tag:blogger.com,1999:blog-81239611844040414642024-03-25T06:57:56.519-07:00Reminiscing In VinylMike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.comBlogger45125tag:blogger.com,1999:blog-8123961184404041464.post-91696675380887005962024-01-29T13:27:00.000-08:002024-01-29T13:27:37.715-08:00<blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><h2 style="text-align: center;"> <span style="font-family: verdana;">Cal Collins </span></h2></blockquote><p> </p><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><h2 style="text-align: center;"><span style="font-family: verdana;">Cincinnati To L.A.</span></h2></blockquote><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNgYIgNJor1VM3yEGrNWBb_TSDQ-SbQYNxWq2qNPzZ6uGQmhsiPLVMjJgmcSL8LEYwXH9wJAwBD6S9yNWC_vfomaGqGwqvpgaXTzZGvQY4PdzOnIP_BcRmNmdP__QxihGqIJj7N_cVFzojbnUcVYl5iRMy7zbzcc1qbmxIpNT2hoPWhYXCA7ve4F6bs-_0/s3264/ECC099D0-CD8E-4C12-8A5D-B1A25424CC60.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNgYIgNJor1VM3yEGrNWBb_TSDQ-SbQYNxWq2qNPzZ6uGQmhsiPLVMjJgmcSL8LEYwXH9wJAwBD6S9yNWC_vfomaGqGwqvpgaXTzZGvQY4PdzOnIP_BcRmNmdP__QxihGqIJj7N_cVFzojbnUcVYl5iRMy7zbzcc1qbmxIpNT2hoPWhYXCA7ve4F6bs-_0/s320/ECC099D0-CD8E-4C12-8A5D-B1A25424CC60.jpeg" width="240" /></a></div><br /> <p></p><p class="p2" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16px;"><span style="font-family: verdana;"><br /></span></p><p class="p2" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16px;"><span style="font-family: verdana;"><br /></span></p><p class="p1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: verdana;">While browsing through the local record store recently, I came across an album on the Concord label featuring a musician I didn’t immediately<span class="Apple-converted-space"> </span>recognize. The artist was jazz guitarist Cal Collins, and the title of the record was “Cincinnati To L.A.” The recording was trio session with Monty Budwig on double bass and Jake Hanna on drums. I prefer smaller groups, and a trio setting with bass and drums is one of my favourites. I picked up the album, and put it on after I got home. I wasn’t disappointed. According to the album liner notes, which were written by Leonard Feather, Cal, who was born on May 5, 1933 grew up in what Cal described as a country and bluegrass atmosphere, in a household with mandolins, banjos and guitars. As a child, Cal played the mandolin. A little later on, he was exposed to Django Reinhardt and Charlie Christian, and focused on jazz. After a stint in the Army, he decided to take on the challenge of making his living as a professional musician. He paid his dues, mainly working around Cincinnati, until in 1976, after a recommendation, he auditioned for Benny Goodman and was selected to become the guitarist in Benny’s group. While performing in California with Benny, he was offered an opportunity to record with Concord Records.<span class="Apple-converted-space"> </span></span></p><p class="p1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: verdana;">“Cincinnati To L.A.” was Cal’s second record on Concord. The album has ten tracks, all of them jazz standards. The songs provide a variety of settings for the trio to shine, and of course lots of room to hear Cal’s very talented playing. The years of working in lounges I’m sure provided Cal with an impressive repertoire of material to work with, and on this record, we get to hear him in different settings. Of note, he is featured as the solo instrument on “If I Had You”. The group’s performance of “Willow Weep For Me” is also a highlight, emphasizing the bluesy aspect of the song. One of the things I found interesting about Cal was his choice of guitar; a Gretsch 6120 hollow-body, an instrument not normally associated with jazz.<span class="Apple-converted-space"> </span></span></p><p class="p1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: verdana;">Unfortunately, very little of Cal Collin’s excellent recordings made the transition to compact disc, although there are some videos on YouTube. The album “Cincinnati To L.A.” was produced by Carl Jefferson of Concord Jazz, and was recorded in California. The catalogue number is CJ-59. I should mention that in his discography, Cal is noted as being a popular sideman, appearing on a variety of other Concord albums. As I like to say, highly recommended.<span class="Apple-converted-space"> </span></span></p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-14165014077919145792023-11-17T10:31:00.000-08:002023-11-17T10:31:41.224-08:00<h1 style="text-align: left;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX-JPGpQ6K5SsWXyJskIXlWRwOqYLtnA597RAoYarH2UlERhHv0t6f3ZyRiKwtr5cHucXl67nRdTT_Tk0-PJXOlgZKAsGb7G6m5kxUjr7gqMC4a_dKdkL_PSX2nXEqpQDFzTRoiQzxt-bcFoy8qiP6qoZnanH3QDUjsSf2OLgORTS3Em_H8hGCbU12UlbR/s3264/A6B58476-8147-44E5-A89D-4F3B0B0804C7.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX-JPGpQ6K5SsWXyJskIXlWRwOqYLtnA597RAoYarH2UlERhHv0t6f3ZyRiKwtr5cHucXl67nRdTT_Tk0-PJXOlgZKAsGb7G6m5kxUjr7gqMC4a_dKdkL_PSX2nXEqpQDFzTRoiQzxt-bcFoy8qiP6qoZnanH3QDUjsSf2OLgORTS3Em_H8hGCbU12UlbR/s320/A6B58476-8147-44E5-A89D-4F3B0B0804C7.jpeg" width="240" /></a></div><br /></h1><h1 style="text-align: left;"><b><span style="font-family: "Helvetica Neue"; font-size: 14px;"><br /></span></b></h1><h1 style="text-align: left;"><b><span style="font-family: "Helvetica Neue"; font-size: 14px;"><br /></span></b></h1><h2 style="text-align: left;"><b><span style="font-size: medium;"><span style="font-family: "Helvetica Neue";">André Previn and His Pals, Shelley Manne & Red Mitchell: “West Side Story”</span><span class="Apple-converted-space" style="font-family: "Helvetica Neue";"> </span></span></b></h2><p class="p2" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 14px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16px;"><br /></p><p class="p1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="Apple-converted-space" style="font-family: "Helvetica Neue"; font-size: 14px;"> </span><span style="font-family: helvetica;">The musicians on this recording are André Previn on piano, Shelley Manne on drums and Red Mitchell on bass.</span></p><p class="p2" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16px;"><span style="font-family: helvetica;"><br /></span></p><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">André Previn was born in Berlin in either 1929 or 1930, and emigrated to America in 1938 with his family. While primarily known for his successful career in Hollywood where he composed, orchestrated and conducted film scores (he started at 17 years of age, and by the time he was 31 had been involved on upwards of thirty), his abilities as a jazz musician are sometimes overlooked. Which brings us to this record. The musical West Side Story (inspired by Romeo and Juliet) was composed by Leonard Bernstein. To quote the liner notes on the back of this album’s jacket, written by Lester Koenig (the founder of the jazz label Contemporary Records, on which the album being reviewed was released) “The music by Leonard Bernstein is an integral part of the total conception, its unconventional song structures and harmonic progressions are not the kind which would seem to lend themselves readily to modern jazz treatment. Yet, possibly because of the challenge provided by the Bernstein material, André Previn, Shelley Manne and Red Mitchell have improvised on it brilliantly, transforming it into one of their most imaginative show-jazz albums.” One of the things that I noticed when listening to the record was the detail and care given to how the songs were arranged, and the space between the instruments. André Previn constructed interesting musical alterations to the music in order for the trio to perform their version of the songs. While the musicianship of all three players is exemplary, as a bassist I will always been drawn to what is happening on the bottom end. Red is one of my favourite bassists, and on this recording you get to hear some outstanding playing from him. A jazz trio interpretation of a musical may not be to everyone’s taste, but this one is certainly a favourite of mine. <span class="Apple-converted-space"> </span></span></div>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-34389001820008272262023-10-17T07:13:00.000-07:002023-10-17T07:13:44.231-07:00<p style="text-align: left;"> <span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Tony Rice Sings Gordon Lightfoot</p><p style="text-align: left;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgunqUstNtcyEMmhpajlCwA252Vmg5O1GrGhdsypCe3WtIMxFTNjmZ-7SuQ3UqMJK72hVyIXGPyrknxoygKlfZ4U5AUGHpv3BaXn43Q15RkUR1-AdG0rSrxO77EITsRYxkDwVQQa_5JP3yFfATqA7OdB7iVnzCwiTOSm1uXrgfuy2PmOE_MfRboYOgVbsrp/s2075/EBFEA6B3-DF8D-4FF3-B460-35D88DEC08BE_1_201_a.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2075" data-original-width="1842" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgunqUstNtcyEMmhpajlCwA252Vmg5O1GrGhdsypCe3WtIMxFTNjmZ-7SuQ3UqMJK72hVyIXGPyrknxoygKlfZ4U5AUGHpv3BaXn43Q15RkUR1-AdG0rSrxO77EITsRYxkDwVQQa_5JP3yFfATqA7OdB7iVnzCwiTOSm1uXrgfuy2PmOE_MfRboYOgVbsrp/w282-h318/EBFEA6B3-DF8D-4FF3-B460-35D88DEC08BE_1_201_a.jpeg" width="282" /></a></div><br /><p style="text-align: left;">For those unaware of who Tony Rice was, he was one of the most accomplished acoustic guitar players on the planet. He was greatly admired by his peers, and during his lengthy career he performed primarily as a Bluegrass artist, although his musical talents defied any type of categorization. </p><p style="text-align: left;">One of my favourite recordings of his was his tribute to Gordon Lightfoot. Unlike most albums of this nature, the 17 tracks on this disc were culled from various recording sessions that Tony was involved in. In the liner notes Tony recalls his time with J. D. Crowe and the New South in the mid 1970's and the initial decision to cover one of Gordon's songs. That particular band was noted for its approach to bluegrass, and has been recognized as a revolutionary force in the "newgrass" movement as well as influencing mainstream country as well. According to Tony, the band was looking for material that would be different than the standard fare, and "it was when J.D. Crowe, Ricky Skaggs and I were together that the first Lightfoot tune happened. We did ""Ten Degrees and Getting Colder"". </p><p style="text-align: left;">All of the songs included in this collection were recorded with intricate attention to detail. The acoustic instruments allow the listener to hear Gordon's songs performed with great care and attention, and with space and depth that allows the beauty of the melody and harmony to be front and centre. There are no lush string arrangements, orchestrations and vocal overdubs to crowd out the performance of the musicians. </p><p style="text-align: left;">Tony Rice has gone on record as stating that Gordon Lightfoot was his favourite songwriter, and his appreciation for Gordon's talents is borne out by the reverence and interpretation of his songs on this recording. They never worked together, but had met, and as Tony puts it, "We've hung out a few times, had a good time". Perhaps the succinct and respectful acknowledgement comes from a quote from Gordon himself, as printed on the back of the disc. "...fantastic contemporary bluegrass renditions of these songs...the musicianship on the collection is marvellous, getting into some high profile instrumental work. Thank you, Tony". High praise indeed.</p><p style="text-align: left;"> </p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-21942930581074289912023-08-04T18:13:00.000-07:002023-08-04T18:13:16.945-07:00<p> </p><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP5xH7wjGQWOVLxmV63Usr-IgYItz1tQcxwvBIQ_58cuRJ3XKgaMtAtsvYhXhxuRQqDfgNkbzVrK17CxoZh_Lycsuw8LovDS4N3OyA1payllrZHJMrAs40UDB4_AXSc2I6k-ErsOTCpsGNq75nR8bRHfMYUQrOwLlB0cakIfQH8u_2Ew3olK9L3lt0r0wU/s3264/A6532987-1457-415B-891B-39BED65BB26D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP5xH7wjGQWOVLxmV63Usr-IgYItz1tQcxwvBIQ_58cuRJ3XKgaMtAtsvYhXhxuRQqDfgNkbzVrK17CxoZh_Lycsuw8LovDS4N3OyA1payllrZHJMrAs40UDB4_AXSc2I6k-ErsOTCpsGNq75nR8bRHfMYUQrOwLlB0cakIfQH8u_2Ew3olK9L3lt0r0wU/s320/A6532987-1457-415B-891B-39BED65BB26D.jpeg" width="240" /></a></div><br /><p style="text-align: center;"><br /></p></blockquote><p><span style="font-family: Rockwell; font-size: 13px;">The Fraser MacPherson Quintet</span></p><p class="p2" style="font-family: Rockwell; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 13px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16px;"><br /></p><p class="p1" style="font-family: Rockwell; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 13px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">“Jazz Prose”</p><p class="p2" style="font-family: Rockwell; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 13px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16px;"><br /></p><p class="p1" style="font-family: Rockwell; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 13px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">This delightful record was a live recording from the Concord Pavilion at (naturally) Concord, California. Fraser, a tenor saxophone player from Vancouver BC, found a home on the Concord Jazz label, releasing a small number of albums there during his career. (It should be note that he has also released albums on other labels as well, but this article is about a Concord Jazz release).</p><p class="p1" style="font-family: Rockwell; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 13px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">The record features three Canadian jazz luminaries (Fraser himself, Ed Bickert and Steve Wallace) along with two well known American jazz musicians (Dave McKenna and Jake Hanna). For those not familiar with these artists, Ed is on guitar, Steve on double bass,<span class="Apple-converted-space"> </span>Dave on piano and Jake on drums).<span class="Apple-converted-space"> </span></p><p class="p1" style="font-family: Rockwell; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 13px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">The music is classic Concord Jazz; inspired renditions of jazz standards both well known, and obscure. The quality of the recording is excellent, with a distinct balance between all of the instruments. Fraser’s style, based more on swing than bop, is reminiscent of a Zoot Sims, or more recently, a Scott Hamilton. Never in a hurry, he negotiates through melodies adroitly, and solos with aplomb. As an added treat, Ed is featured on “Happy Man” with Fraser laying out, and Dave displays his solo piano stylings on “I’ll Never Be The Same”.<span class="Apple-converted-space"> </span></p><p class="p1" style="font-family: Rockwell; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 13px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">The recording took place in August of 1984 at the Concord Jazz Festival. As far as I can tell, this recording was only ever released on vinyl. I picked up my (used) copy at Alleycats Music and Art in Orillia. It can also be listened to on YouTube, although I’m not sure about other formats.<span class="Apple-converted-space"> </span></p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-90230935335240565952023-07-29T06:34:00.001-07:002023-07-29T06:34:17.331-07:00Chris Hillman & Herb Pedersen At Edwards Barn<p> <span class="Apple-converted-space" style="font-family: Rockwell; font-size: 13px;"> </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNoEkVk7TxQtB1nD2GjN-ZJQNvE5b8DEau7Xz4aAGbjaARARcK8W7kjxGFDiTb1V1lNUu5XFZKN0305T_zgyQvUH1GpO_qGqOrcRLKJiduAYEXvQoUz-rHt7R9tKgtmhM4JW7mmUokgZiIHcTsi6tJIpYw6qQy-lf0J0A_CNJaWzD5eNCxldzMAKurJ6w6/s3264/F38022C4-8966-4BB1-86AD-C7495597BAA6.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNoEkVk7TxQtB1nD2GjN-ZJQNvE5b8DEau7Xz4aAGbjaARARcK8W7kjxGFDiTb1V1lNUu5XFZKN0305T_zgyQvUH1GpO_qGqOrcRLKJiduAYEXvQoUz-rHt7R9tKgtmhM4JW7mmUokgZiIHcTsi6tJIpYw6qQy-lf0J0A_CNJaWzD5eNCxldzMAKurJ6w6/s320/F38022C4-8966-4BB1-86AD-C7495597BAA6.jpeg" width="320" /></a></div><br /><span style="font-family: Rockwell; font-size: 13px;"><br /></span><p></p><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><p style="text-align: justify;"><span style="font-family: Rockwell; font-size: 13px;">"At Edwards Barn” is a live recording by a group headed by Chris Hillman and Herb Pedersen. The venue is an event centre about two and a half hours north of Los Angeles that holds a couple hundred people. The concert was one of a series of annual benefit performances being held for a church. Firstly, the music is excellent. Chris and Herb have an extensive history of musical collaboration, especially with the very successful Desert Rose Band. Their voices blend effortlessly on the songs that were chosen for the concert. The selection of material includes some bluegrass (Ralph Stanley and the Louvin Brothers), some gospel (Our Saviour’s Hands) and selections from Chris’ time with the Byrds, the Flying Burrito Brothers and the Desert Rose Band, among others. The performance is relaxed without being the least bit sloppy, and all of the musicians are at the top of their game. The ensemble is one of all acoustic instruments, with Bill Bryson on string bass, David Mansfield on fiddle and Larry Park on acoustic guitar. Chris sticks to mandolin and Herb mainly guitar, although he also picks up the banjo. It should be noted that although Chris and Herb are co-listed as the band leaders, this sounds like a real group effort, with attention paid to how the songs are arranged and the vocal harmonies are sung. Looking at the instrumentation, people would assume this is a bluegrass record, but it definitely isn’t. The vibe is much more laid back, with more of a string band feel. This is one of those instances where the right musicians all got together on the right night, and thankfully the decision was made to record an amazing performance. It is a testament to these players that notwithstanding all of the years they have spent in the music business, their love of music and the depth of their talent are really on display here. As I like to say, highly recommended.</span><span class="Apple-converted-space" style="font-family: Rockwell; font-size: 13px;"> </span></p></blockquote><p style="text-align: center;"><span class="Apple-converted-space" style="font-family: Rockwell; font-size: 13px;"><br /></span></p><p class="p2" style="font-family: Rockwell; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 13px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16px;"><br /></p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-57570912290496760722023-06-11T16:34:00.001-07:002023-06-11T16:34:31.445-07:00<h1 style="text-align: left;"> <span style="font-family: "Helvetica Neue"; font-size: 15px;">Steely Dan Redux</span></h1><p class="p2" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><br /></p><h2 style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;">Can’t Buy A Thrill 50th Anniversary Edition</h2><p class="p1" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><br /></p><p class="p1" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><br /></p><p class="p1" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUkQ508TKqSknBzxM3LqRusmQoGAMJYat_TCISpaRxp1C-i_pvtie5S6bqapMts6c5-LvMOpTeE4Cmkao-o8AktM9tZIFChfotVodIqSthxt_1cmDHeAZZmgfOGqhEc0LuPJDqxjI1J1dF088iSXVfXpTE2EUSm40x4xvtraGoHB_totlYUgPtKdTbqw/s3264/C4D0AB3D-A13E-4CD2-9B1D-A8B907007090_1_201_a.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUkQ508TKqSknBzxM3LqRusmQoGAMJYat_TCISpaRxp1C-i_pvtie5S6bqapMts6c5-LvMOpTeE4Cmkao-o8AktM9tZIFChfotVodIqSthxt_1cmDHeAZZmgfOGqhEc0LuPJDqxjI1J1dF088iSXVfXpTE2EUSm40x4xvtraGoHB_totlYUgPtKdTbqw/s320/C4D0AB3D-A13E-4CD2-9B1D-A8B907007090_1_201_a.jpeg" width="320" /></a></div><br /><p class="p2" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><br /></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="p1" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">The opening percussion sequence to “Do It Again”, the lead track on side one of Can’t Buy A Thrill, is unmistakeable and once heard, instantly transports the listener. It is the perfect introduction to the debut album from the band called Steely Dan.</p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="p1" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">It is a fact that Steely Dan was then a band. They even toured as such. In the following years, the membership dwindled until it was just Donald Fagen and Walter Becker. But to start, it was a group, although always firmly under the direction of Donald and Walter, its two protagonists. To these ears, the record is a textbook example of the songwriting craft and pop sensibilities they both had, (and were to continue to display so prominently) over the years. The acerbic yet slightly opaque lyrics, usually telling us the story from the point of view of the cynical also-ran. But there were some things that set this album apart from the ones that were to follow. This was the only Steely Dan to feature a lead singer other than Donald Fagen. David Palmer would sing lead on “Dirty Work” and “Brooklyn (Owes The Charmer Under Me)”, and sang with Donald on a couple of others. Additionally, drummer Jim Hodder took on lead vocal duties for “Midnite Cruiser”. The songs on “Can’t Buy A Thrill” seem a little more concise, and perhaps a bit less esoteric than later offerings. Steely Dan records such as “The Royal Scam” and “Aja” could be seen as a palette on which Donald and Walter would bring in various musicians (session and otherwise) to add that player’s particular talents and sound to a song. This recording was primarily (but not exclusively) a product of the musicians who at that time were part of Steely Dan.<span class="Apple-converted-space"> </span></p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="p1" style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 15px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">The 50th Anniversary edition was remastered by Bernie Grundman from the original analog tapes. The album is 180 gram vinyl and is being released on the Geffen label. I bought the record a couple of days ago, and have played it a bunch, and yeah, it sounds great. I can definitely hear Walter’s bass playing more clearly (always a plus), and everything just seems in better balance, with more clarity and definition. Elliot Randall’s solo on “Reelin’ In The Years” was probably my favourite part of the album when I first heard it, and the it sounds even better on the re-issue. As I am wont to say, highly recommended.<span class="Apple-converted-space"> </span></p></blockquote></blockquote>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-16936519889404471302023-04-29T16:40:00.002-07:002023-04-29T16:40:52.217-07:00<h1 style="text-align: left;">Sonny Stitt</h1><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuuOW52P8ZNXf7yi03ML9JkRRqdg9k0pIFc46CNJUuPwzv709qT4LIHlh-TLa9VfyN68PYwRkxOz3oSzbEphtZPgIiCckBdmVI4zsCAA1eRka-W0WtpdiBlutE7VwxmGSqtg716RKSzYnGE873kY8Po2ndSW3oLQKRfenSpWAejxXk0SxYPHhA4eTCZA/s3264/A14A6F23-F591-4D0A-8D0E-3BECC156AC4D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuuOW52P8ZNXf7yi03ML9JkRRqdg9k0pIFc46CNJUuPwzv709qT4LIHlh-TLa9VfyN68PYwRkxOz3oSzbEphtZPgIiCckBdmVI4zsCAA1eRka-W0WtpdiBlutE7VwxmGSqtg716RKSzYnGE873kY8Po2ndSW3oLQKRfenSpWAejxXk0SxYPHhA4eTCZA/s320/A14A6F23-F591-4D0A-8D0E-3BECC156AC4D.jpeg" width="240" /></a></div><br /><h1 style="text-align: left;"><br /></h1><h2 style="text-align: left;">The Bubba's Sessions </h2><br style="caret-color: rgb(0, 0, 0);" /><span style="caret-color: rgb(0, 0, 0);">I know to some, Record Store Day is a gimmick, but I always thought it was a great idea. If you like vinyl (as I do), finding something unique that has been prepared for a limited release is exciting. While conducting a quick browse today at our local record store, I noticed this out of the corner of my eye. "The Bubba's Sessions" were famous tenor man Sonny Stitt's last live recordings, and come from his performances at Bubba's Jazz Restaurant in Fort Lauderdale Florida on Remembrance Day 1981. I don't have a lot of his recordings in my collection (I am fortunate enough to have a copy of Tune Up, considered perhaps his best outing), but I think this one is going to find a home on my turntable. Sonny is very capably supported on this date by Harry "Sweets" Edison on trumpet and Eddie "Lockjaw" Davis on tenor. Sonny plays tenor on most of the numbers, but switches to alto for "What's New?" and "Old Folks". The rhythm section is Eddie Higgins on piano, Donn Mast on bass and Duffy Jackson on drums. There are a good variety of songs (jazz standards) spread over 11 tracks on 2 records.<span class="Apple-converted-space"> The crystal vinyl is also pretty cool! </span></span><div><span style="caret-color: rgb(0, 0, 0);"><span class="Apple-converted-space"><br /></span></span></div><div><span style="caret-color: rgb(0, 0, 0);"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEyyRNLlfjO8D-IaEcu_xFvDMR12PmjgdEQejFeu7k__MpbLE2XJPUYvGDjGXO5g4L43h0898PujU7Dv7s9bP35vgsmLThxE6fbEczWqHWeNlxNVyfmB8-d2cFEJLOWNmzlyGdQPsk4LJRCXdOH9FSwnlDO1aRmwISXlisRMrJiUPQtk-KxcAX_5YArQ/s3264/390AB190-6E84-4BD1-A883-B9B1F1EB04BB_1_201_a.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEyyRNLlfjO8D-IaEcu_xFvDMR12PmjgdEQejFeu7k__MpbLE2XJPUYvGDjGXO5g4L43h0898PujU7Dv7s9bP35vgsmLThxE6fbEczWqHWeNlxNVyfmB8-d2cFEJLOWNmzlyGdQPsk4LJRCXdOH9FSwnlDO1aRmwISXlisRMrJiUPQtk-KxcAX_5YArQ/s320/390AB190-6E84-4BD1-A883-B9B1F1EB04BB_1_201_a.jpeg" width="320" /></a></div><br /><span class="Apple-converted-space"><br /></span></span></div>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-89746600014026177812023-04-14T08:52:00.004-07:002023-04-14T08:52:52.382-07:00<blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><h1 style="text-align: left;"><span style="font-family: trebuchet; font-size: medium;">Eric Clapton and Steve Winwood - Live From Madison Square Garden</span></h1></blockquote><div><span style="font-family: trebuchet; font-size: medium;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlfkbjFuUApFCKcgV59MoWIxsc1uT3GXb1t0Q0HagFVBd6okr9INaXNUxNafkP2Ug0IYcoFTnXlOYGblwf19SYAx6rVkek5T1DGN2rvQUuTBi78Bf6XRC63qy1mYUUGT-8WuHExI0LDQU6GGFCyq4tvi3WwIPrNfaypREzjjnf52jmm2ib53-CwZopVw/s3264/4A0C4A76-44E5-4EF3-BBE2-7A5A9D33F94E.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlfkbjFuUApFCKcgV59MoWIxsc1uT3GXb1t0Q0HagFVBd6okr9INaXNUxNafkP2Ug0IYcoFTnXlOYGblwf19SYAx6rVkek5T1DGN2rvQUuTBi78Bf6XRC63qy1mYUUGT-8WuHExI0LDQU6GGFCyq4tvi3WwIPrNfaypREzjjnf52jmm2ib53-CwZopVw/s320/4A0C4A76-44E5-4EF3-BBE2-7A5A9D33F94E.jpeg" width="320" /></a></div><br /></div><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><div style="text-align: left;"><br /></div></blockquote><p><span style="font-family: verdana; font-size: medium;"><br /></span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: medium;">Live From Madison Square Garden is a double CD recording from Eric Clapton and Steve Winwood (there was also a DVD version) taken from a series of concerts they held in late February 2008, and released in 2009. Although they had collaborated in the mid 1960’s (prior to the formation of Cream and Traffic), they are best known for the band Blind Faith which they formed in 1969, a group that seemed to have great promise, yet only lasted a few months, including a single tour. Eric and Steve remained friends however, and performed together occasionally over the years. After a successful performance together at Eric’s 2007 Crossroads Guitar Festival, they decided to perform together (with a band) at Madison Square Garden.</span></p><p class="p1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: verdana; font-size: medium;">Several songs from the Blind Faith album were performed, along with selections from both Eric and Steve’s career’s. All of the involved musicians are in excellent form, and on the whole sound well rehearsed with all of the songs played enthusiastically. These shows were the first full Eric Clapton and Steve Winwood concerts in almost 40 years. To hear selections from their time together as Blind Faith played again live was something I really enjoyed, and one can’t help but wonder what might have happened if they had managed to stay together. As I like to say, highly recommended. </span></p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-64840951997453907572023-02-26T07:20:00.002-08:002023-02-26T07:21:21.116-08:00Al Di Meola - Casino<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVPhT4Tyv1SNLWrbMZUDYRB5mcPDqebWFAvw5fL6k1tnSAannyK0wffPw6nz_jbco0zHg3iZ4hEhQYLNSj-Ui6UCNrphoyDtOUJrhH8TLUFiR3fcGlDOGrhOcVefhVk1yrkrFVQXm9Z7ccOQ3zbBZqFSFCRivyCJjHtP6B4Vb90R1-DNfeAODYFFTPhQ/s3027/CFC5FA5A-0711-464C-9F80-A3E961797EC6_1_201_a.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2361" data-original-width="3027" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVPhT4Tyv1SNLWrbMZUDYRB5mcPDqebWFAvw5fL6k1tnSAannyK0wffPw6nz_jbco0zHg3iZ4hEhQYLNSj-Ui6UCNrphoyDtOUJrhH8TLUFiR3fcGlDOGrhOcVefhVk1yrkrFVQXm9Z7ccOQ3zbBZqFSFCRivyCJjHtP6B4Vb90R1-DNfeAODYFFTPhQ/w400-h313/CFC5FA5A-0711-464C-9F80-A3E961797EC6_1_201_a.jpeg" width="400" /></a></div><br /><p></p><p>I follow Mr. Di Meola of FaceBook, and he recently reminded us that this is the 45th anniversary of the release of the album "Casino". This is a record I have owned for well over 40 years, and it has provided me with many hours of listening pleasure. It has much to recommend it; Al's guitar playing is off the charts, the musicianship of all of the contributors is exemplary, the songs are real songs. and not just a "chops fest" for all concerned (in other words, musical). Mr. Di Meola also produced and arranged the recoding. The sound is excellent and well balanced. I especially like the way the keyboards are included. Not only are they used for solos, the variety of sounds and textures that they provide are used to enrich the sound of the songs and provide harmonic structure. There is a strong latin (or Spanish) feel to much of the album, and we get to hear some of Al's tasteful classical guitar playing on a few tracks. The term "fusion" can sometimes have negative connotations, and I'm not sure I would classify this record under that genre, but if that is where it belongs, then is an example of that type of jazz as its best. </p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-41444082820760826912023-02-22T16:36:00.000-08:002023-02-22T16:36:42.792-08:00Wynton Kelly Trio Wes Montgomery "Smokin' in Seattle"<h1 style="text-align: center;"><span> </span><span> </span><span> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYgr8oHLyFcSC9RKjaz9qd_0ybs5LXme5smWafgxmVNYYNWSI_1tm-b_ozo2QSyXA86uCf_Tml_CtxSO8uumksvxiMJ29z60pyhDwSgfgRw58fRY1Kf5UsnxtPUz-HqOtLaPiiWMo3RcAdXOR9sQqVec_K8VxG_7f_K6Le0625Xne2gLd4-BDKnQOF4A/s3264/0201EBE0-4E5B-4565-8879-EC4CCD0401EA.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYgr8oHLyFcSC9RKjaz9qd_0ybs5LXme5smWafgxmVNYYNWSI_1tm-b_ozo2QSyXA86uCf_Tml_CtxSO8uumksvxiMJ29z60pyhDwSgfgRw58fRY1Kf5UsnxtPUz-HqOtLaPiiWMo3RcAdXOR9sQqVec_K8VxG_7f_K6Le0625Xne2gLd4-BDKnQOF4A/w480-h640/0201EBE0-4E5B-4565-8879-EC4CCD0401EA.jpeg" width="480" /></a></div><br /></span></h1><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><h1 style="text-align: left;"><br /></h1></blockquote></blockquote></blockquote></blockquote></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: verdana; font-size: medium;">“Smokin’ in Seattle” is the title of a 2017 release on the Resonance label of a pair of live performances featuring the Wynton Kelly Trio with Wes Montgomery. The recordings originated from the Penthouse, a jazz club in (naturally) Seattle. King FM, a local radio station, had an agreement with the club that they could broadcast a weekly radio show featuring live performances from the artists who were booked into the venue. According to the booklet accompanying the CD, the performance was captured using a four channel tube mixer and line amplifier, and four microphones. Jim Wilke, an employee of the radio station, who was the engineer who set up the equipment, indicated that he set the microphones on the stage, placed the mixer and amp on a table next to the stage and attached a telephone line connected back to the studio. He also said “It was a live mix with no EQ, no reverb, no compression and no rehearsal. Over 200 broadcast from the penthouse were aired live this way and simultaneously taped on the studio Ampex, as they were broadcast”.<span class="Apple-converted-space"> </span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: verdana; font-size: medium;"><span class="Apple-converted-space"><br /></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: verdana; font-size: medium;">These particular shows occurred on April 14th and 26th, 1966. The broadcasts were from the first 30 minutes of each of the two shows. Wynton’s trio opened up, with Wes joining in after a couple of tunes. Wynton’s trio consisted of himself on piano, Jimmy Cobb on drums and Ron McClure on bass. The trio is in excellent form, and provide exemplary support for Wes, who is heard on 6 of the 10 tracks. The band really lets loose and the description in the title of “Smokin,” is no exaggeration when it comes to the music in this release. The sound is also excellent (kudos to the production and mastering crew at Resonance).<span class="Apple-converted-space"> </span></span></p><p style="text-align: left;"><span style="font-family: verdana; font-size: medium;">Jazz fans are no doubt overjoyed at being to hear a historic (and high quality) performance from Wes and this trio, (which so perfectly supports him) which heretofore was unavailable. Thanks to Resonance for releasing this amazing gem. I would also add in passing that the CD incudes a very informative 40 page booklet with several interviews, including ones with two surviving band members; Jimmy Cobb and Ron McClure, and great period photos. As I am wont to say, highly recommended.<span class="Apple-converted-space"> </span> </span></p></blockquote>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-29586040428662742392022-03-05T05:06:00.002-08:002022-03-05T12:50:22.974-08:00<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><h2 style="text-align: left;"> <span> <span> <span> <span> <span> <span> <span> <span> <span> </span></span></span></span></span></span></span></span></span>The Kings</h2></blockquote><p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgs3giiZga3ufDmr0v_Wqu4SveE_UVwDgHX_rxvJam2Dl13H9sWSTQiLzBi2EiDKZPyDztsBjd8TL-rHSjnNC0PJIqAq7lQ4oNwKAd4mGYh37PeGbdHvmk-l8RbI7H6krMQCpft2pEYfVBmdyTOWYS_Mf24rVeMTFEcdvkUv9_hrVTTgkmgRPSDFEkwMg=s600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgs3giiZga3ufDmr0v_Wqu4SveE_UVwDgHX_rxvJam2Dl13H9sWSTQiLzBi2EiDKZPyDztsBjd8TL-rHSjnNC0PJIqAq7lQ4oNwKAd4mGYh37PeGbdHvmk-l8RbI7H6krMQCpft2pEYfVBmdyTOWYS_Mf24rVeMTFEcdvkUv9_hrVTTgkmgRPSDFEkwMg=s320" width="320" /></a></div><br /> <p></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><h2 style="text-align: left;"><span> <span> <span> <span> </span></span></span></span>"This Beat Goes On/Switchin' To Glide"</h2></blockquote><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: arial;">The Kings are a Canadian band that originated from Oakville Ontario during the late 1970’s. The original lineup consisted of Dave Diamond (bass and lead vocals), Mister Zero (guitar), Sonny Keyes (keyboards) and Max Styles (drums). Dave and Max had originally performed together in a band while at high school (which broke up), and then Zero was in another band with Max (which also broke up). Dave and Max graduated to the playing in the local GTA bar scene after high school, while Zero ended up in Vancouver. While there, he met Sonny, and together they began composing. They decided to form a band, returned to Ontario, and Dave and Max were recruited. While the band has the usual suspects as influences (Beatles, Stones, Zep, etc), they were determined to write and perform their own music. One way for a band to get some notice (and airplay) back in those days was for it to enter one of their original songs in a contest held by a local radio station. For The Kings, that meant competing in the first ever home-grown competition sponsored by Toronto powerhouse CHUM FM. The band had to compete with 600 other entries, but were successful and came in first. According to Zero, “We got a free lunch, and every label turned us down”. </span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: arial;">The band decided to soldier on and record a record on their own as an independent artist. As fate would have it, a chance meeting turned everything around in an instant. The band was working at Nimbus 9, a well known Toronto recording studio at night and during off hours. At the same time, noted Canadian producer Bob Ezrin, fresh from completing Pink Floyd’s “The Wall”, happened to be in Toronto, and decided to stop off at the studio. Zero recalls “Our manager played him our stuff and he liked it.” Bob then agreed to work with the band. Initially, he was just going to remix some of their already recorded tracks, but it was decided to redo everything with Bob at the helm. With his support and assistance, the band then signed with Elektra Records. Bob Ezrin’s involvement was a major turning point in the band’s career. He was a mentor as well as acting as producer. As is now well known, The Kings had a massive hit with the song “This Beat Goes On/Switchin’ To Glide”. Zero explained that originally, they were “two songs that needed something as they weren’t enough on their own. So we thought it might be fun to put them together. That was how Bob heard them but he said something wasn’t right so Dave rewrote the music and Zero redid the lyrics. Add Bob’s incredible production and you have a hit”. </span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: arial;">“This Beat Goes On/Switchin’ To Glide” was a staple on the radio during the summer of 1980. The song was a hit right across North America, with heavy airplay here in Southern Ontario. There were a number of musical aspects to the song that contributed to its success. The muscular guitar riff to start the song, the dance-floor friendly tempo and the 1960’s influenced keyboard sound instantly grab the listener’s attention. The band’s look and the song structure were a perfect for the nascent New Wave music scene in North America. The transition from “This Beat Goes On” to “Switchin’ To Glide” is a highlight of the song, with a band-shouted chorus leading to different series of chords, followed by the keyboardist playing a descending single tone (I believe using a “Mini-Moog” synthesizer) to introduce the next segment of the song. It should be noted that the song’s tempo never shifts. The song enjoyed a lengthy stay of 23 weeks on Billboard’s Hot 100. (Here is a link to short video about the song courtesy of Behind The Vinyl Boom 97.3 <a href="https://www.boom973.com/2016/10/11/behind-the-vinyl-this-beat-goes-on-switchin-to-glide-the-kings/">https://www.boom973.com/2016/10/11/behind-the-vinyl-this-beat-goes-on-switchin-to-glide-the-kings/</a></span><span style="font-family: arial;">With the success of their hit single, The Kings found themselves on the concert circuit opening for some the bigger acts of the day, and were invited to perform on American Bandstand. They also obtained a coveted spot on the bill for the famous Heatwave Festival, which was noteworthy for its emphasis on featuring New Wave and Punk artists. As Zero related to me “Heatwave promoter John Brower was a guy we met around town and he thought we were good enough to be on the bill. We played last because we wanted to be under the lights at night. We’re so glad we have the movie of that night; it shows us at a specific moment and time, rocking out” (The Kings portion of the concert was filmed). With their hit single, The Kings enjoyed great sales and radio play both here in Canada and south of the border. They continued to record, but were not able to duplicate the success they had with "This Beat Goes On/Switchin' To Glide". There are a few versions of the song; it was included on the band's debut album "The Kings Are Here" and of course was released as a single. The Kings certainly hit it out of the park with this song, and it deservedly has established itself as a Canadian summer classic. The Kings are still active, and of course have their own website if you would like to know more about the band. </span></p></blockquote><p><span style="font-family: arial;"> </span></p>
Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-38261445503532617942021-12-17T06:21:00.001-08:002021-12-17T06:30:04.364-08:00Malcolm Burn Walk Don't Run<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_CvQcc5vSCNsT4PD0glLbUIH-z2jkoP74E4T-kzeN_BewjA_Sy_9ZdRv6QLzu-7YjvxgPF2yvO6asNiHdGymRy6m6tpyUZUy3hKo2_sFKw7yXyswpYvR4tEeqAHm84uF40MZTvEVYjZA_/s825/691A6050-6C59-45C8-B243-CE58BA78461C.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="825" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_CvQcc5vSCNsT4PD0glLbUIH-z2jkoP74E4T-kzeN_BewjA_Sy_9ZdRv6QLzu-7YjvxgPF2yvO6asNiHdGymRy6m6tpyUZUy3hKo2_sFKw7yXyswpYvR4tEeqAHm84uF40MZTvEVYjZA_/s320/691A6050-6C59-45C8-B243-CE58BA78461C.jpeg" width="233" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>Malcolm Burn has had a very successful career as a producer, working over the years with many artists, including Emmylou Harris (he produced her Red Dirt Girl album, which won in the Best Contemporary Folk category at the 2001 Grammys), Daniel Lanois and Iggy Pop. Prior to his career as a producer, he was active as a songwriter and musician. Hailing originally from Deep River Ontario, Malcolm moved to Toronto and in 1981 was a member of the New Wave band Boys Brigade, and was one the band's vocalists as well as playing keyboards and being a songwriter. The group was part of the Queen Street West music scene, and in 1983 released a top 40 single, "Melody" that Malcolm had helped to write. Besides receiving extensive airplay, the song's video featured prominently on the Canadian music video show, Much Music.<div>Before he commenced on his music production career though, in 1988 he released a solo album titled "Redemption". While the album may not necessarily have been a big seller, it has its devoted fans. In particular, the single from the album, "Walk Don't Run" stands out as a classic slice of late 1980's post new wave guitar driven rock. </div><div>I recently spoke with John Whynot about the album. John, a successful Canadian musician, composer and producer in his own right, was very generous with his time and reminisced about the project. Concerning its genesis, (and his involvement), he said that he was hanging out with Malcolm quite a bit at the time, and they just decided to go into the studio to work on some songs that Malcolm had. I asked John about the musicians on the project. John didn't think Malcolm had an actual band at the time, although of course there a few people around he had been playing with. John asked his friend Glenn Milchem to play drums on the project, and Andy Curran played bass. (Glenn is best known as the drummer for Blue Rodeo and Andy was the original bassist and singer with Coney Hatch). John recalled that Malcolm was friends with guitarist Bill Dillon who also contributed. (And on a side note, please take a moment to check out Bill's career, it's incredible!). Basically, "it was kind of pick up, but each participant was fantastic". When it came to the actual recording of the music, John advised me that he and Malcolm "had a kind of relationship with the people who had inherited or bought Grant Avenue studio from the Lanois brothers, and so we went out to Hamilton to do some of the recording. Dan Lanois also got involved along the way, and he ended up remixing some of the songs we did, along with Malcolm. Right after all this, Malcolm went off to New Orleans to work with Dan on some other projects (some band called The Neville Brothers and some guy named Bob Dylan). I went to LA shortly after, too, so we weren't hanging out so much anymore. Still pretty good friends, though." </div><div>The single from the album that most people will remember was "Walk Don't Run" (there were two versions, a 7" and also a 12"). This was the song that got some airplay (I specifically remember hearing it on CFNY, with Malcolm actually speaking over the intro introducing himself). It is a pretty straight forward rocker, with a catchy chorus and a great finish (or "outro" as some might put it). As one might anticipate, with Daniel Lanois involved, the song is very well recorded and mixed. </div><div>To call Redemption a cult classic or forgotten masterpiece would be over egging the pudding. It is though an example of a good songwriter preparing, recording and producing a fine batch of songs, and to be fair, certainly has its devoted fans. The album is available for download from Apple Music (or you can just listen to it on YouTube) Also readily available for your viewing pleasure is the video made to promote the single Walk Don't Run (which John emphatically advised he was not in). The album was released on the Anthem label here in Canada. </div><div><br /></div><div class="yj6qo ajU" style="cursor: pointer; margin: 2px 0px 0px; outline: none; padding: 10px 0px; width: 22px;"></div><br class="Apple-interchange-newline" /><div> </div><div> <p></p></div>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-1533430074117056172021-06-16T17:28:00.000-07:002021-06-16T17:28:00.667-07:00Bob Carpenter & Silent Passage<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiloXNLl3TemWgTXlDiLNczpZNOuFgXCBMv4AjqvpOyzFMYHAMYvswcrIge20B18HkzTYl7bXuC-Zk8E1F51XuMpgGtpNjJPBsVmx88YM0hrWebH11ljEIGP6dazfUVTbA8LF1CVGjJcc-F/s425/BobCarpenterfront.jpg.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiloXNLl3TemWgTXlDiLNczpZNOuFgXCBMv4AjqvpOyzFMYHAMYvswcrIge20B18HkzTYl7bXuC-Zk8E1F51XuMpgGtpNjJPBsVmx88YM0hrWebH11ljEIGP6dazfUVTbA8LF1CVGjJcc-F/s320/BobCarpenterfront.jpg.jpeg" /></a></div><br /><p></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Guitarist Bob Carpenter was a Canadian singer and songwriter who performed in the folk genre during the early 1970’s, a period generally considered the golden age of Canadian music. Although not well known (even during his performing years), he was well respected by his peers, with artists such as Emmylou Harris and Billy Joe Shaver recording his songs. He is generally associated with the West Coast, although he was born and grew up in the North Bay area of Ontario. I was unable to uncover much about Bob’s early years, although apparently he started out like many other “folkies” in the Yorkville era of the mid ’60’s. He somewhat mysteriously appeared at the farewell party for the artists who were part of the Festival Express, a legendary series of 1970 Canadian concerts featuring Janis Joplin, The Grateful Dead, The Band, The Flying Burrito Brothers and Ian and Sylvia’s Great Speckled Bird among others. The party was held at the York Hotel in Calgary, and his performance was impressive enough to merit special recognition by the reporter from <i>Rolling Stone </i>who was covering the Festival Express tour. </p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Bob continued to hone his craft, mainly in Canada it would seem, in the following years. He was getting noticed however, and a contract with Warner Brothers in 1974 led to recording sessions in Los Angeles with noted Canadian producer Brian Ahern. The result was the cult classic “<i>Silent Passage”. </i>The making of the record, it would seem, was fairly straight forward. Brian had assembled a first rate band to support Bob; session musicians extraordinaire Lee Sklar on bass and Russ Kunkel on drums, Bill Payne and Lowell George from Little Feat of piano and slide guitar respectively, pedal steel ace Buddy Cage and Emmylou Harris and Anne Murray (yes, our Anne Murray) on background vocals. On listening to the music, it seems one could not have found a more sympathetic musical partner than Brian Ahern. The production is not lush, but the instrumentation provides support and context to Bob’s sparse guitar and vocals. His voice has to be heard; the gentle intensity and sincerity is stunning. Comparisons do not come easily, perhaps one can detect a hint of Harry Chapin here and some Bob Dylan there, but really, Bob was his own man, and these are his songs. Although all of the tracks are outstanding, the title song simply knocks it out of the park. Bob was not at all a technical singer, but the songs were written to provide a vehicle for the story he wanted to tell, and his ability through his voice to tell that story was his strength. I learned of this record through Lee Sklar’s youtube channel, where he talks about the recording sessions he has been involved in. Interestingly, Lee recalls that on projects like this nothing was written out. He and some of the other musicians simply came into the studio and listened to the artist perform his songs, and then tried to come up with a part that fit. Having the quality of this type of musicianship is integral in ensuring the artist’s vision of their music is maintained, and having a sympathetic producer doesn’t hurt either. </p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Creating a masterpiece is one thing, getting it to the public so they can listen is unfortunately another. For whatever reason, the label decided against releasing the record. After listening to the finished product it seems stunning that the whole thing was shelved. I haven’t been able to find any specific reason, maybe there wasn’t one. Record companies are notoriously fickle and arbitrary. Sadly that might have been the end of it, but Bob had supporters and in 1984 Holger Petersen’s Canadian label Stony Plain Records acquired the rights to the album and it finally saw the light of day (or so the story goes, details to follow). The album has continued to be in demand, with glowing reviews from publications such as <i>Rolling Stone, </i>including in 2014 when the magazine selected <i>Silent Passage </i>as one of the top 10 reissues of the year. </p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">For those that want to hear the record, it is available digitally. For vinyl purists, it gets a little murkier. When one ventures on-line to conduct a search, vinyl copies of the record on the Reprise label appear. So how is it that a record that was apparently never released in 1975 be found for sale in 2021? While I don’t have a definitive answer, it would appear that some number were pressed before the decision was made not to officially release the record. After that, a third party could have bought them (who knows why) and surreptitiously put them our for sale. I’m not sure how they could otherwise have got out there. Vinyl copies (at a much more reasonable, although still steep price) from Stony Plain can also be found for sale on-line. Interestingly, Stony Plain also used the same cover art (front and back) as the original version. There is also the 2014 compact disc reissue from No Quarter, and of course, iTunes. </p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Bob Carpenter was a very spiritual person, and it seems in the years after the recording of <i>Silent Passage</i>, he decided to move on from the music business to pursue a more religious life. He died quite tragically and far too early to cancer when he was only 50. I am very recent convert, and so I admit I may lack objectivity, but the recording really is extraordinary and his music deserves recognition. As I like to say, highly recommended. </p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-61363574197931111512021-05-01T06:57:00.018-07:002021-05-01T07:02:59.767-07:00<div style="text-align: left;"><span style="font-family: arial; text-align: center;"><span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span><span style="font-size: medium;"> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;">Blue Peter</span></span></div>
<p style="font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px; text-align: center;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwdvm-884Acze_o6cjye-w4j6foxRfUU1evSSgrfni-OAvPpi_wsao-azCS4VUBj_x_hUM6HjV4cmSXJXOL0M32mv5C7WNTvk7My9tX_Wg6Z9sAae05REM9n-mV3nbdesKzFdUnqDW-PUb/s600/120BFC12-FD72-4405-8C7C-0FD846EAC33C.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwdvm-884Acze_o6cjye-w4j6foxRfUU1evSSgrfni-OAvPpi_wsao-azCS4VUBj_x_hUM6HjV4cmSXJXOL0M32mv5C7WNTvk7My9tX_Wg6Z9sAae05REM9n-mV3nbdesKzFdUnqDW-PUb/s320/120BFC12-FD72-4405-8C7C-0FD846EAC33C.jpeg" width="320" /></a></div><br /><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">"Don't Walk Past"</p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;"><br /></p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">With the recent tragic and untimely passing of Blue Peter lead singer and frontman Paul Humphrey, the timing is right for a review of their iconic single, “Don’t Walk Past”. Both the song and its accompanying video were ubiquitous during the summer of 1983 here in Southern Ontario. The song itself was a classic in the New Wave genre featuring soaring vocals and synthesizer; one of those tunes that once heard is instantly recalled by the listener. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">Hailing from Markham Ontario, the band started during the later part of the 1970’s when high school chums and band co-founders Paul Humphrey (lead vocals) and Chris Wardman (guitarist and songwriter) began practising and writing songs in Wardman’s basement. According to the biography section from the band’s excellent website (<a href="http://bluepeterband.com">bluepeterband.com</a>), during this period as the band began take shape and play out, “<i>Humphrey remembers that the era was one in which many new bands faced certain challenges that made the going difficult. "In those early days, there were no places for a band who did original material to play. In a lot of bars, you had to play cover tunes, so we came up with our own treatments of the Stones, Iggy Pop, Led Zep, and the like, but we really wanted to have a way of exposing our songs. Besides," Paul continues, "we really couldn't play a lot of those covers 'cause we found it just didn't work that well with our energy." Times did change, however, and the live venue scene in Toronto started to open up, providing more opportunities for young, up-and-coming bands to get a shot at playing gigs. "It was an exciting time," recalls Humphrey. "Clubs like The Edge and Larry's Hideaway opened up and a lot of good bands with original music got a chance. There's a certain musical historical element to those days, and we were part of it." </i></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">The first several years of the band (1979 -1983) were spent in sorting out personnel and honing the group’s identity. Their trajectory was not meteoric, but it was a steady progression of recording and performing. Blue Peter were a popular draw on the local club scene, with their visibility being boosted when they were selected to open for British New Wave acts that were touring here in Ontario. During this time period, the unique sound they were developing was being recognized locally with support from independent FM radio station CFNY and the weekly music and cultural television newsmagazine “The NewMusic”. Having your songs played on the radio is crucial in generating record sales, and prior to the release of “Don’t Walk Past”, the band had recorded and released a few singles, a couple of EP’s and a full fledged album, “Radio Silence”. In 1983, the band recruited English music producer Steve Nye, whose credits included work with Japan and Bryan Ferry, to work on their new material. Out of those sessions they released what is generally considered their signature song, “Don’t Walk Past”. </p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px; text-align: justify;">The version of the band that recorded “Don’t Walk Past” consisted of mainstay’s Humphrey and Wardman, as well as Rick Joudrey (bass), Jason Sniderman (keyboards), and Owen Tennyson (drums). The single was released on the Canadian label Ready Records in both seven inch (catalogue number SR 331) and a twelve inch (catalogue number SRB 033) versions. It was also part of their album <i>Falling. </i>The accompanying video of the song has been recognized as one of the top Canadian music videos of its time, winning the “Best Video of 1983” award from the Canadian Film and Television Association. In addition to Paul Humphrey's passionate vocals, the song had a strong groove, with keyboards providing most of the melodic structure, a simple but punchy bass line and minimal but effective guitar. It is easy to see why the song and its accompanying video have had such an impact on the Canadian music scene. For better or worse, in the age of music videos, appearances became crucial in breaking a band and getting their videos played. Besides Paul Humphrey’s talents as a vocalist, he was very telegenic. As well as being aired in Canada, the video was picked up by MTV and broadcast in the United States. It should be noted that with his untimely passing, several Canadian artists who were part of that scene, (or were up and coming), have acknowledged the influence of the band and Paul in particular. Gord Deppe of Spoons fame stated that “Paul was one of the kindest and most talented people I ever met”.</p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">Although “Don’t Walk Past” was crucial in increasing its popularity, the band would call it quits in 1985. They will always be closely identified with the song though, and its success cemented Blue Peter’s importance as part of the Canadian New Wave music scene.</p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com2tag:blogger.com,1999:blog-8123961184404041464.post-32653828263058726452021-03-21T06:32:00.000-07:002021-03-21T06:32:02.498-07:00FM - Phasors On Stun<p> </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">“FM” was the name of a band formed in Toronto in 1976. The first version was duo featuring Cameron Hawkins (keyboards, bass guitar and vocals) and Jeff Plewman (violin, mandolin, vocals), better known by his stage name “Nash the Slash”. Although Nash the Slash would later become better known for his stage persona which featured him having his face completely covered in wrapped bandages, sunglasses, top hat and tuxedo, at this point he was just wearing the sunglasses, tux and top hat. From the start the band performed their own original compositions. On of their first public appearances would be on the Ontario public broadcaster TVOntario (better known through its acronym “TVO”) as featured artists in the network’s Nightmusic concert series. This specific performance is currently available for viewing on-line for those who may be interested. The band had a unique sound, featuring layered keyboard textures and creative synthesizer melodies from Cameron Hawkins alongside Nash’s ethereal violin and mandolin playing. Both band members also sang. An early version of one the band’s best known songs, “Phasors On Stun”, was performed at this time.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">In early 1977 Martin Deller (drums) joined the group making it a trio. His addition provided a propulsive drive that cemented the band’s sound. It was this lineup that was invited to appear the CBC television variety show “Who’s New”, resulting in the CBC offering to pay the band for an album length recording session. It was out of this process that the band’s first album was created. Included in this process was the release of a promotional single, “Phasors On Stun”. The album, “Black Noise”, was released by the CBC, although it was only available in limited quantities, and in 1978 was re-released on the GRT/Passport label domestically (and was readily available for purchase). Black Noise became a good seller, with the single Phasors On Stun a staple on FM radio. The album has stood the test of time quite well, being ranked as number 48 by Rolling Stone magazine as one of their top 50 in the category of progressive rock. I would not describe the album as being overtly “spacey”, although it does have a futuristic feeling with an overtone of science-fiction, and for a prog rock album, is quite accessible. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">As a 7 inch single, Phasors On Stun was released in two different versions. The promotional version featured a stereo version on one side, and a mono version of the other. The version that came from the GRT/Passport release of Black Noise was a later take, and featured another song from the album as the B side. The first version was about 30 seconds shorter than the later release. The later version would be the one most closely identified with the group. The song starts with a series of keyboard and mandolin figures, joined by the drums before the first verse is sung. The actual words Phasors On Stun never appear in the song, although a sound effect meant to simulate the discharge of a phasor (the science fiction version of a handgun from the 1960’s Star Trek television show) can be heard in the background during the final verse. The song has a push/pull feel from the bass line and the vocal phrasing, and like any good single, instantly imprints itself on the listener. As I have indicated earlier, it was a popular song on rock FM radio throughout Southern Ontario, and was the song that would be most closely associated with the group. Shortly after the album’s release, Nash the Slash decided to leave the group, and was replaced by Ben Mink. This trio was the one that I recall seeing in the Toronto club scene in the early 1980’s. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">FM would continue to perform, albeit with a number of personal changes. Cam Hawkins has been the consistent member throughout the various versions of the band. Nash The Slash would also perform as a solo act. To “dial in” a classic song from one of Canada’s 1970’s most accessible progressive rock groups, tune in your radio to FM, and enjoy Phasors On Stun. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgYF4e0jiDu_MmZc3qEeexFpHS4WGvqnbSZVpUxHNKm5yoaGI45LUkTzIz1WHLujqv6bbUPkqsF6q-sCgVqnwVmGyLo4Sz9HhjXBHPqNpmoC7BqdHOHVRSUY7rKIvTs3qqNZN44_ndKlMS/s2048/2EAE5518-7BCE-40C3-8B05-67A099345DAC_1_201_a.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1639" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgYF4e0jiDu_MmZc3qEeexFpHS4WGvqnbSZVpUxHNKm5yoaGI45LUkTzIz1WHLujqv6bbUPkqsF6q-sCgVqnwVmGyLo4Sz9HhjXBHPqNpmoC7BqdHOHVRSUY7rKIvTs3qqNZN44_ndKlMS/s320/2EAE5518-7BCE-40C3-8B05-67A099345DAC_1_201_a.jpeg" width="320" /></a></div><br /><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><br /></p><div><br /></div>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-85617657208983378942021-02-23T04:48:00.000-08:002021-02-23T04:48:39.052-08:00Wheatfield Empire - A Listener’s Guide to The Guess Who<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0WTJpN3EJcEGYlh71UDRC0ttiu5eqg3Q2RjCU8PErzyLxKIT9VFbdqWfdcgLXTndY9xgyZqPGb420RHQs4QWKnKh9rr4Oo4tp19ucpBiOcuJy879-9AgpAyZc7J96Bwq5fbb1J9hk5m9D/s2048/4F2E8C77-7CB2-4FDB-A1C2-BF36A742B220.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1530" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0WTJpN3EJcEGYlh71UDRC0ttiu5eqg3Q2RjCU8PErzyLxKIT9VFbdqWfdcgLXTndY9xgyZqPGb420RHQs4QWKnKh9rr4Oo4tp19ucpBiOcuJy879-9AgpAyZc7J96Bwq5fbb1J9hk5m9D/s320/4F2E8C77-7CB2-4FDB-A1C2-BF36A742B220.jpeg" /></a></div><br /><p><br /></p>
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<p style="font-family: "Helvetica Neue"; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">Robert Lawson’s new book, “Wheatfield Empire The Listener’s Guide to The Guess Who” is a welcome addition to the literary history of one Canada’s foremost bands, a history that is surprisingly thin. The Guess Who, a Canadian group that should need no introduction, have been around in various incarnations since the early 1960’s. Starting out in Winnipeg, they became international successfully, and are best known for their 1970 hit “American Woman”, a number one single in both Canada and the United States. The band is also known as the launching pad for two of Canada’s best known rock stars, Burton Cummings and Randy Bachman. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">Robert’s book is valuable compendium for fans of the group providing exceptional detail not only of their recording history, but also of the different musicians who over the years were part of the Guess Who. The author is described on the book’s cover as “a life long fan of The Guess Who” who “has spent years tracking the band’s recording history and consulted closely with many Guess Who experts to compile this comprehensive guide”. This is certainly borne out in the thoroughness of the detail contained within. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">The information is provided in a chronological order, including the earliest iterations of The Guess Who, and the various reunions that have taken place after the demise of the band in 1975, and also includes details about Randy Bachman and Burton Cummings’ solo careers. Robert also includes details about specific live performances made by the band such as appearances on television shows, and “bootlegs” from concerts performed by the group. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">Each of the dozen albums released during the band’s golden period (1969 - 1975) has its own chapter, including details about the recording studio, the producer and engineer, and release date. The description of the album includes a background, an overview, details concerning the release and reception and the subsequent reissues and remasters of the recording. Complimenting the above are reproductions of promotional materials pertaining to the release of the record and other relevant documents of historical relevance, as well as commentary from band members (including Burton Cummings), individuals closely associated to the recording and those with insight into what was going on at the time. As to be expected, the book also contains a complete discography. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">I found the book to very entertaining and an easy read, containing all of the kind of detail a fan of the group would be interested in. The commentary provides interesting context about the what was going on with the band at the time the records were being made, with many humorous asides. It goes without saying this book is a must for fans of The Guess Who, especially when one considers the scandalous paucity of written material about this seminal band. Definitely recommended. </p><div><br /></div>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-82604486412904560932021-02-06T05:59:00.001-08:002021-02-08T07:23:05.231-08:00<h3 style="text-align: left;"><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQYE5lEM_hd6lkAwghYmmx4mS6OrXQtjd99CisR4DaCX30l-wVjoJ7KDg4-H0v8jWFlGFbvQRJdnYDVZSv7Q1nROtSX7z1b2iEXULtfiv6Pa5I86I8DwkazL5JwfPZS3wSxtoAvF_Xf4G/s600/2CCE434E-F930-4A17-9380-690215BC86E1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQYE5lEM_hd6lkAwghYmmx4mS6OrXQtjd99CisR4DaCX30l-wVjoJ7KDg4-H0v8jWFlGFbvQRJdnYDVZSv7Q1nROtSX7z1b2iEXULtfiv6Pa5I86I8DwkazL5JwfPZS3wSxtoAvF_Xf4G/s320/2CCE434E-F930-4A17-9380-690215BC86E1.jpeg" /></a></div><br /><span style="font-family: "Helvetica Neue";"><br /></span></span></h3><h3 style="text-align: left;"><span style="font-size: medium;"><span style="font-family: "Helvetica Neue";"><br /></span></span></h3><h3 style="text-align: left;"><span style="font-size: medium;"><span style="font-family: "Helvetica Neue";">Coyote</span><span style="font-family: "Helvetica Neue";"> </span></span></h3>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Reaching that elusive brass ring of commercial success can be one of the most frustrating aspects of the music business for many talented artists. In the golden age of Canadian rock music (generally considered the 1970’s and 80’s), this meant selling records. Although experts could make an educated guess about which bands would “make it”, it was difficult to explain why one single could break a band and propel them to stardom, while at the same time, other groups could record and release great music, and yet toil in obscurity. While it may seem to casual observers of the music scene that having a recording deal with a label meant that a group had finally “made it”, the truth is that it was merely the first step. Radio had to be convinced to put the song into rotation (so that the listeners could hear it), artists and repertoire (A&R) representatives from the label had to promote the record and ensure that it was in stores (so the public could buy it), and crucially, the record label itself had to decide to release the record in the first place (before any of the aforementioned actions could take place). You would think that if a band had a record deal, (and they actually went into a studio and laid down enough tracks for an album), then the label would release same and offer it to the public for purchase. However, the truth is that in many cases, for reasons known only to the label, the recordings never see the light of day. While the band may have had a devoted following based on their live performances, commercial success relied on selling records. Coyote, a mid 1970’s Canadian group, had this unfortunate experience.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Coyote was comprised of a number of veterans of the Eastern Ontario music scene. I contacted Gary Comeau, one the original members and through some text messages, he graciously provided me with the band’s story. In the summer of 1974, Gary was in Kingston with his girlfriend. He had just finished playing with Cliff Edwards (of the Bells fane). While in Kingston, Gary renewed acquaintances with two old friends, Richard Patterson and Colleen Peterson. Colleen told Gary that a friend of hers was starting a band, and that maybe Gary should talk to him. She arranged for Gary to meet with this friend whose name was Paul Lockyer. The meeting went well, and the boys started work on putting together a new group. The first bassist was Brian Edwards (lead singer with Mashmakan), but he left and Gary recommended his old friend Charle Bergeron. Gary and Charles had worked together previously in a group named James Leroy and Denim. This was for the next two years the lineup for what would be known as Coyote. The band was comprised of Al Manning (guitar & vocals), Paul Lockyer (keyboards & vocals), Gary Comeau (guitar & steel guitar), Glen LeCompte (drums) and Charles Bergeron (bass). In 1974 the band got off the ground and started working around Southern Ontario. The quickly became popular on the club circuit and soon developed a following. Gary advised <i>“four of the guys were singers so we had good vocals. Al and I did a lot of two guitar harmony tracks when I wasn't playing pedal steel; it was a very musical band. Capitol reps saw us in Toronto, since we played there a lot”</i>. These people liked what the heard, and recommended that head office in Los Angeles should take notice. After hearing the band, and some “demos” they had recorded, in late 1975 Capitol signed the group to a recording contract. Coyote recorded its songs for the proposed album in Toronto at Thunder Sound and at Le Studio In Quebec<i>. </i>The producer was Spencer Proffer, and the engineer was Larry Green<i> </i>(both from Los Angeles)<i>. </i>Gary recalls that “<i>we had a lot of fun in the studios, it was really pretty easy”. </i>Mixing the tracks as well as some of the overdubs also took place in Los Angeles. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Out of these recordings, in 1976 Capitol released the single “Never Want To Leave You” backed with “Just Want Your Love” into the Canadian market. (As an aside, John Capek is listed on the label as producer. When I asked Gary about this he replied that the single came from their first session at Thunder Sound, and for that session, John acted as producer). The song did receive airplay, although I’m unsure of what position (if any) it received on the local charts. Plenty of copies seem to have been released, as used versions (including promotional ones) are readily available for sale on-line. Although enough songs had been recorded for an album, Capitol decided not to release one. Gary explained “a<i>t the time the boss of Capitol L.A. was Rupert Perry, I found out years later from old friend Paul White who was with Capitol Canada that Rupert put us on the back shelf and really didn't care about us, while Capitol Canada thought we would be big in the record world, but thanks to Perry we never got promoted. Capitol Canada was very upset to say the least. We released one single and that was it. One of the reasons Perry put us on the back burner was because we played country, rock and progressive pop. Back then they liked to slot bands in categories and they couldn't classify us.” </i>The band continued to perform all over Ontario to support the singles, and this version stayed together until 1977 (another without Gary would resurface a couple of years later). The quintet were known as a great live act with four lead singers and good instrumentation but without support from their label (in the guise of an album release), the band found themselves treading water, and decided to go their separate ways. Gary has access to the recordings made by the group from those sessions back in the day, and he has been generous enough to make them available on-line. </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"> </p><div><br /></div>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-2258197623511511252021-01-26T07:49:00.000-08:002021-01-26T07:49:24.483-08:00UZEB<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAVcnF0rEnvjvhpiPe38XWBLWRlpE680IZNsL4WYmzaNAUJ5ZVizCK00MH7247rblv6p2hyC1FnvEwlBKUHEYG8Eh2ImZowYRySc1cjIgQ7Df28In6z_ntGsnurY2uXFrGcLtPQ5HWNZav/s600/F74BF2F0-7729-4185-9653-A45FF09EB3BD.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAVcnF0rEnvjvhpiPe38XWBLWRlpE680IZNsL4WYmzaNAUJ5ZVizCK00MH7247rblv6p2hyC1FnvEwlBKUHEYG8Eh2ImZowYRySc1cjIgQ7Df28In6z_ntGsnurY2uXFrGcLtPQ5HWNZav/s320/F74BF2F0-7729-4185-9653-A45FF09EB3BD.jpeg" /></a></div><br /><h3 style="text-align: left;"><br />“Fast Emotion”</h3>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">The genre of music that during the 1970’s became known as “fusion” is usually defined as an amalgam of jazz and rock. That definition is perhaps an over simplification that probably has more to do with our insistence on labeling everything as opposed to just letting the music speak for itself. It does need to be acknowledged however that the younger generation of musicians who had been raised on rock and roll wanted to bring those musical sensibilities to the more complex world of jazz. Most importantly, the replacement of acoustic instruments (the normal component of a jazz group) with electric instruments provided opportunities for a new sonic pallette, one that would allow the musicians to create and explore different sounds and techniques. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">One of the better groups to perform this type of music were UZEB, who hailed from Quebec. The band started in 1976 as a duo comprising of Alain Caron on bass and Michel Cusson on guitar. The band evolved fairly quickly into a quartet with the addition of a drummer and keyboardist. They became quite popular in their home province performing a style of music that generally is more of an acquired taste. I suspect that had to do primarily with the band’s superlative musicianship, and to a lesser degree with the parochialism of Quebecois culture. The band has always been exclusively Francophone, although the members have worked with some very prominent musicians such as Michael Brecker. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">In 1982 the band released “Fast Emotion”, their initial studio album, on the Quebec label Paroles & Musique. The album had nine tracks overall, with no song over six minutes, and was an excellent representation of the instrumental prowess and musical sophistication the group possessed. At this time, the members were the two originals Alain Caron and Michael Cusson being joined by Paul Brochu (drums) and Michel Cyr (keyboards). Typical of a fusion album, the music was all instrumental. An interesting aspect of this band was their headlong dive into cutting edge technology, and their enthusiasm for incorporating it into their sound. The album featured lots of guitar based synth as well as the keyboard based synth. Fast Emotion isn’t just a “chops-fest” with hyperdrive tempos and endless soloing by everybody all the time though. This is a record with <i>songs </i>(which may account for the bands popularity, both at home and abroad). Yes, there are lots of opportunities for the boys to strut their stuff (which the do with great virtuosity I might add), but always in the context of what works best for the song and in conjunction with the musical contributions from the other members of the group. Two of the my favourite tracks on this recording are “Slinky” and “Brass Licks”. The aptly named Slinky has Alain Caron on his fretless bass laying down a seriously infectious groove to start the song. Guitar, then drums and keyboard join in as things get underway. Brass Licks is an uptempo number that features Alain on fretted bass displaying his slap technique. The song has a simple but catchy melody, probably played by the guitarist through his synth. This song would easily put people out on the dance floor and is a good example of how accessible this band was to its audience in Quebec and Europe. I had the good fortune of acquiring Fast Emotion after its release, and of catching the band during their appearance at a small club in Toronto back in 1983 or 84. I can still remember watching Alain soloing, especially on Brass Licks. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">UZEB would work as a quartet throughout most of the 1980’s before paring down to drums, guitar and bass trio. The band decided to take an extended hiatus in 1992. All of the musicians were in heavy demand as session players and as individual artists, which may have contributed to the decision. They reunited in 2017 for a tour, although it doesn’t appear the group has permanent plans to reform. To their credit, the band has received a number of awards; in 1984 and 1989 receiving the Félix (an award for Quebecois recording artists), as well as Jazz Album of the Year for 1983, 1984, 1986 and 1987, and most significantly the 1991 Oscar Peterson Lifetime Achievement, which was presented to the group that year during their performance at the Montreal Jazz Festival. During their heyday in the 1980’s they were regular performers at Jazz festivals not only here but also in Europe. They also enjoyed very strong record sales in excess of 200,000 copies of their various releases, really quite remarkable for an instrumental jazz fusion group. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-26962795560039801342021-01-02T06:04:00.003-08:002021-01-02T06:07:42.668-08:00In Memoriam Tony Rice<p> <span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;">Good morning music afficienados and a Happy New Year to y'alls. Let's hope 2021 is better (let's face it, it couldn't be much worse!). I recently learned of the passing of Tony Rice. I suspect he had not been well for some time; he had vocal issues over the last few years and also some hand problems (with obvious devastating consequences for a musician). I came to be a fan somewhat late in Tony's career, my introduction to his music came after I was "drafted" into a bluegrass band along with my double bass a few years ago (a word of thanks to Sarah, Sean and Dale). To say I developed an appreciation would be an understatement. He was a musician's musician; one of those rare talents that could comfortably perform in different genres at any tempo or time signature. Although primarily noted as being a bluegrass player, his recordings contain some excellent examples of the many influences he had. His instrumental work features Tony playing over standards such as My Favourite Things, Green Dolphin Street and Four On Six. His discography is extensive, and he was a highly sought after sideman, basically being able to chose whatever project he wanted to. However, if I was forced to pick my most cherished examples of Tony's artistry, it would be his interpretations of Gordon Lightfoot's songs. He held Gordon in high esteem, and over his career performed and recorded a number of Gordon's songs. Here is an example. My condolences to Mr. Rice's family on his untimely passing, and RIP Tony. We have lost someone special.</span></p><p><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><br /></span></p><p><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;">https://www.youtube.com/?gl=CA</span></p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-53001695268526224382020-12-24T04:01:00.004-08:002020-12-24T04:41:30.210-08:00Spoons Nova Heart<p><br /></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioPQCGudBdNmlPPWXTxQ-ChHcF5v347wwjFCyfPvsDGrnFqmn-YXS9O0YRjfY1TS60t9b_NdPFES8vlSsrrEXk6lA9q0j_s3wVo6NJdXr6H80rVJFQY3HOFhRZOMnaw63MjWTtf5ccwjki/s300/7401C56D-66BE-42CD-95C8-44C79A019543_4_5005_c.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioPQCGudBdNmlPPWXTxQ-ChHcF5v347wwjFCyfPvsDGrnFqmn-YXS9O0YRjfY1TS60t9b_NdPFES8vlSsrrEXk6lA9q0j_s3wVo6NJdXr6H80rVJFQY3HOFhRZOMnaw63MjWTtf5ccwjki/s0/7401C56D-66BE-42CD-95C8-44C79A019543_4_5005_c.jpeg" /></a></div><br /><p style="font-family: Baskerville; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 17px; text-align: justify; text-indent: 27px;"><br /></p>
<p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">The late 1970’s and early 1980’s were fertile grounds for the growth of “New Wave” music here in Southern Ontario. It would seem that the musical requirements for bands of this nature were here in abundance. The young musicians that would form these groups were of the right age group to have heard of the 1960’s rock and roll bands, but not to be overly influenced by them, (unlike the group of musicians a decade or so older) and to have been teenagers when the golden age of Canadian pop music was on the radio (thank you Can Con). Their musical influences were broader and deeper, and consequently their music reflected that. </p><p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><br /></p>
<p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">Arguably, one of the finest representatives of this group of musicians who performed in this genre were "Spoons" (not “The Spoons”, just “Spoons”) who came together in 1979. This quartet hailed from Burlington Ontario, on the north shore of Lake Ontario just west of Toronto. Like so many other groups, things got started when the four members met and became friends at high school. Although there have been a few personnel changes throughout the band’s history (it should be noted Spoons are still together), two of the original members, Gordon Deppe (lead vocals and guitar) and Sandy Horne (vocals and bass) have been there from the beginning. Gord has been the main songwriter in the band as well, although other members have also contributed. The two other original members of the quartet were Rob Preuss on keyboards and synthesizer and drummer Derrick Ross.</p>
<p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 16px; text-align: justify;"><br /></p>
<p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 16px; text-align: justify;"><span style="font-size: 13.3px;">It is common to assume that any successful band has spent years toiling in obscurity before the brass ring suddenly appears on the horizon. Spoons, on the other hand, it would seem, hit the ground running. After releasing an independent single in 1980, in early 1981 they entered Grant Avenue Studios in Hamilton and recorded their debut LP (on Ready Records) “Stick Figure Neighbourhood” (recorded by Daniel Lanois). The album received good reviews (in particular from the magazine Canadian Musician in their November/December 1981 issue) and the general consensus was that Spoons were a band to keep an eye on. They couldn’t necessarily be pigeon-holed, although of course musical influences were certainly there for anyone who cared to listen. What stood out though was Gordon Deppe’s guitar, the tight ensemble playing, the great vocals and all around interesting songs. This was a very good first record, especially for such a young band who were still only a couple of years in being. It was a portent of things to come. </span></p><p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 16px; text-align: justify;"><span style="font-size: 13.3px;"><br /></span></p>
<p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">If the Spoons debut record put them on the radar, then their second offering, “Arias & Symphonies”, made sure they were now squarely front and centre in the Canadian music scene. Gordon Deppe had indicated during interviews that the follow-up record to Stick Figure Neighbourhood would be more dance oriented, and the commercial appeal of Arias & Symphonies could not be ignored. The album contained three hit singles; “Nova Heart”, “Arias & Symphonies” and “Smiling In Winter”. It was recorded partially in London at Air Studios and at Sounds Interchange in Toronto. The songs on Aria & Symphonies revealed real growth in the band’s musicianship and songwriting. Not only were they radio-friendly, they were tighter and more focused, putting Gordon’s vocals up front. Gordon’s singing was more dynamic, and there was an excellent balance of all of the instruments, with an emphasis on sparse guitar lines, keyboard textures, synthesizer melodies and prominent bass lines. While not immediately noticeable, closer listening reveals carefully layered background and harmony vocals, adding an ethereal quality to these excellent songs. For this recording, noted British producer John Punter (Japan, Roxy Music) was brought on board. He was an inspired choice, and the resulting recording featured a more sophisticated and lusher sound, with a more space between the instruments and a greater use of dynamics in the songs themselves. John Punter was au courant with the New Wave music scene in England, having worked with a number of bands in that genre, making him the perfect choice for producing the music Spoons were recording. (In fact, Gordon has said that some people, upon first hearing the music, assumed Spoons were English). John Punter was also very knowledgeable about the most recent musical technology, allowing Spoons to incorporate cutting edge instrumentation into their songs. For instance, Gordon advised me they were able use instruments which were not really well known to add certain textures to their songs (for example, the hand claps in Nova Heart). In Gordon’s words, “<i>we caught a lot of sounds and new developments just as they were happening, and a lot of that was thanks to the new producer</i>”. </p>
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<p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">The standout track from Arias & Symphonies was “Nova Heart”. It was a charting single that garnered the group serious airplay (it was very radio friendly). The song has an infectious beat, perfect for the club dance floor, along with a great keyboard riff which is used as a motif throughout the song. It has a strong backbeat (listen for the handclaps) which, along with the excellent bass playing by Sandy Horne (and Gordon’s tasty guitar licks) gives it a great groove. The format is basically ABAB (verse, chorus, verse, chorus, solo and chorus). After the synth solo the chorus is repeated and the band uses a fade to complete the song. There is no doubt that it is a great piece of pop music; unique (at least for a Canadian band) at the time of its release, and noted Canadian music writer Bob Mersereau has included it in his book of the top 100 Canadian singles. It also had great lyrics which told a futuristic coming of age story, a perfect complement to the new sound reflected by the song. Through one of those serendipitous acts of fate that seem to occur just when they are needed, the era of music videos had commenced, and Spoons were perfectly placed to take advantage. The group’s members were very photogenic and their video for Nova Heart (which would appear on the initial episode of Much Music), became a staple for the station.</p>
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<p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">Nova Heart was the first single to be released from Arias & Symphonies. Initially it came out in the standard 7 inch format (Ready Records SR 201X), and after it became a hit, a 12 inch version was released (Ready Records SRB 020). The “B” side (on both versions) featured a non-album track (always great for collectors!) titled “Symmetry”.</p>
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<p style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;">Nova Heart, and Arias & Symphonies were groundbreaking pieces of Canadian music. Spoons' look and sound were perfectly suited for the time, and were it not for some issues with getting their music released internationally, who knows how successful they could have been outside of Canada. Domestically, they deserved all of the success they had, and can certainly be considered in the vanguard of Canadian groups from the 1980’s. It is a testament to the quality of their music that it is still being played on the radio to this day. As stated earlier, the band is still very viable; working and creating music, and their back catalogue is readily available. In fact, a 30th Anniversary Edition of Arias & Symphonies with bonus tracks was released in 2012. If you aren't familiar with the band, I highly recommend them, and if you just haven't heard them for while, they will certainly bring back memories. </p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-25325992145672705992020-11-09T10:30:00.000-08:002020-11-09T10:30:44.841-08:00Lisle <p> </p>
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<p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;">Lisle was the name of a Canadian band made up of a trio of young men from Simcoe County who came to prominence in the early 1970's. Bill Chambers was the guitarist and lead singer, Brian Matthias played bass and Danny Stephens was the drummer. Brian and Danny also helped out with vocals. By 1972, the group was ready to record and signed with a small Toronto label called Bronco Records, and released a couple of singles that gained some airplay on CHUM radio. The success of the singles lead to the release of their only album, “Smile With Lisle”. </p>
<p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;">I was able to contact Bill Chambers and he very kindly agreed to speak to me about the group. He advised me that around 1967, after a period of time rehearsing in his parent’s basement the original members of the band finally managed to get their first booking. Now that they actually had a gig, they needed a name. None of the fellows could agree on anything. Danny, who had set the job up, told the venue the name of the group was “The Lisle Electric Company”. When the boys arrived to perform, the sign at the hall entrance indicated the band performing were called “The Lisle”. They were later told the original name was too long to fit on the marquee, so the venue just used the first two words. Although the band intended to come up with something better, Bill said they never did, and eventually dropped “The” from their name, and so “Lisle” it was. Over the next three years the group stayed close to home, continuing to perform, honing their musical skills, and getting established. In 1970 the boys decided to hit the road and started playing on the circuit throughout Ontario, performing from Sarnia to Timmins to Renfrew. It was around this time the original bassist quit, and Brian Matthias from Orillia joined. Bill explained “Danny met this kid in Orillia that played bass and could sing. He was just what we needed, full of enthusiasm, fun, just full of life. Brian has an incredible musical aptitude, in a matter of three weeks he learned our repertoire and we hit the road again. That was the summer of 1971.” </p>
<p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;">The band was playing six nights a week on the road, and were really starting gel. In the spring of 1972 the band made the acquaintance of Bud Crosgrey, who was starting the Bronco record label. Bud wanted to record the band, so he offered them a contract. The next step was decide what material would the band use in the session. Bill told me his Aunt Irma suggested they learn “Goin’ Away”, a single from the American band “The Fireballs”, and that ended up being their first single. Bud produced the recording session, which took place at Captain Audio, located in the Yorkville part of Toronto (Jim Morgan was the sound engineer). The date of the recording happened to be Bill’s birthday, the fifth of July. It speaks to how tight the band was that during that one single session, they laid down two tracks; besides “Goin’ Away” they also cut “You’re Why Baby”. I should mention at this point that the band I’m currently with includes “Goin’ Away” in our repertoire, which is really how I became aware of the group. Our drummer (who sings it) always introduces the number as a song that a local band named “Lisle” had a hit with. </p>
<p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;">Over the next little while, between gigs and other obligations, Lisle was able to record enough material to release their only album, “Smile With Lisle”. Included on the album was their most successful single “Shelley Made Me Smile”, which climbed to number 16 on the CHUM radio chart of singles in April 1974. It has also made it onto a number of compilations over the years, and could often be heard on Southern Ontario radio. This would turn out to be the band’s most successful period. </p>
<p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;">Bill left Lisle in 1974, although the band would continue with other members for a few years more. Throughout the band’s tenure, Bill credits Danny as being the driving force propelling them forward. Bill has kept his hand in music, and still performs. He also advised me that the boys have kept in touch, and strong bond still exists between everyone. </p>
<p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;">I asked Bill about his original rig. He told me that he initially started out on the road with a 1960 Fender Telecaster through a black face Fender Bassman amp. Within the first year he switched a Gibson SG (with the P 90 pickups) and a Fender Super Reverb amp. By the spring of 1973 he had settled on a Gibson ES 335 going through a Fender Twin Reverb amp. By the way, Bill told me he still has the Tele!</p>
<p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;">Lisle is a wonderful story about some high school chums who started out like so many other teenagers learning how to play in the basement of their parent’s home. They actualized their dream of performing as a band, making a record, and getting their songs on the radio, and making it very easy to “Smile With Lisle”. </p><p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOrDC5DY6elmj8HMFU_HgQeeTTWrZSvx6KuD37_JkgwrKXd7J6Fdh2t3eb5_9m5hReYJ9_7gWe-1dwZIHaiwjYfyGHvwYci48Cr5jT4H-WtefpIlG7Fofn-SUaD1bQF8WsX3JsnNwEvD4Y/s150/9F5F0A59-C2D6-46A6-AF8A-A7E01CBD4EF7_4_5005_c.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOrDC5DY6elmj8HMFU_HgQeeTTWrZSvx6KuD37_JkgwrKXd7J6Fdh2t3eb5_9m5hReYJ9_7gWe-1dwZIHaiwjYfyGHvwYci48Cr5jT4H-WtefpIlG7Fofn-SUaD1bQF8WsX3JsnNwEvD4Y/s0/9F5F0A59-C2D6-46A6-AF8A-A7E01CBD4EF7_4_5005_c.jpeg" /></a></div><br /><p style="font-family: Baskerville; font-size: 14px; font-stretch: normal; line-height: normal; margin: 0px; text-indent: 27px;"><br /></p><div><br /></div>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-78756836444351421032020-11-01T08:20:00.000-08:002020-11-01T08:20:18.513-08:00 The Lincolns “Take One"<p> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcdsmiwn2I5DClNflYXPe0mVvGAR-XI5_RnojklZocYeta5yxtoFje8OaQBZrFz5pX83TlPZJvXkCRoMmPQHmNfmLHxrPgjuNrV5SrZj0icUyyeyu3X4bg2ereGhV9PjKFRAt-V7PKZ3x2/s2048/DF25D869-4727-49D9-B87C-BF36241AF1A5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1364" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcdsmiwn2I5DClNflYXPe0mVvGAR-XI5_RnojklZocYeta5yxtoFje8OaQBZrFz5pX83TlPZJvXkCRoMmPQHmNfmLHxrPgjuNrV5SrZj0icUyyeyu3X4bg2ereGhV9PjKFRAt-V7PKZ3x2/s320/DF25D869-4727-49D9-B87C-BF36241AF1A5.jpeg" width="320" /></a></div><br /><p></p>
<p style="font-family: Baskerville; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify; text-indent: 27px;"> If one was deciding to start a new group in Toronto in 1979, what style of music do you think would be chosen? If you guessed that it would be a soulful, funky and groove-happy form of Rhythm & Blues, I suggest you would probably be in the minority. Yet that is exactly what one of Canada’s premiere musicians, the highly renowned bassist Prakash John did. And not only was that band, “The Lincolns” a success, they also landed a record deal and cut one of this country’s best R&B albums in the process.</p>
<p style="font-family: Baskerville; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify; text-indent: 27px;">Prakash grew up in the Toronto of the 1960’s and was deeply involved from a young age in the music scene. He was a member of the seminal Toronto group “Bush” along with Dominic Troiano and Whitey Glan. Following that, he spent time with George Clinton before moving onto work with Lou Reed and Alice Cooper. By 1979 however, he was back in Toronto and ready to start his own group, one that played a style of music he was wanted to play. Prakash envisioned a group that had the style and professionalism of those late ’60’s Toronto rhythm and blues and soul bands that were so influential in his growth as a musician. </p>
<p style="font-family: Baskerville; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify; text-indent: 27px;">When Prakash started the Lincolns, he was determined to put together a first class outfit that could perform the music he envisioned on a consistent basis in that most demanding of situations, regular club work. He understood as someone who had worked very hard on his craft and who had played with some of the best musicians in the business how important it was to have a group that set very high standards for itself, and was capable of reaching them whenever they were on stage. Fortunately for Prakash, within his group of friends there were a number of musicians who fit the bill (and it would not be long after putting the band together that the Lincolns would enter the studio). At this time, the members of the Lincolns were Prakash John as leader and bassist, Danny Weiss on guitar, Michael Fonfara on keyboards (particularly Hammond B3), Jorn Andersen on drums and Steve Ambrose as lead vocalist. All of these players had extensive musical credentials and had performed previously with Prakash. This group was a fixture in the Toronto club scene, and could be seen on many evenings delivering their own unique versions of many soul and R&B classics. The members of the group dressed professionally (no jeans and t-shirts here) and many of the songs featured a degree of choreography from them as well. </p>
<p style="font-family: Baskerville; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify; text-indent: 27px;">By 1983, the group had signed a record deal with Attic Records, a local Toronto label and cut their classic album, “Take One”. The cover picture was a stylized version of the back of a Lincoln Continental with the the letters “P. J.” on the license plate. As would be expected, the seven cuts on the record were classic takes on standard songs from the R&B genre that were performed by the band in the their own unique fashion. The recording quality was first class, with exceptional musicianship by all concerned. Prakash produced and arranged the record, and in addition to the main band members, he brought in other musicians where required to add whatever extra instrumentation he thought was necessary in order to create his vision of the song. </p>
<p style="font-family: Baskerville; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify; text-indent: 27px;">Although the album may not have been a best seller, it was a great representation of a band that would be acknowledged as Canada’s premiere R&B group. The band would become a mainstay at festivals throughout the country, as well as continuing to perform in clubs. One of their highlights would occur in 1988, when they were invited to perform at Wayne Gretzky’s wedding. They were the band selected for the reception portion of the event, and by all accounts killed it. </p>
<p style="font-family: Baskerville; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify; text-indent: 27px;">Prakash John and the Lincolns are a huge part of Canada’s musical heritage. Prakash deserves a great deal of credit not only for his musicianship but for his success in bringing to fruition his musical vision of a classic R&B band, and picking other Canadian musicians to help him achieve his goal. </p>Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com1tag:blogger.com,1999:blog-8123961184404041464.post-66594708530522625682019-11-24T06:24:00.001-08:002019-11-24T06:24:24.147-08:00<h2 style="text-align: center;">
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<span style="font-kerning: none;"> </span><span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;">In the aftermath of the initial upheaval in the Canadian music scene, (especially in the Toronto area) caused by the “punk” movement, a number of groups who would be categorized as Canadian New Wave became prominent. Ironically, it was primarily these acts, rather than the punk rock musicians, who would have commercial success and who would reap the benefits of the opportunities the new music styles created.</span><span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;"> </span></div>
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<span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;">One of the Canadian groups that rose to prominence in this genre was a darling of the Queen Street West scene, "Boys Brigade". The group was formed in 1981 around Malcolm Burn (vocals and keyboards) and Tony Lester (vocals and guitar). Completing the lineup was bassist Wayne Lorenz, drummer Billie Brock, and David Porter and Jeff Packer as backing vocalists and percussionists. The band hooked up with an enterprising booking agent who not only was successful at getting the band into the usual clubs on Queen Street, but was also able to get them into Queen Street venues such as the Rex Hotel, places that at the time were not known for live music. The band continued working on their sound and on writing original material, and they submitted a song in a competition being held by one of Toronto’s bigger rock FM radio stations. This effort was successful, and the song “Mannequin” was included in the 1981 “Homegrown” compilation album released by Q 107.</span><span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;"> </span><span style="font-kerning: none;"></span></div>
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<span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;">The band built upon their success and eventually Geddy Lee of Rush fame agreed to produce their initial self titled album, after having heard them. Interestingly, Malcolm Burn, who would later go on to work extensively with noted Canadian producer Daniel Lanois, and who himself would have great international success as a producer and engineer, said in a 2004 interview that while his wish was for Lanois to produce the band's first album, </span><span style="background-color: white; caret-color: rgb(26, 26, 26); color: #1a1a1a; font-family: Verdana; font-size: 13.300000190734863px;">their manager of the time, along with other band members, were not interested. Of course, </span><span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;">Lanois would go onto to working quite successfully with other Canadian New Wave acts of the time such as the Parachute Club and Martha and The Muffins.</span><span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;"> </span></div>
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<span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;">In 1983 the band’s self titled debut, “Boys Brigade” was released in Canada on Anthem records (and in the US on Capitol). One of the singles from the album, “Melody” enjoyed chart success, especially in the Toronto market. There was also a video created to support the song, which was great exposure for the band with advent of the MuchMusic video channel. The band would hit the road for a couple of years, but by 1985 had everyone decided to go their separate ways.</span><span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;"> </span></div>
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<span style="background-color: white; color: #1a1a1a; font-family: Verdana; font-size: 13.3px;">“Melody”, with its spoken word verse and keyboard textures serves as a fitting to tribute to one of our lesser known Canadian groups form the early 1980’s. </span></div>
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Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-91096271673856026632019-05-02T11:47:00.001-07:002019-11-05T16:36:36.930-08:00<div style="-webkit-text-stroke-color: rgb(52, 52, 52); -webkit-text-stroke-width: initial; color: #343434; font-family: Baskerville; font-size: 12px; font-stretch: normal; line-height: normal; margin-bottom: 4px; min-height: 14px;">
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<span style="font-kerning: none;">“Soviet Jewellry”</span></div>
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<span style="font-kerning: none;">B. B. Gabor (real name Gabor Hegedus) was an outstanding musician and singer/songwriter who was part of Toronto’s “New Wave” music scene in the late 1970’s and early 1980’s. Gabor was Hungarian by birth, and his early years were indelibly affected by the trauma he and his family suffered during the 1956 revolution in Hungary, and the subsequent savage repression by the Soviet Union. The family was forced to flee their homeland, and after going through the various hardships assorted with being refugees, the family settled in London, England. In 1973, Gabor emigrated to Toronto and became involved in the local music scene. His hard work and dedication to his craft earned him a record deal in 1979 with one of Canada’s better independent labels of the period, Anthem Records. His enigmatic and irrepressible musical style was great fit with this label. His songs mixed witty, yet perceptive lyrics with great pop music sensibilities. It was music that would appeal to those on the dance floor as well as the more thoughtful types listening through their Walkman’s. </span></div>
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<span style="font-kerning: none;">Recorded in June of 1979 and released in 1980, B. B. Gabor’s self titled debut album was well received, with two of the singles “Metropolitan Life” and “Nyet, Nyet Soviet (Soviet Jewellry)” becoming staples on Toronto radio. B. B. Gabor received a Juno nomination and toured in support of the album. He was also a great live act, and this author has very fond memories of watching him at a club in Toronto. </span></div>
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<span style="font-kerning: none;">Tragically, B.B. Gabor died at a far too young age, robbing Canada (and music in general) of a very talented individual. However, his musical legacy will always be a testament to his tremendous abilities, which certainly enriched the Canadian music scene of the early 1980’s. </span></div>
Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0tag:blogger.com,1999:blog-8123961184404041464.post-45608017957609480952019-01-29T18:13:00.001-08:002019-01-29T18:15:21.898-08:00Hammersmith<div style="-webkit-text-stroke-color: rgb(209, 67, 27); -webkit-text-stroke-width: initial; color: #d1431b; font-family: Baskerville; font-size: 32px; font-stretch: normal; line-height: normal; text-align: center;">
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<span style="font-kerning: none;">Western Canada has always been fertile ground when it comes to rock music. The Guess Who and Bachman Turner Overdrive automatically come to mind, but it would doing a disservice to many other bands if we didn’t acknowledge the depth and talent that was (and I am sure still is) out there on the Prairies and the Rockies. Hammersmith, from Calgary Alberta, was a prime example.</span></div>
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<span style="font-kerning: none;">Hammersmith was a band that was formed in 1975. Most of the members had previously performed together in another group called “Painter” (that also hailed from Calgary) which had some chart success in 1973 with the song “West Coast Woman”. However, in 1975 the members decided to start afresh and decided on the name “Hammersmith”. The group was a quintet comprising of Dan Lowe (lead guitar), Doran Beattie (lead vocals), Royden Morice (bass & keys), Jeff Boyne (rhythm guitar) and Jim Llewellyn (drums). Not long after forming, they released their eponymously titled debut album on Mercury.</span></div>
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<span style="font-kerning: none;">The initial single from the album was a catchy number called “Late Night Lovin’ Man” (also the lead track on side one of the album). The style of music the band performed would be best described as “hard rock”. Nowadays that term seems to have been superseded by the designation “metal”, but it would be a mistake to assume that these types of rock and roll are the same. Hard rock meant loud guitars, but usually also meant music that had a strong beat and was danceable, and the debut single by Hammersmith was no exception. The song itself is a great example of mid 1970’s commercial rock music, a style that within a year or so of this song’s release would begin to reflect the influence first of disco, and then not long after, new wave. As someone who spent at least part of his misspent youth at high school dances (when the dances still featured live music from bands you could actually hear on the local radio station), “Late Night Lovin’ Man” is redolent of what those dances were like. </span></div>
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<span style="font-kerning: none;">I reached out to Hammersmith’s drummer Jim Llewellyn to find out some more about the band. he very graciously answered my questions about the band. Jim was a regular in the Calgary music scene, and as such was familiar with the musicians from Painter. When their drummer decided to leave, he auditioned and became the new drummer. Jim advised that the band had Bruce Allan as their manager, who was also Bachman Turner Overdrive’s manager at the time. With the release of their debut album, Hammersmith found themselves on the road, opening for some of the era’s top acts. Jim recalls being on the same bill as Kiss, Spirit, Styx, Rod Stewart, Kansas, Jethro Tull and others. He advised me that it was an incredible time for him, playing in front of crowds of up to 20,000 people, and standing backstage watching some the top drummers in the field ply their trade (and in the process learning a great deal about drumming). I would highly recommend visiting Jim’s great website for more details about his fascinating career. It is located at <a href="http://www.jimllewellyn.com/postersandstuff.html"><span style="-webkit-font-kerning: none; font-stretch: normal; line-height: normal;">http://www.jimllewellyn.com/postersandstuff.html</span></a>.</span></div>
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<span style="font-kerning: none;">For a great example of Canadian rock from the mid 70’s, give a Hammersmith a listen. I’ll bet you won’t be disappointed.</span></div>
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Mike Milnerhttp://www.blogger.com/profile/14955630615622547514noreply@blogger.com0