Okay so second installment and I already fail to get it done on time! I blame booze, football and a mediocre metal band, and I apologise if that excuse gets tired throughout this year (hopefully not the metal band one though). My second choice was easy; song two of the blog has to be ‘Song 2′ by Blur.

This song is one of the first thought of when asked to name a Blur song despite it sounding nothing like their other output. It is claimed that this was their attempt at a parody of the American grunge movement but, much like Beastie Boys did with ‘Fight For Your Right’, it ended up being embraced by the exact same music scene that they were poking fun at. Upon it’s release it was everywhere; adverts, video games and drunk blokes singing ‘Woohoo’ repeatedly at the back of night buses, and even now it’s their most played on Spotify. I think that it’s this over-exposure that has seen my appreciation for this song wane.

I mostly blame clubs. It is played almost anywhere and everywhere that would or could normally play this kind of music. If you go to a ‘any music goes’ kind of club you can bet that one of the ladz that has spilled out of Yates will request it and proceed to throw himself around like the prize-prick that he is, while pretentious indie clubs will choose between this or ‘Girls & Boys’ to play as one of their ‘hits that everyone will know’. The fact that it is also often seen by both of those audiences as a ‘heavy’ song means that it seems to get played even more.

Listening to it now, whilst trying my best to hear it anew, it really is a very good pop song, definitely grunge but then definitely Blur too. Damon’s half-arsed vocals, that tended to slip into not-arsed when performing live, are just right and it is a song made to make you want to throw yourself around. The thing is that it just won’t stop being played which just makes me dislike the song more. Will it ever get to the point where it could be missed enough for me to actually enjoy? It probably has as much chance as Chumbawamba.

Chumbawamba – Tubthumping Totally Looks Like Arm & Hammer

» Think you can do better? Make your own!

Pictures by: dunno source Look-Alike by: elevatorthrough via Totally Looks Like Builder

Carissimi lettori e lettrici affezionati/e,

so che questo blog si sta prendendo lunghe pause ma sono immersa fino al collo in altri luoghi della rete e, nonostante l’ubiquità di cui si dice , le mani e il cervello continuano a rimanere di numero finito.

Vi ricordate quel progetto di cui parlavo ne Il coraggio dell’utopia? Beh diciamo che sta prendendo corpo quasi autonomamente ed io, in certi momenti, fatico un po’ a stare dietro a questo multiforme aggregato che – ufficialmente – si colloca sul Lab ma che in realtà tracima in mille rivoli dentro e fuori la Rete.

Posto ciò, avendo dovuto fare una presentazione semplice ed essenziale per coinvolgere anche gente che in Rete non è, condivido anche qui il suo contenuto così sapete che cosa sto combinando.

E ci aggiungiamo anche un po’ di musica che non guasta mai…

Today's Result: Hibs 3 - 0 St Johnstone

Never has the potential death of a human being been more celebrated.

When a trade unionist comments, “may she go soon,” everyone knows who they are talking about.

Chumbawamba have certainly been thinking ahead with this promotion:

Chumbawamba Website

It’s difficult to imagine the atmosphere, when she does go. When people take to the streets to celebrate, What will the mainstream media make of it? Will any pubic figures join the party?

Chumbawamba

Meanwhile, here are the lyrics to my favourite football song, also by Chumbawamba:-

Words on a postcard from far away
Spoke of a time long ago
Laughed ourselves daft on that Saturday

Singing here we go…
I’m a taxi driver
I’m a postal worker
I’m an office cleaner
I’m a striking docker
I’m a ballet dancer

Chumbawamba

I’m a Zapatista
I’m a pop singer
I’m a winner

I’m a brick layer
I’m an ex-miner
I’m a single mother
I’m a bus driver
I’m a political prisoner
I’m a print worker
I’m a footballer
I’m a winner

CHUMBAWAMBA “Top Of The World” CD single 1998

Here I go, again…!

Guys, It’s time for yet another edition of the Worst band names. Perhaps I should call it, Sick band names! Lol.
So, without much talking, let’s get down to business.

1. Hoobastank

Sigh. What does this mean dude? I’ve searched for this word’s meaning in sooo many places! You tell me, doesn’t sound weird?
The band name should be comprehensible.
In an interview, here’s what the band’s vocalist, Doug Robb, had to say about the name: “It’s really cool, it’s one of those old high school inside-joke words that didn’t really mean anything.”

2. Matchbox 20

Band names should never contain numbers. Never! Never!
If they’re doing a live show, they’ll go like, “We’re matchbox 20, are you ready to rock!?” Lol. Are they selling a household cleanser!?
It’s ridiculous!

3. Sevendust

Oh! This band probably consists of guys with great brains. They’ve counted number of dust particles.. But I don’t know where..!

4. Smashing Pumpkins

Even the band thinks Smashing Pumpkins “is a stupid name, a dumb bad joke and a bad idea,” which should tell you something. None of their songs talk about smashing Pumpkins. It’s only our brains which will probably be smashed after listening to their songs!

5. Puddle of Mudd

This band name would actually work perfectly as the name for a bohemian coffee shop where a girl in an orange tank top with a brown bandana on her head asks if you want an organic wheat muffin.(You’ll understand this only if you know about Bohemian music!)

6. Goo Goo Dolls

The band found the name in an issue of True Detective Magazine after a club owner balked at their original name, the Sex Maggots. Not only does the name sound like something an infant would gargle while bursting forth out of the birth canal, it doesn’t come anywhere near to complimenting the band’s sound (neither does the Sex Maggots, for that matter).
Their music is Nice. Name Sucks!

7. The The

The band leader probably became dumb just before he could give a full proper name. It’s also not terribly smart to choose a name guaranteed to make it impossible for people to Google you.

8. Chumbawamba

A group of British “anarchists” with strong political opinions needed a band name that resonated with the passion of their views, and so picked a gibberish word that means nothing. Rage against the Machine would make a better name!

9. Wolves in the Throne Room

Does this name make any sense? I couldn’t even make out what they were singing, in their couple of songs. This band is a perfect recipe for a Trauma. The name and their music send you directly to hell!

10. Sick Puppies

Maybe their pet dog falls ill very often. But it definitely is not a name given to a band.! The girl is very Hot!

P.S. – My pal Varun once was talking about Bands with worst names. That gave me the idea to write this topic!
I will keep writing here whenever I find some bands!

I know I’m luckier than many. Even as a writer of marginal talent, I’ve been able to find forums for my writing, and as a result of this am exposed to more fresh music than other folks. Since I also spend too much time in both used and new CD stores, I uncover CDs of interest- including many I didn’t even know I need.

For example, last weekend I stopped into one of the local stores and found a reissue of Mark Lindsay’s Arizona and Silverbird albums on one disc. I barely know Mark Lindsay from Lindsay Buckingham, and haven’t listened to Paul Revere & the Raiders except on oldies radio…although “Indian Reservation” has long been a favourite. I bought the album without even thinking about it, and it was only when Track 1 started once I got home that I realized “Arizona” was that Arizona song. I’ve listened to the disc twice through, and while it isn’t essential I’ve enjoyed discovering something I hadn’t before listened to.

If I work hard enough, I’ll usually find something of interest.

Like many, I spend too much of my free (and other) time listening to music. Here is the first installment of a piece I am assembling where I reflect upon some of the music I’ve either taken off the shelf, purchased, or have been sent since June. While not necessary stunning in all cases, all of these albums are ones I’m really glad I listened to this summer.

Presented in no particular order-

Cry Cry Cry Dar Williams, Lucy Kaplansky, and Richard Shindell (Razor & Tie, 1998) We probably all have albums that we love but seldom- if ever- pull off the shelf. This trio project isn’t one of those as I didn’t know I loved it, and in fact can’t remember listening to it prior to this summer although I must have. I rediscovered Cry Cry Cry while on Santorini and for some reason it really resonated with me as I walked the streets of Fira. The blending and interplay of the three voices is quite special as songs from some of the finest contemporary writers are interpreted. Highlights include “Cold Missouri Waters” by James Keelaghan, Buddy Mondlock’s “The Kid,” and “Down By the Water” written by Jim Armenti, whose version can be seen/heard here, live in a grocery store. Weird. http://www.youtube.com/watch?v=iqSzNKPoRqo

Potato Hole Booker T (Anti- 2009) I wasn’t sure what to except from this one. I’ve always enjoyed the Booker T sound, but am by no means a learned listener. I’ve been hit and miss with the Drive-By Truckers- who serve as the band for this ten-track album- and Neil Young- who plays guitar. It is a rock album with lots of guitar, and I find it really groovy. Of course, the Hammond B3 comes through loud and clear. I’m glad I took a chance on it. There is also a nice set recorded July 4 posted at the Live Music Archive, if you can get past the annoying talking head.

Armageddon Prism (Capital, 1979) A western-Canadian FM-staple, every song on this disc is recognizable to guys of a certain age. Some of the effects sound dated, but dang- the songs have hooks. As a Trooper fan, I couldn’t publicly admit to liking these guys during grade 9 and 10; at least, that was the rule in my head. I’m glad I stopped over-thinking things.

UN, The Boy Bands Have Won, and English Rebel Songs 1381-1984 Chumbawamba (1998, 2004, 2008) Over the past two years, and really for no tangible reason, I’ve been collecting Chumbawamba discs whenever I run across them. Even though almost every album takes a different approach to pop and folk music, I’ve yet to be disappointed. I downloaded these ones from eMusic and iTunes after catching the Chumbawamba Acoustic quintet at the Edmonton Folk Music Festival in early August. I love the blending of voices, the way the female vocals soar above the instruments. The songs are clever and, and times, insightful and thought-provoking.

Nothing Gold Can Stay The Duke & The King (Ramseur, 2009) I can’t write about this album yet because it makes me ache. I can’t stop listening to it. The most beautiful sounding album I listened to all summer. Sparse, mellow, dreamy. Love The Outsiders reference, which I noticed as soon as I saw the album…realizing it comes from a poem. Frost? Buy this one.

As Time Goes By The Bluegrass Brothers (Self-released, 2009) As time goes by, the Bluegrass Brothers just get better. Since I first heard the Virginia band five or so years ago, they have made huge strides- from an enthusiastic if non-descript area family band, to a crew of pros that can hold their own with the finest of the professional bands. They are not fancy but they are lively, pouring out straight-ahead hardcore bluegrass without a hint of progressive intent. I don’t want all my bluegrass to sound this rustic, but I’m glad The Bluegrass Brothers remain true to their vision. Check out “Stanley Tradition.”

A Quiet Evil Lee Harvey Osmond (Latent Recordings, 2009) Turn Tom Wilson loose, and odd things are bound to occur. Featuring Michael and Margo Timmins, Josh Finlayson and Andy Maize, and Brent Titcomb, the album mines deep, virgin musical ground. It isn’t what I would immediately label as roots music, but is has all the elements- original music, ties to country, rock, and folk, and textured vocals that shy away from pop gloss. The album seems dark, yet is soothing and enlightening. The presence of Aaron Goldstein’s pedal steel brings in shades of country, but the overall sound has as much in common with X and Los Straitjackets as it does Fred Eaglesmith.

Western Bell Kelly Joe Phelps (Black Hen Records, 2009) An excellent album to accompany coffee…I drank a lot of coffee during summer mornings last month listening to this one while preparing to write about it. Phelps sings not a word. Instead, in producing a nocturnal collection of eleven solo guitar instrumentals, the west coast native allows his 6- and 12- strings to reclaim their rightful place. Haunting and adventurous, the tunes never get bogged down. So balanced and spacious are the songs, it is difficult to accept that much of the album was improvised in the studio.

The Further Adventures of Los Straitjackets (YepRoc, 2009) Pure fun. Modern surf music created far from the ocean. Nearly every song seems to have been inspired by a previously recorded, familiar song. In “Minority Report” I hear repeated echoes of “This Diamond Ring” and Mashmakhan’s “As Years Go By.” In another, I swear I hear “Theme from A Summer Place.” Thoroughly engaging, if too brief, clocking in as it does at just a cough over thirty minutes. Inspired packaging, too.

Blue Lights on the Runway Bell X1 (Yep Roc, 2009) Sometimes albums surprise me. Duh! I didn’t know anything about this group despite seeing their name in the British mags (Uncut, MOJO) that I read. The rockiest and simultaneously poppiest album on this list, Ireland’s Bell X1’s fourth album was their first for me and brought to mind the wonder years of the 80s British Invasion- Modern English, Lloyd Cole, Nik Kershaw, The Icicle Works, et al. Perhaps most in common with the simple sophistication of East Side Story Squeeze, this one continues to impress. Musically, it is much deeper than most of the modern, non-roots music I encounter.

I’ll post more reflections in a few days. As always, thanks for dropping in at Fervor Coulee. Donald

So, in diesem Monat verleihen wir nur einen Preis: Den MVP Award für die meisten Klicks im vergangenen Monat. Vorher aber (wie eigentlich immer) Werbung in eigener Sache:

Plan B bei School of Rock

Kommt zahlreich und bringt alle eure Freunde mit. Es ist für einen guten Zweck und wir haben fleißig geübt, um euch mit neuen Stücken und einmaligen Performances mit Gastsängern zu überraschen. Drei Proben mit einigen Gesangstalenten sind nun schon gelaufen und ich verspreche euch, dass euch einige Songs noch lange im Kopf bleiben werden. Jetzt aber zur Preisverleihung.

MVP Award – August 2009

(An dieser Stelle müsst ihr euch jetzt den Trommelwirbel denken.) Auch in diesem Monat gibt es eine Wachablösung an der Spitze. Vielleicht nicht überraschend, aber mit großem Vorsprung gewinnt das Bandmitglied mit der engelsgleichen Falsettstimme.

Seitenaufrufe des jeweiligen Bandmitglieds im August 2009

Herzlichen Glückwunsch, Sebastian! Um diesen Anlass würdig zu zelebrieren, verlinke ich einfach mal ein weiteres Video von Sebastian. Hier covert er Drifting von Andy McKee. Und gibt nebenbei mit seinem Flachbild-TV und seinem E-Piano im Hintergrund an. Viel Spaß dabei!

http://www.youtube.com/watch?v=UNF0fwI8n68

Sebastian - Gewinner des MVP Awards im August 2009

9tes Video von Waldniel online

Ja, auch das soll hier mal erwähnt werden, obwohl es schon etwas länger auf Youtube zu sehen ist. Einige haben es sicher auch schon gefunden, hier aber die Zusammenfassung für alle, die es noch sehen wollen: Jana dirigiert das Publikum bei 99 Luftballons, Jens rappt noch ein bisschen bei Tubthumping, wir spielen einen Ärzte-Medley und schließen souverän mit einem Marius Müller-Westernhagen-Klassiker ab. Hier ist der Link:

http://www.youtube.com/watch?v=XCEukPtLXnw

Plan B im studiVZ

Unsere Lieblingssängerin Jana hat im studiVZ die offizielle Plan B Gruppe gegründet. Die existiert auch schon was länger, aber hier ist nochmal der genaue Hinweis mit Link zur Gruppe:

http://www.studivz.net/Groups/Overview/423953bd37abe01a

Christian hat eine Gruppe speziell zu dem School of Rock-Auftritt gegründet. Diese findet ihr hier:

http://www.studivz.net/Groups/Overview/d03c788f4b8d0864

Ansonsten sind alle Mitglieder von uns auch im studiVZ zu finden. Wer sich die Mühe machen will, kann uns gerne suchen.

Plan B beim Oktoberfest in Schwalmtal

Wir können hiermit auch bekannt geben, dass wir einen weiteren Auftritt im Oktober spielen werden: Am 02.10.09 spielen wir auf dem Oktoberfest im Vogelsrather Hof in Schwalmtal. Genauere Infos hierzu folgen noch. Die Plakate sollen aber schon im Druck sein.

So, das war´s jetzt erstmal. Ein letztes Video von Waldniel gibt es auch noch und wird im Laufe der Woche hochgeladen. Nebenbei haben wir schon insgesamt über 1.000 Videoaufrufe verzeichnen können. Ich denke das kann sich sehen lassen.

Bleibt uns gewogen,

Der Peter

5 neue Videos in unserem Youtube-Channel

So, seit heute morgen stehen insgesamt 5 neue Videos auf unserer Youtube-Seite bereit, die darauf warten bewertet und kommentiert zu werden. Eine schnelle Internetverbindung ist eben schon was Feines und dieser Umstand wurde gestern eiskalt ausgenutzt.

http://www.youtube.com/user/bandplanb

Eine kurze Zusammenfassung der Videos:

• Video 4:
  Tolle Lichteffekte bei I´m so excited, Christian als strenger Gesangslehrer bei Rockin´ all over the world und als Ladykiller bei Feel und die Unterbrechung von Janas Siegesserie beim Gesangswettbewerb bei Ein Kompliment.
• Video 5:
  Das Publikum stimmt Das geht ab an und wir machen einfach mal mit. Das war übrigens eine Spontaneinlage ohne Probe. Man achte auf Tobis Monster-Synthi-Sound, meine Captain-Future-Sounds in den letzten 10 Sekunden und natürlich den fliegenden König.
• Video 6:
  Eine kleine Reggae-Einlage bei Ein Kompliment, deutscher Schlager bei Aber bitte mit Sahne, wir haben eine gute Zeit bei Celebration und Benny beschließt, dass Zu spät zu lang ist und hört einfach auf zu spielen.
• Video 7:
  Sebastian hat bei Rockin´ all over the world ein Solo parat, Rumgespringe bei Tubthumping und deutsches Liedgut mit Westerland.
• Video 8:
  Die Band macht mal ein bisschen leiser und wir spielen die Nationalhymne. Oder Tausend Mal berührt. Christian zeigt, dass er auch ein guter Animateur wäre. Und das Publikum ist laut. Wozu brauchen wir eigentlich noch Sänger?

GastsängerIn bei School of Rock

Da in dieser Woche bereits einige Anfragen von ambitionierten Sängern gemacht wurden: Bitte setzt euch mit uns in Kontakt, indem ihr eine Mail an uns schreibt oder kurz anruft. Christian nimmt das Ganze in die Hand und wird dann die GastsängerInnen auswählen. Voraussetzung für eine erfolgreiche Bewerbung sind Gesangstalent, ausreichend Zeit für vorherige Proben mit Plan B und natürlich auch Zeit am 12.09.09. Habt aber auch Verständnis dafür, dass wir nicht alle Bewerbungen zulassen können, da wir in der begrenzten Zeit nur mit einer kleinen Anzahl von Gastsängern proben können. Trotzdem wünschen wir allen Bewerbern viel Erfolg!

Bye, bye, Plan B Shop!

Zum Abschluss der SSV-Aktion wird der Plan B Shop vorerst geschlossen. Bis dahin habt ihr noch Zeit die ersten T-Shirts von uns zu kaufen. Und das auch noch mit satten 15 % Rabatt, wenn ihr zwei Supporter Shirts kauft.

Ich möchte es mal so ausdrücken: Ihr könnt bis zum 23.08.09 ein Supporter Shirt ergattern, ihr müsst es aber nicht. Damit ist aber auch schon genug gesagt. Genug Hinweise sind gestreut worden. Wer jetzt was falsch macht ist selber Schuld. Nähere Infos hierzu gibt es ab dem 23.08.09. Natürlich wieder mal nur positiv für euch.

Bleibt uns gewogen und guckt eifrig Videos,

Der Peter

Chumbawamba

Tubthumping

I get Knocked down

Chumbawamba-Tubthumping

Chumbawamba – Tubthumping

Chumbawamba – Tubthumping

Chumbawamba – Tubthumping

Chumbawamba – Tubthumping

Chumbawamba – Tubthumping

This past Saturday, I took the highway north to take in my (almost) annual day at the Edmonton Folk Music Festival. As I’ve detailed elsewhere, I find it difficult to do more than a day at any music fest although there was a time when I could do three days in Calgary, three at Stony Plain, and then four in Edmonton; those days are long gone. In fact, this year, I needed to sleep away most of Sunday afternoon just to recover from my day at Gallagher Park.

Because I limit myself to a day at the EFMF, I do try to take in as much music as possible. I go in with a bit of a game plan as to which sessions I most want to catch, but try to allow for some spontaneity. This year I was very much looking forward to finally catching Rodney Crowell as he has been a long time favourite I haven’t caught in concert; I remember a scheduled Red Deer show in the early nineties was cancelled after only a few dozen tickets sold- and this after six consecutive number ones on the Canadian country charts.

Celebrating its 30^th anniversary, the festival is well-established and there are usually not too many organizational surprises, leaving one to discover music without worrying about food (lots of vendors), water (two different locations with plenty of taps with potable water), potties (go early is my advice!), or discs (the CD tent is fully stocked, although some artists still don’t bring enough (or any) product to satisfy the demand). I’m estimating this is my tenth festival over fifteen years, and despite attending only the one day, I must admit I have never more enjoyed an Edmonton Folk Music Festival. It helps that the weather was sunny without being uncomfortably hot.

I got to the park in plenty of time to catch the opening sessions, and made a bee-line for Stage 2 for Newgrass, a pairing of Nashville’s The SteelDrivers and Mongolia’s Hanggai. I had checked out Hanggai’s Myspace site (http://www.myspace.com/hanggaiband) the day before and was intrigued at the interaction that may occur between southern bluegrassers and an Asian stringband. I was not disappointed.

Richard Bailey, the SteelDrivers’ five-stringer and one of the most in-demand session players in Nashville, had a huge smile on his face as he dropped in some basic fills while the throat singer and other members of Hanggai performed their music. Quite a bit of interplay occurred between the quintets, with Hanngai’s electric guitar player taking an extended break during one of the SteelDriver tunes- can’t recall which one.

This was my first chance catching the SteelDrivers, and they didn’t disappoint. Tammy Rogers has played Edmonton numerous times as a member of the Dead Reckoners, and her contributions to a song are always appreciated. Chris Stapleton’s growly blues vocals are as effective on stage as they are live, and Mike Fleming kept things moving along with a restrained approach to MC duties. The bands came together for a rousing closing on “The Drinking Song.” This was one session that ended much too soon, and it seemed that everyone on the stage left quite pleased with their collaboration.

Next up were my favourite Canadian alt-country band, The Swiftys. I was pleased to see Marc Ladouceur hanging around the stage area as the SteelDrivers and Hanngai performed, leading me to believe he might be sitting in with the band. And he was, performing on acoustic and electric guitars and mandolin. It became clear early on that Jody Johnson was no longer playing with Shawn Jonasson and Grant Stovel  as a new bassman was on stage with them- and Jody was off to the side. Roger Marin was also sitting in on pedal steel, making the trio a quintet.

I didn’t take notes during the show, and instead just sat back to enjoy the forty-minute set. They played songs from both of their albums including “Ridin’ High” and “Sweet Rose”. They dropped in Shuyler Jansen’s “Bottle of Wine” and Darrek Anderson’s “26 oz of Gin”, both recorded on their Ridin’ High disc, as well as a cover of Waylon’s “Sweet Mental Revenge.” I don’t know how much this line-up has been gigging, but they sounded quite tight and there were no noticeable slips. Knowing how much Marc likes the electric guitar, I was pleased to finally, after how many years, get to hear him play in a couple spots. Very nice, and complemented the band’s sound nicely.  A strong set of electric barroom-inspired country music was enjoyed by a fairly large gathering of friends, family, and fans at stage two.

After touching base with acquaintances after the show, I rushed off the catch the final bit of a session featuring Tift Merritt, Sam Baker, Alana Levandoski, and Slaid Cleaves. To be able to listen to three of my favourites- four, if one includes Gurf Morlix who was sitting in with Sam- was an opportunity I couldn’t pass up. I don’t often enjoy the sessions that include a number of singer-songwriters taking turns playing their songs with little interaction. It often seems pretty stiff and awkward. Maybe it has to do with the mind-set of the songwriter.

Sam Baker was finishing up “Orphan” as I got to Stage 5. Slaid slipped nicely into “Drinkin’ Days” along with a backing duo whose names I didn’t catch. Tift was next up, and sang a beautiful version of “Something to Me” unaccompanied. Very nice, and a great way for my only chance to see Merritt at the festival to begin. Later, she moved over to the keyboard to perform “Good Hearted Man.”

I only caught a couple songs by Alana, one of which was a cover of “Those Memories of You” inspired by her dual love of Emmylou Harris and Brit-pop bands.

Sam Baker performed “Truale” and Slaid’s mando player was invited to drop in a four-second break. Gurf Morlix wrapped things up, playing it “weird and scary”, transforming the Stones’ “The Last Time” into a breezy gospel clap-a-long. A nice way to close things down.

The session- at least the portion I witnessed- didn’t feature a lot of interplay between the participants although many quips were exchanged and laughter was plentiful.

The mid-afternoon main stage performance was by Oysterband. I’ve long thought the Saturday afternoon 2:00 set as the toughest of the weekend. By Sunday afternoon, most folks are tired enough to sit down and just veg and listen. But on Saturday it seems the performers always face a sea of movement, lanes of wanderers in search of sustenance, shade, and lost pals. While it didn’t seem many were listening to Oysterband initially, John James’ personable interactions, encouragement of audience participation, and the band’s lively Celtic-rock hybrid seemed to bring things around. Fortunately, the sound system was cranked up loud enough that the set could be heard throughout the site, allowing one to indulge in green onion cakes and the like. I want to dive back in and explore their catalogue a bit.

I was a bit torn for the next slot. The Skydiggers were doing a concert set, and as they are a new-to-me favourite, I was tempted. But, in the end, seeing a bit of Fred won out- how can I attend any festival and not spend at least a bit of time being amused, enlightened, and offended by our Fred? So, I went over to the Megatunes session for Fred Eaglesmith and Loudon Wainwright III. Joining them at the far stage six were Danny Michel and Jill Barber, two singer-songwriters that don’t much interest me but whom I know have devoted and- judging by the crowd in attendance- sizeable fan bases.

This one had all the makings of a session disaster- too many chairs on the small side stage, too many hands setting up too much gear. The start time of 3:00 came and went with only Danny Michel appearing ready to go. Plugs, cords, and mics were still being manipulated by the time Fred and Jill were ready, and Loudon was still nowhere in sight. Of course, the biggest straw hat in the park had to sit directly in front of me, ta boot. I considered beating a hasty retreat, but elected to hang in. Loudon took the stage at seven past, and by about eleven after the hour things appeared set to go.

Jill Barber did a couple of her jazz-tinged songs of an earlier time. She has a lovely voice, but it doesn’t quite stick with me or hold my attention for very long. She did “Wishing Well” and “Be My Man” and audience loved that.

Joined by Bill Chambers, Fred launched into one of his ‘lesbian love songs’ “Wilder than Her,” offending half of the slope with an off-colour quip about gay pride and rainbows that I figure will somehow be edited out by the time this session is broadcast on Radio 2 August 27. He also pulled out “Rough Edges,” which I haven’t heard in years. That’s one of the many things I like about Fred, he is willing to pull out older songs and give them an airing on occasion. Some songwriters, well you have a fair idea of what you’ll hear, but with Fred all bets are off. Fred is able to do more in two songs than lesser entertainers can in an entire set.

Loudon performed a pair of songs from his upcoming Charlie Poole project that really interested me, and will encourage me to check out High Wide and Handsome when it is released.

Knowing that I would only likely hear another song from each of the performers, I decided to head back across the park for the 4:00 concert by Chumbawamba, a band I really wanted to experience. They were booked into the festival a few years back, but I missed their performance and since then I’ve purchased a handful of their discs and quite enjoyed them. I am also interested in them because of their refusal to fall victim to the ‘pop trap’, and have gone out of their way to maintain their values and aims while setting “Tubthumping” well behind them.

Chumbawamba Acoustic is a very impressive group- heavy songs, lightly presented. Two guitars, accordion, trumpet, tambourine, a pipe and usually four but occasionally five voices taking on the world. I spent a wonderful fifty minutes listening to them, and was absolutely impressed in every way. They engaged their audience- actually went a bit far with that and had a young gal from the audience come up to sing the first verse of “Ring of Fire”  within “Charlie”- and were completely brilliant. They even dropped in a bit of “pissing the night away” into “Charlie.” I’m gushing, I know, but I just loved what they did. The did several songs from The Boy Bands Have Won (including “I Wish They’d Sack Me” and “El Fusilado”) as well as the chuckle inspiring ode to the joys and perils of social networking, “Add Me.”  “Hanging On the Old Barbed Wire” brought things back to somber realties. I downloaded a couple albums last night- UN and Boy Bands-and can’t get enough.

Which brings me to a suggestion I’ve thought of making to the festival’s A.D., Terry Wickham. I think it may be time to let go of the mid-day main stage performance. Many (most?) people appear to have trouble focusing on the music during the middle of the afternoon when the stage is so far down the hill from many of the audience. Judging by the number of folks in the food lineups, under the shade of the sheltering tent, and just wandering the grounds,  I wonder if the slot might be better used by having seven extended concert sets going instead of one main stage performance.

While a Fred Eaglesmith, Chumbawamba, or Tift Merritt- or for that matter, The SteelDrivers, Hot Tuna, or Joel Plaskett)  may not warrant a full, main stage set, they are more than deserving of greater than forty-five or fifty minutes to show their wares. Perhaps if one scheduled a series of 80-minute concert sets between 1:30 and 3:00 on all the stages, more engagement may occur between listeners and performers.

I know I would have much rather had the Oysterband play to a really enthusiastic but smaller audience than have them playing to a sparsely populated hill of half-listeners. Just a thought.

Next up was Texan Sam Baker, again accompanied by Gurf Morlix. I love his voice and approach to songwriting. He did a couple songs from the new album Cotton including the title track and “Moon.” I don’t mind his penchant for borrowing lyrics at all as he makes the traditional words fit his characters and their situations so effectively. He punctuates his singing with an oddly lively picking style that is appealing.

“Waves” is up there with “75 Septembers” for impactful songs of sustained commitment and aging. Baker has a way of singing that is unlike anyone I can think of off the top of my head. It is a hesitant yet melodic singing-speaking voice that is attractive. He’s top drawer, engaging, self-deprecating, insightful.  I enjoyed the set immensely. And yet…

When Gurf Morlix gets a chance to do one of his songs- and Sam turned things over to him twice during the nine-song set- it is magic. He doesn’t blow Sam Baker off the stage- they are too different in approach for that to occur- but when he is finished a song like “Crossroads,” one thinks, “Damn, that’s how it is done.”

They are like two visual artists of very different styles. One is grounded in realism, texture, and details, the other is into poetic uses of colour within impressionistic murals. I’m not sure which is which, but I enjoy them both as they are completely compelling when sharing their music.

But note to Sam- don’t ask for requests from the audience when you can’t hear what they are yelling! Just play your songs.

So that was the day in the sun. Next up were the main stage acts, supper, and such. After having my fill of green onion cakes, we settled in on the hill for the main-stagers. I didn’t hear much of Johnny Flynn  and the Sussex Wit, but we were ready for Patty Griffin.

According to my friends, I’ve seen and heard her at the folk fest before, but I don’t remember her. I don’t think I’ll recall much of this performance as well. I don’t find her music terribly appealing, although I am definitely outvoted in that regard within our small group. My ears perked up for a version of “Silver Wings”, but I would have a real hard time recalling any of her other songs. It wasn’t unpleasant by any means, but just more suitable to an audience that doesn’t include me, I suppose.

Iron & Wine was next. I have to be honest, I own several Iron & Wine albums and EPs but without liner notes I don’t know one Sam Beam song from the next. Strangely, I’m okay with that ignorance. I just like the sounds. And on the main stage, standing alone in a revolving spotlight, he alternately banged and strummed his guitar- making the bass notes count- and sang. And for an hour or so, the crying babies, squabbling couples, (loudly) reuniting friends, and other annoyances faded away. I’m told he sounds like Jethro Tull/Ian Anderson, and that was a good thing, I believe. I didn’t recognize a single song, and that has more to do with the way I listen to Iron & Wine than anything else. I just love the music. It was a great set, very enjoyable. The word ethereal is used a great deal when describing music that causes other words to be inadequate. I think I now know the meaning of the word.

Okay, that isn’t completely true.  I didn’t fully enjoy the set. I had gone all day without having any conflicts with any other attendees. I had even mentioned this to my friends- the chatterers seemed to be missing this year. Well, all good things come to an end.

I hope you are reading this! If you want to gush about your friend’s knitting, discuss the dental crown you lost, compare and discuss the relative merits of hoodies and zippered sweaters, and….Why come and do it on a hill surrounded by folks who are actually trying to listen to the freakin’ music? I will never, ever understand it.

I do understand and embrace the social aspects of the folk festivals. Over the last twelve or so years, more often than not I’ve attended festivals with a small group of friends, and recently that group has included a great wee lad. We chat relatively quietly, we catch up, and then we listen. That is the part I don’t get- why would you pay money and ignore world class artists who are sharing their innermost thoughts and observations? A mystery.

Back to the hill.

When the lights go down, things do change. When the sun finally sets around 10 o’clock, and darkness engulfs the hill, it is really quite spectacular. I remember both of the Joans (Baez and Armatrading) marveling at the effect of the candle-covered hill. With the candles on our side, and the downtown skyline on the other, a better setting for a festival of this type is hard to imagine.  And, amazingly, people tend to quiet down as well! Bonus.

Rodney Crowell was next, the act my group and I had been waiting for, and he was amazing. Fronting a three-piece band, including Cicadas compatriot Steuart Smith for the first time in nine years, Crowell focused largely on material from The Houston Kid and later albums. “The Rise and Fall of Intelligent Design” and “Moving Piece of Art” started the show, setting the tone for an evening of music played with maturity and good taste. “Still Learning How to Fly” seemed especially poignant, and “I Wish It Would Rain” seemed to capture the audience’s attention. I was especially pleased to hear “Closer to Heaven,” if only to howl “I love Guy Clark” along with Rodney.

More than halfway through the show, Crowell started reaching back into his extensive catalogue. “Leaving Louisiana” and “Til I Gain Control Again” got things going while an amped up take of “I Ain’t Living Long Like This” was blistering, and on this familiar tune Crowell and his band demonstrated that a country band can rock without resorting to recycled Van Halen riffs.

While at an afternoon session (I’m told by an ecstatic Cheryl) Crowell dipped into the songbooks of George, Hank, and Merle, the only cover on this night was a spell-binding rendition of “Pancho and Lefty.” Introduced by Crowell as “one of the greatest songs ever written,” he launched into the song and made it sound new. I think this version may  get Waylon and Willie playing dress-up out of my head, and perhaps I can enjoy the song now as others do.

As an encore, Crowell came back unaccompanied with quiet, gentle benediction that I just can’t identify although I know I’ve heard it before; it reminded me a little of “Forever Young,” but I couldn’t figure it out. He swung into “I Know Love Is All I Need” with the band rejoining him before the song’s conclusion.

A perfect performance, in my opinion. Too often I am disappointed in performances on large festival stages from my favourites, but not this time. Even lacking the Columbia hits and our being several hundred feet from the stage, Crowell kept me engrossed the entire performance.

My friends left after Rodney, and I decided to move to another location for Sharon Jones & the Dap-Kings. I knew I wouldn’t stay long, no matter how good they were because of the two-hour commute home, but I wanted to be close to one of the video screens. I found a wonderful spot, and I think it may now be my favourite secret location, on a steep incline that no one else seems to sit on.

The tweener for this slot was Ashley MacIsaac accompanied by Quinn Bachand, a thirteen year-old guitar wizard. One could almost hear the hill collectively sigh, “Ashley, all is forgiven. Welcome back, lad!” The attention-seeking behavior of the past was forgotten as the duo electrified those remaining in attendance. They did three numbers, the middle of which was a dreamy, passionate fiddle tune that was lovely. Bookending this sensitive number that really showed off MacIsaac’s gifts were a pair of up-tempo leapers with which one more readily associates with the Nova Scotian. Seeing MacIsaac mouth the chord changes to Quinn was like watching the skills of one generation being passed down to the next, which I guess it was. I’ll be on the lookout for more music of this type from MacIsaac and I won’t be surprised to see him making a return visit soon.

The seven-piece Dap-Kings opened the show Wilson Pickett-style, with a horn rich instrumental, firing up the audience with an extended introduction to the revue while getting the lower bowl on their feet. By the time Jones joined the boys, the hill was rocking to the soul-fest. “How Do You Let A Good Man Down?” got things jumping, and “Nobody’s Baby” kept it going. A couple tunes later and I was making my way to the bus, wishing I could stay later. But, knowing it would be 2:00 AM before I got home kept me going toward the exit as midnight approached.

What a day! I can’t remember the last time I left a music festival so drained and satisfied. I was unable to catch several favourites, including Chuck Brodsky, Kimmie Rhodes, The Skydiggers, Spirit of the West, and Great Lake Swimmers, and I still haven’t caught up to Sierra Hull. Hot Tuna intrigued me, especially after I realized who was playing with them- Barry Mitterhoff. Dang! I even missed Dick Gaughan, something I never thought I would do. Too many choices. A friend suggested I hear The Wooden Sky, but I was unable to. I bought their disc instead, unheard and only on my pal’s advice. I must say, Ross has me figured out as I’ve quite enjoyed the album already.

A last thought- It was nice to see a mention of Gilbert Bouchard in the festival’s program guide. I won’t pretend Gilbert and I were friends, and certainly have no desire to overstate our relationship. But for several months from 1984 to 1986, Gilbert was a close acquaintence. He was the first person to give me a chance to write about music and was a brutal but supportive editor. His taste in sherry not withstanding, without his involvement, I likely wouldn’t have followed a path that has included writing.

As always, the Edmonton Folk Music Festival appeared to be excellently organized, and my experience was entirely pleasant, excepting a half-hour of chatter-chatter during Iron & Wine. For those of you not in the Edmonton area, consider putting this fest on your vacation planner; but get your tickets early, as the fest tends to sell out quickly. www.efmf.ab.ca

“When most people think of anarchist music the first thing that probably comes to mind is an image of loud guitars and shouted vocals. Similarly when most people think of Chumbawamba they probably think of a one hit wonder band who’s main claim to fame was soaking John Prescott at the Brit awards (If they even think of Chumbawamba at all). Of course anyone familiar with anarchist music know that their is more than just punk rock out there. By the same token anyone familiar with chumbawamba know that far from being a one hit wonder band they’ve been making quality music for years and their politics run deeper than just throwing water on politicians.

‘Anarchy’ is full of good well written pop songs with strong political statements. In one or two songs they do seem to get a bit too repetitive lyrics wise (I’m thinking mostly of ‘Timebomb’ here) although it dosn’t detract from the overall feel. It also does get a bit ‘out there’ at one point in ‘D’oh’ and ‘Blackpool rock’ (although it does stop this from getting too serious). But any such quibbles dissapear when you hear tracks like ‘enough is enough’ with it’s powerful anti-fascist message or the acapella folk stylings of ‘Homophobia’ and ‘Georgina’ a tale of male domination and female resentment. Overall this is a great album that I would definitely recommend getting (and according to their website chumbawamba are down with illegal downloading (although EMI might not be so understanding)”

Irgendein Gedankenstrang landet heute unweigerlich bei Chumbawamba!

Und dann geht erstmal gar nix mehr!

DON´T PANIC

• .punching up some bag lady named everlast.here comes hobocop.had better flee like a flea now.3:57 PM Jun 13th from Ping.fm

• @BrodyDalle .fork the cook.in the face.and ears.and eyes.3:50 PM Jun 13th from mobile web

• .do you have three testicles? .shooting an ad campaign for rape your neighbors and the theme is triple threat.3:48 PM Jun 13th from Ping.fm

• .i need a new taboo.my cinnamon bun humping offends no one.1:43 PM Jun 13th from web

• .humping warm cinnamon buns at @FamousCinnabon.12:29 PM Jun 13th from web

• listening to “Misery Signals “The Year Summer Ended in June” – ” ♫ *http://blip.fm/~85hz45:34 AM Jun 13th from Ping.fm

• .i want to remix your seven inch.6:42 PM Jun 12th from Ping.fm

• listening to “Muppet Face – Xiu Xiu” ♫ *http://blip.fm/~84qhp6:19 PM Jun 12th from Ping.fm

• .if i never die sanctified let me die blessed.6:19 PM Jun 12th from Ping.fm

• .the release date for the new chumbawamba ep? the date that nasty margaret thatcher dies! www.chumba.com/thatchep.html .die die die.6:12 PM Jun 12th from web

• @ooohchristina .protège-moi de mes désirs!5:55 PM Jun 12th from web in reply to ooohchristina

• .v is for vino. http://twitpic.com/786q3 .such is the plunder of a house abandoned and seized by the bank.picture of the broken window next?2:22 PM Jun 12th from web

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• @deathoftheparty .invocation of demon brother.a soundtrack by mick jagger. http://ubu.clc.wvu.edu/soun…1:11 PM Jun 12th from web in reply to deathoftheparty

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The Liverpool Working Class Music Festival  12 – 16th September 2009

Previously performers like Dick Gaughan, The Men They Couldn’t Hang, Attila The Stockbroker, Robb Johnson have played.

This year Chumbawamba and Amsterdam head a list that includes some of the above plus Frankie Armstrong, Roy Bailey. Leon Rosselson and more…

Working class music festival

Report from the founder Alun Parry

You may recall my last post that I mentioned I have impressive powers of influence.  I may have misspoken.  However, entirely as likely as the idea that I was mistaken is the reality that I really am incredibly influential in public policy.  Well, I figured the best way to start influencing public policy is to make a list of things to change, so I whipped one up.  Then, because I’m as wise as I am powerful, I’ve decided to share that list with my adoring spontaneous audience.  Just for fun I’ve also included my reminder to myself of things not to change.

Things to bring back:

The hokey pokey

Recreational plastic surgery

A budget surplus

The days when girls listed their first and last names on Facebook instead of first and middle (if you’re worried about employers checking it, just put your profile on super private)

A funny Adam Sandler movie

50 Cent

Saved By the Bell

Wade Pacak

Sexy

The Slinky

Beanie Babies

Super Mario Brothers 3

Seinfeld

When rappers could produce a song without “featuring” someone else on the track

Face to face communication

Singer/songwriters

Arrested Development

The days when the old man Six Flags mascot just danced (no speaking)

Newspapers (this one is preemptive)

I’d also like to go ahead and put in a request to Lipton for regular sparkling tea

Superman being cooler than Batman

Chumbawamba

The flutes are the key!

Things I will not bring back:

Boy bands

Dinosaurs (I saw Jurassic Park)

2001-2008 (politically)

PCs

Rubik’s Cube

Dial-up Internet

Limp Bizkit

Update:  About 12 hours after posting this entry, Wade Pacak called me for the first time in a couple months.

I lost my keys. I’m turning 21. What happened to E-mile and Cromagnon?

When looking at the CD shelves, I sometimes cringe at the choices there.  Often its not about the presence of particular artist, but rather the album chosen from within their discography.

This sole glimpse into the world of the Butthole Surfers is well and truly in that category.

I know they were supposed legends of the US underground, holders of the Dead Kennedys flame, more credible than The Ministry, more shocking than The Cramps. And I know after a decade and half of well-credentialed obscurity, they delivered this CD and rode a wave of fame on the back of the  Pepper single.

Pepper sits out there with tunes by Cake and Chumbawamba, as ridiculously catchy, and embarrassingly smile-inducing.  You sort of know you should sneer but you cant.

Of course, as to be expected, has nothing else like the hit.   Some of the punky stuff is fun and horribly dated.  The more grindy industrial ‘tunes’ are skip-worthy.

The band does show genuine pop sensibilities at time.TV Star could be a Dando track. Cough Syrup jumps genres intriguingly and effectively. Jingle of  a Dog’s Collar sees the B-52s take on Pavement.

I just suspect there was more of substance in their back catalogue.

File under: Arriving too late at the party