Shall we vote Lennie Gallant as one of the seven natural wonders of Canada?
After eight albums, three Juno awards, fifteen East Coast Music awards, and one induction into the Order of Canada it isn’t hard to see that our Lennie is a force of nature.
Neither is it hard to see that there is something quintessentially Canadian about the music and the man: On Friday night at the Calgary Folk Club, Gallant championed the cause of our wounded soldiers returning from overseas, regaled us with stories of his music journeying in space with a Canadian astronaut, and even sang songs in both our national languages.
Indeed, Gallant’s own love of Canada – and especially the east coast – was apparent throughout his performance. During his introduction to his song “The Pull of the Fundy Tide,” he drew attention to the fact that this beautiful and unique section of Canada (it has the highest and lowest tides of any body of water anywhere) is on the list to become one of the seven natural wonders of the world.
So the question asked at the beginning of this post was specious. There is no way for us to vote in Lennie as one of our natural wonders alongside the Rocky Mountains, Niagara Falls, and the Aurora Borealis. But if you are inclined, you can vote for him online in CBC Radio Two’s Great Canadian Song Quest. It seems the country is starting to wake up to the fact that Gallant is, indeed, one of our national treasures.
Of course, the guy from Rustico, PEI would be the first to deflect such hyperbolic praise of his work. After all, his songs deal with the small stories of people and places, not the “big” stories of country and identity. But it is exactly these small stories - the lives, struggles, and dreams of ordinary people – that make up the fabric of Canada.
Even Gallant is beginning to acknowledge that he may have “made it” as a nationally recognizable figure. During his first set, he told a story about how he became the answer for a newspaper crossword puzzle. “I am now officially a songwriter with a clue,” he said, much to the delight of the crowd.
The show at the CFC on Friday night contained everything that fans of Lennie Gallant have come to expect over the years: soulful singing, consummate story-telling, snappy guitar-playing, joyous sing-alongs, and, of course, new and old favourites. Gallant’s career may now span more than twenty years but part of his original appeal, according to one enthusiastic female fan I spoke to, is also still intact: “He is definitely the sexiest folk singer in Canada!” she said.
I wonder if there is an online poll for this we can vote on?
Tuesday, October 20, 2009
Monday, October 19, 2009
The Shirleys
The program introducing The Shirleys promised a veritable trip around the world. “They sing everything from Cuban Carnival music and tragic Russian love songs to Mandarin flirtations and wrenching Appalachian protests.”
In this regard, the opening act at the Calgary Folk Club on Friday, October 16th did not disappoint. The musical terrain traversed by this out-standing, all female, a capella group from Vancouver was, certainly, all over the map: Covers by Nina Simone, Bob Dylan, and Ben Harper? Check. Feminist anthems and protest songs? Check. A pop-inflected original and civil-rights medley? Check. Songs in other languages? Check.
You may be tempted to think that a group so large – six members of The Shirleys were on stage on Friday night – and one with such a diverse set list may have lacked a certain unity. If you thought that, however, you would be quite wrong.
In fact, one of the most impressive things about this sextet was how tight they were musically and as a group. When these ladies sang it was almost as if they did so with one voice. Their gorgeous vocal arrangements were replete with rich, full, seamlessly blended harmonies that lifted the spirit. There was also no distinction between the members; no one seemed to be the leader or the “main performer” in the group. They all took turns introducing their songs or supplying lead vocals. As a group they were remarkably free from pretensions or egos and their musical concord benefited greatly from this fact.
Togetherness, community, harmony, social conscience, global awareness – it was a musical banquet (as much as a journey) during the first set at the CFC on Friday night. However, to this list I would add another important ingredient: jubilation. The program had warned us that The Shirleys’ songs “would reflect humanity’s common hopes and aspirations for a better more joyful world.” By the end of the set I certainly noticed a warm feeling inside of me and a smile across my face.
In this regard, the opening act at the Calgary Folk Club on Friday, October 16th did not disappoint. The musical terrain traversed by this out-standing, all female, a capella group from Vancouver was, certainly, all over the map: Covers by Nina Simone, Bob Dylan, and Ben Harper? Check. Feminist anthems and protest songs? Check. A pop-inflected original and civil-rights medley? Check. Songs in other languages? Check.
You may be tempted to think that a group so large – six members of The Shirleys were on stage on Friday night – and one with such a diverse set list may have lacked a certain unity. If you thought that, however, you would be quite wrong.
In fact, one of the most impressive things about this sextet was how tight they were musically and as a group. When these ladies sang it was almost as if they did so with one voice. Their gorgeous vocal arrangements were replete with rich, full, seamlessly blended harmonies that lifted the spirit. There was also no distinction between the members; no one seemed to be the leader or the “main performer” in the group. They all took turns introducing their songs or supplying lead vocals. As a group they were remarkably free from pretensions or egos and their musical concord benefited greatly from this fact.
Togetherness, community, harmony, social conscience, global awareness – it was a musical banquet (as much as a journey) during the first set at the CFC on Friday night. However, to this list I would add another important ingredient: jubilation. The program had warned us that The Shirleys’ songs “would reflect humanity’s common hopes and aspirations for a better more joyful world.” By the end of the set I certainly noticed a warm feeling inside of me and a smile across my face.
Sunday, October 4, 2009
Garnet Rogers
“The smell of wood smoke, September stars, and the autumn air so chill and sweet…”
Like his lyrics, Garnet Rogers’ performance at the club on Friday night was a mixture of improbable, sometimes contradictory elements. Like the autumn air he describes in his song, “Soul Kiss,” Garnet seemed to be, at various times, both chill and sweet. For lifelong fans of his work (and I count myself among this number) the opposing elements of Garnet’s music and character were thrown into sharper relief during these two sets than in any other venue at which I have seen him.
He was brooding and funny, distant, almost lost in his music at times and, at others, intently committed to sharing his life. He told stories that uplifted – the tale of his reunion with Archie Fisher was particularly moving. However, for every current of joy in his performance there seemed to be darker tides underneath.
The instrumental songs he chose to play were long and haunting. His lyrical songs seemed to unlock, in unerring detail, the tragedies of everyday life: A fading country star dies alone in a motel room before being mysteriously carried off by fireflies in “Empty Glass”; a proud race horse is saved just in time from becoming dog food in “Small Victory”; and in “Archie’s Song” the joy of reunion with an old friend is almost overshadowed by the beautiful lines that tell of why so many people become separated from their loved ones in the first place: “Hard words, too much pride, and a dark frozen lake lay between us.”
Darkness and complexity have always been hallmarks of Rogers’ unique style. On this night, however, they seemed to take centre stage a little more forcefully than usual. He closed the evening with a combination of two songs, “Night Drive” and “Northwest Passage.” In the first, the ornamental instrumentation was mysterious and echoing; Rogers actually seemed to become the driver of this song’s title, a traveler on an isolated highway, surrounded by his drifting guitar licks like the flickering of street lights or of distant stars. In the second, the familiar a capella song penned by his brother became an electrified, almost angry shout out at those same stars; Rogers, as an explorer of uncharted musical territory, seemed to be defying critics or anyone who may begrudge him a musical legacy so distinct from his brother’s.
Like wood smoke, this performance was elusive but alluring. Underneath the smoke, a closer look revealed a fire that stills burns with intense passion, tremendous sensitivity and unparalleled artistry. It was a show of contradictions but also one of great paradoxical beauty.
Like his lyrics, Garnet Rogers’ performance at the club on Friday night was a mixture of improbable, sometimes contradictory elements. Like the autumn air he describes in his song, “Soul Kiss,” Garnet seemed to be, at various times, both chill and sweet. For lifelong fans of his work (and I count myself among this number) the opposing elements of Garnet’s music and character were thrown into sharper relief during these two sets than in any other venue at which I have seen him.
He was brooding and funny, distant, almost lost in his music at times and, at others, intently committed to sharing his life. He told stories that uplifted – the tale of his reunion with Archie Fisher was particularly moving. However, for every current of joy in his performance there seemed to be darker tides underneath.
The instrumental songs he chose to play were long and haunting. His lyrical songs seemed to unlock, in unerring detail, the tragedies of everyday life: A fading country star dies alone in a motel room before being mysteriously carried off by fireflies in “Empty Glass”; a proud race horse is saved just in time from becoming dog food in “Small Victory”; and in “Archie’s Song” the joy of reunion with an old friend is almost overshadowed by the beautiful lines that tell of why so many people become separated from their loved ones in the first place: “Hard words, too much pride, and a dark frozen lake lay between us.”
Darkness and complexity have always been hallmarks of Rogers’ unique style. On this night, however, they seemed to take centre stage a little more forcefully than usual. He closed the evening with a combination of two songs, “Night Drive” and “Northwest Passage.” In the first, the ornamental instrumentation was mysterious and echoing; Rogers actually seemed to become the driver of this song’s title, a traveler on an isolated highway, surrounded by his drifting guitar licks like the flickering of street lights or of distant stars. In the second, the familiar a capella song penned by his brother became an electrified, almost angry shout out at those same stars; Rogers, as an explorer of uncharted musical territory, seemed to be defying critics or anyone who may begrudge him a musical legacy so distinct from his brother’s.
Like wood smoke, this performance was elusive but alluring. Underneath the smoke, a closer look revealed a fire that stills burns with intense passion, tremendous sensitivity and unparalleled artistry. It was a show of contradictions but also one of great paradoxical beauty.
Saturday, October 3, 2009
Dala
Archie may have been making headlines recently by ending his decades-long dilemma between Veronica and Betty, but with the first act of the evening on Friday night, CFC patrons seemed to be getting (for one too-brief set at least) the chance to experience something even a fictional red-headed heart-throb wouldn’t dare dream of: the best of both worlds.
In Dala, the dynamic and beautiful musical duo from Scarborough, Ontario, it appears that Veronica and Betty have set aside their differences, ditched Archie for a life on the road, and combined their copious talents towards something much more worthwhile: the creation of exquisite and unforgettable music.
Much was made of the fact that the youthful Sheila Carabine and Amanda Walther had the presence and talent of folk musicians twice their age: “They sing the songs their parents used to sing,” Mansel Davies said during his introduction for the ladies, “and one gets the sense that these beautiful old songs are more than safe in the hands of these young people.”
Indeed, in their set which was an interesting mix of musical styles, original music and reinvented covers, the loving renditions of old familiar tunes struck a chord in the hearts of the CFC regulars. An incredibly tender version of the traditional tune “Red is the Rose” prompted an audience response of robust participation complete with full harmony. A slightly shocked Amanda commented after the song, “Wow. That’s the best that has ever sounded. Can we take you guys with us?”
While their version of Neil Young’s “Ohio” triggered Garnet Rogers (perhaps with jealousy?) to comment much later in the evening, “Get your own decade!”, a number of their original songs harkened back to previous musical epochs as well. As they both sat down at the same keyboard to perform one of their own compositions called “Lennon/McCartney” someone in the audience light-heartedly asked, “Are you going to play chopsticks?” but what followed was a performance reminiscent of all the spark, showmanship, and vocal dexterity of The Andrews Sisters.
In the final song of the set, “Levi Blues,” a lyric seemed to say what all the CFC audience was hoping to hear: “I’ll always come back to you.” With any luck we will see this vivacious and talented duo visit our club again.
In Dala, the dynamic and beautiful musical duo from Scarborough, Ontario, it appears that Veronica and Betty have set aside their differences, ditched Archie for a life on the road, and combined their copious talents towards something much more worthwhile: the creation of exquisite and unforgettable music.
Much was made of the fact that the youthful Sheila Carabine and Amanda Walther had the presence and talent of folk musicians twice their age: “They sing the songs their parents used to sing,” Mansel Davies said during his introduction for the ladies, “and one gets the sense that these beautiful old songs are more than safe in the hands of these young people.”
Indeed, in their set which was an interesting mix of musical styles, original music and reinvented covers, the loving renditions of old familiar tunes struck a chord in the hearts of the CFC regulars. An incredibly tender version of the traditional tune “Red is the Rose” prompted an audience response of robust participation complete with full harmony. A slightly shocked Amanda commented after the song, “Wow. That’s the best that has ever sounded. Can we take you guys with us?”
While their version of Neil Young’s “Ohio” triggered Garnet Rogers (perhaps with jealousy?) to comment much later in the evening, “Get your own decade!”, a number of their original songs harkened back to previous musical epochs as well. As they both sat down at the same keyboard to perform one of their own compositions called “Lennon/McCartney” someone in the audience light-heartedly asked, “Are you going to play chopsticks?” but what followed was a performance reminiscent of all the spark, showmanship, and vocal dexterity of The Andrews Sisters.
In the final song of the set, “Levi Blues,” a lyric seemed to say what all the CFC audience was hoping to hear: “I’ll always come back to you.” With any luck we will see this vivacious and talented duo visit our club again.
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