The list of friends was exceptional. What started with, “We’d like to welcome to the stage some of our friends from Blue Rodeo,” ended with ALL the members of Blue Rodeo performing on stage (not just the aforementioned ‘dude’ Greg Keelor).The surprise highlight — amongst a flow of surprises — was when The Bands Garth Hudson joined The Sadies on stage to set fire to the keys. Neko Case didn’t seem to contribute as much to the show as her co-billing would have suggested, but none the less she added fantastic female vocals to many Sadies tracks.

I had to leave town for a little while / said you’d be good while I’m gone / But that look in your eyes, told me you told a lie / I know there’s been some carrying on.

The show (as well as the encore performance tonight) was being recorded for a live album they have in the works. The 2006 concert season continues this coming week with confirmed tickets for The Trews and Matt Pond PA, and plans to check out Controller.Controller.

(for another take on this show, read a review and see tons of photos here)

Saw The Constantines last week. Great show. It was a toss up between checking out Super Furry Animals, and The Constantines. I felt the need to rock out, so The Constantines won. What a show. Any show that begins with 6 drummers and 4 guys on guitar, and ends with a member of the band bleeding from a head wound as got to be a great rock show. Intermix an opening band with a keyboardist drinking from a bottle of Baby Duck, 3 hardcore fans, as well as a tambourine section in the audience, and you may begin to fathom the experience. Great concert, great music. A definite band to check out live if you ever have the chance.

This week I had the opportunity to check out Joel Plaskett (solo) and Kathleen Edwards. Another great night, and another great show. Joel played treated us with many a song off his newest solo album, La Di Da, and brought his dad Bill (aka Mr. P) on tour to play guitar. I’m not sure who was getting the bigger kick out of it, Joel or his dad, but either way both performers were truly enjoying playing together. Bill plays a mean finger picked guitar. Stellar. This guy puts on a good show. Having never seen him before, I was surprised at his string-beany-ness. I suppose I pictured someone more like Matt Mays. He still rocked in a gentle acoustic guitar way, and his vocals had no trouble filling the club.

Kathleen came out with full band and proceeded to ‘rock out’ in the way only a girl from the Ottawa Valley can. I started a bet on when she would drop the first F-bomb..and one, as it was her 2nd word of the night. She threw in a cover of The Everly Brothers “When Will I be Loved”. I also won that contest, being the guy who could name the songwriter — what a fantastic night for me.

It’s been a great couple of weeks for live music, with many great shows on the horizon. Trews and Stars are rocking Toronto in December. Get tickets, because you do not want to miss those bands.

Got to Lee’s Palace in time to grab a beer and see the opening band The Prayers And Tears of Arthur Digby Sellers. Someone told me it’s taken from the movie The Big Lebowski, which I haven’t seen in a while, so I took their word for it. Short story for them is great band, but lead singer has no stage presence, no banter, and doesn’t really power vocals. I can see them being better on the album than live. As we will see later though, a few beers loosened the lead singer right up.

Around 10:30 the Goats graced the stage. “Hi, we’re The Mountain Goats”. Their understated introduction seems to incite great joy in the audience, and they break into song. I’ve talked about the Goats here before, so I’ll save the intimate description of their stage show. it’s good. The new album is loaded with instruments, but their live show is bare — but not. The bass player can make that bad boy sing, bring great depth the the music, and a solid base for the acoustic guitar. They put on a great show. It’s no rock-spectacular as put on by the likes of The Trews and The Decemberists, but its still an awesome time. Let me rephrase that. It’s not always a rock-spectacular. Sometimes it is. Near the end of the set they brought the opening band onstage to play a few numbers. It was at this point that the show rocked. The Prayer’s lead singer must have had a few beers because he now had some presence — and brought his tambourine to prove it. I’ve added it to my list of good things I like at a concert. I like a good violin, a good accordion, a good harmonica and a good tambourine. It was great before this, but awesome after this. I enjoy the stripped down live show they provide, but I love the full rock they can produce with a band. Eugene O’Neill even put down his guitar and focused on doing his best Gord Downie impressions (Gord is the lead singer of The Tragically Hip, and always plays with his mic stand, and generally points, motions, and flails himself around stage). It takes them into a whole new realm, and I wager that if they played with a full band at more shows, they would be playing larger venues.

A great show, and a great band. I recommend their newest album, Sunset Tree, for those looking to sample The Mountain Goats.

The opening act was less than stellar. Maybe it’s because I was in a rock out mood, or maybe they really were that transparent. It was a guy with a guitar, a guy on a bass, and a girl playing those hand drums.They were so quiet, and left nothing to the imagination. I enjoy single guitar singer/songwriter stuff, but this guy was lame; almost monotonous. They tried to jazz it up by pulling out a trombone, but even that sounded sad. I felt like Homer Simpson when Lisa was playing her saxamaphone when Homer was dying — play something a little more lively please.

Perhaps it was for the best. Perhaps this was the plan. Send out a lame band so that the headliners sound better. Even great bands can use a little bit of padding. The Decemberists took the stage to a sold out crowd at the Phoenix, and from the first song, to the last jam, solo low key interludes aside, they filled my ears with their unique blend of 1800′s shanty music, and indie rock. Their songs filled the room so completely, with no distortion. The mix was perfect: the vocals clear, the violin and accordion dancing merrily just beyond, layered below with guitar, organ and drums.
Some show highlights:

• Petra Haden’s requirement to high five the front row whenever she made a joke deemed unacceptably lame by lead singer Colin Meloy. This happened on two occasions. Petra is a fan of the pun, and Colin does not like puns.
• The accordion/organ player seemed to have stage fright for the first 6/7 of the show. She played in the shadows, with virtually just her foot gracing the stage. Then, all of a sudden in the final jam, where all the members play different instruments she is dashing around the stage, screaming and singing. Crazy.
• Petra is a very happy person while playing her violin, and bantering with the band. However when required to sing to changes. When required to sing she loses all expression and emotion, providing the audience with her best impersonation of a brick wall.
• This is the first show I’ve been to where the band asked everyone to sit on the floor — and everyone did. Well, everyone crouched. It’s interesting to witness crowd mentality, and conformity. If most of the crowd crouches you have to crouch, cause you can’t be the one guy that doesn’t. One guy tried, and he was regaled with witty, therapy inducing, heckles from the stage — much to the enjoyment of the audience. The Germans call it Schadenfreude – that guilty pleasure we take in the misfortunes of others.

If you like The Decembersits on album, go see them live. You owe it to yourself. The layers they add to the live show are emence, and must be witnessed. The only negative I can draw is that you may appreciate the albums less after seeing them in all their live glory. The albums that once sounded great now lack the improvisation and extra notes (provided by violin and accordion) seen in concert. It’s a small price to pay to have your being infused with one of the most original indie rock bands on tour today.

Update | Be sure to check out this tab website, as it has all of The Decemberists songs. Also check out the other bands, it’s a small but complete list.

I like to think that performers like Sam Roberts relish in the opportunity to play unique venues, and none is more unique than Rocktoberfest at Queensmount arena. Oktoberfest meets rock and roll here, and it is a friendship forged in beer and catchy guitar riffs, layered with lyrics destined to drive teenage rebellion. Where Have All The Good People Gone? provides an audience favourite “Traffic jam but I’m on the shoulder / took 10 cops to pull me over / Bangkok to Babylon / Where have all the good people gone?” The band loves what they do, and that is obviously rockin’ out. Stand out tracks were: Dead End, Taj Mahal, Where Have All The Good People Gone? and the encore Don’t Walk Away Eileen.

The unique twist Rocktoberfest brings to the table is combining the Rock with the Oktoberfest. They accomplish this by teaming up a rock band with Canada’s Polka King, Walter Ostanek. Nothing makes for a more entertaining evening then to see the accordion champion of the Juno’s playing with rock bands. I’m pretty sure he thinks everything sounds better with a little polka — and a little beer. This was the fourth Rocktoberfest, and my second. Last year the Trews graced the stage, and it pains me to say it, provided a more enjoyable show. I like both bands for different reasons, and find it difficult to draw loyalty lines in the sand. The reason for the better show last year was that Walter joined in the rock, while this year Sam joined in the polka. Don’t get me wrong, seeing Sam play polka is amusing, and fun, but it’s old hat. Now, seeing Walter rock out on Big Sugar and Trew’s tracks is a sight to behold.

A great event, and even greater seeing as my ticket was free. I’m game for any free shows.

I believe in rock and roll.

The Trews. These guys kick my ass, each and every time I see them. I’m rocked full force by their albums, and ceremoniously knocked to the floor by their live show. Wow. Is it possible that The Trews get better and better with every passing moment? If you get the chance, go see the guys play. Trust me. I don’t care if you have started down the path of new rock with the likes of Shins, Super Furry Animals, Stars and Jason Collett; you can’t deny the past. We all love good ol’ fashioned Rock N’ Roll, and The Trews do both. When they took that stage at Fed Hall the crowd erupted in a furry of screams and applause. From the first notes to the last harmony I was locked in complete musical bliss. Don’t ask me what songs they played, because I would not be able to tell you. I took the show as one; experienced it as a single entity. It started at 10:30pm and never stopped. It was one prolonged euphoric experience that vibrated through my entire being; erupting through my fierce air guitar, and escaping in the breath that sang every lyric and hook . The venue was packed, and the entire crowd was into the show, rocking and rolling with every song and every cover (most notably the Queen medley). The Trews were on, and enjoying the show almost as much as the crowd — feeding off the raw energy being focused toward the stage.

Having just released a new album, The Trews are sure to be embarking on a true tour (this being a one off show for Molson Canadian Rocks Concert Series). Do yourself a favour, buy their first album, then buy their second album. Queue up the tracks and crank the speakers, being sure to leave some money by the front door to pay the by-law officer when they inevitably come by. They’ll love the music too, but will still have to write you a ticket, mostly out of spite for your superior taste.

The Trews. Get on board.

I believe I’ve seen K-OS on 3 previous occasions. The first time was when he was touring his first album. He played the Bombshelter Pub, and a bunch of us stumbled into the Friday night show after a keg party. He was on stage with an acoustic guitar. The 2nd time was at an Olympic Island show with Sam Roberts and Sloan. K-OS was hanging around and came out to play with Sam. They did Brother down, and K-OS frestyled. The 3rd time was at a United Way charity show over the Christmas holidays. I’m pretty sure Sam and K-OS performed Dirty Water.

What impresses me about K-OS is that all his music can be played live. He uses real instruments. He uses a real band. And they can wail. The drummer was a star of playing the un-beat beat. It didn’t follow a pattern, but some how it was still cool. The live show isn’t quite as polished as the album, but that is what makes his show great. It’s raw. He freestyles. It could have used with a little more vocal heavy mix, but overall a phenomenal show.

I came to rediscover The Parkas after hearing them on episode 14 of the CBC radio 3 podcast. But this story starts well before today. I first saw and heard The Parkas play in the fall of 2003 at the El Mocambo, because a friend had gone to school with them in Thunder Bay and recommended they be checked out. Rarely one to turn down a suggested night out, a few people met up to check out the show. Arriving at the show, a singer/songwriter by the name of Teitur was just about to take the stage; but that would be another story. As I recall it The Parkas were the 2nd last band, followed by a horribly loud and incoherent band. Now that I try and think about it, I can’t say I remember to many specifics about their set, other then I was left less then impressed, and the guys looked like a bunch of stereotypical computer science nerds trying to wear flannel and tight jeans. They weren’t a very tight as a group, and I had no desire to see them again.

Now it is 2005 and my musical tastes have slightly changed, matured, and morphed. I know this because I listened to the same 2 songs posted on The Parkas website from 2003 and thought, “These guys are pretty good. It’s a little bit pop, with great hooks, driving guitars, and lyrics that are simple and effective.” The 3 tracks I’ve been able to listen to are the first 3 tracks on the album (which is available at MapleMusic, amazon.ca, and iTunes).

Bus Station Blues – A song about somehow losing your sense of direction at one of the greatest landmarks on earth. I hear a bit of Sloan in this songs lyrics and melody, but generally the song lives on its own with great driving guitars, and hooks. Subtle harmonies come at you from dark corners when you least expect it. (listen)

Giants In My Field – This track reminds me of a local band (Rubber Souls(?)), circa 1997, that I don’t think made it very far. I only learned of them because they were friends of friends. I had an opportunity to see them goof around one weekend and they were good live, but their album suffered from drastic over production. That is how the start of this song feels to be — over produced. Vocals way out front, cutesy addition of sounds and effects that fade into clean audio. It reminds of many tracks from the Rubber Souls album. Probably one of those songs that works better raw and partially acoustic. (download)

This House of Crime – For me this song is dripping with other peoples work. On first listen I could immediately hear The Rolling Stones ‘Heart Of Stone’, as well as Joey Lauren Adams’ ‘Alive’ (from the film Chasing Amy). I love that this song feels raw and that the angst is allowed to pour freely from the singers lips. However, I still have the urge to break into the Alive chorus every time I hear this song. (download)

I have added this band to my personal ‘bands to watch list’ and hope to catch them next time they play a Toronto show (as I was unable to attened NXNE the last few years, and therefore was blisfully unaware they have been making baby steps into the spotlight). The Parkas will be releasing a new album in September 2005, called ‘The Scars To Prove It’.

I’m looking forward to big things from this band I almost lost.

1) You’re going to listen to Greg MacPherson. Lucky for you stealing won’t be required, because he provides a large number of tracks for download from his site, you just have to know where to look. So, first go to the downloads page and grab those 9 tracks, then slide over to the discography page and grab 3 more ($6 All Day, Invisible and Genuinely Frozen). Just like that we’ve obtained 12 tracks from this wonderful east/west coast artist.

2) Now listen to Numbers first, then Good Times, then Bankrobber. Pretty good eh? Feel free to queue up the rest of the tracks, as they are equally good.

He was raised in front of a television, got a degree in Labour History in the mid-nineties, dug graves in a cemetery for 6 years, and turned to music both for an escape from the uniform and as an outlet for his considerable creativity.

I wish that I had some mind blowing commentary to share about this guy, but I don’t, and the brief bio above shines a bit of light into his life. I can’t wait till he comes back through town, as I would love to see him live. Reading it seems he’s played with the Drummer from The Weakerthans, so hopefully that friendship can result in a show together. oh ya, The Weakerthans. They rock my socks off, and are my current band of the moment. I think I’ll be able to find some words to describe them, and will in due course. I just want to put in writing that I found them first.