyably exhausting) of which being The Budos Band last Saturday night at Richards on Richards. At a hefty $30 price tag and with a claim printed directly onto the ticket that it would be "ONE HUGE DANCE PARTY", the Staten Island 10 piece afro-jazz-funk Budos Band did not disappoint.

It was a late start down at Richards as they had double booked the night. Indie rockers Los Campacinos played an early show and according to our tickets, doors for Budos were at 10pm. Arriving at 10:15 I was greeted with a line up extending well back of the front door, tight shirted indie kids departing and people rushing to load up a van parked out front. Evidently Los Campacinos had run a tad late. The following 45 minutes of standing around outside were made bearable by the rather balmy spring night, the excitement of what I was sure would be a great show and the pleasant company of a dozen or so friends and acquaintances (many of whom were unfamiliar with Budos but willing to ride on down the Deet Street for this one).

We made it inside with our shiny rave inspired wrist bands and resumed standing around, but this time we could grab a cold one pass the time. The crowd was a good mix or old and young, dapper and drudging, hip and less so. Good vibes abounded. At about midnight, the house music (actually a good mix of soul, funk and afro-beat) ceased and all 10 members of the Budos Band filed out from the little stage door. The crowd was jacked but the dance floor not nearly as packed as I've seen it. That was of course quick to change as Budos' 5 percussionists (kit, congas, and other miscellany) kicked off one damn funky rhythm punctuated by bassist Daniel Foder's driving bass line. From there everything just fell into place. The groove was established, though it would shift styles a few times, it was never lost and it just grabbed hold and would not be denied. The band's driving 6 part rhythm section was masterfully paired with electric guitar, organ, trumpet and tenor sax (played by Jared Tankel who liked to play band leader as well).

Its hard to pick out notable tracks, because though I've got both Budos Band albums (aptly titled "The Budos Band" and "The Budos Band II") I've never played just tracks, they both play best as full albums. Like their concert, one unshakable groove. The show was however, broken up in terms of how the afro-jazz genre could be bent. The first half featured funky soul reminiscent of Maceo Parker and the J.B.'s while holding on to the heavily afro-beat inspired rhythms. If the first half got you sweatin' the second half's blend of slower more drawn out jazz jams gave you a breath but kept that dip in your hip and the glide in your stride. The second half was like a stroll through the Ethiopiques catalogue and finding some Fela Kuti mixed in. Just when you thought the song was winding down there'd be a quick pause....take a breath....and they'd explode back into it with a renewed veracity. After a nonstop 90 minute set, band leader Jared Tankel praised Van-City as a spot that always shows them a good time (they've been here thrice before) and the band filed off to the sound of cheers and chants of "Bu-dos, Bu-dos" from the sweat soaked audience. After making us work for our well deserved encore, the band emerged all smiles and launched into what I thought was their best jam of the night (what I think may have been the first track, "Chicago Falcon", off "Budos Band II").

Sweating and a little sore we all stumbled out into the fresh spring air on Richards Street at ten to 2am. Heading towards our coveted greasy pizza snack, everyone what light of foot as we strolled past the usual gaggle of drunks, beggars, binners, promoters (handing out expired fliers?) and high class Seymore Street hookers. Its that euphoria that comes from an endorphin fueled evening of dance and drink, exhaustion of the most enjoyable kind, using the 4th or 5th wind to get you home with the knowledge that you squeezed every last cent out of a $30 ticket and ever last second out of a 2 hour set.

Neil Young's Fork In The Road

So it seems old Neil has come out with another record. Not totally surprising of course, but what is surprising is that I had no real idea; until I happened upon a review in the Globe and Mail of all places (http://tinyurl.com/cxw29z). Now I should have prefaced that by stating that I'm a huge Neil Young fan and I try to keep abreast of his activities, so this one kinda blindsided me. However, after delving into the bowels of my memory and surfing the backlog of my Facebook indox it seems a friend of mine (one Dan Bardzell) did forward to me in January the advanced "music video" for this album's title track "Fork In The Road" (http://www.neilyoung.com/forkintheroad/forkintheroadvideo.html). I guess this grainy and amateur-video-blog-esque, rant of Neil Young rocking out while plugged into his 'Apple' didn't force the connection to new album for me. In any case for those who've not yet heard the album I suggest you check out the aforementioned video first.

Full review of "Fork In The Road" will be up as soon as I've had little more time to vet the album. But a few things I can tell you, its another rocker in the tradition of 2006's "Living With War". But this outing's got a bit more of a bluesy tinge to it, however, like "Living With War" Neil is making a statement. This time he's addressing the American car culture. From what I've read thus far, the album is essentially inspired by the now completed process of turning Neil's 1959 Lincoln Continental (a true gas guzzling boat of a car) into a sustainable biofeul driven enviro-statement. So essentially Neil combines 3 of his favorite things for this one: old enormous American made cars, rock music, and making statements. Its fixin' to be a fun ride....I'll let you know.

The Sadies Live at the Biltmore

The Sadies stormed their way into a sold out Biltmore Cabaret for the second show in as many nights in conjunction with the Vancouver 2010 Cultural Olympiad. And they certainly didn't show any signs of wear and tear (any more than usual) as they ripped through a rollicking 2-or-so-hour set to a supremely psyched audience.

Now a little back story on what led me to the Sadies last night. Last summer I was lucky enough to score a free ticket and backstage pass to see Blue Rodeo at the Malkin Bowl in Stanley Park (compliments of Mark Kerry of the wicked awesome Sam Bradley Band). Though not really a Blue Rodeo fan, the Deet Street is never one to turn down a free concert. And who should be opening up for Blue Rodeo that fine summer's eve? Why Toronto's own Indie-Country-Surf-Rockers The Sadies. Not only was I floored by their set, but meeting Dallas (guitar, vocals, piano) and Travis (guitar, vocals, fiddle), the Good brothers, was a total pleasure. Talked about the rigors and joys of working with the legendary Garth Hudson and other tales of a long tenure in the music biz. I picked up their massive live album The Sadies In Concert Vol. 1 (http://www.thirdestatedistro.com/products/view/201), which features a plethora of musical talent; and on a handshake promised to check them out on their next ride through Van.

Which brings me to The Biltmore on a rainy Saturday night. Starting out the night to an already well packed and rather well liquored up crowd was rising-rocking star Rich Hope. From the opening twang of a vintage looking guit, Hope had the crowd enthralled with his rip roaring two piece in the style of the Black Keys with a heavy dose of Rory Gallagher and RL Burnside. Jumping on amps and slamming down hard on a foot operated tambourine, Hope surged through an enthusiastic 75 minute set.

The thouroughly amped crowd were now set for The Sadies, who promptly launched into a rip roarin' rootin' tootin' barn burner or a show. The aforementioned Dallas and Travis Good were accompanied as always by the highly capable Mike Belitsky on drums and Sean Dean on upright bass. Eschewing their trademark country-blues infused with hits of surf rock The Sadies blasted into old favorites I've come to love from In Concert such as "Cheat" and "Tiger Tiger". But they also showed some of their more melodic Canadiana side with tracks from 2007's toned down but still uptempo New Seasons. My personal favorites being "Anna Leigh" and the acousticly massaging "Yours to Discover", which feature the lovely and sometimes overlooked harmonies of the Good Brothers. The musical treat continued as a high energy set led into a lengthy encore with the crowd wanting more and more and the Sadies refusing to back down. They just kept uping their energy and projecting it onto the sweating sometimes frenzied crowd until, dripping with sweat themselves in their well worn suits, they departed to the open curtain green room stage right.

I picked up a vinyl copy of New Seasons (many thanks to the lovely Emily G.) and made my way over to stage right. An amicable if winded Dallas Good signed my record and we resumed our conversation about Garth Hudson from a year ago. It seems the tracks they did with him should be out in the next year in their forthcoming studio album. After getting Travis', Mike's and Sean's signatures on my new record I headed out, mindful that whatever one thinks of the approaching 2010 Olympics, this Cultural Olympiad is a great excuse to support music and the arts...and see some killer acts.

Review: Joanna Chapman-Smith "Contraries"

Joanna Chapman-Smith
"Contraries"
Woundup Records (2008)

A splendid outing for for a stupendous local songwriter and performer. Anyone lucky enough to be at the Ukrainian Hall last Friday for the CD release knows that Contraries really is a journey is multiple styles. One could call it folk, but that would be an unjust pigeonholing. It touches on folk from so many angels. Mixing elements of reggae, jazz, klezmer, and clever songwriting into a vaudevillian dream sequence. Floating effortlessly between styles and genres one can see the world traveler in Ms. Chapman-Smith. The eclecticism ($5 word of the day) of the album is reflected in the album cover which shows Joanna's trio of geographic influences; being the CN tower of her home turf of Toronto, the yellow house that is her home on her new home turf (for the last 6 years) of Vancouver and the small kiwi roadsign refecting her love of New Zealand.

Contraries has something for everyone. The laid back grooves of "Urbanity", the suttle intensity of "Between the Minds" and "Into the Quiet", and the carnivalesque dance numbers like "Arbitraty Lines" and "Klezbian Mother" are part of a glorious mosaic of musical flavor. Grab this album or tell your local record store to bring it in. Or better yet, check her out in concert and grab an album from her in person. Joanna Chapman-Smith is the real deal.

http://www.joannacs.com

Folksy Canadiana for Obama

In anticipation of my visit to Washington DC for next week's Presidential Inauguration, I've put together a little folksy soundtrack of Canadiana for the incoming President to the south.

1)The Band - Acadian Driftwood
-a little history lesson from the greatest band to ever exist
2)Ian & Sylvia - Four Strong Winds
-according to CBC Radio, the greatest Canadian pop song, also one of my favorites.
3)Hank Snow - I'm Movin' On
-Canadians bucking the American style, Canada's own singing ranger
4)The Sadies - Eastern Winds (feat. The Good Family)
-www.thesadies.net (just check these guys out)
5)Redgrass - The Flag Son (feat. Jody Kramer)
-A north west lament using south east style
6)The Creaking Tree String Quartet - Mer & Sadie
-something to help the prez relax at the end of the day. www.creakingtree.com (check it out)
7)The Be Good Tanyas - Rowdy Blues
-Vancouver's own will mellow you down
8)Tamara Nile - Rusty Door Blues
-emerging artist for emerging president (www.tamaranile.com)
9)Harry Manx - Shame Shame Shame
-multiculturalism through music
10)Neil Young - Journey Through the Past
-our own bob dylan, but a better performer.
11)Sam Roberts - The Canadian Dream
-Socialism.....not always a bad thing
12)William Shatner - Common People
-the Shat will help test your dedication to the common people.

dig it.

check out CBC's Obama Playlist and vote (http://www.cbc.ca/radio2/obamasplaylist/)

also, if anyone knows of any Washington DC bands or venues I need to check out let me know.

vinyl makes a comeback or an ode to vinyl records

so apparently vinyl is back in again (http://www.vancouversun.com/entertainment/Vinyl+record+sales+double+2008/1143511/story.html)? having dug out my parents late 70's JVC belt driven turntable as well as a few choice records (The Doors, Willie Nelson, etc) a mere five years ago, I can hardly consider myself old school; however I am both heartened and disheartened by this apparent trend. on the one hand, its nice that vinyl records are re-developing as a medium of disseminating music. their superior sound quality, required stationary set up and tangible but not cheap-feeling nature make them a more involved musical experience. however, increased demand will also equate to a rise in prices for bin hunters such as myself and many of those around me. furthermore, it is not always the record itself that produces the listening experience. of course the music coming into your ears is the motivating force, but a highly polished and digitized recording with sound the same of vinyl as it will on mp3. the depth of feeling created by the expanded range of sound is what one should look at. not only that, but I believe that one can never underestimate the importance of the hiss, crack and pop produced by older (and often analogue recorded) records. this helps to create the experience, lending a nostalgic air to the music, even if its a false or created nostalgia. as always with music it comes down to everyone's own personal flavour, but in my experience some of the most comfortable silences amongst friends are spent mesmerized around a glowing amplifier listening of the fizzle and hiss of a dusty old side. long live vinyl records.