2009: The Shows

Every year I say that I'm going to tone down the amount of shows that I go to, and every year I end up seeing more than the year before. This year's final tally sits at 143 different artists to have graced the live stage in my presence, including three more than I still haven't gotten around to reviewing but I will. Eventually. Of course, I have friends that have probably seen that amount in a weekend but for an old married guy, I'd say that's still a pretty obscene number.

Overall though, this year has been a fabulous concert going experience, with my top three shows being amongst the best shows I've ever attended in all of my 20+ years of concert going. So, here are my top 10. This week I've been feeling a bit of the overwhelmed blogger meh's, so I'm going to make life easier by simply plagiarizing my own words from prior reviews but hey, so it goes. If it's good enough for For The Records, than it's good enough for me. I'm deliberately choosing the expressions that are laced in my usual penchant for blatant hyperbole.

1. The Decemberists @ Kool Haus on August 3rd (Review)

"When I'm an old(er) man and reflecting back on all of my concert going experiences, I'm pretty positive that the Short Fazed Novel Tour of 2009 will be one of those shows that I'll be referring to often. A Decemberists show goes beyond simply being another concert; a Decemberists show is an event."

2. Wilco @ Massey Hall on October 14th (Review)

"I would have to say that my favourite part of the evening though was during the encore when they came very close to displaying a slightly different version of the magic Being There moment of my previous experience when they played Monday and Outtasite (Outta Mind) from that album, only to follow it up with Hoodoo Voodoo from Mermaid Avenue. Classic!"

3. Sonic Youth @ Massey Hall on June 30th (Review)

"...their youthful energy allowed me to ride that time capsule into my past and enjoy this show, not as just another concert, but as a significant event."

4. The Hoa Hoa's / Your 33 Black Angels / The Disraelis @ Silver Dollar on December 4th (Review)

"You'll have to pardon the hyperbole, but this show was life altering!"

5. Tom Fun Orchestra / Bruce Peninsula / The Darcy's @ The Horseshoe on January 31st (Review)

"The second encore showcased the band playing the snot out of all of their respective instruments and jumping around the stage, falling all over each other and generally creating merry chaos all over that Horseshoe stage."

6. Roky Erickson / The Sadies @ Lee's Palace on October 28th (Review)

"I think it was expressed most eloquently by a friend of mine, who was also there, when he described the image of Roky with his back to us playing guitar, fan blowing his silver-ish hair like he was on a beach in psychedelic garage heaven as completely blissful. Nicely put."

7. The Sonics @ Yonge and Dundas Square on June 20th (Review)

"I was standing with a couple of people who were obviously there for The Sonics the first time around, but when I turned around to look at the crowd, I was amazed at the fact that, by and large, most of them were the same age as the people who usually go to the shows that I attend. Appreciation for musical heritage is very important to me, so it was great to see all of these young 'uns jumping around like crazy, almost as if they were at a White Stripes concert."

8. Holler, Wild Rose @ The Boat on March 15th (Review)

"I love that feeling when you're watching a band and suddenly you realize that you are actually in the midst of greatness. That moment for me came when they performed Captive Train. The harmonies were absolutely cherubic on that song, and the steady build of those ringing guitars continued to climb to euphoric heights before Jon Mosloskie's high pitched Buckley-inspired throat tore a strip out of the atmosphere and made me completely forget where I was."

9. Gary Louris and Mark Olson @ The Mod Club on February 4th (Review)

"These days my attention span isn't what it used to be, so to be able to command my attention for an hour and a half with an acoustic set is no ordinary task. But of course, Gary Louris and Mark Olson are no ordinary performers and this was certainly one for the concert memory books."

10. Joe Pernice @ Dakota Tavern on September 24th (Review)

"By the time he finished, we had been treated to almost two hours of material, many of which were obscurities from his career which made for a very special night."

Honorable Mentions:

• Modernboys Moderngirls / Fox Jaws / Amos the Transparent / AfterpartY @ Sneaky Dee's on January 23rd (Review)
• No Shame's 100th feat. Skeletones Four, Pick A Piper, Ruby Coast and Green Go @ Horseshoe on Sept. 18th (Review)
• Fallout Party feat. Volcano, The Hoa Hoa's, Postcards and Easy Targets @ Rancho Relaxo on Nov. 6th (Review)
• Depreciation Guild @ The Horseshoe on Sept. 7th (Review)
• Sunparlour Players @ Theatre Centre on August 14th (Review)
• Lovely Killbots / Whale Tooth / Make Your Exit / Amos the Transparent @ Horseshoe on May 22nd (Review)
• The Sound of Sea Animals @ The Legion on April 18th (Review)
• Slakah the Beatchild @ Revival on June 11th (Review)
  

I'm afraid that I haven't had the time to compile a 'Sup in January post this time around, but I will say that I've got my ticket for The Cribs @ The Phoenix on January 15th, and I do have my eye on a few other possibilities also, although I'm not committing myself to anything else just yet. I promise that I'll get my review of the Spiral Beach / Boys Who Say No / Romo Roto show up sometime soon and I'll end by saying that I hope that everyone had a safe 2009 and will continue to make 2010 a groovy experience of its own!

Bobby B's 50 Albums Of The Decade: The Thrilling Conclusion (#5 - 1)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36] [#35-31] [#30-26] [#25-21] [#20-16] [#15-11] [#10-6]

Drum roll please....

5. Illinoise - Sufjan Stevens (2005)

Forget about simply putting out a concept album, Sufjan Stevens actually had the nerve to attempt a concept series. It appears that the fifty states, fifty albums project was most likely abandoned after this one, the second in the series, but when you've reached a pinnacle such as this, why continue? If I were to simply pick up this album without any prior knowledge, it would likely have been returned to the pile without even listening. Everything from the length of the song titles, (one song title is 53 words long) to the length of the album itself (clocking it at just under 75 minutes) would normally be too daunting a task for even one as ambitious as myself to undertake. But the hype eventually got to me, and boy, am I glad that this time, for once, the hype was right! This highly melodic history lesson of sorts has the feel of an epic movie, with all of the ingredients in tact. There's action, humor, moments that pull on the heartstrings as well as moments that make you think, not to mention villains that you boo and heroes that you cheer for. Mr. Stevens is one gifted individual, as is showcased by the fact that he can take some of the wordiest lyrics I've ever read, and combine these poetic puzzles to some of the hookiest musical accompaniment I've ever heard. There are some prize worthy melodies on this one: Decatur, Casimir Pulaski Day and the current king of road trip classics Chicago, to name a few. And the fact that the whole thing ends with such an amazing instrumental number called Out Of Egypt, Into The Great Laugh of Mankind and I Shake The Dirt From My Sandals As I Run that plays like a sonic stew of BSS, Peter Gabriel and The Mothers of Invention is like the perfect reward for sitting up and committing yourself to such an awesome album. [Myspace: Sufjan Stevens]

4. Black Sheep Boy - Okkervil River (2005)

While we're still in the vein of the highly ambitious, taking a classic Tim Hardin folk song and expanding on the song's theme by creating a full length concept album around it, would certainly fall in that category, and only the literary mind of Will Scheff would ever be able to pull that off. Normally, I'm a big believer that for a good lyrical album to work, it should be just as easy to enjoy whether one is paying attention to the lyrics or not. But this album is sort of the exception to that rule. Not that the album isn't good if you're not paying attention to the words and themes, but you really need to have the lyric sheet in front of you if you're going to be dropping this album in at number 4 on a 'best of the decade' list. The album touches on feelings of isolation and loneliness in a way that we can all relate to, no matter how popular we are (or think we are.) His ability to wax poetically while still maintaining candor and frankness cannot be an easy job, but this is exactly what he does throughout the course of the album, proving just how talented a songwriter he is. The fact that he does this so effectively makes it the type of album that can really speaks to me as I listen, to the point where I can actually see myself in the narrative. And those moments where the guitars literally blast out of the speakers are just an added bonus. [Myspace: Okkervil River]

3. The Trials Of Van Occupanther - Midlake (2006)

The opening piano notes of Roscoe are like a giant magnet that draws me in every time that I put this one on. In fact, whenever the song comes up on shuffle, it doesn't take long for me to shut off the shuffle feature and just let the album play, because you don't just listen to Roscoe and not let the rest of the album continue. That's like watching the opening scroll of Star Wars and then turning the channel. You just don't do it! The classic 70's sound of this album is an unabashed throwback, but it works so well that you just have to go with it. The album has a real earthy vibe to it, and when Tim Smith's understated vocals come in, accompanied by one of the strongest rhythm sections of the moment, I can almost smell the burning wood of a campfire, and feel the cool breeze off of the ocean. With acoustic guitars and flutes that chime like the earlier folksier output of Jethro Tull to the layered bassline and guitar backdrops that play like early to mid 70's period Fleetwood Mac, this album is sharp in beauty and rich in melody. The biggest secret to the album's success is the band's sense of control. Some of the instrumental moments at the end of the songs Head Home and We Gathered In Spring, show that the band is quite capable of bombarding us with grand progressive moments or over indulgent jam band adventures, while the vocals in songs like Young Bride and In This Camp show that Smith could probably sing the phone book if he wanted to, but the band chooses to keep things simple and accessible. Within the confines of The Trials of Van Occupanther, that approach works to their advantage and the album never overstays its welcome. [Myspace: Midlake]

2. Yankee Hotel Foxtrot - Wilco (2002)

We've all heard the story surrounding this album, making it the greatest success story in the history of indie music, as well as the defining moment when the record labels lost all credibility. But the whole adventure would not have gelled so effectively if the music on this album was not as good as it claimed to be, and the fact is, that even when listening to the album 7 years on, it's still an intoxicating beauty. The fact that all of the members of the band had the guts to take a collection of songs that would have worked just fine as subtle slices of alt-country fare, and expand them into sonically challenging art rock collages is an inspired move, and one that paid off in spades. I Am Trying To Break Your Heart is almost tear jerking, and that's amazing when you consider that the beat changes several times throughout the song, it's enshrouded in white noise and the lyrics don't really make any sense to me. There are other moments of expansive brilliance like the two songs that close the album, namely Poor Places and Reservations. Both of those songs contain atmospheric codas that, if left in lesser hands, would render the skip button necessary. Instead, they both dare you to keep listening and I don't know anyone who hasn't enjoyed the payoff that comes from doing so. Finally, to the staff of Reprise Records who claimed that the album wasn't commercial enough, I've got to know if they were even listening to tracks like I'm The Man Who Loves You, Pot Kettle Black, Heavy Metal Drummer or Jesus, Etc. because those are four of the greatest pop songs of all time, and they're all on the same album. If that doesn't equal record sales, than I don't know what does. The fact that this became Wilco's best selling album proves that they were wrong, we were right, and from that day on, this is my second favorite album of the decade and who needs them? [Myspace: Wilco]

1. You Forgot It In People - Broken Social Scene (2002)

If you follow this blog at all, then you already knew that this album had to be my number one! When I first heard it, (which incidentally was the day after I first saw them perform live) it single handedly restored my faith in the artistry of music. I had grown up listening to artists that were determined to strive beyond existing stagnant music forms, beginning that education with progressive rock, and then moving towards punk, new wave, 80's college radio and the beginnings of grunge, when suddenly, in the mid 90's I just got tired of it all. By the end of the decade, all I wanted was a good hook and a catchy pop style. That all changed when I saw Broken Social Scene play live and the celebratory nature of art rock was reawakened in me. There were something like 17 people on that stage, playing some songs that would be considered pop and other songs that would be considered avant garde. Some of the songs followed a verse chorus verse chorus format, while others were just the repeating of the same line over and over again, while yet other songs were instrumental blasts of horns and feedback. The band worked together like a well oiled machine, while each individual was contentedly admiring the talents of the guy or girl beside them and looking genuinely surprised at what was unfolding around them. What I saw on that stage was not just a band uniformly playing a collection of songs, it was a community of people that loved music and wanted not only to impress each other, but to be impressed by each other. And when I picked up this album and popped it into my CD player, the band actually managed to accomplish the seemingly impossible by transposing that energy and camaraderie to a physical disc. In my teens, I used to listen to albums repeatedly, to the point where I knew every snap crackle and pop that the cassette shot forth. By the time I hit my 20's however, those days were seemingly gone, both due to life getting in the way, and just general ADD. Again, that all changed with this album. I listened to it non stop for a couple of months, and then pulled it out weekly for a couple of years after that. It had been ages since an album had that kind of staying power for me then, and it hasn't happened for me since. There were undeniably better albums released this decade in a technical sense, but for me, where I was at the time it was released, where I was at the time that I picked it up, and where I am now, there really is no other album that comes close. This is my album. This is the one that originally motivated me to start blogging about music. This is the one that originally reawakened my desire for live music. This is the one that caused me to ignite a fire for what is going on locally. Yes, this is my favorite album of the decade. End. Gush. Now. [Myspace: Broken Social Scene]

Bobby B's 50 Albums Of The Decade Are:

1. You Forgot It In People - Broken Social Scene (2002)
2. Yankee Hotel Foxtrot - Wilco (2002)
3. The Trials of Van Occupanther - Midlake (2006)
4, Black Sheep Boy - Okkervil River (2005)
5. Illinoise - Sufjan Stevens (2005)
6. Third - Portishead (2008)
7. Man Made - Teenage Fanclub (2005)
8. Sebastopol - Jay Farrar (2001)
9. The Hazards Of Love - The Decemberists (2009)
10. Sorry Love - Pipas (2006)
11. Broken Social Scene - Broken Social Scene (2005)
12. Set Yourself On Fire - Stars (2004)
13. Smile - Brian Wilson (2004)
14. Lifted, Or The Story Is In The Soil, Keep Your Ear To The Ground - Bright Eyes (2002)
15. The Stage Names - Okkervil River (2007)
16. Love Is Hell - Ryan Adams (2004)
17. Let's Get Out Of This Country - Camera Obscura (2006)
18. I'm Wide Awake, It's Morning - Bright Eyes (2005)
19. The Crane Wife - The Decemberists (2006)
20. Gang Of Losers - The Dears (2006)
21. Boxer - The National (2007)
22. Funeral - Arcade Fire (2004)
23. Yoshimi Battles The Pink Robots - The Flaming Lips (2002)
24. Destroyer's Rubies - Destroyer (2006)
25. Kid A - Radiohead (2000)
26. Let It Die - Feist (2004)
27. Fox Confessor Brings The Flood - Neko Case (2006)
28. Cryptograms - Deerhunter (2007)
29. Desperate Hearts, Blood Thirsty Babes - TV On The Radio (2004)
30. Heartbreaker - Ryan Adams (2000)
31. Figure 8 - Elliott Smith (2000)
32. A Ghost Is Born - Wilco (2004)
33. Glissandro 70 - Glissandro 70 (2006)
34. Hometowns - Rural Alberta Advantage (2008)
35. Ys - Joanna Newsom (2006)
36. Welcome Interstate Managers - Fountains of Wayne (2003)
37. You Are Free - Cat Power (2003)
38. For Emma, Forever Ago - Bon Iver (2008)
39. Icky Thump - White Stripes (2007)
40. Goodbye Doris - Fox Jaws (2007)
41. The Revolution Starts...Now - Steve Earle (2004)
42. And Then Nothing Turned Itself Inside Out - Yo La Tengo (2000)
43. Is This It- The Strokes (2001)
44. Sunset Tree - The Mountain Goats (2005)
45. The Weekend - The Weekend (2000)
46. Left And Leavng - The Weakerthans (2000)
47. Never Hear The End Of It - Sloan (2006)
48. Writer's Block - Peter Bjorn And John (2006)
49. Everything I've Forgotten To Forget - Amos The Transparent (2007)
50. Gold - Ryan Adams (2001)

Bobby B's Top 50 Albums Of The Decade (#35-31)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36]

35. Ys - Joanna Newsom (2006)

I get an amazing number of hits to my site from people googling the phrase "I Hate Joanna Newsom", simply because the word 'hate' is in the title of this here blog, and I've talked about Ms Newsom on a few occasions. Of course, they're usually angered to find that when I make reference to her it's always surrounded by flattering phrases that couldn't be further from the idea of me hating her. On the contrary, I love Joanna Newsom! But it's understandable why some might find it hard to warm up to her. There's that high pitched squeaky voice, those meandering 17 minute songs, the preference for harps instead of guitars and not a hook to be found in the lot. But I don't think that you'll find a more ambitious album this decade, and the magical pairing of Newsom and Van Dyke Parks is an otherwordly adventure that begs to be experienced. This album is not made for dancing, nor is it a delightful piece of background music perfect for playing at your next dinner party. This album is a work of art and it deserves to be treated as such. This is an album that demands a listener's full attention as it fluctuates from mellow flowing movements to harsh gothic trajectories, all working together to create a musical number that is simultaneously enticing and unsettling. A challenging listen for sure, but well worth the effort. [Myspace: Joanna Newsom]

34. Hometowns - Rural Alberta Advantage (2008)

Admittedly, I'm still in the throes of RAA hype at the time of preparing this list, so it'll be interesting to see if this album's inclusion will be reflected on with rolling eyes by the time 2020 rolls around, but for now, I still find myself consumed in the glow of this masterful release. The fact that I still listen to the album as much today as I did a year ago when it was first released is a good sign, as is the fact that, despite my penchant for being contrary, I haven't felt the desire to rebel against the current hype, as overbearing as it is getting these days. For now, there's just no denying the fact that this is just simply a collection of great songs from start to finish with not really any duds in the lot. The challenge at this point will be where does the band go from here. A series of great songs this is, but I don't think I want their sophomore to be just more of the same. And as much as we all strive to judge an album based on its own merits, our human nature can't help but be tainted somewhat by future releases (see my #43 pick.) So the pressure is on, but in the meantime, I'm more than happy to enjoy Hometowns for what it is as it sits comfortably amongst my favorite releases of the decade. [Myspace: Rural Alberta Advantage]

33. Glissandro 70 - Glissandro 70 (2006)

My prog loving soul can't help but bask in the glow of this local post-rock amalgam of Craig Dunsmuir and Sandro Perri. This one time collaboration makes good use of the build up approach, with each cut opening with a few loops and repetitious drones before exploding into a series of sounds and styles that incorporate Afro-beats, tribal chants, progressive chord changes and even slight leanings towards electro. The opening song Something serves as a bit of a teaser, with a disjointed looping acoustic guitar being accompanied by sounds and atmospheres before giving way to Analogue Shantytown, which is a six minute piece that opens with a looping harmonica accompanied by a whispered 'shantytown' chant before transforming into an experimental piece that hearkens back to the early 80's period of King Crimson mixed with an almost jazzy vocal before embarking on a celebratory revisiting of the opening 'shantytown' chant that is all encompassing. The album's centerpieces, Bolan Muppets and Portugal Rua Rua are inspirational slices of 'almost' danceable psych flourishes that should appeal to fans of Animal Collective with their odd and challenging arrangements. The album ends with a trance inducing 13 minute track called End West that is pretty close to perfect, and makes me wonder why this collaboration has never bothered to release a sophomore album. On the other hand, why mess with perfection? [Myspace: Sandro Perri]

32. A Ghost Is Born - Wilco (2004)

Jeff Tweedy's experimental phase hit a whole other level with the release of this one. At first listen, I actually remember saying something to the effect that it was every bit as good as Yankee Hotel Foxtrot, and a natural progression from the expanding ideas presented on its predecessor. That opinion has obviously softened since then, but it doesn't mean that this album is not an outstanding achievement in its own write. There are many moments where the album feels as if it has a loose and improvisational feel, which is outstanding considering that Tweedy himself has commented on the fact that every guitar solo and moment of ambient noise was carefully organized and premeditated. The part at the end of At Least That's What You Said, for example, is intoxicating. There are also moments where the band sounds as if they're deliberately trying to alienate, most notably during the wall of synth at the end of Less Than What You Think. This may not be a moment that I always enjoy listening to, but I can't help but admire it to a certain extent. And then there's Spiders (Kidsmoke) and it's incredible jammy feel. The song is over ten minutes in length and yet I still find myself hitting the repeat button whenever it plays. Simply amazing. [Myspace: Wilco]

31. Figure 8 - Elliott Smith (2000)

While it's true that throughout the Elliott Smith catalog there are moments that are more philosophical (1997's Either/Or), more heart wrenching (1998's XO) and more experimental (2004's posthumous release From a Basement On A Hill) , for me no album is more enjoyable a listen than 2000's Figure 8. Smith's passing in 2003 was probably the musical death that I found most difficult to hear, simply because for me, it seemed to come out of nowhere. While it's true that clues of his unhappiness were always prevalent in his lyrics and even in his interviews, I honestly didn't see it coming and I was always looking forward to seeing him perform live. So Figure 8's upbeat and positive feel is just the way that I would prefer to remember him. And I realize that titles like Everything Means Nothing To Me and I Better Be Quiet Now don't exactly scream positivity, but the dreamlike nature of the music and presentation just makes me picture in my mind a person who was relatively happy while he recorded these songs. That's the image that I choose to see whenever this album is playing and it always makes me smile. [Myspace: Elliott Smith]

Tomorrow: Bobby B's 50 Albums Of The Decade (#30-26)

Wilco / Liam Finn @ Massey Hall

Jeff Tweedy's recent attraction to the mellower side of making music in the vein of mid-70's AM pop made me a little bit unprepared for last Wednesday's Wilco show at Massey Hall. Of course I was still excited (this is Wilco after all) but one could understandably be forgiven for assuming that the show was going to be more of a "sit back and relax" type of affair. While it's true that the last time I saw them, they blasted out a set that included a phenomenal three song suite of Being There's greatest rockers, I know that this was more of an exception to the rule, and I walked in to the venue assuming that this would likely be a tad tamer. Still, I had every reason to assume that even that would likely be a sweet slice of fantastic, especially considering the fact that the grand hall of Hart Almerrin Massey is probably the most sonically pleasing venue in the city, especially in an acoustic setting. However, if there's one thing that was proven at the Sonic Youth show earlier this year, Massey Hall is equally equipped for rocking out, and it was with that particular mindset that Tweedy et al approached the first evening of a two night, sold-out stay in Toronto last week.

I was looking forward to seeing opener Liam Finn since I had heard several good things about his live show from some friends who saw him open for Crowded House (featuring his father Neil Finn) and Pete Yorn at this very venue a couple of years ago. He leaped out onto the stage sporting a scraggly beard and a Michael Jackson-like jacket before lunging into a brief set of hyperactive rock that ranged from strongly melodic pop stuff to slightly uncontrolled acoustic numbers, both heavy in drums and looped guitar. Joining him onstage was Eliza Jane Barnes, who helped by filling out on keys, guitar and harmonies. Liam himself was quite adept on both guitar and drums, although rather frenetic when it came to the heavier moments of percussive pounding. During his whole set, I remember thinking that his animated presence would make him a delight to see in a smaller venue, not to mention the fact that the 30 minute time restraint prevented him from bantering much, (although he assured us that when he does, it's hilarious!) For others that may have felt the same way as I did, there's an opportunity to witness a banter-full, complete set when he returns on October 29th for a show at Lee's Palace.

Wilco's self titled opening song (entitled Wilco (The Song), in case you couldn't figure that out) was about the only thing that didn't surprise me about the evening. Following that up with the truly cacophonous one-two punch of I Am Trying To Break Your Heart and Black Bull Nova on the other hand, was an incredibly pleasant surprise and the evening continued on a similarly energetic course that featured a balanced mix of both newer songs and a few select classics. For the first six or seven songs, it looked as though we were going to have to settle for a banter-less Tweedy, but when he finally did end his silence, he was in full "wit and quip" mode as he did everything from appealing to our national pride in order to encourage a singalong during Jesus, Etc. to mocking our singing and quickly apologizing because, in his words, he "didn't realize that we were so needy."

The evening was full of highlights. Nels Cline's insane extended guitar solo on Impossible Germany was truly a sight to behold. Hearing A Shot In The Arm, I Can't Stand It and How To Fight Loneliness from Summerteeth was also an unexpected thrill. Despite Tweedy's jokey comments, the aforementioned singalong sounded more amazing than those usually do, no doubt amplified by the superior acoustics of the hall. I would have to say that my favourite part of the evening though was during the encore when they came very close to displaying a slightly different version of the magic Being There moment of my previous experience when they played Monday and Outtasite (Outta Mind) from that album, only to follow it up with Hoodoo Voodoo from Mermaid Avenue. Classic!

Reading some of the reviews of the following night's experience, I was sorry that we didn't get the expected Feist appearance that they got, (she was busy making an appearance at Amy Millan's Mod Club show on our night,) and I would've liked to hear California Stars (which they pulled out during the Thursday night encore) but otherwise, I'd say that Wednesday's show was every bit as good as Thursday's. At this point, it's pretty much an indisputable fact that a Wilco show is basically a sure thing, and I plan on embarking on that sureness as often as I can. The next opportunity will be when they play Hamilton Place Theatre on February 24th, 2010.

EYE Weekly also has a review of this show (that is even gushier than mine), along with Back In 15 Minutes and The Ampersand, while Chromewaves, For The Records, Blog TO and The Ampersand (again) have reviews of the following night.

Photos: My shots of Wilco, Liam Finn @ Massey Hall are on flickr
Myspace: Liam Finn
Myspace: Wilco

'Sup In October: Ten Picks

It was incredibly difficult to narrow my gig picks for October down to only ten. There are literally a ton of great shows going on this month, and the thought of setting aside all other responsibilities and just taking in a different live show every night of the week has never been more appealing. Well, almost. I mean, call me crazy, but I actually enjoy being a semi-responsible guy, most of the time. But I digress. Here are my picks for October '09.

For more detailed listings, as usual, go check out Stillepost, Zoilus and Jen's Weekly List (of shows under $10)

1. Roky Erickson w/The Sadies @ Lee's Palace
(Wednesday October 28th; Cost: $29.50adv/ $30 door)

So far this has been the best year I can remember for having psychedelic legends perform here. We've had The Sonics, The Zombies and Love all come to town and now you can add to that list the legendary frontman for 13th Floor Elevators: Roky Erickson. What's doubly interesting about this show is the fact that The Sadies are scheduled to perform as well. Now I don't want to start any rumours or get any hopes up, but I'm thinking that there's a good chance that The Sadies might be Roky's band for the evening which, if this is true, which I'm not saying that it is, would be awesome! Either way, just seeing them both on the same night is sure to make this show a memorable one for sure.

[Myspaces: Roky Erickson; 13th Floor Elevators, The Sadies]

2. Wilco / Liam Finn @ Massey Hall
(Wed Oct 14th & Thurs Oct 15th; Cost: $39.50 - $45.00)

Although my personal feelings for the works of Wilco have not been as strong in recent years as they once were, that doesn't lessen the fact that the live Wilco experience is one of greatness. I'm sure that the show will be heavy on material from the latest album, but since they've recently cut their teeth on some of the classics, I'm hoping that they'll throw in a few of those also. Add to that, the possibility that Feist might pop by, and a splendid time is guranteed for all. Once again, I'm not saying that she will be there; this is all just mere speculation on my part. The fact that Liam Finn is opening for them is also exciting since I've heard more than a few good things about his show from people who've actually seen him.

[Myspaces: Wilco; Liam Finn]

3. Loney Dear / Asobi Seksu @ The Horseshoe
(Tuesday October 13th; Cost: $13)

There was no way to hide the disappointment in my walk home from The Rivoli a few months ago after finding out that Emil Svanängen's van broke down and the Loney Dear gig was simply not going to happen. I love seeing this band live and I'm crazy giddy that they are able to return to our city to give it another try. If you enjoy smiling, then I sincerely hope that you'll put this show on your to-do list, because a Loney Dear show is all about shining happiness on everyone in attendance. Don't believe me? Go to this show!

[Myspaces: Loney Dear; Asobi Seksu]

4. Yo La Tengo / The Horse's Ha @ Opera House
(Saturday October 3rd; Cost: $25)

I have not yet heard Yo La Tengo's latest release entitled Popular Songs, but I'm sure it's great. Why can I be so confident? Because they always are! I am of the opinion that Yo La Tengo's music contains a consistency that is only rivaled by Sonic Youth. They are currently in their 25th year of existence, and they have yet to release a mediocre album. The show kind of caught me by surprise and I'm already slated to catch another one, but if there was ever a strong argument for cloning myself, this would be it.

[Myspaces: Yo La Tengo; The Horse's Ha]

5. Broadcast / Atlas Sound @ Lee's Palace
(Saturday August 24th; Cost: $13)

I really like that Bradford Cox. Deerhunter never ceases to amaze me and the same can be said about the prolific works of Cox's solo project Atlas Sound. Although his alienating antics have made a few headlines in the past, I thought he was an absolutely mesmerizing frontman when I saw Deerhunter last year and I'm sure that the same can be said about this show too. Last year, he put out a collaboration CD with electro poppers Broadcast, who are headlining the show. I don't know much about Broadcast. I like what I know but I only know a little. I'm sure they're good.

[Myspaces: Atlas Sound; Broadcast]

6. Happy Mondays / Psychedelic Furs @ Kool Haus
(Wednesday October 14th; Cost: $31.50)

Although these two bands were never really contemporaries as such, they both evoke the same nostalgic feelings in me since their music was featured equally at every party I ever attended from 1988 to 1995. My arms flail madly just thinking about it. Of course, the show's at the Kool Haus which means that if there are any flailing arms happening, they would likely be hitting me in the face and annoying me, because this is generally what happens at the Kool Haus.

[Myspaces: Happy Mondays; Psychedelic Furs]

7. Echo and the Bunnymen @ Queen Elizabeth Theatre
(Tuesday October 20th; Cost: $67.00)

If you'd rather get your 80's fix at a seated venue, then QET is the way to go as Echo and the Bunnymen (pictured above circa 1980) will be performing their entire Ocean Rain album in its entirety with a full orchestra accompanying them. That is sure to be one uplifting show. For 67 bucks, it better be.

[Myspace: Echo and the Bunnymen]

8. Destroyer / Andre Ethier @ The Horseshoe
(Wednesday October 3rd; Cost: $13.50)

I've been longing to see Dan Bejar since Destroyer's Rubies became one of my most listened to albums of the decade. I still have trouble listening to Painter In My Pocket less than three times in a row. He's put out a lot of great stuff since that masterpiece, including the solid Trouble In Dreams album and this year's soaring Bay Of Pigs single, which is a 13 minute electronic disco rock amalgam of pure bliss. Sweetening the pot is the fact that he's being supported by local songwriting genius Andre Ethier, whose live show I've actually been craving lately.

[Myspaces: Destroyer; Andre Ethier]

9. Daniel Johnston @ Mod Club
(Saturday October 17th; Cost: $27.00)

A Daniel Johnston show is a bit of a risky endeavor since you never really know how it's going to go down. It could be amazing, bordering on genius, or it could be confusing, annoying or perhaps even offensive, depending on how he's feeling. However, if you're at all familiar with the story of Daniel Johnston, then you're likely as curious as I am to attend a performance, at least once. The fact is, that his music has been covered by everyone from Tom Waits to Beck to Sparklehorse and his influence is undeniable.

[Myspace: Daniel Johnston]

10. Shonen Knife / The Modern Superstitions @ The Horseshoe
(Sunday October 18th; Cost: $15.50 adv/ $18 door)

My weakness for Japanese pop is something that I haven't revealed all that often on this here blog, but truth be told, I may not always know what they're talking about, but they always warm my heart anyway. Shonen Knife is one of my favourites, and their show at The Horseshoe is bound to be all kinds of fun.

[Myspaces: Shonen Knife; The Modern Superstitions]

Honorable Mentions:
As I alluded to at the outset, I could honestly be honorably mentioning my brains out, since the number of great shows in town is staggering. Bruce Peninsula and Sunparlour Players (Oct 1st @ Horseshoe); Built To Spill (Oct 6th & 7th @ Lee's Palace); The Horrors (Oct 15th @ Lee's Palace); Cuff The Duke (Oct 16th & 17th @ Horseshoe); The Dodos (Oct 17th @ Lee's) Elvyn (Oct 23rd @ Silver Dollar); In Flight Safety (Oct 29th @ El Mocambo); Bishop Allen (Oct 30th @ El Mocambo) and many many more. You add to that the Pop Montreal Festival that is taking place RIGHT NOW in Montreal, and this weekend's city wide art festival Nuit Blanche, and this month becomes more action packed than a Michael Bay movie. But with significantly more substance.

Where I'll Be:
I'm actually mildly prepared this time around since I'm holding a ticket to the Destroyer / Andre Ethier show this Saturday (after which I plan on attempting the all night thing again with Nuit Blanche.) I'll also be checking out Loney Dear for sure, and Wilco's first night as well. I hope to catch Elvyn's show at the Silver Dollar and I'm really hoping to go to my number one pick with Roky and The Sadies, although I don't actually have my ticket for that one yet. See you around!

"Honky Tonks and Biker Bars"

Reviews of Son Volt & Wilco

For many, the battle of the ex-Uncle Tupelo members has always had one obvious champion, that being Mr. Jeff Tweedy. I swear that I don't deliberately try to be different, but personally, I've always been partial to the works of Jay Farrar. Some have criticized Son Volt's lack of adventure, but I think his solo work has been a successful enough avenue for his specific brand of experimentation. His band Son Volt, however, revels in consistency. When they release an album, I know that I am going to enjoy it, pretty much, from start to finish. It's going to have some great guitar work, obscure lyricism, and that voice! That Farrar vocal! Understated, yes, but still one of the most captivating voices in rock history, in my not so humble opinion. When it comes to Wilco however, I just don't know what to expect. This is good, I enjoy the challenge, but it does mean than not every album is going to hit a home run. While I'll admit that Farrar has never released an album quite as brilliant as Yankee Hotel Foxtrot, he has also never released anything quite as forgettable as Sky Blue Sky yet either.

I'll be the first to admit that reviewing both of these albums in the same post is a bit juvenile and silly, but I picked up the albums at the same time and I listened to them on the same day too. Add to that the fact that, as much as I try not to, I can't help but compare the two of them, and my hands become tied.

Son Volt - American Central Dust

For Son Volt's sixth release, the band once again goes back to the traditional country style of their masterpiece Trace, as opposed to some of the saxophone-y dabbling that they incorporated into 2007's The Search. This is an area that they're apparently very comfortable in, and although the argument has been made that the band is stagnating, I'm having trouble accepting that. Take for example Down To The Wire, a brilliant song that thumps along with a thick drum sound, tremolo guitar and a brash sounding electric piano, that is actually somewhat reminiscent of some of the songs on his underrated solo album Sebastopol. Sure, the lyrics are obtuse, but hey, Farrar just does that sometimes. It doesn't detract from the fact that the song is intoxicating in its grainy assertiveness. Cocaine and Ashes is another beauty, with Farrar's vocals accompanied mainly by a piano, fiddle and some slightly imperfect harmonies, which seems appropriate in a song that's inspired by Keith Richards. When The Wheels Don't Move is probably the heaviest track on the record, as it displays an arrogance that reminds me of some of Steve Earle's bluesier songs of protest. And then there's Sultana, my personal favourite song on the album. This mesmerizing ballad is about the greatest maritime disaster in U.S. history: the explosion of the SS Sultana in April 1865. Nowhere do Farrar's vocals haunt so successfully than on this track, which manages to reach epic proportions while still remaining interestingly subdued. Think of it as this generation's Wreck Of The Edmund Fitzgerald.

As per usual, Son Volt has crafted another album that is consistent as it boasts not a dud track in the lot. It's true that the album's subtlety may require repeat listenings for the full impact to take effect, but once it does, it just may be the second best album in the band's ever lengthening catalog.

Myspace: Son Volt
Download: Down To The Wire mp3

Wilco - Wilco (The Album)

I have to admit that I don't get as excited about a new Wilco album as I used to. They've easily secured a spot as one of my favourite bands of all time, and they would really have to screw up royally to be ousted out of there. But the last time that I remember being really blown away by a Wilco song was Spiders (Kidsmoke) from the Ghost Is Born album. Since then, they've been putting out songs that are very good, but pretty much leaving me stale upon repeat listenings. For the most part, this album is quite similar to the 70's AM radio sound of Sky Blue Sky, although there is a bit more adventure during the early stages of the album. By now, most have probably heard the opening track, hilariously entitled Wilco (The Song). It's a corny, but fun upbeat number, not unlike some of the rockers on Being There. Deeper Down is a progressive little number that actually ventures relatively close to being a bit of a chamber rock cut, with some stunning guitar work from Nels Cline. The fourth song on the album is one that will likely be amongst my favourite Wilco tunes of all time. Bearing some definite similarities to the aforementioned Spiders, Black Bull Nova has a steady new wave keyboard sound along with an immediate vocal by Tweedy. What makes the song so great is the instrumental breakdowns that allow the band to really shine, proving that they are definitely a collection of the most inventive musicians out there today. The song continues to build and build throughout the course of its nearly six minute length, culminating in a dual guitar assault that I dig immensely. After such a strong start, it's a shame that the rest of the album plays it so safe. That's not to say that all the songs are bad, they're just not the type of thing that I could see myself revisiting all that often. You And I, the much hyped Feist duet is sweet and sappy and pleasant enough, but ultimately forgettable. I kinda dig Sunny Feeling because it reminds me a bit of Big Star meets George Harrison. (Harrison-like guitar work also features prominently in You Never Know.)

Overall, the album has a bit more going for it than the last one, but I suppose the days of Tweedy getting really experimental and interesting are gone for now. I'll have to give the album a few more listens before I pass final judgement, but it's hard for me to do that when I keep putting Black Bull Nova on repeat before just going back to that awesome Son Volt album.

Myspace: Wilco
Stream: Wilco (The Album) at NPR music

"To Live By The Sea And Never Leave"

Music News, Local News, Indie News, Et Cetera....

Having grown bored with processing the photos I took at a show I attended on Friday night, I figured that I would take a break by visiting this here blog. No reviews or opinionated rants today, just a random whack of music related news that may or may not interest you depending on what type of stuff interests you these days:

I didn't participate in this weekend's Over The Top Festival, mainly because I found myself dealing with a tiredness that seemed to run dangerously close to the chronic fatigue variety. Hopefully, I will be able to have a share in, at least a little bit, of next weekend's Pitter Patter Fest, which is taking place at various venues in and out of the city. I've already talked a bit about it before, but I've recently come across another show that seems to be peaking my interest significantly.

Zygiella VIII is taking place at Rancho Relaxo on Friday night (May 29th). I love to support Zygiella, yet I'm an idiot since I've still never actually attended any of their showcases. The lineup this time around conisists of three bands that I'm not really all that familiar with, yet having sampled the music on their myspaces, I'm pretty sure that I'll have to set aside my previous Friday night plans and check this one out. The bands are Pick A Piper (pictured above), Huddle and Hut and if you like your shows eclectic, than this one is a must see.
[Above photo taken by K. Downey]

Dog Day are playing on Thursday night at Lee's Palace and my ticket giveaway contest is still running for another day or so. In the meantime however, you may wish to check them out when they play a free instore at Soundscapes on Wednesday May 27th at 6pm. [Myspace: Dog Day]

Fox Jaws are just about to embark on their East Coast tour but before they leave, they'll be playing a PWYC show at The Supermarket on Wednesday night. [Myspace: Fox Jaws]

The Vancouver Documentary Film Festival (DOXA) is taking place as we speak and will be continuing on all week but the reason that I'm tallking about it here is because they've got an interesting fundraiser taking place in connection with the fest. A number of disposable cameras were distibuted to different celebrities - the idea being that they would shoot them off and then auction them on eBay. Amongst the participants are Great Lake Swimmers, The Weakerthans, Jason Collett, Torquill Campbell, George Stroumboulopoulis and Narwuar the Human Serviette, as well as many many others. To see how you can get involved, check out all of the information here.

And I'm sorry to finish off on a sad note, but I just got word that former Wilco guitarist and songwriter Jay Bennett has passed away this weekend. He was a major contributor to the Wilco sound during, what I feel, was their best period of output. Very sad news indeed. He was 45.

The Decemberists - The Hazards Of Love

Originally I wasn't going to bother blogging about The Decemberists' The Hazards Of Love CD, simply because everybody else already has. The thing is, I think it's only fair that I provide my readers with a reason why I've been terribly negligent about listening to anything else over the past month, and that reason, as you may have already guessed, is due to the fact that this album exists. It's brilliant, it's addictive and, to be quite honest, it's the album that I've been waiting 20 years for.

It's true that this means my waiting for it predates the existence of The Decemberists by about 11 years, but so does my love for the well executed concept album. It's also true the number of overwrought and pretentious concept albums greatly outweigh the ones that are done well, (and it could be argued that even the ones that are done well are a bit overwrought and pretentious) but when it works, it takes the experience of listening to music to a whole new level. The idea of an entire album being a solid work of art unto itself, as opposed to being a collection of shorter 'works of art' means that the listener has to be willing to commit. Admittedly, most people aren't ready for that kind of commitment, and this is why The Hazards Of Love will continue to polarize people like no other album has in recent years. Simply being a fan of The Decemberists does not mean that you are going to dig this one, and the opposite holds true as well.

I thought I'd refrain from a formal review this time around since, like I said, the album has been reviewed enough already, but I thought I could at least relate a couple of the reasons why it appeals to me, perhaps moreso than it might for others. The first reason, as I've already alluded to, is my obvious love for progressive rock. My admission of prog-love has likely already banished me from the throngs of indie rock credibility forever but one cannot hide who he is. Sure, the album dips into several other territories including folk, ambient, glam-rock and even some very obvious homages to metal, but more than anything else this is a prog album, through and through. The second reason for my succumbing to the album's powers is my admiration for an epic love story. I've ranted before about my disdain for the common love song, i.e. the type that leads you to believe that true love requires little to no effort and always ends up all hearts and roses. But as for the love that strives to endure through the greatest of trials and still has to struggle to stay alive, well this has always been a tale that never tires for me. And never before has this tale been related with such eloquence within the boundaries of rock 'n roll, than on this album.

Lastly, there is also no real need to dwell on the specifics of the narrative since this also has already been dissected elsewhere, but it is safe to say that the storyline would all be meaningless if the music wasn't any good. Although several of the tracks do work quite well on their own, the album really is meant to be listened to as a whole, and under that criteria, it is an outstandingly adventurous piece of music. Like a classical composition the album contains a wealth of highs and lows, and while the complaint has been made that the songs lack any real hook, all I can wonder is what album are these people listening to? The recurring refrain of "the wanting comes in waves" as well as the expression that gives the album it's name, is a hook that remains in my subconscious consistently, to the point that I find myself craving it often. Some have also mentioned the lack of strong melodies, but I think that moments like The Rake Song, The Drowned and most notably Wager All prove that this also is not a very strong argument.

Ultimately, this album is not for everyone, and obviously it does require some work on the part of the listener. But if you're up to the challenge, the payoff is epic and if you're looking for something unique, especially within the current musical climate, than The Hazards of Love is definitely a great place to go.

The Decemberists are playing the Kool Haus on Monday August 3rd. Above photo is on myspace

Myspace: The Decemberists

Other stuff:
There are a couple of exciting shows coming to Massey Hall in the near future. Sonic Youth are going to be performing on Tuesday June 30th in support of their upcoming release The Eternal. which is due out on June 9th. The tickets range from $36.50 to $48.50. Also Fleet Foxes are apparently big enough to play Massey as well now and they'll be doing so on Tuesday August 4th with tickets ranging from $32.50 to $39.50. [Myspace: Sonic Youth; Fleet Foxes]

Well, the relative peace was fun as it lasted but it looks like drama has returned to the world of Wilco since former bandmate Jay Bennett has decided to sue Jeff Tweedy over some royalties involved with the documentary from a few years back. The story is on Pitchfork while the new album, masterfully entitled Wilco (The Album) is due out on June 30th. The first single is called Wilco, The Song and the album apparently contains a duet with Feist. Looking forward to it. [Mspace: Wilco]

As part of Largehearted Boy's 'author interviewing musician series', author Ben Greenman interviews former Old 97'er Rhett Miller. [Myspace: Rhett Miller]

Apparently, either Coldplay plagiarises everybody, or Viva La Vida sounds exactly the same as every song ever written! The latest complainant: Cat Stevens. Story is on Stereogum. [Myspace: Coldplay, Cat Stevens]

The Receiver have posted a couple of new tracks from their upcoming album on myspace. The album is called Length Of Arms and it is due out on May 8th. [Myspace: The Receiver]