“I broke my keytar on the Jimmy Kimmel Live show. It wasn’t intentional. It was my original one, the very first that I bought. It was sad. We felt like we gave it a proper burial in the “Typical” video. That’s the one you see turn into splinters by the end of the video. That’s the end of that. Onward and upward!”
They are not a band fronting Anne Hathaway despite the affiliation with the name. The Devil Wears Prada will be at Montreal’s Club Soda on Feb. 9. Along with them will be ill Scarlett, Silverstein and Protest the Hero. Fans should expect to hear the songs off their new album for the first time in a live environment. So far, the audience has been positive.
Jeremy DePoyster, the guitarist and one of the vocalists, talked about how the audience in Mexico was receiving the tunes off their newest album, Plagues.
“It was the craziest experience. Kids are singing along with it; we’re really doing better with our last album.” DePyster said they just have better song writing on it. It’s similar in sound to the last album, but the sales numbers have shown that whatever they are doing different is working.
One factor may be that the boys are all involved in the writing process now, more than ever. The musical influences of each member really shines through on Plagues.
“A lot of our influences were from Underoath and it was a lot of their old stuff, but as we have grown as a band, we have started bringing in a lot of different influences.”
DWP is one of the bands on the scene that may be known for its hard, loud guitars, but not so much for hard and loud partying. They tend to stick to the quiet end of things while on tour because they aren’t there to party. The boys just aren’t into it.
“We are a Christian band, but we aren’t trying to label ourselves as one. Our intention is to play with mainstream bands and be in the mainstream, but it’s not the only thing we are about.”
Plagues is in stores now.
The Devil Wears Prada plays Club Soda, Saturday, Feb. 9
The Spice Girls landed in Montreal last Thursday with their Return Of The Spice Girls tour. Armed with a great girl friend, home-made “What’s your Spice” t-shirts (mine was Ginger), and the golden ticket to make my way through the gate, I felt like I was about to time travel.
The Bell Centre was packed with 1,400 fans, mostly women and girls who weren’t old enough to talk when the Spice Girls debuted in 1996 with Spice. Security was high as we were admitted through the door around 7 p.m.
The stadium filled with eager fans as club hits boomed the sound system. Signs were being held up “Where is David?” and “Spice up our life!” professing the re-awakening of a fandom. The lights finally went down and the crowd was screaming and welcoming.
With all the pizzazz, glitz and iconic girl power that only they can possess, the Spice Girls rose to the stage looking like statues, adorned in gold costumes. There they stood larger-than-life. Posh, Sporty, Scary, Baby and Ginger. The return of the Spice Girls.
They started singing “Spice Up Your Life” and my inner 12 year-old was doing back flips while waving a glittered, furry pink baton belting, “Colors of the world, Spice up your life.” I was transported to a time when “Girl Power” was my mantra. Everyone was up on their feet.
The costumes were gorgeous and still reflected each girl’s individual personality. Gone were the cheesy, but classic 90’s outfits: Baby’s pink baby doll dresses, Posh’s little black dress, Sporty’s simple track suit, Scary’s skin tight body suit, and Ginger’s underwear-bearing tiny union jack dress and chunky red boots. In were designs by world famous fashion designer, Roberto Cavalli.
Cavalli’s designs updated the classic outfits while respecting each girl’s iconic style. Victoria Beckham was still Posh with a couture runway style. Mel B was a wild force in her skintight costumes. Mel C was sporty but sexy — still in running shoes. Geri Halliwell was still Ginger in a union jack dress that glittered under the lights. Cavalli graduated Emma Bunton from Baby Spice to “Classy Spice” with mod dresses and well fitted mini-shirts.
The music was better than ever and their vocals have matured and seemed to have more muscle. It is obvious that this tour is special to them, as the women beamed with positive energy and joy throughout the entire show. The song that evolved the most was “Mama.” This isn’t surprising since most of the ladies are mamas themselves. The tune being about their mothers and now being mothers themselves brought the song full circle, and transformed it from being a cheesy ditty to a beautiful, emotion-driven song.
Each Spice, except for Posh, delivered a song that highlighted their solo careers. Victoria Beckham instead worked the runway to highlight her role in the fashion world. Most surprising was Emma Bunton who sang her song “Maybe,” from her 1960’s-inspired album Free Me. Baby Spice performed with more power than most may remember her possessing.
The Spice Girls taught me what girl power was before I was old enough to watch Sex and the City. Dancing in place, singing in unison with my gal pal, and watching these idols of my past perform made me smile and beam. I remembered how that innocent perception of girl power was ever so wonderful.
The Spice Girls return to the Bell Centre Sunday, Feb. 24
If one plays good music, people don’t listen, and if one plays bad music, people don’t talk.
-Oscar Wilde
Tuesday, Feb. 5
-Baby Dee @ Sala Rossa
Wednesday Feb. 6
-All That Remains, Chimaira and more
@ Club Soda
-Hedley @ Le National
-Cancer Bats, This Is Hell
@ Foufounnes Électriques
-Hey Ocean!, Slowcoaster, Wild Sweet Orange @ Petit Campus
-Hello Operator, Hexes and Ohs
@ Bar St-Laurent II
Thursday, Feb. 7
-Dan Pujdak, Me & Maryjane, Fagile Bag @ Barfly
Friday, Feb. 8
-Dean & Britta, Keren Ann @ Cabaret
-Saint Alvia Cartel, The Reason @ Saints
-Xavier Rudd @ Metropolis
-“Video Games Live” @ St-Denis Theatre
-Donzelle, the Ly’s, WhyAlexWhy?
@ Zoobizarre
Saturday, Feb. 9
-Creepshow @ Café Campus
-Protest the Hero, Silverstein and guests
@ Club Soda
-Xavier Rudd @ Metropolis
-Tokio Hotel @ La National
Sunday, Feb. 10
-MGMT, Yeasayer @ Sala Rossa
Monday, Feb. 11
-Crime in Stereo, Dance Gavin Dance,
The Chariot and more @ Lambi
What would you call a band that has delivered hit after hit, sold millions of records and stayed together making award-winning music for 20 years? You could call it a small miracle — or Blue Rodeo.
Blue Rodeo’s latest album is suitably named Small Miracles. It is a small marvel in itself that a band could ride strong for that long in an unstable industry, where there is a sea of one-hit wonders and where it isn’t surprising to never hear from a band again after a couple of studio recordings.
Formed in 1984 by Jim Cuddy and Greg Keelor, Blue Rodeo has become one of Canada’s most influential bands.
Before hitting Montreal on their cross-country tour supporting Small Miracles, the band’s 11th studio album, Greg Keelor reminisces on his start in the music world and where he finds himself today.
Greg, take us back to the beginning. Why was Blue Rodeo decided on as a band name?
Jim and I were living in New York in the early ’80s. At the time I was writing everything I did on the electric guitar. All fast and furious. We were just getting into country music after being in a punk-pop band in the late ’70s. We wanted to underline the country aspect of the band.
What was it that sent you down a country road?
I can remember listening to a Gordon Lightfoot record and just thinking that I wanted to write music with more resonance in it. Something that meant a bit more to me.
This is Blue Rodeo’s 11th album. Why is Small Miracles an appropriate title for the new album?
Jim wrote a song called “Small Miracles.” I was thinking that it was a really nice title. Sometimes you’re looking for the big answer, hoping that external influence will head you in the right direction. More often than not it’s the little things that mean the most.
Do you consider it a small miracle that Blue Rodeo is going on its 20th year?
It’s more like a lab experiment! (Laughs) Put six middle-aged men in a van and drive around all over the place. There are times when you’re madly in love with each other and times when you think, “I can’t believe what idiots these people are.” (Laughs) But really, we’ve grown, loved and lost together. I feel so lucky to be able to make a living this way. There is just a genuine friendship in our band.
Are strong friendships the major factor that held the band together for so long?
It’s a big big part of it. Jim and I have known each other since high school. That means 1971. We started a band together in ’78. Still, it’s weird. I never thought I would be in a band this long. Ten years seems long! Maybe it’s not meant for some people, but it feels pretty good to us.
You’ve been immersed in the Canadian music scene for some time now. Is there something you’ve noticed that’s particular to Canadian music?
There definitely seems to be a Canadian thing that has to do with being a songwriter and the quality of your songs. There’s just something about writing songs in Canada pulling the bands together.
Which Canadian bands demonstrate this?
The Sadies. I think they’re one of the best bands you will ever hear in your life. But there are many more like Kathleen Edwards, Oh Susanna, Justin Rutledge, Feist, and Constantines.
Those are some great current artists. What do you think of current country music?
I don’t even know what country music is anymore! It sounds like pop music. I love the country of the ’60s and ’70s. Great song writers. The “new country” I find alienating.
As a musician and songwriter, how do you keep up with the changing times and trends in the world of music?
When we first started Blue Rodeo there were bands like Loverboy and Honeymoon Suite on the radio. It didn’t seem like there would be room for a band like us. We’re lucky. We never tried to make our music for the radio. I really can’t explain it. We’re so lucky that there is a place for us in Canadian music.
How does that feel after 20 years?
Maybe I’ve fantasized about being like Bono or saving the world, but where we ended up is pretty incredible! It’s great all around. I’ve made my living from playing music. I love the indulgence of song writing and the musician’s life. It feels like this is what I’m supposed to do.
Blue Rodeo plays le Thé
You are the music while the music lasts.
– T.S. Eliot
Tuesday, Jan.29
– Dj Shadow & Cut Chemist – The Hard Sell + Guests @ Metropolis
– The Teenagers + guests @
Studio Juste Pour Rire
Wednesday, Jan.30
– Dan Deacon + Ultimate Reality +
DD/MM/YY @ Sala Rossa
– El Motor @ Petit Campus
– Michael Buble @ Bell Centre
Thursday, Jan.31
-Spice Girls @ Bell Centre
-Blue Rodeo + Luke Doucet
@Theatre St. Denis
– Montreal Knows No Wave, No? No! Vol. 11
– Babayaga and the Electronic Cat + bed head (per Antonino) + Selfish Implosions
@ Casa de Popolo
Friday, Feb.1
– Bob Marley Celebration + House of David Gang + Kya Kindu, Inus Aso + Dan Beats
@ Club Lambi
Saturday, Feb.2
– John Mellencamp + Tom
Cochrane @ Bell Centre
– The Unsettlers + DangerDangerMammothHunter (acoustic set) + Heathrow @ Cagibi
– FSK1138 + Violencia Nocturna +Sofisticators + Cobra Kiss + Guests @ The Pound
– Pony Up! + Hollowtip Hearts
@ Café Chaos
– Infighter, Surface of Atlantic,
The Violent Drag @ Club Lambi
Sunday, Feb.3
– Sick Of It All @ Studio Main
Monday, Feb.4
– Classified @ Les Saints
Tuesday, Feb.5
– Baby Dee @ Sala Rossa
Sam Shalabi has become known as one of Montreal’s most creative and eclectic musicians. Shalabi is constantly pushing the limits of free improvisation and experimental music with elements of psych, noise, post-rock, avant-jazz and some weird electronics and field recordings thrown in for good measure. So what far-out concept does Shalabi have for his new solo release Eid?
“There are actually songs on this album . . . people singing songs.” What a crazy idea! But before you start throwing around Cole Porter comparisons, it should be realized that this only scratches the surface. “I wanted to write music for singers,” Shalabi explains.
“I started from the idea of writing vocal songs and see where I could go with that. Usually I start with an abstract idea or concept and see if I can make a song out of it, but here I start with a song and see where it goes from there.”
And where it goes is far removed from what one might expect from a conventional pop song.
Along with his usual smorgasbord of sounds and styles, Shalabi has added a heavy Middle-Eastern influence to the mix since returning from Cairo, where he recently lived for nearly a year, and composed much of the material for Eid.
“I was influenced by all the different kinds of music and scenes there, traditional and non-traditional. I was inspired by how open the music is and all the different styles they let into their music.”
On Eid, Shalabi is able to reconcile sounds and styles that ordinarily have no business being in the same song. Drastically, but never awkwardly, a song can shift from traditional Eastern folk to spaghetti western to a face-melting guitar solo without anyone knowing exactly how, not even Shalabi.
“I like the idea of not knowing exactly what you’re doing and letting the music take you some place else. I don’t feel the need to just play one style. I prefer to try something that I haven’t done and see where it goes; that’s what makes it fun and interesting.”
So now that Shalabi is a big shot in the vocal music scene, it seems appropriate that the second song on the album is titled “Jessica Simpson.”
Though lyrically more of a Walter Benjamin-inspired cultural analysis than an homage to the confused Pizza Hut bombshell, Shalabi did reveal his connection with Simpson:
“We dated for several years.”
Luke Doucet is a force of nature. More specifically, he is a jack-of-all-trades in the music biz. Doucet is a guitarist, singer-songwriter, producer and husband to Canadian singer-songwriter Melissa McClelland. With six albums under his belt, Doucet is back with number seven — his new release Blood’s Too Rich. Doucet set off on a cross country tour with Blue Rodeo the very day Blood’s Too Rich hit stores and nothing seems to hold him down. Not even a ruthless review or a broken bone.
You’re currently on tour with Blue Rodeo. How has that been so far?
I can’t say enough about this tour. Blue Rodeo is fantastic. It’s inspiring to watch them play every night. It’s so great, except I broke my thumb skiing!
How are you pulling off your show every night with a broken thumb?
My biggest concern was that I would not be able to continue the tour and would have to go home. That would be devastating. But I’m elated that I can actually play!
You’re touring in support of your new album Blood’s Too Rich. Tell us about the title of this conceptual record.
You can’t deny who you are and where you come from. Family is really important. The whole notion of blood as the cornerstone of your identity is what is being played on there. I also realized something when Melissa and I moved to Nashville last year. I didn’t realize I had my own variety of patriotism. Living in Nashville made me really want to be back in Canada and now we’re back.
Canada seems to be glad to have you. Your album has received great reviews, especially the song “Cleveland.” Did you anticipate that?
When you finish writing songs sometimes you get a feeling that something is good. You get an emotional high. I was pleased with the way it sounds. There was something about it. I just like the song. I don’t ever pretend to know what other people are going to think or feel. It’s one of the songs that I built the album around. I’m grateful that some people somewhere said good things about this song.
Of the numerous great reviews, someone somewhere put out one really rotten one. I assume you’ve read it. Did your ego take a bullet?
If you’re talking about what I think you are, it was a live review, one particularly crushing live review that came out of Calgary. The music people make is so subjective. If you’re a huge fan of Arcade Fire then you probably won’t be a fan of Neko Case. But then maybe you are. My point is that people have very different tastes and so I don’t mind if someone says, “Luke, I don’t like this record. It’s not my thing.” But when it comes to the band, specifically at that Blue Rodeo show, it offended me.
Are you over it?
Honestly, my feelings were hurt for half a day. I got over it. I took a shot at the newspaper in question from the stage and everybody laughed. It was over.
Do you always read your own reviews in the press?
When the first bunch of press came out, I read reviews to get a feeling for what the general consensus was going to be. I assumed incorrectly that everybody was going to agree or feel the same way about this record. Any seasoned artist will tell you “don’t ever read your own press.” If you’re going to get crushed because someone says you suck, then you’ll probably get really high on yourself when someone says you’re great. Neither one of those things should really dictate how you go about your work.
Speaking of your work, you’re more than a singer-songwriter. What drives you to sing, compose, play, and produce?
I have been a studio musician for awhile making a living by playing on people’s records and being a guitar player for people on the road like Sarah MacLachlan, Danny Michel and Chantal Kreviazuk. When you’re doing that job, and your job is to interpret someone else’s music the best way you can, you very quickly start thinking, “What can I do now that can make both the music and the vocals sound the best?” When you’re in that headspace for a couple of years, it’s almost inevitable that you will eventually become a producer of some sort.
What is it about producing that keeps you wanting more?
It’s a huge responsibility and I love that. It’s much more difficult than just playing on someone’s record. The buck stops at you. When people are not sure where to go, the producer, with confidence, is suppose to say, “Well, I know exactly what we’re supposed to do here to make this music better, trust me.” Musicians hire you for that very reason. I get a great sense of accomplishment through my work. I want to do this forever.
Luke Doucet warms up the stage for Blue Rodeo at le Thé
EDMONTON (CUP) — Here’s a riddle for you: what’s white, from the East coast, and talented all over? One of Canada’s premiere hip-hop artists – Luke Boyd, also known as Classified.
Hailing from the small town of Enfield, Nova Scotia, there was no shortage of odds stacked against this emcee and 15-year-veteran of the rap game.
However, after pouring his heart, his soul and countless hours of effort into what is now one of the more successful Canadian rap careers, he’s ready to take a step back, have a look around and appreciate everyone and everything that’s helped him get to where he is today.
His latest album, While You Were Sleeping – which punches in at number 12 in a prolific producing and recording history – offers a compilation of some of his best work to date, as well as a few new tracks and a bonus DVD featuring all the music videos and other footage.
Classified’s love of music began, as with most musicians, when he was a child. His father, an avid guitar player, enjoyed playing shows with his band and influenced Classified to find a voice of his own. However, at first he struggled to find a niche as he was not inclined to play traditional band instruments such as guitar and drums.
“I’m actually the only person in my family who can’t play an instrument . [My Dad] had microphones and speakers set up and shit. I couldn’t play guitar and I couldn’t sing. I listened to rap and that was kind of what I was into,” explains Classified. “Me and my friends would write little raps and record it on a tape deck. Eventually, it just kept building up. I got a computer for making beats, and then we went to our first studio and started buying equipment to produce, and make real instrumentals and stuff, and just kept building.”
Initially, Classified’s father wasn’t exactly thrilled about his choice of musical expression.
“He wasn’t into rap, like anybody’s dad is. You know, parents are never into rap. So he was into it just because we were making music and stuff, but it took him a while to understand.”
However, his father has since come full circle, providing live instrument tracks on guitar and keyboard. He’s featured in two tracks on While You Were Sleeping.
“He’s always trying to get up in a video now,” jokes Classified at his father’s enthusiasm.
Despite his lack of formal musical training, Classified hasn’t let it hold him back and his natural ear for a good beat is obvious through his music. He produces all of his own tracks, and has taken several artists under his wing, one being Chad Hatcher, whose guitar and vocals can be heard in the song “All About U,” an uplifting track with a real life message about being comfortable in your own skin.
Unlike a lot of popular rap represented by mainstream media, Classified does not write rhymes about wheelin’ and dealin’ or pimpin’ hoes. If he does make references to money, it’s generally the lack of economic opportunities available for Canadian rap acts – not that it fazes him. He’s grown well past any juvenile dreams of “pimpin’ all over the world” or concealing bags of money in the secret compartment of a Ferrari.
“If I come out frontin’ and acting like something I ain’t, the people I hang around with would shut it down pretty quick and be like, ‘what the fuck are you talking about?’ It’s good because if I wanted to talk about fake shit I probably wouldn’t still be making music because I’d be out of fake shit to talk about,” he candidly explains with a laugh.
When asked if he could pick only one thing for people to take away from listening to his music, he responds with a simple request: “Don’t be scared to be who you are, as corny as that sounds. I think that’s one of the biggest problems in society: so many people hating on each other . We’re all f—– up, we all have good qualities, we all have bad qualities, and that’s pretty much life. So accept it and move on.”
Montreal punk rock darlings Explode and Rebuild (E&R) are back in action. The quartet are fresh off the road from a few small tours around Canada, opening for a whole slew of bands, including You say party, We say die!, Only Crime and The Ataris.
The Concordian chatted with Dave Samuel MacPherson Adams, guitarist and back up singer about what it’s been like touring with some bands that he grew up listening to. “It’s pretty cool. I chatted with Greg Ginn from Only Crime and he was so down to earth.”
Some of the other influences for this young and aspiring band include Small Brown Bike and Hot Water Music. When you hear E&R play live, you can hear the influences ringing through.
The band just wrapped up their new album, Blasphemy, recorded with Ivan Crosato, who also worked with A Perfect Murder and Gerry Can, and is anticipating its release Tuesday, Jan. 22. With perfect timing, Explode and Rebuild are preparing for their show this Wednesday with Florence at Club Lambi.
Dave had another selling point for listeners to come check them out. “We are a reincarnation of the DC hardcore scene, loud and fun. It’s not about having the most attitude, it’s just about having fun.”
Explode and Rebuild plays Club Lambi Wednesday, Jan. 23.
Cover is $5, a steal of a deal for some good ol’ Montreal music.
With a site like thesixtyone.com, you can kick back, relax and let the new music come streaming right in. This site isn’t exactly original; other sites like Digg.com have already set up a music sharing domain. The users vote for their favorites, bumping free tunes up a list of independent and signed music groups – all vying for the most set of ears. But thesixtyone lays out the rocking tunes in unparalleled fashion.
The majority of the music on thesixtyone is fresh, some is “revived” from our nostalgic pasts, but nonetheless it still retains a sense of discovery. The site also gives you a sense of knowing what will be hot, and it gets you involved in the whole hype process.Thus, users are the Rick Rubins and the David Geffins of this new method of distribution. The music posted is all free. The interface, simplicity and quality of the site exemplify the potential of this type of music sharing.
Offering more than just tunes, it’s a well-established alternative to the traditional record label system because bands can get exposure without paying up. It has the potential for mass popularity because the music is good, the user interface is simple and the additional info on the bands creates hype and depth. Bands create profiles, post pictures and pop-ups to enhance the whole experience. This all adds up to a site that has the potential to get great music out there without having to go through the bigwigs who traditionally control the juke box.
Yet, this site may prove itself too good to be true. This tango between musicians and listeners leaves the record labels out of the mix tape, will they try and tinker with the system? So much of the music that makes its way up the charts is pretty generic, it shouldn’t be a surprise that collectively we end up having pretty popular tastes.
Still, a lot of innovative features on the site help you find what you’ll like so the overall experience of this site is rewarding. Connect a site like this with other networking sites and artists are empowered. This is another step closer to ditching the middleman out of the music industry.
Balkan and Eastern European music is traditionally very passionate, joyful and lively, with sweet-tempered instruments and delicate strains of harmonies that either tug at your heartstrings, bring tears to your eyes or pick you up from your seat, moving your body in spite of yourself. Lubo Alexandrov and his Juno Award-winning band Kaba Horo do just that.
The name Kaba Horo is a combination of the Turkish word kaba, meaning low or rough and the Bulgarian word horo, which is a traditional Bulgarian dance, suggesting the cultural essence of the music and the variety of inspirations behind the band’s sound.
There is variety within the band as well, with Bulgarian Gypsy and Montreal-based musicians. Singer/lead guitarist Lubo Alexandrov and his double necked guitar and Emil Iliev’s lively accordion are complimented by the jazzy touch of Eric Hove’s saxophone, the groove of Georgi Stankov’s bass and Martin Auguste’s expertise on the skins. Suleyman Ozatilan’s vocals and the sound of the darbuka, a traditional Turkish instrument, infuse a gypsy sound.
Kaba Horo’s inspiration is shaped by the notions of romance and family, which play significant roles in gypsy culture. Most of the ensemble’s songs are about new couples, weddings, or the love of a father for his daughter. The band is also driven by the gypsy concept of fun and dancing, especially the kind that takes place at weddings, a celebration that is a large part of their culture.
“We are a wedding band,” Lubo Alexandrov, the founder of the group, described. “We like making people dance and have fun. We like to party and enjoy ourselves. Our music is for the moment, to make our audience happy.”
Kaba Horo sings mostly in Romany, Turkish and Bulgarian, but if you’re feeling adventurous or crave a dose of culture, discover the delight that is Kaba Horo.