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Archive for the ‘Canadian Music’ Category

SOUNDTRACK: THE TRAGICALLY HIP-Up To Here (1989).

Up to Here is a pretty big leap from their first EP.  There’s more guitar soloing (not grandiose solos, just little guitar noodling in the songs “Blow at High Dough,” which was used wonderfully for the show Made in Canada (also known as The Industry).

Downie’s voice is more in keeping with what we’d come to know later, and lyrically the songs are esoteric and interesting.

“Blow at High Dough” opens the disc with a very cool guitar intro (“They shot a movie once, in my hometown”) “I Believe in You (Or I’ll Be Leaving You Tonight)” a not terribly good song has some proto-Downieisms: spoken passages, stories in a breakdown of the song, but the subject matter is not that exciting.  Of course, it’s hard to sound good when you’re followed by “New Orleans is Sinking” another fantastic song that still sounds great today (especially in their live versions).

“38 Years Old” is a surprisingly moving song with some slides guitars…a nod to their country/folk roots that they tend to bury under raw rock guitars.

But even some of the less memorable, less exciting songs have great aspects to them.  Songs like “She Didn’t Know” are pretty standard rock songs.  Better than average, but not exceptional.  But the band puts little things into them that bring them up from the mundane: the guitar licks, the backing vocals (slightly R.E.M.-ish).

Even “Boots to Hears” which sounds a bit too much like John Mellencamp in the intro really wins you over by the end (the lyrics are great).  For what really is a debut album, it’s solid and shows great songwriting skills and promise.

They still haven’t quite gotten the hang of cover art yet, though.

[READ: January 26, 2011] “You Go First”

This was the first of four flash fictions in this issue.  Flash fiction doesn’t really have a definition per se (except that it is very short).  There are some masters of flash fiction who can write very compelling stories with astonishing brevity.  These stories are all short (one magazine page a piece), but they feel kind of bloated compared to the writers like Lydia Davis.

Gibb’s story actually feels a lot longer than it is.  It opens with us meeting the narrator’s next door neighbors, Carl the cremator, his obese wife Brenda and their son Jason.  The narrator doesn’t really like Jason, but he’s the only person who will hang out her because he wasn’t around for her birthday party last year.  At that party, her hippie parents encouraged everyone to play a game called Getting to Know Our Bodies. (more…)

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SOUNDTRACK: THE TRAGICALLY HIP-The Tragically Hip (1987).

It’s not really fair to review a successful, long-lived band’s first album over 30 years after the fact.  I mean, Rush’s first album doesn’t show any of the prog tendencies they’d be known for (not to mention a different  drummer/lyricist).  In fact, virtually no bands come out fully formed, which is good for all fans.

Having said that, from this album, you’d have very little indication that the Hip would become as dynamic as they eventually did.

This is a 7 song EP full of rocking tracks with overlays of acoustic guitars.  Unlike later discs, there’s only a minor indication that they’re from Canada (“Last American Exit”) or overly literate.  Mostly they seem like a rocking bar band.  The songs are good, somewhat generic, but solid.  In fact, “Small Town Bringdown” is still played in concert from time to time.

The biggest surprise is Gord Downie’s voice.  By now his voice is pretty distinctive, but on this first disc it seems like he’s still trying to figure out what he’s doing.  On “Killing Time” he’s unrecognizable from the frontman of today.  He seems to be working in a much gruffer range than he would later use.  Lyrically, the songs are also tougher than they would eventually become.

The most memorable song is probably the most embarrassing: “I’m a Werewolf, Baby” is as silly as it sounds, but the riff is really great and it has staying power.  Shame about the lyrics.  This disc is probably not worth getting since “Small Town” is available on their Greatest Hits.  Although if you really want to hear “Werewolf” it’s only available here.

[READ: January 26, 2011] “Live Large”

Just as I settle into the idea of reading 25 back issues of The Walrus for all of the fiction contained therein, I get to this 2004 Summer Reading Issue which features seven stories!  Three of them are short stories and the other four are flash fiction.

This first story was my favorite of the bunch.  It is a fairly simple story about a down-and-out man who longs for one day of joy.  Billy Constable has slowly seen his money evaporate.  He has had to sell off a lot of his luxuries, including the membership  to the Fairview Golf Club.  He has also had a recent medical scare (a minor heart attack) which has made him go straight and clean: no booze or smokes.

Except that things have gotten really bad lately, and who can resist the slide back into temptation.  When he gets a call to play a round of golf, from the very man he sold his golf membership to, he is about to tell him where to go, until he realizes that the man is calling him because he genuinely wants him to play in their foursome.  He decides why the hell not. (more…)

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SOUNDTRACK: DAVID FRANCEY AND MIKE FORD-Seaway (2009).

Mike Ford introduced me to Louis Riel on his album Canada Needs You, Volume One.  The song “Louis & Gabriel” features the lyrics “Oh, Louis Reil, here comes your friend Gabriel” outrageously simplistic (it is for kids after all) but so incredibly catchy it’s in my head whenever I see this book.  This is Ford’s most recent album, a collection of songs by himself and David Francey–who I didn’t know before this disc.

Seaway is a collection of 16 songs which are in one way or another about the sea.  Two of the songs appear on Ford’s release Satellite Hotstove, but the rest are new.  I don’t know if Francey’s songs are new or not.  I’m also unclear from the credits if Ford and Francey worked on these songs together (the notes suggest they did) or if they were recorded separately and then compiled.

The songs are primarily folk–simple acoustic numbers, often solo guitar, but sometimes with accompaniment.  Mike Ford has a great, strong voice, and is capable of some interesting stylistic changes.  His songs are more vibrant on this disc.  Francey has a wonderful, almost whispered voice.  He has a gentle Scottish accent which is great for his storytelling songs.  Mostly he speak-sings, but on some tracks, like “The Unloading” he sings a full-bodied chorus.

But it’s Ford’s song that bring a lot of variety to the disc.  “There’s No Rush” has a sort of calypso feel to it and “When You’re the Skip” has a wonderfully dramatic sea-shanty/musical feel to it.   And “21st Century Great Lake Navigators” is a rap–Ford frequently raps a song on his various albums.  His voice is very well suited to it, and his rhymes are clever and often funny.

This is a charming disc.  I wouldn’t say it’s essential, but it’s a good introduction to both singers, and, of course .

[READ: January 26, 2010] Louis Riel & Gabriel Dumont

Of the six Extraordinary Canadians books, I was least excited to read this one.  I’m not sure why, but I wound up leaving it for last.  But lo and behold it was easily the most engaging and, dare I say, exciting story of the six.  I’m sure part of that is because I didn’t know the outcome (even if Gabriel was somewhat famous in the U.S., I still didn’t know what had happened to him or to Louis).  And by the end of the book, I absolutely couldn’t put it down.

Joseph Boyden is a Métis writer (who I’ve never read before).  It’s obvious from the get-go that he is sympathetic to Riel and Dumont (which is to be expected in a biography, I would think).  He gets a tad heavy-handed about John A. Macdonald, but it seems justified.  For really you can pretty much take only one of two points of view about Riel and Dumont: they are either rebel heroes, standing up for the oppressed Métis, or they are traitors, intent upon destroying Canada’s expansion.

Now, I admit that I don’t know much about Canada’s expansion.  The first prime minister, John A. Macdonald, was instrumental in Canadian Confederation and was the driving proponent for the completion of the Canadian Pacific Railway.   But as with American westward expansion, Native cultures are in the way of this expansion. (more…)

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SOUNDTRACK: JIAN-The First 6 Songs (2001).

Being American and apolitical in my youth, I had no idea who Pierre Trudeau was until about 2001.  And my first real introduction was through this album by Jian Ghomeshi.  Jian was one of the four guys in Moxy Früvous (and man has his career skyrocketed since then…watch his great interview show Q online–in particular, check out the crazily uncomfortable interview with Billy Bob Thornton or the wonderful hour long interview with Rush).

Moxy Früvous had just broken up and Jian, who was one of my faves in the band, put out the optimistically title The first 6 songs (no other songs have arrived yet).

Jian is a mostly folk rock album which features Jian’s gentle voice.  And gentleness is one of Jian’s trademarks, it would seem.  But more than gentleness, his songs are about accountability and justice.  And yet lyrically, he’s not naive or obvious.  “Quebec City” is about the Summit of the Americas in Quebec City in 2001 (“the whole world is watching”).

I’ve always felt connected to the last track, “Lousy Boy”:

“And a man Is a man If he’s got a gun in his hand
Well I never wanted to destroy I always made a lousy boy….  And I know guys who are just like me
They like hockey and poetry
I think in retrospect that we have won
I’m a full-grown man and I don’t own a gun.”

Früvous has similarly thoughtful lyrics but in addition to the lyrics, the music is always interesting.   So the unexpected chord changes in the bridge to “Astronaut” turn the song from a simple folk song into a moving rocker.  And “Baby Don’t Lie” is a 5 minute track that builds on a folk base and is a catchy sing along.

of course, this all leads to the song “Father (For Pierre Trudeau)” the song that first taught me a little bit about the Prime Minister.  The song covers a few moments of his media-saturated leadership.  But mostly it’s a reflection about Trudeau on the day of his death.  The personal touch of course is that Ghomeshi’s father wanted to meet him (as did Jian) but now they w0uld never get to.  It’s a very touching song, and I have a hard time imagining someone writing a similar song about a President.

It was this song that got me to investigate the life and leadership of Trudeau.  (I even wrote an email to Jian, to which he quickly responded…I only wish I still had that email account active).

[READ: January 12, 2011] Pierre Elliot Trudeau

This is one of the more exciting biographies that I’ve read.  Which is pretty great.  Although one of the reasons it is so exciting is because he presumes that the reader knows a lot about Trudeau already.  And to be fair, I assume most Canadians would know the global picture (and most of the details) about him already.  So, basically, you get a summary picture of Trudeau, but instead of a quick outline that glosses over details, we get a lot of details, but no gloss.

What I’m getting at is that there are a number of places where Ricci talks about events and movements as if we know them.  So this makes for incredible fluency even if the novice is left puzzling exactly what all the fuss was about.  In fairness, contextually it’s easy to figure out, it’s just a bit surprising.

Another fascinating thing: Ricci skips over Trudeau’s childhood pretty much completely.  The book opens with Ricci’s memory of seeing Trudeau in 1967 when he (Ricci) was a young boy and seeing the way his teachers an adults seemed mesmerized by him.

Nostalgia aside, Ricci quickly explains what a polarizing figure Trudeau has been.  Warmly loved by many and yet (according to Macleans) ranked 5th of all Canadian Prime Ministers (despite being re-elected several times).  Actually, the way that Ricci words it it sounds like he came much lower than that (he says “third tier” which seems much mower than 5th).  And, judging by comments on YouTube videos, utterly hated by others.

The next chapter continues in 1968 at the beginning of Trudeaumania. Treudeaumania sounds a lot like Obamamania–a young, relatively inexperienced politician makes some noise and is thrust into prominence.  (Of course, in 1968, Trudeau only ran for office for a month and a half before being elected–ah the bliss of a short campaign season).

A video of Trudeaumania shows people swooning over him.

The biography does cover some of Trudeau’s earlier years (taken largely from Young Trudeau by Max and Monique Nemni).  He was a somewhat rebellious youth and his teen behavior was full of the usual (and not so usual) rebellions.  But the thing with Trudeau is that it is never clear whether he seriously held certain beliefs or if he was just trying to get a reaction out of people.

He established a society called les X whose purpose was to create an independent Quebec (organized under fascist principles).  les X faded from Trudeau’s life and existence with very little fanfare, and evidently radical groups like that sprang up all the time in Quebec at that time.  Really, it seems to point to his growing bored at his school and with the provincialism of Quebec.

When he left Quebec for Harvard and later for Europe, his mind was expanded and his beliefs opened up accordingly.  He had written many anti-Semitic things in his Montreal youth but once he actually met some Jews, he quickly changed his tune. Indeed, Harvard seems to have really shaped his later outlook in life.  And his exposure to vastly different attitudes during his studying Paris and then later in London exposed him to so much more in the world.

When he returned home to Quebec he found everything small and narrow (which is exactly how it (and he) was when he left it).  And he quickly finds himself embroiled in politics with the Asbestos Strike of 1949.  He took a position (and offered free legal assistance to anyone striking) which raised his profile and quickly made him persona non grata in his province.

This led him to leave for Ottawa, where he was less known and (since his credentials were great) where he could easily get a low position in politics and establish his career.  The main thing he learned, though, was that Ottawa was not the enemy (as is generally held to be true in Quebec).

Trudeau eventually returned to Quebec for Cité libre.  This is one of the things that Ricci glosses over…I’m still not exactly sure what Cité libre is (okay, an influential political journal), but I’m well aware of Trudeau’s involvement in it.  And how it helped him to state his principles and beliefs.

There’s a lengthy passage where Ricci explains how Trudeau’s federalism came to blossom so powerfully for him.  And this argument is one of the reasons why I am in the camp of Trudeau, because even though his piece is meant to be just about Quebec, I find it holds true for the U.S. as well (substitute out Quebec for any special interest).

The sort of independent Quebec he had dreamed of as a young man, he saw now, would only have given greater rein to the ruling elites to exploit nationalism for their own end, as Duplessis has done. In a Quebec obsessed with the survival of French-Canadian culture it was too easy for leaders to manipulate the electorate by promoting vague ideological goals rather than more practical ones, such as those providing infrastructure and employment (103).

Trudeaumania quickly swept him into office, but he was most reviled by his home province which felt betrayed by his turning his back on separatism.  He was the target of an attack by the FLQ, which captured and killed Trudeau’s friend and cabinet minister Pierre Laport. This was known as the October Crisis.  Trudeau’s reaction was swift and hard, he called for martial law (and the Mounties certainly abused their rights). But when questioned about whether he should or could step so hard on a province his answer was “Just watch me”

Now, it turns out that that quote comes at the end of a lengthy interview and makes for a glib soundbite when in fact Trudeau was anything but glib.

The next big moment of excitement for Trudeaumania was when he married Margaret Sinclair.  For a brief time, they were the it couple.  He was 51, she was just 22, and she was beautiful.  Trudeau seemed to be a confirmed bachelor or at least a consummate playboy, so to have him settled down was quite a story.  But how hard must it have been to be a young woman suddenly thrust into the political spotlight.

Naturally, cracks would surface in their marriage.  In fact, in 1977, Maggie decided to party with The Rolling Stones rather than attend her sixth wedding anniversary party (read the wonderful article in People about it–I love the tsk tsk tone!).

But the penultimate chapter is, mostly, about Trudeau’s disappointments.  He had taken office in a hail of excitement but really had not a lot to show for it.  He was even set for retirement, until he was drawn back in.  And in this final term, he was finally able to achieve his legacy.  And this legacy seems to be summarized by two words: federalism and patriation.  (With the downside being summed up in the word “notwithstanding”).  Now, this is obviously something that Canadians know all about, and it seems foolish to summarize what this meant for readers who lived it.  But for me, who knows precious little about the mechanics of Canadian politics, I was a little lost in the details.

I got the Federalism thing, but the constitution is a bit confusing.  And the whole notwithstanding clause really kind of lost me.  Nevertheless, the chapter that covered this was rather exciting because Ricci writes as if there is one man whose mission is to see him fail.  And this nemesis is Rene Lévesque.  It’s a classic mano a mano battle between two Quebeckers and it’s really rather exciting (especially if you didn’t know the results).

The final chapter talks of Trudeau’s legacy.  And in this chapter Ricci seems to side with Trudeau.  He cites specific examples of being the best man at a same-sex wedding ceremony, something that would not be possible without Trudeau (even though Trudeau never envisioned it).  Indeed, there’s a comment that:

during the 1968 leaders’ debate, Réal Caouette, leader of the Ralliement créditistes, joked that Trudeau’s Criminal Code amendments might lead to a situation where “a man, a mature man, could in the future marry another mature man” Caouette had his joke while Trudeau, awaiting his response time, smiled civilly and held his tongue.

Because I’m not part of the culture, I don’t know to read Ricci’s take on the man.  He is not afraid to show off all of Trudeau’s faults.  In fact, in many instances he rather highlights them.  For instance, the debt under Trudeau expanded exponentially.  When Trudeau took office in 1968 Canada had a debt of $18 billion; when he left office in 1984, that debt stood at $200 billion, an increase of 83% in real terms.  And yet at the end of a nasty passage he will present some evidence which ameliorates Trudeau either in whole or (more typically) in part.

I guess in that sense it is an excellent primer on Trudeau’s political life.  But it’s also personal enough that you can see how one man impacted people.  Not citizens, but people.  And when he describes the people lined up for Trudeau’s funeral it ties right back to Jian’s song.  It really shows the impact that one person can have on the lives of so many.

And, here’s a shameless plug to the folks at Penguin Canada–I will absolutely post about all of the books in this series if you want to send me the rest of them.  I don’t know how much attention these titles will get outside of Canada, but I am quite interested in a number of the subjects, and will happily read all of the books if you want to send them to me.  Just contact me here!

For ease of searching I include: Fruvous, creditistes, Real Caouette, Rene Levesque, Cite libre

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SOUNDTRACK: SARAH HARMER-Oh Little Fire (2010).

I found Sarah Harmer when she had a left field hit (“Basement Apt”) in the states.  I went back and discovered her band Weeping Tile (who are quite good and recorded a version of the song on their EP Eepee) and have been following her continued solo career.

Since that first record, she released a killer second disc, followed by a re-release of an intimate 1999 record she made for her dad which let her revel in her country roots.  She followed this up with I’m a Mountain, a very country, but very catchy album.  Finally, four years later, she put out Oh Little Fire.

Although she hasn’t lost her country roots, this album returns to more of the rock sound that first attracted me to her.  It’s not hard or heavy by any stretch, but it’s moved beyond the country of I’m a Mountain.

Sarah and I listened to this album a lot at night when it first came out, and it slowly seeped into my system.  I had kind of forgotten about it for a while, and upon rediscovering it I was delighted to hear that the melodies were fresh and still with me.  The album seems like a simple indie folk or the work of an adult alternative singer songwriter, but the thing with Harmer is that she has that wonderful background with Weeping Tile, a band that was always slightly off-center.  So, she writes beautiful melodies but puts little grace notes into them to keep them from being disposable.  And yet they are still super catchy.

The only hard thing about this disc is wondering which song will be stuck in your head after listening to it.

[READ: January 7, 2011] L. M. Montgomery

I’ve never read any L. M. Montgomery (although I’ve seen the miniseries of Anne of Green Gables) and I’ve never read any Jane Urquhart (but I love her name!).

This biography is so radically different from the other three I’ve read so far.  I wondered immediately if it was because Montgomery (and Urquhart) are women.  It deals with subjects that the other books didn’t at all: lost loves, mental incapacitation, family crises.  But it becomes clear through the book that these issues were THE issues that a woman at Montgomery’s time would have dealt with.  Unlike the men in the other books, Montgomery did not have a professional life (outside of being an author, which she did at home).  She was hardly a public figure, and since she was a woman, she was always in danger of losing what she had.

This biography is also vastly different from the others in the way it is constructed.  You can tell by some of the chapter headings: Her Death (the first chapter), Orphan, Sorrow, Madness.  You can also tell by these chapter titles that Montgomery did not have a happy life.

Indeed, between a husband who believed he was destined for Hell (he was a preacher!) and children whose life choices she disapproved of, not to mention terrible insomnia coupled with nightmares, her late adult life was nothing but torment.  But, sadly for her, her early life was nothing but torment either.  Her mother died when she was two, she was sent to live with her aunt and uncle (which was never a happy place).  But the most depressing of all of these events is when she lost her dearest friend at a terribly young age, a death she never really recovered from.

So how is it possible that Montgomery wrote such charming stories?

The answer to that (and the basis for most of this biography) is in her diaries.  Montgomery kept meticulous diaries (which she wrote and rewrote and then rewrote with posterity in mind).  She wrote about her childhood and her life as (sort of) an orphan.  She wrote about the places where she lived and the beautiful outdoors which impressed her.  She wrote about the sadness and the happiness.  Nothing was lost on her, and she saved it all (she also took photos of everything she loved, which are a beautiful and sometimes contradictory records of her diaries), and there are many published volumes that we can read to learn even more about her.

To me, the most fascinating (and horrible) part of the story was when she finally had Anne of Green Gables published.  The publishers took complete advantage of her.  They forced her to write sequels that she didn’t want to (although they are still quite good) and even compiled a final book from castoffs of the previous books (Return to Avonlea) that they published in her name.  Eventually the case was settled in her favor, phew, and she was able to write new characters that inspired her.

Montgomery had a rough life, and as her diaries come to an end, she stopped writing about things.   It’s hard to know exactly what she went through towards the end, but it doesn’t seem very positive.  And yet for all of her disappointments in life, she left us with some engaging and memorable stories.

The last chapter is a fascinating personal account of how Montgomery’s stories impacted Urquhart’s family.  It was incredibly touching and convinced me that Urquhart’s fiction would be enjoyable too.  Some day, some day.

This was a really enjoyable (but major downer) biography.  And, more than anything it has really inspired me to read Montgomery’s stories (and even one or two or Urquhart’s).

And, here’s a shameless plug to the folks at Penguin Canada–I will absolutely post about all of the books in this series if you want to send me the rest of them.  I don’t know how much attention these titles will get outside of Canada, but I am quite interested in a number of the subjects, and will happily read all of the books if you want to send them to me.  Just contact me here!

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SOUNDTRACK: THE WEAKERTHANS-Live at the Burton Cummings Theatre (2010).

I’ve enjoyed The Weakerthans for a few years now, so I was pretty excited to see they had a live album out.

This live album works like a greatest hits.  All of the songs are great catchy pop songs–why aren’t The Weakerthans huge?  Maybe because their songs are literate and clever (and have weird titles (like “Our Retired Explorer (Dines with Michel Foucault in Paris, 1961)”).  In fact that song is one of only two songs that I know of that mention Jacques Derrida (the second being Scritti Politti’s “Jacques Derrida”).

Admittedly, The Weakerthan’s songs are simple and catchy and these live versions aren’t radically different from the originals.  There’s no extended jams or maniacal freak outs or anything.  But the album is very charming (John Samson is unfailingly polite) and the one big surprise is quite a surprise!

On the track “Wellington’s Wednesdays” Samson introduces a guy: “This is Ernesto.  He’s from Mexico.  He’s going to play a guitar solo.”  While listening to the disc I couldn’t imagine this peculiar introduction for a band member.  My version of the disc comes with a concert DVD of the show.  I didn’t get to watch the DVD until recently and… mystery solved:  Ernesto is a fan in the front row.  Samson talks to him mid-song, pulls him up on stage, introduces him and gives him his guitar to play the solo!  Then Samson jumps into the front row to watch.   How cool is that?

The video doesn’t deviate from the audio, except for leaving in a few moments of patter from Samson. In fact, I found the video to be somewhat choppily edited.  When Samson plays “One Great City!” (solo…which wasn’t obvious from the audio.  I mean, you can tell he’s solo, but it’s much more dramatic in the video) at the finish of the song, it immediately cuts to the next full band song, rather diminishing the return of the band.  (Although I do like the jump cuts to the audience which reveal what appears to be a room full of teenagers–it’s adorable!)

The other confusing thing is that the recording notes say that it was recorded over two days, and yet the video appears to be one night’s show. And the audio matches it, so who knows.

But those are little quibbles.  The music is great, the sound quality is fantastic and the song choices are great.  There are some cool surprises on the disc (like the horns and violin), but mostly what you get is an enjoyable evening at a small hometown concert with fans who love to sing along to the chorus of “One Great City:” “I hate Winnipeg!”

[READ: December 18, 2010] Stephen Leacock

What I’ve really been enjoying about this series of Extraordinary Canadians is how the writers of the books (at least the three I’ve read so far) are writing in such very different styles.  Obviously Coupland did his own thing.  Vissanji is a novelist, and he wrote his in a more novelistic way (its not like a novel at all, but it’s constructed in a kind of narrative style).  Macmillian is a historian, and I suppose for that reason, this biography feels more like a history (of Leacock, but also of economics) than a simple biography.

The strangest thing about this book is that although MacMillan obviously likes and respects Leacock, a surprising amount of the book is taken up with her talking about things he either said or did wrong or about his books that really aren’t that funny.  This is surprising because Leacock is a noted humorist. (In 1947, the Stephen Leacock Award was created to recognize the best in Canadian literary humour).

This biography looks at his life, but mostly it focuses on his academic and humorous works.  Leacock was an economist although he seems to generally disapprove of economists.  He had begun by teaching high school but found it incredibly stifling.  Eventually he found his niche at McGill University where he was well-respected and highly regarded by students and faculty alike. (more…)

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SOUNDTRACK: GORD DOWNIE AND THE COUNTRY OF MIRACLES-The Grand Bounce (2010).

I knew I was going to write about Canadian musicians for this series of Extraordinary Canadians, but I wasn’t sure who would get matched to whom. I figured I’d match Gord Downie to Mordecai Richler, but when I saw this in the liner notes to this disc, I knew I’d made the right choice:

Thank you to the Richler Family for the font you are presently reading.  The Richler font, not publicly available, was created and named for the great Mordecai Richler.  It was commissioned by Louise Dennys, designed by Nick Shinn and graciously made available by Florence Richler.  I am grateful for this honour.

So Gord Downie is the driving force behind The Tragically Hip.  I’m always curious when a guy who pretty much runs a band needs to do a solo album (or three).  And in this case, since the last Hip album was much more mellow and almost country, it seemed like he got some of his less rocky side out on that disc, so what’s the need?  Unless, of course, it’s just the need to play with some other folks once in a while.

Well, whatever the reason, this disc finds Downie in incredible form.  In fact, I think I like this disc better than the last Hip disc (which I did like, but which was a little too mellow overall).  The songs are all great, from the simple folk tracks to the more elaborate rockers.  And, yes, while the disc never rocks as hard as some Hip songs tend to, this is not a simple acoustic guitars and solo vocals record.

“The East Wind” is a wonderful starter.  It’s fairly simple with awesomely catchy lyrics.   I learned that the lyrics are from a quote by Todd Burley.  And they are an awesome way to describe a hostile and violent wind: it’s lazy, because “it doesn’t go around you, it goes right through you.”  Fantastic.

“Moon Over Glenora” sounds a lot like a Hip song.  Downie’s lyrics are almost mumbled and understated until he gets to the end of each verse when he raises his voice an octave for maximum effect.   The stops and starts in the bridge are also great.  “As a Mover” is also smoothly catchy with a wonderful rising chorus.

“The Dance and the Disappearance” is another great conceit.  This song is inspired by a quote from Crystal Pite: “Dance disappears almost at the moment of its manifestation.”  It is suitably dramatic with some great verses.  “The Hard Canadian” is a gentle acoustic number that would not be out of place on the more recent Hip records.  “Gone” feels like a continuation of “Heart,” almost like the slightly more rocking second half of it.

My favorite track is “The Drowning Machine” (I seem to like anything that Downie writes that’s about the sea).  It’s a minor chord wonder, dark and mysterious and wonderfully catchy.  The rock comes back on the rather simple “Night is For Getting.”  It’s probably the least essential track on the disc except that once again the chorus/bridge is really great and memorable.

The last three tracks bring on the mellow, which is a fitting ending for the disc, although since the three t racks take up about 12 minutes, it makes the end drag a bit.  “Retrace” is a country-tinged (steel guitar) mellow track (again, Downie’s voice brings out the excitement) .  “Broadcast” has an extended outro of gentle guitars and piano that for all the world sounds like the end of a disc, so I’m always surprised that there’s a final track after it.   And so the final track “Pinned” feels like filler.  It has a movie projector clicking sound and gentle piano with almost inaudible vocals.  It’s actually a pretty song, but it feels almost discarded here.

One of things I’ve always liked about Downie’s lyrics is that they are atypical of rock songs.  They’re not “about” sex or rock or drugs or swagger or anything like that.  In this case they are about locations and events.  And it really paints a picture.  And speaking of painting, Downie painted the cover art.  The beautiful simplicity of the painting is not unlike the beautiful simplicity of the music on the disc.

Oh and my copy is autographed too! (although I wasn’t there when he autographed it, so it could have been anyone who scribbled on the cover).

[READ: November 15, 2010] Mordecai Richler

I don’t know a lot about Mordecai Richler, although I feel like whenever I read about him it’s in hushed tones (a neat trick, that).  Nevertheless, for a number of reasons I have wanted to read him for many years but have just never done it.  Now, the stars are aligning with me for Richler.

There’s this book, there’s the cover of the October 2010 issue of The Walrus and the recent filming of his book Barney’s Version (the filming of which is discussed in the same issue).  And then a patron asked for the film of The Apprenticeship of Duddy Kravitz.  So, it’ about time to read one of his books.  But here’s the rub…do I start with the great books or do I start at the beginning and work my way through his career?  And, there’s also a huge new biography coming out (the review of which mentions a wonderfully offensive event in which Richler absolutely dismisses his Jewish audience).

This book was written by M.G. Vassanji.  I feel that I’ve heard of him but I’ve never read him.  And yet listen to this incredible biography:

M.G. Vassanji was born in Kenya and raised in Tanzania.  He attended University in the United States, where he trained as a nuclear physicist, before coming to Canada in 1978.  Vassanji is the author is six novels and two collections of short stories…and he has twice won the Giller Prize.

Damn.

Since I read this right after Coupland’s McLuhan it’s tempting to compare them.  And yet, as I said in that review, it seems quite apparent than Coupland’s book will be like no one else’s, so I won’t say much about that.  Instead, Vassanji opens the book by talking about the similarities between himself and Richler and their few awkward but pleasant meetings.  (In this respect yes, it is sort of like Coupland’s book in that the author puts himself into the text). (more…)

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SOUNDTRACK: SHAD-TSOL (2010).

I first heard Shad on CBC Radio 3 online.  The track was “Yaa I Get It” and I really enjoyed it.  I haven’t listened to a lot of rap in the last few years; I’ve more or less grown bored by the genre, especially all the violence.  So, I was happy to hear this track, which was boastful but funny.

I decided to get the whole disc, and I wasn’t disappointed.  “Rose Garden” features a sample of “I Never Promised You a Rose Garden” which sets some of the tone of the disc.  But it’s on the next song “Keep Shining” that Shad’s uniqueness shines through.  This song is about women.  But not in any way that I’ve heard in rap before: “I can’t speak for women.  We need more women for that.”  And the inspiring final verse:

My mom taught me where to keep my heart.
My aunt taught me how to sing two parts.
My sis taught me how to parallel park,
and tried to teach me math but she way to too smart.
My grandma in the 80’s is still sharp.
My girl’s cousin is in activism in art.
They taught there’s no curls to tight, no mind too bright, no skin too dark to keep shining.

Later on the disc is “We Are the Ones” an oddball jam that sounds like one of those bizarre Atlanta rap tracks (funky vocals and all) and an amusing line about being Lost like Matthew Fox.  But his name checks aren’t all pop culture (Moredcai Richler gets a mention as does Glenn Beck (he “better duck like foie gras”).

And of course, there’s the wonderful “Yaa I Get It.”  With great horn blast samples and all kinds of noise competing for our attention.  Yet, throughout the lyrics stand out: “Maybe I’m not big cus I don’t blog or twitter…Dawg, I’m bitter.”  And there’s this wonderful couplet: The precision of my flows in terms of tone and diction/Is akin to that of the old masters of prose and fiction.”  Or take this lyrics from “Call Waiting,” “But what they say is hard for a pimp is harder for a man of faith.”

“Listen” has some great scratching on a heavy rocking track.  It’s followed by “At the Same Time.”  This is a mellow, sad song, which I don’t really like, yet which I find very affecting.  And lyrically, it’s great: “I never laughed and cried at the same time… Until, I heard a church pray for the death of Obama.  And wondered if they knew they share that prayer with Osama.”

The disc ends with “We, Myself and I” another noisy rocker and the one minute “Outro” an acapella rant.

Shad is a great rapper, doing interesting things and trying to make a difference.  He’s worth checking out.

[READ: November 1, 2010] “Marshall McLuhan”

I learned about this book because I’m a fan of Douglas Coupland.  And, as it turns out I’ve always had a vague interest in Marshall McLuhan, so it seemed like a sure thing. The problem was that the book was not readily available in the U.S.  So, I had to order it from Amazon.ca.  And, since you can’t get free shipping to a U.S. address from amazon.ca, I thought it would make sense to order 6 titles in the series, all of which I’ll post about this week.

So, here’s a shameless plug to the folks at Penguin Canada–I will absolutely post about all of the books in this series if you want to send me the rest of them.  I don’t know how much attention these titles will get outside of Canada, but I am quite interested in a number of the subjects, and will happily read all of the books if you want to send them to me.  Just contact me here!

Each book in the series has an introduction by John Ralston Saul, in which he explains the purpose of the series and states globally why these individuals were selected (“they produce a grand sweep of the creation of modern Canada, from our first steps as a democracy in 1848 to our questioning of modernity late in the twentieth century”).  It also mentions that a documentary is being filmed about each subject.

Perhaps the most compelling sentence in the intro is: “each of these stories is a revelation of the tough choices unusual people must make to find their way.”  And that’s what got me to read thee books.

This volume was probably a bad place to start in the Extraordinary Canadians series if only because it appears that Coupland’s volume is markedly different from the others.  Coupland being Coupland, he has all manner of textual fun wit the book.  The other authors seem to write pretty straightforward books, but you know something is up right away when you open the book and the first six pages comprise a list of anagrams of “Marshall McLuhan.”

On to Marshall McLuhan.  The Medium is the Message.  That’s about all anyone who has heard of McLuhan knows about him (and that he has a hilarious cameo in Annie Hall).

When I was a freshman in college, I took a class in Communications which focused an awful lot on Marshall McLuhan.  I didn’t like the teacher very much, but the message stayed with me all these years.   And so even though I’m not a student of McLuhan or anything, I was happy to relearn what I should have known about the man and his ideas.

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SOUNDTRACK: SHAD & DALLAS-“Listen (remix)” (2010).

The other track on the Shad and Dallas EP is a remix of “Listen” from Shad’s TSOL album.  I like the original song quite a bit.

The remix is marginally faster than the original.  And Dallas Green adds a few lines over the “chorus” (in the original, Shad just says “listen” over and over). It’s a nice addition to a good song.  In fact, I went back to the original and realized that I kind of missed Dallas’ section (and that was after only two listens).

This single benefits Skate4Cancer, so it’s for a good cause and worth checking out.

[READ: January 24, 2011] “What We Are Capable Of”

This is the second story that The Walrus published.  And this author (who I’d never actually heard of) is also a bestseller (with at the time nine books out).

I found this story a little confusing at first (there are many different people introduced without context in the opening paragraph or two).  But once I sussed out who Em had broken up with, who her ex husband was and who her daughter’s ex-boyfriend was, the story came together quite nicely.

Basically this is the story of two breakups.  Em, a widow, has recently become involved with Michael.  (Who is married).  When her daughter, Sarah, calls to say that she wants to come back home, Em soon realizes that Sarah is in a similar heartbroken predicament (although at least Sarah’s boyfriend isn’t married).

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SOUNDTRACK: SHAD & DALLAS-“Live Forever” (2010).

Shad and Dallas Green (from Alexisonfire) recorded an EP called Two Songs and the profits go to Skate4Cancer.  The A Side is the new song “Live Forever.”  Shad is a great rapper, and make no mistake, this is a Shad song.  Green sings the hook-filled chorus (and an intro line).

Shad’s rapping is great and his rhymes are clever and interesting (he even does a fast double-time section which I’d never heard him do before). But the music itself is kind of bland.  I listened to it three times and I never really got into the flow of it.

I rather hope that sales are good (for the charity’s sake) but I’m afraid I’m not that excited by the track.

[READ: January 23, 2011] “Choynski”

I recently noticed that I had reviewed a whole bunch of stories from The Walrus.  So I wondered just how many stories there were in previous issues of the maagzine that I hadn’t posted about.  The magazine only started in 2003, and I still have all the issues (yes, that’s right…  I bought Issue 1 on the newsstand), so it wasn’t that hard to figure out.  In the early days, not every issue had fiction in it.  I started calculating and discovered that there were only about 25 stories to go.  So I thought, why not go back and read them all, eh?

This story was in Issue #2, and I have to say, good for them for picking David Bezmozgis to be their first author.  His issue bio reads that his first short story collection Natasha will be published in June.  And if you check now, you’ll see that Natasha won a Commonwealth Writers’ Prize and was a New York Times Notable Book.  Not bad.

There are essentially two stories in this piece and they tie together quite nicely.  The first arc concerns the narrator’s dying grandmother.  She is an old Russian Jew whose English isn’t great so she tries to speak in Yiddish to make up for it.  Her family understands but few others (like her doctor) know what she’s talking about.  As the story progresses, her family tries to keep the truth of her condition from her, but she is no dummy.

The second story concerns the narrator’s attempt to learn more information about Joe Choynski.  Choynski was being inducted into the International Boxing Hall of Fame (Old Timers division) and the narrator was going to the ceremony.  In trying to learn more about Choynski (considered America’s frst great fighting Jew), he enlists the help of Charley Davis, an old man who knows more than just about anyone else about the Choynski.  (more…)

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