Buddy o’ Mine
(Buddy: The Buddy Holly Story musical review)
The Stanley
Vancouver, B.C

Buddy and the bunch made it to the infamous Winter Party of 59’ concert where the simulated alley scene showed very genuine looking gig posters of bluegrass, country and blues legends Bill Monroe, Banjo Man and T-Bone, respectively.  To add to the purity of it all, all audience members were handed out facsimiles of the original handbill for the night’s performance.  One of the flyers had a special red star affixed to it, granting the lucky owner a prize to be claimed after the show.  Each member of the crowd searched to see if they were the lucky one.  When the gent who had the red-letter print was called upon and asked where he was from, he said, “Right here!”  Although tonight’s representation was a little heavier on the pocket than the $1.25 printed in front of me, it was, nonetheless, worth every penny.

Kieran Martin Murphy, as the Big Bopper, took to the stage as well as young-at-heart gal’s grace.  Noticing a quaint little senior in the front row, he jumped down and secured her hand as they danced and sung “Chantilly Lace” like a couple of kids.  When it was Buddy’s turn to play, he brought out the entire cast, doubling as backup musicians, singers and dancers.  Three men in suits to his left, three ladies in dresses to his right and a full band ensemble to his back.  The group performed jovial reimagining’s of “Maybe Baby” and “Peggy Sue Got Married” before Richie Valens (Michael Scholar Jr.) came out for a snappy delivery of “La Bamba.”

Buddy appeared, standing still, behind a spotlight shone only on the body of his blue Fender Stratocaster, amidst a darkened stage.  A crackle from a radio was heard with the news of the untimely plane crash that took the lives of Buddy Holly, Richie Valens and J.P. “Big Bopper” Richardson during a chilling Iowa snowstorm on February, 3, 1959.  Now, I suddenly realized what Don McLean meant when we sung the bleak prose within American Pie with: “But February made me shiver / With every paper I’d deliver / But something touched me deep inside / The day the music died.”

Had the show ended on such a note, I’m confident Buddy would rock and roll right on out of his grave and appeal to such, demanding a proper finale, getting his way as he always did.  So, the whole cast reappeared, ending on a high note with a grandiose encore that included classics such as “Rave On” and Chuck Berry’s “Johnny B. Goode.”

I recently read that Buddy was a bit of a punk rocker for his day.  Immediately intrigued, I chose to investigate such a claim.  For what’s it’s worth, the man basically said, “We’re speedin’ it up because this is rock, not country.  I’m also wearing whatever I want and I’m going to be writing songs, with my band.”  This was pre-Beatles.  Elvis was still out there rerecording other people’s songs.  Punk rock or not—he was the real deal.

Thanks, Buddy.

- Weasel Was Here

Behind the scenes of Buddy: The Buddy Holly Story Part Two

Buddy o’ Mine
(Buddy: The Buddy Holly Story musical review)
The Stanley
Vancouver, B.C

It was interesting to learn about the band’s decision to change the song name “Peggy Sue” from “Cindy Lou” as a successful attempt for drummer Jerry Allison to win a young lady’s heart.  The recording scene showed his character purposely fudge up the drums to get his way with his requested name change.  Peggy and Jerry would later get married and have “Peggy Sue Got Married” tell their tale.  Sitting amongst many golden-age patrons who were happily singing along to each number, reminiscing of the release of these timeless gems made the vibe furthermore authentic.  Unlike the bulk of the hard working cast—these people were actually there.

If I could pin one performer—other than Zachary—for stealing the show tonight, it would be Denis Simpson: an actor, founding member of The Nylons and BC Hall of Fame inductee.  Like many of the cast, he did play a few small roles tonight, here or there but his hilarious, charismatic routine as the African-American MC at the Appolo Theatre in Harlem, N.Y. was a showstopper.  Undoubtedly, the many who caught the show would agree.  From his facial expressions, to his dry, sarcastic wit, he made believers out of all of us when he depicted Buddy and his fab-trio as being at the wrong coloured club.  Although it was a predominantly black club, his palette was soon borderless, pleasantly shouting and applauding at The Crickets as their performance closed out our evening’s first act.

Upon return from intermission, Elena Juatco was introduced into the scene, playing Maria-Elena, the coy receptionist at Peermusic with whom Buddy was quick to both flirt and tease during their initial connection.  It’s hard to say if Buddy carried himself so smoothly in real life, but Zachary was sure to portray it, so.  In this production, Buddy’s character seeks her aunt’s permission that very evening (as opposed to the next day) for a date where he proposes, and to which Maria gladly accepts his swift offer.

The newly wed couple sat together on their couch, lit by the spotlight on an otherwise dark stage for a somber, yet unforgettable evening highlight.  This time Zachary’s guitar wasn’t even plugged in, but it didn’t have to be.  He picked and strummed the chords on his acoustic guitar on “True Love Ways” to his character’s wife.  One could have heard a pin drop as he tried to calm her premonitions regarding his upcoming flight.  Us, the audience, knew of his upcoming fate and if only it would have been as simple as shouting out to him.  But, sadly, life’s not so simple.

- Weasel Was Here

Part 3 right around the bend.  Come back soon!

Buddy: The Buddy Holly Story Part 1

Buddy o’ Mine
(Buddy: The Buddy Holly Story musical review)
The Stanley
Vancouver, B.C

What does an intrigued, yet mildly unfamiliar music aficionado do when he hears about “the world’s most successful rock n’ roll musical” coming to town yet again?  He decides that not only does that in itself sound like worthy justification for his attendance, but also desires to be as close to the real thing (or any affable recreation) as he can for any sort of Buddy 101, if you will.

How close?  Second row on the floor of The Stanley, a mere few feet away from Buddy Holly, or, ahem, Zachary Stevenson—the man that Vancouver’s theatre community has been raving on about this summer.  A performer himself (in his band The Human Statues), he’s also played Phil Ocs and is preparing for his lead in Hank Williams: The Show He Never Gave this summer, following his run in Buddy: The Buddy Holly Story.  Zacary recently spoke, regarding his experience; “I’m really excited about this show because I feel it’s a huge step up.  The Stanley, The Arts Club as well as the cast have been a blast to work with.  You can tell everyone wants to make it the best it can possibly be.  And, I feel like it is.”

The tin-box rattle of an old transistor radio filled the room as the lights dimmed.  The deejay introduced The Hayriders, who played their classic country hits “Rose of Texas” and “Flower of my Heart,” live-on air.  Buddy and The Crickets (played by Jeff Bryant [lead guitar], Jeremy Holmes [bass] and Scott Carmichael [drummer]) followed, starting with an apt, slow tempo introduction.  Appropriate turned inappropriate as the band sped up their tune, beyond the borders of country, while Buddy started shaking what his mama gave him.  While the Hayriders’ female portion gawked at the sight and sound, the hillbilly boys wanted Holly’s neck.  The deejay, manager and—moreover—voice of the community gave Buddy and his Crickets the tough love approach; he slammed their performance and their behavior but saw enough potential to hand them a Decca Records recording contract.  It should be noted that while Jeff and Scott’s instruments appeared to have been played live, Zackary’s guitar wasn’t.  His voice, however, surely was and it soared—akin to the pioneer, himself.

The crowd heard a snippet of “That’ll Be The Day”—the career-catapulting track, though a rather lackluster rendition (mostly due to its high pitch and slow tempo).  When the disgruntled band demanded a re-recording, we understood why.  The DJ/engineer (played by Jeff Gladstone) attempted to explain why Decca wants it that way by exclaiming, “Rock n’ Roll’s a communicable disease.  You have just as much chance at getting back in there as Ray Charles does singing in The White House!”  His animated candor didn’t start or finish there.

Buddy wasn’t happy, and Zachary made it clear; he demonstrated both his disappointment and perseverance as if it truly was his own.  He demanded to do things his way, unlike most artists of Buddy’s time.  His manager told him of a Mr. Norman Petty who was known for unorthodox production.  Milo Shandel played the part of this odd, yet likeable character, eager to let The Crickets thrive.  He did, however, ensure both he and the local church received their share of royalties.  Although the band was hesitant—Buddy wasn’t.  After all, he finally had his freedom.

- Weasel Was Here

Part 2 right around the bend.  Come back soon!

Vancouver ArtsClub Theatre Production Trailer

August 7, 2010
Princeton Pub
Vancouver, B.C

Some things are better late than never.  The following take on the Princeton Pub and its semi-recent intimate rock performance is the case in point.  Two weeks ago I was lucky enough to catch a variety of rock n’ roll acts within its walls.  Though the room was much smaller than I’d imagined it would be for a gig, it allowed for the aforementioned intimacy to succeed.

I’m often surprised when arriving to a bar at 10:00pm and catching the tail end of the first act, despite the advertised starting time.  Though missing most of Ira and The Carbombs wasn’t my first choice, it would then allow for the gig to end at an agreeable hour.  I was able to catch a couple of tunes showcasing a rather unique style of Celtic ska.  Clean upstrokes on the guitar and mandolin picks were heard in the forefront, as Jesse’s vocals were unfortunately buried and nearly inaudible.  Unorthodox instrumentation, such as the drummer’s change to a hand-beaten drum was what saved them.

I was a little weary of a Maple Ridge, BC act claiming to be both blues and mariachi.  Do you blame me?  However, other than a few minor mixing adjustments early on, they were successfully that, and quite a bit more.  A funky 70’s rock guitar riff introduced “Below Deck” with might.  Matt’s vocals had a growl and rasp akin to the Gainesville voices of Gabel or Ragan while carrying a Danzig-like baritone.

Their set was harder than expected, yet still incorporated an array of styles to their swagger.  A CP train rolled by, behind the building ever so aptly as a hard-hitting rockabilly tune was heard.  One can admire a vocalist who purges so much passion while commanding lead, stand-up bass lines.  Furthermore impressive is Patrick’s shuffling between an artillery of instruments including—though not limited to—guitar and accordion.  “In Heaven” displayed his trumpet talents while his mandolin shone on folkier numbers.  While they were a little loose, it seemed to work in their favor.  It should be noted that it was their second ever performance.  Welcome to my new favorite local band.  Catch them at the Backstage Lounge on September 21 with the Shithawks.

After much praise surrounding the next act, I naturally went in with the highest of expectations.  For better or for worse I was ready and willing to be blown away.  Style was certainly in mind as Talia’s crimson coloured dress and hair matched Jonny and Eric’s red guitars.  Another Maple Ridge crew, The Bone Daddies left their mandolins at home.  These boys and gal keep it to fuzzy guitars, drums, dual vocals and the keys of her organ.  A mid-set sax introduction was favorable, as it was key to their variety.

The Bone Daddies carry a brash, gritty ska-style—in the vein of Leftover Crack, or Operation IV—and a staple ska front-man charisma.  Rockabilly influence, too, was heard as the sax was swapped for a Gibson SG, dueling with a token Gretsch counterpart.  “Count Your Coins” heard a twin vocalist charm much like the one that made Rancid’s And Out Come The Wolves the genre’s modern-day handbook.   These alleyway rude boys closed their set and a great evening, alike with “Karma (Drag Me Down)” from 2010’s self-titled debut.  They’re playing often, which gives you no excuse not to follow suit.

- Weasel Was Here

Visit these artists online:

The Bone Daddies – myspace.com/bonedaddiesband
Jen Huangs – myspace.com/thejenhuangs
Ira and The Carbombs – myspace.com/iraandthecarbombs

Live clip @ The Grandview Legion-  2009

July 18, 2010
Jerricho Park
Vancouver, B.C

I decided to arrive a little later for my third day, with a plan of staying a little later than my second.  Without any one act in particular in mind as I arrived, I stumbled upon Alvin Youngblood Hart.  His Delta-styled, Afro touch on the blues just wasn’t doing it for me.

I quickly decided to change course to see if Colin Hay (of Men at Work fame) had what it took to be an entertaining singer/songwriter type.  To no surprise, I drew an immediate association with “A Land Down Under.”  His signatory Scottish-Australian voice lead the ballad “I Don’t Think I’ll Ever Get Over You” splendidly.   He was tucked away in an almost completely shaded area and stage that I’d yet to check out.  While he did far more storytelling than he did playing, he was thankfully the funniest and possibly most charismatic gent I’d seen all weekend.

We laughed as he reminisced about being at Ringo Starr’s birthday (with whom he collaborates routinely, in Ringo’s All-Star act) where Yoko was invited to sing one of Ringo’s tunes.  Colin tried not to laugh as he explained that typically if you’re asked to sing someone’s song, you’d go up there and sing his song but it was unknown to anyone what is was that she sang.  Colin closed with an enjoyable folk-rock number that I believe he explained was used for a television commercial.  A funny guy and his somber songs.  Sometimes that’s right up my alley, à la Matthew Good, for example.

Victoria’s Jon and Roy assembled on what ended up being my favorite stage, where a handful of the aforementioned acts played.  Our indie/modern rock radio station The Peak.fm sponsored Stage 5.  The group started with a Jack Johnson-esque tune that the massive, side-stage crowd loved, though I couldn’t get into.  However, the upstroked guitar riffs and a far more soulful vocal offering surely did, shortly thereafter.  Despite my initial impression, the style seemed more-so on the ska/reggae side, like true islanders.  They even upped the ante further with a train chuggin’ rockabilly cut.  Closing with a heartfelt, violin driven number “Mountain Tops” also fared the crowd and I rather well.

Southern-fried rock at its best followed immediately, thanks to Saskatchewan’s The Deep Dark Woods.   Sad, soulful piano backed the twangy, slide-guitar leads throughout a number of country-rock n’ roll rounds.  Ryan Boldt’s character sung of leaving for war when he bled “The government has ordered me / Time is ticking, my love.”  More hopeful (though still chilling) lyrics were heard during “The Winter Hours” when he sang “There’s a small cove on the outside of town that I’d like to show you around / Oh, we will never be found / So fill up your cup with whiskey and gin / And let the time swallow you in.”

Although some parts were a little too jammy and elongated, they—and the dread-locked gritty gal I’d befriended—kept my attention enough to forfeit my plans to see Oka, an intriguing, rootsy, down-tempo, electronic act.

While I didn’t find anything overly super about the super-group “The Malahat Revue,” female vocalist Hannah Georgas appeared to be their highlight.  It should be noted that perhaps the superiority lies in the fact that members from four bands biked to each of their schedules shows together.  Kudos for that.  I let them fill the void until Mr. Ricky Skaggs, the bluegrass legend himself, took to the main stage.  At an appropriate time where I have a hankering for honky-tonk, this was a mostly unknown side of country, personally.  The special guest introducer was none other than Steven Segall.  I shit you not.  The man, the legend, the vomit inducing Segall was here to introduce Ricky and his gang, Kentucky Thunder.

The crowd sang Happy Birthday to Ricky upon his mentioning how honoured he was to be celebrating it at our beloved Folk Fest.  He followed with “How Mountain Girls Can Love,” a fast-pickin’ set opener.  The picking was certainly impressive, yet the sad, sour country carol “Your Selfish Heart” was furthermore appealing.  Speaking of his longing for his late mother’s homemade Kentucky fried chicken preceded the fiddle-friendly, square danceable gem “Mother’s Day Sleeping.”  Even though I can’t see myself putting his albums on my turntable at home, he was a legend worth seeing, if only for a brief while, before I said “So long” to Vancouver’s folk-rock frenzy.

…Weasel Was Here

Visit these artists online:

Colin Hay – colinhay.com / myspace.com/colinhay
Jon and Roy – jonandroy.ca /  myspace.com/jonandroy
The Deep Dark Woods – thedeepdarkwoods.com /  myspace.com/deepdarkwoods
Ricky Skaggs and Kentucky Thunder – rickyskaggs.com /  myspace.com/rickyskaggs

July 22, 2010
The Venue
Vancouver, B.C

Combining strengths from a few now retired projects, three ladies and one gent assembled.  Forming their creative craft as Low Spin, they’ve aimed to produce a unique take on synthesizer-friendly, experimental power-pop.  Recording noteworthy demos (available at their MySpace) and working towards a full-length release has been for months, their highest priority.  Tonight, though, they came prepared to cure the curiousness of some and to enlighten the rest.

The four appeared on stage at The Venue, each one dressed in black.  Jesse’s bass and Rene’s guitar, too, matched the band’s crimson colour scheme.  The lead guitarist (a fellow who I understand was a recent addition to team) started off the program off with suspenseful squeals over likable ambient background noise.  Moments passed, finding the whole band turning up a heavier than expected output.  Based on a couple online selections, it seemed a fair bit more guitar infused than I would have imagined.  Perhaps this was thanks to his addition.  Either way, the delivery between each of them seemed confident immediately and sounded nearly spot-on.  The level of Jesse’s microphone unfortunately rendered her voice almost inaudible.  Though it was heard at a quiet point or two later on—the engineer must not have caught on.

She was, however, able to shine minutes later during “Blind Eye” with a bass line that begins by peeking its head in/out anxiously, then soon driving the tune, clearly displaying a little of her punk and rock influence.  René’s voice here is soft, yet poignant during her verses, reminiscent of Garbage’s Shirley Manson (think “I Would Die For You”) while exerting a little riot girl snarl during the chorus.

Having a lead guitarist who plays subtle melodies throughout the songs constantly, rather than masking the rhythm until a de facto solo is heard was a big part of their appeal.  While I appreciate his switch to synthesizer, for variety within the set—not to mention a very chilly segue between songs at one point—at times, his leads were missed.

He wasn’t the only one who changed his instrumental course.  A stand-up bass also appeared, to add some punch to the mix.  Or, rather, a little mix to the punch?  “Lay Your Weapons Down” heard René sing “I’ll take my chance with you / You rest beside me” in my favorite song of the evening.  The leads were again a fit, along side the switch on bass, while Jen bounced her soft batons during a tom-heavy track.  Jen is the only member I’d seen perform multiple times in the past (The Flairs and Love For Money).  While I enjoyed those acts, it was great to see her in a more focused, mature sounding group, displaying a different side of her playing.

“Adjust The Levels,” followed and was a song I’d loved the moment I heard it, months ago.  René’s alluring whispers and cries, alike, allow the catchy, simple tune to shine.  The demo heard very impressive production value and tonight’s live liberation followed suit.  This gem has non-contrived commercial value.  I’m a tad surprised it didn’t close the set, as the finale didn’t grab me nearly as much as the two aforementioned cuts, which preceded it.  But, then again, closing with the big guns may be contrived in itself.

You’ll see and hear what I mean when they join The Joy Formidable at our beloved Media Club on August 15^th.

… Weasel Was Here

Visit them online: myspace.com/lowspin

July 17, 2010
Jericho Park
Vancouver, B.C

I arrived at noon on my second day, ready to bask in the beautiful, yet truly hot sun all day and night.  I was greeted by the final moments of what they call a “workshop” around here.  Although it would later seem that this was the only one I caught, my take is that they’re usually semi-impromptu collaborations by a few different artists, often working around a theme.  Sometimes they’re educational for the spectator.  A reimagining of an old Robert Frost tune was heard played by Fribo (or was it Nathan?  Both were a part of the workshop).  The lead man in Timbre Timbre then appeared, switching things over to another cover.  His low voice and the onstage Dobro allowed Neil Young’s “Vampire Blues” to bloom.

I caught the tail end to secure a spot for my blanket and I’s attendance for Catherine MacLallen’s full set (thanks to Friday night’s teaser).  It was brought to my attention that the stimulating song about her shed of depression’s entitled “Black Crow.”  I presume it’s an upcoming track, as it doesn’t appear to be on either of her three albums.  Wire wisps of the snare, upright bass walkabouts and crisp country leads were the belly beneath her voice on “Take A Break” from her latest, Water In The Ground. She sang of “True Love”—something she finds impossible to attain.  I hate to say it, but sometimes the sad, broken artists release their best stuff because of it.  Though, I imagine that even if she found what it is she’s looking for, it’d be equally as charming.

Matt Epp grabbed me immediately both online as well as this afternoon.  A desirably dry, personable gent from Winnipeg who claimed jokingly that he follows God on Twitter opened with “My Love Will Come.”  His vocals were full of soul over the simple strums of his acoustic.  While he hits the notes, showing his range on some cuts (such as this), he also has a softer, almost scratchy side.  It is then that his style (and use of harmonica) reminded me a little of another prairie-boy named Matt, of Northcote.  “Never Have I Loved Like This” is a shining example.  “I’ll go back through your footsteps and see where you’ve been,” he sung.

Kari Latimer from Nathan provided female background vocals during a number of his choruses.  While I wasn’t overly big on the female addition, they are more true to his original duet recordings.  Afie Jurvanen of Bahamas also guest spotted and provided the electric guitar parts for the first half of Matt’s set.  He joked (and apologized for) about digging up Jericho Beach during the filming of the “They Won’t Find The Bodies” video.   Matt closed on a serious note, introducing “Travel By Ground” with a story about being chastised by an off-duty Navy Seal in San Diego for being a “communist.”  He was wearing what he admits was an over saturated image of Che Guevera on his t-shirt.  The song represents his hope to never be on such a close minded level and maintaining an against the grain level of awareness.

The most eclectic ensemble I caught all weekend was Watcha Clan (as I later opted out of catching Oka, who where sure to be, as well).  French and English samples of dialog emitted from their synthesizer before it churned out dub-step friendly beats.  The group’s members consisted of various races and unique overall styles.  They had the hands of hundreds clapping before the first instrumental track saw its completion.  Fusing sounds of the French Mediterranean, the middle-east and Jamaica into their jams—the designated dance lanes soon, no longer applied.  I know, personally, it was the only time I got my groove on all weekend.  Even some dirty, gritty guitar stuck its head in and out of my favored song of the set.

The United Steelworkers of Montreal acted as my evening’s headliner, within my chosen list of worthwhile acts, based on some online sampling.  When I saw the psychobilly bass player and his upright bass, I figured and hoped the sound would soon suit the style—a little.  In high regard, the first song spoke of the devil himself.  A dirty pack of steel and acoustic mandolin pickings, thrown in with Gern’s gruff vocals showcased their hick shtick.  He touched on the rigors of being a drunk.  Not necessarily him, but surely his friend “Glen Jones” to whom a song was written about.  Howls and screams were heard there, allowing the anticipated abrasiveness I’d hoped for.  Felicity’s sharp cries fronted the fable “The Ballad of Mary Gallagher,” about the decapitation of a hooker.  Amen.  While I did stick around momentarily afterward for a sole Sarah Harmer song—how can you really top that?

…Weasel Was Here

Visit these artists online:

Catherine MacLellan – catherinemaclellan.com /  myspace.com/catherinemaclellan

Matt Ep – pmattepp.com  /  myspace.com/mattepp

Watcha Clan – watchaclan.com  /  myspace.com/watchaclan

United Steel Workers Of Montreal – uswm.ca /  myspace.com

July 16, 2010
Jerricho Park
Vancouver, B.C

As a young adult I’d heard the stories of our infamous Edmonton Folk Fest from friends and acquaintances of the time.  I can’t say at that point I “got” folk and/or related styles of music.  With time—combined with heartache, stress and other trials and tribulations—I’ve grown up, mellowed out and am able to relate to and enjoy a softer side of rock n’ roll.  So, after regretting my absence at last year’s Vancouver’s Folk Fest, I decided to go full boar and hit the three-day offering, this year.  In my program it claimed, “refugees from the punk scene are finding folk.”  I guess that makes me a bona fide punk rock refugee.

Having the festival at Jerricho Park, near the ocean, amidst a pond, little nooks and the lush trees that surround them was one thing.  Yet, before I even entered, I saw a $1 bike check option with hundreds of bikes parked in a secured area.  I’ve paid more to hang up my coat.  While I was a tad unimpressed with the price of my bracelet (an extra $25 in taxes alone) for the weekend, other areas were looking rather reasonable (even though I didn’t have a bike).

Sustainability was to no surprise a huge concern at the festival, as it should be.  “Less Garbage Bins Means Less Waste” signage was seen throughout the park with fine print encouraging recycling at their specific tent.  The garbage bins that were available often had blue bins attached, inciting “on the fly” recycling.  Additionally, a $2 deposit is attached to most meals, which you get back upon returning your durable, non-disposable plate to a designated tent.  Free, filtered water is available at numerous stations, all day, every day.  Vegetarian and vegan options are available, beyond French fries?  Stop the press!  A volunteer based backbone can create this clean, prudent and alternative atmosphere.  So why in the name of rock n’ roll can’t the multi-million dollar sponsored, longest running tour of all time—The Warped Tour?  Being a refugee never felt so good.

The first night, your first time is always unforgettable.  Get it?  Speaking of romance and the likes of: the first performer on our evening’s bill was Shayne Koyczan and the Short Story Long, a spoken word meets slam poet meets folk-rock ensemble.  I’d anticipated his performance for weeks leading up to tonight due to his off the wall, unintentionally cheesy, yet perhaps intentionally humorous lines of hopeless romantic prose.  Twangy tunes like “Skin,” offer lyrics such as “When it comes to your skin, I’m a drunk driver, trying to walk a straight line” sung in a soft, soothing voice.  Choruses are amped by the band and often sung by or harmonized by Maiya Robbie.   She plays the accordion and mandolin while the others focus on piano, guitar and stand-up bass.  Shayne did make it very clear that between his sarcasm and insanely witty lines, he’s a tortured soul, damaged by bullying and an overall lack of acceptance growing up.  A sad song tells his tale before he finales with a twist version of “Sexual Healing.”  His MySpace states “we’re awesome.”  Fuckin’ A.

Between headliners, a teaser performance is offered at each interval, holding the audience’s attention while executing a wise marketing move.  If one’s tantalized, they just might return the following day when the “gap” performers play their full set.  I was soon very thankful of such a setup, upon catching a moving stint by Catherine MacLellan.  Her singer/songwriter style included her voice, lyrics and percussive strumming of an acoustic guitar.  A gent stood beside her, providing a little electric guitar gusto.  She described the next tune as a breakup song, between her and depression.  “Screw depression,” she said.  As I noticed three little girls nearby twirling ribbons that seemed to twist to the tune—I couldn’t have agreed more.  A female fronted, classic-country sound left me wishing I had a cowboy hat to tip as she exited the stage.  (More on Catherine MacLellan and her full band in the upcoming Part 2 review)

My wish was soon granted as I picked up my very first, black, shapeable cowboy hat as my friend and I strolled through the Folk Bazaar marketplace.  It fit well moments later (and for the rest of the weekend) during “The Fall”, a harmonica driven and Louisiana shuffle-styled song, sung by our southern brothers.  The Avett Brothers have been described as containing ingredients from rock, indie, folk and punk.  Interestingly enough, that’s pretty bang-on.  Their catchy numbers, such as “Kick Drum Heart” and “Paranoia in Bb Major” involve a little banjo, a pinch of cello, a heap of guitar, piano and even a dash of screaming here or there.  The former piece heard the pounding of the kick drum, throbbing like said heart.  Brother Avett’s cadence shot through the crowd like a powerhouse, ignited by the piano on “Head Full of Doubt/Road Full of Promise.”  “We appreciate y’all’s kindness,” he said before playing a new, unrecorded tune.  The sun started its descent as the magenta overhead lights illuminated the boys and blanketed the shark fin-looking roof above them.

Tonight’s final headliner, Calexico was possibly the only act I’d really been semi privy to, prior to making my attempt at familiarity with the festival’s line-up.  Slightly more acquainted with Iron & Wine, with whom they made a record with and who happened to headline Friday night, last year—I’d at least heard some of their stuff and most recently checked out their latest album Carried To Dust.  “Franks Tavern” opened their set, allowing a sad, pouty accordion to carry the number through.  Soulful Latin harmonies, trumpet and an impressive piano solo filled my right ear as my head had turned left, admiring the thousands of West Vancouver lights and our downtown skyscrapers alike, across the darkened sea.

Joey Burn’s signature spook sang out during “Bend In The Road” with impeccable timing, as with Folk Fest tradition, the dozens of lanterns came out to shuffle and sway to the music.  Stars, mushrooms, birds, insects, cats, ships, fish and a variant of creatures made of paper pranced above a convoy of trusty volunteers.  They all walked in single fashion, twisting and turning between the blankets and the spectators who occupied them.  Closing the night while creating an awe-inspiring show unlike anything I’d ever seen, I was now, truly a Folk Fest friend.

…Weasel Was Here

(Day 2 & 3 coverage in our upcoming Part 2 & 3 reviews)

Visit these artists online:

Shayne Koyczan and The Short Story Long – myspace.com/shanekoyczanandtheshortstorylong
Chaterine MacLellan – myspace.com/catherinemaclellan
The Avett Brothers – myspace.com/theavettbrothers
Calexico – myspace.com/casadecalexico

July 8, 2010
The Venue
Vancouver, B.C

I was particularly anticipating the second of two ska / reggae styled shows this past week.  A colleague of mine recently told me that The Aggrolites was one of the greatest live bands he’d ever seen.  That alone was enough of a reason to check out Los Angeles’ five-piece; originally formed from two area ska and reggae groups, The Vessels and The Rhythm Doctors, respectively.  With them, they brought along a pair of Canadian groups: Montreal’s The Beatdown and Maple Ridge’s The Bone Daddies, as well as Australia’s The Resignators for a well-rounded rock-steady Thursday evening.

To my shock and dismay, the show’s projected timestamp of “Bands at 9pm” was bang-on, unlike the experience earlier this week and atypical to nearly every other gig I’ve seen.  But, good.  The bad, however, was missing The Bone Daddies who I anticipated just as much as the night’s headliner and who I later heard rocked the place even harder than I’d presumed that they would.

The Beatdown hit the stage next, opening with a tune bearing the same name of both the band and their self-titled debut on Stomp Records.  Specifically, I was intrigued by the irregular, dirty vocal talent of Alex Giguere.  But, vocals, periodic puffs of harmonica and the odd admirable “Texican” flavored lead aside—the same upstroke guitar riff stood out, repeatedly.  While I initially thought that the unique absence of both organ and horn section could give them an edge, overall they in turn didn’t seem to have a whole lot to offer musically, without.

A sweaty, suit wearing and strung-out looking frontman of The Resignators appeared with half a dozen bandmates.  Kicking their set off with a Futurama inspired title “Blackjack and Hookers” they quickly displayed their horn-heavy section thanks to two trombones and trumpet, alike.  Combining soothing blues leads, edgy rock rhythms—combined with the aforementioned brass section—they create a self-coined “psycho ska” sound.  Delivering older cuts such as “The Ultimatum” (about making love to a goat) along side newer material, such as a “Rage” from their How You Could Rage EP showcased a band fit for fans of both The Specials and Operation IV.

(c) www.skinandbones.ca

After a lengthy anticipation-brewing break before their set, The Aggrolites came out with all members donning a short sleeve denim shirt each.  Ensuring the crowd had some energy left (as it was already past midnight), they heated up The Venue with “Funky Fire.”  If I’ve out-used the term “soul” this week—I take it all back and save it for Jesse Wagner.  He’s clearly spun just as many Motown greats at home as he has the two-tone likes of Hepcat and The Upsetters.  Taking the task of both lead vocal as well as lead guitar, this man’s to thank for the group’s focal points, in my book.  Like The Beatdown they left any horn section at the door, yet retained the reggae staple of organ usage.

(c) www.skinandbones.ca

It seems that having at least one of the aforementioned rhythm instruments are key.  In fact, it’s the keys here, thanks to the bandana donned Roger Rivas which make for the dubby, danceable output.

Fan favorites “Free Time” and “Reggae Hit L.A” hit the walls of this otherwise trendy Granville club, amongst newer cuts like “Time to Go” from 2010’s IV.  With an overall inspirational feel, an ass-shaking sensation and a seven man, tighter than hell coherence— we were all glad theymade the four day drive from Toronto.  After all, it was high time they received some west coast love, away from their So-Cal home.

- Weasel Was Here

Visit these artists online:

The Aggrolites – aggroreggae.com /  myspace.com/theaggrolites
The Resignators – theresignators.com
The Beatdown – myspace.com/jointhebeatdown

“Free Time” (Acoustic on SPRadio1)

The Resignators “Offbeat Feeling” music video

The Beatdown “Justice” (live)

July 5, 2010
The Cobalt
Vancouver, B.C

I hadn’t been to The Cobalt since the Subhumans (more/less) closed the joint on its last weekend. Now, in what seems like a posthumous breath, The Cobalt on Main is alive and…well? The entrance was altogether different, providing a bit of a hallway heading left towards the “door guy.” Once inside, I saw that on the flipside of the wall (creating said hallway) was a list of upcoming gigs for the month at hand. A wall sized menu of rock n’ roll heading our way, although a seemingly much trendier and mellow form of tunes than one may have come to expect from 917 Main St.

I guess that’s the point? Renovate the snot out of it (some for better and some for worse) and appeal to a cleaner cut crowd. The art displayed throughout was cool, interesting, and a complete mind-fuck, really. Mind you, it did compliment the purple crushed velvet backdrop behind the stage. Now, even though I probably hadn’t been to 2% of the gigs back in the day (as I didn’t grow up around here), the entire wall of historic gig posters was just that—historic. They purposely left little bits of graffiti from its past life for authenticity or moreover—street cred. But, I digress. This place always allowed music to come first and atmosphere to come second. So, now for tonight’s ska-dule.

I’d seen the first act The Valuables once, prior, and was left with the greatest first impression. Our second date was equally affable. The seven-piece greeted me with “Feel That Rhythm,” an “impossible not to dance to” cut, making for a perfect introduction. Heavy on the horns, organ, and traditional ska guitar stylings, they also provided an amicable contrast between vocalists. Once again, I found it a struggle determining which voice it is that I prefer—Michelle DeGuay’s sass or Corey’s Poluk’s soul. His was particularly treating as he sang the words “I don’t know about you, but I wish I could change” in “Back So Soon” later on. His telecaster driven leads helped in making the tune cry.

Beyond their overtly tight musical abilities, they’re also true showmen. Banter between both band and baron allowed for an intimate, yet exciting performance. They gab, they sing, they play, they dance. And they ensure you do the same. They were headed to Victoria’s SkaFest with 100 limited edition EP’s for the event itself, which includes a couple tunes that were played. Much respect to any band that puts effort into anything “special” or “limited” in their releases these days, more than ever. It’s smart moves like that—combined with the aforementioned qualities—that will attribute to their success. Keep your eyes on these guys.

Hailing from our eastern mecca of Montreal, Danny Rebel and the KGB brought with them a little bongo, a little scratching, and a lotta soul. Speaking of the latter, I hadn’t heard such an island-appropriate modern rock voice for some-time. A quarter glass Bedouin and a quarter glass Sublime, shaken with a half pint of traditional reggae. The turntablism, too, was a nice unique touch to their darker, almost broken feel than the happy-go-lucky opening act. While I enjoy a good horn section, having the guitars and organ do the bulk of the backbone worked exceedingly well in these boys’ favor.

Paying homage to their “514” area of Montreal as well as our old friend Joe Strummer in their set closer with “Police On My Back,” it’s endearing that their influences are a big part of their sound. These merits can be experienced on their newly released Soul Shaker EP. Pick it up (pick it up), if you can.

- Weasel Was Here

Visit these artists online:

Danny Rebel and The KGB – www.myspace.com/dannyrebel
The Valuables – www.thevaluables.com

Danny Rebel and The KGB – “Mary Ann” (live)

The Valuables – “Back So Soon” (live)