PROCOL HARUM WITH THE NAC ORCHESTRA JULY 10TH OTTAWA BLUESFEST

Everyone should be reminded on a regular basis that they are exactly where they should be in their current position in the cosmos. This writer experienced that very sensation in glorious technicolor on Thursday night. Having mixed up the start times of the acts for the evening, I rushed to the festival grounds, only to arrive well ahead of schedule, though just in time for Procol Harum.

Quickly securing a spot up front, the next hour brought an almost indescribable joy that I am still drawing upon days after the event.

Lee Hayes' Vox Choir and the NAC orchestra flanked the group as they strode onto the Bell stage. Gary Brooker looked the proper English gent/elder statesman as he took his seat at the piano. Acknowledging the applause with a polite wave, he led his mates into "Homburg".

Before the superlatives flow, it's worth pointing out that the orchestral accompaniment was designed to provide the exact feel of their uniformly excellent album, Live in Concert with the Edmonton Symphony Orchestra, which was originally released in 1972. Having spun my vinyl copy at top volume many times, I could not believe my luck in being parked directly in front of the real thing.

Brooker is still possessed of a soulfully powerful voice, which soared over the collected instruments with great ease. Complimented by a perfect sound mix, the lovely melody of the opener was akin to crepuscular rays breaking through the clouds. "Simple Sister" came next, with strings and choir pushing it to another level. In a moment of self-depreciation, the singer/keyboardist talked of a time when his group, "rode in style to gigs, dined on the finest food and drank expensive wine. Now it's McDonalds and the bus." With that, the opening strains of "Grand Hotel" filled the air. Far from having a soporific effect on the adoring crowd, the beauty of the augmentation to the five piece band band was actually uplifting.

All hands on deck, we've run a float,
I heard the Captain cry.
Explore the ship, replace the cook,
Let no one leave alive...

Almost on cue, a pair of gulls floated above the stage as a note perfect rendering of "A Salty Dog" began to take shape. Majestic in execution, the epic tale from the pen of wordsmith Keith Reid came across quite literally as the music of vast horizons. Nothing short of a convoy of arriving UFOs could have prepared the audience for what followed. In place of the familiar Hammond organ intro to "A Whiter Shade of Pale" was the orchestra, faithfully reproducing this classic piece. When Brooker stepped in to sing the opening lines, the crowd erupted. This treatment was a masterstroke in arrangement, brought home forcefully when the quintet joined and steered the song back to more familiar territory.

As exhilarating as this was, Procol Harum saved the best for last.

With heartfelt thanks to all who had given their time and attention, Mr. Brooker raised his head, nodding toward the NAC conductor to strike up the startling wall of sound that heralded the closer, "Conquistador". Rounding out an impeccably timed set with an unbridled explosion of energy, the concert grounds were held in the grip of something magical that a more stripped down group of players would not have been able to match. Simply put, this was nothing less than the aural equivalent of Wagner's "Ride of the Valkyries", specially crafted by a very ambitious rock group and delivered with class to astonished group of Bluesfest attendees. Despite witnessing some very fine talent through the past week, this was far and away the most memorable show for me.

Grand in scale and substance, Procol Harum's presentation was by far the most ambitious undertaking of all.

Important to note that picture used here is the work of talented photographer, Mark Horton. His eye for detail is astounding and his photos have been featured in top publications around the world. Check out Mark Horton Images for more examples of his work.

QUEENS OF THE STONE AGE-JULY 8TH OTTAWA BLUESFEST

Torrential rain did not deter fans of Queens of the Stone Age, who waited patiently in front of the Claridge Stage for skies to clear. Following a short delay, the band counted off "You Think I Ain't Worth a Dollar but I Feel Like A Millionaire" under the friendly arc of a double rainbow. This natural phenomenon was the perfect "feel good" complement to a spectacular performance. Leaving no dead air, they next dove headlong into "No One Knows", which pumped crowd adrenaline exponentially. This was a wise selection early on, being one of their most recognized tunes. Josh Homme had a mandate to initiate the faithful with selections from last year's Like Clockwork disc, though they smoked and burned in familiar territory first.

"My God Is The Sun" was the first of five songs from the latest album to be unleashed in their 15 song set. This sentiment was doubtlessly shared by those patient souls who had braved the rain. Noteworthy here is the genius of the writing, as their material comfortably welds strong melody with scorching heaviness. The group harmonies in support of Homme's lead vocals were tightly deployed amidst the maelstrom of sonic power that the quintet delivered. These guys spread a highly contagious case of head-banging that resonated out from the stage, across Le Breton Flats and into the living areas of nearby residents. I wouldn't be surprised if these people downed tools, started kicking over furniture and playing air guitar in their living rooms.

This one goes out to all the ladies

By the time that "Make It With Chu" was rolled out, there was a mass of vertical movement all around. It was also announced that bassist Michael Shuman was celebrating his birthday which garnered an ovation and a raucous, shambolic rendition of Happy Birthday from the audience. Homme had very kind words to offer to the organizers of Bluesfest, advised the crowd to keep their day jobs and mused that, "now it was time to just go with the flow..."

Only a comatose individual would have failed to pump their fist into the air as "Go With the Flow" and "A Song For the Dead" destroyed everyone in attendance, the latter featuring a huge drum crescendo. This is the soundtrack for apocalyptic invasion. Still vital, creative and one of the highlights of the live, 2014, Jimi Hendrix Ottawa Bluesfest Experience, this was a most stellar show.

If Queens of the Stone Age happen to be in your area code this summer, steal the money for tickets and get out and see them.

FOREIGNER- JULY 8TH OTTAWA BLUESFEST

I see a lot of love out there tonight!!!!

Indeed there was, with every ounce of it directed toward the Bell Stage on Tuesday night.

You see, gentle reader, way back in the midst of late 70s excess, a little band called Foreigner appeared on the scene. Eschewing interminable solos and multi-part epics that were an integral part of the rock blueprint at the time, these lads simply went into the kitchen and cooked up three minute hits.

Lots of hits...

Their contemporaries (Journey, Styx, Boston, Toto) also took this no-frills approach to making records. As a result, all were lumped into the category of "Corporate Rock". Dismissed offhand by music critics of that era as insubstantial and soulless, these groups were deemed to be guilty of trivial audience pandering. Despite the thumbs down from hip rock scribes, Foreigner grabbed a large piece of the market and won millions of fans in the bargain.

Judging by the large, enthusiastic crowd that greeted them at Bluesfest, the only thing that mattered was the delivery of those iconic tunes.

As for the set list, remember their "Records" compilation?



"Dirty White Boy" and "Long, Long Way from Home" were omitted, though all of the other monsters were present and played at top volume.

The upshot? Zero filler, no drum solos and not a trace of "We're gonna play y'all something from the new record now!". It was a slick, well paced, greatest hits production with everyone firing on all cylinders throughout.

Time for a joke!

"Knock, knock

Who's there?

Lou Gramm

Lou Gramm who?"

Exactly, because the guy who stood in his place (Kelly Hansen) is an absolute ringer for the former front man and was note perfect on everything he touched. Considering the vocal range required to cover the material, his execution was flawless. The lone remaining founding member (Mick Jones) , curiously, did not appear on stage until after the fourth song. He was given a huge ovation as he peeled off the signature riff for "Feels Like the First Time". Uncle Mick addressed the throng briefly, casually talking of how his family nearly emigrated to Canada when he was a child and confirmed how much love our nation-state had given to Foreigner over the years. Switching from his Les Paul to an acoustic, he then introduced “Star Rider” from the first album and took over lead vocals, though he was woefully “under-miked” on what was otherwise a very pleasant surprise inclusion in the set.

Jones let his guitar chops speak for the rest of the evening.

The high water mark in the show was a stone heavy version of “Juke Box Hero”, which saw all musicians deviate from the main script and improvise madly in the middle section of the song. The choir from hometown Brookfield High School came out to kick off the encore. Jansen encouraged everyone to grab the person closest to them, feel the love and “get back to the eighties”. “I Want to Know What Love Is” provided a cathartic release,with everyone swaying/singing along in unison. By far their most successful song when released back in 1985, the emotional reaction that it garnered on Tuesday night was overwhelming. Always interesting to see what grabs the masses by the lapels and demands their attention.

"Hot Blooded" closed out the evening, though it was telling to witness thousands of people filing out of the confines of LeBreton Flats, loudly singing, "I want to know what love issssssssssssssss, I want you to show meeeeeeeeeeeeeeee"

As for the trappings of corporate rock, there was no mention nor care.

LADY GAGA JULY 5th OTTAWA BLUESFEST

Ottawa Bluesfest marked the 21st gig of Lady Gaga's artRAVE tour. Nine tour buses, truckloads of equipment, a personal entourage of 120 and a truly mesmerizing array of costume changes were all part of the spectacle that unfolded in front of 27,000 people who showed up to the party on Saturday night.

From where I stood, after two hours of high energy hits, no one was disappointed.

Giving credit to her supporters here in Canada at many points during her set, the former Stefani Germanotta blasted out of the gate with a full compliment of backup dancers/singers (two of whom carried her out on stage), a hot band and immediately sent the crowd into a mental state with the title track from 2013's Artpop.

Can you fucking hear me?!?!

All in attendance acknowledged that they could.

Continuing on with new material, she made requisite wardrobe changes that were executed at the speed of a dentist's drill and the entire setting in front of the Bell stage seemed to be positively lysergic. Continuing on with this theme, Ms. Gaga appeared for "Venus" in a mile-high brown wig with makeup that bore more than a passing resemblance to Madonna (circa late 80's) as imagined by Salvador Dali. The visual aspect of the show was stunning, with sound quality that was impeccable. While the electro-pop kept the faithful on their feet and dancing, Gaga took a detour away from her ostentatious persona with a solo turn at the keyboards.

Here is where she leaves other contemporary pop-tarts in the dust, as underneath the flash/sheer sonic attack beats the heart of a torch singer. No pitch correction software, no entourage of choreographed, dancing Muppets on LSD...just an exceptionally talented musician. It was this iteration of the artist that mightily impressed all who witnessed the seamless move from "I've Got a Crush on You" to "Born This Way", performed without a net.

Hits? Sure, they were sprayed out effortlessly ("Poker Face", Paparazzi", "Judas") though "Applause" was a definite highlight, as was the encore which featured a solo take on "Gypsy". Several costumed fans were ushered on stage to share the spotlight and the ringleader took a few unscripted moments to read notes that were tossed up to her. Much of her patter between songs was dotted with positive vibes that seemed channelled directly from the late sixties. Wrapping up all of her influences in a druggy, good-time, positive package, Gaga finished off the two hour extravaganza in style, without dragging out the patience of those who got all that they bargained for.

As for your humble scribe, I committed my estimations of the evening to paper over a pint at the nearby Mill Street Pub, wondering if those last two hours were just part of an elaborate dream orchestrated by Bob Mackie and Timothy Leary.

Stef is the real deal...

JULY 5TH OTTAWA BLUESFEST - MATT ANDERSEN AND THE MELLOTONES

Matt Andersen's voice is an absolute force of nature.

The pride of Perth-Andover, New Brunswick walked out on the Claridge Homes Stage at 6pm on Saturday and owned the crowd from the first note. Backed by the Mellotones, Andersen casually mentioned between songs that this was just the fourth gig with the nine-man wrecking crew from Halifax. Boasting four horns, drums , bass, guitars and keys, the band was solid as they tore through a mix of originals and well chosen covers.

Playing acoustic guitar for the first half of the set, the hirsute star of the show steered the group through soulful renditions of his tunes. One of the many highlights was a song from his latest release, Weightless. Co-wriiten with Joel Plaskett, "My Last Day" muses upon what we would do with ourselves if we knew our time here on earth was limited to one more day. He introducd this one by noting that "we have lost a couple of very talented coast musicians this past year" and dedicated this one accordingly. No doubt referencing the passing of Jay Smith, it was a stellar performance from all involved. One very pleasant surprise was the inclusion of The Band's "Ophelia", which kept the audience dancing throughout and was punctuated by a note perfect trumpet solo. The punchy horn section was deployed for maximum impact as they also provided incredible backing vocals when not occupied with their instruments.

Andersen ramped up the energy when he turned and picked up his blue hollow-body electric, treating those assembled to searing, jaw-dropping solos. During the gut-bucket blues of "The Devil's Bride", he joked about needing "a perfectly greasy trombone solo" and that's just what was delivered. Despite a blistering run through soul, blues and R & B all filtered through the lens of his peerless voice, the magician saved his best trick for the closer.

There was no disguising the signature, frenetic guitar intro to Joe Cocker's arrangement of the Beatle classic, "With a Little Help From My Friends". Every single person assembled was swaying in rhythm, though when the man stepped up to the mic to deliver the opening lines, it was spine tingling. Aided and abetted by the intensity of the Mellotones, Mr. Andersen made you forget that anyone else ever touched this tune. He completely nailed it and, arguably, took it to another level. The crowd went out of their minds as the last notes rang out.

Simply put, it was a masterful set by a prodigiously gifted artist. Do yourself a favor and take the opportunity to catch Matt with the Mellotones on one of their upcoming live dates. Definitely one of the hottest sets from day 3 of Ottawa Bluesfest.

THE BEATLE WHO VANISHED

June 1964: You receive a phone call with news that is almost too good to be true. The Beatles are set to embark on their first world tour, though drummer Ringo Starr has been hospitalized and needs to have his tonsils removed. You have been called upon to take his seat behind the drums until he recovers.







Jimmy Nicol was the man who accepted the offer and flew into the veritable hurricane of screams that greeted the band at every turn. For two weeks, he was thrust into a blinding spotlight. When the dust settled, he was thanked and provided with a generous sum for his efforts.



And in a blink, he was gone...

Author Jim Berkenstadt has taken up the monumental task of tracing the path of the man who seemingly disappeared after his brief stint as a Beatle. Impeccably researched and very well written, you may purchase The Beatle Who Vanished here

This book is a must read for music historians and Beatle fans.

HAPPY BIRTHDAY, UNCLE PETE!

In celebration of the 69th birthday of one of my favorite songwriters, here's a re-run of my original review of The Who Sell Out...



Townshend: "It wasn't just the Who that were made by pirate radio, it was pirate radio that made the music scene in this country. It made the Beatles, it made the Stones, it made lots and lots of people that were around at the time."

Unlike the USA, which boasted countless stations with tunes on tap across the dial, Mother BBC was the only game in town when it came to radio in the UK, pre-1964. Very little airtime was granted to pop music. This situation turned around when Radio Caroline became a floating (and illegal) transmitter of rock and roll.

Pirate radio brought a wealth of fantastic music to Britons in the mid sixties.

The passing of the Marine Broadcasting Act in 1967 would mark the beginning of the end for these pioneers. The few ships that remained to send out their signals would soon cease and desist. Truly disappointed by this turn of events, Pete hit upon an intriguing concept for the next record. He envisioned a fulsome tribute to both the pirate and American top 40 formats, complete with linking jingles and commercials. There was even talk of selling ad space on the disc to large corporations (in the end, Coke was the only taker). There could be no greater contrast to the ideals that were espoused by the burgeoning hippie movement of that era than casting your lot in with the ultra-capitalistic "establishment", offering up a piece of your art to the highest bidder.

What's for tea, darling?

To my ear, Sell Out is to the Who what Their Satanic Majesties Request represented for the Stones in that they haven't done anything even remotely like it, before or since. Climbing aboard that train of thought, let’s look at the elements that make this markedly different from the other entries in the Who discography.

1) With one or two exceptions, Keith Moon’s drumming is subtly muted for many of the tracks. His usual frenetic playing is pared down considerably to simply keeping time.

2) Rich, Beach Boys style, block harmonies pervade most every selection (the beginning of "Rael" would have sat comfortably alongside anything on Pet Sounds).

3) Melodies are to the fore, with the grittier side of the group's raucous stage personality toned way down.

A minor point gets deducted here for some unfinished business. The continuous run of great music interpolated with quirky, mock adverts is quite engrossing until the second song in on side two, where the listener experiences "concept interuptus".

Why wasn't this approach carried through to the end of the project?

The most likely reasons involve a combination of the heavy price of additional studio time and the hectic touring schedule that the band sorely needed to tackle mounting debt. Despite this fact, Sell Out stands one of the three best discs that they ever issued. Pete Townshend's genius as a composer had been glimpsed prior to this. Now it flowered in ways that amazed. There is a bounty of truly exceptional material, from the masterful "I Can See For Miles" to the increasing emphasis on narrative that makes "Tattoo" and "Odorono" so engaging.

Townshend: "When I write today, I feel that it has to tell a little story. Like Odorono, which I dug because it was a little story and although I thought it's a good song, it was about something groovy-underarm perspiration. He rushes backstage to congratulate her and it looks like she's all set, not only for stardom but also for true love. And then, underarm perspiration cuts the whole thing. And you know, without getting too serious about it, because it's supposed to be very light, that's life. That really is life."




Darling, I said what's for tea?

Throwing everyone off the plot, "Armenia City in the Sky" crashes in following the robotic "days of the week" snippet. Pounding along with dissonant swells of feedback guitar, the song was authored by one John "Speedy" Keene who also shared vocal duties with Roger on the track. The Who never really indulged in psychedelia, so the cloud of incense that hovers over the proceedings, while redolent of the sounds of 1967, is also slightly disingenuous. It proves to be a red herring as the selections that follow have little to do with the tie-dye, love me-love my dog philosophy that briefly ensnared some of the biggest acts of that era.

Keene would go on to find his feet with the excellent, albeit short-lived, Thunderclap Newman who wound up scoring a worldwide hit the following year with his tune "Something in the Air", produced by Townshend.

Pop intellectuals found themselves smugly nodding in appreciation at the nostalgic in-joke that was etched deeply into the grooves of this remarkable platter. Ivory tower elitism is never a great reason for liking something, nor should it be attached to your appreciation of Sell Out.

Very well constructed music is what should (and will) reel you in.

Plus, Daltrey in the tub of beans is pretty fucked.

Owing to a predilection for tampering with the running order of great works in a revisionist effort to make them even better, I would have kicked off Entwistle's "Silas Stingy" and replaced it with "Pictures of Lily". This would have landed two tunes with a theme involving the handling of the male member for naughty purposes (or happy endings) on the same album. Speaking of which, "Mary Anne With the Shaky Hand" has an interesting, Latin-flavored acoustic break.

Heavy for its time (and a few steps ahead as well) was the single, "I Can See For Miles". Largely due to the idiosyncratic structure of this monster, it rarely featured in their live shows.

Very little filler is found on Sell Out. As previously mentioned, aside from the psychedelic poster that came with the original pressings, there is no great attempt to embrace that style. This is important, as most every major rock act of that period was straining to do "Sgt Pepper Part II", binging on acid and more often than not coming up with a load of pretentious garbage. (Dylan and the Kinks musically kept away from the "Summer of Love-In as well). The sensibilities of the individual members really helped to keep the Who from heading down that path. Moon actively hated hippies, while Roger and John took little notice of that movement. John and Keith spent a lot of time in the pubs, where they ultimately came up with most of the commercials, including the run-out groove joke response (Track Records jingle) to what the Beatles had done at the end of Sgt. Pepper. Only Townshend really got into LSD in any major way, though he would shortly back away from drug taking following a harrowing STP trip on the plane back to England after they played Monterey in June of 67. "Relax" has a slight echo (no pun intended) of Syd Barrett's work with Pink Floyd, but the rest do not bear the stamp of "flowers and beads".



Townshend's musical range was expanding. He learned to properly play piano as these songs took shape and he deftly handled most of the keyboard parts during the sessions by himself. The progressions in "Our Love Was" and "Sunrise" are an extension of his continuing education. The overall sound of this record is vastly superior to anything that they had done up to this point. Though there was some legal turbulence surrounding the use of some Radio London jingles, Sell Out was a tremendous success in terms of cohesion and strength in composition. Not yet superstars, a brief period of water treading would follow until Pete found the plot for their next odyssey which would bring far greater glories than anyone had imagined.

20

Have you ever dropped a ton of bricks on a carton of eggs? Swung a ball peen hammer at a rice-paper wall?

This is the impact that Kurt Cobain, Krist Novoselic and Dave Grohl had on the soporific musical landscape of 1991.

If you did happen to be alive and have functional ears at this time, here's a little reminder of some of the shit that clogged the charts:

Bryan Adams (Everything I Do) I Do It For You
Color Me Badd I Wanna Sex You Up
C+C Music Factory Gonna Make You Sweat (Everybody Dance Now)
Paula Abdul Rush Rush
Timmy T One More Try
EMF Unbelievable
Extreme More Than Words
Hi-Five I Like The Way (The Kissing Game)
Surface The First Time
Amy Grant Baby, Baby
Boyz II Men Motownphilly
Stevie B Because I Love You (The Postman Song)
Mariah Carey Someday
Bette Midler From A Distance
Whitney Houston All The Man That I Need
Jesus Jones Right Here, Right Now
Color Me Badd I Adore Mi Amor
Janet Jackson Love Will Never Do (Without You)
Marky Mark and The Funky Bunch feat. Loleatta Holloway Good Vibrations
Madonna Justify My Love

"Oh, fuck you, Spirit, please show me no more! I cannot bear it!!"

All apologies to Charles Dickens.

No, wait! Fuck him, too!

Without wading into a quagmire of editorializing around Cobain's exit from this dimension and the brief explosion that many of us are still aware of at the 20 year mark of his aforementioned acceptance into the choir invisible, there are some important items to ponder, namely:

1) In fusing the Beatles with Black Sabbath, he created a very intoxicating hybrid for folks that enjoyed melody intertwined with an anvil being dropped on their skulls.

2) Hearing "Smells Like Teen Spirit" in 1991 did something for me (and countless others) that no other contemporary noise had done for ages: It gave me goosebumps and I wanted to hear more.

3) The raw, screaming visceral attack of this music also carried a careful plan along with its subversion. The guy behind it was a hell of a lot deeper than most would suspect.

4) Few knew at the time that it would all end in spectacularly macabre fashion.

I remember where I was and who informed me of Cobain's death back in the spring of '94.

I was pissed.

Being roughly the same age as him, I felt that this was a missed opportunity. He could have done much more and taken his vision/music in an interesting direction. More importantly, rather than feeling envious of those who had experienced the golden era of musical creativity first hand(the sixties), there was hope that something relevant, vibrant and exciting could happen in our time as well.

A bright comet attracts much attention before flaming out.

On a positive note, he left some exceptional material for listeners to take up and draw inspiration from, though it's always tough to think about what may have been.

Or not. Oh well, nevermind...

PROGRAMMABLE ANIMAL: TOGETHER

Brand new EP release by Chicago based band, Programmable Animal. This is a taster in advance of the full length disc that they plan to unleash this summer. It is quite an adventurous, five track odyssey to embark on as a listener and one for which you must be prepared to commit. While the interplay amongst the instruments in the mix trades on ambient, "found" sounds, the six piece ensemble keeps the aural sands shifting throughout. Embracing the frenetic, double-bass drum attack of metal on one hand, the tunes also turn on a dime to allow a wash of synth-driven textures to take over the space between your headphones. Production values are high with a dark mood pervading the arrangements. At times the vocals are purposely wrapped in gauze only to break free at critical moments in startling fashion. All parts are extremely well thought out, while the technical aspects of the performances are first rate.

Warning: This is not a soundtrack for the morning, nor should it be approached in a casual manner. Rather, it demands serious listening as purple twilight gives way to night time. Introspection mixes with raw emotion, yielding plenty of great turnarounds and sonic rewards when you drill down to listen with a generous ear.

Highlights are "Together", "Dark" and the epic closer, "Fall Eye".

Pretty cool spin. Get it for yourself here

Find out more about Programmable Animal

Join them on Facebook and stay tuned for new music!

FORGOTTEN MUSIC THURSDAY-ROD STEWART: AN OLD RAINCOAT WON'T EVER LET YOU DOWN

Years before regrettable forays into disco and bland, MOR pop pandering tarnished the otherwise decent track record of Rod the Mod, this very solid first solo effort quietly appeared.

Quite good it is, with a supporting cast of musicians who would figure prominently in his next steps as an artist. Two of these characters, Ron Wood and Mick Waller, had shared a spot with Stewart in Mach I of the Jeff Beck Group. Organist Ian McLagan, who lends his nimble fingered talents here, would become a band mate and remain so into the mid-seventies, as Wood and Stewart had recently joined the Small Faces following the departure of Steve Marriott. This lineup change prompted them to re-brand themselves as The Faces.

Did you get all of that?

Good.

Having honed his signature larynx dipped in whiskey 'n' ciggies vocal delivery during his time with Jeff Beck, the voice is in fine form. Eight songs comprise the disc, four of which are his own compositions, title track included, while the remaining selections are well chosen covers. The first of these interpretations received the distinction of kicking off the proceedings. Turning the Stones' "Street Fighting Man" inside out, the arrangement here bears no resemblance to the version that graced Beggars Banquet. Quirky and extremely well executed, the musicians toy with every aspect of the tune. Ron Wood adds tasty slide and bass runs with exaggerated "eyebrows" that follow inserted full stops after each chorus. Following a brief instrumental detour, everything stops on a dime and does a 180 degree turn. Suddenly, the listener is now back in familiar territory as the lads faithfully reproduce the melody line and feel of the original. This doesn't last. In a moment of inspiration, we are treated to a brief bass solo which dives straight into a direct quote of the hammered, introductory piano figure from "We Love You". My assumption here, though the last bit is likely a tip of the hat to Brian Jones who had passed away the previous summer and whose composing fingerprints were undoubtedly all over the aforementioned, trippy piano part. If Mick and Keith were not impressed by this homage, if not somewhat envious, then shame on them. Only a comatose individual would fail to appreciate the humor and invention that went into this stunning rendition.

It gets even better...

Before we continue, one observation must be made by your humble scribe.

This disc is a treat because it is unpretentious and the musicianship is first rate but loose in an incredibly relaxed sounding manner. Human beings, not machines, are swept up in a joyous act of playing, yet there is focus with an end result that is very easy on the ears.

Why do we not hear this type of production today? Have we become so soulless in the pursuit of achieving a homogenized product that we can't accept a more adventurous approach to music making? Just take a listen to the robotic, auto-tuned, plastic, repetitive garbage that is being pushed on the masses. No taste, very little thought and zero personality. It is disposable, icy digital noise made for people who secretly hate music.

Worse than that, this mediocrity is expertly marketed to cover all aforementioned shortcomings and make the perpetrators seem as if they have produced a work of genius. Another tag that is tossed around far too liberally and applied to people who would be hard pressed to name a chord, let alone find/shape one on any instrument.

You have a choice as to what you put in your brain.

Well, look at the time! Let's get back to what Rod, Ronnie and friends lovingly cooked up for your listening pleasure.

Decorative instrumental touches abound, our session crew reimagines "Man of Constant Sorrow" in such a way that words fail to do it justice. Listen and find out for yourself, if this hasn't already been taken into your purview. There's no greater evidence of what made the rhythm section so special on Jeff Beck's Truth than what Waller and Wood bring to the title cut. Don't know about old raincoats, but this is three minutes of bluesy groove with barrelhouse piano courtesy of McLagan that won't let you down.



All told, this gem sails by and makes its statement in a mere half hour. Closing with a delicately different take on Ewan MacColl's oft-covered standard, "Dirty Old Town", it provides classy finish to an eclectic, understated set. For all that, it is Gasoline Alley and Every Picture Tells a Story that seem to garner all of the attention in terms of Rod's early solo ventures. This one never manages to escape the long shadow cast by those projects, both of which fared much better in the sales/chart sweepstakes. Lacking a an obvious single that could be extracted for radio exposure, this fine project was destined for the back of the dusty closet, joining the ranks of unjustly forgotten music from that era.

Trivia time! This LP was released in the UK on the same date as Black Sabbath's self titled debut (Friday, Feb 13th, 1970) by the same label (Vertigo Records). Curiously, it was issued in the US in the fall of 1969 as "The Rod Stewart Album" with a different cover. Regardless of what iteration you encounter, it is well worth having in your collection.

IT WAS 50 YEARS AGO TODAY...

Flashback to February 7,1964. The Beatles land at JFK in New York for the first time and are greeted by thousands of screamers. Shortly after that, it was time to play meet the press.



The questions were pretty terrible, though some of the answers were priceless.

Two days later they would make their inaugural appearance on the "Ed Sullivan Show". 73.7 million viewers tuned in to get a look at the band and popular music changed radically from this point on.

Cost of living at that time?

Average yearly income $5,880
Gallon of gas .25¢
Gallon of milk $1.06
Loaf of bread .21¢
1st class postage stamp .05¢
Pay phone (local call) .10¢
Look Magazine .25¢ an issue
Life Magazine .35¢ an issue
Movie ticket $1.25
Emerson 11" portable TV $139.95
Admiral 19" portable TV $139.95
Emerson transistor tape recorder (reel to reel) $79.95
Best Homes-(pre fabricated houses) $8,990-$17,990
Rolls Royce Silver cloud III sedan $16,655

PHIL EVERLY

John and Paul, Paul and Art, Graham and Allan are just a few of the singers that were inspired out of their skulls by Phil and Don Everly. DNA cemented that beautiful pairing of voices, with Phil's harmonies walking a few feet off the ground, perfectly tracking his brother.

Countless hits, banned in Boston, twin Jumbo Gibsons, Two Yanks in England, decade long estrangement, Rock and Roll Hall of Fame honors...like so many others who have been captivated by their sound, I never tire of listening to the Everlys.

They crossed genres effortlessly, making some of the most influential music of the 20th century. Phil Everly retained that pure, golden voice right up to the end. His exit from this realm on January 3rd deprives the world of a true talent.

THE LAST WALTZ AT 37

Weary, moribund with a touch of alcohol/drug fueled dysfunction thrown in to make things interesting , the five members of The Band decided to make their exit in grand fashion by serving up one big musical Thanksgiving feast at the Winterland on November 25th, 1976. Bringing a host of famous faces to perform alongside the quintet was an added bonus to those who secured a spot in the audience. Ask Martin Scorsese to capture everything on film? Now it becomes a momentous evening.

Despite having weathered the steady decline of their LP sales as the seventies progressed, internal interest in the group dynamic was waning. The spirit of communal creativity and work ethic that had fired their first two records had all but disappeared. Northern Lights/Southern Cross was a surprising return to form but that disc had to be squeezed out of them, taking a long time to complete. Uninspired in general, Islands could have been just as easily titled "Contractual Obligation". Robbie Robertson did not have much to say at that point, left unsupported by certain players whose debilitating habits had gained control of their calendars. The decision to pull the plug was met with a mix of consternation and relief.

Moving ahead with their plan to stage a monster send off, booze flowed, lines were chopped, turkey dinners prepared and consumed. Whispers that Dylan would show up were abound.

The resulting film is a gripping document, slightly pretentious in places and an unintentional wake for sixties attitudes that were swept away by what Tom Wolfe would christen as the "Me Decade". Given theatrical release in 1978, it remains a very stylish farewell.

Big time, Bill!

Musically, this is an incredibly tight affair with plenty of highlights. Having watched the footage many times over, it still retains a freshness that can mainly be attributed to the timeless quality of the songs. Joyous abandon can be witnessed on the faces of the musicians as they get swept up in moments that we are very fortunate to have etched in celluloid. From this vantage point, all of the big names that grace the stage are still young and in full command of their power as performers. Flashes of brilliance as Dr. John tickles the ivories in an extended solo piano outro to "Such a Night", the wicked grin of complicity that Neil Young and Rick Danko exchange during "Helpless" with Young wired tighter than an E string thanks to a buffet of coke that he had availed himself of before stepping out on stage. Clapton's guitar strap giving way and his neat recovery as both he and Robertson play like madmen, Levon's powerful reading of "The Night They Drove Old Dixie Down" putting 100 years of southern anguish into a perfect few minutes. Van the man, resplendent in his sparkling purple suit, blazing through "Caravan" after a few whiskeys. Joni Mitchell? She turns in a stunning version of "Coyote". It's all there along with a sense that this isn't simply a loud, happy celebration of one of the most understated and influential musical aggregations that ever was. You are watching the spirit of a bygone era making one last, flickering appearance. Mr. Zimmerman strolls out toward the end to cap an amazing night. Drained and exuberant, all of the players assemble to join him and lend their voices to "I Shall Be Released".



With the three main voices of The Band no longer with us, The Last Waltz gives contemporary listeners a chance to experience the ragged, soulful beauty of the music. Make no mistake, these guys were top drawer in every respect. If you do own a copy, throw it on and turn it up really loud. That's what birthdays are for, after all.

JOSEPH BRIDGE- MR. WATERPUMP

Joseph Bridge has another teaser for listeners to check out in advance of his album release.

"Mr. Waterpump" bears the stamp of the adventurous, psychedelic songcraft that colored the work of certain UK artists in the mid sixties (Syd Barrett era Floyd, early Traffic). There is great structure here with a clever, wordless hook built in to the chorus. Radio Caroline in the UK has embraced the tune, where it has been heavily aired and requested. Refreshing in its austere arrangement, the song embraces an element of eccentricity coupled with a fine pop sensibility that makes it wholly accessible. Impossible to dislodge from the brain once you have taken it in, "Mr.Waterpump" is inspired.

From what I have heard of the tracks that will comprise the full length disc, there is much to be commended. Stellar set that is highly anticipated. Enjoy this gem for now...

SUPPORT CEILIDH CUP FOR GORDIE SAMPSON SONGCAMP

This blog is devoted to music of all types and those who create it. Please read on as I ask a small favor of those who kindly stop by to regularly read the posts here. I really do appreciate it.

A friend of mine is currently reaching out to folks who regularly utilize social media to engage and help support a very worthy endeavor. His name is Gordie Sampson and his CV as a musician/songsmith is quite impressive. He won a Grammy Award in 2007 for best country song of the year for Carrie Underwood’s smash hit “Jesus, Take the Wheel,” co-written with Brett James and Hillary Lindsey. Not to mention all of Sampson’s other hit songs, awards and achievements.

Sampson, who earned an honourary doctor of letters degree from Cape Breton University earlier this year, hasn’t forgotten where he comes from, either culturally or musically.

Continuing that legacy of strong, sophisticated songwriting perpetuated by Cape Bretoners such as Rita MacNeil, Allister MacGillivray and Jimmy Rankin, he’s found a unique way to nurture it in a younger generation of multi-genre musicians with the annual four-day Gordie Sampson Songcamp in Ingonish.

The Gordie Sampson Songcamp is fortunate to have The Ceilidh Cup golf tournament choose to donate funds from their annual event to assist Songcamp in expanding its activities throughout the year.

This means that the Gordie Sampson Songcamp has access to a $25,000 matching dollars fund where every dollar fundraised in 2013 has the potential to be matched by Softchoice Cares on a first come first serve basis for Ceilidh Cup 2014. Songcamp is also competing in the “P2P Challenge” for the remaining $25,000. First place receives $15,000, second place receives $7,500 and third place receives $2,500. Being a part of this Softchoice Cares is an excellent opportunity for future Songcamp funding.

To earn points in the challenge, a Facebook page called Ceilidh Cup for Gordie Sampson Songcamp has been created. Here’s the link

So what am I asking of you?

1. “Like” their page (They get 1 point for each "like")

2. “Share” their posts with your friends on Facebook (1 point for each)

3. “Comment” on their posts and page (1 point for each)

4. “Post” any pictures, videos and comments on their page and your pages (5 points for every post – these could be posts of any of their musical guests’ songs, videos, pics)

5. Encourage all your friends on Facebook to Like, Share, Comment and Post on their page.

6. “Tweet” a link to their page, videos, pics that are posted on Facebook to encourage more people to check them out.

This challenge goes to October 18th. With your kind help you can really make some impact. All you need to do is "like" and share the news on social media. Thanks again in advance!

JOSEPH BRIDGE- NEW SONG/VIDEO

Joseph Bridge has just released a taster single with accompanying video and the industry buzz surrounding his efforts is growing exponentially.

"Phyllis the Parking Meter Lady" is a stunning exercise in creativity, esoteric beauty and economy, wrapped in a hook that ranks with the best that you've ever had the pleasure to encounter. Joining Joseph on the track is UK singer/songwriter Ian McNabb, who raises the game with his peerless vocals. All of the excitement and eclecticism that powered classic elite pop/rock anthems is present here with high production values, great musicianship and originality.

Remember a time when radio provided a diverse group of sounds and was never sparing on surprises? While it is new, this record has a timeless quality that will quickly earn a coveted position in your music collection and remain fresh when all other contemporary flavors of the week fall victim to obsolescence.

Phyllis was recently crowned record of the week in Holland and is now garnering airplay in the UK and Canada.

Over the next few days, I will be featuring two more fantastic new songs from Joseph Bridge. Stay tuned!



Find out more about the artist here

Issue of a full length disc is planned for fall 2014.

THE GREAT AMERICAN ROBBER BARONS

The Great American Robber Barons have just issued a subtle, quiet song cycle that features the majestic crystalline lead guitar of Keith Dion, impassioned powerhouse vocals from Diana Mangano and masterful songcraft. They are joined by drummer Prairie Prince and jazz pianist Ricardo Scales.

Reno Nevada... and Other Songs of Gambling, Vice and Betrayal is a stellar debut record.

Keith’s lyrics are poignant, political, and literate. His poetic social commentary covers the 99% (“At The Hands Of The Robber Barons”), the atrocities of war, gun control, animal rights (“Conquistador” and “You Don’t Know The Half Of It”), and women’s rights. He also explores the painful complexities of growing up as a child of a Vietnam veteran.

Keith: “Every song on the album is about gambling, vice and betrayal, and we really mean it.”

Underpinning this subject matter with incredibly deft playing from all involved, as a listener you get a sense of space in the notes that they purposely don't play. The arrangements perfectly frame Diana and Keith's vocals, never overpowering them. Traces of the Byrds, Nick Cave, Lou Reed and Judy Collins are detected in the mix, though these elements are merely a reference point for those who want to get a preview of what the album has on offer. Highlights include "I Know You Just Don't Want Me Anymore" with Mangano turning in a dynamite vocal and their cover of Richard Farina's "Reno, Nevada" which has a dark, smoky vibe that lingers in your brain. The delicate, delayed guitar figures are the icing on the cake. Much to be commended here, though you would be advised to take in the entire disc to fully appreciate what Keith has to say. There are great rewards in store for those who take the time to seek this one out. Overall, it's an extremely satisfying listen.

Get your hands on Reno Nevada... and Other Songs of Gambling, Vice and Betrayal right here

Hit and like their Facebook page and find out more about the group.

BEWARE OF MR. BAKER

Admittedly, I'm late to the party on this one. Last night, I watched Beware of Mr. Baker only hours after being made aware of its existence. Director Jay Bulger approaches his subject directly and the end product is stellar. For those who know of the massive influence Ginger Baker has had on everyone who picked up sticks in his wake, you will love this documentary.

And the uninitiated? Track this down and velcro yourself in for a gripping 90 minutes on the edge of your seat with a legend. His personal life is certainly not for the innocent, though all is explored frankly. No punches are pulled, as you'll see in the trailer.

Find and watch this movie! Once done, read his autobiography Ginger Baker: Hellraiser to fill in the gaps.



Ginger Baker's Air Force, Beat Club in 1970



Check out the Facebook official fan page here

CTA- SACRED GROUND

California Transit Authority released their second full length disc in the spring of 2013. Sacred Ground is an electrifying, jazz-rock set with tasty grooves, razor sharp horn arrangements and great melodies to the fore.

The tracks are propelled by the immaculate foundation work of legendary drummer, Danny Seraphine. He is at the top of his game, surrounded by a group of impeccable players that include Marc Bonilla on guitars/vocals, Ed Roth on keys, Mick Mahan on bass & Peter Fish on additional keys. Special guests are Larry Braggs on lead vocals, Bill Champlin, Will Champlin, Wes Quave and Eric Redd on lead & backing vocals, Monet Owens on backing vocals, Luis Conte on percussion, Travis Davis on bass & backing vocals, Andrew Ford on bass (Strike), Rick Keller on tenor sax & flute and horn orchestration, Jamie Hovorka on trumpet & flugelhorn, Chris Tedesco, Walt Fowler, Rob Schaer & Gary Halopoff on trumpets and Francisco Torres & Nick Lane on trombones.

It would be fair to say that long-time fans have likely been waiting for something like this since Chicago VII.

Leading off with the title cut, Will and Bill Champlin deliver pristine vocals that float over a tight group cooking hotter than a blast furnace. It makes for a compelling opener, brilliantly executed. "The Real World" continues the onslaught with a signature Seraphine percussive intro, brass parts that could walk a tightrope and Larry Braggs' tenor voice tying it all together. Bonus points for Bonilla as his guitar takes flight in tandem with the horn section. The prospective listener is swept away right out of the gate, with a prevailing mood of joyous abandon permeating the playing. There are detours into the mists of the past with Seraphine's own "Take Me Back to Chicago" and a blistering cover of "I Love You More Than You'll Ever Know" from the first Blood, Sweat and Tears LP. Braggs excels, pouring his soul into the microphone. These pieces mingle seamlessly with the new material.

Tipping their hat briefly to what came before, CTA then proceed to musically tear it up, creating their own rules of engagement with feet firmly planted in the present. Experimenting successfully, they pull off some mind-blowing playing on the instrumentals "Primetime" and Peter Fish's killer "In the Kitchen", featuring Luis Conte on percussion. "Staring at the Sun" is another highlight, with Bonilla and Will Champlin pairing their voices perfectly. One of my favorites is "Full Circle", which Bill Champlin delivers in a classy, heartfelt manner. Poignant as it is perfect, the subject matter refers to Seraphine's own return to playing music after a long hiatus from the business.

With a record of this calibre, his efforts are more than welcome. It is not by accident that he consistently lands on lists that feature top drawer players.

Marc Bonilla deserves special mention for his horn arrangements, in addition to stellar writing and playing. The entire CTA crew is in rare form here. The production is incredible, with a clarity of sound that manages to retain the vibe of takes done live off the floor.

Sacred Ground is a must have for those who want to hear world class musicians coalesce, wrapping their collective energies around solidly constructed songs. There is not a note wasted over 14 tracks and you will return to this set often. Highly recommended listening. Own it right here

DANNY SERAPHINE INTERVIEW

Danny Seraphine is a world class musician, composer and a founding member of Chicago. He anchored the rhythm section of this iconic group for 23 years until his departure from the band in 1990. Rolling Stone Magazine recently ranked him as one of the top 100 drummers of all time. When he was coming up on the music scene, no less a light than jazz legend Buddy Rich called Seraphine his favorite young drummer. In addition to his prodigious gifts behind the kit, Seraphine co-wrote the Chicago Top 40 hits "Lowdown” and “No Tell Lover,” as well as core tunes like "Little One," "Take Me Back to Chicago," "Show Me the Way," "Birthday Boy," and the irresistibly funky "Street Player,” later sampled by rapper Pitbull for the hit "I Know You Want Me (Calle Ocho).” Twice the recipient of Lifetime Achievement Awards from both the Cape Breton and Montreal Drum Festivals respectively, he continues to hone his craft.

Following a 15 year hiatus from the music business, Seraphine returned to form a stellar new outfit called California Transit Authority (CTA) and they recorded/issued a disc called Full Circle in 2007.

2013 has brought music fans another gift with the release of the second full length CTA album, Sacred Ground, which you can purchase here

Find out more about CTA at their website

Mr. Seraphine was kind enough to take time out to chat with me about the new CD. He proved to be as genuine and easy going as he is talented.

To start off, what is your earliest musical memory?

DS: My earliest musical memory...Probably watching my uncle play drums at some family events and weddings. He was a really good drummer.

Do you remember your first gig playing drums?

DS: I don't have a lot of clear memories of my earliest musical event...though I do have one from high school or grammar school where I was playing at a dance and I was playing "Wipe Out" (Sufaris hit from 1963) Everybody was going, "Go, Danny, go!". I had pretty good hands, even then. (laughs) Also, I started playing with the Gene Krupa recordings, so I developed a kind of swinging flair with the traditional grip and I was already applying it to rock and roll. It was kind of cool. That's what I do remember most.

What are the advantages of the traditional grip over the matched grip?

DS: The angle of your left hand lets your stick rest on the snare, where you can ghost note as much as you want, you know. The volume is also a bit softer, too. Also really gives you an edge when playing smooth double stroke "press" rolls. Your left hand technique is more of a circular "press" than a vertical hit.

Turning to the current project, Sacred Ground is really easy on the ears. It's a fantastic recording.

DS: Thank you.

What song most proud of on this record?

DS: Sheesh! (laughs) that's a loaded question. "I Love You More Than You'll Ever Know" is a really great drum part that I put a lot of thought into and I think that it's pretty inventive. Sacred Ground has a great groove. Hmmm... "The Real World" has a really cool drum pattern, you know. I also really like "Staring at the Sun", though, I tell you, for a really great straight rock tune, there's "Out of Reason".

"In the Kitchen" is a monster instrumental track.

DS: Yes! You know, I was just looking at itunes and that is one of the top most streamed...as far as individual songs, one of the top selling individual songs. You're right, that's pretty cool.

It reminds me of some of the stuff that Buddy Rich was doing in the 70s, material from the No Jive compilation. Huge compliment to you as a player. The groove is solid and the percussion (congas) really makes it.

DS: I had Luis Conte with me on that one. Thank you, I'm glad that you really like it

How much preproduction, rehearsal did you do for this recording?. Did you all get together and jam, feel each other out and was it the same unit that did the first CTA project?

DS: Pretty much so. Pretty much so. With, uh, a couple of other people plunked in at different spots, different songs. What we did which was pretty unique to this album, and I really...we really utilized technology and to work for us. We got together, Marc, myself, Nick McCann, Ed Ross, and we got together and we said, "Let's write a record. Let's write an album. Let's get together" Well, first we have to see how it goes. We knew we wanted to write a record and get it done... It took three years. (laughs) We would jam and we recorded it with the hard drive. Obviously the hard disk. We recorded and then listen back when we heard something cool, we looped it, we tried it, Marc then would cut and paste it into a song and so we kind of wrote and sometimes we started out with some changes with ideas for a song. Ed had some changes - some ideas and we'd just take it and run with it, you know. Um, so must of the album was done like that, "In the Kitchen" was written by Peter Fish. He wrote that on his own. With "Take Me Back to Chicago", he arranged that for me...did a whole new arrangement. It's kind of similar in parts in that there's enough of the original that you recognize the song, right? "Staring at the Sun" was put together on the fly, recording bits and pieces and then splicing it together. Then we'd go into the studio to cut it in total. That was just how we wrote the record. It was really cool. I mean, I think you can hear that...it's got a really spontaneous, live feel and yet it's structured.

In the studio, did you record live, off the floor? Because it does have that vibe.

DS: Yeah. Definitely. It was, you know, that was very inspired. Like, "The Real World" for example. If you listen, there's a really weird quirky off time kind of thing that's just a great groove. Marc and I came up with that and then, you know, we found a way to make it work. We had one Chicago cover ("Take Me Back to Chicago") and I said, 'Let's do a Blood, Sweat and Tears song' and then we said, 'Okay. Which songs do you want to do?' That song "I Can't Quit Her." And I said, "You know, 'I Love You More Than You'll Ever Know' is my favorite BST song of all time. And so we did it, we really turned it upside down. But there's enough in it, enough of their arrangment in it, so that you recognize it. We took it in a different direction with the guitar solo. The Jimi Hendrix style guitar solo in the end is just blazing. And Larry Bragg...Larry does the vocal arrangements. His vocal performance is just off the charts. He said, 'You want me to sing this? That's a real challenge.' Because Donny Hathaway's version...everybody considers that to be the Holy Grail. And so, I think we managed it. Larry did a phenomenal job. Al Cooper heard it and he really complimented it.

Love the horn charts on the album. Who wrote/arranged them?

DS: Marc Bonilla, who is a really great musician. He did a great job with those parts.

Were you the defacto band leader in the studio? Or was it a democratic process with Marc and the other musicians?

DS: It was Marc and I, you know, Marc and I predominantly, then everybody has their face time. We really tried to keep somewhat democratic in a way, but if you get too democratic...you compromise yourself into mediocrity. So, you can't do that either.

There always has to be a band whip. Like Buddy Rich, who led some pretty great bands in his time...

DS: Oh God, yes...

It's not uncommon for the drummer to be captain of the team.

DS: Marc Bonilla and I...we're both pretty much alpha dogs. That's just the truth. We have a great respect for one another and it shows through. If I go to them with something that they like but I really don't like it? Well, they'll usually honor me and vice versa. And if Marc comes to me with stuff that really bothers him? Well, there was something that I really liked on this record. It was a background part on 'Take me Back' that I invented in the studio and I really loved it, but it really bothered him. It was going to bother him until the day he died. I said, 'Okay. I'll give it up.' Same thing with Ed. I'm a band guy. I love bands. It takes work and they can be a pain. And in this day and age it's really tough. Touring is tougher than ever. Economically, it's just...it's almost, at times, impossible, but the byproduct? The end result is just so good, especially with this record. We're all so proud of it. You know, it's doing quite well for this market, and I hate to put the asterisk next to it, but CD's just don't sell like they used to. The reality after this one is that we probably sold the same amount of CDs as we have digital downloads.

On that note, what is your opinion of the current culture of itunes and contemporary delivery chains for music in general? Do you miss certain processes from the past?

DS: I miss selling a couple million CDs...(laughter) Well, it's really tough to say. The good thing is that we have complete control...complete creative control and all. I miss certain things, but the culture of 'free music' and 'why pay for it?' isn't a good thing. Free downloading has really hurt the industry. There's no way to turn the clock back and make it go away so I have to live with it. Nonetheless, I feel that we've made a great record that will stand the test of time. The same is true of the first album, I mean, that's still selling. That will sell for 50 years. And I believe this record will sell, even better than the first record, for sure. The first record has some great merits and it's got great energy, too.

I think I know the answer to this one but have to ask, do you prefer the analog or digital recording process?

DS: Really, you might be surprised here, but I do like more modern recording techniques. Sure, there are a lot of great things about analog, though, we have a really great engineer by the name of Mark Green. His studio's called The Green Room in LA, that's in the valley. He really knows how to get all the plug ins and stuff. He's an old school engineer to begin with, so he pretty much knows. The engineers...the really good engineers, the great engineers, are really good at emulating analog with digital. What I'd like to do...and maybe with the next record we'll do this...is, ah, find a really good Studer machine, one that's in really good condition and use it for the basics and then go over to digital.

Recording software like Pro Tools and Logic make certain parts of the process a lot easier.

DS: I have overdubbed drum parts, but I did it in analog, too. Used to be really good at it in analog, which is 10 times harder. I do have Logic at home, by the way. I love Logic. I'm not that great with it yet but I really like it.

You received a Lifetime Achievement Award at the 2010 Cape Breton Drum festival. Having grown up in that area, I am curious about your recollections of that event. When you went to receive your award, were you able to take in some of the local music scene?

DS: No, unfortunately I didn't. I loved the area. Bruce (Aitken) was a very, very close friend of mine. Bruce and his ex-wife. It was great, probably the best drum festival in the world.

On a final note, is there any new music that has caught your attention? Anything that you are listening to now?

DS: Not particularly. I find that a lot of it is too over-processed for my liking.

We are definitely on the same page on that. Too much button pushing, not enough soul. I want to sincerely thank you for taking the time to chat with me, sir. As I mentioned, Sacred Ground is a great record and something that you should be extremely proud of. It was a pleasure speaking with you.

DS: I appreciate that, my friend, thank you again.

All thanks go to Mr. Seraphine for his insight and generosity. Stay tuned for my review of Sacred Ground! Here's a little taste of CTA.