It all began when Last Call Chernobyl entered the 2010 Battle of the Bands, sponsored by Nova Scotia Music and Vans Warped Tour. LCC entered the battle among many other East Coast metal bands, but by winning over the unfamiliar crowds and judges their destiny was written in stone.

“We were contemplating to end, but after winning the first round it was a push for us,” said LCC drummer Josh Pellerine. And after winning that first round, there was no stopping Last Call Chernobyl, as the underdogs took the grand prize and found themselves doing a twelve date tour, which started in Ventura, California and ended in Montreal, Quebec. “We were originally supposed to do four dates, but Kevin, who runs Vans, couldn’t make it to the finals of the battle and I guess he felt bad, so he gave us twelve dates, which was super nice of him,” said guitarist Matt Moulton.

Out of the those dates, Last Call Chernobyl grew up from being an unknown band out of Halifax to conquering new fans and crafting themselves into pros. “This tour was definitely a learning experience; every day we got better,” said vocalist Kyle Mahar. And I testify to that, as I was supper impressed when I saw them live. No wonder these guys won; they truly hold their own on stage. LCC was just incredibly wild on stage, and they are all true musicians. Everything from Kyle Mahar’s vocals and crowd engagement, to the slick guitar riffs of Matt Moulton, to Jason Szeto’s flying bass, to drummer Josh Pellerine’s solid and rowdy drumming, is impressive. I’m definitely looking forward to seeing these guys perform again.

Last Call Chernobyl just released their debut album, Beneath the Sound of Change, via Halifax’s metal institution, Diminished Fifth Records, which actually also came about via the battle of the bands. Josh Hogan, who runs D5R, was one of the judges who’s attention was caught as he watched LCC fight their way through so many others. After LCC’s win, D5R snagged them before anyone else had a chance.

Coming across my earphones, Last Call Chernobyl definitely have a sound of their own. And being a young band; we will surely be hearing more from them real soon.

More Last Call Chernobyl at: www.myspace.com/lastcallchernobyl

And check out some of their videos here: www.youtube.com/lastcallchernobyl

Drowning Beneath the Sound of

Musicians Maxine Harman and Marty Xenoff make up the base for the Australian rock band. In the band, Harman is the keyboardist/singer, while Xenoff is the guitarist/singer. But unlike many of the ever-increasing number of duos that exist out there in the music industry today with just two musicians, Harman and Xenoff call upon other musicians to help fill out the band’s sound so they don’t end up sounding hollow.

The style of  The On Fires seems to simultaneously incorporate the old styles of rock ‘n’ roll and the new styles of today’s bands: At times, they seem to fit in more with today’s bands that can be found on current radio formats. At other times, the band has more of a punk/glam feel to their music.

“Coming Home” is the song that kicks off Betrayer by The On Fires. The song is an upbeat track that combines the feeling of punk rock with just a little bit of the off-kilter style of rock that Devo became known for. The song also has a drum solo that is very reminiscent of the Ron Wilson drum solo from “Wipeout” by The Surfaris.

“Hanging With The Living” feels like it belongs back in the sixties with some of the bands that were creating some of the straight-out rock back at that time.

“Precious Injury” sounds like a cross between The Motels and Duran Duran. The style here brings to mind these two bands before they were both “commercialized” by their respective record labels. The song sounds like it belongs on college radio back in the ‘eighties.

With the song “Melancholy,” the listener gets to experience, for the first time on this album, the beautiful voice of Maxine as she takes the lead on this track. The piano-driven tune, coupled with the strings on this track, brings to mind a song written in the style of Queen.

“Without” is just one of the tracks on the new album from The On Fires where the band lets their modern-day influences shine through. This song seems to have a little flavor from current bands like Coldplay and Stereophonics shining through it.

Betrayer by The On Fires is a solid collection made up of fifteen songs. Each song on the album has something different to offer the listener, and this helps make it a joy to listen to. Whether you are a fan of the older music that was part of the late seventies/early eighties, or you are more of a fan of the music of today’s bands, The On Fires have captured a mixture of those styles in their music.

Maxine Harman and Marty Xenoff make up The On Fires. The two musicians make for a fine writing team and with the people they have chosen to help fill out their sound while in the studio or on stage, they have a sound that people seem to gravitate to. Their album Betrayer is strong and will help to expand their fanbase. Keep your eyes and ears open for this talented band as they are currently making their way through North America promoting their strong release of it.

To find the band, you can check out their website at www.theonfires.com. You can also find them online at www.myspace.com/theonfires.

FOR IMMEDIATE RELEASE:
PUNK PIONEERS PENNYWISE READY FOR CANADIAN STINT
TOUR BEGINS SEPTEMBER 3 IN QUEBEC AND WRAPS UP SEPTEMBER 17 IN VANCOUVER
BAND IS REINTRODUCING ITSELF WITH NEW LEAD SINGER ZOLI TEGLAS

August 24, 2010—California South Bay punk stalwarts Pennywise, a main stage standout on this summer’s Vans Warped Tour, with Zoli Teglas of Orange County’s Ignite as the band’s new and permanent vocalist, will be taking its act across the Great White North during a brief Canadian tour kicking off September 3 in Quebec and wrapping up on September 17 in Vancouver.

After months of searching, the members of Pennywise announced Teglas, a long time friend and tour mate, as the band’s official front man. The newly energized lineup made its debut at the 2009 Smokeout Festival and has since played a handful of Southern California shows, including a sold-out holiday benefit concert for Amnesty International at Long Beach Arena, before venturing on a European tour and starting its run on Warped Tour in mid-July.

In talking about the band’s new front man, bassist Randy Bradbury explains, “Zoli brings to the table a tremendous vocal ability, creativity, and a die hard work ethic. There is a bond that makes this change feel like it was simply meant to be. Having Zoli join the band is a well needed shot of positive energy.”

Pennywise has been hard at work on a new record and is currently eying an early 2011 release date.

Pennywise Canadian Tour Dates:

UCI Mountain Bike Festival Quebec City, QC, CANADA

Metropolis Montreal, QC, CANADA Find Tickets

The London Music Hall London, ON, CANADA Find Tickets

The Sound Academy Toronto, ON, CANADA Find Tickets

The Garrick Winnipeg, MB, CANADA Find Tickets

Odeon Saskatoon, SK, CANADA Find Tickets

Edmonton Event Centre Edmonton, AB, CANADA Find Tickets

Flames Central Calgary, AB, CANADA

Flashbacks Kelowna, BC, CANADA

The Commodore Vancouver, BC, CANADA Find Tickets

For more band information see www.myspace.com/pennywise

A voice eerily similar to Harrison’s tells a shocking story: Paul McCartney was killed in a car crash in November of 1966 and replaced with a double!? British intelligence, MI5, had forced The Beatles to cover up McCartney’s death to prevent mass suicides of Beatle fans. However, the remaining Beatles tried to signal fans with clues on album covers and in songs.

Until now, the “Paul Is Dead”  mystery that exploded worldwide in 1969 was considered a hoax. However, in the film Paul McCartney Really Is Dead: The Last Testament of George Harrison, the mysterious voice on the tapes reveals a secret Beatles history, chronicling McCartney’s fatal accident, the cover up, dozens of unknown clues, and a dangerous cat and mouse game with “Maxwell,” The Beatles’ MI5 handler, as John Lennon became increasingly reckless with the secret. The voice also claims that Lennon was assassinated in 1980 after he threatened to finally expose “Paul McCartney” as an imposter!

Highway 61 Entertainment has investigated this stunning new account of the conspiracy to hide McCartney’s tragic death and produced this unauthorized documentary that includes newly unearthed evidence. The mysterious voice on the audio tapes narrates the entire film in what may prove to be the most important document in rock and roll history, leaving little doubt that PAUL MCCARTNEY REALLY IS DEAD!

Nevertheless, as undoubtedly and forevermore convincing as this stunning film may certainly be, your intrepid Rock and Roll Reporter has in fact gone to the ends of the Internet to fearlessly uncover, believe them or not….

TEN MORE REASONS PAUL IS REALLY, REALLY DEAD:

1. Give My Regards To Broad Street (…especially the movie).

2. James Paul McCartney (the real one) was born in Walton Hospital, Liverpool, on the 18th of June, 1942. Numerically, that makes him a Number 6. However, the sixth song on the album Beatles 6, “Words Of Love,” was in fact composed by Buddy Holly, who died not only on the third of February, 1959, but stipulated in his last testament that all posthumous, universal rights to his publishing catalog be granted in perpetuity to none other than JAMES PAUL McCARTNEY for the nominal fee of … two hundred and fifteen thousand dollars (U.S.)

3. When spoken backwards, the title of the 2006 Paul McCartney classical album Ecce Cor Meum is MUEM ROC ECCE.

4. Paul McCartney’s first fiancé, the actress and cake decorator Jane Asher, most recently appeared on British television in the comedy series The Old Guys. Its first season theme song was composed by the Scottish poet/humorist Ivor Cutler who, in 1967, was actually hired by the fake Paul McCartney to portray bus conductor Buster Bloodvessel in the Beatles’ Magical Mystery Tour. Buster, in one of the film’s most truly disturbing of many such sequences, is seated at a restaurant table alongside Ringo’s auntie Jessie as she is being served shovels full of stale, flaccid spaghetti by none other than… JOHN LENNON.

5. Throughout the Beatles Anthology “bonus” material featuring Threetles Ringo, George and “Paul” sitting and reminiscing over ukuleles together, George is constantly seen being painfully condescending to (when not ignoring altogether, that is) none other than… PAUL McCARTNEY.

6. When you hold a hand mirror beneath the title written across the top of The Beatles’ Second Album jacket, you have to be very careful not to tilt the cover too much to the right, otherwise the record itself will fall out of its sleeve and most likely become soiled and possibly even permanently damaged by coming in contact with the floor below.

7. “I haven’t spoken with Paul in several weeks now myself”:  RINGO STARR, Press Conference, Fallsview Casino, Niagara Falls, Ontario, Canada, June 23, 2010.

8. Everyone, from producer George Martin on down, seems to agree that the Beatles’ 1968 double-length White Album should have been shortened by at least fifty-per-cent. But nobody to this day – including EITHER Paul McCartney – can agree on exactly which songs to cut!

9. Throughout the 1999 Nitin Sawhney remix of the Fireman single “Fluid (Out Of Body),” an electronically-altered tape loop of a voice sounding strangely like that of Percy “Thrills” Thrillington can be heard saying, over and over, “Fluid (Out Of Body) doesn’t really mean Fluid Out Of Body, as in Fluid pouring Out Of somebody’s Body – presumably mine – like the Bodily Fluids, mainly blood, which supposedly poured out of my body when I was decapitated and left to look like a walrus during a horrific car crash late on the rainy night of November 9, 1966 after I angrily stormed out of a Beatles recording session following a heated debate with John Lennon over why I wasn’t allowed to perform on the track ‘She Said She Said’ …REALLY!”

10. Had the real James Paul McCartney still been alive, the makers of Paul McCartney Really Is Dead: The Last Testament of George Harrison would certainly have already heard from his solicitors.

http://www.GaryPigGold.com

Paul McCartney Really Is Dead: The Last Testament of George Harrison

The infamous Scorpions front line!

Scorpions
Molson Amphitheatre
Toronto, Ontario
June 27, 2010

I’m gonna date myself here. Back in 1981, I had just moved to a town called Prince George BC. Desolation Boulevard. Being the young extrovert I always was, I quickly hooked up with the neighbourhood partiers, young as we were, and dove headlong into the toxic realm of partying to the soundtrack of the new wave of metal that was pounding our eardrums.

One of my buddies found a tape. Remember those? The chunk of plastic with two rolling wheels of low quality, magnetic tape running in between? Just checking. So he finds this unmarked, home made tape with some of the best tunes we’d ever heard in our lives. We spun this thing relentlessly but no matter what, we couldn’t figure out who this mystery band was.

They seemed to have accents but we weren’t sure what kind. We had no idea what they were singing about or what the names of the songs were so we made up names for each tune and had our own lyrics for most of them. We didn’t know what the hell they were saying half the time and I swear they didn’t either cuz some of those lyrics were right up there with Stompin Tom for their preschooler’s rhyming abilities.

Their music was amazing. The guitar work totally blew us away. A few of the tunes had solos so advanced our puny little minds could hardly comprehend what was actually happening there. We were already hooked on Ozzy and his diminutive sidekick, the late Randy Rhoads, so we had the measuring stick as to what a kick ass guitarist would be sized up with. Well the mystery guitarist in this band even towered over some of Mr. Rhoads masterpieces.

Later in 1982, an album came out that rocked my world. “Blackout” by the Scorpions. With constant MTV airplay, “No One Like You” instantly kicked me in the nads and woke me up to some GERMAN heavy metal… and that voice… so familiar…. Well lo and behold we’re bitchin the tape one day buddy says “ahhhhh… Old Scorpions.. nice choice” Old Scorpions???? CLICK.

So it turns out what we were listening to was the “Best of Scorpions”, a culmination of the best tunes they had to offer from when they were formed way back in 1965 by Rudolf (Rudy) Schenker, until around 1978 when Michael Schenker (Rudy’s brother) left the band and was replaced by Matthias Jabs after the recording of 1979’s “Lovedrive” album.

The one and only Klaus Meine had joined the band around 1970 and the Scorpions started to gel with the addition of the mystery guitarist Uli Jon Roth who’s introverted ways led to an early departure and the loss of quite possibly the best metal guitarist to ever walk the face of the earth. One listen to “Sails of Charon” and you’ll hear exactly what I’m talking about.

Drummer Herman Rarebell and bassist Francis Bucholz rounded out the lineup at the time and they handed over their crown jewel, “Love At First Sting” in 1984 which propelled the band into superstardom. Many lineup changes later and the wheel stops spinning at the current lineup of Klaus Meine, Rudy Schenker, Matthias Jabs, Pawel Maciwoda (bass) and James Kottak (drums). With the 3 main frontmen in position, this band hasn’t changed a whole lot, sound wise, since as far back as 1980’s “Animal Magnetism”.

Never having seen them before, I was completely stoked to finally see the show that I’d heard so much about as apparently it rarely changes from tour to tour. After a quick gander at the setlist from a few different cities around the world on this tour, it became clear that these guys don’t like to shake up the set much either.

I got to the venue early and discreetly engaged in some tailgating as we waited for show time. Half liquored I made my way to the media tent situated what seemed to be a half a kilometre away from the stage. We got the call to head to the stage just as the skies opened up and dumped a fury of rain that lasted the entire show.

I was drenched. Me, my camera and my attitude. I couldn’t believe we were so poorly situated at the venue. Next time I’ll surely bring an umbrella and a couple garbage bags just in case. First act to hit the stage.. Cinderella. It was a pleasant surprise to see Tom Keifer up there kicking ass after all these years, looking good, sounding great and if I had to venture a guess, I’d say he was having a good time doing the same old shtick.

When the Scorps finally lit up the stage, the place went nuts. Even with half the venue completely soaked to the bone, everyone seemed to take it in stride and just enjoy the show touted as the LAST tour for the Scorpions. I was just damn glad to have been there seeing as I’d never seen them before and whether it was their last tour or not, I had to cross this band off my bucket list.

I was told Rudy was the guy to watch. Even closing in at 62 years of age this August, Rudolf Schenker hasn’t lost his piss n vinegar one bit. Constantly in motion, smiling like the madman he is and jumping around the stage from one end to the other, Rudy put on a show that makes most bands look like they’re sitting still the whole time. Even bassist Maciwoda, 20 years Rudy’s junior, didn’t move near as much as the old guy!

Rudy’s selection of Flying V’s from old originals to new space age custom models kept any guitar enthusiast drooling especially when teamed up with Mathias endless supply of Explorers, Stratocasters and customs.

Jabs movements were much more in tune with his age but his fingers nailed every note as they did back in the day. Meine’s voice defied sonic physics as he pulled off each tune without cheesing out on any notes as so many bands do. Few singers have the power and range that Klaus Meine possesses and to be using it to it’s fullest potential this many years later truly is amazing to witness.
Anyone who was a Scorps fan back in the day will be happy to know this band still has it. If they are going out to actually finish off their careers with this last tour, then they’re leaving on a high note. A perfectly pitched, Marshall amplified ass kicker of a high note. Catch em while you can, you will not be disappointed.

www.rebelreviewer.com

Q: What is your day job?

A: I’m a housekeeper. I’m like a 1990s Mexican housekeeper working in Texas. That’s me. In Montreal.

Q: Favorite Montreal picnic spot?

A: Um, I don’t know. I like the garbage park on Van Horne and St. Urbain, like right by the train tracks. I really like that one. I also like the train tracks behind De Gaspe and St. Viateur. I like that area a lot. I’m not a big picnic person though. (chuckles)

Q: Would you describe your music as utopian or dystopian?

A: I’ve never ever thought about this and it’s kind of a heavy question. I guess (pauses), I think at a point where utopian and dystopian meet, so somewhere in the middle.

Q: Favorite author?

A: Right now, Henry Miller.

Q: Do you draw influence from other art movements or mediums?

A: I get really inspired by paintings when I get to see paintings. I’m really into impressionism, but I know it’s not really cool (laughs). I also really like Rembrandt.

Q: If you could be any fictional character, who would you be?

A: I think it would be pretty sweet to be the girl in West Side Story. I can’t remember her name, but the girl in the gang. They’re always kinda shooing her away, but she ends up helping out in the end. That would be pretty cool.

Q: The recordings from the latest record seem more subdued – do you find the creative process was different this time around?

A: Um, yeah. We didn’t do as much arranging and writing in the studio this time. Also though–we sort of–at least I–the songs that I wrote–I focused a lot more on crafting them. I feel like I was a lot more critical when writing these songs, and wanted to make songs that were more fluid and perhaps relied less on stopping and starting. They came from a bit of a calmer, darker space perhaps. Lonelier maybe.

Q: Do you find that creativity takes different forms in Think About Life and in dance music?

A: Yeah, definitely. Think About Life kind of has a bit of a mandate, and I don’t mean that in a negative way at all. We want to make music that people can dance to and we’ve always done that. Not to say that they don’t have slower songs as well because they have a few, but its always got like a physical presence to it. Whereas when writing my own music–I haven’t decided what I’m doing yet, so sometimes I like to write really upbeat songs, but I also like to write really slow and dramatic songs too. It’s less decided I guess at the moment. The processes are totally different because Think About Life uses a lot of computers.

Q: Shapes and Sizes use a lot of electronic sounds too…

A: Yeah, I mean the last record–we have two composers and very, very trained musicians in the band, so a lot of it was arranged, written, and composed and played, so we did a lot of editing. The last record was a lot of editing, but we don’t use digital sounds besides the synth and now we have a drum pad, and we don’t usually record to click tracks or anything, so it’s less in the grid format. I’m starting to learn more about recording thanks to Think About Life, and my own need to start recording my own music. I think that I would like to use click tracks for pretty much everything, just so I have the capability to use different methods. You know, you can record to a click track, which means you can bring tracks home and record things in other places and different mediums.

Q: How does Montreal compare to Victoria?

A: Montreal is my favorite city in North America, hands down. I really like it. I’ve been to the States a lot and I’ve been, of course, across Canada quite a bit, and in Montreal I feel the freedom to walk the streets and be myself. It feels relatively safe, there are nooks and crannies for everybody, and people like music here, or something, it’s important. It’s part of the city. I think it’s Quebec too. People are really into music in Quebec, and there are different values. I love Toronto too, but I just realized that it’s really centered around buying stuff and there is so much more variety there for commercial stuff. Montreal doesn’t have that real financial, business center feel to it. I feel a lot more free here. Victoria is great, but it’s tiny and you live on an island and, you know, it takes a lot of money and quite a bit of time to get anywhere because you have to take a boat. It’s very beautiful, but sheltered. The “velvet rut” is Victoria: It’s so cushy, but you’re in a rut.

Q: Do you find that cities foster communication of exacerbate loneliness?

A: I would say, being a fairly solitary person, I would say both, and particularly with Montreal. When I first got here I was really alone, and I still feel alone all the time, even though I’ve made a lot of friends and everything. There is a certain “go, go, go” attitude here, or anywhere in cities. I’ve never lived in the country. I don’t know if it would be any different. I think I would feel the least lonely if I lived by myself.

Q: What word do you find most accurately describes the indie scene today?

A: Confused, I guess. It’s not indie. I mean there is indie. Everyone is “indie.” Everyone is doing things themselves, which is awesome. I think that’s great, but it’s also a genre now, so it’s confusing.

Q: Food of choice?

A: Pasta (laughs). I like pasta with butter and garlic, and some fried zucchini, asparagus, and tomato.

Q: With pesto?

A: No pesto.

For the latest on Shapes and Sizes: www.myspace.com/shapesandsizes

Split Lips Winning Hips a Shiner

Candle to Your Eyes

Q: I’d like to get started with the band’s name: Red Wanting Blue.  Is this a political reference – your wanting a traditional red state, like your home state of Ohio perhaps, to become blue, or what?

A: Despite popular opinion … no, it is not a political reference. The whole red state vs. blue state started by the news stations during the Bush/Gore election. We came before that. The name came from my early writing …and far too often we’ve been finding ourselves riding red, wanting blue… a bit of an existentialist outlook on living. The grass is always greener, if you will. If we were characters of Greek mythology, we’d be Sisyphus pushing the stone up the hill only to have it roll down again. And I always liked that red and blue are both primary colors. One may never be the other, but it doesn’t stop us from trying. Our name represents our struggle. It is our mission statement.

Q: Your new record is called “These Magnificent Miles,” referencing your life on the road for the past ten years. Tell us what led you to document the touring experience in this way.

A: Hmm. Well, I would like to say that it was never my intention to try to document the touring experience. That just came as a side note, I suppose. I was writing songs about my relationships with my family, my lover, my career … you know, my life. I never set out to make a road record. I write about what I see and what surrounds me, and it just so happens I have been on the road for over 10 years.  After that long, it just sort of becomes part of you. I don’t know if it’s to be worn as a crown or a scarlet letter, I just know it must be worn. I hope I wear mine like calloused fingers. Does that make any sense?

Q: I really loved the record – the songs are earnest, vibrant, and have hooks that sink in quickly. Has this always been the style of music you’ve wanted to play, or did it come about after a long evolutionary process?

A: Well, I don’t think I was ever too far off from where I started, in regards to the style of music we play. I grew up a child of the radio and always hoped to hear myself on the radio. I’ve always had that “pop” sensibility. However, I would certainly say there has been a strong organic shaping, or maturing, of our sound over the years and – as I touched on in the last question – I think the road has a lot to do with that shaping. I believe the more you see and experience out there, the richer your content will be.

Q: Who are some of the musicians/bands that you would say have been a major factor in shaping your sound?

A: This is always a tough question for me. Everyone in the band has their own inspirations, so I can only ever speak for myself. It wouldn’t be fair otherwise. And even still, there is so much music I love! Every day there’s another song, or artist, or cup of coffee, or film, or whatever that may launch into my life and it’s so beautiful because once it’s there, it can’t go away. You know, I owe as much homage to coffee and cigarettes as I do to Simon & Garfunkel? My many previous part-time jobs deserve the same recognition as Willie Nelson. The fucking ROAD deserves the reverence of The Beatles! And on and on, and so on and so forth! For me, this question is like asking a painter, “What’s your favorite color?”  I would hope their response would be, “I love them all! That’s why I’m a painter!”

As far as what we are listening to RIGHT NOW, I just picked up two Townes Van Zandt albums on vinyl. I’m kind of in love with “Our Mother, the Mountain.” In the bus, we’ve been hearing some Dr. Dog, some Dawes, some Josh Ritter, and always a lot of the trench bands we play shows with – some of the places we play we refer to as being in the trenches! – which reminds me to advise all reading this to be informed about what is going on locally. “Don’t disregard the music in your backyard. Listen to local.” I really oughta coin that phrase. Ha!

Q: I read that your life on the road is also the subject of a documentary film – could you tell us more about that project?

A: Sure. A company called Davenport Theatricals (NYC) is making a documentary on the band, chronicling our endurance over the last few years and our fight to stay alive as an indie band for over a decade. I haven’t seen it yet. I’m not sure what they’re calling it either. I suggested “Finger In The Air,” but I don’t think that they went for it.

Q: Your band has been playing night after night for over 10 years without support of a major label – you guys are truly an inspiration to the others out there fighting the good fight.  How were you able to pull this off?

A: Honestly, I don’t know. I thought I was ¾ of the way across the pond like 10 years ago. I guess you just have to commit to giving everything you can to keep it alive, you know? As I look back, I realize I never saved any energy to make the swim back across the pond. It’s always sorta been “Do or Die” for me.

Q: Could you pick a favorite track from “These Magnificent Miles”?

A: Hell no, man. Those songs are my kids: you gotta love every one of them the same. Even though some may be better to me than others, you can’t stop loving a kid just because he’s not good at kickball. It usually makes you love them more.

Q: I thought one of the coolest twists on the record was the closing track, “The Band.” I figured this would be another tune about the guys in Red Wanting Blue, but it is about a proposal – a band of gold.  Did it work?

A: Well, there still is no band of gold on her finger, but she still has her “rolling stone in a band on the road”. So, the fact that she’s still here with me makes me say, “Yeah, it worked!” I hope to make an honest woman of her one day. Lord knows she deserves it! She’s a survivor, like me. We’re hanging in for the long haul.

Q: When not on the road, Red Wanting Blue calls Columbus, Ohio home. How would you describe the music scene there and are there any bands fans of Red Wanting Blue should check out?

A: As I touched on earlier, listen to the music in your backyard. Ohio is our backyard and yeah, there’s some great stuff growing in the garden.  Check out Matthew Hoover’s “Talking To Ghosts.” Great stuff. Real Ohio.  Also, a young up-and-comer named Mr. Tom Evanchuck out of northeast Ohio. Check out “Historians” out of Columbus. Really great. I better stop before I leave somebody out. I can’t just be giving shout-outs all day long!

Q: What can fans expect from Red Wanting Blue in the near and distant future?

A: Hopefully a new record within the year, and a lot of touring. And how we’re planning to do both – I have no idea! Hopefully, our lil’ circus will be in your town soon!

More Red Wanting Blue at: www.myspace.com/redwantingblue

These Magnificent Miles

Beginning as the Sixties became the Seventies and The Rolling Stones were struggling to grow all the way from “England’s Newest Hit Makers” into “The World’s Greatest Rock and Roll Band,” we hear the entire journey recounted by an impressive list of Stones biographers, historians, and even session musicians, plus see the events themselves unfold via clips from the band’s initial, free Hyde Park concert with Taylor clear through their landmark 1969 and 1972 North American tours. Not to mention a slew of primordial promotional clips spanning “Jumpin’ Jack Flash” to “It’s Only Rock ‘n Roll” which cover, in fact, a defining era in the Stones’ development as the band survives Altamont, Allen Klein, and the death of its founding member only to find themselves tax-exiled and semi-comatose in the south of France. It is a period during which they also somehow start their own record company, learn how to make their own records (thanks in no small part to their late, extremely great producer Jimmy Miller) and along with The Who and Led Zeppelin forge the soon-to-become fantastically lucrative U.S. arena-rock circuit.

Now, the point repeatedly made during this entire film is how key a role Mick Taylor actually played in each of these remarkable achievements. First, he joins the band at an ideal time, fully prepared to face audiences who by 1969 were expecting to listen to, rather than simply scream at, rock concerts, which now lasted much longer than thirty minutes. With this, Taylor introduces to the Stones a new and subtly fluid approach to his instrument – a style which at first challenges fellow guitarist Keith Richards, soon perfectly complements him, and by 1973 practically supplants him, both on stage and in the studio. Granted, Mick Taylor may never have displayed the highly adventurous experimentation of his predecessor, but it is hard to imagine the Stones being able to fully come to terms with Seventies-scale rock or even rolling with Brian Jones still in the band …even if he did figure out a way to secure his re-entry visa into the US of A.

Yet, most fascinating to me are this film’s interviews with Exile On Main St. support musicians Al Perkins and Bill Plummer, both of whom offer rare and insightful glimpses into the Stones’ recording techniques and intra-band relationships. Sadly, their stories (not to mention all those involving Gram Parsons) were left completely untold in the band’s own recently released Stones In Exile film. I wonder why…

Acclaimed S.T.P.: A Journey Through America With The Rolling Stones author Robert Greenfield then explains how the tale soon starts to wind all the way down for the band, creatively at least, as he references the star-studded guest list Atlantic Records chairman Ahmet Ertegun assembled for Mick Jagger’s twenty-ninth birthday party in New York City. Rock and roll – and The World’s Greatest Rock and Roll Band along with it – now found themselves not only fully embraced by high society, but confronted with its accompanying high-stakes corporate dalliances as well. Yes, rock was fast becoming Very Big Business, and Mick Jagger in particular became utterly besotted and seduced by these utterly unforeseen turns of event …and at the same precise time his partner Keith was succumbing unapologetically to a degree of drug dependency, which rendered him next to useless when it came to writing and recording new material. Again, enter Mick Taylor to pick up the slack …not that it seems he has, even to this day, ever been given proper (label) credit for his thankless work in these crucial areas.

Perhaps that had something to do with the man’s sudden, and surprising – even to some of his fellow band members it seems! – departure from the Stones in 1974. As Taylor explains most candidly herein, “My role in the Rolling Stones was to play guitar. I think after five-and-a-half years I’d really had enough. I didn’t feel that I could grow anymore. To me, they’d peaked (by) then.”

Controversial words indeed. But one listen to, say, Goats Head Soup should prove at least most of his point.

So, to many ever since then, the Stones of the ensuing three-decades-plus seem more concerned with creating financial rather than musical history; a band which appears to carry onward if only to prove some sort of statistical point. But that is a discussion for another Rock And Roll Report. All I shall add here and now is The Mick Taylor Years certainly deserves an immediate place within your Stones cache …even if you do feel more at home with December’s children than with Mr. D.

Rolling Stones – 1969-1974: The Mick Taylor Years

http://www.GaryPigGold.com

My heart was pulsating and I could feel the adrenaline creeping as I arrived at the gates of Osheaga 2010, all the bands running through my mind – Jimmy Cliff,  Stars, The National, K’NAAN, Arcade Fire – what an amazing day it was going to be! The weather was flawless: sunny, slight breeze, and immaculately warm. I entered, much to my surprise, without any wait, digging out my map to see where I was bound and the first show to see. Beautiful people littered the grounds, everyone eyeing one another up and down – I give kudos to those who braved the show with kids in tow.

I arrived just in time to catch the last bit of Edward Sharpe & The Magnetic Zeros. Edward chanted to the crowd, with his head full of dreads, claiming that he didn’t want to be an asshole by playing another song though, despite his efforts, did it anyways. Next the crowd shifted conveniently to the River Stage, just a few feet away, where Jimmy Cliff was due next. Dressed all in red with brilliant, shimmering gold shoes, Jimmy opened with Cat Stevens’ classic, “Wild World,” asking the crowd if we knew this song (obviously, as thousands sang along) and gave ‘thunder claps’ all around. While Jimmy continued in true reggae form, the crowd danced, hips swaying. I was loving the momentum he was building in the crowd, as if we were all holding hands and singing “Kumbaya My Lord” around a fire. Then, as if on cue, a dance train emerged from the crowd, contriving my emotions. Apparently I wasn’t the only one feeling like this! Next was his hit version of “I Can See Clearly Now” from the “Cool Runnings” soundtrack. His band danced with their bright, cheerful orange t-shirts, perfecting the overall island vibe from Jamaica. One message was loud and clear throughout Jimmy’s set: Love, peace, and unity. Oh, to live in Jimmy’s world!

Next up was K’NAAN the Canadian-Somali political hip-hop hero from Toronto. The crowd cheered at his arrival and instantly heads were bobbing and arms waving, as he sang “I Come Prepared”. It was amusing to see K’NAAN test the crowd’s singing abilities by encouraging them to sing “La la la la la” though after much dismay and bleak response let it go. However, the crowd definitely came alive for his last song, and international hit, “Wavin’ Flag,” which was the official theme song of the 2010 FIFA World Cup and, without a doubt, the track everyone was waiting to hear.

Following the world unity performance of K’NAAN were Montreal darlings, Stars. The band ran onto the stage, breaking out with the contagious and rhythmic “We Don’t Want Your Body” and the crowd came alive cheering, electrified by their presence. Unfortunately, the flare didn’t last long and the majority of their set mellowed out while they played tracks off of their new album, ‘The Five Ghosts.” But just to show how truly lovely and sweet Stars are, they threw beautiful white roses out into the crowd throughout their set.

Nearly passing out due to hunger and dehydration, I hastily made my way to the mega lineup for the outdoor concert classic meal of burgers and poutine. Oh yeah!

Fully refueled and amped for the rest of Osheaga 2010, I made my way to the Green Stage to hear Beach House chant it out before my climax of the festival, The National. Unfortunately, upon arrival, Beach House was nowhere to be seen and instead a sound crew was still testing the goods. Eventually, after an impatient thirty minutes passed, the trio took the stage though by that time I had lost all interest and was anxious to make my way to the Mountain Stage for The National.

I couldn’t even contain myself and my walk evolved into light jogging as I made my way towards the main stage where The National would soon perform. Thousands and thousands were already beginning to gather, all with one mission in mind. I pushed my way to the front and waited in agony. Goosebumps were starting to break out on the surface of my skin as everyone was trying to catch a glimpse of the band. Abruptly, the crowd came alive; cheering and clapping as The National ran on stage, breaking straight into “Bloodbuzz Ohio.” I swayed, singing at the top of my lungs, “I still owe money to the money I owe, I never thought about love when I thought about home.” I was captivated and seduced by this incredible band whom quite impossibly may sound even better live than on their amazing albums. For the next hour I was lost within The National’s performance, which comprised mostly of their newest album, “Ultra Violet,” though did they play classics like, “Fake Empire,” “Apartment Song,” and “Slow Show.”

And for the grand finale – Arcade Fire. Tensions were rising as everyone shuffled and squeezed to get closer to the stage, even though there was still fifteen minutes before the scheduled show. When the bubble finally burst and the band took stage, the energy was palpable. This septet was home and it was amazing to see what truly great performers they are. Especially Régine Chassagne who sophistically bounced from accordion, to keyboards, to hurdy-gurdy, all the while singing as well. The crowd praised the band like Gods and Arcade Fire reciprocated the gratitude as Chassagne cutely said “Merci” after each song. Their entire set was phenomenal. They played mostly tracks from their new album, “The Suburbs,” but, of course, the show couldn’t have ended without “Wake Up” and “Keep The Car Running.” Blowing confetti into the audience, they just proved what a celebration this day really had been.

I was elated, but my body hated me for this day of fervent music escapades. As armies of people shuffled towards the exit of the grounds, I was blasted from the ingenuity of all the bands I had seen. And even though I wouldn’t be able to feed myself for the next week because I had broken my bank account to buy my Osheaga ticket – it was priceless and worth every damn cent!

For footage and photos from Osheaga 2010, and info on next year’s edition, check out: http://www.osheaga.com/en/

The Suburbs

High Violet

In past years, Osheaga hadn’t attracted as many big performers as Coachella, Lollapalooza, or Bonnaroo, but this year it joined the ranks of the heavy hitters. Weezer and Snoop Dogg were some of the high profile names, but the band that made Osheaga truly transcendent was Montreal’s own Arcade Fire.

Two days before releasing their highly lauded third album, The Suburbs, Arcade Fire reminded a massive crowd of admirers who really owned the festival this year. It was one of those performances that can put a band ahead of its peers and atop a whole genre. But there was lots of other great stuff too and below are some of the weekend’s highlights as told by me, Chris MacGregor, festivalgoer extraordinaire.

DAY 1 – July 31 – Headliner: Arcade Fire

Rich Aucoin has had a pretty fast rise in recent months. They played Halifax Rocks alongside The Black Eyed Peas, Weezer, and Hot Hot Heat, recently opened for Of Montreal at Metropolis, and were the last minute replacement for Cage the Elephant at Osheaga (because of border issues). They’re a pretty good band from Halifax, but their electro sound didn’t quite fit the festival’s main stage. Especially so early in the day.

Owen Pallett was a Montrealer with the hometown advantage, or so one would think. Pallett was the first to suffer the wrath of the Green Stage, having to work through technical difficulties mid-performance. Guy didn’t even finish his last song because it got so bad. When the sound cut, he just said, “Thanks,” and went off stage. He did get to perform with Arcade Fire later in the night though, so I guess all’s well that ends well.

Japandroids, who just finished their most recent bout of touring, showed no signs of fatigue. They put forth what was, arguably, the best show of the day on the Green Stage. “The Boys Are Back in Town” and “Heart Sweats” got the crowd into a frenzy and inspired the first mosh pit of the weekend. The Vancouver dudes got lucky too: they may have been one of the only bands not to suffer tech problems before and/or during their set.

By 5 p.m. the main stage was dominated by easy listening acts – K’NAAN, Stars, Keane – and the crowd was full of frisbee-throwing bros and Womens’ Lit majors. It nearly made me sick. Stars brought their almost uncomfortable, cutesy brand of “WE LOVE EVERYTHING!” but that really was all right – I can’t hold a band accountable for the crowd it attracts. But Keane inspired me to go get some beer.

Pavement was a welcome change. Their lo-fi, Gen-X, “Don’t give a crap” ethos made me feel like I had stumbled into a wormhole and gotten sent to Lollapalooza, circa 1994. Malkmus pulled off the coolest moment of the weekend – taking a beer-turned-projectile square in the face, he just put his guitar in the air, Jimi style, and didn’t miss a beat. His pedals and guitar drenched, he licked his shirt and said, “Labatts. Yep, definitely Labatts.” Badass.

Robyn was the biggest casualty of the weekend. With a complicated set to assemble, and a sound system that wouldn’t cooperate all day, she started an hour late. It really was a fantastic show – from what I saw of it, anyway. She was bouncing around like a little blonde pixie, with the same haircut as Gozer from Ghostbusters, showing off her new techno/dance-hall persona. Unfortunately, she had only performed five songs when half the crowd booked it to the main stage to catch the rest of Arcade Fire – myself included.

And who are we kidding? The entire day was a precursor to Arcade Fire. Everyone was there to celebrate the Montreal band’s homecoming. Having already played some lower profile gigs earlier in the summer, the Osheaga stage was the most fitting chance for the city to cheer on their favorite band. Win Butler et al. delivered a performance heavy on both new and classic material (but no “My Body is a Cage”!) The show was everything it needed to be: a bunch of extremely talented musicians who were overjoyed at the prospect of playing music for such a large crowd, if any crowd at all. Their shows are a celebration of musical inspiration, adolescent hopes and dreams, and shared experiences.

DAY 2 – Aug. 1 – Headliner: Weezer

Saturday couldn’t be topped. It just wasn’t possible.

Sunday was clearly a main stage day. Aside from Major Lazer, there wasn’t much to entice someone to the smaller stages in the wilderness. The day really began with Gaslight Anthem at 3 p.m. as the New Jersey rockers played to a crowd that was uncharacteristically large for their “early” set time. But they are soon heading off to the U.K. to play with The Boss himself, and have just released a highly lauded new album, so maybe the crowd wasn’t all that surprising.

Black Keys went on a little later, and it could have just been the humidity and heat of the day, but the performance seemed a bit forgettable. Their set went heavy on new material and they featured a bassist and keyboard player, which was pretty different for the duo.

The shittiest part of the day had to be the fact that Deadmau5 had been hospitalized two days prior to his gig. With no one available to take his spot, all festival organizers did was juggle the line-up and extend some set times. The thing they forgot to do was advertise the fact that Deadmau5 wasn’t playing, leaving the 8 kids I saw in Deadmau5 t-shirts quite confused when Metric got on stage.

A definite casualty of the rescheduling was Sonic Youth. I know they’re festival veterans and have been around forever, but their sound did not translate well on the big stage. They were supposed to play the Green Stage and the intimacy of that venue would have suited them much more. Seemingly aware of the mismatch, the band motored through their set, barely speaking to the crowd. They just played and left. But people were probably too stoned to notice Sonic Youth’s lackluster performance anyway. Snoop Dogg played right before them.

And Snoop, well, he was Snoop. The man is so ingrained in our psyche that there is virtually no need to describe the event. Smokin’ weed this, bein’ a gangster that – you know the drill. It was bloody awesome, but you already knew that.

At nightfall, Metric took the stage and they were pretty good. Emily Haines was a bit more animated than usual and the band totally embraced the Montreal crowd, but the night belonged to Rivers Cuomo and Weezer. Whatever the hell Rivers was on – I want some of it. The guy was running around like a ten-year-old who had just been taken off of his Ritalin. Cuomo was stealing hats from fans, hitting toilet paper rolls into the crowd with a ukelele, and humping big inflatable beach balls. Much to the dismay of security, he ran off the stage and into the V.I.P. bleachers during “Beverly Hills.” It really was a great show, even though it’s kinda weird to see Cuomo so … not emo.

Whatever. They played “The Sweater Song,” so my festival was complete.

For footage and photos from Osheaga 2010, and info on next year’s edition, check out: http://www.osheaga.com/en/

The Suburbs

Fantasies

American Slang

No Singles