Song Of The Year B

The really shitty thing about getting a lot of CDs is that sometimes ones get not necessarily pushed aside, but put in a batch of those that you'll get around to later on. It's not in a batch with all of the Austrian death metal or French bobcat-yodeling ambient remixes that occasionally are sent, but it's more like a healthy patience, hoping it is the great album worthy of your listening. So, it is now with deep regret that I admit I had this band's album for about six weeks in a "get around to it" batch before I got around to listening to it. And I have yet to truly stop since.

There are four of them, the drummer not being musically trained but joined her friend in the band. The lead singer on first glance looks like he's channeling James Dean and Joe Strummer while the other guitarist and bassist are content to stand in the shadows during their performances.

Hailed by Alan McGee (he who found Oasis) as the "next big thing," Glasvegas (Glasgow, Scotland (their hometown) and Las Vegas, get it?) has since opened for Kings Of Leon and headlined their own show in Toronto earlier in the year at the fabulous Mod Club. It was one of those rare occasions where I confessed to living out the "been there, done that, bought the t-shirt" routine. (I wasn't reviewing it, so could buy the loot being the objective hack that I am receiving free CDs).

But anyway, the song Geraldine is a keeper and will always be a keeper, from the opening guitar riffs to the simplistic drum beat, the tune -- dedicated to a social worker who now is the band's merchandise person on tour -- has reached that rare plateau of being a perfect tune, the type you hear in your head or hope to hear but are near orgasmic bliss when it is made real. Beefy guitars, beefy drums, a sinfully hook-riddled chorus and all the sing-along "oohhs" you could hope for.

Tis a great song, on a great album, by a truly great band.....

Song Of The Year: Winner A

It's the late morning of the second day of the 2008 Virgin Festival, the day Noel Gallagher would later get bumped by the crazy simian. I'm debating whether or not to catch the early acts on the main stage because they might be good. For example, Arcade Fire (prior to the release of Funeral) played to about a hundred or so people on Toronto Island as the first band on a day-long bill years ago.

After hemming and hawing I decide against it and plan to get there around 3-ish, passing up the chance to see the group in the pic, the Airborne Toxic Event.

Around June of this year a channel-surfing moment hits MuchMoreMusic, the nation's Music station (except for the Gene Simmons Family Jewels Show, Celebrity Rehab, Movies Of The Week, various crappy teen angst-coms and other non-music programming taking up 22.9 hours out of every 24). And then I hear this song, one which I've played via YouTube no less than 200 times since June. Sometime Around Midnight is the name of the tune, a song which nails on the head all the dread, passion, bitterness and memories of a broken heart or one which has yet to fully mend.

Written by lead singer Mikel Jollett (the guy farthest away in the picture playing guitar) after a series of misfortunes -- including being diagnosed with vitiligo (skin color changes) and alopecia (hair loss) at the same time -- the song described how Jollett met a former ex at a bar and realized he never quite got over her and the awkwardness that ensues.

Starting slowly and soaring by its majestic conclusion, the song seems to hit the perfect balance of power musically and lyrically, even with Jollett reaching a bit vocally near its conclusion. But the keeper has to be the closing verse: "You just have to see her/You just have to see her/You just have to see her/You just have to see her/You just have to see her/Knowing she'll break you in two."

Song B tomorrow.....

Anti Curlew/Devil's Curlew

One of the finest creatures I've seen in the last 4 minutes surfing the web, behold the beloved curlew with its long bill, a bill no doubt used for collecting food and poking the eyes out of things that annoy them.

However, it seems that nature lovers have joined forces in Australia to prevent the bird from taking in Angus Young's guitar and Brian Johnson's vocals when AC/DC plays in Australia in June. According to various reports, animal rights groups are demanding that the band be prevented from performing in one region of the country. The concert apparently would disrupt the bird's nesting patterns which could see them becoming endangered, according to Hans Uhl of BirdLife.

Although the possibility exists that the show -- which will see about 80,000 in attendance (and maybe 19 curlews also) -- could be stopped, it would be safer for the curlew if the show went on. AC/DC fans are a loyal, lunatic-leaning lot (of which I am a proud member) and some would think of nothing better than to begin slowly picking off these little birds with their long bills one by one.

So to all curlews visiting this blog (and I thank you), you've been warned......

Vic Chesnutt

Details are still a bit sketchy, but singer-songwriter Vic Chesnutt died on Christmas Day, apparently after attempting to commit suicide earlier in the week which seen him lapse into a coma. Reports indicate that the 45-year-old performer was going deeper and deeper in the hole financially with mounting medical bills and the need to have a kidney transplant in the near future, all without any medical insurance or coverage. Longtime collaborator and friend Kristin Hersh estimated Chesnutt -- who became a paraplegic after a car crash in the early '80s -- had at least $50,000 worth of medical expenses to cover.

Chesnutt first got the attention of REM's Michael Stipe who praised the musician, leading to more and more seeking out his albums and thus gaining a loyal cult following. Chesnutt and Hersh often toured together. More recently, Chesnutt toured North America which hit Toronto, Winnipeg and Western Canada before wrapping up in early December. The tour was behind his new studio album (and 16th of his career) At The Cut which came out in September.

He will be missed....

Seasons Greetings

Great, Another 90 Minutes Freezing To Death

Mr. Putin and I have a lot in common, aside from the fact he is the President of Russia, is great at the martial arts and lives in a rather nice pad. But other than that, he and I are two peas in a pod. This photo is of Putin checking his watch on New Year's Eve, which is how I've spent a few, freezing to death outside watching C-List talent "Rock out/Rock in the New Year" before thousands of people freezing to death.

Most of these outdoor NYE concerts (well, those held outdoors) are nightmares for fans, bands and everyone involved. One song per artist is often the case, meaning four minutes of music are interspersed with 10 minutes of poppycock by television personalities asking everyone, "Are you having fun? Let's warm this place up!" and other such time-filling drivel. Unless of course you've struck gold and an 80s era band is willing to play 90 minutes for Chinese takeout and free gas.

So, if you have your druthers, it's best to enjoy the countdown indoors at a bar, club, somewhere where you don't need an invitation, reservation or have to pay $194 cover charge at the door. Otherwise, be prepared to look at your watch.....and freeze....a lot.

The Ticketmaster?

Not all of them, but these are a handful of ticket stubs for shows. Sometimes the guest list makes the ticket needless, but over time these stubs tend to pile up. Some are faded, most of them aren't. The pink and yellow tags are for the ACC Gondola.

So, with this marking the end of the decade, it seems fitting to go through a handful of these handful of stubs and see how some of these are instantly recalled whereas others are unfortunately still not forgotten about. Some other highlights (Joe Strummer, Manic Street Preachers, etc) fall into the 1999 period so will not count. And these are in no order.....

1) My Bloody Valentine -- Sept. 25, 2008 (Kool Haus) -- Notoriously loud British shoegazers put on a spectacular show which leaves you physically and mentally disoriented. Earplugs are given out to audience members beforehand, one of the first times I've witnessed this. With one song left, the band -- led by Kevin Shields -- get the most out of the $400,000 US they spent on speakers and amplification on stage, leading into You Made Me Realise. A 25-minute middle portion is white industrial noise and feedback, dubbed by some fans as "The Holocaust." Decibel levels hit 160. Jet plane 100 feet overhead is 140.

2) Wilco -- August 3, 2004 (The Mod Club) -- Originally part of the failed Toronto Lollapalooza lineup, Wilco plays a sold-out show at this intimate jewel of a club. Using material from Yankee Hotel Foxtrot as well as the new A Ghost Is Born, the band nail all of the material perfect while Tweedy is dressed "like a man transformed by the probable forthcoming television series Queer Eye For The Amish Guy...."

3) David Gilmour -- April 9, 2006 (Massey Hall) -- Playing two nights here, and seeing scalpers make a killing from some well-known in the business (including Floyd producer Bob Ezrin reportedly forking over $1000 for a floor seat), Gilmour performs his On An Island album note for note, but the second half of the 3-hour show contains some keepers, including Shine On You Crazy Diamond, Comfortably Numb and Echoes with the late Richard Wright off to his left onstage.

4) Kathleen Edwards -- November 10, 2005 (Phoenix Concert Theatre) -- This being the 11th time seeing here (that I can remember), Edwards mixes the set with songs from Failer and Back To Me. However, it's the performance of an untitled song dedicated to Alicia Ross, a young woman found murdered in late September of that year. The song -- taken from the point of view of Ross -- has Edwards performing it beautifully alone on acoustic guitar, tears visibly streaming down her face. The song ends up titled Alicia Ross and will appear on Asking For Flowers in 2008.

5) Paul McCartney -- October 10, 2005 (Air Canada Centre) -- Not covering it but decide to head down to see if I can find a cheap ticket. Patience is bliss. Scalpers scold me for not being willing to pay $200 for a seat, one pontificating that for this reason -- and this reason alone -- I will always be a follower and not a leader. (Note: Said scalper's leadership still has him selling ducats outside venues to this day.) Inside Union Station a man laughs when I offer what I'm willing to pay. I wait, realizing his friend can't use the ticket. The man grows impatient and I realize I might have my ticket, selling me a pair for $160 (one ticket is priced at $160). I resell one for $100, getting me in for $60. Only Springsteen's $50/$60/$60 trilogy of cheapies (Air Canada Centre, Skydome, ACC (solo show)) is perhaps a greater coup.

6) Live 8 -- July 2, 2005 (Molson Park, Barrie) -- A decent lineup but an odd start to the day, accidentally pulling a plug trying to find an outlet for the laptop. Pulling one cord out of the powerbar ("It's okay, nobody's using that one," a publicist says.) results in a large Brit stating that, "You just pulled the plug, we're with the BBC and we're live to air!" Oops, plug it back in and after three or four seconds all is well again. See Bryan Adams wrestled off stage and thankfully catch a glimpse of Pink Floyd's London slot in the nifty little press tent/refreshment area/catering table area.

That's all...for now....

The Greatest Loss Of 2009

Everyone will probably remember 2009 in music for the one "icon" with the nice sculptured nose, the hit singles, comeback tour that never happened but the 120 hours of rehearsal footage which grossed hundreds of millions worldwide. But for anyone who has been stubborn or nutty enough to decide to make a go in the music business, the little old man with the tongue sticking out has had a greater influence than anyone before or since probably ever has. You see, he could go from any guitar store from Auckland, New Zealand to Anchorage Alaska (well, not that there are many if you travel East to Anchorage, but I meant heading West, the long way around) and find one with his name on it. Well, not his birth name of Lester William Polsfuss, but a short, snappier stage name.

Les Paul passed away in August, but what he did for the business is more than Mr. Jackson could ever do. Paul started back in the 40s, developing instruments and equipment in his head that had yet to be found. The electric guitar was a start, and many would give him deserved kudos for that alone, but putting that sound out to the masses was perhaps his biggest coup.

He invented the eight-track recorder (not the eight-track and its idiotic playing sequence) for studio recording. And in an interview with Popmatters a few years back (one I jumped at but never got), Paul also mentioned making these: the first solid body electric guitar, bass guitar, the use of echoing, delay, reverb and phasing. Basically every little trick that a guitar-driven rock band still uses today Paul is responsible for.

Legend has it he once entered a recording studio where the Rolling Stones were working on an album. While talking with an unaware Ronnie Wood (not that he's aware now), Paul proceeded to point to every piece of equipment in the studio. "Do you see that?" "Yeah." "I built that." "Do you see this recording console?" "Yeah." "Yeah, I made that too."

So when the world mourned the loss of the so-called "King of Pop," Les Paul is often not given anywhere close to the same amount of ink. However he's remembered in probably one (if not several) songs in your cd/iTunes/record/eight-track collection, provided your play list isn't classical. Oasis, Clapton, Zeppelin, Stones, Green Day, Metallica, Beatles, Rush, Neil Young, David Bowie, Pearl Jam, U2 all have Mr. Paul to thank.

RIP my good man, RIP.

Didn't Do What They Were Told To

Prior to this weekend, this might have been the lasting image that California band Rage Against The Machine left with many people. As you can see a horde of security guards tried to talk the band's drunken bass player off the stage during the 2000 MTV Video Music Awards while a few others encouraged him to jump. Even a ladder was brought out, because after all, people who scale things without a ladder only do it so that those down below can find a ladder to aide in their descent. It's been done for ages, which is why nobody talks about the thousands of wooden ladders strewn around Mt. Everest's base camp but only concentrate on newly discovered skeletal remains of underpaid sherpas.

The bassist -- Tim Commerford -- got down okay, but the lead singer was so pissed off by the stunt that it signaled the end of the band. For a little while.

Now, Rage Against The Machine has scored an interesting upset, namely giving a middle-finger salute to Simon Cowell's pop factory by scoring the No. 1 spot on the UK singles chart prior to Christmas. The song, Killing In The Name Of, defeated British X-Factor winner Joe McElderry's The Climb by some 50,000 downloads. Proceeds from the sale of each download (500,000 in total) went towards Shelter, a homeless organization while the band has promised a free show in the UK as a way of thanking fans who were able to "topple this very sterile pop monopoly."

Although it comes as a bit of surprise considering the song is 17 years old, basically one year younger than McElderry himself, some incidents the last few days only sparked the "upset." McElderry himself came out and said how it was a dreadful tune, one he couldn't imagine singing with his grandma. Well, not too many would raise a glass of red wine, toast their grandma and then feel eager to recite the song's core refrain: "Fuck you, I won't do what you told me!"

Had McElderry kept his mouth shut, or at least tossed a complement the band's way, there's a good chance he might have won.

Late last week, Rage Against The Machine were interviewed on BBC Radio 5 (which is probably heads and shoulders over most radio stations on this side of the pond but is called "Radio 5" for a reason) and performed Killing In The Name Of. The station, oblivious to the fact the band might say "Fuck you, I won't do what you told me!" on the air, concluded the live 9-minute segment with Rage playing the song, with some belief or agreement that the group wouldn't utter that line.

Yet wouldn't you know it, Rage Against The Machine basically said to the BBC, "Fuck you, I won't do what you told me," by singing, er, "Fuck you, I won't do what you told me!" before being cut off by an annoyed host who said they promised they weren't going to sing that part.

So, when a new formulaic pop singer calls an established act's material "dreadful," and then a national media outlet stirs the pot further by giving Rage Against The Machine airtime, it is not a recipe for underdog-squashing success.

Sure, Rage Against The Machine can defeat a prepackaged pop singer, but I'd be interested to see how they would've fared had Cowell pulled out all the stops and put William Hung's She Bang up against Killing In The Name Of in a battle of singles. Who would be the underdog then? Not such an easy choice now for Joe Q. Musicphan, is it?

Best Seat In The House

When you go to concerts, or as many I as have, you often find that spot in the venue (unless it's reserved seating, and you're behind Obob Hollerinski and his pregnant inebriated mistress Luella) which seems to be your special piece of real estate. While aisle seats have their advantage such as a quick escape, the one spot that is often the best location but left vacant is directly behind the soundboard. When a security guard asked me, 'Dude, what the f--k are you standing here all the time for?' I knew I had found my little home.

Sure, the soundboard often comes with one security guy standing guard in case there's a coup in the venue and everyone wants to lower and raise the PA volume. And it has a railing enclosing it to block it off from fans. But standing behind that area (and away from the sound man) enables people to clearly see the stage and (more importantly) get the best sound. Nobody will butt in front of you when you're on the rail and your sight lines are often clear for 10 to 15 feet, sometimes more depending on the size of the touring crew. And you get to see the set list (running order of tunes) ahead of time, although some sound men guard such pieces of paper to ridiculous proportions.

So why is this spot so vacant? Well, often it's not close to the stage but more in the middle of the venue, leaving fans who want to get up and see the crotch of Singer X from Band Zombie Camelot out of luck. As well, nobody else is around that area, and it's not cool to be standing in a spot where nobody else is. Like Dennis Miller said, "Remember kids, be an individual, be yourself, because after all you want to fit in right?"

Another drawback sometimes (albeit briefly) is having video cameramen entering that precious area in front of you, blocking your view at the very last minute. But after three songs (that's the rules, they get three songs to record, in some contracts only 40 seconds per song) they are gone, leaving you with another great view of what's happening.

Of course if you want to get up front with all the "real fans," go for it. Just be prepared for a few errant water bottles, limbs striking your neck or forehead, or other people elbowing you in the back in their attempts to get just as close as you are. You've been warned....

Polaris 2010 Early Predictions

This is a big man on an even bigger vehicle. Apparently the vehicle is called a Polaris, which is Latin for "square pudgy rig that can handle square pudgy man." But Polaris is also the annual music prize given out each September in Toronto and decided on by hacks like myself and others "in the know" when it comes to what is good and what isn't in terms of musical notes and lyrics in unison.

So, with another nine months before a deserving (hopefully) artist or band picks up the prize (and the $20K to go with it), here are a few names that should be considered for said award:

1) Stars -- Montreal band set to return in 2010 after a bit of downtown which allowed Torquil Campbell to work on Memphis and Dead Child Star projects while Amy Millan did another solo album. Hopefully the album is more in line with Set Yourself On Fire and their digital EP which had a few real gems as well.

2) Jacksoul -- If there is a heart among the panelists, this should at least make the long list if not the short list. Haydain Neale passed away earlier this year before seeing how this album was embraced. Although the sentimental factor could play into it, previous Jacksoul records had plenty of soul in them. And not the crap "let me wash you down with motor oil" R&B of today but the proper old-school Sam & Dave, Otis Redding, Sam Cooke and Jackie Wilson feel.

3) Kirsten Jones -- Has been around for a few years (including opening for Minnie "I'm an actress, but I play a singer on stage" Driver in Toronto) but hopefully will see the fruits of her labor pay off in a big way. Gary Louris (Jayhawks, Golden Smog) produced the album which is a good sign. Members of Blue Rodeo appeared on it as well, which never hurts either. Released digitally in October, this record will hit shelves physically in early January.

4) Ron Sexsmith -- Provided he releases the album in time and it measures up to his already jaw-droppingly good discography, Sexsmith should be strongly considered for this prize. Like his last five or six albums, this one could be the one which sees him crack the big time. Not that opening for Coldplay isn't the big time, but finally getting him to that next level of recognition.

5) Kathleen Edwards -- Again, working on a new record, the follow-up to Asking For Flowers. Not sure which direction the album might go but she has yet to do anything wrong thus far, except getting Marty McSorley and Paul Coffey in her videos.

More albums to be kudo-ed in the coming months, but methinks this should be a good start.

Enough With Albums In Their Entirety

This year saw a horde of new acts who, with one album or an EP to their credit, play the hell out of their material for months on end. But when you're an established act, and the new stuff just doesn't seem to resonate as much as what got you playing theaters, arenas or stadiums in the first place, you're left with what seems to be a much easier out now than before.

That out is the "album in its entirety" fad, something which really seemed to catch on to almost ridiculous proportions this year by a whole slew of bands, everybody from The Cult and Echo & The Bunnymen to Judas Priest to Springsteen dusting off his back catalogue this fall. Hell, even Hanson (MMM Bop!!!) have decided that this coming April will see them playing their entire discography over a few nights.

The Cult rolled out their Love album, Steely Dan played two-night stands with Aja on night one and the fittingly titled The Royal Scam on night two. Devo had their two-night, two-album jaunt and Our Lady Peace will be doing the same thing in 2010, apparently for fans who wax poetically about middle-of-the-road albums turning 10 and 12 years old.

So why is this so popular now? Well, with an increasingly difficult touring industry that sees three and sometimes four bands joining forces to make a tour profitable, artists (especially those getting long in the tooth) are trying to find that certain something that will make this tour vastly different than before. So instead of say seven signature songs from a band's landmark album released in the late '70s or early '80s, you'll get all 10 tracks start to finish. What they're really saying though is, "We'll give you three shitty, forgettable songs from a great album instead of three shitty set-filling, beer-running efforts off of our new album."

The idea is becoming more of a novelty than anything else, losing its luster with each "veteran" band (i.e. three albums in, dropped from a major label, drowning in debt and burning their tour t-shirts for warmth) deciding now is the time to look back to 2005 and relive past "flavor of the month" glories.

Perhaps the only band who did this correctly was The Cure. At two shows in Berlin back in 2002, the British act decided they would play three albums in their entirety: Pornography, Disintegration and Bloodflowers. But these albums would not be split up over the course of two nights, but played back to back to back. Toss an encore in and both shows easily ventured into four-hour territory. Marathon? Yes. Memorable? How could they not be?

If there's one hope for 2010 when it comes to touring, it will be the demise of this idea. Unless of course Springsteen did Nebraska, Tunnel Of Love and Devils & Dust in one night. Or if Tom Petty opted for Into The Great Wide Open, Full Moon Fever and Damn The Torpedos....then that's different.

Discount For Seniors' Haircuts

This week is a week of great birthdays. Brad Pitt turns 45, Spielberg turns 62, Don Johnson turns 60, Nostradamus turns 506 and moi turns...older. But by far the landmark birthday this week takes place on Friday, when one Keith Richards turns 65, which in cocaine and heroin abuse years is 173. He is responsible for many hits and responsible for several fine quality Lloyd's stereophonic multi-speaker equipment to fall by the wayside due to constant plays.

So while Ronnie Wood is being dubbed an abusive "evil goblin" by his gal, it is time to give kudos to Mr. Richard(s) who survived drugs, coconut trees, more drugs, Mick Jagger solo projects (did I tell you 1.3 thousand in sales for Goddess In The Doorway? Oops, I did) and rib-breaking brushes with bookshelves with the following makeshift list dubbed "6.5 Moments of Richards' Bliss."

1. Stray Cat Blues (From Beggars Banquet) -- although it ran slower (as did the album) for 30 years thanks to nobody realizing it was recorded at a slower speed, this tune has some terrific moments from the opening licks to the seedy accents after Jagger's snarl during the chorus. And the outro, oh dear lord the outro (reaches for Popeye cigarette)....

2. Pretty Beat Up (From Undercover) -- often considered a horrid effort (but guilty pleasure) from the '80s, this groovy lick is idiotic but just seems to roll along, with Richards' lick wrapping around Jagger spewing on about "her face being a mess" and ensuing battery and dismemberment.

3. Torn And Frayed (From Exile On Main Street) -- aside from the distant harmonies lost in a country-ish fog of barroom piano and pedal steel, the roots-y feel of the picking is apparent from start to finish.

4. Monkey Man (From Let It Bleed) -- weaving as he has much of the last three decades with his apprentice "goblin," this little nugget has some fine riffage in the coda. Unfortunately this coda is rarely fleshed out live in concert a la the middle section of "Can't You Hear Me Knockin'."

5. Wicked As It Seems (From solo album Main Offender) -- quite similar to what would appear as the main hook for Voodoo Lounge's "Love Is Strong" (you know, the video where they are Godzillia-like size pacing around New York City), here Richards leads his X-Pensive Winos through "Hooks For Dummies" handbook.

6. Waiting On A Friend (From Tattoo You) -- light and breezy, Richards almost says more in the spaces here as he does during the performances. That and playing off a sax solo doesn't quite hurt either.

6.5 Live With Me (From August 10, 2005) -- 16 hours in a lineup (5 pm to 9 am), one of 225 to land a ticket the honorable way (not like the 700 to 800 guest-list bastards who ask "What is 19th Nervous Breakdown?") and enter a small sweaty club to hear Keef break into this tune. The $10 ticket is perhaps the last time I will venture to see them.....until the next time?!?

Paging Mr. McNally, Vancouver Is Calling

This is Canada. It contains provinces and territories. Most of these regions have people living in them. Some smoke in them, some work in them, some have sex in them, some play music in them. Some regions even have bands that play instruments well in them. These bands make music, sell albums and tour. I can name several Canadian bands that play music well and would do well to represent their home provinces and territories.

So, it is only obvious that the brains at the upcoming Winter Olympics in Vancouver have decided to make certain evenings dedicated to different provinces during the Games, with bands performing concerts each night.

There are a couple of snags though. For example, on February 16th it is Nova Scotia night. The band performing is none other than Barenaked Ladies. The Barenaked Ladies are from a suburb west of Halifax, called Scarborough, Ontario! No Joel Plaskett, no Rankin Family, no Sloan, no Nova Scotia bands on this night.

On February 18th, Prince Edward Island night is showcasing Hedley, again located in a suburb west of Charlottetown called British Columbia. Obviously there are no bands or musical talent from P.E.I. that can play in Vancouver that night. And Quebec's band is to be announced, of course in the event a referendum is called and the province separates from the rest of Canada in the next six weeks or so.

Nunavut Night? Trooper and Loverboy, again no connection with that region aside from maybe headlining Classic Rock Festivals in the parking lots of Nunavut shopping malls. Ontario will be represented by INXS, who have played in Toronto but are from Australia. Billy Talent, who call Mississauga home, are representing Saskatchewan. And the Yukon is showcasing British act Stereophonics on Feb. 20. Again, no connection. Oh wait, I forgot, there is an "O" in Yukon and Stereophonics, so that's the link right there!

It's not all doom and gloom and dumbness though. Burton Cummings is from Manitoba and plays on Manitoba night and Great Big Sea plays on Newfoundland night.

Hey, don't knock organizers, they only had about 8 years to select bands from different provinces to play on those provinces' respective nights.

And look on the bright side, none of the artists chosen are dead!

More Interview Tidbits

Continuing from yesterday here are five more. They're not as exciting as dancing dwarfs at Stonehenge, but it will have to do:

5. Rainn Wilson -- (2008 in person) -- In town to do promotion for his mammoth flick The Rocker. One actor and for one two or three-hour slot of interviews, the movie studio had 7 people catering to his every whim. Not that he was arrogant, but one got the impression there would have been two others hired just to tie his shoes.

4. Simple Plan -- (2007 in person) -- Promoting new album and go to great lengths to thank their fans for their success and how they take nothing for granted. Must stay grounded and be humble in this business. Following the interview two can be heard complaining about how small their suites are and how there is no Chinese option for room service. Ah yes, humility....

3. Bruce Cockburn -- (phoner for Live 8) -- Fourth of five phoners in one day (and eighth of nine in two days), Cockburn was short, talkative, informative and opinionated in a mere seven minutes and change. Closest thing to a perfect phoner ever.

2. New Kids On The Block/Randy Newman -- (phoners back to back) -- NKOTB phone at same time as Newman phoner is to begin, some last minute tap dancing pushes Newman's back 20 minutes to fit in the first one. I apologize to Newman and tell him if I ask anything about New Kids On The Block to hang up on me. He says, "Is that the Timberlake band? Which ones are they?" To be so oblivious to boy bands is something to be cherished.

1. Angus Young -- (in person, 2003) -- After playing for 450,000 the day before, AC/DC sit down for some interviews. Told dirty joke by Brian Johnson before the small Young hunkers down, basically deaf in one ear so have to shout the questions a bit more. Quite funny and very memorable.

Some Interviews This Decade

No, I have not had the pleasure to interview this trio (yet), but I'll try and recall five interviews (well, maybe 10) I've done this decade which have been memorable for different reasons. In no order and in no preference.

10. Meat Loaf -- (September 2003 in person) -- After being introduced and offered several snacks by Mr. Loaf ("Tongs?" "No thanks, I'm trying to cut down.") he was funny, talkative and not listening to publicists wanting him to wrap it up. The last question had him remembering a canceled gig in Glasgow. The following day his manager passes him a Glasgow newspaper with a review of the nixed gig, giving him four out of five stars.

9. Kid Rock -- (In Person) -- Called early in the morning to make a last-minute interview with Kid Rock, having not listened to any of the album beforehand and getting to the hotel at 10:59 for an 11 am slot. But that's okay, can ask him plenty of questions about it even though he knows that I haven't heard a damn bit of the record. "And don't ask him about Pamela? We're not going to be responsible for what happens to you if he does!" goes the publicist. Great. Working the Johnny Cash angle though thankfully spares me from being assaulted by Mr. "Call Me Bobby" Rock.

8. Dolly Parton -- (Phoner) -- "Well thank you for calling me! You're helping me out with my show up there so I sure do appreciate it!" Very sweet and funny little lady, well little except for.....

7. Seal -- (In Person) -- "He's very talkative but he tends to ramble a little bit," says the publicist. "But if you interrupt him he'll stop and it'll be hard to get anything else out of him." So with 10 questions prepped for about 20 minutes, the first question is asked. Nine minutes later he completes the answer, going off on 132 tangents about his favorite albums growing up.

6. Rhianna -- (In Person) -- With 10 minutes to do the interview and the photographer to snap (usually 20 mins is given), the publicist leads moi to the hotel room, which contains 4 hangers-on in one room and three friends of Rhianna in another. And three make-up/stylists people too in an adjacent room. She comes out and is about as happy to do the interview as I am to see 10 other people in the room texting and on their phones. A question about Amy Winehouse falls flat and mercifully it ends for both parties. Almost as strange as Bryan Adams asking me what are some of Ryan Adams' hit songs.

More to come....

The National Disgrace

Having sung their praises (well, not literally) since their 2001 self-titled debut in Allmusic.com, No Depression and other outlets where illiteracy is frowned upon, it seems that Ohio-reared and now New York-based band The National didn't tickle the fancy of Rolling Stone's Top 100 Albums Of The Decade ;ist released last week. Their latest efforts, Alligator and Boxer, were bypassed for The Streets, Springsteen's Magic (which really wasn't magical) and MGMT among some other iffy list-makers. Hell, it would appear that the band might have to resort to playing crappy high school reunions and staging multi-night stands at Appalachian old folks homes judging by such ignorance.

Then again, one must consider the source. Rolling Stone praised and raved about Mick Jagger's last solo album (2001's Goddess In The Doorway), one which sold in excess of 1.3 thousand in its first week of release, just edging out the soundtrack to Dutch Women And Goat Fantasies, Vol. 2.

Nickelback Banned, Er, Band Of The Decade

According to Billboard, and based directly on sales (it would have to be right?), Nickelback has been dubbed the band of the decade. The Strokes? No. Wilco? Nada. Radiohead? No. Coldplay? Please. Nickelback. The Big Jim McBob and Billie Sol Hurok band of all time since they make things "blow up real good" with their pensive lyrics about ladies looking cuter with something in their mouths and their "crafty little lip tricks."

Thankfully, Nickelback will make its way back to Toronto next year, playing the Air Canada Centre and not allowing fans who purchased tickets to their canceled summer gig (lightning storm) at the Molson Amphitheatre first crack at these ducats.

On the bright side, that particular Nickelback show was the best of theirs I've ever attended.

Axl Rose Fights, But Makes Asian Tour

In a stunning development, Axl Rose caused controversy on the cusp of a new tour, this time fighting with Los Angeles paparazzi. Rose released a statement saying he was approached by a bunch of "unchecked and unruly photographers...." The singer apparently still made the flight in order to perform the first show in Taipei, Taiwan slated for tonight while the other non-original members arrived days prior. A YouTube clip (quickly deleted later) showed the band playing "Live And Let Die," during a sound-check at the Taipei venue.

Hopefully, Axl still makes the show in time to perform four hours late as he's been accustomed to doing the past decade. The band will finally be touring behind Chinese Democracy, an album 15 years in the making which resulted in the mind-altering album cover of a hobo's limousine with a lovely straw basket on the back of it. Why the bicycle is chained yet the basket looks free for the taking is beyond me.

Testing...is this on....hello

I'll be back. Soon. Trust me. I will.