Now In Print

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

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

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

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

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

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

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")

or

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!