completelyignored

Posts Tagged ‘The Kinks’

Ignored 140: London etc.

In Graphic on April 12, 2017 at 1:46 am

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Ignored 105: Kingswood was pretty cool

In Graphic on August 20, 2016 at 12:37 pm

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Ignored 98: Sofi Papamarko on The Kinks Are the Village Green Preservation Society

In Podcast on July 13, 2016 at 2:11 pm

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Sofi Papamarko (Toronto Star) takes Cam and Sammy back to 1968 and the sneakily sad nostalgia of The Kinks Are the Village Green Preservation Society. We talk about the Kinks in the 1960s (yay!), the Kinks in the 1970s (meh!) and Ray Davies getting shot.

Right click here to download the episode or visit The Completely Ignored Podcast on iTunes to stream this episode.

 

Ignored 54: Do you like Blue Rodeo?

In Uncategorized on March 12, 2015 at 12:53 am

I talk to my high school pal Adam about Blue Rodeo, Neil Young dying (again), Oasis (a few times), everything and nothing.

Cam: Morbid question: of any active living musician, who will you be the most upset for when they die?

Adam: Funny you ask, as I was commenting to a buddy that Van Morrison feels like the guy to go now that Joe Cocker is gone.  That’ll be sad. I love Van and fell in love to Astral Weeks. Paul, without question.  Dylan, Simon, Bobby and Phil.  Springsteen will outlive us all. It’s hard to imagine the legends of rock passing.  It’s interesting for us to have grown up during the baby boomers 40s.  We saw their second acts and revered their first.  The 1960s, the British Invasion, the Summer of Love and then 1972.  All these things were within the same recent memory as August and Everything After (or Nevermind) is to us now. So rock had always been around. George dying devastated me. So did Jerry dying.

C: Astral Weeks is fantastic. Consistently one of my Top 10 faves. Yeah, Van is pretty enigmatic, at least in terms of his public persona. Which he barely has if he’s not touring. Neil Young dying is going to be brutal. That seems like it could be very personal to Canadians in our demo: an artist that we loved, our parents loved, a Canadian, somebody who was equally at home jamming with Booker T and the MGs, the Band or Sonic Youth. A total legend: both “Neil Young: the performer” and “Neil Young: the concept”. It’s crazy Jerry was only 53 when he died. Considering McCartney, Brian Wilson, etc. are now in their 70s.

A: Forgot Neil.  Yes. Harvest for our parents. Harvest Moon for us. BTW, that Barrie concert had nobody I wanted to see. On the plus side, the thing at Fort York looks super awesome.

C: Ya, I wouldn’t mind seeing Kendrick Lamar, Danny Brown and I guess Modest Mouse but nothing grabs me. it’s a very contemporary line-up so I kinda give them credit for not copping out and having AC/DC headline, a la Coachella. i think we discussed it before… i find these massive outdoor concerts are more akin to “camping” than “music event”…. the bands seem almost secondary to the experience. Do you like Blue Rodeo?

A: “Lost Together” was our wedding song, and I saw them at the big Simon & Garfunkel l show at the SkyDome back in…94? Also saw them once at the Gardens, I think. 5 Days in June was a tremendous album to hit for us at that age. It was everywhere at camp, and “5 Days in May” had a fantastic video that felt a lot like “Lovers in a Dangerous Time”. That is my favorite Toronto 1990s thing ever, my favorite BNL song, one of the greatest covers of all-time, and a video about youthful love.  Holding hands and running away from the camera in black and white still makes me feel 18.  “Diamond Mine” is also a great song too. They hit such a creative peak back then that they got to coast on being Blue Rodeo after that. Everything sounds the same, but I’ve got no gripe with them, just not any interest for anything past their greatest hits, which I like a lot. Sometimes, I love it.

C: Ya, from 1988-1993, they were in a rare place: massively popular/stadium worthy but making music that was pretty innovative and seemed very contemporary even though in other ways, it was very old. At that time, comparisons to the Band seemed farfetched but maybe not that far off? Again, it’s crazy that a song like “5 Days in May” was something that little kids listened to and enjoyed and watched the video for on MuchMusic. For anybody who loved them in that 1988-1993, they still seem like superstars even if they’ve been on commercial autopilot for the last 20 years (assumedly… I haven’t really been paying attention although I saw them at the Amphitheatre 2-3 times during that stretch). It seems they could’ve been marketed differently and been a positioned in the Wilco/Son Volt/Whiskeytown ilk or gone ina slightly different direction and been in the Widespread Panic/String Cheese conversation? Instead, they were kind of just a notch below the Tragically Hip commercially.

A: Heard some stuff off their last album that was good.  Or was that Cuddy? Have been rewatching The Last Waltz on the topic of the Band.  Wondered about best or biggest bands with multiple singers.  Ricky, Richard, Levon. How cool it is when the song goes to the guy who sings it best?

C: I guess the Beatles introduced the “multiple singers” model? Hate to say… I automatically think of the Eagles and afro-era Don Henley behind the kit. In more recent times, I think Sloan really nailed this model. Maybe part of the reason they’re now a quarter century in. Another band where I haven’t paid attention to the last 4-5 albums but I have little doubt of their continued quality.

A: I thought about it with the Eagles too as I was reading the Simmons eagles history recap in the Grantland quarterly.  Obviously the Beatles.  I met the bass player from Sloan, the one I recognize, and asked him about the baseline on “Money City Maniacs” being the same chord trough the entire verse until the chorus.  Like “Tomorrow Never Knows”!  He was appreciative. We were with our kids at Centreville on the island.

C: Good call. I still get a bit starstruck when I see musicians in public. It’s very humanizing. Some recent sightings: Damian from Fucked Up with his kids at the ROM, Ron Sexsmith walking down College, Stephen from Lowest on the Low on the subway a bunch of times. The thing that I find funny about the Eagles in retrospect: they were essentially devoid of any humour or fun. That was a VERY serious band.

A: Very serious band. I liked the Eagles.  At least their greatest hits. Just learned “Hotel California” on the ukulele.  So much fun to play and sing/scat the dueling guitar solo.

C: I like the Eagles too. I think the “seriousness” was a 1970s thing. It’s when whoever decided that rock music wasn’t just for kids anymore. It was OK for 45 year-olds to listen to the Eagles, James Taylor et all. These were seriously artists who (apparently) had something to say. I like the Carly Simon song “Anticipation”. Here’s a good question: who are the most tense bands of all-times? Artists where the acrimony on-stage was really obvious. I’d say (at times) the Eagles, Fleetwood Mac and the Pixies all belonged in the top three. I feel like I’ve seen some Van Morrison performance where he seems like he’d rather be anywhere else than on-stage.

A: Carly was great. And the cover of that album? Man.  That is a good question. Knee jerk answers. In no particular order: the Beatles in that picture with Yoko there.  The Beatles in that scene filming Let It Be when George says (do your best George), “Tell me what you want me to play and I’ll play it”. Oasis. The Eagles. The Wonders, from that Tom Hanks movie.

C: Oasis. Yes, good one! I think the Kinks used to brawl on-stage too. So there’s that…. I could be imagining it but I feel like the last 3-4 years, there’s been a certain demo that is yearning for Oasis and they truly are cementing themselves as one of the most beloved bands of the last 25 years. I think people took them for granted a bit. I was in Scotland last summer and this really hit home when I saw a rowdy bunch of 20-somethings collectively slurring their way through a karaoke version of “Wonderwall”. I don’t think it’s even that great a song but it somehow has infiltrated multiple generations. People LOVE it. Although maybe just in that setting, since it does lend itself well to karaoke (not many lyrics, fairly short, everybody has heard it 10,000 times).

A: I think “Wonderwall” is one of the greatest pop songs of all-time.  Certainly of the decade. I had this experience last summer when I was five weeks into working seven days a week and I was burning out.  I was walking, exhausted through a Loblaws in the west end. “Wonderwall” comes on. I start singing to myself. It gets to the chorus and after singing, “You gonna be the one that saves me”. I burst into tears and say aloud,  “That’s not a good sign”. The point I turn to as a mild breakdown last summer.  I love that song.  “1979” came out at the same time. Great song, too. The sound on the Morning Glory album is bollocks. What would Liam say?  I also love watching Noel sing “Don’t Look Back in Anger”.  Perfect song for his voice.  At the time, I thought some of their stuff was totally and completely derivative of the Beatles (see “All Around the World”, “… Anger” opening chords, every Beatles reference etc). Noel just gave an interview that Alan Cross linked to. I still do Oasis binges through seven songs. I was way too into the Dead’s Mars Hotel (and DMB) at the time to be into Oasis.

C: “1979” is indeed great and a really strange, unique single. Nothing really like it and certainly  very dissimilar to anything in the Pumpkins discography. It’s probably hard to quantify but why do you like “Wonderwall” so much? What is the broad appeal? I think it’s totally fine but a bit boring and the vocals are slightly nasally, even by Oasis standards. I do like “Don’t Look Back in Anger”. Just the huge production values and drama of it. Very out of step with 1995 or whenever that came out. I always admired Oasis’ ambition, even when the quality of songs didn’t really match up. Plus Noel is probably Top 3 best musician interviews ever. I could listen to that guy talk for hours. Zero filter when he’s in the right mood.

A: I like the chords. I like the guitar intro. I kinda like it nasally on that one.  I love the way the drums come in after “back beat the word is on the street”. I love the baseline. I love the stings beefing up the baseline in the chorus.  love the chorus.  Maybe the right time of my life at 18.  Probably feels like a Beatles song.  A piece of magic.  It’s also one of those songs perfect to sing alone to.  Words you’ll just know by heart.  Oh, also I love “Live Forever”.  Learned how to play it on the uke.  Great fun.

C: Yup, fucking love that song too! Never acknowledged your BNL “Lovers in a Dangerous Time” comment but seriously, that might be my favourite cover version of all-time. As a 14-year old kid growing up on the Toronto city limits, that video perfectly captured the banality, boredom and humour of suburban Toronto perfectly. Such a tasteful, pitch-perfect performance for a band that was really young and unestablished at the time. I think too many people write them off as a joke band but at their finest, there was a lot to like with BNL. I really like the song “Jane” as well from their “difficult” second album.

A: I remember hearing million dollars in the big A&A on Yonge Street with Marc and us laughing about the real green dress that’s cruel.  The era of that tape. Good call on why the video is so pitch perfect.  The apartment looks just like my late grandmothers at York Mills and Leslie, but wasn’t.  And the power lines reminded me of the ones down by Finch.  Which they were just in Scarborough.  It definitely captured suburban Toronto.  Though their neighborhood was postwar bungalows.  I saw Paige in withrow once.

C: His coke bust is still likely in my Top 5 pieces of most shocking pieces of “music news” that I’ve ever heard. I don’t really know anything about those guys personally but that ordeal no doubt blindsided a lot of casual fans. In summary, drugs are horrible. It is telling that while Nirvana and Pearl Jam were blowing up stateside, Canada’s hottest new “modern rock” bands were the Barenaked Ladies and the Crash Test Dummies. The Odds were really solid as well. Supposedly there was a piece on CNN around that time that suggested that Canadian was in the midst of a “silly rock” revolution during that era, throwing names like Corky and the Juice Pigs and (for some reason) the Rheostatics into the mix.I could totally be imagining that last part but I think I read that somewhere.

A: Interesting.  And that (Steven Page’s) life blew up and the band broke up. That still doesn’t register for me.

C: I love the song “Try” by Blue Rodeo so much. Such an incredibly self-assured song from a debut album. Not an easy feat to pull off.

A: Oh man. Yes.

Ignored 38: Same songs, new price

In Uncategorized on July 17, 2014 at 4:15 pm

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UK shoegaze outfit Slowdive play Toronto this fall. They last played our city 20 years ago and tickets this time around have increased in price by 168 per cent ($11 in 1994, $29.50 in 2014).

That’s perfectly fine and expected. Because in pure economic terms, nostalgia comes at a high price.

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Whether your vice is music, sports memorabilia, out-of-print literature or visiting Europe (or whatever “the old country” means to you), people will pay a significant premium to purchase something NOW that makes them feel a tinge of something from THEN.

Still, some jerks music fans like to get all uppity when a band like Slowdive reunites and their ticket prices skyrocket. The thing is, when you think of it in terms of simple supply and demand, why wouldn’t these prices spike?!? In 1994, the audience for Slowdive was mop-haired guys and girls who didn’t talk much plus assorted wannabe Anglophiles. In 2014, the audience is two additional decades worth of that type of music fan…. plus the entire original audience itself (except for those who died or moved to Courtice in the years since).

Demand goes up. Supply stays, more or less, the same. Do the math!

For more information and to learn more theories, go here. It’s a great place.

Getting back to Slowdive, a lot of notable bands have reunited in the last decade. However, even when compared to many of their contemporaries, returning after a 20 year absence is pretty rare. It begs the question: does staying away longer help pad your bottom line in terms of ticket prices?

(pause)

To help answer this question, I took a cross section of 18 of these notable bands who have returned to Toronto in the last decade after some sort of hiatus. I compared ticket prices for the “farewell” and “hello again” gigs and in an attempt to keep this apples-to-apples, I only included headline shows. This latter piece gets kinda dicey when we speak in terms of demand (i.e. the Constantines’ headline “reunion” show in Toronto this fall will technically be the third time they’ve played in the city since reuniting) but more on that later…

Also, none of the prices reflect services charges, venue fees or anything of that nature. Because people tend to hate taking about services charges, venue fees or anything of that nature.

Here is a list of the 18 bands in question, sorted by the year they returned to Toronto and also showing their last Toronto show before they disappeared for a while:

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Now, the first graph below shows who had the longest gap between Toronto headline shows. The second graph shows who had the largest spike in ticket prices, expressed in terms of price percentage increase.

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If there was a decent correlation between length of absence and increase in ticket price, these graphs should look somewhat similar shape-wise.

They don’t. At all.

Therefore, based on this (admittedly small) sample size, there is no real correlation between how long you’ve been away and how much you can jack up your prices.

Since the length of the hiatus, in and of itself, isn’t significant in boosting ticket prices across the board, here are a few less scientific factors that are:

Taste: I mean, this is 90 per cent of the equation with any art, right? A few of these bands (especially My Bloody Valentine, the Pixies and Neutral Milk Hotel) became almost mythical during the 2000s due to the proliferations of blogs and YouTube and MP3s. Thus, when they started popping up on the touring circuit again, their fan bases has swollen to kind of insane proportions. Well, maybe not INSANE since MBV was originally booked to play the Ricoh Coliseum in 2008 (which would’ve been “whack”) before being downsized to the Kool Haus. But still. NOTE: the Ricoh Coliseum website is still erroneously listing the concert. They so crazy!

Venue: When Jesse Keeler posted this note on a Death From Above 1979 forum back in 2006 in order to napalm his band, it meant that the duo’s last headline show in Toronto was a series of insanely loud gigs at the cozy Horseshoe Tavern the summer prior. Based on their popularity at the time, it easily could’ve been a room 5x as big. But in the end, it was happenstance. Either way, $15 for a DFA1979 gig in 2005 was a “bargoon“.

Non-Headline Gigs: The Constantines played their first 2014 reunion show in nearby Guelph, rocked at Broken Social Scene’s Field Trip festival shortly thereafter and will be opening for the Arcade Fire at the Molson Amphitheatre around Labour Day. Their first “proper” Toronto headline show isn’t until October but given their “around-ness” prior, did THAT affect ticket price for their Danforth Music Hall gig? Who cares… it’s just good to have ’em back!

Opening Acts: I’ve always had a soft spot for the macho riffing and self-aware posturing of Urge Overkill. However, their 1995 “bye bye” gig at The Phoenix also featured the Toronto debut (I think) of the equally-awesome Guided by Voices and the pre-Sweet Homewrecker hijinks of Thrush Hermit. A stacked triple bill and considering GBV were getting a ton of buzz at that time, I bet much of the audience were paying to see Robert Pollard and friends stumble around. Unfortunately, Bob got beat up.

Willingness to Tour… Ever: Most people just assumed that Jeff Mangum would never tour Neutral Milk Hotel so the fact that their ticket prices dominate the second graph is a bit of an outlier. Even by 1998 standards, $7 for any show is massively low. Also worth noting: fact Mangum did a pair of solo acoustic sets in Toronto in 2011, which may have eased demand a touch.

A few other comments:

– Everybody kinda rags on the Pixies for their never-ending reunion tour and the fact that it took them a decade to release anything new (and that was only after they gave Kim Deal the boot). However, considering how unlikely that reunion was (see “the fax story”) you think they could’ve charged more than $35 for their first Toronto show back in 2004. In many ways, they ushered in the initial wave of reunions fuelled by 1990s nostalgia (and cash… lots of it). If they had decided to suck it in 2008 instead of the hinterlands of 2004, I betcha tickets would’ve easily run $60 or more. Even at the brutal Arrow Hall, which mercifully is no longer with us as a concert venue.

– The Jesus and Mary Chain were a good band. Not amazing but solid enough. But seriously, $60+ for their 2012 show? Unlikely My Bloody Valentine, Neutral Milk Hotel or Daft Punk, the Jesus and Mary Chain had played Toronto plenty in the past so it’s not like their originally fan base didn’t have ample opportunity to see ’em in the first time around. Heck, they brought along Curve, Spiritualized and (uh) Pure to play the (friggin’) SkyDome in 1992, which is was kind of a WTF at the time and is now a massive WTF in hindsight. That concert was $12.45 BTW. Good deal!!

– Speculative: if Morrissey decides to drop the seal hunt thing and play in Canada again, would tickets START at more than $100 a piece? I think so.

– My picks for the next wave of bands that we MIGHT see playing shows again within the next five years: Oasis, the Deadly Snakes (this show notwithstanding), Galaxie 500, Gene (would we care?!?), the Kinks (would they care?!?), Eric’s Trip (again), Siouxsie and the Banshees (again), Catherine Wheel (are they even broken up?!?), Local Rabbits, Gorky’s Zygotic Mynci, Supergrass, the White Stripes