This review was written for the Music Emissions website. Check out this review, and the website!
Continuing with my recent Canadian theme, Melville is the Rheostatics’ second full-length album. It placed in the top fifty best Canadian albums of all time — according to Canadian magazine Chart — three times in a row (1996, 2000, and 2005). The Rheostatics are Dave Bidini (Guitar), Tim Vesely (Bass Guitar), Dave Clark (Drums), and Martin Tielli (Guitar).
This album is quite a gem, especially for those with an interest in Canadian alternative rock (like me). Overall, the music is melodic and subdued, showcasing the vocal talents of Bidini, Vesely, and Tielli. This is especially evident in the song Northern Wish, which crests and falls quietly and subtly. I’m also a huge fan of the song Chanson Les Ruelles, which is incredibly Canadian, being written in correct but terribly pronounced French. It proclaims Canada’s distinction from the United States and supports it.
On the downside, this album can be too subdued at times. The first time I listened to it, I was in a very mellow mood, and appreciated the album greatly. The second time I listened through, I was in a less mellow mood, and the album seemed to drag along at a painful pace. Some songs that epitomize this for me are It and Saskatchewan.
Being Canadian, I understand this album at a more instinctual level. I can’t say for sure whether or not it would translate to a different audience. If any Americans want to comment on my review about this album, it would be greatly appreciated. Apart from the pacing, this album has no serious musical issues. The Rheostatics have hit a very Canadian ground here in Melville, and I’m proud to be a part of it. That’s why you should listen to this album.
Wednesday, September 17, 2008
Wednesday, September 10, 2008
Review of Go Figure (Spirit of the West)
This review was written for the Music Emissions website. Check out this review, and check out the site!
Go Figure is the sixth full-length release by Canadian folk/rock band Spirit of the West. It’s a departure from their strong folk-inspired performances, and delves into a harder, rockier sound. Spirit of the West is John Mann (Guitar, Vocals), Geoffrey Kelly (Guitar, Flute, Whistles, Vocals), Hugh McMillan (Guitar, Bass, Keyboards), Vince Ditrich (Drums), Tobin Frank (Occasional Bass/Accordion).
There are a lot of positives to this album for me. The music is very strong, multilayered rock with a punch. The album kicks off with D For Democracy, in which the first line of the chorus is “Scour the House!”, a reference to the Canadian House of Parliament (that’s our Government, for the Americans in the audience). This really sets the tone for the album.
It’s also fun when an album courts controversy. The song Political, an amusing song that asks the question “Why did everything, everything, for you and me have to be so political?”, was re-recorded in rock style for this album, and while touring the album, the band was presented with a petition in my hometown of London Ontario that they play the old version of the song!
That aside, the other strong songs on the album are Goodbye Grace, an oddly sprawling song that endears itself to me in its almost lethargic style, and Far Too Canadian. This song is a scathing indictment of the Canadian state and identity. The chorus goes “I am the face of my country/Expressionless and small/Weak at the knees, shaken badly/Can’t straighten up at all/I watch the spine of my country bend and break/I am in a sorry state”. The double meaning of “state” cements this song in my mind as lyrical brilliance.
A few songs, such as Pulling Lame and Spot the Difference suffer by comparison to these four powerhouses, but they don’t detract too much from the album itself. All in all, it’s a great album, especially if you’re Canadian. Go Figure is the best Spirit of the West album I’ve heard to date, and that’s why you should listen to it.
Go Figure is the sixth full-length release by Canadian folk/rock band Spirit of the West. It’s a departure from their strong folk-inspired performances, and delves into a harder, rockier sound. Spirit of the West is John Mann (Guitar, Vocals), Geoffrey Kelly (Guitar, Flute, Whistles, Vocals), Hugh McMillan (Guitar, Bass, Keyboards), Vince Ditrich (Drums), Tobin Frank (Occasional Bass/Accordion).
There are a lot of positives to this album for me. The music is very strong, multilayered rock with a punch. The album kicks off with D For Democracy, in which the first line of the chorus is “Scour the House!”, a reference to the Canadian House of Parliament (that’s our Government, for the Americans in the audience). This really sets the tone for the album.
It’s also fun when an album courts controversy. The song Political, an amusing song that asks the question “Why did everything, everything, for you and me have to be so political?”, was re-recorded in rock style for this album, and while touring the album, the band was presented with a petition in my hometown of London Ontario that they play the old version of the song!
That aside, the other strong songs on the album are Goodbye Grace, an oddly sprawling song that endears itself to me in its almost lethargic style, and Far Too Canadian. This song is a scathing indictment of the Canadian state and identity. The chorus goes “I am the face of my country/Expressionless and small/Weak at the knees, shaken badly/Can’t straighten up at all/I watch the spine of my country bend and break/I am in a sorry state”. The double meaning of “state” cements this song in my mind as lyrical brilliance.
A few songs, such as Pulling Lame and Spot the Difference suffer by comparison to these four powerhouses, but they don’t detract too much from the album itself. All in all, it’s a great album, especially if you’re Canadian. Go Figure is the best Spirit of the West album I’ve heard to date, and that’s why you should listen to it.
Monday, September 8, 2008
Review of I'm A Mountain (Sarah Harmer)
This review was written for the website Music Emissions. Check out this review, and check out the site!
Sarah Harmer’s fourth album, I’m A Mountain, is quite a departure from her previous works. With her on this acoustic folk and bluegrass album are Chris Bartos (Fiddle), Willie P. Bennett (Harmonica), Luther Wright (Banjo, Harmonica, Harmony Vocals), Dan Curtis (Guitar), John Dinsmore (Bass), Jason Euringer (Harmony Vocals, Stand-Up Bass), Spencer Evans (Clarinet, Piano, Accordion), Dean Stone (Percussion), and Clem Harmer (Harmony Vocals). Yes, Clem is in fact Sarah’s father.
As I mentioned in the previous album, the acoustic folk/bluegrass direction of this album is different from the Sarah Harmer we’ve heard in the past. I think, however that it suits her quite wonderfully, especially her cover of the Dolly Parton song Will He Be Waiting For Me?. The song describes the worries of a woman distant from her love, saying “Will he be waiting for me? He will be, won’t he?”, her quiet quickness giving an almost frantic air to the questions.
Other songs of note on the album include I Am Aglow, another wonderful image describing an intense love. I’m also quite partial to Salamandre, sung entirely in French. The lyrics were written by Kate Fenner, but true to form, this is also a love song. Perhaps love and bluegrass go together well, or maybe it’s just love and Sarah Harmer.
A couple songs, like The Ring, and Oleander, lack the same punch as the others. The energy seems to be missing from them, and they detract from the overall enjoyment of the album, but they don’t detract from it much.
Overall, Sarah Harmer’s I’m A Mountain is a rock-solid album, sure to be enjoyed if you like folk or bluegrass music. Even if you don’t, it’s a beautifully put together set of songs, and that’s why you should listen to it.
Sarah Harmer’s fourth album, I’m A Mountain, is quite a departure from her previous works. With her on this acoustic folk and bluegrass album are Chris Bartos (Fiddle), Willie P. Bennett (Harmonica), Luther Wright (Banjo, Harmonica, Harmony Vocals), Dan Curtis (Guitar), John Dinsmore (Bass), Jason Euringer (Harmony Vocals, Stand-Up Bass), Spencer Evans (Clarinet, Piano, Accordion), Dean Stone (Percussion), and Clem Harmer (Harmony Vocals). Yes, Clem is in fact Sarah’s father.
As I mentioned in the previous album, the acoustic folk/bluegrass direction of this album is different from the Sarah Harmer we’ve heard in the past. I think, however that it suits her quite wonderfully, especially her cover of the Dolly Parton song Will He Be Waiting For Me?. The song describes the worries of a woman distant from her love, saying “Will he be waiting for me? He will be, won’t he?”, her quiet quickness giving an almost frantic air to the questions.
Other songs of note on the album include I Am Aglow, another wonderful image describing an intense love. I’m also quite partial to Salamandre, sung entirely in French. The lyrics were written by Kate Fenner, but true to form, this is also a love song. Perhaps love and bluegrass go together well, or maybe it’s just love and Sarah Harmer.
A couple songs, like The Ring, and Oleander, lack the same punch as the others. The energy seems to be missing from them, and they detract from the overall enjoyment of the album, but they don’t detract from it much.
Overall, Sarah Harmer’s I’m A Mountain is a rock-solid album, sure to be enjoyed if you like folk or bluegrass music. Even if you don’t, it’s a beautifully put together set of songs, and that’s why you should listen to it.
Review of The Clash [UK] (The Clash)
The first album-length release by The Clash, this eponymous album was produced twice, once in 1977 in the United Kingdom, and once in 1979 in the United States. The 1979 version includes songs not on the original album as well as having some of the songs cut due to not being "radio friendly". The Clash are Joe Strummer (Guitar, Vocals), Mick Jones (Guitar, Vocals), Paul Simonon (Bass), and Terry Chimes (Drums).
The Clash deliver more than two-chord punk on this album, though there is a fair share of that if you're interested. Songs like White Riot and Janie Jones blast through you, with a certain power and fury that takes some getting used to. The song London's Burning, with the lyrics "Black or white turn it on, face the new religion/Everybody's sitting 'round watching television!", and "London's burning with boredom now" show the aggressive style of music, which for the era and genre are entirely appropriate.
There's more, however, to the album than raw power and furious lyrics. Songs like What's My Name and Police and Thieves show a somewhat more refined musical ability than other songs on the record might suggest. This refined sound adds to the punk sound without removing its power, which is quite an accomplishment in its own right. Police and Thieves, written by singer Junior Murvin, is performed in punk/reggae style, which is a nice counterpoint to the rest of the album with a laid-back attitude about it.
As with any album, and especially with a first album, not everything worked out as intended. Some songs like Remote Control, I'm So Bored With The U.S.A., and Deny have energy and passion, but seem to be lacking something that takes it above the status of melodic noise.
There's something about the raw energy of punk that gets me every time, and The Clash is no different. The edge of experimentation and newness apparent on this first album definitely adds to the experience. I'm personally a big fan of this album, and the critics of the day certainly agreed that this album is a bedrock on which to build a punk collection.
Note: I had originally written this review for Music Emissions, but I didn't check carefully to enough to see if one had been written. Thus it will be posted here, but not there.
The Clash deliver more than two-chord punk on this album, though there is a fair share of that if you're interested. Songs like White Riot and Janie Jones blast through you, with a certain power and fury that takes some getting used to. The song London's Burning, with the lyrics "Black or white turn it on, face the new religion/Everybody's sitting 'round watching television!", and "London's burning with boredom now" show the aggressive style of music, which for the era and genre are entirely appropriate.
There's more, however, to the album than raw power and furious lyrics. Songs like What's My Name and Police and Thieves show a somewhat more refined musical ability than other songs on the record might suggest. This refined sound adds to the punk sound without removing its power, which is quite an accomplishment in its own right. Police and Thieves, written by singer Junior Murvin, is performed in punk/reggae style, which is a nice counterpoint to the rest of the album with a laid-back attitude about it.
As with any album, and especially with a first album, not everything worked out as intended. Some songs like Remote Control, I'm So Bored With The U.S.A., and Deny have energy and passion, but seem to be lacking something that takes it above the status of melodic noise.
There's something about the raw energy of punk that gets me every time, and The Clash is no different. The edge of experimentation and newness apparent on this first album definitely adds to the experience. I'm personally a big fan of this album, and the critics of the day certainly agreed that this album is a bedrock on which to build a punk collection.
Note: I had originally written this review for Music Emissions, but I didn't check carefully to enough to see if one had been written. Thus it will be posted here, but not there.
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