3am Mixtapes: Episode Eighty Two: Change

Each week on the 3am Mixtapes podcast, I will share with you the Top Six Songs of a certain subject. The topics can be as general as best Polaris Prize nominees. Some might be a little more... specific. Top Six Songs For After You Just Got Fired From Your Job. 

And as you may have noticed, there's some exciting new things happening here at 3am Revelations, so this week, it just makes sense for the Top Six Change Songs! 

Change things up with:

"Time For A Change" by Jeremy Fisher
"Change" by Hey Ocean!
"False Creek Change" by Said the Whale
"Change" by Wide Mouth Mason
"Suddenly Everything Has Changed" by The Flaming Lips
"Changes Are No Good" by The Stills

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!

 Subscribe in a reader (Feedburner) | Listen on Stitcher | Direct Download

3am Mixtapes: Episode Sixty Seven: Opening Riffs

Each week on the 3am Mixtapes podcast, I will share with you the Top Six Songs of a certain subject. The topics can be as general as best French songs, but some might be a little more... specific. Top Six Interconnected Bands. 

This week we take a look listen at some songs that grab you right away, with the Top Six Opening Riffs!

Kick into gear with:

"One Big Holiday" by My Morning Jacket
"Gold Guns Girls" by Metric
"3000 Flowers" by Destroyer
"I Love Not Loving You" by Wide Mouth Mason
"Rock Ranger Record" by Matt Mays + El Torpedo
"Hold Your Fire" by Gay Nineties

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!

 Subscribe in a reader (Feedburner) | Listen on Stitcher | Direct Download

Burnaby Blues and Roots Festival @ Deer Lake Park -- 08/09/14

While lots of other festivals this summer have been riding the hype train so hard it's about to derail, the Burnaby Blues and Roots Festival relatively quietly took over Deer Lake Park this weekend -- Saturday, to be exact -- for its 15th year. Somehow, I had missed the festival every year up until now, but with a headliner like Big Sugar, and some other strong blues and roots acts this year, I decided it couldn't be missed.

I got to Deer Lake Park just in time to make a tough decision: Rich Hope & His Evil Doers or Miss Quincy & The Showdown. Seeing in that I haven't seen Rich Hope in quite some time, I chose his set. Joined by just his drummer, he kicked off the set by proclaiming this was "music for having the sex to" and ripped into some dirty bluesy rock 'n' roll riffs. A little bit of technical difficulties didn't throw him off his game as he ripped around the stage with songs like "I See Trouble" and "Let's Jump Around Some" as well as a few covers of songs by The Sparkles and Jimmy Reid. He had a great stage presence, chatting with the crowd a little between songs, and he even hopped off the stage and onto the grass to urge people to sing and clap along with the last song of his set, "When My Light Comes Shining"

From there it was immediately over to the main stage for The Harpoonist and the Axe Murderer. I have had bad luck with the Vancouver duo's live shows, missing every once since I first saw them two years ago, so I was very much looking forward to their set. They started off just the two of them -- Shawn "The Harpoonist" Hall on vocals and harmonica, as well as percussion with his feet, and Matthew "The Axe Murderer" Rogers on guitar and a drum pedal for each foot -- but they soon brought out some help; an organist, and trio of ladies on backup vocals (including Miss Quincy herself). Hall joked that it took them from HAM 2.0 to HAM 5.1 as it really fleshed out their sound.
Highlights of their set included the rockin' "Don't Make 'em Like They Used To" from the new album, as well as a song about how Vancouver's music scene was (and, frankly, can still be) a little sleepy, "Wake Up". They ended off with the stomping (or, clapping since we were on the grass) number "Get Out", as they likely made more than a few fans that'll be there at the November 8th Commodore show they announced on stage.

Back over on the (thankfully tented and shady) Westwood Stage, the Winnipeg/Montreal Chic Gamine was hitting the stage. I had heard of them for a while, but for some reason had never heard their stuff, which I now feel silly about.
Led by Andrina Turenne, Alexa Dirks, and Annick Brémault, their three voices blended for amazing and soulful harmonies, as they also traded off on keys, snare drum and guitar. Their set started with a more soulful, almost R&B sound, including a song called "Girlfiiend" with the haunting and accusatory chorus of "does your girlfriend know?", but as the set went on they got progressively more upbeat and rockin'. With a mix of blues and soul and rock, they had a great flow to the entire set, and they teased an upcoming album with a few songs (as well as a Christmas album, but no songs from that). It's definitely something I'll have to keep an ear out for.

I took a bit of a break to grab some food while Irish Imelda May played the main stage, who sounded good from the food cart section, before it was back to see the headliner of the Westwood Stage, Wide Mouth Mason. With Gordie Johnson pulling double duty on bass, the trio immediately launched into an older tune "Why", stirring up some nostalgia in the crowd before shuffling between old and newer songs. The highlight, as with most every WMM show, was Shaun Verreault's incredible guitar playing, as he effortlessly shredded through the 45 minute set, from some of their oldest material "This Mourning" to their newer, "Go Tell It To The Waterfall" -- which Shaun also slipped in the chorus from another famous song about Waterfalls.
After a set that seemed way too short, they ended with "Midnight Rain", but the crowd was not having it and demanded one more. I didn't think it would happen as Bettye LaVette had already started on the main stage, but I was pleasantly surprised when they were back out for "Change" before thanking everyone and closing down the stage in style.

For the next couple acts I lounged in the back of the park (hiding in the sweet, cool shade) taking in the festival. First was Bettye LaVette, celebrating 50 years making music. And she definitely had both the voice and the stage presence of someone with that much experience. Her set featured many covers; Neil Young's "Heart of Gold" as well as some Tom Waits, and an absolutely soul-shattering version of "Love Reign O'er Me" originally by The Who. Her own "Close As I'll Get To Heaven" was another highlight, her 70-year-old voice brimming with soul and passion and heartbreak.
Second was Matt Andersen, filling the stage with nearly a dozen performers as he was joined by The Mellotones. He was a great guitarist and good performer, and the giant band filled out for a rich sound, but for whatever reason his style of blues just didn't resonate with me. At one point in the set he was on stage alone for a very low down deep blues song, and he dug into the Canadian Songbook for The Band's "Ophelia", and they wrapped up the set with another cover, "Get By With A Little Help From My Friends". It was certainly a good set, but for whatever reason I just wasn't into it.

And finally, just after the sun went down, the stage was set for Big Sugar. Joined by Shaun and Saf from Wide Mouth Mason on backing vocals, guitar and percussion, as well as Rich Hope for a handful of songs, the Toronto blues rockers started off with "Roads Ahead" from their newer album Revolutions Per Minute
before pulling out some old favourites, "Open Up Baby", "Diggin' A Hole", and one of my favourites, their version of "Dear Mr. Fantasy". Unfortunately, Gordie's vocals were buried during the latter, as there seemed to be some technical issues plaguing the start of the set (if the stage techs running around adjusting things were any indication).
But it soon levelled out and most of the set went off without a hitch. A lot of the songs in the set flowed into each other, either with a reggae-influenced verse from the deadlock'd keyboardist Friendlyness or seamlessly transitioning musically, and Gordie had fans joining along (or "jamming with Big Sugar" as he called it) for songs like "If I Had My Way" and the newer "Eliminate Ya". Other highlights included "Ride Like Hell" where Gordie literally turned his guitar into a revving engine and the more funky, hip shaking groove of "Little Bit A All Right", another one from their comeback album.
As their set drew to a close, they played a few more of my favourites; the second most Canadian song of the entire day, "All Hell For A Basement" and the insanely raucous "The Scene", both of which which had more jamming from the crowd. And the night was brought to an end with the Big Sugar tradition of an instrumental version of "O Canada", the crowd patriotically singing along, as Johnson finishing off by hoisting his double guitar behind his head to show off the maple leaf painted on the back.

Aside from a few technical issues on stage, most of the day went off without a hitch. The three stages staggered in time and were setup so there was almost no sound bleed, and near constant music. I would have maybe put on another act or two on the side stages, or even "tweeners", as the last three acts on the main stage had nothing during the breaks, but aside from that minor quibble, it was a great day of blues and roots.

3am Mixtapes: Episode Thirty Nine: Ballads

Each week on the 3am Mixtapes podcast, I will share with you the Top Six Songs of a certain subject. The topics can be as general like best road trip songs. Some might be a little more... specific. Top Six Songs in 7/4 Time.

This week, instead of looking at the theme or the mood of the songs, I am going to go with the narratives, for the Top Six Ballads!

This week's tunes:

"The Ballad of Robert Moore and Betty Coltrane" by Nick Cave & The Bad Seeds
"Ballad of a Swan Lake, or Daniel's Song" by Swan Lake
"The Ballad of Joe Verreault" by Shaun Verreault
"Ballad of Hugo Chavez" by Arkells
"The Ballad of Humankindness" by The Dears
"The Ballad of Hollywood Jack and The Rage Cage" by Tenacious D

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!

 Subscribe in a reader (Feedburner) | Direct Download

WIL w/ Shaun Verreault @ Railway -- 04/06/14

Two of my favourite guitar players, especially to watch live, are William Mimnaugh and Shaun Verreault. And some of my favourite shows over the last ten years have been when those two shared the stage.
In fact, I first discovered WIL when he opened for Wide Mouth Mason at the Commodore many moons ago, and I've seen the pair do solo acoustic shows together a few times.
They wrapped up a very short, four date mini-tour at the Railway Club, where I've seen both play before, individually.

The Wide Mouth Mason frontman Shaun Verreault started the show going straight from his line check right into the set. He had a little bit of technical issues during the first song, his distortion pedal deciding it didn't feel like working ("that just goes to show, where there's a will, there's a won't") but it hardly phased him as he finished the song, even with electric guitar unamplified at one point. But it was a hurdle that was somewhat fitting with Shaun's "motto" for the brief tour, to try out the new and untested. Relying just on his electric guitar -- no acoustic -- Shaun included a brand new song he had never played before, one written for David Gogo, and he revamped a newer WMM song "The Night Fell", with some help from his looping pedal.
And of course, throughout the entire set he melted faces off with his phenomenal guitar work. Playing slide with his pinky, hands moving over the strings almost faster than you can follow, he is mesmerising to watch. One of the best showcases of his skills was "Catch My Death", a song from his Two Steel Strings solo album, recorded on a train speeding across the country. After a short while he wrapped up the set with a cover of Sam Cooke's oft-covered "Bring It On Home to Me", looking a little sad to be done such a short tour with his friend.

After a bit of a break, WIL took the stage joined only by his drummer Keith Gallant. His acoustic guitar looked like it had taken a beating for fifty years, but was likely not nearly that old, just showing the signs of WIL's intense guitar playing. But even though WIL may be known for his frantic, blurry-handed guitar playing, he's also got an amazing, soulful voice. And not only does he blend those two aspects together perfectly, sometimes it's even on the same song.
Started the set with "Long Kiss Goodnight", he played songs ranging from the brand new "El Paseo" to "Dance With The Devil" from his first album. Highlights included "Hey Now", which gradually built before exploding into chaos at the end, nearly silencing the Railway Club (no easy feat) and the first songs he ever wrote, and still a crowd favourite, "Both Hands". And after about an hour, he wrapped up with "Wedding Dress", but not before promising he would be back for more after a brief intermission, for people to grab a beer (or a cranberry juice and soda).
The second half of the set was a little shorter, taking a request for the incendiary "Honey Pie" and a couple songs he wrote for Alberta, where he grew up; "Ride" written for the Calgary Stampede, and "Roam" written for Travel Alberta.
And of course, it wouldn't be a WIL show without some broken strings. He snapped one during the final song of the set, "Tell You Twice", and after some prompting from the crowd, hopped back on stage for one last one, an incredible instrumental appropriately titled "4 String Song".

I could watch either of these gentlemen play guitar all night, so it's always great seeing the two of them together. And even though they didn't join one another, as they have in past shows, they always seem to bring out the best of each other. In fact, my only complaint of the night wasn't even anything to do with on stage, but rather the overly-excited guy in the crowd who thought he was part of WIL's band, playing the shrill-whistle and the off-beat-clap.

setlist
Long Kiss Goodnight, El Paseo, Hold Me On, Dance With The Devil, Hey Now, Oak Tree, Both Hands, Wedding Dress.
Baby Baby, Honey Pie, Ride, Roam, Tell You Twice.
(encore) 4 String Song.

3am Mixtapes: Episode Eight: Songelgängers

Hey look, it's another episode of 3am Revelations' very own podcast!

Each week on 3am Mixtapes, I will present to you, in my dulcet tones, the Top Six Songs of a certain subject. The topics can be as broad and vague like Best Duos, or they can be as obscure and specific as Best Septets.

This week, we take a look at the strange phenomenon where two musicians, completely independent of each other, come up with songs that happen to have the exact same name. And I don't mean song titles like "Home" or "Run" or "Tonight", but ones that are a little less common. So here it is, your Top Six Doppelgänger Songs, or Songelgängers!

Featured on this week's podcast is:

"Pledge of Allegiance" by Matthew Good
"Pledge of Allegiance" by Louis XIV
"Phantom Limb" by The Shins
"Phantom Limb" by Wide Mouth Mason
"Loveless" by Said the Whale

"Loveless" by Matt Mays

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!



 Subscribe in a reader (Feedburner) | Direct Download

Big Sugar w/ Wide Mouth Mason @ Commodore -- 10/19/12

It was almost exactly a year ago that Big Sugar made their return to Vancouver, to kick off their "Big & Wide" tour with Wide Mouth Mason for an incredible show. Now both bands descend upon the Commodore Ballroom once again, for a pair of shows as Big Sugar heads out on tour while Mason caps theirs off. And opening the night was WMM's tourmates, Ontario's The Balconies, who I've been meaning to see for a while.

I got to the Commodore a shade late (of course, the one time I'm late is the one time the show on time), but only missed the first couple songs from The Balconies. The rock & roll three-piece -- comprised of siblings Jacquie and Stephen Neville on guitar and bass, respectively, and Liam Jaeger on drums -- were on right at 8, which is usually when doors open, but by the end of the set their gritty pop-rock sound and Jacquie's strong voice had drawn in a nice sized crowd.
They played a really tight set, all three members helping out on vocals, and some looping tricks, with a great energy. Especially from Jacquie, who had the presence and aura of a rock star, hardly standing still for a moment, dancing and swirling her hair while rocking out with an obvious passion.
The only downside was the mix seemed a little off, with Jacquie's voice being a little buried, but despite that it was still a good set, and I will definitely catch them again next time they come through town.

Next up was Wide Mouth Mason, with Shaun Verreault on guitar, drummer Safwan Javed and Gordie Johnson, pulling double duty for the night, on bass. They kicked off with the rocking and catchy "More Of It" from their most recent album, 2011's No Bad Days, and went into a collection of a few new songs and a good chunk of fondly remembered hits, like "Smile" and "This Mourning". Though the set was a majority of older songs, a lot of them had fresh touches, like a verse of "Who's There?" in the middle of "Why" and some of ZZ Top's "Just Got Paid" in "My Old Self". There were also solos thrown in, or just jamming; a few times it looked like Shaun and Gordie were improvising off each other on the spot.
Midway through the set Shaun also invited up someone he introduced as one of his favourite singers, Colleen Rennison of No Sinner for "Waterfall", her powerful voice blending excellently with Verreault's, and they ended with a tease of "Rained Out Parade" segueing into "Midnight Rain", a lot of the crowd joining in on the chorus.
Through the years, I've probably seen Wide Mouth Mason over a dozen times, and I never tire of watching them live. All three are superb musicians, who put on with an incredibly tight, and Shaun Verreault is one of the most incredible guitarists to watch.

And finally, it was time for Big Sugar to hit the stage, with a band larger than the two opening acts combined. The six members joining Gordie Johnson included original members Mr. Chill and Garry Lowe, new members Friendlyness and Stephane Beaudin, Wide Mouth's Safwan (also pulling double duty that night) on percussion and Reggae legend Willi Williams. They kicked it off in high gear, starting the blues rocking set with "Digging A Hole" and one of my favourite songs, the incendiary "Dear Mr. Fantasy".
The nearly two-hour set consisted of songs old and new, from their most recent, a cover of Al Tuck's "Eliminate Ya!" to "If I Had My Way" from 96's Hemi-Vision, and everything in between. The band, especially Johnson, had a fantastic energy, and the night was filled with showcases of just how incredible musicians they are; there was lots of jamming and extended versions of songs, some with reggae interludes with Williams or Friendlyness coming to the front of the stage.
They capped off the set with a few more older hits; "Turn The Lights On" had a switcheroo midway through the song as Gordie jumped on the drums and bass player Gary Lowe took front and centre on guitar. Shaun Verreault and Jacquie Neville also made their way on stage to help out with backup vocals for "All Hell For A Basement", staying for the rest of the set. And even from across the room, the look of pure joy and enthusiasm on Jacquie's face for joining them on stage was apparent.
They ended the main set with the raucous and explosive "The Scene", that transformed into an instrumental "Oh Canada", the crowd patriotically chanting along and Gordie proudly displaying the flag painted on the back of his guitar (as he played behind his head).
Of course, they were back out for an encore with just a couple more, including the title track to their comeback album Revolutions Per Minute and ended with a breathtaking performance of "Wild Ox Moan", Johnson giving it an almost gospel feel, accompanied only by the reverb of his own voice. It was an unbelievable performance to cap off a great night of music.

Shows of October

As the fall rolls along, the shows just keep coming. October looks to be another packed month, and here are the five(ish) shows I'm looking forward to most.
And I'm posting this a few days early to make sure enough people know about....



October 1st: Dirty Three at the Biltmore
You may know them from their work with Nick Cave, but Australian trio are back for their first album in seven years. The instrumental Towards The Low Sun is dense and chaotic and brilliant, and I can't wait to see how it translates live. 

October 19th: Big Sugar w/ Wide Mouth Mason at the Commodore
Reprising their Big & Wide tour from last year, the two iconic Canadian blues rock bands team up once again to storm the Commodore. They've also got Ontario's The Balconies in tow, who I've heard about for a while now and am looking forward to checking out.
It's their first of two shows, which is good because the second night conflicts with...

October 20th: Royal Wood at the Rio Theatre
I haven't had the chance too see Royal Wood live before, always missing the shows, and I can't think of a better venue for him than the Rio Theatre. 

October 24th: Matt Mays at the Commodore
It's been a few years since Mays has been through Vancouver, but I was lucky enough to catch him during NXNE in June, and he was better than ever. Now that his new album, Coyote, is out 
Of course, it's a tough call when on the same night is...

October 24th: Bahamas & Jason Collett at the Rio Theatre
This one is going to be hard to miss. Last time I saw the two together was during the Bonfire Ball with Zeus, which is still one of my favourite shows. I may yet try and figure out a way to at least see Jason, then run over and see Mays at the Commodore...

October 27th: Aidan Knight at the Rio Theatre

Much like Royal Wood, the Rio just seems like it will be the perfect venue for Mr. Knight. The show is just in time for his new album, Small Reveal, which is one of my most anticipated albums of the rest of the year. 

And of course, the Peak Performance Project is still running at the Red Room through the month. With three showcases left, we'll still hear from Maurice, Dominique Fricot, Portage & Main and many more. The first two showcases have been pretty swell, so don't miss them. 

Shaun Verreault @ Backstage Lounge -- 02/11/12

One of my absolute favourite guitarists, especially to watch live, is Shaun Verreault of Wide Mouth Mason; so when I heard he'd be playing a solo show at The Backstage Lounge on Granville Island, of course I was going to be there.

Shaun was joined by Darren Paris on bass & drummer Timmy "Boom Bap" Proznick, and promised lots of improvisation and covers throughout the night ("The drunker I get, the more Prince songs I play") and more than delivered. There was everything from Hendrix to Bill Withers to Marvin Gaye, and even the chorus of Blackstreet's "No Diggity" slipped in. And yes, there were multiple Prince songs, including "When Doves Cry" and "Raspberry Beret". Aside form the covers, there was a handful of WMM songs, including one of my favourites off their latest album No Bad Days, "Sweet Little Thing", a slower, bluesy groove.

And there was improvisations abound with Shaun not afraid to take extended solos, or let his bandmates do the same. It was pretty amazing to watch the three play off each other, build the songs and make it look completely effortless. And no matter how many times Verreault tried to stump the other two, they kept right up with him.

After a pair of hour long sets, with a brief break between them, they wrapped up the night with a superb cover of Stevie Wonder's "Superstition", which has been in the Wide Mouth Mason repertoire for a few years, as well as a little Marvin Gaye and Rolling Stones to close out the night.

As usual, Verreault showcased his phenomenal guitar playing, and it was amazing watching the three musicians mesh and the songs unfold on stage. I could have watched them go on for at least another hour and already can't wait until the next time Shaun plays.

Best of 2011: Albums: Haiku Edition

Okay, so I definitely fell behind this year when it came to album posts and reviews. But that's not going to stop me from subjecting you to yet another Best of 2011 list, which will be my favourite albums of 2011, in -- what else? -- haiku form. It's actually going to be less of a "best of" and more of a "personal favourite". I completely acknowledge that there may have been, technically, better albums this year; but some of those "better" ones I just couldn't get into for some reason *cough*Feist*cough*
So here it is. While the list is not numbered, it is in a vague order of "least-best" to "best", and I've included EPs as well as LPs because why not, that's why.

The King Is Dead by The Decemberists
Back down to basics
Strong songwriting from Meloy
As you would expect

Diaper Island by Chad VanGaalen

Refined and focused
Soaring vocals, instruments
On top of his game

Days Into Years by Elliott BROOD

Suitably toned down
War memorial inspired
Brilliant songwriting

Portage & Main by Portage & Main

A solid debut
Strong folk rock, heartfelt lyrics
Great blend of voices

Eureka by Mother Mother

Infectious and fun
But not without some darkness
Stellar shared vocals

Orchard by Jess Hill

Incredible voice
Beautiful and haunting songs
Mesmerizing folk

Michigan Left by Arkells

A bit more polished
But still more fun rock and roll
A strong follow-up

The Whole Love by Wilco

More adventurous
Bookended with two great songs
Their best in a while

Let's All March Back Into The Sea by The Liptonians

Cacophonous sound
A whole host of instruments
And clever lyrics

Summer of Lust by Library Voices

Energetic songs
Sharp, intelligent lyrics
Pop at its finest

No Bad Days by Wide Mouth Mason

Six years since their last
New bassist Gordie Johnson
Haven't missed a step

We're All Friends & Lovers Until It Falls Apart EP by Redbird

Strong, lovely voice
Coupled with great songwriting
Wonderful debut

Seeds by Hey Rosetta!

Heartbreaking lyrics
Symphonic and grandiose
Complex yet catchy

We're All Dying To Live by Rich Aucoin

Highly ambitious
Perfect, cinematic flow
Brilliantly unique

Apocalyptic Radio Cynic by Sidney York

Insanely catchy
Clever, sexy, sometimes dark
Power-pop with depth

Temporary Resident by Imaginary Cities

Take one stellar voice
One stupendeous musician
For near perfect pop

Kaputt by Destroyer

Rich, dense, and jazz-y
Lyrically ambiguous
Very beautiful

Oh Fortune by Dan Mangan

Darker and more dense
Rich music, poignant lyrics
Exponential growth

Take Care, Take Care, Take Care by Explosions in the Sky

Crashing crescendos
Breathtaking rises and falls
Far beyond "epic"

High School EP by We Are The City

More going on here
Than most have in a full length
Nearly perfection

Degeneration Street by The Dears

All-star Dears line-up
From the brink of destruction
Better than ever

Lights of Endangered Species by Matthew Good

Full of emotion
Amazingly orchestral
A career highlight

Big Sugar w/ Wide Mouth Mason @ Commodore -- 10/22/11

"To put it politely, we fucked some shit up".
That's what Gordie Johnson had to say early on about the previous night, the first of two sold out shows at the Commodore, and the kickoff for the Big & Wide tour, seeing Big Sugar and Wide Mouth Mason crossing the country "from island to island". It was also Big Sugar's first show in Vancouver since their farewell show eight years ago. I had been to that show and the return of the band, combined with Wide Mouth Mason, had me more than a little excited.

Wide Mouth Mason hit the stage at 9:30, starting off with an older tune, "Smile" before launching into one of my favourites off the new album, No Bad Days, "More Of It". The song's lyric "the only thing better than a good thing is more of it" was apt, with Shaun Verreault improvising "the only thing better than one band with Gordie Johnson, is two bands with Gordie Johnson", referring to his status as their new bass player.
The set was a split of new, like the sexy "Sweet Little Thing" -- with a little bit of Marvin Gaye's "Let's Get It On" slipped in -- and old, including the beautiful "Companion (Lay Me Down)", which they hadn't played live in years. As usual, Verreault was amazing on the guitar -- one of my favourites to watch live -- peppering solos throughout and being a captivating front man, getting the crowd into it and singing along, especially to their hits, their first big single, "Midnight Rain" and the song they ended the set with, the first song off their first album, "My Old Self".
It was a great set, definitely getting everyone excited for the night, and even though the amount of times I have seem Mason in the last dozen years is probably in the double digits, I don't think I'll ever tire of seeing them live, especially if they keep putting on shows of this quality.

setlist
Smile, More Of It, Midnight Rain, Get A Hold Of You, Go Tell it to the Waterfall, Shut Up and Kiss Me, Sweet Little Thing, Companion (Lay Me Down), What'd I Do, Why, My Old Self.

Then shortly after 11, the lights dimmed as Big Sugar hit the stage, over half a dozen members large. Aside from Johnson, there was the familiar faces of Garry Lowe on bass and Mr. Chill on harmonica, sax, melodica, and more, and new members Friendlyness on keys and "toasting", the drummer from The Respectables, Stephane Beaudin, and backup singer Meredith Shaw; as well as Shaun and Saf from WMM pulling double duty on rhythm guitar and a second, smaller drum kit respectively.
Any notions of rust on the band were immediately dispelled as their groovy bass lines and dirty blues rock burst forth, starting with "Work It Now" off the new album, Revolutions Per Minute. The first highlights of many came early on, with everyone singing along to "Diggin' a Hole" and one of my personal favourite songs, their incendiary version of "Dear Mister Fantasy".
The entire band had an unparalleled energy, especially Johnson, who had the crowd hanging off every word and note of the almost two and a half hour set, which was packed with songs old and new, and also included a few surprise guests. Canadian blues legend Colin James joined them for "Come Back Baby" and a twelve piece mariachi band, Los Dorados, came out for a couple songs, "Turn the Lights On" and "I Want You Now".
At that point the stage emptied for an acoustic song with just Johnson on guitar and Mr Chill on harmonica, before they brought the main set to an end with another one of my favourite songs, "All Hell For A Basement" and their rendition of "O Canada" -- ending with Johnson putting his double-guitar behind his head to play, proudly showing off the Canadian flag painted on the back.
They made us work for the encore, coming back out with the hemi-revving, tire squealing intro to "Red Rover" and an incredible extended rendition of "The Scene", with a little bit of James Brown's "Sex Machine" slipped in the middle.

It was, simply put, an unforgettable show, with Big Sugar reaffirming their status as one of Canada's best rock bands.

setlist
Work it Now, Diggin’ a Hole, Dear Mister Fantasy, If I Had My Way, Roads Ahead, Givin It Up For My Shugah!, Come Back Baby, Come A Little Closer… Now Come!, Kickin’ Stones, Empty Head, Counterfeit Wings (Are Some Jive Ass Wings), Little Bit A All Right, So Not Over, Better Get Used To It, I'm a Ram, Turn the Lights On, I Want You Now, Wild Ox Moan, All Hell For a Basement, O Canada.
(encore) Red Rover, The Scene.

Shows of October

Well, I did this last month, so let's try it again, shall we? Here are some of the shows I am excited about in the month of October. It's a pretty stacked month, with lots of great shows announced so far (with a few conflicting ones, too).

Big Sugar with Wide Mouth Mason at the Commodore on October 21st & 22nd.
Top of the list would have to be this show, no question. I was at the Commodore eight years ago for what was, at the time, Big Sugar's final Vancouver show and it was phenomenal. I was thrilled when they got back together, and when they announced Wide Mouth Mason -- who Gordie Johnson now plays bass with -- would be opening? well, their show at the Yale in January has probably been one of my favourite shows of the year, so that's just extra added awesome.

Chad VanGaalen at the Rio Theatre on October 15th
Even though Pop Okanagan is happening this same weekend, I am pretty sure seeing CVG live trumps an entire festival. It will be two years to the day (and, in fact, at the same venue) since I last saw him, which is far too long. (Accompanied video not mine, was taken from the last show, with Julie Fader on keys)

Kathryn Calder at the Biltmore on October 27th
Even though I've seen her a couple times this year, Calder is always incredible live. Her new album is out soon, and I am very much looking forward to seeing her live again.

Dominique Fricot with Sidney York at the Electric Owl on October 14th
Ten and a half months. That's all it took between seeing him at One Night Stand and finally seeing him perform his own material. Which is inexcusable. And of course, there's Sidney. The only time I've seen her was at a venue with sub-par sound, so I am very excited to see her somewhere that will sound good.

And the conflicts? That lies with the aforementioned Big Sugar/WMM show as well as:
Sidney York with The Ruffled Feathers & The Belle Game at the Railway on October 20th.
Zeus at the Biltmore on October 21st
The Zolas & The Liptonians on October 20th at the Electric Owl and October 24nd at St James Hall
So. There's all that. Zeus is a fantastic live band who haven't been here since the (incredible) Bonfire Ball tour. The Liptonians blew me away live earlier this year, and pairing them with The Zolas is perfect. And the show at the Railway has just an excellent lineup. There could be a way to see all the shows, but it might be tough!

Oh, and there's the last Peak Performance Project showcase with Maurice, Lindsay Bryan, 41st & Home and Rococode on the 6th at the Red Room well as Danny Michel with Jody Glenham at the Biltmore on the 13th, which should be fun, and of course, the Foo Fighters at Rogers Arena on the 25th. But as much as I love the Foos, and as great a live show as they put on, I have a feeling I won't be able to make this show unless I somehow get press, or win tickets...

Whew. That's a lot of shows.

ShoreFest: Wide Mouth Mason & Jeremy Fisher @ English Bay -- 08/03/11

It's that time of year again, time for the Symphony of Fire Celebration of Lights. Which also means it's time for Shore104 to put on their annual ShoreFest. This year they have three stages, one in Vanier Park, one on Kits Beach -- spotlighting the Song Search top 10 -- and the usual stage at English Bay, where the setup was a little different than the last couple years. Two years ago it was on the roof of the bathhouse facing the beach, and last year there was a stage set up on the beach, but this year it was on the bathhouse roof, facing toward the VIP area, so the people on the beach could hear the music, but not see the band. It was a bit of a strange setup, but luckily I was in the prestigious VIP area (where there were also appetizers from The Keg circulating) to catch the bands.

First up was Jeremy Fisher, who I had somehow never seen live on his own, just for the Malahat Revue. He took the stage with just his acoustic guitar (and an assortment of harmonicas) starting off with "Shine A Light" and "Cigarette", playing a good mix of old and new songs. The songs sounded great, and Fisher was also pretty funny, with great banter between songs; playing with the fact that the people on the beach below couldn't really see, like joking that Paul Simon had joined him when he slipped in a cover of "Me and Julio Down By The Schoolyard". There was another cover near the end of the set, when he mentioned that Prince wanted a ban on people covering his songs, so he had to do this while he still could, playing "I Could Never Take The Place Of Your Man" -- and pausing mid-song to wonder about the lyrical content.

setlist
Shine A Little Light, Cigarette, Ain't Got Nothing but Plenty of Time, Scar That Never Heals (with Me and Julio Down by the Schoolyard [Paul Simon cover]), Nothing To Lose, Left Behind, Singing On The Sidewalk, I Could Never Take The Place Of Your Man [Prince cover], Come Fly Away, High School.

There was only a brief break before Wide Mouth Mason, with their new permanent bassist Gordie Johnson (who you may should know from Grady and Big Sugar). They kicked off the set with "Why", before concentrating on their new album, No Bad Days. I had heard a lot of the songs live at their show back in January, but it was great to hear them again, being more familiar with the album. The funk-infused "Shut Up and Kiss Me" and the bluesy "Sweet Little Thing" were both definite highlights, and it was cool to see how well Johnson meshed with the always awesome Shaun Verreault and Safwan Javed, like they had been playing together for years.
They paused mid-set for the stunt plane that was doing tricks in the bay, and finished off their set with a few more -- including Verreault's amazing guitar playing showcased on "More Of It" -- ending with an old favourite, "Change".

There's one mire night of the fireworks and ShoreFest to go, and on Saturday I plan on checking out the Kits Beach stage which will feature, among others, Steph Macpherson, The Sumner Brothers, and the unveiling of the winner for this year's Song Search.

setlist
Why, Listen Sister, Get A Hold Of You, Go Tell It To The Waterfall, Shut Up And Kiss Me, Sweet Little Thing, Only A Secret If You Keep It, Only The Young Die Good.
Midnight Rain, More Of It, Change.

Wide Mouth Mason @ The Yale -- 01/14/11

01

Turns out the last time I saw Wide Mouth Mason, over a year ago, was the last time I would see the original lineup. When bassist Earl Pereira left, I was wondering what would happen to the band, but they picked one hell of a replacement. Last night was the first of two nights at The Yale, as a dress rehearsal, of sorts, before the trio went down to Willie Nelson's studio in Texas to begin recording their new album. Oh, and the new bassist? Gordie Johnson. He of Big Sugar and Grady. Producer of WMM, Joel Plaskett, The Trews and countless others. And just generally being legendary.

They kicked off the night with some older songs, "Why" and "Midnight Rain" to get everyone going, but the bulk of the set were the new songs. Or as Shaun called them, "baby pictures", snapshots of the new songs in their infancy, before they were recorded. And the cool thing was seeing the songs form on stage. They admitted most of them hadn't been played before, or had been just written, and you could tell some songs were still taking shape as each of the three members would throw in improvised flourishes here and there; especially noticeable when Shaun and Gordie had a brief back and forth before one of the new songs. Most of the new songs were very much in Mason's blues-influenced rock vein, but definitely sounded like they were evolving and stretching their musical legs, as it were. Especially with the the funk infused and playful "Sweet Little Thing". I also liked the titles of a lot of the new songs; "Only The Young Die Good", "Shut Up & Kiss Me" and "When The Night Fell, It Fell On Me" being a few good ones.
The set was bookended with more older songs, with one of my favourites, "Ease Your Mind" and then drawing the set to a close with "This Mourning", which segued into a little bit of Big Sugar's "I'm A Ram" before an awesome ending. I would have been content with that 45 minute set, but the band wasn't, as they  took a break and were back for more.

Opening with "Smile", the second set was again loaded with new songs. There was also the usual banter and joking from the band, as Shaun introduced one song being for "douches who text while driving. And people who get back into damaging relationships... and then text the person while driving". But when they had to restart the song for Shaun to switch guitars, they added: people who tune guitars while driving or drive with out of tune guitars.
The night came to an end with an extended "Change" and Gordie, at one point, behind the keys and playing bass simultaneously. And making it seem like nothing much.

Even though I have been a fan of the band for over ten years, and seen them at least a dozen times live in that span, their live shows always manage to blow away my expectations, and a lot of that lies on Shaun Verreault. More specifically, his guitar playing. With multiple solos throughout the night, Verreault makes it look absolutely effortless, and less that he is playing the guitar, but coaxing the sounds from it.I wouldn't hesitate to say he is one of my favourite guitarists to watch live.
After hearing these new songs in their infancy, I am very much looking forward to hearing the final product, which they said will be out later this year.

And I would definitely recommend anyone with free time tonight heading down to The Yale for night two.

Wil w/ Shaun Verreault @ Media Club -- 11/19/10

I am no stranger to seeing either Wil or Shaun Verreault live, and they're definitely no strangers to each other. I first discovered (and fell in love with, musically) Wil when he opened for Wide Mouth Mason, and I saw a pair of shows at UBC's Pit Pub with the two of them playing acoustically. So when I found out Shaun would be opening for Wil at his show at the Media Club, I was more than a little excited. Like those two previous shows, the two each came out to play acoustic sets. Or as Shaun put it: "Thanks for coming to see two men, naked on stage... holding wood."

Shaun Verreault, who you may know from Wide Mouth Mason, kicked off the night playing a set of his own material. Opening with "Too Much for Too Little", he covered material from both of his solo albums, as well as a brand new one written that day (as per a bet with Wil) and what I think was a new Wide Mouth Mason tune -- he prefaced it by saying the band will be recording, with Gordie Johnson on bass, soon. Verreault is a great storyteller in his songs, and that translates really well to his stage banter. He wove a few tales between songs, including the hilarious story of when he opened for the Beach Boys and had a bit of a verbal altercation with one of the members, who wasn't quite a fan of Shaun's set. He brought the set to an close with "Catch My Death", which was essentially a five minute guitar clinic. I always seem to forget just how incredible a musician Verreault is until I see him live, and he never fails to amaze me. I really hope I get the chance to see him perform again soon, and I really hope that the new Wide Mouth Mason incarnation, with Johnson, plays here soon as well.

And then there was Wil, who lived up to his reputation by breaking at least one, of not two, strings during the set. I've mentioned before how much I absolutely love watching Wil play live, and he was as good as ever. Like Shaun, his set was rather loose and intimate with a good amount of stories and joking between the songs. The size of the Media Club helped for sure, but a couple times he even played a song that was randomly yelled out from the crowd -- both older songs from his first album -- adding to the intimacy. Aside from those, he held up his end of the bet by playing a brand new song called "Angry Dog" and joked (I hope!) that it was so new it would never get played again. "Cooder Mountain" grew to an amazing intensity and "Honey Pie" -- one of my favourite songs -- was just mindblowing, as usual. After closing the set with the tender "Big Life" he came back out for one more, despite the mounting snow. The song was one that he has had for a while, but remains unreleased; I hope that changes soon, as it was quite good.

My only disappointment from the show was that they didn't jam together for the encore. The shows they played together both featured that, but not so much this time. Even if it were just for a song or two, it would have been cool to see. But despite that, both men put on amazing sets, and anyone who has the opportunity to see either one live would be a fool not to take it.

setlist:
Long Kiss Goodnight, Wedding Dress, Mama, Angry Dog, Both Hands, Cooder Mountain, The Deal, Honey Pie, Big Life.
[encore] Shipwreck.

Wide Mouth Mason & Odds @ Venue -- 10/01/09

By this point, I think I have probably seen Wide Mouth Mason in the double digits. Odds, however, I had almost never seen. When they were big the first time around, I wasn't really going to many shows, so I never had a chance to see them "back in the day". I did see them play a short set before the fireworks one day, but that was more like half a show... it doesn't count. For these reasons, I think was more excited to have them on the bill than Mason. Don't get me wrong, I love me a good WMM show, but I had already seem them once (and a half, as they did a fireworks gig too) this year already, and countless times before.

Starting off the night was Jordan Carrier, and he... sounded pretty much like you'd expect a modern day Fox Seeds finalist to sound like. The first song sounded downright schizophrenic and the rest of his set, he didn't really seem to have a style of his own, just a patchwork of other bands. He, and his band mates, were not bad, musically, but not captivating at all and I pretty much forgot about the entire set as soon as Odds came on.

Odds hit the stage not too long after Carrier was off and played through the first song, which I thought was kind of muffled. Though when they hit the stage, none of the mics were on, so I thought it was just the levels... then I thought something was odd when I noticed the flashing lights were not strobe lights, but above both emergency doors. And that the high pitch whining wasn't feedback, but an alarm. Turns out the fire alarm was going off, and due to this, the PA system shut off. So, consummate professionals as they are, Odds joked and riffed on stage, about how this was now a photo shoot and such, before realizing they'd have to take a short break for things to get sorted out. Luckily, it wasn't too long of a break and they were back out soon after. They played a good mix of their older hits and the brand new material, and they still knew how to work a show, especially lead singer Craig Northey. I am so glad that I got the chance to see them in the end. It may not be the original lineup, but they're still as good as they ever were. And it was just another reminder why Pat Steward is one of my favourite drummers.

Finally, Wide Mouth Mason was up, and they were as sharp as ever. Even having seen them so many times, they never cease to amaze me with the sheer energy of their live shows. As is usual for their shows, they focused a lot on their hits and faster songs, but there were a few older ones in there, as well as two brand new songs from the upcoming (eventually) new album. One they had only played a few times before, and one they hadn't played at a show yet. The latter had the great title: Stop Yelling and Kiss Me. There were some nice jam moments as well, like during This Mourning (I think) they broke it down, and at one point during Shaun's solo-ing, he noticed someone near the front taking a video and went to play right in front of them. I've seen him do similar things before, and it's just cool to see the band interacting with the fans, not just up there to play, get paid and go home. I've met all three members before, and they are all incredibly nice, so that's no surprise there.
For the encore, they came back out with Change, which saw Pat Steward and Craig Northey take the stage to help out. Change segued into a live WMM staple, a cover of Stevie Wonder's Superstition which had Steward take over for Saf drumming and Northey on vocals. THAT then segued into a really good cover of Billie Jean, before going back to Superstition for one hell of an ending to one hell of a show.

Aside from the mediocre opening act, the disrupting fire alarm, and one other incident* it was quite the excellent night of rock and/or roll.

*of all the shows I've been to this year... hell, of all the shows I've been to ever... the one show I almost get into a fight at is a Wide Mouth Mason show??? Bizarre.

Rained Out Parade.

A free show. With Vince Vaccaro, Leeroy Stagger & Wide Mouth Mason. On the beach. Sounds all sorts of awesome, right? Well, it should have been... had it not been for the damn rain. It was on the roof of the Bathhouse at English Bay, which right away was an awkward set up. The bands were up playing on the roof, while everyone was standing down on the ground & the beach, so the "stage" was high up above everyone. So much so that you couldn't see anyone not at the edge of the roof. Like, say, the drummer. And you would think the promoters, planners or whomever would have looked at the forecast and thought "Hey, it might rain. Maybe we should have a backup plan instead of just leaving everything out in the open!" But no. It was kind of ridiculous.

Vince Vaccaro was first out at 630. I've been hearing Vaccaro for years now, and have always been interested to see him live, but I've just never got the chance, until now. Though, since he was scheduled for a short set, he only ended up playing for 20 minutes or so, getting 4 or 5 songs in.
The few songs, which included what is probably his most well known song, Heart & Hands, made for a good set, and got at least a few of the random people on the beach into it.

Then the rain really started coming down, with the thunderstorms starting up. They covered all the equipment in tarps and stood around for a while... before the rain eased up a little, or enough for Leeroy Stagger to go on. Though since he went on twenty minutes late, he got his set cut way short, only playing three songs. Which was incredibly lame. Though he did introduce the rest of his band as The Wallflowers, and I am pretty sure he said on drums was Ian Browne, so that was kind of cool. If only I'd been able to actually see him. Or hear more than three songs.

After his set, the rain came back, with a vengeance, and lightning flashing in the sky every few minutes. Eventually, they got the brilliant idea to cram everything under the one tent-thingie they had up on the roof for Wide Mouth Mason to play. Again, you'd think they would have more than the one....
Going on late, their set was cut short too. They only played a handful of songs, mostly just the singles and more well known songs. And, of course, some which were quite appropriate, like This Mourning ("And I'll sing to the rain is gone"), Rained Out Parade and Midnight Rain.

I don't blame any of the musicians for this, as they did they best they could under the circumstances. I blame the promoters and organizers for their complete lack of preparedness and ability to look at a forecast. Or up at the doomy looking clouds in the sky. Though, it made for a few cool moments, where a band would be playing and you see a bolt of lightning shoot across the sky behind them.
Ultimately, though, it was still somewhat of a disappointment. I'd been wanting to see both Vaccaro and Stagger for a while, so that was a crushing defeat. I'm just glad WMM will be back in October (for the show that was supposed to be in June, but was postponed) and hope the others will be back soon.