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Posts Tagged ‘Men Without Hats’

Ignored 138: When Canada YouTubes…

In Graphic on March 28, 2017 at 12:32 am

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Ignored 34: CMW 2014 by bike

In Uncategorized on May 6, 2014 at 6:42 pm

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A few quickie reviews of four shows I took in last night at Canadian Music Week 2014 and the bike rides that got me there.

The route

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Ghetts (8:30pm at Baltic Avenue)

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A fairly brief review of Ghetts because he was around a half hour late so I only caught a small handful of songs. Can’t really blame him since 8:30pm Thursday is a pretty brutal timeslot. Unless you’re Family Ties, I guess. In terms of tangibles, I hadn’t been to Baltic Avenue before but it seemed like a solid enough venue considering it was on the second floor. Kinda lounge-y, kinda wood-y. Also, the person working the door was nice and sad hi, while the DJ spun some Nas remixes to keep people entertained. So there was hat. When Ghetts finally reached the stage, he invited the crowd to nudge forward in an attempt to make the room slightly less stilted. I only caught about 4-5 songs but the delivery was as advertised with Ghetts’ rapid-fire ammo compounded (and sometimes confounded, in a good way) by his accent. Lots of energy to start although the best moments came when he cut himself some slack on mid-tempo fare like “Artillery” , an engagingly-paranoid tune that seems like his best bet for a Transatlantic breakthrough if he were to ever re-release it. Ghetts wore some great camouflage pants too. Cool artist. Wish I could’ve seen more.

Bike ride (Bloor W-College)

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Slates (9:00pm at Sneaky Dee’s)

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I gave the upstairs at Sneaky Dee’s a visit for the first time since Jay Reatard died (or more specifically, this gig) and was greeted kindly by Edmonton’s Slates, who provided several strands of Sunny Day Real Estate-ish indie rock with chops and heart. There was something inherently likeable about this band and they played with a certain urgency that was hard to pinpoint. Weeks on the road have clearly brought a strong cohesion to this outfit and pretty much everything about their stage show was seamless, from the musicianship from a technical standpoint to the delivery from a engagement standpoint. All told, they were extremely poised, polished and grateful, tipping the hat to the late Jason Molina on, yes, “Molina Blues” before wrapping with a torrid take on “Prairie Fire”, complete with some appropriate lurching about the stage. Points for the shirtless drummer as well, which is a pretty good sign that they’re into it. The solid-sized crowd for a 9:00pm slot was also a good sign that others were into it. I need to hear more of these guys.

Bike ride (College-Dundas W)

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Wordburglar (10:00pm at Hard Luck Bar)

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Playfully-poised MC Wordburglar didn’t let a small-ish crowd and tech issues cramp his (considerable) “steez”. With a lyrical focus on food, sports and sci-fi, “Burg” spat flow, struck poses and churned out a handful of good-natured rap tunes with plenty of between-song “crowd work” to vet the audience a bit.  At this point, “Burg” is a veteran of the stage and his flow, freestyle, humour and presence are all airtight so even the bum timeslot didn’t damper his enthusiasm as he snaked through material new and old. Highlight? Probably “Your Friend’s Brother” which gives a ponder to…. um, the whereabouts of some kid’s brother and cette brother’s various tendencies. Scarborough’s More or Les spun and the duo did a little head-to-head action to wrap the set. Less food talk in that one. The F-word was said at least once.

Bike ride (Dundas W-Queen W)

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Teenage Head and friends (11:00pm at The Great Hall)

What was ostensibly a book release party for Geoff Pevere’s Gods of the Hammer, a new Teenage Head biography, (read my Q+A with Geoff about the book here and then buy the book here) became something of a group hug for various Canadian punk and indie icons of the past three decades. The pics below will detail who showed and sang along with Hamilton’s long-running punk heroes. The more notable/unusual attendees were ex-Dead Boys shouter Cheetah Chrome (who visited from wherever USA for the gig) and Don Draper’s wife/John Kastner’s girlfriend (who did not hop on-stage to sing with the boys, as she had done previously with the Jesus and Mary Chain in Toronto). Teenage Head were their typical rock solid selves with bassist Steve Marshall looking lovingly aloof and Gordie Lewis galvanizing the stage with tons of focused hot licks. The gig did have a bit of a karaoke feel, which was a lot of fun as it allows the boys to dive deeper into their back catalogue than they typically would; namely, a few cuts (“Can’t Stop Shakin'”, “Full Time Fool”) from 1988’s out-of-print Electric Guitar–seldom trotted out for whatever reason. Again, Gordie Lewis has been the longtime glue of this band and his guitar playing deserves broader notice, as does his use of a fan to give his considerable locks a consistent windblown look.

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Teenage Head with their semi-new singer Pete MacAulay

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Teenage Head with that guy from Men Without Hats

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Teenage Head with that guy from the Doughboys

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Teenage Head with that non-Canadian guy from the Dead Boys

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Teenage Head with that guy from Change of Heart

Ignored 29: An education

In Uncategorized on March 10, 2014 at 2:39 pm

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As a lifelong music fan, there will be times when you remember things wrong, assume an artist is something they’re not and have various WTF memories and misappropriations seep into your consciousness. The Internet and various reference manuals can help clear up these mistakes while others will follow you to the grave. It’s fun!

Here is a small sampling of musical misunderstandings I’ve had over the years. Obviously since I’m now writing about them on a WordPress blog, I’ve cleared up the details.

The video was Men without Hats “The Safety Dance” wasn’t an actual song but rather, a TV show for kids or maybe a TV commercial. This was 1984.

The video for M+M’s “Black Stations White Stations” wasn’t an actual song. Rather, it was a bumper for Citytv. In the spirit of Mark Daily’s “Citytv: Everywhere” contributions. Again, this was 1984.

The Fat Boys was a TV show and not a band.

Lou Gramm and Lou Reed were the same guy.

Strange Advance and the Escape Club were the same band. Confusion rooted in the former’s “Love Becomes Electric” and the latter’s “Wild Wild West”. Note: these songs sound nothing alike.

The Who and the Guess Who were the same band.

The Band were fictitious. No one where this came from. I think maybe I was vaguely aware of The Last Waltz and thought these were actors playing a band. Potential crossed wires when I became aware of other real fake bands like Spinal Tap and The Commitments.

Jeff Lynne from the Traveling Wilburys was not a real musician but actually somebody famous (not sure who… maybe an actor?) wearing a disguise.

Jane’s Addiction were Canadian and later, I’d confuse them with the Leslie Spit Treeo. The former’s “Been Caught Stealing” and the latter’s cover of John Prine’s “Angel from Montgomery” were both in rotation on 680 CFTR at the time. I think the opening of “Been…” with the dogs barking threw me somehow.

Spandau Ballet and Roxy Music were the same band.

Ice-T changed his name slightly and became Ice Cube.

Rumble was British. Aside: was there a more random one-hit wonder from this era? Some Jamaican guy from Toronto rapping over a Massive Attack song and hitting the Top 40.

James was a guy and then upon learning James was a band, assuming they were a heavy metal band. Later, I thought the song “Laid” was a Spirit of the West song. I was so confused.

Primus was a heavy metal band. Fair assumption since most people who liked Primus in 1993 were also into Metallica et all.

Pavement were a heavy metal band. The name just sounds heavy. There’s a scene in Pavement’s Slow Century DVD where Sonic Youth’s Thurston Moore cops to making the same assumption. Also, I thought their drummer Steve West was the singer for the longest time.

Dinosaur Jr were from the UK. Reason: their 1994 release Without a Sound came out on the UK-based imprint Blanco y Negro which I naively assumed meant they must be British too.

Sloan were from Boston.

The Cranberries were from Canada.

Catherine Wheel was a lady. I’m assuming more than half of 102.1 listeners of the 1990s also made this assumption?

Molly Hatchet was a lady.

Bettie Serveert was a lady.

PJ Harvey was a dude.

Pop Will Eat Itself were German. This was based purely on their 1994 single “Ich Bin Ein Auslander”. Once I learned they were British, I tried to share this knowledge with anyone who cared (estimate: 3-4 people, tops) and always got massive push back from people who insisted they were German, namely because of this song and also, their hair. Pre-Internet, these debates raged for months.

Tha Dogg Pound were a band that contained Snoop Dogg Dogg, Nate Dogg and friends. 95 per cent certain that Suge Knight hoped that the record buying public would make the same assumption. They did briefly.

 

Sugar’s Beaster EP was actually an EP by the Beastie Boys. Beaster was one of those CDs you’d always see in vast quantities at used CD shops and whenever I’d catch a glance at this disc, I kinda just assumed it was a Beastie Boys’ release with some alternate spelling. In part, I think there was some confusion with the Beasties’ Some Old Bullshit EP that came out around the same time. Aside: has their even been a band with worse cover art than Sugar?

Buffalo Tom and Grant Lee Buffalo were the same band.

Tristan Psionic and SIANspheric were the same band.

Paul Weller and Paul Westerberg was the same dude.

 

The dude L.V. who sang the chorus of Coolio’s “Gangsta’s Paradise” was Luther Vandross. Not sure if I really believed this or just WANTED to believe it. It would’ve been a really unlikely transformation and pretty funny that Vandross could up his cred by reducing his stage to sinister…. initials!!! Also kinda funny: the real L.V. stood for “large variety”.

Big Star influenced the Beatles. My roommate in first-year university told me this and I just went with this. Obviously, this timing makes no sense since the Beatles were toast by the time Big Star even formed.

Peter Schilling’s “Major Tom” was actually sung by David Bowie. Obviously some confusion RE: Bowie’s “Space Oddity” and no doubt, Schilling was hoping to profit from the confusion. Note: the voice on “Major Tom” sounded nothing like David Bowie.

Yo La Tengo and Pizzicato Five were the same band.

The Birthday Party and the Wedding Present were the same band. This was fueled by the same gaff made in Alan Cross’ first book The Alternative Music Almanac where they mislabeled a shot of the Wedding Present playing at Lee’s Palace as the Birthday. The horror!

Death Cab for Cutie were heavy.

Crystal Castles were from either Europe or Chicago.

Wolf Eyes and Japanther were the same band and both from Toronto. Neither/nor.

Deerhunter and Deerhoof were the same band. Also, Deerhunter were heavy.

Big K.R.I.T. was British. He laid down some rhymes over an Adele track, after-all.

Mac Miller and Mac DeMarco were the same dude.