Showing posts with label Doug Paisley. Show all posts
Showing posts with label Doug Paisley. Show all posts

Monday, May 29, 2023

Monday Roundup #124

Concert announcements:

Music and the Shadow People [sneak peak of a live radio play performance written by William Parker with immersive multi-channel sound design by Andrew O’Connor] (feat. William Parker/Bea Labikova/Kayla Milmine/Anita Katakkar/Mike Rinaldi/Trent Pardy/Gary Kirkham/Rosina Kazi) / Array Space 2023-06-08 (Thursday). $20 or PWYC (cash only).

Audiopollination (feat. Zoë Alexis-Abrams/David Sait/Marilyn Yogarajah / Luke Roberts/Rod Campbell/Rosie Cochrane / Grace Scheele/Martin van de Ven / Michael Palumbo/TBA) / Array Space 2023-06-09 (Friday). $10 or PWYC. [FB event]

Spore Wind [compositions by Raven Chacon, Rohan Chander, Clara Iannotta, Bekah Simms, Christina Volpini] (feat. Continuum Contemporary Music / chik white) / The Music Gallery 2023-06-09 (Friday). $20 regular ; $15 seniors/MG members/arts workers; $10 student. [FB event]

Jessie Dara (Emilie Mover) / The Tranzac (Southern Cross Lounge) 2023-06-11 (Sunday) [FB event]

Emergents Series (feat. Jairus Sharif / Mustafa Rafiq) / The Music Gallery 2023-06-14 (Wednesday). $10, all ages [more info]

Music By Harry and Furlong (feat. Daniel Wyche [solo] / The Search For Eternal Happiness [Alex Samaras/Laura Swankey/Harrison Argatoff/Patrick Smith/Jeff LaRochelle/Madeleine Ertel/Kae Murphy/Andrew Furlong/Caleb Klager/Chris Pruden/Patrick O’Reilly/Aidan McConnell/Harry Vetro]) / The Tranzac (Southern Cross Lounge) 2023-06-14 (Wednesday). $pwyc [FB event]

You in Mind (feat. Duo Cichorium / Jaz Tsui & Louis Pino) / The Music Gallery 2023-06-16 (Friday). $15; $10 for MG members, students, arts workers. [FB event]

DIG presents (feat. Hot Garbage / Burner / Scooter Jay) / The Horseshoe 2023-06-22 (Thursday). $25.29. [FB event]

Intersection Festival 2023 Day 1: "The Last Symphony" (feat. William Basinski / Kuuma) / St. Anne's Anglican Church 2023-09-01 (Friday). $39.02; $28.27 student/senior/arts worker. [FB event]


Shows this week:

Rob Clutton Trio [Karen Ng/Nick Fraser/Rob Clutton] / The Tranzac (Southern Cross Lounge) 2023-05-30 (Tuesday)

Not A Band / Houndstooth 2023-05-31 (Wednesday). $free. [FB event]

Martin Rev (Scarlett Rose) / The Garrison 2023-06-01 (Thursday). $42.35, 19+. [FB event]

Sunglaciers (No Frills / Pretty) / Monarch Tavern 2023-06-01 (Thursday). $14.50, 19+. [FB event]

Tania Gill Presents (feat. Susanna Hood Trio [Susanna Hood/Tania Gill/Kayla Milmine] / Tania Gill/Heather Saumer/Blake Howard) / The Tranzac (Southern Cross Lounge) 2023-06-02 (Friday – early). $pwyc. [FB event]

TONE Festival (feat. RAWL [Jack Wright/Ben Bennett/Evan Lipson/Zach Darrup] / Naomi McCarroll-Butler / Unguent) / Tibet Street Records 2023-06-02 (Friday). $14.29, all ages. [FB event]

Liquid Architecture - An evening of solo acoustic guitar (feat. Brian Abbott/Ryan Kinney/Kurt Newman/Patrick O’Reilly) / Mischief Makers 2023-06-03 (Saturday). $10 in advance/$12 at the door. [FB event]


Bandcamp corner:

  • A slice of essential local music is back in circulation with a new resissue of One Hundred Dollars' debut album Forest of Tears, with both a vinyl repress and digital/bandcamp version available. The first flowering of Simone Schmidt's emerging songwriting prowess and a crack band using country music forms to explore hard times in the big city and beyond. I recommend reading Schmidt's recollections here. (And meanwhile, it's hard to understate how much this album, this band, these songs were a foundational element of this blog — this was the sort of thing that I wanted to hear, wanted to document, wanted to share.)
  • And as a tasty companion to that, here's a hitherto-unreleased single from the folowing year with One Hundred Dollars and Rick White (who produced Forest of Tears), with Schmidt taking the vocals on a cover of White's "Pain" while the band backs White on a cover of "Nights in White Satin" on the flip.

(And if you hadn't realized, the whole Blue Fog Recordings discography is now on bandcamp, so you have no excuse to be listening to essentials like Wyrd Visions' Half Eaten Guitar and hard-to-find rarities like his shared 12" with Castlemusic.)


It happened this week...

  • ...on May 31, 2011 at Soundscapes.

Doug Paisley - Always Say Goodbye

  • ...on June 3, 2011 at The Garrison.

The Guest Bedroom - Magical Thinking

[Do remember that you can click on the tags below to go back and find the original posts (and often, more stuff) from these artists.]

Monday, May 31, 2021

Monday Roundup #20

In the absence of concert listings, my regular Monday dispatches have fallen off. After bringing some life to the blog with the "bumping into" series, I figure I should get back in the groove. I'm guessing that this will be a bit like what used to get shoved into the end of the post when I was doing listings — some bandcamp suggestions, nods to a few livestreams, and sundry community notes (email me if you have anything that needs broadcast in the latter category!). Plus maybe a look back through the MFS archives.


Community notes:

  • Was there any stuff that you saw coming up, and it was in June, and you thought to yourself, "pff, June is ages away! I'll worry about it then!" Well, this is your official heads-up that June is pretty much here.

It happened this week...

  • ... on June 3, 2011 at The Gladstone Hotel's Melody Bar.

Mansa Sissoko feat. Cheka Dioubate - Khaira (Good Luck)

  • ... on June 4, 2011 at Rivoli.

Doug Paisley - It's a Dream

[Do remember that you can click on the tags below to go back and find the original posts (and often, more stuff) from these artists.]


Bandcamp corner:

  • I first encountered Madeline Link a couple years back playing in Triples alongside her sister Eva. Back then, Pax was her solo-ish side project, but its since evolved, both name-wise and in terms of focus. The new Take The Cake still has a pleasingly rough-around-the-edges casualness to it, but bespeaks a more focused project worthy of the push its currently getting, whether you were around the first time slack 90's alternative rock was in vogue or not.
  • A bit of a conflict of interest here, as I played on and had a hand in convening this session, but the fact I got to play in a big circle with seventeen other humans (and one dog) that I like spending time in the same room with means I'll also advocate for it on their accounts. Ambisonically recorded, this drone ensemble even tackled our first-ever composition (the title track, created by Patrick O'Reilly to be approachable to sound-makers of all skill levels). Help us listen to whispers from space.

Sunday, January 12, 2014

Recording: Simone Schmidt

Artist: Simone Schmidt with Doug Paisley

Song: Smoke [Crash Vegas cover]

Recorded at Holy Oak Café ("Toronto Does Toronto 3"), January 5, 2014.

Simone Schmidt - Smoke

Full review to follow. Once again the Holy Oak invited some of the best Toronto songwriters of right now to pay tribute to their local musical heroes, with their choices ranging from past to present and from the familiar to the obscure. As far as I can tell, there's a lot more water in this well, so hopefully the series won't end here.

Simone Schmidt (of One Hundred Dollars, and, more lately, of Fiver and The Highest Order) joined forces with Doug Paisley to rustle up the ghost of Handsome Ned — and also to revisit this song which she first heard in her older sister's music collection. Michelle McAdorey, the voice of Crash Vegas, is still writing some great songs. She has a new album on the way and you can hear some of those songs at an upcoming residency at The Tranzac, coming every Friday night in February.

Wednesday, October 30, 2013

Recording: Chuck Erlichman & Doug Paisley

Artist: Chuck Erlichman & Doug Paisley

Song: This Dream [Great Speckled Bird cover]

Recorded at Holy Oak Café ("Toronto Does Toronto II"), October 27, 2013.

Chuck Erlichman & Doug Paisley - This Dream

Full review to follow. The basic idea here — having Toronto musicians pay tribute to the songs of other Toronto musicians — is something I can get behind as a musical locavore, so I was sad to have missed the first night in this series back in summertime. Fortunately that went over well enough to bring about a second instalment — and word on the street is that we can expect another come January.

Playing in a duo with troubadour Doug Paisley, Chuck Erlichman took the lead on this one by Great Speckled Bird, a Yorkville-scene band that included Ian & Sylvia Tyson, and would become their backing band as the pair gained prominence. Erlichman is another musician you should seek out at the Holy Oak — he'll be there playing along with Ian Russell (ex-$100) on November 8th.

Sunday, August 19, 2012

Recording: Doug Paisley

Artist: Doug Paisley

Song: End of the Day

Recorded at The Theatre Centre (SummerWorks Festival), August 18, 2012.

Doug Paisley - End of the Day

Full review to follow. In a duo format that put the focus on his warm voice and nimble guitar skills, the always-wry Paisley paid tribute to the Toronto Blizzard and declared his set to be an infomercial for Bry Webb.

Tuesday, August 7, 2012

Preview: SummerWorks Festival Music Series 2012

The SummerWorks Theatre Festival — Music Series

All Music Series shows are at The Theatre Centre, in the basement of The Great Hall (1087 Queen Street West, at Dovercourt). Doors 9:30 PM, Show 10:30 PM

After a couple years at The Lower Ossington Theatre, the fifth year of SummerWorks' Music Series sees the shows returning to their original home in the basement of The Great Hall.1 It's a nifty spot to see a gig, with a variety of viewing options — hanging back and sitting, up front and dancing, or watching from the oval balcony above. It does get warm down there, though, so dress like you're going to sweat. As always, the artists are well-selected (this year by Julie Fowler) and there are promises that several of these are going to spectacles beyond just the regular sort of show.

Most of these shows are fifteen bucks (Buck 65 is $20; the opening party is free) with tickets available online through the festival website or at Soundscapes/Rotate This. You'd do well to check out any of these shows, but if you're wanting to learn more about the bands, I've reached back to some of my past live reviews to give you a hint of what to expect — and some live samples, too.

Opening Party

The Great Hall. Thursday, August 9, 2012. Doors @ 7:00 pm

I reckon there'll be plenty of art-scene schmoozing going down amongst the "performances about bodies" and free donuts, but there's a really fine musical lineup to head down for as well. Three of the sets come from artists that I know well, but who are out to remake/remodel themselves in modern digital form.

I'm especially eager to check out Kashka, which started as a solo-electronic sideline for Kat Burns, but is now her main outlet with Forest City Lovers having wound up. She's always excelled in clear-eyed rememberings of hearts won and lost, and her new Vichada album covers a similar emotional terrain, but it's now bathed in the warm digital beats she's assembled with co-producer James Bunton. Singer-songwriter grooves for the new century.

I've also never caught a set by Chrome And The Ice Queen, but given that the band is a sort of dark-mirror'd version of Del Bel, I'm familiar with the players here. Rumours suggest that behind Lisa Conway's languorous vox you should be ready for faint hints of trip-hop and Twin Peaks.

Warm Myth made their live debut back at NXNE, and I found it to be atmospheric, but not sedate — which isn't out of line for what you'd expect from principals Casey Mecija and Kieran Adams2. Woozy synths share space with assertive guitar and drum parts, making this more than just a typical bedroom solo-electronic project, and an intriguing new setting for Mecija's vocals.

Listen! Warm Myth - Working

The Magic (Ark Analog)

Friday, August 10, 2012

Cynics might get caught up in accusing The Magic of being mere '80's revivalists. Everyone else is too busy dancing. The Guelph crew, led by brothers Geordie and Evan Gordon, was building up a rabid fanbase a couple years ago based on their killer live shows. When they went quiet and got busy serving as sidemen in other bands (most notably in Islands), I wondered if the project was wrapping up, but it turns out they were just taking the time to properly record their songs. The release of the excellent Ragged Gold has more than justified the wait, and they'll be celebrating its release en route to fullscale disco inferno world domination. Taking inspiration from vintage episodes of the Midnight Special, the band has been dropping hints about "dancers, glitter, props" and confetti cannons. This night is not to be missed.

Listen! The Magic - 5th Business

Sealing the deal is a chance to check out Ark Analog, the new collaboration between Maylee Todd and Dan Werb. Anyone who knows their previous work (and especially Todd's collaborations with Woodhands) would have a notion of what they're in for here — something energetic to dance to.

Listen! Ark Analog - Was That It?

Buck 65

Wednesday, August 15, 2012.

Hip-hop lifer/drive-time DJ Rich Terfry probably requires no introduction. It's widely known that he's a fine live entertainer, but this show intrigues with its promise of a collaboration with dancer Ame Henderson. I have no idea what that's going to entail, but advance word promises "strange and beautiful faces, mirrors and ghosts and obstructions".

Listen! Buck 65 - Small Town Boy

Aline Morales & Sandro Perri

Friday, August 5, 2011

Birthed from Tranzac's primordial folk/improv ooze, Sandro Perri has put a futureactive spin on his music, with the tunes on last year's Impossible Spaces album vibrating with subtle but undeniable grooves. Live, his band pushes this even further into extended polyrhythmic bliss. I don't know Brazilian-born singer/percussionist/bandleader Aline Morales, but it sounds like this should be an inspired match with Perri — and unlike the other "x with y" music shows, this is billed with that intriguing ampersand — I don't know if that means anything, but it would be cool to see some sort of collaboration here.

Listen! Sandro Perri - Changes

Evening Hymns (Fiver)

Friday, August 17, 2012.

The sound of dusk settling in over a backcountry lake; of driving down a narrow gravel concession road in a thick, darkened forest; of families: lost, broken and cherished. Previous album Spirit Guides announced Jonas Bonnetta's sound and themes, but the new Spectral Dusk is more vibrant and more personal, mixing atmospheric abstraction and dust-level detail — in other words everything that you can see both close up and far away from a log cabin window.

Listen! Evening Hymns - Arrows

Also on hand will be Fiver, the latest project from One Hundred Dollars' Simone Schmidt. Pitched as an outlet for the sort of songs that might not easily fit into her usual projects, there's certainly an element of that at play — but there's no doubt that they're "Simone Schmidt" songs, and the stories she weaves are fully engaging whether they're backed by a full band or, as will be the case at this show, in a duo with Paul Mortimer.

Listen! Fiver - Beeton

Bry Webb (Doug Paisley)

Saturday, August 18, 2012

Ex-punk Bry Webb's Provider album impressed a lot of folks, but it's been live that he's really been shining — finding his "mature" voice against a spare, acoustic musical backdrop. This is sit-down-and-listen music, about growing up and facing sobering responsibilities. But it's also about the small victories — at the end of every hard-earned day people find some reason to believe, which is the reason Webb'll take time to remind you that he's not singin' a sad song.

Listen! Bry Webb - Ex-Punks

Webb's rootsy counterpart for the night will be troubadour Doug Paisley, a smooth-voiced craftsman who makes it seem easy with deceptively-simple songs about complex truths. His set should be one of the series' gems.

Listen! Doug Paisley - Always Say Goodbye

Closing Party

The Great Hall. Sunday August 19,2012. Doors @ 7:00 pm

The festival closes with a jam-packed night back upstairs in The Great Hall proper, with some fabulous local talent on the bill. Inspired by 90's smooth R&B, OG Melody are writing the jams to celebrate summer in our city. Tuxedo-clad Chris Cummings used to be known as Mantler but is becoming Marker Starling — but he's still guaranteeing good times with his sad-lounge Wurlitzer stylings. Chrissy Reichert's Tenderness is one of most intriguing under-the-radar projects in the city right now, her loop-based, fader-flicking music kept untethered by a rotating cast of top-flight improvisers — and coming out of the clash rough-edged but user-friendly. And sibling-rockers Rival Boys hint at rock'n'roll sophistication in a trio that leans just a bit more to "pop" than "power".

Listen! OG Melody (feat. Peet Moss) - We Can Do It

Listen! Mantler - Husbands

Listen! Tenderness - We Lay Our Broken World in Sorrow at Your Feet

Listen! Rival Boys - Mutual Feelings


Besides all of this — and, of course, all of the theatre that is the festival's original raison d'être — there are also some cool bands at the performance bar, which promises nightly "eclectic performances and happenings". I'd especially recommend you keep your eye out for the tom-waits-for-no-man stylings of Ronley Teper (Friday, August 17) and the positive revolution vibes from the conscious Abstract Random hip-hop crew (Saturday August 18).

Listen! Ronley Teper - Cornered in the Alley

Listen! Abstract Random - Mi Nah Wanna


1 I seem to recall that one reason the music series moved was the amount of time required to turn the venue over and get it ready for the musical performances after the plays had finished, leading to a series of late starts. There are plays going on in the Theatre Centre at seven on most music nights, so hopefully there's enough turnover time now incorporated into the organizers' plans.

2 Mecija is best-known for her work in Ohbijou; Adams has many projects on the go, including the fab new DIANA, and has also recently been seen backing Bonjay.

Friday, July 20, 2012

Recording: Doug Paisley

Artist: Doug Paisley

Songs: I Stand Alone + It's a Dream [Neil Young cover]

Recorded at Rivoli, June 4, 2011.

Doug Paisley - I Stand Alone

Doug Paisley - It's a Dream

My notes for this set can be found here.

Gig: Doug Paisley

Doug Paisley

Rivoli. Saturday, June 4, 2011.

Unusually for me, I totally missed opener Lindi Ortega, partially because, equally unusual, this gig was actually running on time. That would be one of several signs that there was more of a grown-up vibe at hand for this show. Also noteworthy: this one was put on by Massey Hall's ticketing arm, and not one of the usual rock'n'roll promoters.1

This was another part of the PR effort concomitant with the domestic reissue of his second album, and it brought out an older sort of crowd than the one that filled up Soundscapes a few days earlier. Now, we're not supposed to let the audience (or perceived audience) affect how we feel about an artist, but let's face it — we do. It naturally comes to mind: if an artist is chasing an older, more middle-of-the-road audience, what does that imply for their work and how they present themselves? I'm not one to criticize if a musician wants to play to forty-year-olds instead of twenty-year-olds — the "old" cadre are willing to pay a higher ticket price and are way more likely to buy an album. But at the same time, there's always the lingering worry that the outcome will be the musician attempting to "write down" to the broader audience, diluting their talent to appeal to the lowest common denominator.2

Pointing to the empty zone in front of the stage, Paisley commented, "in case anyone's not standing where they want to be standing, there's the invariable V.I.P. space up here that you can come and fill." Several people howled "no", not wanting their comfortably-seated views interfered with, another subtle sign of the different sort of audience at hand. Looking all this over, I was thinking about the fine, fine line between "rootsy singer-songwriter" and "adult contemporary". And as Paisley began to play, I was admittedly wishing his band still had a honky-tonkin' pedal steel. But at least the solid backing trio had room for a bit more gear, including a Rhodes electric piano which filled out the sound some more.

Although celebrating Constant Companion, Paisley wasn't reluctant to dip back to '08's self-titled album, playing "Broken in Two" and "Digging In The Ground" early on. But he did have access to some of the voices that graced the new one, with Julie Faught joining the group to add harmonies to "Always Say Goodbye" and "I Stand Alone".

As always, Paisley was an engaging banterer, telling the story behind the then-unreleased "Bats"3, played in a stripped-down solo version. That led off a mid-set solo stretch, and Paisley commented how the songs he picked for this part of the show were the saddest ones he had, even asking the audience to choose the next song: "one's about certain death, and the other's about the apocalypse."

The solo spotlight ended with a guest appearance from Justin Rutledge, Paisley's friend and neighbour, who did a solo acoustic version of one of his own new songs. It's probably that perception thing again, but I'd always thought of Rutledge as the sort of competently bland AAA artist that I was hoping Paisley wasn't getting melded into.4

In the last segment of the show, Jennifer Castle reprised her role on the album by adding her voice for a trio of tunes, including the appropriately set-ending "End of the Day". The encore brought a beautiful rendition of Neil Young's "It's a Dream", and, all told, it was enough to (mostly) remember that it's the singer that matters, not the crowd. With his pure voice and honest songs, Paisley certainly deserves an audience.5

Listen to a couple tgracks from this set here.


1 Paisley would later confess, "I grew up in Toronto, and I probably snuck into Massey Hall over fifty or sixty times since I was a kid. So I consider this as the first step towards payback. [beat, then sotto voce] That's gonna be a lotta shows, though."

2 I think we can label this "Ron Sexsmith syndrome".

3 This song is now out on the new Golden Embers EP.

4 At this point, I can't not mention the fascinating/distracting trainwreck of the presumably-drunk woman, who started the show sitting on the floor underneath a table against the stage. As the music picked up, she got increasingly emotionally involved, wiping away tears during "Bluebird" and eventually shouting "you're all good!" at Rutledge. During "O Heart", she went from power-pumping her balled-up fists to full-on interpretive dancing, and would break into a solo slow-clap to the lyrics "everyone is wounded/ everyone is scarred" during "Come Here My Love".

5 Paisley will be opening for Bry Webb as part of the SummerWorks Music Series on Saturday, August 18, 2012. This show in particular (and the entirety of the well-curated concert series) is well-recommended.

Thursday, May 31, 2012

Recording: Doug Paisley

Artist: Doug Paisley

Song: Always Say Goodbye

Recorded at Soundscapes, May 31, 2011.

Doug Paisley - Always Say Goodbye

My notes from this set can be found here.

In-store: Doug Paisley

Doug Paisley

Soundscapes. Tuesday, May 31, 2011.

Though Constant Companion, the second album from local troubadour Doug Paisley had originally come out near the end of 2010 on Brooklyn-based imprint No Quarter, it had been picked up for a domestic re-issue by MapleMusic, leading to a charm offensive and PR blitz (about which, more anon). Although part of that was trying to break through to the broader public — the band looked mildly discombobulated, as their long day's promo work had started at 5:30 a.m. to get ready for a TV breakfast show appearance — it also made sense to celebrate the album at Soundscapes, who had been championing it for months.

Which isn't to say that Paisley wasn't a bit skeptical coming in: "I gotta say, I've only done one in-store in my life, and it was in Chicago at this apparently well-known record store. And it was the first time I ever toured in the States, so I was pretty excited to go to this big-deal in-store. And I went down there, and it was just me and the guy that set up my mic and this guy that was shopping for electronica records... and I was kinda in the way."

Happily, Paisley was buoyed up with the robust turnout on hand, and lead off, like the album, with "No One But You". And, like the album, Jen Castle was on hand to sing harmony. Besides her, Paisley was playing with a three-piece backing band, keyb/bass/drums.1 This was a bit less of a hony-tonk rockin' alignment than the last time I'd seen him play, but being a bit more stripped-down was a chance to really hear the fabulous timbre of Paisley's voice. He also revealed himself to be a nimble picker on his semi-acoustic.

His technical gifts, however, are just means to deliver his songs. The country/folk tunes are expertly-constructed, but never just feel like technical exercises when delivered with Paisley's soulful conviction. His personality was also quite present in his winning banter. Like the proverbial back-porch balladeer, Paisley isn't one to rush through things, taking a moment for random small-talk as he tuned — at one point taking comfort in the small dog that one attendee had brought to the store.

The setlist mostly stuck to the "new" album at hand, though he did dip back to his earlier, self-titled effort for "Broken in Two" and "What About Us?" and threw in the unrecorded "Song My Love Can Sing" — nine songs, all told, with Castle returning for a couple more before set's end.

"I'd like to say you guys have redeemed in-stores for me," he said before launching into the last song. "I'm one for two now." Finishing with the apropos "Always Say Goodbye", Paisley closed with a reminder for the accompanying "release party" full gig a few days ahead — about which, also more anon.2

Listen to a track from this set here.


1 The latter was filled out by the always-flexible Dan Gaucher, currently out on tour with Sandro Perri.

2 It should be noted that Paisley has already had another new release in the interim, with the Golden Embers EP arriving last month.

Sunday, June 5, 2011

Recording: Doug Paisley

Artist: Doug Paisley

Song: Bats

Recorded at Rivoli, June 4, 2011.

Doug Paisley - Bats

Review to follow — my notes for this set can now be found here. What do you when you get a screen-printed tea towel from the merch table at a gig? Should it be hoarded away like a collectible, or put into the rotation so that I think about Doug Paisley every once in a while when I'm drying the dishes?

Friday, May 27, 2011

Gig: Jason Collett's Basement Revue (week two)

Jason Collett's Basement Revue (feat. Matt Barber / David McGimpsey (poetry) / Jennifer Castle / Michael Helm (fiction) / Carl Wilson (music criticism) / Nathan Lawr / Doug Paisley)

The Dakota Tavern. Tuesday, December 14, 2010.

It's an indulgence to go to the Basement Revue two weeks in a row, but I didn't let that stop me. Given the amount of goodwill and good word-of-mouth these shows generate, who knows for how much longer it'll be relatively easy to get tickets at all? So, back down to the Dakota on a snowy night that didn't deter the crowd too much. Getting a little closer to xmas, the stage was now decked out with extra lights and festive cowboy hats.

As usual, Jason Collett lead off with a short solo set, including "Long May You Love" (from his most recent long-player Rat A Tat Tat) and "Henry's Song" (from Here's To Being Here — the Henry in question is Henry Miller, for whose who hadn't dug too deeply into the lyrics). Further exploring the "in-between space between musicians and writers", Collett sprung a new song that he'd cribbed from Damian Rogers' poem "Song of the Silver-Haired Hippie". Sitting in the crowd, Rogers uttered a surprised "what?" to the room when Collett announced the song's existence. It turned out to be a nice bit of work, the words matched to a nimble little slide move — the song even garnered an appreciative "thank you" from the poet at the end. Collett finished off by reaching back to 2003's Motor Motel Love Songs for "Blue Sky".

Listen to a track from this set here.

The first musical guest of the night was Matthew Barber, engaging in another sort of musical cross-fertilization. Instead of playing anything from his own albums, he presented the audience with some songs that he was working on for a stage adaptation of Derek McCormack's The Haunted Hillbilly.1 The book is an amped-up, ultra-heightened retelling of Hank Williams' story, with Satan — in the guise of Nudie Cohn — bestowing on Hank Williams the songwriters' gift while crippling him with drugs. It's a tall order — and a rather unenviable job — to have to come up with some new Hank Williams songs, but "Got That Lonesome Feeling on my Mind" had the flavour. It's even more difficult to do that while giving the songs a narrative thrust to fit in a story's arc, and the songs that Barber presented in that vein was a bit more wobbly when stripped of their context.

There was also a lot of pop culture to decode in the poems of David McGimpsey, who read "Invitation" (to a 39th birthday party) from his collection Sitcom. The poem's punchlines ("There'll be a piñata made up to look like an old college professor who said I'd go far... I can hardly wait to give that thing a whack.") were a delivery system for examining mixed feelings on getting older. He followed that with a song played on Collett's guitar (it managed to reference both Milli Vanilli and Penthouse Forum) before closing out with "Montreal", a tribute to his home town ("O the poutine! O the bagels! O bagels stuffed full of poutine!"). This worked for me — the poetry at the Basement Revue always seems to go down easier when it's couched in the low-brow jumble of everyday life.

In introducing Jennifer Castle, Collett had scant biographical details to relate, befitting an artist whose work is more in the realm of instinct and half-revealed mysteries. Playing solo, her jaunty Christmas sweater clashed with the pessimistic sentiments of "For My Friends". That'd be the first of several songs that segued freely from one to the next — a method I've seen her employ in the past. After "You Don't Have to Be" her set looked forward more to her new songs, now available on her excellent new Castlemusic album.

Listen to a track from this set here.

To round out the first half, novelist Michael Helm read from Cities of Refuge. Set in Toronto, this has been rather enthusiastically received, but in giving us a self-contained sketch of one of the characters, I didn't get too much of a feel for what the whole work might be like.

A different kind of reading after the break from music critic Carl Wilson, who instead of pulling out something from Let's Talk About Love (his examination of the construction of taste in the guise of an analysis of Céline Dion), read a piece that came from Back to the World — his shared blog that's an essential venue for thoughtful writing on culture — about seeing Mary Margaret O'Hara perform. An articulate musing on the problem of bodies having minds (or possibly vice-versa) and the relationship between music and bodies, it was interesting to watch Wilson reading, his right hand twitching a little while he held his sheets of paper with the other, trying to make out his words in the dim light.

After seeing the full-on Minotaurs groove machine several times over the past months, it felt a bit strange to see Nathan Lawr in this stripped-down format, playing acoustic and backed only by Ryan Levecque. Levecque's electric guitar had a dying pedal or loose connection somewhere, and "Runaway Lane" ended with an unexpected "static solo", but otherwise this was far more genteel that what Lawr's been up to lately. Of course, though, Lawr has been a singer-songwriter for longer than he's been an Afrobeat/folk bandleader, so this wasn't any sort of unique arrangement for him. Still, the mini-set didn't have the spark his band adds, even when attempting a slightly-sloppy cover of "Canary in a Coalmine", which was dedicated to Rob Ford.

After stepping up to sing one more song, Jason Collett invited David McGimpsey to recite a poem backed by Doug Paisley's band. McGimpsey read what appeared to be a string of several poems (including "Scrubland" and "The Streets of Laredo") amalgamated into what came across as a Texas-set prose-poem travelogue, a sun-scorched journey of regret filled with conversational asides. Given the disjointed origins, there wasn't a stong narrative throughline, and the band's music, with more drift than drive, fit well, though both felt like they were drifting a bit too much by the end. But that's okay in an improvised experiment like this.

That led right into Doug Paisley's set. Though I had brushed across his music a couple times, Paisley was mostly unknown to me until his Constant Companion album started to garner some serious accolades. This set turned out to be just the opportunity I'd been needing to really get a feel for his work.

Paisley accompanied himself on acoustic guitar and was backed by bass, drums (Matt Barber, sitting in) and piano. he turned out to be a fine entertainer, bantering and cracking jokes between songs. The set starting with a mini-medley of songs from John Wesley Harding ("is two songs a medley?" Paisley asked at the end) before moving into his own material, including the expertly crafted "What I Saw", one of the gems from the new album. After that, he focused on older stuff like "Digging in the Ground", and "Broken in Two". There was also "Make it a Double", introduced as a new song ("it's new, and I think it's country, so does that make it New Country?") and "Take Me" (a Leon Payne song, most famously played by George Jones) — and it was telling that the excellent "If I Wanted To" fit right in alongside it.

Jennifer Castle sings on several tracks on the new album, so Paisley took advantage of her presence to close the set with the three songs she'd appeared on, including the ace "No One But You" and the lullaby-like "Come Here My Love". The clock pushing one, the night wrapped up with the topically correct "End of the Day".2

Listen to a track from this set here.


1 In another connection, McCormack had read from his book at last year's Basement Revue, so this almost felt like a progress update on how this one piece of art was getting along out in the big wide world.

2 I don't think Paisley has been playing a lot in town lately, so you should hasten down to Soundscapes next Tuesday (May 31, 2011) to catch him doing an in-store set.

Wednesday, December 15, 2010

Recording: Doug Paisley

Artist: Doug Paisley

Song: If I Wanted To

Recorded December 14, 2010 at Jason Collett's Basement Revue (Week 2), The Dakota Tavern, Toronto, Canada.

Doug Paisley - If I Wanted To

My notes for this set can be found here.

Tuesday, May 19, 2009

Gig: Steamboat

Steamboat

Sneaky Dee's. Saturday, May 17, 2009.

What better way to celebrate the release of a twenty minute EP than with a two-and-a-half hour performance?

Headed down not knowing a lot about Steamboat. I know I've just missed seeing them two or three times in the past. and I knew I had seen various members ably performing in other bands — including, convincingly, The Old Soul. Plus, there was an impressive list of guests slated, so it seemed like a no-brainer. For six bucks cover and a seven dollar CD, it was incredible value for money.

Steamboat on their own roll five deep, such excellent players all that it'd be unfair to single any one out1. Imagine the grease'n'gravy of Booker T & The MG's leavened with a soupçon of The Band, able to provide sympathetic backing across a variety of genres — specialists in all styles, to borrow a phrase. Over the course of two generous sets, the band played a lot of covers, with some of their own material thrown in — and given some of the top drawer stuff they were covering, it's a complement to say the originals, written and delivered by Matt McLaren in a soulful voice, fit in well. If there's any criticism to be made — and its a small one — it's that (at least as of yet, maybe) the band doesn't have as much of its own material to rely on. But besides relying on themselves, they also got by with a little help from their friends.

The first guest up was Doug Paisley, whose name was not immediately familiar to me2 who mixed some country dust into the formula, performing a pair of strong tunes, including the ripping "If I Wanted To". Next up were Ian and Simone from $100, duetting on George Jones/Tammy Wynette's "Golden Ring" plus a roaring take through their own "Tirade of a Shitty Mom", the band bringing the menace to the latter. The first set ended with Alex Lukashevsky joining the band for a couple covers, including a bit of reggae-lite on Jimmy Cliff's "The Harder They Come".3

After a break, the band threw down a few more numbers, before being joined by Sandro Perri and Mantler. I'm familiar with Perri's avant-pop stylings, but had not been exposed to Mantler, wearing a white tuxedo and taking over the electric piano, delivering some smooth, lounge-y tunes, leading off with "I Guarantee You a Good Time". Perri took a turn at the mike for an original (I think) that developed into an extended slinky groove of a coda.

Andre Ethier4 took over and led off with a tune which sounded like "You're a Big Girl Now" in a mellow car crash with "Dress Rehearsal Rag", a sax mourning the scene, and followed up with a powerful Joe Tex cover. Following that, the focus was back on Steamboat themselves, augmented for the rest of the night by an excellent Stax-styled horn section, which was put to good use on a ripping take of Eddie Floyd's "Big Bird" and a few more.

As the set wore on, the original groups of women dancing in front of the stage were increasingly replaced by tall dudes, bro-ing down and reaching over to grab each other's shaggy hair, celebrating some sort of drunken ritual. It was just the sort of night where there was so much music that at one point or another, a break was indicated, and there was a lot of turnover near the front of the room. After being on stage for over ninety minutes for their second set, the band ended with a one-song encore, fabulously tearing through "Can You Picture That?", originally by The Muppet Show's Dr. Teeth and The Electric Mayhem. Matt McLaren admitted that this was a favourite song from his childhood, and, in this context, it felt like a telling formative influence. It was somewhat amazing that the band still had the energy to play with unabated energy all the way through. Added up, it was a thirty-plus song marathon — my second wind needed a second wind to keep me going through it all, but this was totally a lot of fun.

It's worth passingly noting that if a band were to come up with subtle variations on some post-punk group from some bleak Northern English town, they'd be hailed as visionary, but anyone working on subtle variations on some soul band from some bleak Southern American town is usually dismissed as merely retro. This is probably incorrect thinking. Steamboat are working and sweating, generating radiating waves of fun with excellent craftsmanship. There's serious talent in this band, both as sympathetic backing musicians and on their own stuff, so hopefully this EP is just a start. Daunting thought: how long will their release party be for a full-length album?

Listen to a track from this show here.


1 Although perhaps I will single out Christopher Sandes' organ — complete with Leslie Speaker — which really tied everything together throughout the night.

2 Though it turns out that I have seen him perform in his Dark Hand and Lamplight project.

3 Interesting fact: a reggae-lite version of "The Harder They Come" with Alec Lukashevsky on vox sounds not entirely unlike "Two Princes" by The Spin Doctors.

4 Andre was playing one of those... what d'you call those four string guits that are bigger than a ukulele? One of those.