Chris Brown
Chris Brown, the enemy of all right-thinking Rihanna fans around the world, recently released a song called “Jiu Jitsu.”
From a martial arts standpoint this song is… problematic.
Sarah explained why in a post for Fightland.
To read it click here.
Filed under Jock Stuff, Music, Shameless Promotion
Unity Charity
Here’s a recent batch of news stories I wrote for the charity ‘n’ entertainment site Samaritanmag:
WATCH: Heineken Worlds Apart Campaign Brings Ideological Opposites Together For Beer
WATCH: All That Remains Recruits Benghazi Veteran for PTSD Awareness Video
Royal Family Use London Marathon to Support Mental Health Charities
Hip Hop-focused Unity Charity Celebrates 10th Anniversary
Björk, Mary J. Blige, Margaret Atwood, More Part of Massive 7-Inch Series For Planned Parenthood
Malala Yousafzai Wants Canadians to Support Education for Girls
Adele, Pearl Jam, Dolly Parton Cover Brandi Carlile To Support War Child
Former U.K. Prime Minister David Cameron to Speak at Toronto’s Spirit Of Hope
WATCH: Alessia Cara Sing and Hug at Sydney Children’s Hospital
You Could Meet Daniel Craig, Win an Aston Martin by Supporting Landmine Removal
Filed under Concerts, Health, Music, Politics, Shameless Promotion
Iron Maiden
LIVE: Iron Maiden
October 16, 2006
Air Canada Centre
Toronto, ON
For a legendary metal act like Iron Maiden it was a bold and brash gesture when, four songs in, singer Bruce Dickinson declared they were going to play their entire new album, A Matter Of Life And Death, from start to finish. That would mean 10 dense songs, a few of the more sprawling numbers licking just under 10 minutes in length, eating up more than 70 minutes of the concert’s running time.
Under normal circumstances, this could have been riot-fodder for the well-merchandised near-capacity banger crowd, but Dickinson played things deftly by declaring that Canadian fans propelled A Matter Of Life And Death to debut at #2 on the SoundScan album sales chart (their highest Canadian debut), so Canada was going to be rewarded with more Maiden shows in the future. Pavlovian, sure, but his speech came right at the point where the assembled metalheads were just starting to restlessly realize, “Hey, fuck, this ain’t ‘Powerslave.'” It turned the whole building in Maiden’s favour.
The early numbers — “Different World,” “These Colours Don’t Run” and the excellent “Brighter Than A Thousand Suns” — were well-received, but it wasn’t until the post-speech blast of the galloping “The Longest Day” that Maiden’s hold was solidified. The front half of the general admission floor was a frothing mass and there were salutary fist-pumps arena-wide.
“Out Of The Shadows” followed. It was Dickinson’s best and most dynamic vocal performance of the night. Unfortunately, though, it was wasted on the album’s most tepid song.
From there, it was on to the constructed-for-Rock-In-Rio-singalong-songs, starting with “The Reincarnation Of Benjamin Breeg” and followed by the reflective yet epic “For The Greater Good Of God.” The last four songs were heavy on the”Oi-oi-oi-oi-oi” and “Whoa-ooo-OO-oo” participatory theatre that Maiden songs never really had to trade in before, and it felt somewhat pandering.
Still, just when Maiden ran the risk of backsliding and losing the audience, they jumped headfirst into their back catalogue. First up was ’92’s “Fear Of The Dark,” followed closely by the set-closer and highlight of the night, “Iron Maiden.”
During the song, the stage morphed Transformers-style into a giant tank with the ubiquitous Eddie on top in military garb. Spinal Tap-ish though it was, there are few things cooler than seeing Maiden’s zombie mascot, 30 feet tall, at the helm of a Sherman.
This dovetailed into the evils-of-war-themed encore section of “2 Minutes To Midnight,” “The Evil That Men Do” and grand finale “Hallowed Be Thy Name.” The three songs were delivered with fire, sending the audience to a well-executed peak.
Walking through the hallways of the ACC afterwards, the building was still roaring. The crowd filing out were cheering, yelling, high-fiving and bellowing “Maiiiii-dennnn!” Proof that the band’s gambit, A Matter Of Life And Death, paid off.
This review was originally published October 18, 2006 via Chart Communications.
Filed under Concerts, Music, Recollections
She-Devils
Say you’re the kind of person who can remember a time when there were eight major record labels operating in Canada. Back then, there was no YouTube, or Soundcloud, or Bandcamp. There was no Napster, no streaming, and there was certainly no Twitter or Facebook.
When you wanted to learn about new music you had three choices: listen to the radio (but that was always a Pyrrhic victory because you had to listen to the radio), you could find out about new bands by reading what your favourite music writers in daily, weekly or monthly publications were recommending, or, you could chase down these new sounds the truest way — by trudging in and out of the clubs to check things out.
By doing this you’ve seen soooo many great bands. Some that never broke (Flashing Lights, Copyright, Deadly Snakes, Tangiers, Royal City) and some that, relatively at least, did (Broken Social Scene, The Dears, Constantines, Joel Plaskett).
You’ve been doing this sort of thing for 19 straight years now. And you’re tired. The thought of jostling with college kids with unearned beards in over-capacity clubs to see the “next big thing” doesn’t sound pleasant in any way.
And yet, the spirit remains willing.
So you brace yourself. It is, once again, Canadian Music Week. And once again all of the Canadian music industry will descend upon Toronto to polish up and show off their latest pet projects while a whole separate underclass of patronless dreamers will also arrive in the hopes of “networking” and “making some valuable connections”… but mostly by trying to push unwanted flyers and stickers on you.
It can seem all too much. But you know there are still great bands and great songs out there, so you mutter, “I’m getting too old for this shit” and once again step into the breach…
This time it’s different, though.
Because you are getting too old for this, you know that many of these “new projects we’re working on” are bullshit false flags. You know that party with seafood will smell like seafood and that’s enough for you to skip it. And you also know that navigating the website will, as always, be a Sisyphussian lesson on why organizations should never let musicians and their representatives self-curate their profiles on your web real estate.
Your plan is to simply say “fuck it,” to not be moved by the hype, to not have to cool hunt. You’re going to see what you know, what you like, and what’s not going to irritate the shit out of you.
I’ve identified seven ways in which you can fulfill this quest. Read them below:
54-40
Wednesday, April 19 @ Phoenix Concert Theatre as part of the INDIE Awards
54-40 have always been a bit taken for granted all these years because they’ve always been good and they’ve always been with us. But the CanRock we’ve all known and loved for so many years is dying. Rush have retired, it’s been made clear it’s impolite to speculate on The Hip’s future, but y’know, the ’70s and ’80s acts like April Wine, David Wilcox and Loverboy are lumbering into their twilight years, and all those ’90s acts who went gold on every record have officially exhausted all their reunions. Against this, we still have 54-40. They’re getting some sort of lifetime achievement award and they deserve it.
Charlotte Day Wilson
Wednesday, April 19 @ Mod Club
Thursday, April 20 @ Mod Club
There’s a whole generation of young adults who’ve never heard Sade’s “Smooth Operator” and who wouldn’t know a Massive Attack record if Banksy spray-painted one in their ears. To these people, Charlotte Day Wilson is their fast-emerging new queen. That’s not meant to be dismissive. Wilson’s voice is chillingly good and if there is a legit “next big thing” performing at CMW this year, she is it. Seeing Wilson is your best bet to score easy cred points this week.
The Silver Dollar
If you haven’t heard, the Silver Dollar is basically dead. But on the way out, mercurial concert promoter Dan Burke has booked a number of righteous RIP shows up until the end of the month to honour the place. You owe it to yourself to make a stop by this week and pay your respects. And when Dan tries to pretend you’re not on the guest list, or that there’s no more room for wristband holders and badges and it’s paying customers only, just pay your $10 and enjoy the experience. You’ll be happy you did when the new Silver Dollar ground floor retail space/resto-lounge mood-boarded by some Charles Khabouth design protege opens in 2021 and ruins everything.
Danko Jones
Wednesday, April 19 @ Velvet Underground
I’ve got a strong suspicion that large pockets of the “the industry” in Canada hate Danko Jones. And I’ve got an equally strong suspicion Danko feels the same way about them. But the band are still here, playing a showcase-style gig anyway. Officially endorsed by Lemmy from Motorhead and Duff McKagan from Guns n’ Roses, they’re big enough in Europe that they get to negotiate the font size of their name on festival posters. This may very well be an act of defiance-as-rock concert for all those haters, which makes it kinda exciting.
She-Devils
Thursday, April 20 @ Costume House (165 Geary Avenue)
Saturday, April 22 @ A Common Sort (free Record Store Day show)
Gal singer + “soundscape” producer duos are second only to “sounds like Drake” for things the music world doesn’t need any more of in 2017. Except for She-Devils, that is. This Montreal pair are mighty compelling in a they-could-have-been-on-4AD-back-in-the-day way. Instead, their first album is going to be on Secretly Canadian, which in its way is almost the same thing, and they’ll be among peers like SUUNS, Anohni, Jens Lekman and Yoko Ono. With their ’60s pop grooves and Velvet Underground world weariness, this may be the actualization of what Andy Warhol wanted in Nico. If your old bones are going to take a chance on something, this is it.
Worst Place To Score Seats
I’ve ranked a number of the key participating CMW venues on how unlikely it is you’ll be able to score a seat if you show up during non-peak, non-at capacity times. The lower the ranking, the lower your chances of avoiding crippling back spasms throughout the week:
15) Horseshoe Tavern
14) Lee’s Palace
13) Silver Dollar
12) Monarch Tavern
11) Cameron House
10) The Paddock
9) The Rivoli
8) Bovine Sex Club
7) Dakota Tavern
6) Mod Club
5) The Garrison
4) Adelaide Hall
3) Drake Underground
2) Velvet Underground
1) Great Hall
The Dandy Warhols and The Sadies
Friday, April 21 @ Lee’s Palace as part of the Dine Alone showcase
Finally, a bill you understand. A label you’ve heard of is putting on a stacked bill with bands you’ve actually heard of and it’s got a headliner whose one album you really liked and they were funny in that documentary and it’s a bit of an underplay for them. You just gotta figure out who you still know who can get you on the guest list…
RF Shannon’s Jaguar Palace
The working description of Texans RF Shannon’s music is “South West R&B and psychedelic trail ballads.” The R&B side may be a bit difficult to unpack, but the “psychedelic trail ballads” part is particularly spot on when characterizing the six songs on the Jaguar Palace album.
Jaguar Palace doesn’t work because of its individual songs — hazy, languid and often clocking in at over six minutes apiece, they’re winding snapshots of moderate sonic intrigue. Taken as a full collection, however, Jaguar Palace is a panorama, a sprawling 360 degree exploration of twilight desert night skies, lonely roads and railroads, and the end-of-the-line one-gas station towns inhabiting those edges.
It’s the smaller moments in this musical universe that make you feel like you’ve just stumbled upon a long lost ghost town. “Tell My Horse” may be the dark inverse to America’s “A Horse With No Name,” with its foreboding keys, otherworldly slide and chaotic shoegaze touches. “Had a Revelation,” the relative peppiest track on the album, ends up being less about RF Shannon leader Shane Renfro’s revelations and more about one’s own epiphanies that take place while listening. “Hottevilla,” meanwhile, provides the most headphone fodder to get lost in. The slow draw of its beginning recalling the more discreet moments on Godspeed You! Black Emperor albums and its dizzying flute parts add dangerous firefly flare-ups for the mind to chase.
This carefully crafted world created by RF Shannon triangulates the swirling cosmology of A Storm In Heaven-era Verve, the hypnotic guitar lines of Neil Young’s “On The Beach” and some of Calexico’s more downtempo moments to create something of meditative, lasting beauty.
Filed under Music
I Overcame My Autism And All I Got Was This Lousy Anxiety Disorder: A Memoir
Risky Fuel 