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birthday-clip-art“Let us celebrate the occasion with wine and sweet words.”

Plautus

The start of October is for us always a period for celebration, for it encompasses the joyous revels that mark the Kickass Canada Girl’s birthday. This year it has also seen the first anniversary of the purchase of our North Saanich abode, so the occasion has been especially elevated.

Some years a great deal of work can go into trying to organise a suitable programme of merrymaking; in others things just fall into place with the least possible effort. This year was one of the latter.

On Friday last one of the Girl’s favourite Canadian miserabilist bands – the Cowboy Junkies – played at the Mary Winspear Centre in Sidney. The Girl was so delighted at the prospect (even more so when I purchased her a ticket!) that she generously decreed that I need not join her for the event. (She once took me to see the Be Good Tanyas at the Albert Hall in London – the which experience equipped me with enough melancholic ennui to last a lifetime!).

Needless to say, the Girl enjoyed the concert greatly – even though the band omitted to play her very favourite number (in spite of announcing that they would do so! I think this was just done to make everyone even more miserable!).

Scarce had twenty four hours passed than we were back at the Mary Winspear with our dear friends from Saanichton to attend yet another musical soiree – this time featuring Séan McCann – erstwhile singer and guitarist with Newfie folk/rock band – Great Big Sea. Now, Séan isn’t miserable at all. In fact he is really quite chipper, particularly since abandoning the bottle (and, indeed, Great Big Sea!) a few years back. He was in fine voice and made sure that all present had a really good time.

Sunday afternoon found us – yet again in the company of our lovely friends – back at the Belfry Theatre for the first of this year’s season ticket productions. The play – a slightly puzzling ‘contemporary’ take on Henry VIII’s last wife, Catherine Parr* – might not have been the best thing that we have seen at the Belfry (in fact it was quite some distance therefrom…) but it was none the less a nice way to round out the weekend.

All that remained was for me to whistle up on the barbecue (for the operation of which I still bear my ‘L’ plates!) a hefty but most succulent piece of rib-eye and to uncork a rather spiffing southern French red. Cheers!

A very happy birthday to the Kickass Canada Girl!

 

*Drat! I realise that in the first published version of this post I missed the opportunity to describe the production as ‘below par’! Oh well!

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Image from Pixabay“Well, I dreamed I saw the knights in armor coming, saying something about a queen.”

Neil Young – ‘After the Goldrush’

I had a hankering – just the other day – to listen again to Neil Young’s splendidly mysterious classic – ‘After the Goldrush‘. I don’t recall now what brought the song to mind… maybe I heard a snatch of it – or read something somewhere… It matters not.

What I did not want was to listen to Neil Young singing it! Nothing against the Canadian ‘national treasure’ of course – it is just that for this particular piece I have always had a different sound in mind – one which involves the female voice. This whimsy is probably the result of having loved the 1970s ‘a cappella’ rendition by Prelude – which is the version of the track that I heard first.

The recording of the Prelude version is – however – sadly showing its age somewhat these days, and I found myself scouring the InterWebNet for a more recent cover that might achieve a similar effect. As ever such a thing was eventually uncovered – in the (slightly) more up to date version (1999) by Dolly Parton, Emmylou Harris and Linda Ronstadt (and who would have ever thought that I would be be listening to that combination?!).

The exercise started me thinking. There are instances when only a specific genre of music will do. This particular mood – for example – clearly demanded the dulcet tones of the old-fashioned female torch singer in delivery of eloquent and poignant versions of classic tunes – perhaps with a slightly twist of mystery for good effect.

Time to put together a suitable compilation CD – I decided – commencing a further search. Herewith the list of tracks and versions with which I have come up thus far to satisfy this requirement (in no particular order):

  • Alfie (Burt Bacharach, Hal David) – Vanessa Williams
  • Wichita Lineman (Jimmy Webb) – Cassandra Wilson
  • Both Sides Now (Joni Mitchell) – Joni Mitchell (from the ‘jazz’ album ‘Both Sides Now’)
  • One (Harry Nilsson) – Aimee Mann (album version)
  • Cry Me a River (Arthur Hamilton) – Diana Krall
  • After the Gold Rush (Neil Young) – Dolly Parton, Emmylou Harris, Linda Ronstadt
  • The Night They Drove Old Dixie Down (Robbie Robertson) – Joan Baez
  • Somewhere (Leonard Bernstein, Stephen Sondheim) – Barbra Streisand
  • The Moon’s a Harsh Mistress (Jimmy Webb)  – Judy Collins
  • This Woman’s Work (Kate Bush) – Kate Bush
  • Unchained Melody (Alex North, Hy Zaret) – Sarah McLachlan
  • That’s What Friends Are For (Burt Bacharach, Carol Bayer Sager) – Trijntje Oosterhuis (live with guitarist Leonardo Amuedo)
  • Nothing Has Been Proved (Chris Lowe, Neil Tennant) – Dusty Springfield

Should the gentle reader care to add any suggestions of his or her own before I commit this list to plastic such would be reviewed with great interest…

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Image by B0rder on Wikimedia CommonsOn Saturday last – for the second time in as many weeks – the Kickass Canada Girl and I found ourselves witness to a gathering of Canadians making an unanticipated act of homage to a musical icon…

Having bid a tearful farewell last week to ‘The Tragically Hip’, this latter occasion featured a fair sized gathering of Victorians over two nights at the Royal Theatre bidding an unlikely ‘hello‘ to Sixto Rodriguez.

Some readers may already be familiar with the frankly bizarre story of Mr. Rodriguez and they may thus choose to skip ahead, but for those – like me – who were previous oblivious to his existence, here is a brief outline.

Sixto – known professionally simply as ‘Rodriguez’ – is a singer/songwriter from Detroit who had a brief and scarcely noticed career in the late 60s/early 70s during which he released two albums – ‘Cold Fact‘ and ‘Coming from Reality‘ in 1970 and 1971 respectively – which were critically well received but sold barely a copy. On being as a result dropped by his record label Rodriguez – phlegmatically and with considerable good grace – retired from the business and returned to his former career in construction.

This might well have been the end of the story were it not that – by dint of a speculative re-release of his albums and through much word of mouth – Rodriguez subsequently became a considerable sensation in South Africa to the tune of some half a million records sold. This rise to the status of a musical icon would have represented a gratifying – if belated – acknowledgement of his talents, were it not that Rodriguez himself was entirely unaware of this turn of events and the South Africans had no idea who he was – having been provided with none of the necessary back-story. Indeed, the rumour rapidly spread that Rodriguez had at some point committed suicide – though even here the details of his supposed demise varied widely from the merely tragic to the quite grotesque.

Eventually – toward the turn of the millennium – a couple of South African fans determined to discover the truth concerning his fate and the man was eventually tracked down to his home in Detroit. On discovering that he was – after all – yet alive he was persuaded to visit South Africa to play a series of concerts, which he duly did in 1998. This again might have been the end of the tale but for a Swedish film director – Malik Bendjellouldeciding that the story merited turning into a documentary film. The resulting production – ‘Searching for Sugarman’ – has won a plethora of awards, including – in 2013 – the ‘Academy Award for Best Documentary Feature’.

As a result of the subsequent interest Rodriguez – now in his mid seventies – has resurrected his musical career and gone back on the road, whilst at the same time trying to establish what exactly happened to the royalties from all of the albums that he did not know he had sold in South Africa. The two sell-out shows in Victoria – in a 1400 seat theatre – pay testament to the ongoing curiosity concerning his story.

If one were to be critical one might observe that the career in construction has clearly exacted a heavy physical toll on the man and his once remarkable voice is a shadow of what it was. It is also obvious that when Rodriguez stopped making records in the early 70s he simultaneously stopped writing, and though his oeuvre displays considerable poetic talent it is also brief in the extreme. Nice to hear cover versions of other people’s songs from that era, but perhaps not entirely worth the rapt adoration that the man received from the packed house on Saturday. I couldn’t help but speculate that it was the narrative that was being applauded rather than the performance itself.

A fascinating study in philosophical anthropology, nonetheless…

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Photo by Andy Dawson ReidFor three hours on Saturday night last Canada was ‘closed’. The Canadian Broadcasting Corporation’s (CBC) wall to wall coverage of the Rio Olympics was put on hold and there would even have been (had the hockey season yet commenced) a brief hiatus from the nation’s abiding passion.

Much of the country instead settled in (or partied out) to watch the live streaming from Kingston, Ontario of the final ever concert by ‘The Tragically Hip‘.

Canadian readers will require no further explanation and can skip blithely ahead. For many of them ‘The Hip’ have provided an iconic soundtrack to Canadian life for the last three decades and more, capturing the essence of Canadiana to a degree matched by no other. The band is – however – largely unrecognised without these shores and, though they have achieved some recognition in the UK and elsewhere, the Americans don’t seem to get them at all. This naturally endears them all the more to the inhabitants of these fair lands.

Non-Canadians might yet wonder why – in the age of the endless resurrection of their careers by those old enough to know better – quite so much fuss has been made of ‘The Hip’s’ farewell. The answer is tragically simple. Lead singer, lyricist and poet, Gord Downie, has an incurable brain tumour. To suggest that the occasion of the final concert was emotionally charged would be an understatement.

Prime Minister Trudeau (apparently a huge fan) was in the audience and Downie took the opportunity to publicly hold his feet to the fire concerning election promises, particularly with regard to the matter of the treatment of the First Nations. It is most likely that the many fans of the band will use this exhortation to endeavour to ensure that there is no backsliding on the part of the Liberal government.

We attended a splendid ‘Hip Party’ hosted by our dearest friends in Saanichton, complete with big screen and sound system in the garden so that no-one would miss the show. We cheered – we sang – we danced – we shed many a tear… The moment – and the occasion – was duly celebrated.

I am, of course, a newcomer – both to this fair land and to ‘The Hip’. The making of a myth – however – is easily recognised by those for whom such rites are an essential part of our existence in this realm.

I am one such.

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20160724_192556My enthusiasm and regard for the talents, oeuvre and achievements of Mr. Peter Gabriel will be familiar to those who know me even a little and have been well flagged previously in these jottings. Posts acclaiming the London concerts at the commencement and the culmination of the 2013/14 tour celebrating the twenty-fifth anniversary of his seminal album – ‘So‘ – can be found here and here.

For several years prior to that particular odyssey I had been venturing the opinion that – since Mr. Gabriel was no longer a ‘spring chicken’ – each time a fresh concert series was announced it might well be his last. Each time he contrived to confound this uncharacteristically (for me) pessimistic view. Finally – upon our departure from my native shores last year – it seemed probable that we had indeed now attended our last Peter Gabriel performance, since previous tours which encompassed Canada had tended to include only one or two concerts within the country, and then usually only in the east.

Then earlier this year – to our great surprise and unconfined joy – the man announced a new tour… of the North American continent. Though sadly neither Vancouver nor Victoria were to be on the schedule Seattle, Calgary and Edmonton would all be within reach.

To our even greater joy we learned that the tour was to be a collaboration between Peter Gabriel and Sting! Wow!

By now even the most casual reader will have registered (pace my previous post) that this was the second objective of our recent visit to Edmonton. (The Seattle show had already sold out by the time we looked for tickets and given the choice between Calgary and Edmonton we chose to go to where we could combine the concert with a visit to dear friends).

Well – concerning the show, what can I tell you? I went to my first gig at the age of sixteen and I have been a pretty consistent attendee – at a wide variety of events – ever since. So – when I tell you that for me this was most probably the Best. Gig. Ever! – you’ll get some idea of just how highly I rated the show.

Had either star simply supported the other the night would have been magical. In the event they played a single seamless two and three quarter hour show. They played each other’s songs – they alternated verses and sang harmonies for each other – they interspersed songs, each climbing a little higher than that which went before… they were both in great voice and were clearly having fun! The two bands of massively accomplished musicians mixed and matched from track to track, regardless of to whose band they belonged. Given the extent, quality and familiarity of each artiste’s back catalogue it was little surprise that there was scant requirement for inter-song introductions – the audience duly went berserk as each much loved number became apparent.

We danced – we clapped – we whistled (well – the Girl did!) and we sang ourselves hoarse. A splendid, splendid night!

“Rock, Paper, Scissors”? – the name of the tour…

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Image from Pixabay

There’s a man I meet, walks up our street
He’s a worker for the council, has been twenty years
And he takes no lip off nobody and litter off the gutter
Puts it in a bag and never thinks to mutter

And he packs his lunch in a Sunblest bag, the children call him Bogie
He never lets on but I know ’cause he once told me
He let me know a secret about the money in his kitty
He’s gonna buy a dinghy, gonna call her Dignity

And I’ll sail her up the west coast, through villages and towns
I’ll be on my holidays, they’ll be doing their rounds
They’ll ask me how I got her, I’ll say, “I saved my money”
They’ll say, “Isn’t she pretty, that ship called Dignity?”

And I’m telling this story in a faraway scene
Sipping down raki and reading Maynard Keynes
And I’m thinking about home and all that means
And a place in the winter for Dignity

And I’ll sail her up the west coast, through villages and towns
I’ll be on my holidays, they’ll be doing their rounds
They’ll ask me how I got her, I’ll say, “I saved my money”
They’ll say, “Isn’t she pretty, that ship called Dignity?”

And I’m thinking about home and I’m thinking about faith
And I’m thinking about work and I’m thinking, how good it would be
To be here some day on a ship called Dignity
A ship called Dignity, that ship

Ricky Ross
Deacon Blue

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Image from PixabayLast week the Kickass Canada Girl and I attended the Royal Theatre in Victoria for one of two performances by the Royal Winnipeg Ballet of a new piece – ‘Going home Star – Truth and Reconciliation‘ – which was commissioned for the Ballet by Artistic Director André Lewis and presented with the support of the Truth and Reconciliation Commission of Canada.

The subject matter of this ambitious work – concerning the residential schools programme controversy and its effect on those of First Nations’ descent – attracted a heavyweight artistic team. Joseph Boyden – award winning Canadian author of ‘Three Day Road‘ and ‘Through Black Spruce‘ – provided the story. Mark Godden – whose list of credits and awards throughout North America is too impressively extensive to list here – choreographed. The excellent music was by Christos Hatzis – two time Juno award winner.

Those without Canada may not be familiar with the background of the residential schools programme. Herewith for your benefit (should you be at all interested) is a brief history lesson.

An amendment to the Indian Act of 1876 – intended to remove First Nations’ children from the influence of their families and culture to assimilate them into the dominant ‘Canadian’ culture – made attendance compulsory at day, industrial or residential schools. By 1931 there were 80 of these residential schools across Canada. The numbers declined thereafter, with the last federally operated school closing in 1996, but by then some 150,000 (around 30%) First Nations children had passed through the system. More than 6,000 did not survive the experience, dying whilst yet in attendance.

A new consensus emerged in the early 21st century that these residential schools had done significant harm to the Aboriginal children who attended them by removing them from their families, depriving them of their ancestral languages, through sterilization, and by exposing many of them to sexual abuse by staff members and other students. In June 2008 a public apology was offered by the then Prime Minister, Stephen Harper, on behalf of the Government of Canada. At around the same time the Indian Residential Schools Truth and Reconciliation Commission was established to uncover the truth about the schools.

As might be gathered from the weighty subject matter, experiencing a work of conscience and of art such as this was no walk in the park. Though the music set the tone masterfully – being a highly intelligent blend of European classical, contemporary stylings, Inuit throat singing and traditional drumming – and the movement was both highly imaginative and at times exquisitely beautiful, the work was also inevitably harrowing at times. The Girl – whose grandmother and two of whose aunts were survivors of the residential schools – not surprisingly found it particularly difficult.

I think that it is fair to say that not everything came off – and the fact that the Royal Winnipeg Ballet includes not one dancer of Aboriginal origin left this attendee at least feeling distinctly ambivalent – but in general the avoidance of the obvious pitfalls and the bravery of the conception and the execution should be – and was – applauded unreservedly.

It is right that art should be able take such risks and sometime to make us feel less than comfortable by so doing. Long may it continue to do so.

Kudos to all concerned.

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imageIn the early days of these scribblings I ‘penned’ a piece on the mysteries of creativity. That I feel moved now to add something to that disquisition can only be seen as an indication of the continuing surprise and delight that the whole business affords me – as certainly must also be the case for anyone else who ventures into the realms of self-expression.

Thomas Edison famously declared that genius was “One percent inspiration, ninety nine percent perspiration” (though other accounts give the figures as ‘ten’ and ‘ninety’ percent respectively. I don’t suppose that it really matters much either way – the point is made!). The same could certainly be said of practically all forms of creativity.

A prominent playwright – sadly I forget which – opined that the art of writing might more properly be called ‘re-writing’. His point being, of course, that writing a play (or anything else for that matter) not only comprises the two basic elements (the inspirational phase in which ideas and musings are recorded as quickly as possible as they occur to the author/composer, and – following a suitable period of reflection – an extensive process of editing) but also – in order that the the piece might be rendered ready for ‘public’ appraisal – it will inevitably have gone through a considerable number of re-writes before anyone else is allowed to see it.

Much of this process is – of course – ‘craft’, and relatively few are sufficiently competent at it to be able to make a living therefrom. Inspiration is something else and the mysteries thereof are still not readily understood – especially by me!

The story of Paul McCartney waking one morning with the score for ‘Yesterday’ fully formed in his head might be thought apocryphal, were it not that it is attested to by the great man himself. Anyone who has experienced anything remotely similar will identify with McCartney as he – believing at first that he must have heard the song elsewhere – quizzed friends and colleagues as to what it might be.

My own recent experience was considerably more prosaic.

A few posts back I referred to a brief wave of melancholy that passed over me during the first few days of March, brought on by recollections of my Mother whose birthday would have been around that time. I felt moved to compose a song in an appropriately thoughtful vein. My Mother had slipped into dementia in the last year of her life and I felt the need to try to capture something of that elegiac mood. Sitting at the keyboard I rapidly found an interesting harmonic progression around which I started to experiment. An image came to mind – of a bonfire on a dark night. The dying embers swirling up into the night sky before fading into the blackness seemed to offer a possible metaphor for a mind slowly floating apart and a personality fading away.

It was at this point – however – that the subconscious part of the imagination took over. The more I worked the theme the more it seemed determined to evolve into something else entirely. I ended up with something that sounded more celebratory than melancholy. There is only one thing to do in such circumstances – and that is to give the imagination its head. Within a couple of days I had recorded all of the components of what had turned out to be a rather uplifting piece. Further – the image of the fire in the darkness had remained but had itself evolved and become a beacon fire lit on a hilltop to celebrate the end of winter. The song had changed from a lament over something lost to a celebration of something gained – in this case my recent recognition of my significance here.

That such a creative act is possible – and in such a brief period of time (a song can take me months to complete!) – is to me a thing of wonder and amazement and I am massively grateful that such occurrences still take place. Those of a spiritual or metaphysical bent might muse that perhaps this was a gift to me from my Mother. Maybe so.

I am content simply to enjoy the mystery.

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As promised in my last post – herewith some images of how my studio/study has turned out. Needless to say – I am pretty dashed pleased with it.

Photo by Andy Dawson ReidThe black things in the corners and on the side walls are bass traps, which I made from six inches of acoustic insulation covered with felt following one of many guides available on the InterWebNet. For those unfamiliar with such matters the idea is to try to produce a room that is as acoustically neutral as possible. No parts of the frequency spectrum should be exaggerated or diminished, reflections should be kept to a minimum and the layout of loudspeakers and listening position should be carefully calculated to avoid standing waves.

Photo by Andy Dawson ReidThe little desk was already built in. I added the shelves.

Photo by Andy Dawson ReidHaving lived for nearly two decades in apartments – however splendid they may have been – and thus having been restricted both in the amount of space available and the level of sound that could be produced without complaint, this is pretty much heaven! I have never before been in possession of a space large enough that I could dedicate it specifically to this end, and my gratitude that I finally am so knows no bounds.

Photo by Andy Dawson ReidThe icing on the cake? This is what I see through the window from my desk!

Photo by Andy Dawson Reid

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Photo by Andy Dawson ReidIt was, you may recall, my intention that I would convert the capacious outbuilding behind the house (used most recently by my predecessor here as a woodworking/carving shop) into what the Girl delights in describing as a ‘Man Cave’.

Should you happen to be unfamiliar with this particular sobriquet the InterWebNet is – as ever – most helpful. The Urban Dictionary defines the ‘Man Cave’ thus:

A room, space, corner or area of a dwelling that is specifically reserved for a male person to be in a solitary condition, away from the rest of the household in order to work, play, involve himself in certain hobbies, activities without interruption. This area is usually decorated by the male that uses it without interference from any female influence.

Well – that sounds good – though I’m not too sure about the ‘female influence’ part!

Should one care to investigate further one can find on the InterWebNet what is described as ‘The Official Man Cave Site‘ – under the tagline “Taking back the world one Man Cave at a time” – whatever that might mean! Yes – well… that’s quite enough of that!

Now – I have always prided myself on being something of a ‘reconstructed man’. I certainly fervently believe that the sexes are equal (and should be treated as such in every respect) – except when the (not so) occasional bonehead behaviours of some of my gender cause me to sigh deeply and to wonder if the female of the species is not – after all – perhaps more equal than the male. I therefore have to distance myself somewhat from all of this testosterone and to declare fervently that both sexes have equal need of spaces in which to practice their own essential rituals and creative acts.

Mine – as it turns out – will not after all be in that rather delicious looking outbuilding.

Once winter set in it became all too apparent that a space that large and disconnected from the house would rapidly run up a fairly hefty heating bill were it to be kept warm throughout the season. Further, the building’s origins as a glorified shed were betrayed by its not being as free from damp as both I and my musical instruments were prepared to tolerate. Reluctantly I decided I had to look elsewhere.

This downstairs room image(of which this picture came from the Realtor’s details) was listed as a bedroom. The Girl called it ‘the Sauna’ for obvious reasons. With a tiled floor, pine clad walls and a rather odd layout which included an exterior door, it was difficult to know quite what use might be made of it. A little head-scratching and contemplative stroking of the jaw – all the while gazing at the space through half-closed eyes – lead to a ‘light-bulb’ moment.

This might after all make the perfect studio/writing room…

In my next post I will show you how that turned out.

 

 

 

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