The Mysterious Vault

Sleepy Labeef live in Toronto, July 10th, 2010

2010-07-04T18:26:00.000-07:00

with Ronnie Hayward, Tennessee Voodoo Coupe, DJ Rockin' Dave Faris

Next weekend, the Dominion on Queen in Toronto will be hosting a show by legendary rockabilly musician Sleepy Labeef. This will be Labeef's first Toronto appearance in almost a decade, very exciting news for fans of rockabilly, first generation rock 'n' roll, and great live music in general. The word "legendary" certainly gets thrown about too freely in the music world, but Labeef most definitely fits the description. An original '50s rockabilly artist, he has recorded and toured steadily for over half a century, including a decade-long association with the Sun Records label, and he is still going strong as his 75th birthday approaches on July 20th. His current CD, Roots, is a testament to Labeef's enduring strength as an interpreter of song, and was recorded in a fashion reminiscent of Johnny Cash's acclaimed American Recordings series of albums, using stripped-down arrangements that highlight Labeef's voice and guitar.

Joining Sleepy Labeef on the bill will be Ronnie Hayward, a notable Canadian musician who, like Sleepy Labeef, has done extensive touring and recording work. Hayward is a standup bass player, vocalist, and songwriter, and his music is a distilled, road-tested mix of rockabilly, country, and roots. Tennessee Voodoo Coupe, the host band of the East End Rockabilly Riot, will be kicking off the evening with their "100 Proof Reckless Hillbilly Jive".

I will be joining the fun as well, spinning some rockabilly tunes from my collection throughout the evening. I'm thrilled to be a part of this event, and I'm hoping to see lots of people out in support of Sleepy Labeef on his return to Toronto. The "Human Jukebox" has a long-standing reputation for his energetic, freewheeling live show, so I'm sure he won't disappoint! Here are the finer details...

East End Rockabilly Riot presents:

Sun Records Rockabilly legend

Sleepy Labeef

with Canadian Rockabilly Hall of Famer

Ronnie Hayward

and special guests

Tennessee Voodoo Coupe

with DJ Rockin' Dave Faris

spinning red hot rockabilly wax

live at The Dominion on Queen

one night only!

Saturday, July 10th, 2010

Doors open at 8:30pm, show at 9:30pm

500 Queen St. E., Toronto

Tickets $20, advance tickets available at Sunrise (336 Yonge St. & 784 Yonge St. locations only), Soundscapes, and the Dominion on Queen, or online through Ticketweb at www.dominiononqueen.com

East End Rockabilly Riot – second anniversary show!

2010-06-11T19:00:00.000-07:00

It’s June, and it’s time for another East End Rockabilly Riot! I’ll be spinning rockabilly tunes at the second anniversary edition of the Riot, at the Dominion on Queen, Saturday, June 19th. The Riot needs no introduction in The Mysterious Vault (coincidentally, the EERR and the MV both started around the same time!), but I wanted to post the latest poster artwork and the press release for the show. This should be a great night of live rockabilly and rock ‘n’ roll with an extra dose of swing, so come out and jump, jive an’ wail!

I will also be dropping by the Catwoman Radio show on CIUT 89.5 FM in Toronto on Wednesday, June 16th (5-6pm) to spin some tunes in advance of the show, so tune in, or you can listen online. The show will be available as a podcast on the CIUT site for a week after broadcast.

East End Rockabilly Riot #6!
Second anniversary show

Live at The Dominion on Queen
One night only!
Saturday, June 19th, 2010

featuring knockout performances by:
Buzz Deluxe
and
Tennessee Voodoo Coupe
with special guests
The Hi-Tones (from London, ON)
and spinning red hot rockabilly platters
DJ Rockin’ Dave Faris and DJ Evilpainclown

$10 cover, doors 9 pm, showtime 10 pm
500 Queen St. E., (416) 368-6893
Sponsored by Mill St. Brewery

There’s a riot goin’ on at the Dominion on Queen on Saturday, June 19th, as the East End Rockabilly Riot returns to celebrate its second anniversary with a knockout triple-header! The 6th installment of the wildly popular rockabilly event will be headlined by hi-octane rock ‘n’ roll sensations Buzz Deluxe, joined on the bill by EERR host band Tennessee Voodoo Coupe, and in town from London, ON, The Hi-Tones. Keeping the joint jumpin’ between live acts will be EERR resident DJ Rockin’ Dave Faris and guest DJ Evilpainclown, spinning red hot rockabilly and ‘50s rock ‘n’ roll throughout the evening. EERR kicks it into overdrive for this special anniversary edition, so don’t miss the action!

Buzz Deluxe heat up the stage at EERR#3 (June 2009)

Headlining the second anniversary Riot are T.O. “hot rod death swing” combo Buzz Deluxe. Powered by the restless driving beats of standup drummer Kerry Dale, and the intense Gretsch twang of Jesse James Dale, Buzz Deluxe embrace the raw power of rock ‘n’ roll in its most direct form. Buzz Deluxe are 100% blood, sweat and rhythm, merging a variety of edgy roots influences, from rockabilly, surf and garage to gypsy swing, arriving at their own powerful sound. Since their last EERR appearance (the 1st anniversary show in June, ’09), Buzz Deluxe have successfully toured in the U.S. and Australia/New Zealand, released a smokin’ new album, Songs for the Hanged Man, and most recently have augmented their close-knit 2-piece guitar/drums/vocals lineup with the addition of bass player Patty Quake. Buzz Deluxe blew the roof off the Dominion at EERR#3 last June, so be prepared for a blast of road-tested and refined rauch ‘n’ roll.

Tennessee Voodoo Coupe host the East End Rockabilly Riot

Tennessee Voodoo Coupe are set to rock the joint with their “100 proof reckless hillbilly jive.” With special guest Alistair Christl on vocals and guitar (filling in for frontman Big Rude Jake), and Steve Good on doghouse bass, TVC round out their lineup with Colonel Gary Edwards on a standup drum setup, and Stevie “Six String” Abrams on the twangy Gretsch guitar. With this classic rockabilly arrangement, TVC tackle a mix of early rockabilly, country, and ’40s jump blues, along with some originals and a few unexpected surprises. TVC launched the EERR in 2008, and are the host band of the series. Joining the Riot for the first time are London, Ontario-based combo The Hi-Tones. The Hi-Tones formed in late 2007 as Duke Sedan and the Hi-Tones, gaining success with their amped-up rockabilly sound. When Duke Sedan moved on, the group reshuffled their lineup and incorporated more swing material into their set, resulting in the current sensational jumpin’ and jivin’ sound of The Hi-Tones. The night is guaranteed to kick off on a high note!

DJ Rockin’ Dave Faris and DJ Evilpainclown will be spinning revved-up rockabilly and rock ‘n’ roll tunes to set the stage for the live action. Rockin’ Dave Faris hosted his monthly “Rock and Roll Riot” night at The Cameron House for over 7 years, and he is the resident DJ at the “East End Rockabilly Riot” nights. DJ Evilpainclown (aka DJ Johnny for you veterans of the scene!) has been stirring up trouble behind the turntables for a number of years, and was a DJ and live music promoter as part of John and Jenny’s Rock ‘n’ Roll Party for almost a decade. Expect some floor stompin’ rockabilly boogie and hillbilly rock all night long!

The East End Rockabilly Riot was launched in June of 2008, in an effort to create a unique event in a historic venue east of the great dividing line of Yonge St., showcasing rockabilly and vintage rock ‘n’ roll (with a nod to related sounds such as hillbilly, country, psychobilly, and instrumental twang). In a brief two years, EERR has already established itself as one of Toronto’s top rockabilly events, hosting top-notch acts such as Three Blue Teardrops, The Royal Crowns, Lori Yates, The Greasemarks, Burnin’ Ethyl, and Ancient Chinese Secret. Following the successful East End Rockabilly Weekend in September of 2009, EERR continues in high gear for 2010, and the second anniversary show is primed to be a memorable night of loud, fast, out of control rock ‘n’ roll. This is no nostalgia trip, it’s a vital injection of the music here and now, while channeling the excitement and energy found in the music’s infancy.

For more information, contact: eastendrockabillyriot@gmail.com

www.myspace.com/eastendrockabillyriot
www.buzzdeluxe.com
www.myspace.com/tennesseevoodoo
www.myspace.com/rockabillyball
www.myspace.com/djdavidfaris
www.dominiononqueen.com
www.millstreetbrewery.com

DJ David Faris now on MySpace

2010-03-01T09:06:00.000-08:00

I recently started up a MySpace site for my DJ activities, so I wanted to post the link here for any readers of The Mysterious Vault that might be interested.

You can find my DJ site at: www.myspace.com/djdavidfaris

I've been posting information on my DJ nights, and some playlists, on the blog over the past few years, and I may or may not continue to do so. The MySpace page will be updated regularly with all my upcoming DJ nights and playlists, so drop by and say hi!

In related news, The Cameron House will be changing ownership this spring, so it looks like my monthly DJ night, Rock and Roll Riot, will be coming to an end. It's been a great 7+ years spinning at the Cameron, one of Toronto's best venues, and I'll definitely miss it. Thanks to everyone who has come out to my night, and to the great staff at the Cameron. It is the end of an era in more ways than one. I will post information on the final Rock and Roll Riot night if I can book one before the venue closes.

Surf and Turf 2 – January 22nd at the Cadillac Lounge

2010-01-08T16:33:00.000-08:00

Following in the footsteps of 2009, my first DJ set of 2010 will be at The Cadillac Lounge, as part of the second Surf and Turf night. Surf and Turf was launched in January, 2009, as an effort to present some great surf and rockabilly music on one bill, and it was a blast (see my Jan. 25, '09 post with some photos from the event). This year will feature a similar approach, one surf band, one rockabilly band, and myself as the resident DJ. Tennessee Voodoo Coupe provide the hopped-up rockabilly set, and local instrumental hotshots The Calrizians will deliver the sizzling surf sounds to kick off the night (see my Dec. 14, '08 post on The Calrizians). Hope to see you there! Here is the press release with all the details:

Surf and Turf 2
The second annual surf and rockabilly rumble!
Live at The Cadillac Lounge
Friday, January 22nd, 2010

featuring performances by:
Tennessee Voodoo Coupe
and The Calrizians
with DJ “Surfin” Dave Faris

$10 cover, doors 9 pm, showtime 10 pm
1296 Queen St. W.
For more information, contact: bluemercurycoupe@yahoo.com

Rev up your engines, wax your surfboards, and make The Cadillac Lounge your destination on Friday, January 22nd, for Surf and Turf 2, the first hot ticket of 2010! Returning for a second lively installment, Surf and Turf is a raucous surf and rockabilly showdown, bringing together top-notch live entertainment along with a well-stocked DJ for an evening of musical thrills. Hosted by Toronto’s Tennessee Voodoo Coupe, Surf and Turf 2 welcomes contenders The Calrizians, offering up the instrumental portion of the evening. DJ “Surfin” Dave Faris rounds out the bill, spinning wild rockabilly and wave-riding surf tunes throughout the night.

Tennesee Voodoo Coupe live at the first Surf and Turf, January, 2009

Tennessee Voodoo Coupe are an offshoot of Toronto’s garage punk rockers Blue Mercury Coupe, although they have been making a name for themselves with their “100 proof reckless hillbilly jive.” With BMC’s Big Rude Jake on lead vocals and acoustic guitar, and Steve Good on the doghouse bass, TVC round out their lineup with Stevie “Six String” Abrams on the twangy Gretsch guitar, and Colonel Gary Edwards on a minimal standup drum setup. With this classic rockabilly arrangement, TVC tackle a broad mix of music, leaning heavily on early rockabilly, country, and some ’40s jump blues, along with some originals and a few unexpected surprises. TVC have been rocking stages across town for a couple of years, and in 2008 launched the East End Rockabilly Riot series at The Dominion on Queen, most recently expanded to a successful weekend event in September, 2009.

The Calrizians onstage at The Cadillac Lounge, June, 2009

The Calrizians are a Toronto-based instrumental trio, one of the top names on the local surf scene. Featuring the formidable talents of Ben Jewer on death-defying guitar, deft bass wrangler Oscar Laguan, and Jason Sproule pounding out the surf beat, The Calrizians are a force to be reckoned with. Cutting a stylish figure onstage, the group have an impressive repertoire, covering a wide range of classic instrumental rock and surf material and offering up some unexpected surprises throughout their set. The group are regulars at venues around town, such as The Dakota Tavern and The Cadillac Lounge, and were participants in the annual Great Lakes Surf Battle surf music festival in June, 2009.

DJ “Surfin” Dave Faris joins the excitement, spinning red hot rockabilly and surf tunes to set the stage for the live action. Faris has hosted his monthly Rock and Roll Riot night at The Cameron House for 7 years, spinning a wide variety of music from rockabilly to punk, garage, surf, country, blues and much more. In recent years he has spun at BMC/TVC’s Greezefest and Surf and Turf events, John and Jenny’s 2008 Rock’n It Up III rockabilly weekend, and he is the resident DJ at the East End Rockabilly Riot nights. Expect some sizzling surf and rockabilly boogie all night long!

www.myspace.com/bluemercurycoupe
www.myspace.com/thecalrizians
www.myspace.com/djdavidfaris
www.cadillaclounge.com

Have a Mysterious Christmas

2009-12-23T16:12:00.001-08:00

The Mysterious Vault would like to extend warm Christmas greetings to all its readers. Have a mysterious holiday filled with surprises, and an action-packed 2010!

Rock and Roll Riot turns Lucky 7!

2009-12-10T18:23:00.000-08:00

The last Saturday night of November marked the 7th anniversary of my monthly DJ night at The Cameron House, Rock and Roll Riot. This was an occasion to celebrate, and I did so by bringing along alot of music that I felt represented the spirit of the night over the last 7 years. I decided to spin a cross-section of songs and artists that have received regular rotation at the Riot since my first night back in 2002, although I also kept to my policy of introducing new material by showcasing tracks from the amazing new live album by Tom Waits, Glitter And Doom, and The Brian Setzer Orchestra’s latest, Songs From Lonely Avenue. The musical focus of Rock and Roll Riot has always been very broad, but the general emphasis is on rock ‘n’ roll from the ‘50s to the present, along with various influences and subgenres, including rockabilly, surf and instrumental rock, punk, glam, garage, blues, country, lounge and exotica, and much more. While I didn’t get to play nearly as many songs as I had somehow envisioned (the night is always too short!), I did manage to make a dent in my list. I’ve put together a fairly lengthy playlist below as a record of my lucky 7 set. Many thanks to all those who have come out to The Cameron House for a dose of the Rock And Roll Riot over the last seven years, I hope you’ve enjoyed some of the music that rocked the joint. My next night there will be on January 30th, 2010. Sadly, I learned just a few weeks ago that The Cameron is up for sale, so the future of the venue does not look promising. It will be more than the end of an era when The Cameron shuts down, so enjoy it while it lasts.

Rock and Roll Riot 7th Anniversary playlist – The Cameron House, Nov. 28th, 2009

Duane Eddy “Rebel Rouser”
Link Wray And His Ray Men “Deuces Wild”
Atomic 7 “Save Your Fork There’s Pie”
Wes Dakus And The Rebels “El Ringo”
The Outlaws “Swingin’ Low”
Los Straitjackets “Lonely Apache”
Ray Condo And His Hardrock Goners “Hot ‘N’ Cold”
Stoltz Bros. “Rock And Roll Riot”
Wayne Hancock “Flatland Boogie”
Joe Kozak “Hillbilly Rock”
The Backstabbers “Been All Around This World (Hang Me)”
The Bebop Cowboys “Dancing On A Saturday Night”
Sid King And The Five Strings “Gonna Shake This Shack Tonight”
Carl Perkins “Honey Don’t”
Ricky Nelson “Waitin’ In School”
Johnny Burnette Trio “All By Myself”
Paul Burlison “The Train Kept A-Rollin’”
Robert Gordon “Drivin’ Wheel”
The Royal Crowns “Bettie Page”
The Bop Cats “One Hand Loose”
The Brian Setzer Orchestra “Trouble Train”
Lee Rocker “Bulletproof”
Danny Gatton “Elmira St. Boogie”
Warren Smith “Rock And Roll Ruby”
Johnny Cash “I’ve Been Everywhere”
The Sadies “Loved On Look”
Chuck E. Weiss “Two-Tone Car (an auto-body experience)”
Tom Waits “Goin’ Out West (live from Glitter And Doom)”
The Cramps “Tear It Up (live from Urgh! A Music War soundtrack)”
James Junkin Jr. and Jim Gunning “Yeah Yeah Yeah (Electric Mix)”
Big Rude Jake “Night of the Kingsnake”
Carolyn Mark “Chumpville”
The Handsome Neds “In Spite Of The Danger”
Wanda Jackson “Riot In Cellblock #9”
Loretta Lynn “Have Mercy”
Kristin Hersh “When The Levee Breaks”
Fembots “Small Town Murder Scene”
Royal City “Here Comes Success”
Television “Venus”
A Neon Rome “Windowsill”
Jim Carroll “Wicked Gravity”
999 “Homicide (live from Urgh! A Music War soundtrack)”
Wire “Strange”
John Cale “Perfect”
Moe Tucker “Too Shy”
The Velvet Underground “Foggy Notion”
The Fall “It’s A Curse”
Gang Of Four “I Found That Essence Rare”
The Other Half “Mr. Pharmacist”
The Groupies “Primitive”
The Gruesomes “Way Down Below”
Dik Van Dykes “Curling”
Camper Van Beethoven “Take The Skinheads Bowling”
R.E.M. “There She Goes”
Luna “Chinatown”
The Jesus And Mary Chain “Darklands”
Galaxie 500 “Ceremony”
The Ventures “Secret Agent Man”
Laika And The Cosmonauts “Mission Impossible”
Mickey Baker “Third Man Theme”
Shadowy Men On A Shadowy Planet “Good Cop, Bad Cop”
Stray Cats “Sleepwalk”

The Handsome Neds, “In Spite Of The Danger” 45 single sleeve

Rock and Roll Riot haunts the Cameron House

2009-11-21T05:46:00.001-08:00

The October date for my monthly DJ night at The Cameron House, Rock and Roll Riot, just happened to fall on Halloween this year. This gave me extra incentive to dig into my collection for Halloween-themed songs, and believe me, I’ve got no shortage of those! Looking over my selections of spooky tunes for the evening, I noticed that there were lots of songs from the ‘50s through to the ‘90s (and beyond), each decade having its own particular flavour of ghoulish offerings.

Horror songs in the pop/rock world from the ‘50s and ‘60s tend to be novelty hits along the lines of Bobby “Boris” Pickett’s immortal “Monster Mash”, Screamin’ Jay Hawkins’ “Little Demon”, and Link Wray’s “Jack The Ripper”, fun party songs with a sense of menace and monsters lurking in them. There is also a big monster element in garage rock, from its heyday in the ‘60s to the present, as well as in surf music. The crazy fun of schlocky b-movie horror and freaky monsters has been well absorbed into the fabric of garage and surf (along with references outer space and aliens), even to the point of revival bands adopting identities such as The Gruesomes, The Phantom Surfers and The Mummies. This garage punk obsession with pop culture's cheap thrills and low-brow art would definitely be an influence on the next generation, and The Ramones and The Cramps, among others, would take it to a new level.

By the ‘70s, creepy themes initiated by ‘50s rockers and ‘60s garage/psych/surf bands were embraced by punk rock groups, who latched on to the horrific, and the outsider quality of monsters to add to their shock content (not to mention the strain of horror rock and heavy metal emerging in the late ‘60s and being championed by Alice Cooper, Kiss, Black Sabbath and others on a more mainstream level). The Damned, The Ramones, The Stranglers, New York Dolls and their peers all wrote material that seemed to jump out of the pages of EC Comics. Most notorious of all were The Cramps, who lurched out of the grave telling tales of Cavemen, Human Flies, Goo Goo Mucks, and all sorts of unfathomable night creatures with insatiable libidos (Creature From the Black Leather Lagoon, anyone??). The influence of The Cramps alone is hard to understate, and it is still being felt today, even after the premature death of frontman Lux Interior. Their love of all things strange and groovy has resulted in much obscure music from the early years of rock and roll being preserved and reissued, and many eccentric artists from the past being rediscovered. They have also spawned countless imitators (and were a big inspiration behind psychobilly), and led a successful career as outsiders for more than three decades.

From there, we move into the post-punk bands, the psychobilly groups, and the early new wave artists, whose material was similarly laced with fantastic content and larger-than-life characters, often taken right from the movies or fiction, largely dystopian in theme. The ‘80s was populated by bands such as Bauhaus, Siouxsie and the Banshees, Alien Sex Fiend, and The Meteors, with the goths and psychobillies keeping horror front and centre in their music, perhaps with a more explicitly shocking approach. Industrial outfits like Skinny Puppy and Cabaret Voltaire delved even deeper into the dark side, but that’s another nightmare… Meanwhile, here is a selection of my playlist from Halloween night at The Cameron. It was fun, and the only night of the year I can get away with spinning “Frankenstein” by both the New York Dolls and Edgar Winter! As someone who grew up reading comic books and watching monster and horror films, I really dig being able to play all these great chilling and thrilling tracks every year. And there is alot of first rate scary Canadian music to draw from, so I made sure to include a healthy portion, everyone from Nash the Slash to Deja Voodoo, compulsory Halloween listening. Enjoy!

Halloween playlist from The Cameron House – Oct. 31st, 2009

Richard O’Brien (from The Rocky Horror Picture Show OST) “Science Fiction/Double Feature”
David Bowie “Diamond Dogs”
Jim Carroll “People Who Died”
Ramonetures “Johnny Hit and Run Paulene”
Talking Heads “Psycho Killer (live version from The Name of This Band Is Talking Heads)”
Wire “I Am The Fly”
Breeding Ground “Reunion”
David J “I Can’t Shake This Shadow of Fear”
The Fall “There’s A Ghost In My House”
Land Of Giants “Cannibal Dolls”
Death Among Friends “Warm Leatherette”
Alien Sex Fiend “I Walk The Line”
Bauhaus “Terror Couple Kill Colonel”
United State “Automaton”
Nash The Slash “Dead Man’s Curve”
Suicide “Ghost Rider”
Severed Heads “Dead Eyes Opened (Remix Three)”
The Walker Brothers “Nite Flights”
Japan “Halloween”
New York Dolls “Frankenstein”
The Birthday Party “Release The Bats”
Public Image Ltd. “Graveyard”
Dead Boys “Sonic Reducer”
Blue Mercury Coupe “Detroit City (On A Saturday Night)”
Chris Spedding “New York City”
Television “See No Evil”
Edgar Winter “Frankenstein”
Reverend Organdrum “Experiment In Terror”
Shadowy Men On A Shadowy Planet “Shake Some Evil”
Link Wray “The Shadow Knows”
The Swanks “Ghost Train”
The Von Drats “Church Key”
Round Robin “I’m The Wolfman”
The Rumblers “Boss”
Los Straitjackets “Jack The Ripper”
Ronnie Hawkins And The Hawks “Who Do You Love”
Elvis Presley “Fever”
Nouvelle Vague “Human Fly”
Tom Waits “Lucinda – Ain’t Goin’ Down (live)”
Screamin’ Jay Hawkins “I Put A Spell On You”
The Groupies “Primitive”
The Cramps “Goo Goo Muck”
Suckerpunch “Let’s Get Evil”
Dex Romweber Duo “Lonesome Train”
Southern Culture On The Skids “Zombified”
Christian D And The Hangovers “Vampire Lover”
Three Blue Teardrops “Go! She-Devil”
Frantic Flintstones “Shake The Undertaker”
The Sin-Tones “Knot Of Wood”
The Novas “The Crusher”
Tijuana Bibles “It’s Gamera!”
Carl Mann “Ubangi Stomp”
Billy Lee Riley “Flying Saucers Rock 'n' Roll”
House Of Knives “Death Museum”
Deja Voodoo “Bound For Glory”
Batfinks “She’s A Vampire”
The Quakes “Growing Up Evil”
Deadbolt “Hank Watson Stalks The Earth”
Wes Dakus And The Rebels “Creepy”
Ray Condo And His Hardrock Goners “The Sinister Urge”
Jerry Cole & His Spacemen “Night Drag”

United State, “Automaton” 45 single sleeve

Interview with "Rockabilly 514" director Patricia Chica

2009-10-27T17:18:00.000-07:00

Last month, the fourth edition of the East End Rockabilly Riot took place at The Dominion on Queen in Toronto. I have mentioned the EERR before in The Mysterious Vault, and have participated in each event as the house DJ, sharing the bill with live rockabilly acts. The shows so far have been a great success, which is quite rewarding considering how much work has gone into them. The fourth installment of the EERR was the East End Rockabilly Weekend, held over three days in September (see my previous post for details on the lineup), with seven different bands, two DJs, a car show, and two rock and roll movies. This is the first time that we have scheduled films as part of the event, the featured titles being Rock, Rock, Rock!, a vintage 1956 Alan Freed movie, and Rockabilly 514, a Canadian documentary focusing on the Montreal rockabilly and vintage lifestyle community. In preparing the programme guide for the EERW, I conducted an interview with Rockabilly 514 director Patricia Chica. Chica was very supportive of the EERW, and helpful in setting up the screening. Since only part of the interview ended up being printed in the programme guide, I thought that I would post the complete copy here on The Mysterious Vault. You can also read it on the East End Rockabilly Riot Myspace page (in the blog section), as well as view photos from the weekend's events. I will post a selection from my EERW DJ playlist here at a later date. Meanwhile, enjoy the interview, and check out Rockabilly 514 if you get a chance, it's a great rock 'n' roll documentary with a French Canadian twist! The film plays on Bravo! occasionally, although the DVD cut is longer. Thanks again to Patricia Chica for taking the time to do this interview.

Interview with filmmaker Patricia Chica

Rockabilly 514 director Patricia Chica, self portrait

David Faris (EERR): Hello! We're very excited to be able to screen Rockabilly 514 at the East End Rockabilly Weekend. The film was officially released about 2 years ago now, how is it doing? Is it still an active concern for you these days?

Patricia Chica: Rockabilly 514 was first presented at the Red Hot and Blue Rockabilly festival in 2007 and soon after it started its festival circuit. Even after two years the film is still very popular among the rockabilly community as well as the general public!

EERR: What projects are you currently working on? You work as both a photographer and filmmaker, is that correct?

PC: I consider myself a visual storyteller. My new short film Day Before Yesterday is presented on Bravo! Canada as well as the film festivals around the world. I'm also working on the development of new TV series and a feature film. I still continue to do rock n' roll photography!

EERR: You co-directed Rockabilly 514 with Mike Wafer. What were your respective roles in making the film? Do you have any future projects planned together, or was this a one-off?

PC: Even though my co-director Mike Wafer and I were both involved in all the aspects of the making of the film, I can say that he was in charge of most of the writing and research and I was in charge of the look and cinematography. Mike resides in London, England so it makes it hard for us to collaborate on other projects together.

EERR: Rockabilly 514 is quite unique in that it focuses on the rockabilly and vintage lifestyle community in Montreal, which is to a large degree French. How has the reception been to the film in English Canada and the U.S.? Has Rockabilly 514 been screened much in Ontario, or across Canada?

PC: Rockabilly 514 has had a huge success everywhere. Rockabilly and film festivals in the United States have presented the film many times in the last two years, and we have got a great response everywhere we went from Los Angeles to New York! The full 86 minutes version hasn't been presented much in Canada, that's why we are very honored to be part of the East End Rockabilly Weekend!

EERR: Are there any Montreal-based bands that you didn’t get to include in Rockabilly 514 that you would have liked to feature?

PC: When the film was being produced, we were able to include all the rockabilly bands that we had heard about at the time and that were willing to appear in the film. I think that it represents the scene of the years 2003 to 2006. There were new bands who surfaced in the scene after the production was completed and I hope that the promotion we got for the film will help them get the recognition they deserve!

EERR: As a filmmaker, do you have interest in continuing to make films with a strong focus on music and musicians?

PC: I'm a rockumentary filmmaker at heart. I'm fascinated by the creative process and the personal and professional stakes of a musician. I shoot camera myself, bringing a strong visual sense to my work that wins quickly their trust. I have the ability to bring the best of a musician in front of a camera, allowing the viewer to feel and experience their emotions too. I am not a musician myself, I'm a visual artist and storyteller, but I think that I have a musical sensibility when I shoot – I just use a different type of instrument to express myself!

EERR: Bravo! has been very supportive of your film. Was it a surprise to you as a young filmmaker to get national support for such a unique documentary?

PC: We were very lucky to be supported by two networks, Bravo! in Canada and Canal D in Quebec. I was the first surprised! They got involved in the film after reading the first treatment and watching a teaser that we created in the earlier stages of research! Bravo! has always supported my work and I hope that I will continue collaborating with them for a long time!

EERR: Considering the vintage nature of the music, fashions, automobiles, and lifestyles profiled in Rockabilly 514, was it ever a consideration for you to shoot the film in a traditional medium, such as 16mm?

PC: Budget wise, it was not possible to shoot Rockabilly 514 in film. We filmed for 56 days over 3 years. We collected 300 hours of footage. To shoot on film was not even an option at the time!

Bloodshot Bill

EERR: Your film took you on the road down to the U.S., following Bloodshot Bill on tour. The U.S. is the home of rockabilly and rock ‘n’ roll, do you have any desire to do more filming down there?

PC: I would love to do more filming in the US. I always feel very inspired when I spend time in New York and Los Angeles! I collaborate closely with Kelly Padrick, a New York singer-songwriter, and I have directed her four music videos. I still keep going back to the US for various projects.

EERR: In a lot of ways, Rockabilly 514 tells a story that is left unfinished, the viewer wonders what becomes of the artists and individuals profiled in the film. Will we ever see a sequel, or is this to be left to our imaginations?

PC: At the moment, there is no sequel in the works. However, I'm presently collaborating with Bloodshot Bill on some other video projects that I'm very excited about! Who knows, maybe I'll decide to do a Rockabilly 514 tenth year anniversary follow up in the future!!!

EERR: Has the film Rockabilly 514 had much impact on the careers of the artists that you profiled? How has the Montreal rockabilly and vintage community changed since you made the film?

PC: I think that Rockabilly 514 helped get the Montreal rockabilly scene some mainstream media and international recognition as one of the strongest subcultures in Canada. It also helped the "Red Hot and Blue Weekender" get some press attention. Now the festival has moved to downtown Montreal and attracts a larger audience than when we first started documenting it. I'm very happy for Nathalie Lavergne, the promoter, who now has more and more support.

The Comets (top) and Wanda Jackson (below), first generation rockers

who both appear in Rockabilly 514

EERR: Do you find the rockabilly community welcoming of “outsiders” or alienating? There are a lot of fans of the music and early rock ‘n’ roll that do not necessarily feel the need to live a “vintage lifestyle”, but nonetheless love the music just the same.

PC: I think that the Montreal rockabilly scene is very welcoming! It attracts hard core rockabillies but also the general rock n' roll music lover. It also attracts jive dance students, alternative clothing designers, pinups, burlesque dancers, retro culture lovers and artistic people. They just want to have a good time. It's all about the music and the fun, in my opinion!

EERR: Finally, would you give us a list of 5 rock ‘n’ roll movies that top your list?

PC: I was recently at the Hollywood Premiere of Rock Prophecies, an amazing and well crafted rockumentary about the life and work of legendary rock n' roll photographer Robert Knight. I have to say that it was one of the most compelling rock documentaries that I've ever seen!

I also recommend the new It Might Get Loud featuring Jimmy Page, The Edge and Jack White. (also saw it when it premiered in Los Angeles).

Other excellent films:

Anvil! The Story Of Anvil

Global Metal

Metallica – Some Kind Of Monster

EERR: Thanks Patricia!

Rockabilly 514 filmmaker Patricia Chica

Above photos by Patricia Chica (patriciachica.com)

East End Rockabilly Weekend – September 18th-20th, 2009

2009-09-16T06:34:00.000-07:00

This weekend, I will be doing a DJ set at the latest edition of the East End Rockabilly Riot. I've written about the EERR before in The Mysterious Vault, and have had a great time participating in these shows over the last year and a half. The upcoming EERR will be the first full weekend event, the East End Rockabilly Weekend, taking place over 3 days. We have expanded the scope of the event to include films, as well as a vintage bike and auto "Show and Shine", and a Sunday matinee Honky Tonk brunch to end off the weekend, in tribute to Hank Williams' birthday (Sept. 17th). Rather than elaborate more, I will just let the press release do the talking. Hope to see you there!

East End Rockabilly Riot presents:

East End Rockabilly Weekend

Friday, September 18th - Sunday, September 20th

at The Dominion on Queen

500 Queen St. E., Toronto

This fall, the East End Rockabilly Riot stages its most ambitious show to date, the East End Rockabilly Weekend. Taking over The Dominion on Queen for three solid days of rockin’ entertainment, the East End Rockabilly Weekend will be the place to be from September 18th–20th. The previous three successful East End Rockabilly Riot nights at the Dominion have set the stage for this exciting weekend event, which features a rock-solid lineup of live rockabilly acts, DJs, and rock ‘n’ roll movies, as well as a vintage car and bike “Show and Shine” and a Honky Tonk Brunch in celebration of Hank Williams’ birthday. The East End Rockabilly Weekend is the only event of this nature happening in Toronto all year, so mark your calendar and make your way down to the Dominion for a stellar weekend of rockin’ and rollin’!

Live music has always been the primary focus of the East End Rockabilly Riot, and for this fourth installment, the band lineup is our best yet, including some returning favourites, and some out-of-town attractions. EERR showcases live rockabilly acts, along with related genres such as psychobilly, instrumental rock, and country, and September’s bill offers a varied cross-section of artists to appeal to a wide range of tastes. Kicking off the weekend on Friday, Sept. 18th will be The Greasemarks, a three-piece group from Guelph who have been causing a stir with their traditional approach to wild rockabilly mayhem. Joining the Greasemarks and headlining Friday night are the Three Blue Teardrops, a Chicago-based trio known for their frantic stage energy, and high-octane mix of rockabilly, psychobilly, and rock ‘n’ roll. This will be The Three Blue Teardrops’ first Canadian appearance in over two years, so catch them at The Dominion!

Saturday, Sept. 19th, the live music begins early with a matinee performance, and continues on deep into the night. Local 4-piece Big Ass Cracker bring their driving rock’n’roll sound to The Dominion as the live matinee band during Saturday afternoon’s vintage car and bike “Show and Shine”, onstage between 3-6pm. The evening’s live triple header of Toronto groups opens with the phenomenal instrumental sounds of Ancient Chinese Secret (featuring Brian Connelly on guitar), providing a set of eclectic covers and a heavy dose of guitar twang guaranteed to please. EERR host band Tennessee Voodoo Coupe follow, bringing their own unique blend of music to the Riot. Fronted by vocalist/guitarist Big Rude Jake, TVC are an offshoot of Toronto’s garage punk rockers Blue Mercury Coupe, and have been making a name for themselves with their “100 proof reckless hillbilly jive”. Toronto’s premier rockabilly combo, The Royal Crowns, headline Saturday night, and are set to shake the joint with their revved-up high-energy live show. The Royal Crowns will be joined by special guest Lori Yates for this show. Finally, to round out the weekend, Sunday afternoon’s Honky Tonk Brunch will be highlighted by a live performance by Hank Williams on the Lost Highway, in honour of Hank Williams’ birthday.

In addition to the action-packed live lineup happened over the weekend, EERR has also booked some red hot rockin’ DJs, and will be screening two rock ‘n’ roll movies to keep things hoppin’. Friday night, DJ Rock’n’Roll Jenny will be in the house to get the crowd movin’ for The Greasemarks and The Three Blue Teardrops. DJ Rock’n’Roll Jenny has gained a following in T.O. as a rockabilly promoter and DJ, and has just returned from spinning at Montreal’s renowned “Red Hot and Blue Rockabilly Weekend”. DJ Rockin’ Dave Faris rocks the joint on Saturday night, and has been the resident DJ at all of the EERR events so far. He has also hosted his monthly “Rock and Roll Riot” DJ night at The Cameron House for over a half decade, playing a wide variety of music from rockabilly to punk, garage, surf, country, blues and more. And on the big screen, EERR has booked two exciting rock ‘n’ roll movies to add a cinematic angle to the weekend’s activities. Friday night, original ‘50s Alan Freed rock ‘n’ roll film Rock, Rock, Rock! (1956) will be shown, including filmed performances by Chuck Berry, Johnny Burnette Trio, The Moonglows, and more. Saturday, we are proud to present an exclusive screening of the film Rockabilly 514, a 2007 documentary directed by Patricia Chica and Mike Wafer, focusing on Montreal’s rockabilly and vintage lifestyle community.

The East End Rockabilly Weekend hits Toronto September 18th–20th at The Dominion on Queen. Advance tickets are now on sale at Penguin Music (256A Queen St. W.), Sunrise Records (Yonge & Dundas/Yonge & Bloor), and at The Dominion on Queen. For Hotel accommodations, contact the Days Inn (1684 Queen St. E.) for a special rate (ask for the “Rockabilly Rate”). Presented by Mill St. Brewery and Exclaim.ca. Don’t miss it!

For more information, contact: eastendrockabillyriot@gmail.com

www.myspace.com/eastendrockabillyriot
www.dominiononqueen.com
www.millstreetbrewery.com
www.exclaim.ca

Rock and Roll Riot – 45 revolutions from June, 2009

2009-06-29T16:15:00.000-07:00

June has been a busy month for me, with 2 DJ nights and several live shows on the agenda. I had been out to see the sensational Sharon Jones & The Dap-Kings at the Toronto Jazz Festival the night before my monthly DJ night at The Cameron House, Rock and Roll Riot, so I was heavily inspired to spin some soul, R&B, funk, and blues selections to keep the groove going. Being my first DJ set of the summer, I also made sure to deliver some sizzling surf and hot rod instrumentals, rounding out the evening. A fun night as usual at The Cameron, despite the rather thin crowd, and a good way to end off the month. I managed to keep track of a good portion of my playlist this month, so here's a pretty thorough sampling...

45 Songs from The Cameron House – June 27th, 2009

Sleepy LaBeef “Bright Lights, Big City”
BB King “I Get So Weary”
Muddy Waters “I Just Want To Make Love To You (Electric Mud version)”
Phil Upchurch “Crosstown Traffic”
Buddy Guy “My Time After A While”
Little Milton “Blind Man”
Etta James “Next Door To The Blues”
Huey Piano Smith “Little Liza Jane”
Eddie Bo “The Thang, Pt. 2”
Booker T. & The MGs “Soul Clap ‘69”
The Wild Magnolias “Soul, Soul, Soul”
The Bar-Kays “Son Of Shaft”
The Temptations “Law Of The Land”
The Staple Singers “Respect Yourself”
Mavis Staples “Eyes On The Prize”
Sharon Jones & The Dap-Kings “Be Easy”
James Hunter “She’s Got A Way”
Eli “Paperboy” Reed & The True Loves “(Doin’ The ) Boom Boom”
James Brown “Funky Drummer”
The Sugarman 3 “Chicken Half”
Magic Slim And The Teardrops “What’s Wrong”
Bo Diddley “Road Runner”
Bob & The Bearcats “Reconsider Baby”
Rufus Thomas Jr. “Tiger Man (King Of The Jungle)”
King Curtis “Soul Serenade”
Tom Waits “Low Down”
Deja Voodoo “48 Bucks”
Chuck E. Weiss “Two-Tone Car (an auto-body experience)”
Chuck Berry “Maybellene”
Jerry Cole “Twin Scramblers”
Link Wray & The Raymen “Right Turn”
Blue Mercury Coupe “Daytona 69 (Sean's Surf)”
Los Straitjackets “Squad Car”
Tijuana Bibles “Operation: Hot Pants”
Peter Wave & The Silver Arrows “Silver Arrows Stomp”
The Blue Demons “Moondawg”
Dick Dale And His Del-Tones “Hot Rod Racer”
Los Mel-Tones “Poseidon”
Harlow Wilcox & The Oakies “Wipe Out”
Ry Cooder & Manuel Galbán “Monte Adentro”
The Ventures “Caravan”
Owen Bradley “Cannonball”
Mickey Baker “Third Man Theme”
John Doe And The Sadies “The Cold Hard Facts Of Life”
The Cramps “Lonesome Town”

Rock and Roll Riot – May, 2009 birthday edition

2009-06-02T18:17:00.000-07:00

Last Saturday was a special night at The Cameron House. My monthly DJ night fell on May 30th, which was my wife Julie’s 40th birthday, so we had some friends along to celebrate the occasion. So, while this is another posting of my Rock and Roll Riot DJ setlist, it also marks a more significant evening. You only turn 40 once, and it’s wonderful to be in the company of friends. Thanks to everyone who came out to spend some time with the birthday girl, and I hope the musical accompaniment was enjoyable! I took a few blurry photos at the end of the night from my vantage point behind the DJ booth (see below), which somehow capture that late night atmosphere. Join me at The Cameron on Saturday, June 27th for the next round of Rock and Roll Riot.

33 songs from The Cameron House – May 30th, 2009

The Ventures “Last Night”
The Ventures “Apache”
The Virtues “Guitar Boogie Shuffle”
Eddie Angel “Rumble Mambo”
Atomic 7 “The Whirly Girly Revue”
Shadowy Men On A Shadowy Planet “Tired of Waking Up Tired”
Los Straitjackets (with Big Sandy) “Chica Alborotada”
The Sadies “Loved On Look”
John Doe and The Sadies “I Still Miss Someone”
Dex Romweber Duo “Picture of You”
Neko Case & Her Boyfriends “Thanks A Lot”
Wes Dakus & The Rebels “Gotta Travel On”
Elvis Presley “Blue Moon of Kentucky”
Sleepy LaBeef “Little Bit More”
Johnny Burnette “Wampus Cat”
The Cramps “Tear It Up (live from Urgh! A Music War soundtrack)”
Tijuana Bibles “Rock & Roll Fighting”
Teenage Head with Marky Ramone “You’re Tearin’ Me Apart (2008 version)”
The Clash “I Fought The Law”
The Ramones “California Sun”
Chris Spedding “New York City”
Ramonetures “Your Phone’s Off the Hook”
Buzzcocks “Ever Fallen In Love?”
Chuck E. Weiss “Devil With Blue Suede Shoes”
Big Rude Jake “Blue Pariah”
Tom Waits “Heartattack and Vine”
The Ventures “The House of the Rising Sun”
Reverend Organdrum “James Bond Theme”
Carolyn Mark and the Room-mates “Chumpville”
The Bebop Cowboys “Caravan”
Jon Rauhouse “The World Is Waiting For A Sunrise”
Speedy West “Speedin’ West”
Royal City “Bad Luck”

Last call at The Cameron House...

East End Rockabilly Riot – 1st anniversary show!

2009-05-28T18:01:00.000-07:00

The East End Rockabilly Riot returns to The Dominion on Queen on Saturday, June 13th, for a first anniversary celebration. I am very excited to once more be a participant in this unique rockabilly showcase in Toronto’s east end. While I have my own monthly DJ night (see DJ playlists for details), I really dig spinning records as part of a live music night, and the EERR shows have been great fun over the past year. The initial EERR event was held on June 7th, 2008, featuring live sets by The Royal Crowns and Tennessee Voodoo Coupe. One year later, another exciting lineup hits the stage at The Dominion, with Tennessee Voodoo Coupe returning, joined by rockin’ 2-piece combo Buzz Deluxe. Here is the official press release with all the details:

East End Rockabilly Riot!
First anniversary show

Live at The Dominion on Queen
One night only!
Saturday, June 13th, 2009

featuring performances by:
Tennessee Voodoo Coupe
and
Buzz Deluxe
with
DJ Rockin’ Dave Faris

$10 cover, doors 9 pm, showtime 10:15 pm
500 Queen St. E., (416) 368-6893, www.dominiononqueen.com
Sponsored by Mill St. Brewery

Kick off the summer early, as the East End Rockabilly Riot rocks The Dominion on Queen, Saturday June 13th. The Riot celebrates its first anniversary as it returns for its third edition, featuring live appearances by high-octane local combos Tennessee Voodoo Coupe and Buzz Deluxe, along with DJ Rockin’ Dave Faris providing red hot tunes throughout the evening.

The East End Rockabilly Riot was launched in June of 2008, in an effort to create a unique event in a historic venue east of the great dividing line of Yonge St., showcasing rockabilly and vintage rock ‘n’ roll (with a nod to related sounds such as hillbilly, country, psychobilly, and instrumental twang). Following two successful shows in 2008 (including the Halloween-themed “Night of the Living Rockabillies”), EERR is back for another round in 2009, and all participants are primed to deliver a memorable night of loud, fast, out of control rock ‘n’ roll. This is no nostalgia trip, it’s a vital injection of the music here and now, while channeling the excitement and energy found in the music’s infancy.

Headlining EERR#3 is local 4-piece Tennessee Voodoo Coupe. TVC are an offshoot of Toronto’s garage punk rockers Blue Mercury Coupe, although they have been making a name for themselves with their “100 proof reckless hillbilly jive.” With BMC’s Big Rude Jake on lead vocals and acoustic guitar, and Steve Good on doghouse bass, TVC round out their lineup with Stevie “Six String” Abrams on Gretsch guitar, and Colonel Gary Edwards on drums. TVC tackle a mix of early rockabilly, country, and ‘40s jump blues, along with some originals and a few surprises. TVC have been rocking stages across town for a couple of years, and host the EERR series.

Joining the Riot for the first time are T.O. sensations Buzz Deluxe. The duo of Jesse James Dale (guitar, vocals) and Kerry Dale (drums, vocals) have stripped down their setup to the bare essentials, embracing the raw power of rock ‘n’ roll in its most direct form. Buzz Deluxe are 100% blood, sweat and rhythm, slicing fingers on guitar strings, chipping teeth on microphones, and bludgeoning knuckles on drum rims, all in the service of rock ‘n’ roll. They merge a variety of edgy roots influences, from rockabilly and surf guitar to gypsy swing and garage rock, arriving at their own powerful, loud and raunchy sound. Powered by the pounding, driving beats of standup drummer Kerry Dale, and the intense Gretsch twang of Jesse James Dale, Buzz Deluxe will tear the place up and keep audiences movin’ and shakin’.

DJ Rockin’ Dave Faris will be spinning revved-up rockabilly and rock ‘n’ roll tunes to set the stage for the live action. Faris has hosted his monthly “Rock and Roll Riot” night at The Cameron House for over half a decade, spinning a wide variety of music from rockabilly to punk, garage, surf, country, blues and much more. He has spun at all of the East End Rockabilly Riot events, and at John and Jenny’s 2008 “Rock’n It Up III” Rockabilly weekender at The Cadillac Lounge. Expect some floor stompin’ rockabilly boogie and hillbilly rock all night long!

For more information, contact: eastendrockabillyriot@yahoo.com

www.myspace.com/bluemercurycoupe
www.myspace.com/buzzdeluxe
www.buzzdeluxe.com
www.dominiononqueen.com
www.millstreetbrewery.com

Rock and Roll Riot – 33.3 Revolutions from April, 2009

2009-05-16T16:38:00.000-07:00

It’s been a few weeks, but here’s a slice of my DJ setlist from the April edition of Rock and Roll Riot at The Cameron House. April’s selections leaned heavily towards soul, funk, R&B, blues, garage and rock and roll, keeping the joint groovin’ and shakin’ all night long. A fun night, and I will be back at The Cameron on Saturday, May 30th for another round.

33 songs from The Cameron House – April 25th, 2009

Link Wray “Wild Party”
Ennio Morricone “Svolta Definitiva”
Ike Turner & The Kings of Rhythm “Thinking Black”
Fred Wesley & The J.B.’s “Use Me”
Ike & Tina Turner “I Want to Take You Higher”
Jimmy Smith “Give Up the Booty”
The Bar-Kays “Soul Finger”
The Timebox “I Wish I Could Jerk Like My Uncle Cyril”
Booker T. & The MGs “Time Is Tight”
Solomon Burke “Home In Your Heart”
Ry Cooder “Los Chucos Suaves”
Mavis Staples “99 and ½”
Sharon Jones & The Dap-Kings “100 Days, 100 Nights”
Johnnie Taylor “Jody’s Got Your Girl and Gone”
James Hunter “No Smoke Without Fire”
Little Milton “That’s What Love Will Make You Do”
Otis Redding “Respect”
Phil Upchurch “Crosstown Traffic”
Big Rude Jake “Night of the Kingsnake”
David Johansen and the Harry Smiths “Little Geneva”
John Hammond “I Know I’ve Been Changed”
Chuck E. Weiss “Congo Square at Midnight”
Leadbelly “Goodnight Irene”
Champion Jack Dupree “Junker’s Blues”
John Lee Hooker “Boom Boom”
Led Zeppelin “Gallows Pole”
The Paul Butterfield Blues Band “Born In Chicago”
Little Willie John “I’m Shakin’”
Big Joe Turner “Well All Right”
Screamin’ Jay Hawkins “Little Demon”
Bill Haley & His Comets “Rock-A-Beatin’ Boogie”
Little Junior Parker “I Wanna Ramble”
The Animals “Bright Lights Big City”

365 Days Later

2009-05-07T16:26:00.000-07:00

Today is the first anniversary of The Mysterious Vault. I launched the blog with my first entry, a general statement of intent, one year ago today. I felt that I should mark the occasion with a posting of some sort, so here I am looking back over the year and forward into the future. It's been awhile since I actually wrote anything for the blog, so this is also a good opportunity to bring it back to life and refocus my ideas.

It is rather interesting to re-read my first entry, outlining some of the original intentions for The Mysterious Vault. Essentially, I created the blog as an outlet for my own writing, with music, film, and books being the primary focus. It is also somewhat amusing to read the comment that I had originally conceived of a blog dedicated exclusively to music films, something which I had almost forgotten. Despite my love of music films, they've barely got a mention in the blog so far (something I hope to address as I move forward!). Over the past year, The Mysterious Vault has defined itself through the content that has been posted, and it is quite revealing to me that the subject matter has been predominantly music-oriented. While there have been a few entries devoted to books and film, if the reader were to revisit the last year in the Vault, it would be primarily comprised of words and images about music, music, music.

I have not abandoned the idea of writing about books and film, and now that I see that these two subjects have taken a back seat in The Mysterious Vault, I will attempt to broaden the scope of the blog a bit more to accommodate these interests. As it turned out, over the past 12 months I largely used this blog as a place to post songlists from my DJ nights, writeups and photos of live shows that I attended, and some record, film, and book reviews. Sure, it's a bit self-indulgent, but that's the general nature of blogs, isn't it? I am writing from my own experience, and commenting on events that I am involved in or have attended, so the focus is pretty close to home. However, I hope that I am offering something beyond my own reflections, and will over time create an interesting and unique archive of images and writings about the music scene and beyond.

In many ways, it feels like I have just started this blog. It's been a year, and I've barely touched upon some of the things I intended to write about. Back in January, I was pleased to look back over 2008 and see that I had completed 15 posts in my first 8 months. Not alot, but it seemed like a good starting point. Now it's May, 2009, and I haven't made a post since the end of January, so The Mysterious Vault has really taken a hiatus. This doesn't mean that I have stopped writing, however. Like alot of bloggers (I assume!), I have numerous unfinished entries from over the past few months that never made it on-line. In fact, I have almost as many unpublished posts as I have finished entries! Whether I ever find the time or motivation to go back and complete these postings is anyone's guess, but let's just say the best intentions aren't always realized. It has been a fun and sometimes frustrating experience maintaining this blog, and I want to thank anyone who has visited over the past year.

I was considering marking the first anniversary with a post containing writing on music, film, and books, to summarize the three primary subjects of The Mysterious Vault. But then I realized that I was being too ambitious, and that this would lead to another unfinished entry. Rather, I will just keep my comments to the blog itself. Once again, it is revealed to me that music is my prime interest and passion (no surprise!), and other concerns tend to take a secondary role. So I celebrate the vast world of music, and look forward to exploring more sounds, sights, and words for as long as The Mysterious Vault stays active. Keep rockin'!

Rock and Roll Riot – 45 revolutions from January, 2009

2009-01-27T18:40:00.001-08:00

Although not my first DJ set of 2009 (that was the Saturday before at The Cadillac Lounge, see previous posting), January 24th was the date of my first Rock and Roll Riot night at The Cameron House. This is my monthly DJ gig, and while I enjoy spinning music on the same bill as live bands, it is good to have a full evening to myself to explore different musical avenues at my own pace. Rock and Roll Riot has been a great opportunity for me to play a wide range of music, and broaden my horizons (and expand my music collection!) from month to month, hopefully in an entertaining fashion for those at the mercy of my song selections. 2009 started off in a country vein, and continued on through a mix of rockabilly, rock and roll, a bit of punk, some art-damaged jazz, crime film soundtrack music, surf and instrumental rock, and a few strobing flashes of gothy rock. That's just the crash course, but it was sure alot of fun! A few former members of the infamous Toronto goth-rock group Masochistic Religion were in the house, currently reconfigured in a new band by the name of The Hyena Dog Robbery. Check 'em out – from what I heard on their MySpace page, they sound promising. And if you're wondering how exactly country and goth fit under the same roof, have a listen to the music of James Junkin Jr. Former übergoth and Masochistic Religion mainman Mitch Krol has shifted gears, currently focusing his energy on what he terms "swamp music," a dark blend of outlaw country, blues, and rock, delivered in a voice that sounds one step from the grave. It's an unholy union, and it's great! Until next month, here's a sampling of my latest playlist...

45 songs from the Cameron House – January 24th, 2009

Atomic 7 “Junior Miss Chop Shop”
Joe Nichols and Rhonda Vincent “Cash On The Barrelhead”
Johnny Cash “Train of Love”
Conway Twitty “Long Black Train”
Elvis Presley “Blue Moon of Kentucky”
Carl Perkins “Matchbox”
Robert Gordon and Chris Spedding “I’m Left, You’re Right, She’s Gone”
Roy Orbison “Candy Man”
Patsy Cline “Sweet Dreams (Of You)”
The Bebop Cowboys “Stardust”
Freakwater “Good For Nothing”
The Rizdales “Baby Isn’t Mine”
Neko Case “Soulful Shade of Blue”
Nancy Sinatra and Lee Hazelwood “Jackson”
Bob Dylan “Mississippi”
Ray Condo and his Hardrock Goners “St. James Infirmary”
Jimmy Roy’s 5 Star Hillbillies “Railroad Bridge”
High Noon “Rocks Me Right”
Jack Scott “Geraldine”
Ronnie Self “Pretty Bad Blues”
The Bopcats “Bop-a-lena”
Glen Glenn “Down The Line”
Stray Cats “Little Miss Prissy”
The Polecats “Jeepster”
David Bowie “Round and Round (alternate vocal mix)”
Chris Spedding “Shakin’ All Over”
Nick Cave and the Bad Seeds “Dig, Lazarus, Dig!!!”
The Stooges “1969”
The Stooges “1970”
New York Dolls “Jet Boy”
Sylvain Sylvain “14th Street Beat”
The Cramps “Primitive”
United State “Automaton”
James Junkin Jr. and Jim Gunning “Yeah Yeah Yeah (Electric Mix)”
Screamin’ J Hawkins “Whistlin’ Past the Graveyard”
Andre Williams “Pasties and a G-String”
Deja Voodoo “I Wish That Cat Would Shut Up”
Reverend Organdrum “A Shot In The Dark”
The Lounge Lizards “Incident On South Street”
Jet Harris and Tony Meehan “The Man With The Golden Arm (Main Title Theme)”
Ry Cooder and Manuel Galban “Los Twangueros”
Swans “Love Will Tear Us Apart”
The Warlocks “Shake The Dope Out”
Spacemen 3 “Feel So Good”
Primal Scream “Uptown”

The sound and fury of Surf and Turf

2009-01-25T09:11:00.001-08:00

My first DJ set of 2009 was at The Cadillac Lounge on January 17th, as part of Surf and Turf, an evening of surf and rockabilly music. I posted the full press release on The Mysterious Vault a few weeks ago, for more background information on the show (see Jan. 7th posting). Surf and Turf was a simple concept – one surf band (The Vondells) and one rockabilly band (Tennessee Voodoo Coupe) facing off onstage – and I was thrilled to be part of the action, spinning tunes to set the stage for the live acts. Anyone who knows me, or who has followed this blog, will no doubt be aware of my enthusiasm for both surf and rockabilly music, so an event like this was right up my alley! Since I’ve been posting snippets of my DJ setlists on The Mysterious Vault, I thought I’d continue with a selection of songs from Surf and Turf. In keeping with the theme, I’ve assembled a list of 10 surf and 10 rockabilly songs from the night (the list appears at the end of the post).

The Cadillac Lounge was a natural setting for Surf and Turf, being a venue that regularly features both types of music. The evening’s festivities got off to a bit of a hectic start, as there was a matinee show booked earlier the same day that ran late, but things quickly fell into place and both bands got in decent sets.

The Vondells kick off Surf and Turf

at The Cadillac Lounge

Guitarist Danny Bartley takes the Gretsch

into surf country

The Vondells (l to r): Neil Bartley (drums),

Danny Bartley (guitar), Ken Badger (bass)

The Vondells power through some dazzling instrumental workouts

The Vondells opened the proceedings with a solid set of surf instrumental pyrotechnics. This mysterious 3-piece unit were making a rare appearance with this show, and although they aren't a fixture of the live circuit, their performance was quite impressive and consistent throughout. The Vondells are comprised of Danny Bartley on guitar (better known as the frontman for The Royal Crowns), brother Neil Bartley on drums (ex-Shotgun Shack), and bassist Ken Badger (who I learned was a member of Toronto first-wave punk band The Scenics). Even if The Vondells is just a casual side project, these guys perform with a great deal of intensity and purpose. The setlist was all originals (with great titles like “Calling All Cars” and “Lakeshore Boulevard”), other than a cover of the themesong to the ‘60s exploitation film Beat Girl! This selection surprised me, as very few people I know are even aware of this great John Barry soundtrack. The title song is a menacing, twangy guitar-led piece, and should be a standard right up there with "Peter Gunn" and the James Bond theme as far as I’m concerned. The Vondells brought this classic to life and made it their own, and played a full set of wicked epic instrumentals. I’m hoping that this gang is back on the scene sooner than later!

Tennessee Voodoo Coupe onstage at the Cadillac Lounge (l to r):

Steve Abrahms (guitar), Big Rude Jake (vocals, guitar), Col. Gary Edwards (drums), Steve Good (bass)

Tennessee Voodoo Coupe deliver a shot of their "100 proof reckless hillbilly jive"

The rockabilly quotient of Surf and Turf was provided by Tennessee Voodoo Coupe, a local quartet that is a spin-off of garage punk-abilly rockers Blue Mercury Coupe. I’ve mentioned these two bands on a number of occasions in The Mysterious Vault, in part because I’ve spun records at quite a few of their shows over the past two years, and also because I dig both groups. TVC put this event together, and rounded out the evening with a fun set of rockabilly, country, jump blues, and inspired covers. Their show got off to a delayed start due to some technical glitches (even bare-bones rockabilly setups can have technical problems!), but it kicked into gear with a nice cover of “Mystery Train”, and picked up steam from there. The vibe onstage was casual, and lead singer Big Rude Jake kept a running gag going on the theme of Mill Street Tankhouse Ale… Might seem a bit odd, but TVC guitarist Stevie “Six String” Abrams is one of the men behind the fine local brewery, so it all makes sense. At least I think it does... TVC's setlist covered a lot of ground, mixing in stripped-down versions of Blue Mercury Coupe songs “Hot Rod Racer” and "Trans American", rockabilly numbers like “Driving Wheel", "Ubangi Stomp" and "Just Because", a spirited “Folsom Prison Blues”, and rockin’ takes on punky classics “Brand New Cadillac” and “Rockaway Beach”. While this wasn’t necessarily the best show I’ve seen by these guys (that would be their date at The Dakota Tavern last November), they certainly played a good set and ended Surf and Turf on a positive note. In retrospect, I was somewhat disappointed by the overall turnout, but considering the cold and snowy weather that night, I wasn’t that surprised. January shows are always a bit of a risky prospect, but Surf and Turf was a nice place to be on a blustery winter’s night. If all goes well, Surf and Turf will be back for another round when you least expect it.

TVC rock some Sun classics on a cold January night

20 songs from Surf and Turf at The Cadillac Lounge

Los Twang! Marvels “Queen Gipsy Witch”
Dick Dale & The Deltones “Let’s Go Trippin’”
Wes Dakus & The Rebels “Surfs You Rite”
The Shutdowns “Four In The Floor”
The Von Drats “Church Key”
Los Straitjackets “San Diego Shutdown”
Shadowy Men On A Shadowy Planet “Bennett Cerf”
Huevos Rancheros “Diamond Head”
Peter Wave & The Silver Arrows “Silver Arrows Stomp”
The Saints “Wipe Out”
Gene Vincent & His Blue Caps “Race With The Devil”
Buddy Knox “Rockhouse”
Danny Gatton “Elmira St. Boogie”
Swing Cats “Viva Las Vegas”
The Cramps “The Way I Walk”
Handsome Ned “Put The Blame On Me”
Big Sandy and the Fly-Rite Trio “Hold Me”
Joe Clay “Sixteen Chicks”
Jack Scott “Baby She’s Gone”
The Royal Crowns “Give It To You”

Surf and Turf – January 17th at the Cadillac Lounge

2009-01-07T18:54:00.000-08:00

From my final DJ set of 2008, to my first booking of 2009. I will be spinning some prime surf and rockabilly cuts at this event at The Cadillac Lounge, featuring live music by Tennessee Voodoo Coupe and The Vondells. I'm really looking forward to this one! Here is the official press release with all the details:

Surf and Turf
a surf and rockabilly rumble

Live at The Cadillac Lounge
One night only!
Saturday, January 17th, 2009

featuring performances by:
Tennessee Voodoo Coupe
and The Vondells
with DJ “Surfin” Dave Faris

$10 cover, doors 9 pm, showtime 10 pm
1296 Queen St. W., www.cadillaclounge.com

The Cadillac Lounge is the place to be on Saturday, January 17th, for Surf and Turf, the first hot ticket of 2009. Hosted by Tennessee Voodoo Coupe, this event brings together live surf and rockabilly acts for a showdown that is sure to be dynamite! Surf and Turf will heat up the Cadillac Lounge in the dead of winter, and rock the house with some killer tunes. Joining TVC on the bill will be instrumental surf trio The Vondells, making a rare appearance, and DJ “Surfin” Dave Faris spinning red hot sounds throughout the evening.

Tennessee Voodoo Coupe are an offshoot of Toronto’s garage punk rockers Blue Mercury Coupe, although they have been gradually making a name for themselves on the local scene with their “100 proof reckless hillbilly jive.” With BMC’s Big Rude Jake on lead vocals and acoustic guitar, and Steve Good on the doghouse bass, TVC round out their lineup with Stevie “Six String” Abrams on the twangy Gretsch guitar, and Colonel Gary Edwards on a minimal standup drum setup. With this classic rockabilly arrangement, TVC tackle a broad mix of music, leaning heavily on early rockabilly, country, and ‘40s jump blues, along with some originals and a few unexpected surprises. TVC have been rocking stages across town for a couple of years (most recently at Graffiti’s and The Dakota Tavern), and in 2008 launched the East End Rockabilly Riot series with two memorable shows at The Dominion on Queen, joined by The Royal Crowns. Surf and Turf is the Coupe’s latest endeavor, and is just the beginning for 2009.

The Vondells provide the surf on this exciting bill, and are not to be missed! This is a rare opportunity to see The Vondells in action, as they play very infrequently, but have more than enough credentials to make it an occasion. The instrumental trio is fronted by Danny Bartley, moonlighting from his main gig as the lead vocalist/guitarist for Toronto’s premiere rockabilly combo, The Royal Crowns. It would not be an understatement to declare Bartley one of the top rockabilly guitarists in the nation, and his resumé also includes time with Shotgun Shack, The Razorbacks, and Robert Gordon. While the Crowns have a surf number or two in their set, The Vondells allows Bartley to shift gears and cut loose on some instrumental mayhem. Bartley’s brother, Neil Bartley, will provide the essential surf beat, and Ken Badger will hold down the bass duties, completing The Vondells lineup. The trio have a long history together, having played as a rockabilly group in the mid-‘80s in Markdale before moving to Toronto, and Neil and Danny performed in Shotgun Shack before the days of The Royal Crowns. Check out their latest incarnation and get ready for some death-defying surf thrills!

DJ “Surfin” Dave Faris joins the excitement, spinning revved-up rockabilly and surf tunes to set the stage for the live action. Faris has been a DJ since the late ‘80s, and has hosted his monthly “Rock and Roll Riot” night at The Cameron House for over half a decade, spinning a wide variety of music from rockabilly and psychobilly to punk, garage, surf, country, blues, lounge and much more. He has joined Blue Mercury Coupe and Tennessee Voodoo Coupe for numerous events over the last 2 years, including Greezefest and the East End Rockabilly Riots, and recently spun at John and Jenny’s “Rock’n It Up III” Rockabilly weekender at the Cadillac Lounge. Expect some sizzling surf and rockabilly boogie all night long!

Rock and Roll Riot – Christmas Wish List from December 20th, 2008

2009-01-06T17:24:00.000-08:00

My final DJ gig of 2008 was, fittingly, at The Cameron House, a Christmas edition of my monthly night, Rock and Roll Riot. It wasn't the most packed house I've seen during my run at The Cameron, in fact it was pretty quiet overall, but I still had fun spinning some festive tunes, which I can only get away with once a year. Christmas music can be sappy and annoying, but it can also be alot of fun (mainly the vintage stuff for me), and I really enjoy dusting off my Christmas records for that brief month-long period at the end of every year when the spirit is in the air. Nothing says Christmas like The Ventures' Christmas Album, the classic Elvis Presley Yuletide recordings, or the Christmas Coctails compilations in the Ultra-Lounge series, to name but a few. So for my final songlist of 2008, you'll find a healthy dose of Christmas delights, along with the usual fare. It already seems like a distant memory, but I hope everyone out there had a good one...

31 songs from The Cameron House – December 20th, 2008.

The Ventures “Sleigh Ride”
Reverend Horton Heat “What Child Is This?”
Atomic 7 “Ivy Rocks”
Reverend Organdrum “Hang ‘Em High”
Huevos Rancheros “Wild Turkey Surprise”
The Riptides “Machine Gun”
Wanda Jackson “Riot In Cellblock #9”
The Crickets “I Fought The Law”
The Bobby Fuller Four “Love’s Made A Fool Of You”
High Noon “Mona Lisa”
Neko Case & Her Boyfriends “Bowling Green”
Chuck Berry “Run Rudolph Run”
Sleepy LaBeef “Boogie Woogie Country Girl”
Ricky Nelson “Stood Up”
Johnny Horton “North To Alaska”
Elvis Presley “Santa Claus Is Back In Town”
Eddie Cochran “Three Steps To Heaven”
Wes Dakus & The Rebels “Rattlesnake”
Les Paul “Jingle Bells”
Jon Rauhouse “Smoke Rings”
Scott B. “Sitting On Top of The World”
Big Rude Jake “Night of the Kingsnake”
John Hammond “If You Wanna Rock & Roll”
Tom Waits “Downtown”
The Black Keys “So He Won’t Break”
The Wild Magnolias “Soul, Soul, Soul”
Mavis Staples “Down In Mississippi”
John Lee Hooker “Blues For Christmas”
Los Straitjackets “Feliz Navidad”
Shadowy Men On A Shadowy Planet “Faster, Santa Claus, Ho Ho Ho”
Blue Mercury Coupe “Running Wild For Christmas”

Adios to 2008 with the Camp Combo

2008-12-31T15:26:00.000-08:00

Fred Spek's Camp Combo live at The Local, December 30th, 2008

As 2008 draws to a close, I thought it would be appropriate to post some photos from the last show that I saw this year. The year in live music closed out for me last night at The Local, a cozy little pub within walking distance of home, with a live performance by Fred Spek's Camp Combo. This was a great night out, an intimate venue and an upbeat, swingin' set from a highly entertaining alt-jazz outfit. Fred Spek leads the Camp Combo, a unique quartet on the Toronto jazz scene in that they operate almost as a novelty act, selecting obscure and unusual numbers from the distant past to complement their own off-kilter originals. They sound a bit like a circus sideshow act, a ramshackle group of players belting out songs heard on scratchy old 78s and LPs found at garage sales, but behind all the wacky fun are some serious chops to back it up.

The Camp Combo (l to r): Fred Spek (sax), Nichol Robertson (guitar), Great Bob Scott (drums), and Rachel Melas (bass)

I've known Fred for two decades now (has it been that long?!), and he's always known how to deliver a good performance with an edge. I first met him when he was playing with an underground experimental art/jazz/punk group known as Blank Crowd. This St. Catharines-based project (eventually relocating to Toronto) were quite original at the time, particularly on the Canadian scene, maybe distant cousins to The Lounge Lizards or some of the post-punk bands flying under the radar in the mid-'80s. Fred played an angular, art-damaged sax, banged a snare drum, snarled vocals, and programmed stark beats on a drum machine within the context of Blank Crowd, and it was something to behold. From there, he moved on through various other groups, including Braino, D.E.A. (Dub Enforcement Agency) and The Mood Swingers (the precursor to the Camp Combo), away from the angst and into a jazzier world. Fred even spent a brief amount of time in my own project, post-industrial electro-pop group Parade, back in the early '90s, before figuring out that jazz was where it was at. He has continued to chart out original territory on the jazz scene with his latest endeavor.

Sharp-dressed man Fred Spek takes the mic

One more for the road...

Spek and his band of merry jazz pranksters were in good form at The Local, spreading some holiday goodwill and revelry to send out 2008 on a positive note. The Local has to have one of the smallest stages around, but the Camp Combo didn't seem to mind, and they treated the audience to two sets of unpredictable song selections to confound and delight. Opening with their signature tune, the vaudvillian "Camper Fanfare", and tackling other originals such as the moody "Cairo", "Rock Paper Scissors", and "Irony Rhumba", the Camp Combo proved to have some composititional talents behind the novelty front. A colourful assortment of song filled out the remainder of the setlist, including (from my hazy memory) "Baby Elephant Walk", "I'll Build a Stairway to Paradise", "My Heart Belongs to Daddy", "Animal Crackers In My Soup", "Istanbul (Not Constantinople)", and the themesong to TV show "The Hilarious House of Frightenstein". How's that for entertainment? Some good light-hearted fun, occasionally veering into debauched and bawdy songs (something about a burlesque dancer named Tanya Cheex!). The Camp Combo's lineup tends to change from show to show, and this evening's group consisted of Fred Spek on sax and vocals, guitarist Nichol Robertson, bassist Rachel Melas, and the legendary Great Bob Scott on drums. This was the first time I'd seen the Combo with Scott in the drum seat, and he was a great fit for the group, adding his usual wild and crazy charm and impeccable chops to the performance.

That was my final taste of live music in 2008. From there, it was off into the night, to navigate my way home through snow-covered streets, echoes of old jazz songs and irresistible melodies ringing in my ears. This is what it's all about.

Merry Christmas wishes from The Mysterious Vault

2008-12-25T17:45:00.001-08:00

Season's greetings! Have many sparkling nights over the holidays.

Cheers!

The Calrizians' seasonal surf heats up the Cadillac Lounge

2008-12-14T06:19:00.000-08:00

Last night, local surf/instrumental sensations The Calrizians warmed up the newly-expanded Cadillac Lounge with some holiday cheer, spiking their set with a few Christmas classics in the spirit of the season. The sleek four-piece instrumental outfit are relative newcomers on the Toronto scene, although they tear through an impressive repetoire of material with a confident swagger that would have you thinking that they'd been playing together for years. Despite the fact that surf rock is considered a bit out of fashion these days, having seen an explosive revival in the mid-'90s in the wake of Quentin Tarantino's massively successful Pulp Fiction, only to fade in popularity by the turn of the century, Toronto has a pretty strong community of bands keeping this sound alive (if you have any doubts, check out the annual 2-night Great Lakes Surf Battle festival), and The Calrizians are one of the top torchbearers of the scene. I'd only seen The Calrizians play once before, last summer at The Dakota Tavern, and was an instant convert, so I was eager to see them perform again.

The Calrizians rock the instrumentals onstage at the Cadillac Lounge

Last night's gig was billed as "Christmas with The Calrizians", and a festive spirit was certainly in the air at the Cadillac Lounge, which has recently opened up a whole new section, significantly increasing the venue's capacity. The Calrizians performed three sets of music, with a heavy leaning on covers of instrumental rock standards, spiced up by a couple of Christmas tunes given a surfy twist. Christmas songs translate remarkably well to the surf format, and the Calrizians were game with their interpretations of holiday favourites such as "Sleigh Ride" and "Jingle Bell Rock". Anyone who has listened to The Ventures' Christmas Album or 'Tis The Season for Los Straitjackets! (two of my favourite Christmas albums!) will have heard similar surf/Christmas tune mashups before, such as The Ventures' clever fusion of "Walk Don't Run" and "Sleigh Ride". The Calrizians weren't necessarily breaking any new ground here, but they did capture the lighthearted spirit of these songs and put a nice surfy spin on some old chestnuts.

The Calrizians take care of some business at the Caddy

The bulk of The Calrizian's show consisted of familiar instrumental numbers, which they took on with considerable success. The group dress in matching black suits (and sneakers!), putting forth a slightly menacing image onstage – they look like they just stepped out of Reservoir Dogs, and took to the stage to take care of some "business." Indeed, they open the proceedings with "Surf Rider", a moody surf classic used in the Pulp Fiction soundtrack, and later on in the set tackle two more songs associated with the film. Any surf band willing to take on "Misirlou", Dick Dale's ferocious signature tune, has got guts, and The Calrizians rip through it with gusto, guitarist Ben Jewer shredding with the best of 'em. Other Dale material is performed, along with several tracks made famous by The Ventures ("Walk Don't Run", "Perfidia", "Slaughter On Tenth Avenue"), and much more over three sets.

A few other memorable covers from the evening include "Apache" (a true instrumental standard recorded by too many bands to mention), "Harlem Nocturne" (in the spirit of The Viscounts), and Shadowy Men On A Shadowy Planet's slinky "Shake Some Evil". These guys have got some taste when it comes to selecting material, but any band doing Shadowy Men justice gets extra points in my books. Adding further character to The Calrizians' sound is Chip Snider, who contributes both saxophone and rhythm guitar. The sax component is an element that is missing in so many instrumental bands. It is really used to good effect in The Calrizians, adding a raw and raunchy undercurrent to the music, in the tradition of bands like The Champs, The Lively Ones, or twangy guitar king Duane Eddy. In addition to the above-mentioned titles, the group performed quite a few songs which I didn't recognize, either covers I was not familiar with, or more likely originals. Overall, the evening was great fun, and The Calrizians certainly provided ample musical thrills to ring in the holiday season. A tip of the hat must go to Sam, the owner and music booker at the Cadillac, for supporting instrumental groups like the Calrizians. Whether intentionally or not, this was the third night in a row of live instro music at the Cadillac Lounge, the previous two evenings featuring appearances by Ancient Chinese Secret (an all-covers offshoot of Atomic 7) and surf/garage unit The Von Drats. Cowabunga, and to all a good night!

Chip Snider blasts the sax

Guitarist Ben Jewer works out the Gretsch

Rock and Roll Riot – 33.3 revolutions from November, 2008

2008-12-03T16:32:00.000-08:00

A selection of songs from the November installment of my monthly DJ night at the Cameron House, Rock and Roll Riot. This month marked the sixth anniversary of my first night spinning at the Cameron, although my monthly booking didn't happen until a year or so later. If you're in Toronto, drop by the Cameron on Saturday, December 20th for my last DJ set of the year (starting at 10:30 pm), which will feature some rockin' Christmas tunes from the likes of Los Straitjackets, The Ventures, Robert Gordon, Reverend Horton Heat, The Brian Setzer Orchestra, Chet Atkins, and of course, the King of Rock and Roll!

33 songs from The Cameron House – November 22nd, 2008

Big Rude Jake “Gotham City Serenade”
Big Sugar “Come Back Baby”
Chuck E. Weiss “Jimmy Would”
Bob Dylan “Everything Is Broken (Alternate Version)”
John Hammond “2:19”
Paul James “Cadillac Walk”
Elmore James “Madison Blues”
Howlin’ Wolf “Sittin’ On Top of the World”
John Lee Hooker “Dimples”
Magic Slim and the Teardrops “What’s Wrong”
R.L. Burnside “Alice Mae”
Throwing Muses “Manic Depression”
The White Stripes “Hello Operator”
Loretta Lynn “Have Mercy”
The Animals “Don’t Let Me Be Misunderstood”
Them “Baby Please Don’t Go”
The Undertakers “Money (That’s What I Want)”
Bo Diddley “Pills”
Little Willie John “I’m Shakin”
Screamin’ Jay Hawkins “Little Demon”
The Ventures “The House of the Rising Sun”
Shadowy Men On A Shadowy Planet “Good Cop, Bad Cop”
Dick Dale And His Del-Tones “Surfing Drums”
Owen Bradley “Rumble”
Warren Smith “Ubangi Stomp”
Teenage Head “Top Down (2008 version)”
The Clash “White Riot”
The Ramones “Gimme Gimme (Shock Treatment)”
Jim Carroll “People Who Died”
Suckerpunch “Zap O’ Hell”
The Cramps “New Kind of Kick”
New York Dolls “Looking For A Kiss (live from Royal Festival Hall, 2004)”
The Stooges “Loose”

Now In Print

2008-10-29T18:14:00.000-07:00

I recently had the opportunity to contribute some writing to a couple of local zines, both of which were published in September. My submissions were not too substantial, just some reviews, but I thought I'd put in a mention here to draw some attention to the zines in question, Knee Deep In Squaresville, and The Eclectic Screening Room. Both are Toronto-based zines, one devoted to music, the other to film, each independently produced and distributed by a dedicated individual with a passion for their subject matter. Publishing a printed zine in the digital age is an increasingly hard sell, with the proliferation of websites, e-zines, blogs, online groups, fan sites, and the like. The options available in the digital realm seem to have diminished the importance of the printed zine. While there was a significant boom in zine culture in the '90s, the turn of the century saw a steady decline in the number of titles being produced. Still, the zine persists, and it is encouraging to see new issues and new titles in print. There's something about a printed publication that just doesn't translate to the web, the tangible quality of a printed piece offering something personal and of value to the reader beyond the words on the page. This is part of the reason that zines, magazines, and printed matter in general have endured, and the whole concept of "the death of print" has proven to be greatly exaggerated. Of course, the great surge of new writing is largely on-line, but there is something to be said for the continued existence of DIY print publications such as these. I've personally been contributing to and reading zines and independent magazines off and on since the '80s (I even briefly co-published my own zine, Machine Power, in the early '90s), so I've got an obvious affinity and affection for this realm of publishing. Both Knee Deep In Squaresville and The Eclectic Screening Room are unique zines in the Toronto scene, and are right at home in The Mysterious Vault!

Knee Deep In Squaresville is a zine focusing on music (rockabilly, psychobilly, '50s rock and roll, surf/instrumental, and related sounds), and vintage culture and lifestyles in general. The zine is put together by Toronto DJ Rock 'n' Roll Jenny, and is affiliated with John and Jenny's Rock 'n Roll Party, who promote live rockabilly events in the area. Knee Deep In Squaresville doesn't take itself too seriously, and includes a broad mix of music writing, interviews, movie reviews, restaurant reviews and recipes, makeovers, rants, and much more, often with an irreverent tone. The zine comes out four times a year, which is pretty ambitious for an old-school DIY cut and paste effort, but so far it is up to issue number 7, and issue 8 should be out before the end of 2008. Issue 7 was printed to coincide with John and Jenny's annual Rock 'N It Up Toronto Rockabilly Weekender, which was held September 12th and 13th at The Cadillac Lounge (I participated in this year's event as a DJ). Featured articles in issue 7 include an interview with rockabilly/roots musician Ronnie Hayward, a U.S. tour diary by Buzz Deluxe, and a writeup on the most recent Red Hot and Blue Rockabilly Weekender in Montreal. This was the first issue to which I contributed, and my reviews include Eddie Angel's Link Wray tribute album, as well as the first Wes Dakus and the Rebels reissue (see my July 2nd posting for more on this great CD). Knee Deep In Squaresville can be found at John and Jenny's events, or in Toronto at Good Catch (1556 Queen St. W.) or Hits and Misses (860 Bloor St. W.).

The Eclectic Screening Room explores the vast world of film, and is particularly interested in the unusual, the lesser-known, the independent, and the cult celluloid that often falls below the mainstream radar. Published by Toronto film enthusiast (dare I say obsessive?) Greg Woods, The Eclectic Screening Room (or ESR, as it is also known) is a lively read. ESR offers an entertaining mix of film analysis, criticism, and reviews, along with writing of a more personalized nature, reflecting on different aspects of film in everyday life, and waxing nostalgic on subjects such as late night television and the "death" of VHS. Greg launched ESR back in the spring of 2001, and the zine is now up to its 22nd issue (including special one-off editions such as the extensive Roger Corman Scrapbook). This is an impressive achievement, particularly in the zine world, where the average lifespan of a title is generally less than ten issues. True to its moniker, ESR has covered a diverse range of cinematic topics, with past issues delving into film noir, rock and roll movies, educational films, drive-in movies, '70s westerns, bizarre Christmas movies, and much more (visit ESR's website for a detailed run-down of each issue). The current ESR is devoted to the late night television experience, and looks back on a time when after hours programming consisted of more than infomercials and sleazy chat-line adverts. This issue captures some of the hazy, nocturnal bliss of off-the-wall late night fare, and descends into the dead of night to deliver memoires on such topics as paranormal films (on UFOs, bigfoot, and other bizarre phenomenon), Night Walk/Night Ride/Night Moves, Chuck the Security Guard, City TV late night, forgotten '70s made-for-TV movies, and Buffalo's long-running film showcase, Off Beat Cinema. I had hoped to contribute a piece on The World's Worst Film Festival, a late night series which I had enjoyed in my early teens on CBC television in Ottawa back in the '80s, but I wasn't able to get it together in time for the deadline. I did, however, review the The Best of Off Beat Cinema DVD for this issue, so I didn't miss out completely. I've been writing for ESR for half a decade now, since 2004's Noir issue, and have enjoyed the opportunity to explore different aspects of film history though its pages. In addition to the printed zine, ESR also presents film screenings on a regular basis at Trash Palace in Toronto, and has begun broadcasting online, with ESR Late Nite. Greg's zine is available at his ESR screenings, at various local small press/zine fairs (such as Canzine and Word on the Street), and through the ESR website.

Finally, on a related tangent, I recently heard about the Toronto Zine Library. As the name indicates, this is a local zine collection and resource, housed at the Tranzac Club. While I've never been, this struck me as a great idea, and I encourage interested readers to have a look. Support independent press!

Night of the Living Rockabillies! November 1st at the Dominion

2008-10-21T17:57:00.000-07:00

This Halloween weekend I will be spinning records as part of the second East End Rockabilly Riot: Night of the Living Rockabillies. The first East End Rockabilly Riot event, last June at the Dominion club on Queen St. East in Toronto, was the show of the summer for me, so I'm really looking forward to this one! Both The Royal Crowns and Tennesse Voodoo Coupe return for this special Halloween-themed show, along with guest paranormalist Dr. Mysterion, and myself, DJ Screamin' Dave Faris, on decks. Rockabilly, psychobilly, rock 'n' roll, and creepy novelty tunes are the order of the night. Come on by if you're in town. Here are the official spooky details:

East End Rockabilly Riot presents,

NIGHT OF THE LIVING ROCKABILLIES

Don't miss the Halloween mayhem featuring Toronto's premier rockabilly trio, The Royal Crowns with the 100% Hillbilly Jive of Tennessee Voodoo Coupe. Keeping it creepy Dr. Mysterion will thrill with macabre acts of paranormal and ESP.

Keeping the sound steady throughout the night will be Rockabilly DJ Screamin' Dave Faris, who is sure to be spinning heavy duty black vinyl straight from the Crypt.

Saturday, November 1st

at The Dominion on Queen

500 Queen St. East

Doors at 9. $10 cover

Don't miss a minute.

National Steel at the Silver Dollar

2008-10-10T19:42:00.001-07:00

Doc MacLean and Michael Pickett onstage at The Silver Dollar

Last night, the National Steel Blues Tour rolled into Toronto. I’d caught wind of this inventive grassroots tour a month or so ago, and was intrigued, so I made my way down to The Silver Dollar Room to take in the show. The National Steel Blues Tour pairs up two accomplished local blues players, Doc MacLean and Michael Pickett, both of whom use National Steel resonator guitars prominently onstage. The duo are making their way across Canada with this tour, performing 75 shows in 70 days, and have been keeping a lively journal of their travels online (visit the nationalsteelblues.blogspot.com). Their shows have ranged from standard club dates to festival appearances to intimate house concerts. The ambitious DIY grassroots nature of the tour really appeals to me. These guys are out there taking their music on the road, taking chances, living the life of touring musicians, and making it happen. The Toronto stop was at a conventional venue, The Silver Dollar Room, one of the city’s few clubs actively supporting the blues, and an appropriate hometown stop for this tour.

As a music lover, my interest in this show was sparked by a couple of things. First off, the opportunity to see a live show by two established musicians with whom I was not that familiar. My awareness of blues music and musicians has grown over the years, but I’d only recently heard of Doc MacLean and Michael Pickett, despite the fact that both artists have careers stretching back over three decades. In fact, I only happened upon MacLean by chance. I’d seen him busking with his National Steel guitar in the subway station at Queen St. and University Ave. a few times, and purchased a CD from him (Narrow House). I was impressed by the album’s haunting and dark acoustic blues songs, as well as his collaborators on the disc (including Tom Waits/Canned Heat bassist Larry Taylor), so I wanted to see MacLean perform in a proper club setting. This tour fit the bill, and introduced me to Michael Pickett, who I didn’t really know of before. Pickett’s been an active musician since the ‘60s (including time with Whiskey Howl, Wooden Teeth, and the Michael Pickett Band), and is well respected in the Canadian blues community.

Doc MacLean on the National Steel guitar

Besides the opportunity to see two veteran musicians play for the first time, I was also captivated by the National Steel resonator guitar angle of the tour. I don’t know a huge amount about these guitars, but I’m very fascinated by them. They have a history dating back to the ‘20s, and are closely associated with acoustic blues. These guitars are made out of metal, as opposed to wood, and have a very unique sound, partially due to a built-in acoustic amplification system. They are called “resonator” guitars for a reason – they ring out loud and clear, conveying the bluesman’s song in no uncertain terms. Nationals were designed to amplify the sound of the guitar through natural acoustic methods (inspired by early phonograph technology), in the days before electric amplification was available, so a performer could be heard and compete with other instruments and loud audiences. The National Steel guitar carries alot of history, so it’s a real treat to get to see someone playing one in this day and age (see the National website for a detailed history of the guitar). Earlier this year, I witnessed both John Hammond and Paul James put their Nationals to use, and this night was another enticing showcase for the power of the vintage instrument to be brought to life.

The National Steel guitar

Doc MacLean and Michael Pickett shared the stage for the entire show, both playing seated, and trading songs back and forth. Both musicians had well-worn Nationals onstage – MacLean’s from 1929, and Pickett’s from 1931, I believe they said – although they also used more traditional acoustic guitars throughout the set. I’d never heard Pickett’s material before, although I was familiar with some of MacLean’s offerings. His renditions of songs from his Narrow House CD were more intimate than the recorded arrangements, stripped of drums and overdubs, and his easy manner onstage allowed the songs to come to life. The mood ranged from dark and harrowing to more laidback and mellow. A few songs that I recognized were “Bone Train”, “Narrow House”, “Angola Prison Rodeo”, and “Johnson Terraplane”. Good to see MacLean perform somewhere more upscale than the subway station! Pickett’s work was new to me, so I just tried to get a feel for his sound. Like MacLean, he’s right at home in Delta blues territory, with elements of roots and folk music somewhere in the mix, and very adept at the guitar and harmonica. In fact, both musicians offered up some serious harp playing, which played off the sound of the Nationals. These guys compliment each other quite well, and have a comfortable stage banter going on throughout the evening.

Michael Pickett onstage at The Silver Dollar

After a generous two sets, the show came to a close. A special, intimate performance of acoustic blues, National Steel guitars, and original music on a nice autumn evening. The National Steel Blues Tour continues on for another month, heading west all the way to Saltspring Island. I wish them well. They’ve got to keep moving, with that hellhound on their trail!

Rock and Roll Riot – 30 songs from September 27th, 2008

2008-09-29T08:15:00.001-07:00

A brief playlist from the September edition of my DJ night, Rock and Roll Riot, at the Cameron House. I managed to compile a bit longer list of songs this month.

30 Songs from The Cameron House – September 27th, 2008

Stereolab “Brakhage”

Jarvis Cocker “Black Magic”

Richard Hawley “Serious”

John Southworth “General Store”

The Raveonettes “Dead Sound”

Suicide “Cheree”

Ultra Vivid Scene “She Screamed”

Nick Cave and The Bad Seeds “Dig, Lazarus, Dig!!!”

The Wolfgang Press “Kansas”

The Last Town Chorus “Modern Love”

Joy Division “Interzone”

A Certain Ratio “Do The Du”

The Dave Howard Singers “Beat Box Baby”

Public Image Limited “This Is Not A Love Song”

Wire “Strange”

David Bowie “Time”

The Walker Brothers “I Don’t Want To Hear It Anymore”

The Stranglers “Walk On By”

The Gun Club “Jack On Fire”

Deadbolt “Voodoo Trucker”

Sandy Nelson “Big Noise From Winnetka”

Owen Bradley “Big Guitar”

Ace Cannon “Tuff”

Lee Allen and his Band “Walkin’ With Mr. Lee”

Jerry Cole “Mambo Boogie”

Atomic 7 “Ivy Rocks”

Chris Spedding “Gunfight”

The Sadies “The Last of the Good”

Royal City “My Brother Is The Meatman”

Ronnie Hayward “Honey I’m”

Rock and Roll Riot returns to the Cameron House on October 18th, and the second last Saturday of the month every month for the rest of the year.

Elvis Aron Presley – Jan. 8, 1935 to Aug. 16, 1977

2008-08-16T17:28:00.000-07:00

The King is Dead, Long Live the King!

Today marks the 31st anniversary of the death of Elvis Presley, an important date for music fans, popular culture in general, and especially for those who love and appreciate the work of the "King of Rock and Roll". I count myself in the latter category, and while my interest level in all things Presley has waxed and waned over the years, I grew up with a love of his music and movies (they were staples of Saturday afternoon TV when I was a kid), and that has never disappeared. Over the past decade or so, my interest and respect for Presley has been rekindled. I've rediscovered alot of incredible Elvis music, from the crucial Sun Records years into the often-maligned '70s. I've also enjoyed watching his films, rewatching old favourites such as King Creole, and seeking out lesser-known titles such as Speedway (with Nancy Sinatra!) and Stay Away, Joe, as bad as many of them might be.

It's next to impossible to look at Elvis objectively, because of all of the baggage surrounding his life and career, and the frankly tasteless and bizarre representation of his image in the decades following his death. As Mojo Nixon pointed out, "Elvis is Everywhere", and his greater contributions often get overshadowed by the 4th rate films, the dubious output and performances of the mid-'70s, and the kitschy Elvis memorabilia that has proliferated over the years. Sure, he was a mess when he met his less-than-respectable end, but I prefer to celebrate his achievements rather than mourn his death every August 16th. What could have been... it's hard to say. I was speculating with a friend of mine last week, envisioning a series of Rick Rubin-produced Elvis albums, along the lines of the Johnny Cash albums that came out in his twilight years, ending the King's career on a high note. As it is, one can only wonder, but the recorded work left by Presley is a staggering legacy, and despite the fact that I have been listening to it and collecting it for over a quarter of a century, I'm still discovering new gems all the time. Long live the King!

In honour of the occasion, I usually listen to some Elvis music, and if possible watch of one of his concerts or films on video. Here are this year's picks:

Elvis record of the day: From Elvis in Memphis (1969, CD reissue)

Elvis movie of the day: Blue Hawaii (1961)

A special mention to Redondo Roundup, one of my favourite music blogs out there. Redondo posted a nice collection of videos of very early Elvis television performances from the Dorsey Brothers' Stage Show in 1956. You can check them out here, and see what the excitement was all about over half a century ago!

Rock and Roll Riot – 20 songs from July 26th, 2008

2008-07-27T13:41:00.002-07:00

Rock and Roll Riot is the name of my regular DJ night, which happens once a month at the venerable Cameron House in Toronto. I've been doing this night for a number of years now, starting back in 2002 as an occasional fill-in gig, and gradually settling in to a monthly Saturday night slot. It's been a fantastic opportunity to spin tons of records, explore different musical avenues, and hang out at one of my favourite clubs. I take on other DJ gigs on occasion, often sharing the bill with live bands, but Rock and Roll Riot is my mainstay. The musical focus of Rock and Roll Riot is quite broad, and has evolved over the years, incorporating all sorts of different sounds and styles, eras and artists. Generally, the evening features healthy doses of rock and roll (1950s to the present), rockabilly, psychobilly, surf, instrumental, blues, punk, funk, rhythm and blues, new wave/post-punk, glam rock, novelty tunes, and lounge/exotica. Sure, that's alot of ground to cover, but that's part of the fun – I have a four hour time slot, which allows for a substantial selection of music each month.

In my experience, most DJs tend to really focus on one particular sound or style of music, but I like to keep my mix diverse and unpredictable, to a certain point. I'm not playing contemporary dance music (ie. techno, electronica, house, hip hop, etc.), although much of what I play is actually very dance-oriented, but at the core is rock and roll, and it resonates outwards from there. The more eclectic and exciting, the better. My musical interests over the past decade have been increasingly directed back into the '40s, '50s and '60s, the early years of rock and roll, its roots in blues, rhythm and blues, jazz and country, and the rockabilly sounds that I loved in my youth, as well as instrumental rock and surf. This is rich musical territory, and much of the music of the era is as raw, vital, and original today as it was back in its day. And it's fun!

I don't keep meticulous charts or playlists – it would be next to impossible with the amount of songs I spin in a night – but I thought it would be an idea to post a brief snapshot of my set once a month. I'm not really sure exactly why I had the urge to do this, other than as a fun thing to do, and to keep some sort of record of the songs I've played to look back on after awhile. I usually forget pretty quickly what was played from month to month, so this will help me keep track. I was originally planning to list 10 songs per month, but decided that 20 might be a bit more representative. Files for The Mysterious Vault. And, if anyone reading the blog finds the music of interest, please come down to the Cameron House and hang out some Saturday night when I'm there!

20 Songs from The Cameron House – July 26th, 2008

New Order “Ceremony”

Echo And The Bunnymen “Evergreen”

Nouvelle Vague “Dance With Me”

Peter Bjorn and John “Let's Call It Off”

Handsome Ned “Wrong Side of the Tracks”

Ruby Ann “Dynamite”

The Bop Cats “One Hand Loose”

Roy Orbison “Domino”

Gene Vincent “Cruisin’”

Jack Nitzsche “The Last Race”

Brian Setzer “Flyin’ Saucer Rock and Roll”

Ray Condo And His Hardrock Goners “Blast Off”

Wanda Jackson “Fujiyama Mama”

James Brown & His Famous Flames “Night Train”

Booker T. & The MGs “Groovin’”

Reverend Organdrum “Honky Tonk (Side A & B)”

The Ventures “Needles And Pins”

John Cale “Gun”

The Stooges “Down On The Street”

The Lounge Lizards “Harlem Nocturne”

O Canada! Five albums for Canada Day 2008

2008-07-02T19:06:00.000-07:00

In the spirit of Canada Day (July 1st for all you foreigners), I usually try to keep my stereo loaded with music by Canadian artists. This year's selection turned out to be largely of the country and instrumental variety, with a little good ol' classic Canadian rock thrown in for good measure. Here's what made the cut this year – one short of a six pack!

Wes Dakus and the Rebels Volume 1

Ray Condo and His Hardrock Goners Party Favourites

Atomic 7 ...Something for the Girl with Everything

Rush s/t

Carolyn Mark Nothing Is Free

Something old, something new, something reissued, and everything cool! To keep the spotlight on the Canadians, here are some thoughts and comments on each title...

Wes Dakus and the Rebels Volume 1 (Super Oldies)

This CD is a great collection of top-notch instrumental rock by Canadian combo Wes Dakus and the Rebels. The group were active during the initial heyday of instrumental rock (the late '50s and early '60s), although, like The Shadows and others, they also backed up vocalists, and some vocal tracks do appear on this CD. Despite being quite successful in their day, Wes Dakus and the Rebels have been largely forgotten, although their music has begun to resurface in recent years, thanks to efforts such as this one. I actually grew up in Canada, an eager young music fan, and I had never heard of Wes Dakus and his group until I chanced upon their recording of "El Ringo" on Bear Family's excellent Shakin' Up North – Canadian Rockabilly, Vol. 1 compilation. Hearing this track, a catchy, twangy instrumental in the spirit of Duane Eddy, The Shadows, or The Outlaws (later covered by The Fireballs), instantly made me a fan (all the more impressive when I read that it was recorded using one mic to a one track tape machine), and I tried to find more music by Wes Dakus. A few more songs surfaced on Sundazed's stellar Dancehall Stringbusters! guitar instros compilation, but Super Oldies delivered the motherlode with Volume 1, AND a subsequent Volume 2 (apparently a Volume 3 is in the works!). Both volumes are limited editions of 500, available online from Super Oldies, so if you're interested, get your hands on a copy before they're gone!

A bit more on Volume 1, the CD in the spotlight this time around (I'll review Volume 2 in a future posting). Super Oldies should be commended for gathering all of this rare material and making it available. Volume 1 is a mix of songs recorded in various radio station studios in western Canada (all based out of Edmonton), some of which were released as 45s, and some never before released. Quality records was behind the group for awhile, so some of these sides came out on Quality back in the early '60s. Additional material was recorded south of the border (notably at Norman Petty Studios), and released on American labels Gallio (a short-lived indie), and United Artists. The CD also includes some decent vocal cuts, unreleased versions of "That'll Be the Day", "You're So Square", "Matchbox", and more, with Barry Allen and Lennie Richards on the mic. These tracks offer a different perspective on the group, and give a bit of insight as to their live approach, which often incorporated a vocalist (the detailed liner notes discuss the various lineups that Dakus employed over the years). This is one of my favourite reissues of recent years, and Volume 2 is the perfect companion.

Ray Condo and His Hardrock Goners Party Favourites! (Crow-Matic Records)

Party Favourites! is a recently released "best of" compilation of music by Canadian rockin' hillbilly legends Ray Condo and His Hardrock Goners. I was really happy to get my hands on this CD (special thanks to DJ Rock 'n' Roll Jenny for getting me a copy!), being a fan of Ray Condo for years, but not really having a whole lot of his music in my collection. Former Ray Condo sideman Slim Sandy put this compilation together, and released it on his label Crow-Matic Records. It's a great primer for anyone looking to check out the crazed, hopped-up rockabilly/hillbilly/country sound that the Hardrock Goners did so well. Ray Condo passed away back in 2004, tragically, but not before leaving his musical legacy with the work of the Hardrock Goners, and later Ray Condo and the Ricochets, which delved into a more polished, but still rockin', country swing sound.

My first exposure to Ray Condo, surprisingly, was through seeing his music video for the song "Hot 'N' Cold" on Canadian music video channel MuchMusic. In retrospect, this seems almost unbelievable – the thought of MuchMusic airing a video by Ray Condo is not something that would ever happen in 2008, but back in the late '80s, the station did broadcast a fair amount of Canadian and independent content. At the time, I wasn't that into country music, although I did like rockabilly, and the song was instantly captivating, so I took notice. I heard more of Ray Condo's music on various It Came From Canada compilation albums (invaluable comps of Canadian underground garage/rockabilly/surf/punk/etc. music put out by Montreal's Og Records in the '80s), and his wild and crazy sound was always a standout. Finally, I found a copy of Ray Condo and the Hardrock Goners' album Hot 'N' Cold, which has been a favourite ever since. The album is a winner from start to finish, with such killer tracks as "Blast Off", "The Worrying Kind", "Lonely Wolf", "Wild Guitar", and the creepy instrumental "The Sinister Urge". As a DJ, I spin tracks from Hot 'N' Cold on a regular basis as part of my set. Four songs from this album appear on Party Favourites!, along with 13 other songs from the Hardrock Goners era. While I eventually acquired some music by the Ricochets, I have been wanting to hear more of the Hardrock Goners stuff, so Party Favourites! was a welcome addition to my music collection. Condo's versions of "St. James Infirmary", "Ice Cold Water", "Sweet Love On My Mind", and the surf tune "Mister Who" are all fantastic – hell, it's all great stuff! You need this CD in your collection. It's crazy, man, crazy!

Atomic 7 ...Something for the Girl with Everything (Eleganza Records)

The third CD from this stellar T.O.-based instrumental trio is as great as their first two albums, but also represents a subtle shift in sound. Atomic 7 is fronted by Brian Connelly, best known for his work with Shadowy Men on a Shadowy Planet, and one of my all-time favourite guitarists and instrumental songsmiths. For this album, Connelly is joined by Mark Duff on drums, and Brad Keogan on bass guitar, both members of London, Ontario country outfit The Rizdales. This new lineup (each Atomic 7 album has had a different rhythm section) might account for the slightly more prominent country feel to ...Something for the Girl with Everything, but it's also just a natural progression for Atomic 7. Connelly has been a part of Neko Case's band in the past, and his other project, Ancient Chinese Secret, cover alot of country material, so he's certainly got an affection for country music.

...Something for the Girl with Everything was released on a very limited scale (ie. available only at live shows), which is a bit of a shame, because it is so damn good! Easily in my top 5 albums of 2007. Big, twangy Duane Eddy-esque guitars thunder and flash through a great set of original material, from spagetti western atmospherics ("Ivy Rocks", "The Whirly Girly Revue") to wonderfully melodic upbeat numbers ("Junior Miss Chop Shop", "Guilt Wears a Dazzling Chapeau"), shadowy faux spy movie themes ("Lava Devils!", "Thingmaker"), and some slow romantic pieces (in the tradition of Santo & Johnny's classic, "Sleep Walk"). All in less than 35 minutes! Classic Atomic 7, with a new twist. Shadowy Men fans won't be disappointed, and a couple of tracks in particular, "Glow in the Dark Underpants" and "Thingmaker", certainly hearken back to the otherworldly sound of Connelly's famous combo. Atomic 7 seem to be on hiatus – I haven't seen any indication that they have been active this year at all – but Connelly's other group, Ancient Chinese Secret, play regularly in Toronto, including a residency a the Cadillac Lounge. The good news is that the Atomic 7 website is now finally live, so you can order this hard-to-find CD on-line.

Rush s/t (Anthem Records)

What's Canada Day without a little Rush? And what better than to start at the beginning, with the powerhouse Rush album! Sure, I get grief about being a Rush fan, but who cares? If you like rock and roll, you can't argue with songs like "Working Man", "What You're Doing", or "Finding My Way". In fact, if Rush had only ever put out this one album, their place in Canadian rock history would have been secure. As it turned out, this was but an introduction to a long and vastly prolific career that continues to this day.

But the group's eponymous debut is unique in their catalogue for a couple of reasons. In some ways, it seems a quaint, innocent first statement from a power trio that would go on to pen such hefty prog-rock classics as 2112 and Hemispheres, and later delve into synth-heavy pop rock territory on albums like Signals, Grace Under Pressure, and Hold Your Fire. Rush is a straight-ahead early '70s hard rock album, a big, loud, gleeful burst of youthful energy, and really alot of fun. Back in my high school days, it used to annoy me when people would write off Rush as a Zeppelin clone band (I didn't like Zep in those days, although I eventually realized the error of my ways), but listening to early Rush now, the comparisons are pretty obvious. In fact, it would be great to hear Zeppelin take on songs like "Need Some Love" and "Working Man"! But Rush were also influenced by the likes of The Who, Cream, Blue Cheer, Buffalo Springfield, and many other artists (their 2004 CD Feedback pays tribute to some of these inspirations), and ultimately they forged their own sound, moreso as their career progressed.

On Rush, the songs are simple, riding on heavy guitar riffs, head-banging grooves, and lyrics typical of rock and roll. In retrospect, it's funny to hear Geddy Lee singing lyrics about things like lust and drinking beer, considering that Rush are known for their heady subject matter, sci-fi/fantasy song cycles, and sophistication within the rock world. That all came later, when original drummer John Rutsey was replaced by drummer/lyricist Neil Peart from the second album, Fly By Night, onwards. So, only on the album Rush will you find lyrics like:

Hey, baby, it's a quarter to eight

I feel I'm in the mood

Hey baby, the hour is late

I feel I've got to move

(from "In the Mood")

Ooh, I need some love

I said I need some love

Ooh yes, I need some love

This feelin' I can't rise above

Ooh, yeah, yeah

(from "Need Some Love")

Go for it, Geddy!

The Rush album rocks, and Rush rock. In fact, I saw them live last September, and they are still a force to contend with. Check out their recent live album, Snakes & Arrows Live, if you don't believe me. Geddy can still hit the high notes on songs like "Freewill", and the band are loud and rockin' in their 5th decade, moving forwards despite the odds. Sadly, original drummer John Rutsey passed away in May of this year. His memory will live on for fans in the grooves of Rush's debut album for a long time to come.

Carolyn Mark Nothing Is Free (Mint Records)

The last album on the playlist for Canada Day is the most recent from Victoria, B.C.'s lovely songstress Carolyn Mark. It's been pretty much a boys club so far, but Ms. Mark weighs in for the ladies with a nice set of songs that highlight her songwriting and vocal skills. My wife loves Carolyn Mark's music and wit, and I've grown to quite like it as well, won over by her obvious charm and wicked sense of humour. And while most of her CDs to date have been filled with a mix of rollicking party sing-alongs and lovelorn laments (her first album was titled Party Girl, after all), Nothing Is Free is a change of pace. The boozy good-time girl persona has been put aside in favour of a more intimate approach, and the result is an album that allows Mark's songs to shine outside of the usual gimmicks and saucy wordplay.

Nothing Is Free is not an immediate album, it's a grower. The clever instrumental hooks and unexpected twists and turns of previous albums have been somewhat supplanted by a more folky approach. While her sound is generally a mix of country, folk, cabaret, jazz, and rock, often stumbling over each other in a ramshackle hootenanny, the instrumentation on Nothing Is Free leans towards the acoustic – guitar, bass, mandolin, violin, and pretty vocal harmonies. Mark has captured a coffee house vibe this time around, rather than a late-night booze can feel. I must confess, the first few times I heard the album, I was a bit underwhelmed. Those unruly songs loaded with bad girl punchlines that I've grown to expect from Carolyn Mark were somehow missing, and it almost seemed like she was trying to sell herself as a serious singer/songwriter this time around. Sure, there were some pleasant sounds to be heard, some nice melodies, a great twangy guitar line on "Happy 2B Flying Away", and Mark's wonderful voice and delivery. But was this her sober album??

I'm happy to say that, as with many albums, Nothing Is Free does benefit from repeated listening. In fact, it doesn't become apparent how good the songs are until you let them sink in after a few listens. I hesitate to call this a "mature" Carolyn Mark album (can that word be used in reference to Carolyn Mark's music?), but it does present a more serious and sensitive side to her work, and moves in a promising new direction. The lyrical content is still very much front and centre, and even without the sensationalistic stories about the night before, she still manages to muster up some evocative tales, and lace them with tasty one-liners throughout. "The 1 That Got Away (with it)", "Get Along", and "Honest Woman" are classic Carolyn Mark songs, while "The Business End", "Happy 2B Flying Away", and "Point of View" are more reflective, observational, melodic offerings. One real surprise is the closing song, "Destination: You". This track is at odds with the rest of the CD, a foray into electronica with a haunting, nocturnal feel, reminiscent of Vancouver's Perfume Tree. An odd way to finish off the album, but Carolyn Mark is full of surprises, and I get the feeling that she has lots more to come. Her last two albums, Just Married: An Album of Duets (2005), and The Pros and Cons of Collaboration (2004), each presented Mark within the context of highly collaborative work, and she clearly works well in a group situation. But Nothing Is Free is an album that allows the listener to simply enjoy Mark's voice, lyrics and songs with the minimum of outside influence. It's a great, pastoral, late summer album, so find yourself a copy and enjoy. You don't even need a drink to go along with it.

That's it for this year's Canada Day listening. Until next July 1st, keep listening to Canadian music!

Mysterious Pages – the hardboiled thrills of Hard Case Crime

2008-06-21T12:22:00.000-07:00

My last two postings on this blog have touched on the topics of music and film, so it seemed only appropriate that this post should be something book-related, to round out the content of the blog. Music, film, and books being the main subject matter of The Mysterious Vault, after all. In selecting exactly what to write about this time around, the most obvious choice was to discuss the last book that I'd read; this option proves very fitting, as it ties into a larger subject which I'd planned on covering. The book is entitled Straight Cut, an unusual crime novel by Madison Smartt Bell, which is an enjoyable read, and an original, nuanced approach to the crime thriller/noir genre (usually lumped into the "Mystery" category in your local bookstore). Straight Cut is published by the Hard Case Crime imprint, a relatively new publisher in this field who have really impressed me with their offerings over the past few years, giving new life to the pulp paperback.

Anyone who is into mystery, detective, crime, or noir fiction, as I am, will no doubt have noticed the arrival of Hard Case Crime titles on their local bookseller's shelves. I was immediately struck by the design of these paperbacks, being a sucker for a great book cover (or record sleeve). Hard Case Crime created something unique and "new" by going back to the look of classic pulp paperbacks from the '40s and '50s. Their books are small and very portable, which is the essence of the pocket book (I love trade paperbacks, but they don't fit in your pocket, which is very handy when you commute to work every day like I do). And the covers of their books all feature wonderful paintings in the tradition of pulps and early crime paperbacks – lusty, scantily-clad femmes fatales and damsels in distress, action shots, moody noir-esque urban street scenes, and lots of imagery of gambling and guns to add spice and danger. Alot of care has gone into these covers, and bios of the cover artists (including the formidable Robert McGuinnis, William George, and other acclaimed illustrators, painters, and comic book artists) are included on the Hard Case Crime website. The design of the books is very slick and uniform, and hey, they even have a cool flashy logo!

In hearkening back to something old, Hard Case Crime have managed to jump out of the crowd, their covers alone being distinctive in an era where the bulk of covers are highly digital creations. I love it when someone does something right, really well, and it doesn't happen very often. Hard Case Crime hit the hardboiled nail right on the head – I was sold before I even read a word. So far, they've been running strong for almost four years (their first title came out in September, '04), and I'm hoping that their run continues for a long time to come. Right now, they have titles listed on their site going into Spring, 2009, so that's a good sign. Now, back to the book that prompted this post...

Straight Cut is the third Hard Case Crime novel that I've read, all three so far being quite good, and very different from each other. The first two were Stephen King's The Colorado Kid (2005), and Ed McBain's The Gutter and the Grave (2005), King's contribution being the lesser of the three (pretty much a glorified novella, but still ok). Straight Cut is not a murder mystery, a cop or P.I. novel, or a typical gangster or crime story. The main character, Tracey Bateman, is a film editor who has on occasion gone over to the dark side, collaborating with his film-making partner Kevin on elaborate drug running schemes. Tracey & Kevin have a love/hate relationship, stemming from some shady dealings in their past, complicated by an unusually intimate three-way relationship involving Bateman's estranged wife, Lauren.

The storyline follows Bateman on an international journey, from New York City, where he is drawn back into Kevin's deceptive web, to Rome, where he accepts a film editing job that turns out to be a front for a dangerous drug trafficking deal. Lauren is inadvertently involved in the proceedings, and consequently reunited with Bateman, who takes on the burden of completing the deal. The action moves across the continent, from Rome to London, then Brussels, and finally back across the ocean to New York City. Danger and suspense slowly build throughout the novel to an unpredictable climax, but Straight Cut is not your typical action-packed, fists swinging, guns firing, bodies piling up knockout of a crime novel. The book is full of internal and interpersonal struggles and conflicts, and while there are a few incidents of actual violence (and some amusing Bulgarian heavies, by the names of Yonko and Grushko), an atmosphere of escalating tension and impending doom is sustained throughout the book without resorting to the standard heavy-hitting plot devices. Straight Cut is not your typical thriller, but an original take on the genre, well worth the read. I'd never read anything by Bell before, so this was a nice introduction to the author's work.

A few final words about Hard Case Crime. As a publisher, Hard Case Crime is both an outlet for old and new books, preserving a past legacy with an eye to the future. While they have unearthed forgotten hardboiled and pulp noir novels, they are also bringing new work in this tradition to print, a welcome addition to mystery bookshelves everywhere. I was impressed to see titles by revered authors such as Mickey Spillane, Cornell Woolrich, David Goodis, Robert Bloch, and Erle Stanley Gardner in their catalogue. Hard Case Crime are A-OK in my books, and I will post reviews of other Hard Case Crime titles on The Mysterious Vault as I read them, so you can expect this to be an ongoing topic on the blog. I encourage lovers of this kind of fiction to visit the Hard Case Crime website and check out their impressive catalogue. For the true enthusiast, there exists a Hard Case Crime Book Club, whereby the newest books in print will be automatically shipped to your door every month. Who could ask for a more tempting offer?

The Big Apple on the Big Screen

2008-06-01T10:58:00.001-07:00

For my first foray into the world of film on this blog, I've selected a rare title that is truly suitable for The Mysterious Vault. The film is entitled Only One New York, a documentary about New York City made in 1964 by obscure French director Pierre-Dominique Gaisseau. This lost gem was screened in Toronto last week courtesy of local film collector Dion Conflict, as the main attraction of an evening billed as "Midweek Mondo Madness". I hadn't heard of Only One New York before this screening came up, but that's not really too surprising. The film is not available on home video, and it apparently hasn't been shown for decades. In fact, according to Dion, his print may be the only copy in existence, so it is a true obscurity.

I've known Dion since the early '90's, and we've worked together on numerous projects and screenings over the years. He's been collecting unusual and neglected film and video for longer than I've known him, and he's developed a bit of a reputation for his oddball film nights, selecting strange trash and treasures from his "Conflict Archives". These screenings range from feature length films, such as Only One New York, to programmes of short subjects, such as his infamous "Hunka Junk" series (a mix of vintage educational films, commercials, trailers, shorts, etc.), "Trailer Trash" (film trailers), and "Christmas Kitsch-A-Roo" (bizarre Christmas films). As a graphic designer, I've put together posters and promotional material for quite a number of Conflict Archives screenings, and I was asked to help out with a poster for "Midweek Mondo Madness" (see below). It turned out quite well, despite the tight deadline.

"Midweek Mondo Madness" took place at my neighbourhood repertory movie theatre, The Revue Cinema. The evening opened with a short performance by local paranormal sensation Mysterion the Mind Reader (adding to the thrill-seeking "Mondo" vibe), followed by some shorts, and then the feature. Before I get into the film, I should just note that Mysterion's big stunt for the evening involved the potential risk of hanging himself by the neck, unless he could use his mental powers to select the one "safe" noose from a group of lethal ones. Needless to say, he is still with us – the show must go on...

Only One New York is a joyful and entertaining film to behold, a time capsule that transports the viewer to another era, a somehow more optimistic and simple time. Indeed, there is almost a naive quality to some of the voice-over narration in the film, but this is also a product of the time, which adds an element of humour for present-day audiences. While Only One New York is perhaps loosely associated with the whole "Mondo" film sub-genre, the similarities are mostly on a surface level. Mondo films are generally more lurid and sensationalistic, offering a glimpse into the unusual and shocking (Mondo Cane, Mondo Topless, etc.). Only One New York is quite tame by contrast, being more of a look at the great metropolis and its people from the point of view of a fascinated outsider, as opposed to a thrill-seeking celluloid joyride.

What emerges in Only One New York is a portrait of both the physical structures of the city, and a sampling of the many diverse cultures living within the great melting pot. As someone who loves New York City, I am always happy to look at images of the city on film, and there were a great many stunning shots throughout Only One New York to please any viewer. The buildings of downtown Manhattan are presented in long, poetic shots, filmed at odd angles and gracefully edited to some great swingin' Hammond organ music. The glass fronted skyscrapers are awe-inspiring spectacles on the big screen, reduced to almost abstract dancing geometric shapes by the inspired cinematography. The physical structure and architecture of NYC is one theme running through the film, and scenes of buildings being constructed and demolished provide some memorable imagery. The narrator reflects, "How beautiful these shining towers are. Architecture expresses an attitude. It reveals the psychology of the builder. It occurs to me that people who expect a bomb to fall don't build their walls of glass. A city of glass is like a declaration of peace." These words certainly possess an unintentional poinancy for a post-9-11 audience.

Within this considerable setting, the viewer is taken on a multi-cultural journey, and a portrait of the residents of NYC is painted, captured on film for future generations to look back on. For the most part, different ethnic groups are shown in some sort of distinctive celebration or gathering. Several weddings, parades, banquets, and religious ceremonies are shown, along with more candid and intimate footage. Hence, the Irish St. Patrick's Day parade, a religious gathering in Harlem complete with gospel choir, a Japanese Buddhist celebration, a gypsy wedding, a traditional Jewish meal and religious practises, Ukrainian sword dancing, a voodoo ceremony, and much more along these lines. This study in cultural diversity is balanced out by some other colourful footage – Playboy bunnies playing football (and a glimpse inside the famed Playboy nightclub), a parade of elephants walking down the street, native Indian construction workers relaxing at their local watering hole during their off-hours, an art world happening (complete with action painting), and more.

In retrospect, it all seems a bit wide-eyed and overly optimistic (particularly in a post 9-11 world), but perhaps this is part of the charm of Only One New York. The world is a much smaller place in 2008, thanks to advances in transportation and communications, and the 'Global Village' is in a way almost a worldwide equivalent of the metropolis presented in Only One New York, although certainly not living in harmony. This celebratory survey of one of the world's greatest cities is something of a breath of fresh air in today's cynical, war-torn, scandal and disaster ridden world. Sometimes the past looks brighter than the future, even in black and white.

And then there were Four... The Return of The Cure

2008-05-22T19:10:00.000-07:00

Last week I saw The Cure live on their latest tour. Seeing The Cure in concert has always been a big event for me, being a long-time fan of the group, and their latest appearance didn't disappoint. It was a big, loud, exciting show, this time around dominated by a heavy guitar sound and a setlist hearkening back to their '80's glory days, while introducing some new songs (good and bad) from their upcoming album, due out in September '08. I would have preferred seeing the group after hearing the new album, but the release date has been pushed back several times, so it didn't work out that way this time around. As it turned out, the show here in Toronto (May 15th) coincided with the May 13th release of The Cure's new single, "The Only One" (have a look at the video below), a nice, dreamy melodic pop song in the tradition of earlier singles such as "Catch" or "High". In typically playful, Cure-like fashion, the group will release a new single on the 13th of each month leading up to the new album. Robert Smith has always been such a tease, hasn't he?

The Cure - The Only One

Truthfully, I wasn't all that psyched to see The Cure this time around. I've seen The Cure 8 times before (!), and I wasn't sure that it would be worth the $100 ticket price to see them again. There are very few bands that I've followed for this long (almost 25 years!), and few that I'd be willing to see again and again through the ebb and flow of their career. In fact, the only others I can think of are Rush, David Bowie (who I've only seen twice), and Nick Cave and the Bad Seeds. Of course, I'm talking about bands playing at large-scale venues here – there are numerous local or lesser known groups that I've seen play as many or more times. What persuaded me to see The Cure for the ninth time was the new lineup. When I heard that guitarist Porl Thompson had returned to the ranks, I was intrigued, and so I dutifully purchased tickets for the show, anticipating something good. Thompson's accomplished guitar sound augmented many of The Cure's key albums (The Head On The Door, Disintegration, and Wish to name a few), so I was expecting the group to be back in top form, albeit without a keyboardist. I bought the tickets almost a year ago – the show was originally scheduled for September, '07, but was postponed and moved to this past week. Talk about killing the buzz...

So the show finally came around, two seasons later, and here we are in 2008. I'm happy to say, despite my dampened anticipation, that the show was worth seeing, and The Cure are alive and well, loud and strong, stripped down to a core 4-piece unit. As a keyboard player, I do miss Roger O'Donnell's contribution to The Cure. His presence added a certain sophistication and expansiveness to the group's sound. And, on a personal level, I have known O'Donnell as a friend and one-time musical collaborator since the early '90's, so his place on stage was noticably bare. However, The Cure has been an ever-evolving group since day one, and its current lineup is solid. My ideal Cure lineup was the one that played on the 1989 "Prayer Tour", in support of the Disintegration album, which comprised Robert Smith, Porl Thompson, Simon Gallup (bass), Roger O'Donnell, and Boris Williams (drums). Well, Smith, Thompson, and Gallup are all currently on board, and drummer Jason Cooper (who I've always considered a distant second to Williams) is sounding better than ever, so the future looks good for the seasoned goth-punk-pop combo.

I shouldn't read set-lists from previous shows on-line before going to a concert. I was expecting the show to open with "Plainsong", "Prayers For Rain" and "A Strange Day", as it had in Montreal the night before. Silly me, but just as I got to my seat, The Cure walked onstage and launched into "Open", one of my favourite Cure songs and a great opener (see the Show concert video if you have any doubts). This was followed by "Fascination Street", setting the tone for the evening. Lots of songs from the Porl Thompson era (welcome back!), and nothing from the dubious Wild Mood Swings or Bloodflowers albums (over-rated in my opinion). The concert was just under three hours long, so I can't go over every highlight, but I loved hearing "Open", "Push", "Primary", "One Hundred Years", "Shake Dog Shake", "From The Edge Of The Deep Green Sea", and the shiny pop singles "Friday I'm In Love", "In Between Days", and "Just Like Heaven". You can see the full set list, as well as others from the current 4Tour, at the Chain of Flowers blog if you're interested.

On a personal level, the second encore was really a special treat. Way back in 1985, the first two Cure albums I ever heard were Boys Don't Cry and Japanese Whispers, and after hearing these two captivating and darkly eccentric collections, I was hooked. The second encore of the show, amazingly, was a four song selection of tracks from Boys Don't Cry, including the songs "Boys Don't Cry", "Jumping Someone Else's Train", "Grinding Halt", and "Killing An Arab". With this, The Cure went full circle, from their first singles to songs from their unreleased upcoming album. The group also played three songs from Japanese Whispers during the evening, "The Walk", "Let's Go To Bed", and "The Lovecats", but these never translated all that well in live renditions, and certainly suffered from the lack of keyboards (although kudos to Simon Gallup for his pulsating bass grooves on these songs). The show ended off with the classic moodpiece "A Forest", and then my wife and I were off home to relieve the babysitter, back to the hectic realities of everyday life.

My personal all-time favourite Cure show will always be the "Prayer Tour" stop in Ottawa, which was on August 26th, 1989. That was my first time seeing The Cure live, and it was at the peak of their career (you can see the setlist here). But I must hand it to Robert Smith and co. for keeping the group vital and alive after all these years. We'll see what the group's new album has to offer this fall.

A Peek Inside the Mysterious Vault

2008-05-07T17:10:00.000-07:00

Welcome to The Mysterious Vault!

The door has opened, and inside you will find a whole world of strange and interesting music, film, books, and beyond...

As a former music writer, and occasional film writer, I've been contemplating launching my own blog for awhile now. Trying to narrow down the focus wasn't easy. My interests are quite broad, and I wanted to keep the subject matter unpredictable and wide-ranging, while maintaining some sort of continuity. I still get the bug from time to time to write about things that excite, inspire, or amuse me, but I don't really have much desire to deal with the deadline-oriented nature of publications. The Mysterious Vault will suit my purposes just fine! Hopefully the reader will also discover something of value within the Vault.

Music and film were the obvious choice for subject matter, and I've decided to include books as well to broaden the scope of the blog. While numerous other things spark my interest, my main motivation to start a blog was to write about music and film. In fact, my original intent was to start a blog on music films exclusively, which would have been interesting enough to keep me going indefinitely. However, that would have ultimately been too limiting, and I don't have the time or energy to maintain additional blogs to explore related topics. I'll see how far this one goes!

Without wanting to set too many guidelines for the subjects to be explored in The Mysterious Vault, I would like to provide an indication as to where my interests lie in the vast realm of music, film, and books. This is a very rough outline to be sure, but the Vault is shrouded in mystery, after all...

Music: rock and roll, rockabilly, jazz, blues, country, pop, surf, punk, new wave/post-punk, garage rock, glam, lounge, exotica, instrumental, ambient, electronic, shoegazer/dreampop, novelty tunes, soundtrack and much more.

Film: "classic" films, film noir/crime/detective film, music film (concert films, documentaries, biopics), silent film, monster movies and horror, documentaries, Canadian film, foreign film, experimental and underground film, serials, b-movies, independent, exploitation/juvenile delinquent and drive-in films, sci-fi, westerns, and various permutations of the above.

Books: crime fiction (hard-boiled, pulp fiction, noir), biographies, general fiction, music and film books, beat generation writers, art books, sci-fi, comics, and more.

This is the beginning. I hope you enjoy what you find in the Mysterious Vault!