Kanada Kev

http://bit.ly/bkpLtA Little Feat – Dixie Chicken If Dixie Chicken represented a pinnacle of Lowell George as a songwriter and band leader, its sequel Feats Don’t Fail Me Now is the pinnacle of Little Feat as a group, showcasing each member at their finest. Not coincidentally, it’s the moment where George begins to recede from the spotlight, leaving the band as a true democracy. These observations are only clear in hindsight, since if Feats Don’t Fail Me Now is just taken as a record, it’s nothing more than a damn good rock & roll record. That’s not meant as a dismissal, either, since it’s hard to make a rock & roll record as seemingly effortless and infectious as this. Though it effectively builds on the Southern-fried funkiness of Dixie Chicken, it’s hardly as mellow as that record – there’s a lot of grit, tougher rhythms, lots of guitar and organ. It’s as supple as Chicken, though, which means that it’s the sound of a touring band at their peak. As it happens, the band is on the top of their writing game as well, with Bill Payne contributing the rollicking “Oh Atlanta†and Paul Barrere turning in one of his best songs, the jazzy funk of “Skin it Back.†Each has a co-writing credit with George — Payne on the unreleased Little Feat-era nugget “The Fan†and Barrere (plus Fred Martin) on the infectious title track — who also has a couple of classics with “Rock and Roll Doctor†and the great “Spanish Moon.†Feats peters out toward the end, as the group delves into a 10-minute medley of two Sailin’ Shoes songs, but that doesn’t hurt one of the best albums Little Feat ever cut. It’s so good, the group used it as the template for the rest of their career. - Stephen Thomas Erlewine mp3@320CBR Track List 1. “Rock & Roll Doctor†(Lowell George, Fred Martin) – 2:57 2. “Oh, Atlanta†(Bill Payne) – 3:26 3. “Skin It Back†(Paul Barrère) – 4:11 4. “Down the Road†(George) – 3:46 5. “Spanish Moon†(George) – 3:01 6. “Feats Don’t Fail Me Now†(Barrère, George, Martin Kibbee) – 2:27 7. “The Fan†(George, Payne) – 4:30 8. “Medley: Cold Cold Cold/Tripe Face Boogie†(George/Richie Hayward, Payne) – 10:00 http://bit.ly/bkpLtA

http://bit.ly/bYfEmr Little Feat – Dixie Chicken Following Roy Estrada’s departure during the supporting tour for Sailin’ Shoes, Lowell George became infatuated with New Orleans R&B and mellow jamming, all of which came to a head on their third album, 1973′s Dixie Chicken. Although George is firmly in charge – he dominates the record, writing or co-writing seven of the 10 songs – this is the point where Little Feat found its signature sound as a band, and no album they would cut from this point on was too different from this seductive, laid-back, funky record. But no album would be quite as good, either, since Dixie Chicken still had much of the charming lyrical eccentricities of the first two albums, plus what is arguably George’s best-ever set of songs. Partially due to the New Orleans infatuation, the album holds together better than Sailin’ Shoes and George takes full advantage of the band’s increased musical palette, writing songs that sound easy but are quite sophisticated, such as the rolling “Two Trains,†the gorgeous, shimmering “Juliette,†the deeply soulful and funny “Fat Man in the Bathtub†and the country-funk of the title track, which was covered nearly as frequently as “Willin’.†In addition to “Walkin’ All Night,†a loose bluesy jam by Barrere and Bill Payne, the band also hauls out two covers which fit George’s vibe perfectly: Allan Toussaint’s slow burner “On Your Way Down†and “Fool Yourself,†which was written by Fred Tackett, who later joined a reunited Feat in the ’80s. It all adds up to a nearly irresistible record, filled with great songwriting, sultry grooves, and virtuosic performances that never are flashy. Little Feat, along with many jam bands that followed, tried to top this album, but they never managed to make a record this understated, appealing and fine. - Stephen Thomas Erlewine mp3@320CBR Track List 1. “Dixie Chicken†(Lowell George, Fred Martin) – 3:55 2. “Two Trains†(George) – 3:06 3. “Roll Um Easy†(George) – 2:30 4. “On Your Way Down†(Allen Toussaint) – 5:31 5. “Kiss It Off†(George) – 2:56 6. “Fool Yourself†(Fred Tackett) – 3:10 7. “Walkin’ All Night†(Paul Barrère, Bill Payne) – 3:35 8. “Fat Man In The Bathtub†(George) – 4:29 9. “Juliette†(George) – 3:20 10. “Lafayette Railroad†(George, Payne) – 3:40 http://bit.ly/bYfEmr

http://bit.ly/a8vCEw Little Feat – Sailin’ Shoes Little Feat’s debut may have been a great album but it sold so poorly, they had to either broaden their audience or, in all likelihood, they’d be dropped from Warner. So, Sailin’ Shoes is a consciously different record from its predecessor – less raw and bluesy, blessed with a varied production and catchier songs. That still doesn’t make it a pop record, since Little Feat, particularly in its first incarnation, was simply too idiosyncratic, earthy and strange for that. It is, however, an utterly thrilling, individual blend of pop, rock, blues and country, due in no small part to a stellar set of songs from Lowell George. If anything, his quirks are all the more apparent here than they were on the debut, since Ted Templeman’s production lends each song its own character, plus his pen was getting sharper. George truly finds his voice on this record, with each of his contributions sparkling with off-kilter humor, friendly surreal imagery and humanity, and he demonstrates he can authoritatively write anything from full-throttle rock & roll (“Teenage Nervous Breakdownâ€), sweet ballads (“Trouble,†a sublimely reworked “Willin’â€), skewered folk (“Sailin’ Shoesâ€), paranoid rock (“Cold, Cold, Coldâ€) and blues (“A Apolitical Bluesâ€) and, yes, even hooky mainstream rock (“Easy to Slip,†which should have been the hit the band intended it to be). That’s not to discount the contributions of the other members, particularly Bill Payne and Richie Hayward’s “Tripe Face Boogie,†which is justifiably one of the band’s standards, but the thing that truly stuns on Sailin’ Shoes is George’s songwriting and how the band brings it to a full, colorful life. Nobody could master the twists and turns within George’s songs better than Little Feat, and both the songwriter and his band are in prime form here. - Stephen Thomas Erlewine mp3@320CBR Track List * All tracks by Lowell George, except where noted. 1. “Easy to Slip†(Lowell George, Fred Martin) – 3:22 2. “Cold Cold Cold†– 4:01 3. “Trouble†– 2:19 4. “Tripe Face Boogie†(Richard Hayward, Bill Payne) – 3:16 5. “Willin’†– 2:57 6. “A Apolitical Blues†– 3:28 7. “Sailin’ Shoes†– 2:53 8. “Teenage Nervous Breakdown†– 2:13 9. “Got No Shadow†(Payne) – 5:08 10. “Cat Fever†(Payne) – 4:37 11. “Texas Rose Cafe†– 3:42 http://bit.ly/a8vCEw

http://bit.ly/bFqOPV Little Feat – Little Feat It sold poorly (around 11,000 copies) and the band never cut anything like it again, but Little Feat’s eponymous debut isn’t just one of their finest records, it’s one of the great lost rock & roll albums. Even dedicated fans tend to overlook the album, largely because it’s the polar opposite of the subtly intricate, funky rhythm & roll that made their reputation during the mid-’70s. Little Feat is a raw, hard-driving, funny and affectionate celebration of American weirdness, equal parts garage rock, roadhouse blues, post-Zappa bizarreness, post-Parsons country rock and slightly bent folk storytelling. Since it’s grounded in roots rock, it feels familiar enough, but the vision of chief songwriter/guitarist/vocalist Lowell George is wholly unique and slightly off-center. He sees everything with a gently surreal sense of humor that remains affectionate, whether it’s on an ode to a “Truck Stop Girl,†the weary trucker’s anthem “Willin’,†or the goofy character sketch of the crusty old salt “Crazy Captain Gunboat Willie.†That affection is balanced by gutsy slices of Americana like the careening travelogue “Strawberry Flats,†the darkly humorous “Hamburger Midnight†and a jaw-dropping Howlin’ Wolf medley guest-starring Ry Cooder, plus keyboardist Bill Payne’s terrific opener “Snakes on Everything.†The songwriting itself is remarkable enough, but the band is its equal — they’re as loose, vibrant and alive as the Stones at their best. In most respects, this album has more in common with George’s earlier band the Factory than the rest of the Little Feat catalog, but there’s a deftness in the writing and performance that distinguishes it from either band’s work, which makes it all the more remarkable. It’s a pity that more people haven’t heard the record, but that just means that anyone who owns it feels like they’re in on a secret only they and a handful of others know. - Stephen Thomas Erlewine mp3@320CBR Track List 1. “Snakes on Everything†(Payne) – 3:04 2. “Strawberry Flats†(Payne, George) – 2:20 3. “Truck Stop Girl†(Payne, George) – 2:32 4. “Brides of Jesus†(Payne, George) – 3:20 5. “Willin’†(George) – 2:24 6. “Hamburger Midnight†(George, Estrada) – 2:30 7. “Forty-Four Blues / How Many More Years†(Chester Burnett) – 6:25 8. “Crack in Your Door†(George) – 2:16 9. “I’ve Been the One†(George) – 2:20 10. “Takin’ My Time†(Payne) – 3:45 11. “Crazy Captain Gunboat Willie†(Payne, George) – 1:55 http://bit.ly/bFqOPV

ON NOW

Adding some players

smellmyfeet'd

and this

S P O I L E R A L E R T is this it?

10/30 http://www.sendspace.com/file/n572wq http://www.sendspace.com/file/m0wpml dig it

Boo! Happy Halloween everyone. Here's the best costume i've seen this year: http://www.sfgate.com/cgi-bin/blogs/parenting/detail?entry_id=75786 Mind you, I am little biased as to what Jack is this year: This pic was on Coach's Corner last night and the video link on the HNIC web page is now up if you want to see his brief moment of fame. It's right at the beginning. You can see it here: http://bit.ly/cBzyBR

It would explain the congas in that picture that was posted yesterday. But what about the extra set of drums? Whatever ... i'm just hoping to get on that taper420 stream when I get home from trick'or'treating with the kiddies

was that a Living Loving Maid riff i heard at the beginning of the set? or ~ ~ ~ ~

Set I: Kill Devil Falls, Cavern, Foam, Guelah Papyrus, Chalkdust Torture -> Whole Lotta Love -> Chalkdust Torture, Ha Ha Ha, Walk Away, Wolfman's Brother* -> Undermind, Bathtub Gin, The Squirming Coil with another Zep tease at the end of Gin

Video here: http://www.cbc.ca/video/#/Shows/Hockey_Night_in_Canada/1245861901/ID=1629454947 Making up for the shit game that's on right now where the Leafs couldn't score if you paid them ... wait ... they are getting paid ... fuck

Extended Whole Lotta Love tease inside of Chalkdust. Then followed by HAHAHA They be fucking with all'y'all ... there ain't gonna be no Zeppelin cover tomorrow night :) Now .... Walk Away. KILLER SET SO FAR. Set I: Kill Devil Falls, Cavern, Foam, Guelah Papyrus, Chalkdust Torture -> Whole Lotta Love -> Chalkdust Torture, Ha Ha Ha, Walk Away

So, did anyone see MY BOY at the beginning of Coach's Corner??? He was the 2nd of 4 pics of kids dressed up as Don Cherry Hopefully it makes the link on the HNIC web page when they update it.

The big guns are worried that we'll all go to internet streaming for our TV content. Hmmmmm ... who are the big guns? Rogers, Bell, Cogeco, Shaw, etc. ALL of which provide internet + TV content. They don't want the upstarts to provide what many people want and at a price that it should be sold at. This is why we're getting fucked.

The whole bandwidth usage bit is a bullshit argument that the big ISPs use. This is all about a couple of big guns maintaining control, limiting competition, and keeping prices artificially high until somebody steps in and stops them (which is obviously not happening).

http://www.theglobeandmail.com/news/arts/music/the-black-crowes-these-guys-are-good/article1776484/ The Black Crowes: These guys are good BRAD WHEELER The Black Crowes At Massey Hall in Toronto on Wednesday The seventies band from the nineties is saying goodnight in 2010. The Black Crowes, who are set to go on hiatus after their current tour, were a dying breed from the beginning – outspoken, arrogant, head-strong, riff-ready and radio-friendly Southerners, dismissed as Rolling Stones revivalists and red-dirt re-packagers of Humble Pie and The Faces. As a warm, sprawling two-set adventure at Toronto’s Massey Hall well demonstrated, the brothers Chris and Rich Robinson have grown plenty from their roots. A full house heard cosmic country, Allmanesque boogie jams, whisky-drenched soul rock, southern harmony, semi-gospel, badass funk, tripping acid-folk, one surprising and delightful disco-shaker, and a few MTV-era hits too. “Find me loose-lipped and laughing,†sang guitarist Rich on his vocal cameo during the opener Jealous Again, “singing songs, ain’t got no regrets.†And who could ask for anything more? Hits: The Crowes tour as a long-haired six-piece, plus two soul-sista’ backup singers and one percussionist. And so an opening acoustic set wasn’t stripped-down or dainty. Jealous Again had a honky-tonk piano roll to it; Thorn in My Pride stretched out like a soft, psychedelic sunrise; She Talks to Angels was a sing-along. The main set was bolder, bigger and even more dynamic: Halfway to Everywhere juked, stomped and muscled its funk-rock all the way from Harlem to New Orleans; the emotional Ballad in Urgency began intensely poignant before extending to spacey southern-fried slide-guitar noodling. Oh Josephine, a rural ballad which spotlighted front man Chris Robinson’s still-potent, Georgia-drawled and Stax-scratched vocals, had Gram Parsons smiling. Misses: Guitarists Rich Robinson and Luther Dickinson (also of the North Mississippi All-Stars) sat on opposite ends of the stage, rarely engaging with each other. The telepathy of Robinson and former Crowe lead guitarist Marc Ford was missed. On occasion, the instrumental jamming seemed premeditated. The extended outro to Oh Josephine added nothing to the soulful main part. Toward night-end, singer Robinson’s vocals began to fray, perhaps explaining why the encore was surprisingly cut short after just one song – a cover of Oh! Sweet Nuthin’ that dragged the Velvet Underground up into the Ozarks. The Crowd: We had all types, among them rounders, stoners, second-balcony whistlers, late-arrivers, back-slapping howlers, beer-drinkers, middle-agers, downtown money-wasters, bottle blondes, beard-wearers, peace-sign wavers, proper men, easy-riders and well-wishers, but no hipsters, jocks or slumming school girls. Overheard: “The use of cameras is prohibited.†Funny how a fan-friendly band that used to encourage the audio-taping of its shows now has extra security guards scouring the crowd for illicit cellphone picture-takers. Departing, the hirsute, bone-thin Chris Robinson bid adieu with “We’ll see you soon.†But will we? After all, these concerts are promoted under the banner Say Goodnight to the Bad Guys Tour. In a Word: Remedy – a rock ’n’ remedy – offered by a band always in it for music, not the marketing.

Well a couple of days have gone by and now i have a head cold. Fuck! Had an absolutely great time at the show. Things slid together beautifully. Meeting up for pre-show bevvies with fellow Skanks, a co-worker and a couple of friends. Wandered in to the show as they were starting the third song! Really wasn't expecting them to start at 7:30 (yes, i know the ticket said that, but figured 8-11 would be the show). That's OK. Easy in, our seats were waiting for us and the show was a blast. The vibe in Massey (or at least on the floor) was highly energetic and sustained from start to finish. We were surrounded by non-offensive people and everyone got along. Brought back a couple of beers to the seats mid-set. Everyone around us asked if we snuck them down and I said no. Next thing you know there are beers being enjoyed by everyone around us. No smoking though and I only saw a couple of phones pulled out to take a quick pic or vid. Nice to not have to look at all those glowing screens and now that the crowd was focussed more on the music than on their cell I thought they chose a well-balanced setlist to really provide a little something for everyone. I really liked that extended Thorn In My Pride Show was over at 1030, but there was no way we were going to make the 1043 train home. Hit a bar instead and bumped into some other friends. Enjoyed some more beers and missed the next train. Oh well, got home at 130am and was off to work in a haze a few hours later. Good times. I did find that Luther and Rich really didn't seem to play together or off of one another as you would normally see in a lineup with to strong leads. Luther seemed almost disconnected. Not sure if was just me, but I thought he would have been a little more absorbed into the band as a whole while performing. Sad to think they won't be coming around again for some time, or if at all.

Yes. FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK FUCK

http://www.megaupload.com/?d=Z990U7J5

This is such bullshit. I can't believe they are allowing Bell to do this. Fuck you bell (and the other television providers who are scared shitless that people are going to alternate sources for their tv entertainment.) http://www.boingboing.net/2010/10/30/canadas-telcoms-regu.html Canada's telcoms regulator gives bloated, throttling incumbent the keys to the kingdom Cory Doctorow at 12:15 AM Saturday, Oct 30, 2010 The CRTC, Canada's telcoms regulator, had handed Bell Canada, the incumbent former state monopoly, a giant, giftwrapped early Christmas present. Bell -- whose infrastructure was built with tax-dollars -- is required to share its lines with independent ISPs, so that there can be competition in Canada's ISP market. Bell itself provides a distinctly inferior sort of retail ISP service, with secret throttling and filtering ("traffic shaping"), as well as bandwidth caps, making Canada one of the worst places to get network access in the developed world. But Bell's competitors have responded by competitive offerings that deliver a neutral network -- one that gets you the bits you asked for, as quickly as possible. But that's not going to last. The new CRTC ruling allows Bell to charge the same rates to its resellers that it charges to its retail customers -- in other words, a third party ISP will pay the same to buy a line as one of Bell's customers would (meaning that they have to charge more than Bell charges in order to turn a profit). And Bell will be allowed to impose the same network filters and throttling on these ISPs as it subjects its own customers to. The Globe and Mail has an interview with Rocky Gaudrault, CEO of TekSavvy, one of Canada's best independent ISPs.