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  1. 5 points
    Booche

    3 Day Recap of Bluesfest

    Photo Courtesy of Mark Horton and Ottawa Bluesfest Change is inevitable and one must embrace it in order to keep moving forward. Bluesfest is a prime example of that ideology. 20 years have seen the location go from Lebreton to City Hall and back to Lebreton. No longer do we have 6 stages and we are now dealing with dead air rather than sound bleed, which was the biggest issue as far as I am concerned but it’s easy to get used to. Which do you prefer? Running from stage to stage like a jack rabbit or being like a lion after a satisfying meal? Both have their positive points. Recently, people wanting to sit down in lawn chairs are cordoned off far quite a ways back and that might be the single most important aspect adding to the experience.   Purchasing a 3 day pass seemed perfect while essentially becoming a ‘buy 2 get one 1 free" deal. Capitalism begets the ideal of smart purchases and this one made sense because the Foo Fighters had a very high price point for their first show in Ottawa since 2008. They still sold out the venue which is a massive rarity.   Stepping onto the grounds it was immediately clear that security had ramped up their efforts but that is now the norm with any large collection of individuals. Go to a Sens game or any concert at the Canadian Tire Center and you will find the same thing. Long lines while bags and pockets are checked along with metal detectors. These moments are no longer a stroll in the park so planning accordingly with a schedule of the bands you want to see are of the utmost importance.   Photos Courtesy of Mark Horton and Ottawa Bluesfest The War On Drugs has been a band I have been dying to see so Friday July 6th was the first pick of the 3 days pass I held. Having missed them at Folkfest a few years ago it was an obvious choice. Their studio work is perfect, the song writing is praiseworthy and their style is comforting. The question remained; can they pull off what they do in the studio? The answer is a resounding yes. The biggest surprise was discovering that Adam Granduciel is a monster player as well as a solid front man, which ended up being a common theme amongst many of the acts gracing the stages. Much of the material in their hour long set was culled from their last two albums, Lost In The Dream and A Deeper Understanding. It’s easy to wonder what a full show from them must be like. Towards the tail end there was strong, yet intentional, feedback emanating from Adam’s guitar during Red Eyes when all of a sudden one of the stagehands let him know they only had 5 minutes left. Adam then changed guitars while stating "We were about to do Under The Pressure but we only have 5 minutes left. Here’s one that we don’t often do." They launched into Lost In The Dream which became immediately satisfying considering the expectations of what hadn't occurred.   Photo courtesy of Scott Penner and Ottawa Bluesfest After that it was time to check out St Paul and the Broken Bones on the Claridge Stage but that was an exercise in futility. The tent was packed with people spilling out every which way but loose. As wonderful as that music is there was no way it was being felt in any meaningful way. There were too many conversations with people milling about and it became a waste of time. Making way towards the Blacksheep Stage I noticed there were people all the way at the back on the top of the hill. That alone was intriguing but once crested it became obvious why so many folk were seeing this band. Brockhampton were throwing down some serious hip hop. The energy level coming from the stage was palpable in a way you can only explain if you experience it. The crowd was much younger but were hopping in unison. Music is best when there is a collection of individuals all feeling the same thing and this was it. Theoretically that is why we keep going and this proved it. At a certain point when they mellowed out for a bit, it seemed like the perfect opportunity to check out Jethro Tull. My presence didn’t last very long because I kept wondering what I was missing on the Blacksheep stage so I ended up heading back that way. They were an absolutely perfect discovery and I look forward to seeing them again in the future.   Photos Courtesy of Mark Horton and Ottawa Bluesfest The second choice of the 3 day pass was a no brainer. Being a huge fan of Dave Grohl’s song writing brought me on Tuesday July 10th and from the moment we arrived we knew we were in for a massive crowd. Getting there just after 6pm knowing there might be a lineup is one thing but getting there that early while witnessing such a sea of people is another. It was shocking. We figured out the quickest way to get in thanks to an amazing eye but things could have been so much worse. By the time we were getting scanned with metal detectors Greta Van Fleet were onstage with their heavily pulsating sound. The interest level in seeing them was quite astounding, however it was very difficult to get into their set thanks to it being so early and only an hour long. We had just enough time to get in, grab a beer, get a spot, coordinate with those coming and before we knew it the band only had 2 songs left. That was enough for us to know we will be keeping tabs on these kids. There was plenty of "Led Zeppelin-esque" talk amongst our crew with none of it being negative. They wear it like a badge of honour. At this point it was pretty much impossible to get anything from the concessions offered and if you didn’t have an insider you were going to deal with what had to be at least a 45 minute line. Thankfully the concert overlords graced our group so all we had to do was laugh at one another while waiting for the Foo Fighters. When they hit the stage they hit it running and opened with what I consider to be the best opening song almost any band does, All My Life. Learn To Fly followed and then The Pretender, which was the opener the last time the band was in town but it was time to move. By the time we found a more palpable spot, Dave Grohl had invited his daughter on stage to sing back up to The Sky Is A Neighbourhood which Is from their latest album Concrete and Gold. The singalong during My Hero was perfectly entertaining from our new vantage point. Not long after there was the inevitable drum solo. Taylor Hawkins is pretty much the human equivalent of Animal from the Muppets so it didn’t come off as incredibly cheesy but the majority of drum solos do showcase a solid level of talent. A particular section introducing the band members was really entertaining. Taylor sang Queen’s Under Pressure but the highlight had to be the Imagine/Jump mash-up. Picture the arrangement of John Lennon’s Imagine with the lyrics to Van Halen’s Jump. I couldn’t do it simply reading that line but the Foo Fighters put those puzzle pieces with perfect execution. It was musically geeky and comedic all at the same time. The rest of the show featured a few more heavy hitters like Monkey Wrench and Best Of You and shortly followed with Dirty Water from the new album. They came out for the encore and never let up, in fact one could suggest they went for it even harder and it would be hard to argue against that point. There were a couple of shout outs to Alanis Morrisette because Taylor Hawkins used to be the drummer in her band. Apparently she introduced him to Dave Grohl. You Outta Know offered a quick hello at the start of the encore followed by Big Me, Times Like These and finally Everlong. Just about as perfect as an encore one can envision. Photos Courtesy of Mark Horton and Ottawa Bluesfest Friday the 13th was the final pick of the 3 day pass and expectations were sky high. Sturgill Simpson on the City Stage followed by Beck. We got there really early again thanks to our Foo experience but this was vastly different. It felt like no one was there. You could go anywhere, order anything and be in the bathroom in a second. That’s what I always loved about Bluesfest so it was nice to feel like a return home. Having said that, it’s amazing so many people opted out of the music from this night because they opted out of a fantastic experience. The last time seeing Sturgill was during his Grammy winning Sailors Guide To Earth album tour. He had horns backing him as well as this insane lead guitar player named Laur Joamets and we wondered which band we would be seeing. Turns out it was the bass, drum and keyboard core of that band. For a brief moment I was disappointed but then a friend turned and said "Sturgill can rip it on guitar". Sure enough, that boy can play. He tore his country songs to shreds but they were no longer country. This was "the Allman Brothers minus one guitar player" as Todd put it. Strugill approaches his live songs much like Bob Dylan. If you think you only know it in one key then get ready. They will change the key and change the tempo to the point you might not know what song it is until they hit the chorus. He was destroying his Tele whenever that was in his hands and was easily the best guitar player I witnessed at Bluesfest. It’s simple to label him as a Waylon Jennings clone when you hear him sing but that is a disservice. Most of the songs came from A Sailor’s Guide To Earth and Metamodern Sounds In Country Music but there were at least a couple of songs that I had no idea whether he wrote them or covered them.   Photos Courtesy of Mark Horton and Ottawa Bluesfest Everyone enjoyed Sturgill’s set so the break was welcomed as folks discussed what had just happened while feeling excited to see Beck. We all grew up on his music and the vast majority were finally seeing him live for the first time. What was it going to sound like? That was a predominate idea but when Beck finally took the stage and opened with Devil’s Haircut the City Stage turned everything into an old school dance party. Loser followed and bodily streams started flowing perfectly, complete with a mini sing-a-long. Que Onda Guero was up next and that’s the moment when it became obvious the bass player in this band was the real deal. His tone was perfectly aligned with our favorite bass players on this website, Phil Lesh and Mike Gordon. It wouldn’t be a surprise if he played a Modulus because he was throwing fastballs with his piece of wood while also creating an earthquake. The acoustic interlude dulled a few people who wanted the dance party to keep going but it gave others a chance to catch their breath. "Beck clearly went to Prince University" so when he dropped Raspberry Beret on the crowd, complete with a glowing purple light showcase, everything was lining up and shit got lit. The rest of the set was unfamiliar to our crew but no less harmonious. Make no mistake this was a really quick set with regards to time. I think it was no longer than an hour and a half. Where It’s At brought the dancers back in full force and then segued into a band introduction. During this medley we were privy to Miss You by the Rolling Stones, Cars by Gary Numan, Once In A Lifetime by the Talking Heads and In The Air tonight by Phil Collins along with at least 1 or 2 that are forgotten. Where It’s At came back around to complete the circle.  Bluesfest was positively tremendous this year with one of the best lineups they have offered in quite some time. Local food vendors, plenty of amenities and a bevy of conscientious music lovers helped take things over the top. Experience has formed their logistical thinking and I look forward to seeing what next summer, and beyond ,has to offer.
  2. 4 points
    Velvet

    Dig out those old tie-dyes!

    Woodstock North Music Festival coming to Lansdowne in August 2019 The W50 Group is celebrating the 50th Anniversary of the original 1969 Woodstock Music Festival north of the border in Ottawa’s Lansdowne Park and TD Place, August 9-11, 2019. The three-day music experience will recreate the retro look and feel of Woodstock from 50 years ago, and feature a line-up of some of the best original and tribute bands. “We are thrilled to be Canada’s celebration headquarters for the 50th Anniversary of Woodstock,” said Larry Johnson, Managing Partner of the W50 Group. “We are recreating the Woodstock experience and so we’re encouraging our festies to come dressed up like hippies.”
  3. 3 points
    Hartamophone

    Epic Covers

    Wilson Pickett with Duane Allman - Hey Jude
  4. 3 points
    Caught JRAD at Cleveland's Masonic Temple this past weekend. Lucky enough to be second from the rail and right in their glorious pocket. Russo just blows my mind every time and it was such a pleasure to watch him do his other-worldly thing from up close. An incredible setlist and an interesting venue. Couldn't help but wonder what kind of shit went down there in the past. Many launch-pad moments into the ether. These guys don't let up. Can't wait to see them again this summer at Peach! Set 1: St. Stephen Playing in the Band Crazy Fingers Cosmic Charlie Scarlet Begonias I Know you Rider Set 2: Shakedown Street I Need a Miracle Cryptical Envelopment Eyes of the World The Other One Cryptical Envelopment Dancin' in the Streets Encore: Look Out Cleveland (The Band) One More Saturday Night
  5. 3 points
    jimmy skyline

    Slippery People

    Part musical concert, part dance, part performance piece, part kinetic sculpture, David Byrne's latest American Utopia Tour settled into a slightly abbreviated stop at CityFolk Festival in Ottawa. The show has been gathering an endless stream of positive reviews, and fan appreciation. Really, the reason why this seems to resonate so deeply amongst the wide-ranging demographic that makes up David Byrne fans base is a little perplexing. Minimalist in design, the performance is endlessly engaging and transforming. Within the somewhat self referential opening of the show, (so similar in idea to Stop Making Sense, with David Byrne at centre stage in bleak surroundings and alone), the audience is drawn in and seduced by the stark setting, grey leisure suit, bare feet, desk, chair and a “brain” carrying showman. David sucks you in and before you know it we are living in Dave’s Byrne Big World. With no explicit narrative, there is the thread of positivity, and hopefulness that permeates the overall exploration of design, form, and movement. The overall effect of the show is Kinetic Sculpture… using humans and the occasional simple prop, Byrne leaves enough room to transpose your imagination onto the dance and the forces that cause and create movement. The latest record, American Utopia, deeply benefits from the continued collaboration with Brian Eno, making it Byrne highest chart topping success. The time is ripe for some positivity, but American Utopia and recent projects are filtered through the eyes of the modern condition. Tracks like, “Lazy”, and “I Should Watch TV, which are both collaborations with St. Vincent, were sobering reminders of the bleak separation and general malaise that encompasses so much of our daily encounters. On stage, the band was watching a “tv” that was simply a beam of light glowing off of the hanging chain link strands that boxed in the stage’s back and sides. David Byrne rolls up his sleeves, miming shooting up, and sings “touch me, and feel my pain”, suggesting that the drugging of our nation is a response to the alienation from the advent of technology, and an environment where we can be instantly be connected to each other, but still suffer the painful isolation and solitariness of being lost in society. The idea of “Utopia” is not a delusional pipe dream, but one tempered by an understanding that it is an ongoing struggle, and that it is a work in progress. It is often overlooked that “Utopia” is part of a larger project that David Byrne is engaged in. The project, which borrows a title from Ian Dury and the Blockhead’s song “Reasons to Be Cheerful, Part 3”, which ironically was written in the U.K. during the Margret Thatcher years. Within the context of this bigger project David Byrne ’s “Reasons to Be Cheerful”, looks at the complexities of the urban environment, and the subtle but transformative cues, like the changing impact of increased bicycle use on our daily life, our outlook, our habits, and the environment. Byrne is looking at the ways to change our perspectives by engaging with the world in more direct and meaningful ways. The bombardment of images and messages that promote fear and dread, largely propagated by media, corporations and the government, is what the authorities want you to feel. This is part of a “Hegelian dialect”, that keep the power structures oppressing individuals in society, and allow the exploitation of those individuals at the same time. “They” want you to live in fear, keep you at bay and use this as leverage for policies and attacks on freedoms and liberties. The “Reasons to Be Cheerful” project, is a plea to turn off the fear mongering media messages, and re-engage in your community, make real human connections and participate in civic issues. In other words, he is hoping that people simply get involved in a direct and meaningful way to make the world a better place, no matter how small the contribution may seem. Walk to the store instead of driving, bike more, grow your own food, and to be really subversive, smile more. Yes, smile more, and if you do, you may soon notice, people will smile back. All of this is a subtext to a performance which is at its core is a celebration of joy, music, and movement. The fluidity of the dance, the freedom of the musicians to move freely, the stripped-down aesthetic gives a lot of opportunity for the audience to celebrate alongside. The entry point into the performance is easy, nothing really stands between the performer and audience, and this transforms the event into a giant kinetic experience. The energy of the dance was infectious for the audience at CityFolk. With the side screens that usually give the back 40 a good close up of the performance, were black. The only way to experience the show was by directly watching it. There was no way to filter the experience through another medium. The stage design was as striking from the dead centre 30 feet out, as it was from the back of the Great Lawn. The stage glowed with a shimmering intensity, the dancing so bold and engaging that no matter where you stood, you were in on the action. Of course, it was the music that propelled the dance, and the Ottawa crowd dropped it usual conservatism and boogied right along. There were more balls out dancing then I have ever seen at an Ottawa show. It was very heartening to be in the middle of this energy, and be able to dance with abandon at the foot of the master of polyrhythmic cross-cultural musical mayhem. I have seen David Byrne perform over the years, including the small understated tour that he did after the St. Vincent collaboration. On that tour, he played mostly his back catalogue of Talking Heads material. Although this tour was incredibly satisfying, in all sincerity, Ottawa shock their collective money maker just like I remembered at “The Remain In Light Tour” of 1981. This was a watershed moment for me, at only 14 years of age, (with The English Beat as an opener), my life was transformed. I danced for the first time that night. And I mean really danced. With abandon. Forgetting time and space, and dissolving into rhythm and movement. Pure joy. Pure celebration. And smiles. Lots of smiles. Just like Ottawa. Two songs were dropped from the set list that has been commonly played on this tour. Both “Bullet, and the unrecorded live song, “Dancing Together”, were dropped from previous shows. A slightly different song order was also an unusual feature of this rare outdoor festival performance. Most venues have been sit-down theatres, like the two summer shows in Toronto, at the Sony Centre. So, it was very heartening to see Ottawa take advantage of the setting, and cut a deep rug on The Great Lawn. The bulk of the set list was from “American Utopia”, and smatterings of the Talking Heads back catalogue. A little less then half the show saw a survey of some of the Talking Heads best material, and there was a lovely shout out to David Byrne's many collaborations with a light-hearted Fatboy Slim (The Brighton Port Authority) number called “Toe Jam”. Deep tracks like “I Zimba”, “Once in a Lifetime”, and the “Great Curve”, had the most resonance with the audience. I suspect, as was the case with me, that the older Talking Heads pieces transported us back to our youth and the start of our musical awakenings. I heard many a side conversation re telling which album and at what age people discovered the Talking Heads. From “77”, through to “My Life in the Bush of Ghosts”, to the underrated last record “Naked”, everyone seemed to hold high reverence to their David Byrne initiation. Now, I’m a realist, and not someone prone to using my rose coloured glasses to view my past. As awe-inspiring as this tour is, I can not shake the idea of how notoriously difficult David Byrne is to work with. Often, and especially for this incredibly intricate performance, David Byrne gets a pass on his curmudgeon demeanor. I suspect that as free-flowing and celebratory as the performance appeared, there is an iron hand driving the performance and its aesthetics. Initially, the “American Utopia” tour was booked into several venues and then canceled… Burlington and Montreal come to mind. It is my understanding that the stage set up did not meet David Byrne's minimal requirements, leaving several cities out of the mix. Not that this is necessarily a bad thing, it is his tour, and his vision, and a fine one at that. One opinion that i seemed to share with only myself, was that the band was not near as powerful as “The Remain in Light” band that had Adrian Belew, and Busta Jones and, well everyone really… in the shadows of my mind, this band was different than the Talking Heads. I would like to think that comes down to ownership… the fellow founding members of the Talking Heads, Chris Frantz, and Tina Weymouth owned the material, shaped it and created it. When the original Talking Heads played, they were nothing short of dangerous, and provocative. They were a machine with many moving parts, that sometimes felt like they would implode, but rarely did. The “American Utopia” band felt like they were hitting their cues, and marks, but not free enough to soar above the clouds. Wonderful they were, and I appreciate that this is at best nitpicking, but 1981 this wasn’t. What we did get was a peek into the future of stage performance. With the advent of technology freeing our collective constraints, this novel approach to an unfettered musical experience will become more common, and perhaps even the norm in a few years. Bravo to David Byrne for using a minimalist approach to high light the physical freedom and collective dynamic energy to bring a joyful celebration of music, dance and performance art to the wonderment of all in attendance. This was a real coup for CityFolk and a very high water mark for next years performers. Set List David Byrne September 14, 2018, CityFolk The Great Lawn Landsdowne Park Ottawa Here Lazy I Zimbra (Talking Heads song) Slippery People (Talking Heads song) I Should Watch TV (David Byrne & St. Vincent cover) Dog's Mind Everybody's Coming to My House This Must Be the Place (Naive Melody) (Talking Heads song) Once in a Lifetime (Talking Heads song) Doing the Right Thing Toe Jam (Brighton Port Authority cover) Born Under Punches (The Heat Goes On) (Talking Heads song) I Dance Like This Every Day Is a Miracle Like Humans Do Blind (Talking Heads song) The Great Curve (Talking Heads song) Burning Down the House (Talking Heads song) Hell You Talmbout (Janelle Monáe cover) (with Merrill Garbus) (also with Ani DiFranco) If you want to explore more about the Talking Heads, David Byrne and the Reasons to be Cheerful movement, check out the links below. Well worth your time. Now smile, dammit. An Introduction to The Talking Heads Well How Did We Get Here? A Brief History of Talking Heads An Audience Video of the American Utopia Tour (complete performance) Reasons to be Cheerful Lecture/Talk by David Byrne David Byrne - Reasons To Be Cheerful talk - Jan. 8, 2018
  6. 3 points
    Esau.

    Epic Covers

  7. 3 points
    Booche

    Epic Covers

  8. 3 points
    Alison Krauss packed Marion Dewar Plaza with the most attentive crowd I've seen in recent memory. Though a little bit quiet through the main speakers, and muddled by wine-tent yakking, the audience tried their best to catch every breath and fiddle twiddle the songstress shared. Her band was comprised of Nashville magicians, softly singly sweet songs of love and sorrow in unmatched harmony. You know music is working when you are truly taken away- and at moments during this set I found myself exploring deep recesses of my mind, just freely wondering... Where will it all go? (I'm not sure) - Is Mr. Dress Up still alive? (no- Ernie Coombs died in 2001, I Googled it) - Should I be trying to write fiction so there is no accountability? (Probably). It was a lovely set, and definitely primed me for the jaw-dropper to come. Tartan stage hosted The Jerry Douglas Band, in what can only be described as a close encounter of the 4th kind, the Jazz-Grassian kind. There was a power and energy on that small stage which is not often available to mankind- it was almost divine, or maybe alien. Spacey, exploratory and dense music danced into our hearts with grace and precision. The combination of tenure, experience, confidence, and genuine delight in music-making seduced revellers to the point of ecstatic convulsion (That is just how I dance, Ronny!). Jerry looked like a mature southern ranch owner, with a twinkle in eye and a knowing flash in his toothy grin. He's the uncle we all wish we had, with his perfect leather boots and winky smarm. He could be a character in a Quentin Tarantino movie, played by Don Johnson, or Jeff Bridges. Jerry earns his reputation, and as 'the best dobro player in the world' it comes as no surprise that Jerry would have the best Nashville hot-shot soon to be elites in his band, and he gave them all an opportunity to strut their stuff. They collectively sashayed the audience through a mesmerizing 90 minute masterclass in musicianship, style and excitement. With some of the most riveting interplay and compositional creativity I've enjoyed in a long time. All members were off the charts, but guitar player Mike Seal was a show-stopper, calmly picklessly picking his matte Ibanez like a modern Roy Buchanan with something to prove. His speed and tasteful layering often brought Jerry to smile, and their mutual grins were exceptionally cute, and kind of heartwarming. I guess, I'll include my phone note: It was like Zappa was arranging for Garcia and Rice. Departing on my bicycle with a strong soberish music high- the world seemed just a little more beautiful.
  9. 2 points
    Just read the new book by drummer Tom Stephens called Best Seat In The House: My Time in the Jeff Healey Band while on vacation. I couldn't put the book down. There are incredible stories including a tale about getting his big break by meeting & playing with BB King at Expo '86 and a lot of anecdotes of tour antics by Jeff and the band. It's a classic story of the rise to fame and playing with the best musicians in the world. The latter part of the book is about Jeff's transition from a rock icon to a club owner and jazz trumpeter. Jeff Healey died on March 2, 2008 from sarcoma cancer at 41 years old. I've been a big fan as a kid as he grew up in South Etobicoke and we would always hear stories that he jammed at local bars. I seen him play once in Halifax and it was without longtime drummer Tom Stephen who explains how his role as manager/drummer ended very poorly with Jeff. Here's my favorite song: check out the dual guitar solo at the end. Anyone else have any thoughts on Jeff Healey?
  10. 2 points
    We just released a new album, UdomeU, online. and we are pressing vinyl. Check it out.
  11. 2 points
    Fucking Dark Star - I love that god damn song.
  12. 2 points
    I will probably post this another thousand times.............
  13. 2 points
    Booche

    Epic Covers

  14. 2 points
    Esau.

    Epic Covers

    The Faces - Maybe I'm Amazed - 1972
  15. 2 points
    edger

    Adams and Mayer and Weir, oh my!

    I can't believe that this hasn't been posted yet...seems like a cool collab to me Ryan Adams Confirms In-Studio Collaborations With John Mayer And Bob Weir https://liveforlivemusic.com/news/ryan-adams-john-mayer-bob-weir/?fbclid=IwAR049lySpH2TmMbk2Eg-3ovyVaMsdcSv3aIO95rwUtD-jsPZSxkloTKu55A
  16. 2 points
    Esau.

    Epic Covers

    I was probably less than 40ft from stage (Brent side) during this. After they left the stage, the crowd chanted and clapped "Love is real, not fade away" while leaving Rich Stadium. You could hear it clear as day all the way to the bus. Such an awesome night.
  17. 2 points
    c-towns

    What are you listening to right now?

    Our own (from years past), Aaron Goldstein's new project is called Future Now. It features Ian Burton, Glenn Milchem (Holy Fuck drummer) and Anna Ruddick (Randy Bachman bass). Check them out here; http://theobelisk.net/obelisk/2019/01/17/ian-blurtons-future-now-space-is-forever-premiere/
  18. 2 points
    https://www.rollingstone.com/music/music-news/peter-jackson-beatles-movie-let-it-be-786380/
  19. 2 points
    Hartamophone

    The Slip - The Motherlode (dropbox)

    Dropbox forum, please.
  20. 2 points
    I went to Woodstock '94. I didn't want to go but my girlfriend at the time convinced me to join her. I ended up having an amazing time and the whole thing was nothing but great vibes. Saw excellent music too: Dylan, Peter Gabriel, The Band, Metallica, Youssou N'Dour, The Allman's, RHCP, Santana...it was pretty great. Who knows? Maybe it'll be pretty great again.
  21. 2 points
    Jaimoe

    Epic Covers

    Awesome cover (maybe better than Paul's original). Ronnie Lane is a treasure:
  22. 2 points
    Jaimoe

    Long live Keith!

    This is killer. Keef rules!
  23. 2 points
    Booche

    Epic Covers

    I feel as one..............
  24. 2 points
    c-towns

    Epic Covers

    with Jimmy Herring!?!
  25. 2 points
    The Barr Brothers are playing a 3 night run at The Mod Club in the new year. exclaim article February 28 - playing "The Barr Brothers" March 1st - playing "Sleeping Operator" March 2nd - playing "Queens of the Breakers" the barr brothers $66 for a 3-night pass tix
  26. 2 points
    https://www.rollingstone.com/music/music-features/beatles-new-white-album-good-night-sheffield-753978/
  27. 2 points
    https://www.npr.org/2018/10/25/659791704/first-listen-bob-dylan-more-blood-more-tracks-the-bootleg-series-vol-14 01 Tangled Up In Blue (Take 3, Remake 3) 02 If You See Her, Say Hello (Take 1) 03 Up To Me (Take 1) 04 You're Gonna Make Me Lonesome When You Go (Take 5) 05 Lily, Rosemary And The Jack Of Hearts (Take 2) 06 You're A Big Girl Now (Take 2) 07 Shelter From The Storm (Take 1) 08 Call Letter Blues (Take 1) 09 Simple Twist Of Fate (Take 3A) 10 Idiot Wind (Take 6)
  28. 2 points
    Jay Funk Dawg

    Dead Phish 2.0

    Last show at Mod Club was great - The band was sounding great. Great people in the audience too. Mark Thackaway was a highlight, as was the interplay between Rich & Mark.
  29. 2 points
    Esau.

    Epic Covers

  30. 2 points
    Esau.

    Epic Covers

  31. 2 points
    Tedeschi Trucks Band Review: September 12, 2018. The Great Lawn at Landsdowne Park, Ottawa Mid-set of Tedeschi Trucks Band at the Ottawa CityFolk Festival, I was quietly reminded that I first saw Derek Trucks play with the Allman Brothers in Toronto when he was a tender 21 year old. Now, by 21, Derek was a seasoned veteran, making headway with his powerhouse slide guitar on stages and in front of audiences for several years. He was an acclaimed guitarist, and by age 13 was sharing the stage with Buddy Guy, and ThunderHawk, and could be found guesting with Bob Dylan and Eric Clapton. By July 30, 2000, Molson Amphitheatre performance, The Allman Brothers had just kicked out Dickey Betts (a founding member) from the band only days before. Much to my initial disappointment Jimmy Herring and Warren Hayes were holding down the dueling guitars. Jimmy sat in a chair the whole night, with a pair of headphones on, and Warren was the guitar slut that he would later be known for. However, it was the playing of Derek Trucks that stood out in my memory. I had heard that the nephew of Butch Trucks (the on and off again drummer for the Allman’s and an original member), had been tearing up the coast. And memorable it was. In fact, this particular Allman’s Brother show was so powerful and had rung every single high note of my expectations, that I swore i would never see them again. For me, The Allman Brothers would never play such a perfect show again. They tore it up, leaving everyone exhausted as the last notes of a complete Mountain Jam ended the second set. Derek Trucks left a major mark on the 21st century Allman’s, and this era was faithfully recorded on “Peakin’ at the Beacon”, that same year. One of the high water marks for the band. Derek never stood still, marrying Susan Tedeschi, breaking up the Derek Trucks band and forming the Tedeschi Trucks Band by the year 2010. Since then, the TTB has been road warriors, paying countless festivals and headlining concerts. The 12 piece band has hit their pace, as was evident in the stunning performance at CityFolk at Landsdowne Park September 12, 2018. If there was any doubt that Derek Trucks was one of the greatest guitarist going these days, that notion was left behind after a blistering and inspired set that lasted just over 90 minutes. Their official time slot was listed at a paltry 70 minutes, but TTB came out 10 minutes earlier than their set time and finished a good 15 minutes after the curtain call time. Still, by TTB standards it was a shortened set. Twelve songs, and one encore later, the Ottawa crowd was treated to a spiritual, positive, and intricate evening of jam-infused songs. Susan’s voice was pure and strong, with hints of a gritty Bonnie Raitt, and a whole bag of soul to boot. Her guitar playing was the perfect foil for a band with a lot of musical muscle. When she stepped out on lead guitar, she played with initial poise and constraint, building her soaring leads and pushing the jams forward. Lead vocals were traded off a couple times in the evening, allowing the backup singers, Matt Mattison, and Mark Rivers to have their due. But it was Susan’s soulful poignancy that gave credit to the plea for peace, love, and acceptance (a philosophical perspective shared by most Jam Bands of this era). The Joe Cocker song (written by Mathew Moore) “Space Captain” which ended the set, was sung convincingly by Susan as she repeated the refrain, “Learning to live together, Till we die.” Overall the set reflected the Great American Jukebox… every night TTB plays a different show. Sometimes a song might be repeated, but show to show, night to night, anything could happen. CityFolk got two brilliant Bob Dylan covers, “Down in the Flood”, which had an incredible break down in the middle which deconstructed Dylan’s music and sent it into the stratosphere, and another cover off of 1974’s Planet Waves, “Going, Going, Gone”. A spiritual centre piece of the set, Susan was able to give us a “bring me to Jesus” moment. There was no shortage of musical highlights. Kofi Burbridge on flute and keyboards took out the Hammond B3 organ and the two Leslie Horn speakers for an early set break out that reminded everyone why vintage musical equipment is so magical. Derek spent most of the night nestled into the back corner near the bass player Tim Lefebvre, where both of them had the physical impact of those spinning Leslie’s at their feet. It seemed that every time Derek was not stepping out on a lead, he would venture to the back, and stand squarely between the Leslie speakers. Derek’s stage presence is so understated and his demeanor is so humble, it's easy to underestimate his real virtuosity. With a band with so many moving parts, the focus is still on the flow. The occasional trading of leads is mostly superseded by more organic exploration. Derek navigates the waters only captaining the ship when needed. His subdued stage presence speaks to his humbling approach to the big band sound. Where just a few years ago TTB was a solid bet for a great night of blues-infused music, we are now seeing the genesis of a live juggernaut. CityFolk will do well to have TTB return in future festivals. Set List Tedeschi Trucks Band September 12, 2018 CityFolk Ottawa, Landsdowne Park Anyhow High and Mighty Let me get by Midnight in Harlem Down in the Flood Let's Get Stoned Don’t Know What Shame Going, Going, Gone Sky is Crying I Want More Space Captain E: Made Up My Mind
  32. 2 points
    Esau.

    Epic Covers

    Most likely I shared this sometime in this thread, but it's worth another share because it's that awesome.
  33. 2 points
    c-towns

    CityFolk 2018 rumours

    Awesome show by the Turtles last night at the Danforth, it had been way to long. Great three part harmonies and good gawd does the fiddle player shred that thing. An excellent evening all around. Hilarious tweet by the turtles today; Very excited to play @CityFolkFest in Ottawa today. Tainted slightly by the sadness of playing at the same time as David Byrne. Honestly, if any of you come to our show while that is taking place you should really take a long look at your life choices
  34. 2 points
    Booche

    Untold Stories of Paul McCartney

    Obviously we now know where this song 'came' from...................
  35. 2 points
  36. 2 points
    Freak By Night

    Outlaw Music Festival

    I'm disappointed that I jumped on these tickets immediately when they went on sale. That was highly unnecessary, as tickets for decent seats could have been purchased for as little as 10 bucks on the day of the show. Lesson learned. No matter now. I still enjoyed myself. We arrived early well before Tara Lightfoot's 3 piece band took the stage. She's a solid guitar rocker and I enjoyed the short late afternoon set. Sturgill Simpson, I've heard, is a country musician. Or is he? He certainly did not sound very country. This was loud, guitar-driven, heavy jam/blues rock. I wasn't surprised though, as I'd seen this band at the Bluesfest almost 2 months ago. Highly recommended. The Teseschi Trucks band never fails to get me up dancing. This caused some conflict with the people behind us. My brother, my friend, and I all got up to dance for some grooving songs. The folks behind us preferred to sit on their hands. After a couple of songs, some handfuls of popcorn were thrown at us. Then the shouting started. I'm pretty easy going, I don't want to piss anyone off, so I sat down. My buddy continued to exercise his right to dance and the situation escalated. Security was having none of this. They re-located the complainers temporarily to some empty seats a couple of rows in front of us. I've been to concerts all over North America, and I must say Toronto music fans are the least lively. Doesn't matter who the performer is, just sit down and don't move! Willie Nelson & Family played an hour long set of country favorites. A true legend! I cant' expand much on edger's comments, but it was strange how the house lights came on exactly at 10:45 pm, even before the final notes of Willie's set had been played! It was like they wanted everyone out of there as soon as possible. I totally enjoyed all the acts and had a fun time on a chilly, blustery Sunday night on the shore of Lake Ontario.
  37. 2 points
    edger

    Outlaw Music Festival

    Me too. I was starting to have second thoughts/feel overwhelmed about even going with the start of a busy work term and bringing my son out so late on a school night yada yada. But I was really glad I went. I am definitely a new fan of Sturgil. I thought they had a raunchy rippin country sound with a hint of Elvis perhaps inspired traditionalism woven in there. Great mix of familiar tried and true and pushing things to a new edge. Great band great vocals and great songs. TTB are always a pleasure. I get so much enjoyment out of watching Derek play and Susan just has one of the best vocals of all time. I really enjoyed the flute jams. Kofi is such an asset to that all around talented band. The pipes on the back up singers are incredible. Some of the notes that were being hit...holy shit. And Willie. I thought he put on a great performance. As I get older and increasingly reflective on life and loss and love i appreciate all the more the rare treat to witness a legend like that that has spanned the ages like no other really. Connecting the generations and putting into words so eloquently the sentiments that are hard to express. Brought me to tears a couple times. Was thankful for the wind and dim lights to keep that on the down low. His sister is absolutely age defying on those keys. It's quite remarkable what they are still capable of. He was strong and assured. I was happy and admittedly proud that my ten year old understood what a special thing that was for him to witness.
  38. 2 points
    bONES

    Epic Covers

  39. 2 points
    Davey Boy 2.0

    Epic Covers

  40. 2 points
    Esau.

    Epic Covers

  41. 2 points
    Esau.

    Epic Covers

    Damn.
  42. 2 points
    Esau.

    Epic Covers

    Man I miss the Gourds, but Shinyribs (Kevin Russell of the Gourds) never disappoints. https://www.wideopencountry.com/the-next-waltz-brokedown-palace/
  43. 2 points
    Jaimoe

    Epic Covers

    Live from 1972. Mick Taylor is on fire on slide:
  44. 2 points
  45. 2 points
    Also JRAD would be perfect for the Black Sheep stage.
  46. 2 points
    Three 'teaser' tracks to check out via link: https://liveforlivemusic.com/news/owsley-allman-brothers-recording-1970/
  47. 2 points
    Esau.

    Epic Covers

    Have to share another from this guy.
  48. 2 points
    Jaimoe

    Epic Covers

    Love Massive Attack, but Jose's version is my fave. The guy is a major folk talent.
  49. 2 points
    Esau.

    Epic Covers

    Nice. I have a copy of their one album (self titled) I found on a blog years ago. King covered a few Moloch tunes. Great song, but for me King holds all the cards when it comes to my favourite version. Becks is great too, but King's energy, and vocals simply give me shivers and hit me like no other version. Also should be noted that while Moloch was the first to release it, it was Don Nix who actually wrote the song, and later (1972) released it as a single. So, it fits this thread as a cover of sorts. Don Nix version - with his band 'The Alabama State Troupers' (w/ Furry Lewis even!)
  50. 2 points
    Really enjoyed this year also! Highlights for me were the Foo, DMB, Sturgill, and just the fact that most every night there were friends to be found at the fest, like days of yore. good job everybody!
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