Monday, February 10, 2025

Dan Scum's return, and a lot of other music; plus two strange malls and a Husker Du cover!


The Riverdans live at LanaLou's: all photos by Allan MacInnis (but Don Denton was there too, if you want to see some actual good ones!)

True fact: I love the song "The Wind That Shakes the Barley." It's one of the few songs I have tried to learn to sing myself, back before my tongue got all fucked up with cancer (story here, if you  missed it; if you smoke, for chrissakes, quit). I even had the lyrics briefly memorized, found them full of pathos, power and passion. I first encountered the song at UBC, when I briefly tried (and failed), circa 2012, to get to the MA program in film studies, via a course taught by Mark Harris (RIP). Harris was a fellow Straight writer at the time, and very personable; I took two classes with him, one on Irish cinema and one on partisan cinema -- that is, movies about guerilla fighters, ranging from The Battle of Algiers to Red Dawn, with some anti-Nazi resistance like Melville's Army of Night, Verhoeven's Black Book, and Max Manus, Man of War in between; it was an inspired program of films, which not many people treat as a subgenre (he sold me on the wisdom of it and I'm sad that he's not around anymore). One film that I guess could fit in both classes was Ken Loach's superb movie of the same name, which uses the tune on the soundtrack -- The Wind That Shakes the Barley, starring a young Cillian Murphy, about Irish revolutionary activity circa 1920. The song gave me chills; I promptly found a copy on one of the few Clancy Brothers albums that you don't see in every thrift store, which remains in my collection today. It's such a powerful song I had to try it with my own voice -- and I may try it again today, at some point, inspired by hearing it yesterday; you can really achieve some serious gravitas, really put some POWER into the words of this tune, which allows you to plumb the deeper recesses of your voice.  


Turns out love of that song is something I have in common with Dan Scum. We've both also lived in Japan for awhile, but I suspect our experiences of the country were rather different! I have written about his other (?) band, Powerclown, here, having seen them only the one time, with a different singer; to my knowledge, his acapella "The Wind That Shakes the Barley," yesterday at the Punk Rock Flea Market, was the first time in my life I have heard the man sing. I didn't even recognize him as he took the stage -- he wasn't in a clown costume -- but as he announced the title, I leapt from my seat to get a better view, though I shot no video of it. The best songs don't get captured, usually, since they often take you by surprise.

That said, I did get clips of "The Leaving of Liverpool" and a delightful clapalong cover of Stan Rogers' "Barrett's Privateers," which is another song I sure wasn't expecting to hear at LanaLou's yesterday. Privateering -- hey, Dan, you know this tune? -- was a wartime practice by which people loyal to England could get permission to engage enemy ships (Yanks, in the case of the Rogers tune, the original of which is colourfully, but not completely, performed by Rogers and clan in this clip, if you're curious). The privateers -- an irregular, for-profit army -- should they take said enemy vessels, are allowed plunder their holds for profit, a kind of legalized robbery. The Stan Rogers original tells the story of a young Nova Scotian who signs up on a shitty little boat, the Antelope, with the hope of getting rich on the profits of his adventure, and instead loses his legs when the ship he is on gets blown to bits by better-armed Americans, left as miserable and alone as the protagonist of "And the Band Played Waltzing Matilda," which I would also love to hear Scum sing someday...  
 

Anyhow, it was kind of crazily delightful to be introduced to Dan via "The Wind That Shakes the Barley." I could see some other audience member mouthing some of the lyrics imperfectly, across the stage, who would turn out to be the accordion player and co-vocalist, Daniel Craig Citynski, sitting out that first tune. It's kinda crazy, but I would love it if Scum -- he told me after that it's properly spelled with only one M, with the second only being added for social media purposes -- kept this project going, doing sets of Irish rebellion and Maritime folk and the like; I don't think a lot of punks actually know much beyond the Pogues in the way of Irish music!

Another great Irish song Dan may not know, that always makes me weep: "Kilkelly." Not a song of rebellion, but of loss, death, and familial love -- a song based on family letters, bridging the Atlantic, after a young man leaves Ireland for work in America. Jesus what a song (thanks to Mick Flannery for turning me onto that -- mini-interview here). It might not be great Riverdans material, though.

The Riverdans also did "Dirty Old Town," a song most people associate with the Pogues, but which in fact was written and first recorded by Ewan MacColl, the father of Kirsty MacColl, the woman with whom Shane sings "Fairtale of New York." It's another favourite, which I vividly remember singing along with (and getting some heavy stinkeye from fellow audience members, because my voice was pretty shit even then) when I saw The Pogues and Joe Strummer at the Commodore, one of my greatest concerts ever, with Shane passing whiskey bottles into the audience and a girl riding her boyfriend's shoulders flashing her tits at him from the audience. I was tempted to sing along again, but with my now mangled tongue, I restrained myself; but it also was a high point of the set, and one of the unexpected high points of my musical consumption this weekend, which is funny, because I spent more time at roots music shows than punk ones this weekend. You wouldn't have thought the best folk would have been at the punk show. There was no good punk at the folk shows! 

This was, of course, all happening at the Punk Rock Flea Market at LanaLou's, where we were also treated to a superb Husker Du cover by Cam Templeton/ Nicky Noodles/ Gnash Rambler (all one person, if that's unclear) and Brock Le Brock (Brock Pytel) of the SLIP~ons and Doughboys (interviewed by  me here). Nick -- Cam, whomever -- also did a cover of Brock's original "Heavy Machinery" and songs by the Replacements and others. I might post a second clip a bit later... 



But that was just last night. There was much else that went on this weekend of note. It was rather full, in fact, beginning with a trip Saturday to Maple Ridge, where I discovered that the main mall of my childhood -- "my  Monroeville," if you see what I mean, Haney Place Mall -- is 75% shuttered, with Walmart having driven up rents so high (so so Anthony Nadeau commented on FB) that everyone else was forced to flee. The jewelry store is gone, the Black Bond Books is gone, the Gamer's Choice is gone, the Thrifty's is gone. There still were no zombies staggering about but almost everything in there. all the shops of my youth and 20s -- is now derelict: 





Weirdly, in place of the Thrifty's, there is now a thrift store -- a gigantic Bibles for Missions. What does it say about the world that a grocery store cannot afford to rent that space but a thrift store can? Among other odd items there was a rare Sasquatch book, which was kind of overpriced considering the condition, and so remains there, if any cryptid enthusiasts are looking for it. The damage to the dust jacket was pretty significant and there was staining to the page ends, such that I suspect even an antiquarian book dealer would charge less than $25 for this item, valuable though it may be, unless they put significant time into cleaning it up. Always funny when a thrift store charges more for a book than a real bookstore would: 




I did manage, to my amazement, to find a book I actually did want, mind you: Geddy Lee's My Effin Life, in unread shape, for a mere $3. And crazily, speaking of punks gone rootsy, I snagged the Knitters' Poor Little Critter on the Road from the vinyl bin for a mere two bucks -- almost everything else was Mantovani-level garbage, so it came as a very pleasant surprise. 

But that wasn't the oddest "find" this weekend. I popped into another bookstore while in town and ran into someone I wasn't expecting to see at all, who recognized me before I recognized her. People for who recognize the words "Benjy's Island" -- I actually forget if she preferred it with a J or G, but she prefers most things with a J, har har, so let's leave it; she doesn't call herself that anymore, anyhow -- are directed either to visit the Bookcase, formerly Ken's Bookcase, formerly Jensen's Bookcase, one of the longest-standing used bookstores in Maple Ridge (mostly filled with aging paperback bestsellers; it's not an antiquarian store by far) or to avoid that locale forevermore, depending on how those words strike you. I do not know which camp I am in as yet but, startled to find myself face-to-face with her, it was still fun to catch up; she's someone I knew in my troubled youth, whose new status as bookstore proprietor rather suits her and delighted me; plus she's definitely more knowledgeable and creative than your average Maple Ridge used bookstore owner, with some fun stuff on the shelves, the oddest items of which were put on display behind the counter and not-for-sale, because the pricing would be complicated... 



This included (not that I care) a hardcover novelisation of The Thing screenplay, as done by Alan Dean Foster; a colourful item that I'm sure some collectors and film geeks out there would covet, though it is the sort of thing a serious antiquarian would turn their nose up at. I am not actually interested in such things myself, but I offered to help her work out a price, because in fact it is a bit of a complex item to get a bead on, with the only copy of the book in hardcover on Abe being listed at $950 USD, but as signed by Alan Dean Foster, which changes the game a bit. It's both the first HC of the book, and a book club edition -- those terms are not always contradictory! The way to price it, if one wanted to, would be to find a completed auction on eBay for a copy in comparable condition (if you're reading this and care, that's how to price it, Benj -- ignore Amazon and Abe and find what it actually has sold for on eBay, averaging it out and making allowances for defects).

Thence to the Hollywood 3, for a badly-projected Nosferatu that inspired me to update my well-read review from last month; suddenly it is very clear that the troubling element in that film is not in fact Victorian misogyny but a rather unhealthy narrative about child sexual abuse, survivorship, and closure; I would direct people who care here for more. 



But the weekend would take me from one weird mall to another: I spent the next morning trekking out to the bizarrely-located Music Madhouse Records in the Coquitlam/ Burquitlam hinterland, a store which is inside an apartment building in a ghost mall. Actually, there was another Dan involved in that, too, my friend Dan Kibke, who had purchased online an album proprietor Rob Snopek had posted, the Stitching Small Tears electronic music compilation. There is a fair bit more stock in the shop than when I last visited, some ten years ago, and quite a bit more interesting stuff; Dan snagged a Stomu Yamash'ta, and I found a Mission of Burma, which is fun, because I'm in the middle of doing something (shh) with Peter Prescott. There were other records we considered, and something else Dan bought that I've forgotten -- some local avant-rock thing of yore.  





Music Madhouse is by far the most colourfully-located record store in the lower mainland, beating out even Apollo Music in Coquitlam, because you can explore the mostly derelict mall and peek into other businesses. I had to see what the stock was like at the indoor corner store offering "Video Movie Rentals." 




These turned out to be VHS tapes. There were no blu-rays, no DVDs. We did a scan for the titles, but I spotted no hotly-desired collectibles that I could see, though there are a few movies here, I think, that never made it onto digital -- forgotten titles of the distant past. One wonders if they still work, and if anyone still actually rents them? 



The presence of these tapes made one wonder just how long some of the treats had been on the shelf. I briefly scanned to see if there were any boxes of Gorgo to be seen. These Joe (Jos?) Louis looked pretty dusty -- do they even make them anymore?


Anyhow, if you like VHS tapes, vinyl, or "vintage snacks," especially as found in quaint, semi-derelict spaces -- "ghost malls" -- there's a fun daytrip to be had. Get detailed directions, but not from me, because the street it is on is one of those streets with a 90% turn in it, which you will assume is a different street. Even with a working GPS, it took us about twenty minutes to find it, after our arrival at Lougheed Mall, and then another ten to actually locate the fuckin' entrance. Allow some extra time for navigation, if you go.  


Oh, and I gave serious consideration to buying the new We Found a Lovebird album, which Rob was spinning -- he's an ardent supporter of local music. I had never twigged at how much Larry Lechner can sound like Tom Verlaine. There's a show coming up with stellar supporting acts, and I resolved to buy the album there, if I buy it at all; I may have family obligations that weekend, it remains to be seen (this coming Saturday at Green Auto). 


There was also a brief peek into the Heatley, where I said hello to Sue Decker (see previous post) and bought a CD; sadly, I forgot to bring her my Harlan County USA soundtrack, which I intended to gift her, but she's from Victoria, so there will be other chances. I recorded one song she did, from her first LP. She also recommended I buy an album from Edmontonian Miles Zurawell, which I did, having found his first set delightful. But we had a Punk Rock Flea Market to go to. I didn't end up recording another song by Bob Blair, who I'd enjoyed the previous day, though he did a tune that has its provenance in Boots Randolph and Chet Atkins but for me, given my childhood TV viewing, brings to mind one thing only: Benny Hill. You can here Atkins' version here.  






So that was a fun, action packed weekend, that also included my first viewings of two superb new horror films, The Substance -- a high-concept feminist SF film that turns into a full on body horror/ splatter/ melt movie, about as subdued as your average GWAR show -- and Heretic, which pits an evil but charming atheist against two naive (but surprisingly resourceful) young Mormon girls, going door-to-door. It's written and directed by the people who did A Quiet Place, and has a whoppingly good performance by Hugh Grant, but it's as talky as it is menacing, so you may find yourself veering between edge-of-your-seat tension and the temptation to snooze. We liked it regardless! Note that Walmart has both of these titles for about $20 less than you'll pay at video stores, so yes, I did go INTO that Maple Ridge Walmart. That's what got me into the mall, in fact. It was kind of sad to see its decline, but then again, I have always had a love-hate relationship with that mall, and I did find a book and a record I wanted at the thrift store, so...

Saturday, February 08, 2025

Yesterday at the WISE: Cryin' Time Day Two, plus some plans for Day Four, and an unrelated Punk Rock Flea Market

Real folk musicians can rarely sing. This is not actually a bad thing, though it makes reviewing shows challenging, since one doesn't want to seem rude or anything; saying someone can't sing (which, of course, means "can't sing well") might be taken as a criticism. It ain't!

In fact, (neverminding the fact that I also cannot sing, and couldn't even before I acquired my speech impediment), I actually feel suspicious of an alleged folk singer when they can sing well, mistrust their sincerity or something. If a folk group has beautiful harmonies and polished voices -- I guess I'm thinking Peter, Paul and Mary, here, with no intended disrespect for the recently-deceased Mr. Yarrow -- chances are you have a commercial act made up of professional performers that has been put together because they can do beautiful things with a tune, which means that someone wants to make some money; the Kingston Trio might be another example. It might have mass appeal, enough that the economic impetus makes sense, but it seldom has staying power. I presume that at least some people agree with me on these matters, because you sure do find a lot more Peter Paul and Mary and the Kingston Trio when you're thrifting than any other 1960s folk acts -- a testament simultaneously to how many records they sold at the time and how few people want them now. 

This is all as it should be. Personally, I will take a folk singer who sings like a cat fucking over a Joan Baez every time (also no disrespect for the still-alive Ms. Baez; she has a gorgeous singing voice, it's just that her records kinda bore me [the song Judas Priest covered is pretty good, granted, but I prefer Priest's version]). My favourite folk vocalists are the ones who belt it out with 100% commitment, manic gusto, and total fuckin' idiosyncrasy (like Peter Stampfel, but we might also talk about Mr. Dylan or, say, Neil Young in this respect -- and note, I have more records by Neil Young in my collection than by any other single artist). The idea, here, I guess, is that a person who really loves music, who really knows music, and who really cares about playing it may or may not be gifted with a technically "beautiful" voice, but  will not let this stop them; if they get far, it's based on purity of expression, not prettiness of delivery.



There was a whole lot of purity of expression goin' on at the WISE Hall Lounge yesterday, and it was absolutely great. There were no Peter Stampfels on hand (I wish!) -- no one with that level of cat-carousing gusto -- but there was also no question that the people in the room, performers and audience alike, were there for the right reasons: with Chris Gauthier (who didn't sing at all) shifting between dobro and pedal steel and Bob Blair and Sue Decker, the vocalists, playing more types of guitars than I could jot down the names for -- one of them I think was a Weissenborn, and Decker told a story about vastly overpaying customs charges on a pedal steel variant that sounded like a "Jo-El," which I remember only because I thought of local promoter/ performer Joelle May -- the gathered audience was treated to some of the best roots music playing and the most consistently mediocre vocal performances that I have heard onstage since I was last onstage myself (I jest, here -- I'm not a performer, I just get up there to go "eep" with David M. now and then). And I'm gonna go see some of the same folks again on Sunday, if the fates allow, to take in the Dobro Demolition Derby at the Heatley. I'm even going to bring gifts for a couple of the aforesaid (I told Bob Blair about Salvation on Sand Mountain, which I had planned to give to the Reverend Kristin Michael Hayter before she cancelled her Vancouver show, and now am re-purposing, because it's too fascinating a read to just sit there on my shelf; and I promised Sue Decker a CD of the Harlan County USA soundtrack, after she talked about Hazel Dickens -- whose voice also is an acquired taste -- as one of the greatest and most un-sung musicians in American history (she did a Hazel Dickens tune yesterday, in fact, though I didn't note down the name, but in trying to find it, I have discovered the terrific "Will Jesus Wash the Bloodstains from Your Hands," so that's a win, maybe even more potent than that John Prine flag decal tune, tho' clearly of the same mind). 


The songs yesterday were mostly covers, though Decker did some originals, as well; sadly, the band ran out of time to do Blair's own original, "Snake Handling Man." Rick Blair, Bob's brother -- pictured on the right in the photo above -- joined the trio for an Ian Tyson song I don't know -- you can see it penciled-in between songs on the setlist -- called "Summer Wages," he told me later. He swapped with Decker for a later song, too. I wasn't taking written notes -- though by chance, I caught what for me was the high point of the set on video, "If I Could Only Fly" -- a song by Blaze Foley, who most people, I suspect, still know because of Lucinda Williams' "Drunken Angel" (or maybe Townes van Zandt's "Blaze's Blues"), though Ethan Hawke's movie about him might have helped. 

Lu -- whose most famous cover, Decker also covered -- further came up in a story Decker told about being in Nashville, recording with Steve Dawson ("who I bet a lot of people in this room know... personally," she quipped; does having interviewed him count?), that saw her staying a few doors from Ms. Williams house, but I can't do it justice (she resisted the urge to stalk her, suffice to say). Note to self: I should tell Decker about sittin' behind the 90-year old friend of Lu's father, who was in the audience last time Lu played Vancouver at that Big Thief show. I was kind of irritated at how slowly the old boy made his way down the aisle to get to the washroom, crossing in front of me -- which he did a couple of times, as I recall, inspiring some un-Christian thoughts ("who is this codger?") as he blocked my view, but later was most impressed as he made his way backstage; if you haven't read Lu's book, she first met him in Vancouver; it's an interesting story.   


Anyhow, back to "If I Could Only Fly," that song may be most widely known because Merle Haggard covered it, but I have as much Blaze in my roots music section as I have Merle, by which I mean, I have one record by each. That song was only the high point for me, understand, because I love it; musically, the best moment in the night was probably another song Merle Haggard sings -- and actually wrote, I think -- which Sue Decker did, which fit her voice perfectly and was probably the best vocal performance, all-round. 

But Blair also shone on a Shel Silverstein song I didn't know -- originally recorded, I think, by Bobby Bare -- called "The Winner." Again, hard to tell, because I'm a Shel Silverstein fan too. Blair also movingly dedicated a song to pedal steel avant-gardist Susan Alcorn, who I wish now I'd seen while she was alive. I hadn't realized she'd died (he also namechecked the late Paul Plimley, though I missed how he connected with Alcorn; maybe they were on a bill together at the Western Front? Something like htat). 

Blair didn't do any avant-garde music, rest assured! 

There's lots else going on as part of the Cryin' Time festival this weekend (I posted the whole lineup here). Workshops kick off today at the WISE Hall around 1pm, as part of the main convention day, though I'm not sure how much of that is presentations, how much of that is how-to, and how much of that is playing. Talesha pointed me towards The Unbranded, later today at the Heatley, while I was considering Andrea Whitt at Green Auto; I gather that there's particular buzz around Brennen Leigh, too, on Sunday. Alas, Leigh's set conflicts with the Punk Rock Flea Market (I want to go see Gnash, aka Nicky Noodles, AKA Cam Templeton do some Huskee Dude stuff, and catch Philly's set; and I might bring a Japanese prison movie I found as a gift for Dan Scum, though maybe that's in bad taste?). I just might be able to do most of the Dobro Demolition Derby and then boot it down the block for 7pm?

But that's Sunday. I really don't know what I'm going to do today. It might not involve music at all! It won't be for lack of options. 

Thursday, February 06, 2025

Cryin' Time Steel Guitar Convention 2025 FULL LINEUP this weekend in Vancouver


Was trying to figure out the Cryin' Time full schedule. I like steel guitar! I wrote them, they sent me a press release, so here are the gigs as they are listed, which I don't *think* is online in any one place yet? I couldn't find it, anyhow. I gather Leeroy Stagger has cancelled, not sure if any other changes have been made but there are tons of great players in the schedule (some I've actually seen!) and lots of stuff I know nothing about. I really hope to hear Bob Blair's song about snake handling live -- first song on that clip; listen to the story Blair tells, too, it's kind of fun -- and am tempted to try to catch everything he does. 

Passes are online here, but individual tickets are available too -- the pass isn't cheap (especially if you're not into the lectures and workshops and just want to see live music, or if you can't make it to every show) but they come with a t-shirt and some other swag, so... hmmm!

Individual advance tickets here.  

Oh, btw, in case you are wondering, Sho-Bud manufactures pedal steel guitars. 


From the press release:

CRYIN’ TIME STEEL GUITAR CONVENTION is a four day event dedicated to the celebration of steel guitar music and culture, and takes place FEBRUARY 6TH - 9TH, 2025 in Vancouver, BC, at The Wise Hall, Green Auto, The Heatley, and The Pearl.

The weekend joins professional and amateur players, artists and industry professionals, and above all, fans. We do not claim to be any authority, but we hope that if we can give folks access to a wealth of knowledge, and all the beautiful tones their hearts can hold, they will have all the opportunities they need to become one.

Programming includes workshops, lectures, and jams, along with performances and appearances from a roster of Featured Players, and from artists like Brennen Leigh, Bob Sumner, Andrea Whitt, Brett Cassidy, Vanessa Dee & The Brightsides, Chaya Harvey, Ben Vallee, Dead Flowers, Rich Hope, Elliot C. Way, Ian Badger, Leah Barley & SO MANY MORE!




The full schedule (?):

THURSDAY Feb 6

Double Kick Off Party!

with Bob Sumner, Chaya Harvey, Ben Vallee

GREEN AUTO // 8:00 PM


FRIDAY Feb 7


Sho-Bud In Store

with Andrea Whitt & Jimmy Roy

RUFUS GUITAR // 2:00-4:00 PM


Lectures with Scott Smith & Mike Drassler

WISE HALL // 5:00-7:00 PM


Steel Amigos

with Bob Blair, Sue Decker, and Chris Bauer

WISE LOUNGE // 7:00-8:30 PM


Adventures in Pedal Steel: Cryin’ Time Editon

with Scott Smith, Ben Vallee, Matt Kelly, Mike Drassler, Conner West, Rich Hope, Elliot C. Way, Vanessa Dee, Leah Barley, Brett Cassidy, Marin Patenaude, Mercy Walker, Ian Badger, Miles Zurawell, Michael Brennen & MORE!

WISE HALL // 8:00 PM


SATURDAY


Main Convention Day/Workshops

with Brennen Leigh, Conner West, Tom Hammel, Mike Drassler, Bob Blair, and a Sho-N-Shine, with an update on the relaunch of Sho-Bud with Andrea Whitt!

WISE HALL // 1:00-7:00 PM


Cryin’ Time Honky Tonk Happy Hour

with The Unbranded

THE HEATLEY // 6:30-8:30 PM


New Riders of The Green Auto: Cosmic Steel Country

with Andrea Whitt, Brett Cassidy, Dead Flowers, No More Tears

GREEN AUTO // 8:00 PM


SUNDAY


Saddle Up Radio Cryin’ Time Round Up

with SPECIAL GUESTS!

BROADCAST FROM BSIDE RADIO // 1:00-3:00 PM


The Dobro Demolition Derby

with Mark Kilianski, Miles Zurawell, Bob Blair, Sue Decker, Mike Drassler, Janky Bungag & MORE!

THE HEATLEY // 5:00 PM


The Grand Ol’ Pearl: Cryin’ Time Edition

with Brennen Leigh, Vanessa Dee & The Brightsides, Tumbling Tumbleweeds, DJ Amy van Keeken

THE PEARL // 7:00 PM



Read the Georgia Straight article about Cryin' Time here. See above for other links! 


Tuesday, February 04, 2025

The finite list 2025 - vinyl want list

My 57th birthday is coming soon (March 7). I will be closer to 60 than I have ever been! For those looking for appropriate gifts, the following records are still on the want list, the "finite" list... a few have lingered there for years... 

NO FUN: 1894 and Snivel, even though Snivel doesn't exist in vinyl yet. But 1894 is now available to order from Atomic Werewolf!

Sparks: Angst in my Pants 

The Volcano Suns Career in Rock

Camper Van Beethoven ii and iii (actually one record, that's the title)

Victims Family The Germ, Things I Hate to Admit, Voltage and Violets, Headache Remedy

Larry Boothroyd: Specimen Box (either one is welcome but I especially crave Remote Communion): https://specimenbox.bandcamp.com/

Alice Donut Bucketfulls of Sickness and Horror in an Otherwise Meaningless Life, Revenge Fantasies of the Impotent, Mule, The Untidy Suicides of Your Degenerate Children

Nomeansno: I need an un-warped copy of You Kill Me and vinyl of Live and Cuddly. 

And the 3rd volume of the Big Star's 3rd demo releases: https://www.discogs.com/release/10175605-Big-Star-Complete-Third-Vol-3-Final-Masters?srsltid=AfmBOoo-ThFIojiLhf9tlKY2UF-eVzy5ERwyrCbq6h-YuAkx2wIXw-31   

I also might have to upgrade my GY!BE vinyl. I'll think about it. 

Plus I'm always up for good roots reggae and ska (Studio One comps are great, though I have the first Ska one from them, "Originals")... In the meantime, there's not much else I feel great need of in the world of rock, and I'm pretty much out of shelf space anyhow. 

Oh yeah: John Cooper Clarke, Disguise in Love. 

Sunday, February 02, 2025

Paul Pigat, the Vanrays, and Los Furios: report from the Rickshaw on a fine, fabulous night

What a wonderful show at the Rickshaw tonight! Danced up a storm. Paul Pigat did mostly Cousin Harley songs, but solo electric, plus an amazing quieter song called "Hartland," a murder ballad with a very poor survival rate indeed. Paul has explained to me in a previous email that the song was "written by Tolen McNeil, who is a roofer on Vancouver Island; we used to play together with Carolyn Mark" in a band that he told us tonight was called the Metronome Cowboys. "He wrote that driving home from the Heartland Dump, so that entire song took him about 30 minutes. He walked in the door and played it to me off the top of his head. Beautiful and infuriating!" (or as Paul put it from the stage, "I love him and I hate him for it"). 

My favourite photos of Paul all involved Melody Mangler, who, near the end of his set, took the stage in a green dress, which did not last her very long. She had several costume changes over the course of the night, and appeared for one or two songs with each artist. 





Actually, I did get one pretty good one of Paul without Melody, but once you've had your eyes on HER, this just isn't nearly as exciting:


After "Hartland," my favourite song Paul did was "Rained Like Hell" off Let's Go, but I was too busy dancin' to shoot video. That Cousin Harley stuff works just fine solo, turns out. 

I didn't shoot any video of the Vanrays that I liked -- superb Vancouver soul band whom I wrote about here, previously, but I was too into dancin' (though I wish I'd shot "Take a Dive," my favourite song from their set, unless I got the title of that wrong... it's always hard to remember what was what after a gig, and I was *not* taking notes). But I got lots of photos, including... who is this gorgeously zaftig fleshpot taking the stage? It's Melody Mangler again!










Did I hear someone call the Vanrays' female singer "Rebel," at one point? It got me squinting: "Is that Rebel Valentine?" I have not yet determined if it is so. She's about the size of Rebel, and the approximate shape, but her face looks pretty different from the woman onstage at the Bowie Ball the other week. Though she also looked pretty different at the Bowie Ball Pit at LanaLou's the next day, so... I dunno! 

It sure must be fun to be a burlesque dancer and -- with apologies to anyone who had a prudish-cum-feminist conniption at Ms. Mangler's semi-nude gyrations -- it's a fine, fine idea to have burlesque onstage at a show like this. It doesn't really awaken the "objectifying eye," at least not in me (it might have when I was a teenager) -- it's not like I was "getting off" in any lascivious way -- but it still tickles your kundalini a little and maybe enhances the physicality of your dancing? Seemed to do that for mine, anyhow. And it's rather fun to photograph!  

But if the Vanrays were the beneficiaries of the most photos taken, the headliners, Los Furios, were the losers: I got very few of them, and most aren't worth showing. I do rather like these. You get a small taste of Corinne's stage presence -- the second most charismatic person to grace the stage of the Rickshaw tonight, after Melody? Or should that be Gonzalo? She's certainly the bandmember who is the most fun to watch over the long term... Gonzalo pops in and out.... 


But if my photos aren't worth much for the headliner, I did shoot clips of Los Furios doing "Crazy World," "Jokes On You" (featuring Melody Mangler and her floral projectile "lactations," which squirted me more than once), and a twofer older song and brand new one, "Brand New Low" and "This Means War."  I already had a copy of Old Ghosts -- it's out at record stores -- but Kyle was very helpful in getting the members present to sign the back of my record. I might have missed one or two -- and one guy on the record wasn't even present tonight -- but, what, I'll settle for six out of nine. Favourite song was probably "No Borders No Flags," but again, I was too busy dancing to shoot video of that one. 

Immensely positive, tuneful, and danceworthy night tonight. Let's hope Los Furios come back soon! (I mean, they're local, but Kyle lives in New Zealand and I think there are other members who are dramatically out-of-town besides him). Check out their new album, Old Ghosts, here. Thanks for the great night, y'all!