Mr. G's Song of the Week "Warped Sister"

Well folks, this is it... my final blog post written in North America. On August 22nd, my wonderful female companion, Justine, and I will be relocating to the truly burgeoning metropolis that is Milano, Italia (no offense, London, ON'ers). I am hoping to continue contributing to this fine online publication, but it's difficult to know at this point whether time will allow for it. On top of the complications of moving to a new country, myself and Mrs. G (as Rob likes to call her) are preparing to endure our first year as teachers. So, like I said, should time and a stable internet connection be made available, you will continue to be subjected to my music musings on a weekly basis.

For this final North American post, I wanted to pick a song that was just downright funky. Something to force you out of your seat and make you dance nonsensically around whatever space you happen to inhabit. Well ladies and gents, it don't get much funkier than the man who penned "Green Onions," one of the grooviest instrumental tunes of all time. His name is Booker T. Jones. He fronted the Booker T. and the MGs throughout the '60s and '70s and did things to the Hammond B-3 organ that to this day cannot be replicated. And not only all of that, but after a 17-year hiatus since his last studio album, the man is back this year with a new record, Potato Hole.

Joined in the recording sessions by southern rock dynamos, Drive-By Truckers, and none other than Neil Young, Booker T. has put together an album of original instrumental tracks, with a few covers sprinkled in, designed to remind you just how good he can really be. The cream of the crop is "Warped Sister," an organ-driven beauty that, as designed, will be sure to induce furious booty-shaking. I hope you enjoy this installment of Song of the Week, and I'll be in touch soon from the other side of the pond.

A presto,

Mr. G.

[mp3] Booker T. Jones - Warped Sister

Mr. G's Song of the Week: "When I Go Away"

If you've been a regular reader of Mr. G's Song of the Week since its inception not too long ago, then it's likely become obvious to you that I have a certain affinity for modern indie rock music. This is true. There are a lot of fantastic bands playing cool and innovative music that can be placed under the broad umbrella that is "indie". But, dear friends, I must inform you that this is only one side of my musical personality (and a relatively new one, at that). The truth is, the foundation of my appreciation for music in general is steeped in the raw deliciousness of rock music from the '60s and '70s. Personal favourites include The Grateful Dead, The Allman Brothers Band, Little Feat, and the band to whom today's SOTW selection is inherently connected... The Band.

The inherent connection to which I allude is that Levon Helm, the artist responsible for this week's outstanding auditory offering, was the drummer of the legendary The Band. Today he fronts The Levon Helm Band and this week's selection is off of his new album, Electric Dirt, the follow-up to his Grammy award-winning Dirt Farmer, his first studio release since 1982. So allow me, if you will, to break from my indie rock monotony and present to you a song that incorporates the staples of what one would consider to be true music Americana. Incorporating elements of country, blues, gospel and soul, "When I Go Away," penned by the band-hopping multi-instrumentalist Larry Campbell, and brought to another level by Levon's raspy vocal delivery, is a foot-stomping hand-clapper that you won't soon forget. And he shall be Levon. The legend continues to grow.

[mp3] Levon Helm - When I Go Away

Mr. G's Song of the Week - "Casablanca" and "The Valley Town"

I'd like to begin this installment of Song of the Week by apologizing to my throngs of loyal readers for missing last week's post. It's something I hope does not happen often, but sometimes life (including a wedding in Ottawa, awesome white water rafting on the Ottawa river, and spending the night attempting to sleep on the floor of an empty classroom with sugar-riddled children running through the halls well into the early hours of the morning) gets in the way. Hopefully you'll forgive me. To make it up to ya'll, I've decided to make this week's SOTW a Polaris Prize double bill.

Perhaps you're like me and you haven't heard of some of the bands that have made the short list for this year's prestigious Polaris Prize. Instead of using this as an opportunity to verbally berate the bloggers and journalists who decide upon the nominees for said award, I look at it as a chance to get into some new Canadian music that is likely to be very, very good. As predicted, I've been pleasantly surprised by some of what I've come across during my recent Polaris Prize-inspired musical forays.

My first of two selections this week is "Casablanca" off of the album Labyrinthes, the latest by Montreal band, Malajube. The largest city in Quebec has been a breeding ground for some the best music Canada has to offer in recent years. The Arcade Fire, Plants and Animals, and Patrick Watson (winner of the Polaris Prize in 2007 and once again nominated this year) immediately come to mind. What makes Malajube different, and especially impressive, is their ability to cross over to English audiences while sticking to their francophone roots. All of their songs are written and performed in French. Enjoy the beautiful layerings of sound and the orchestral rock vibe that "Casablanca" has to offer. The language barrier should not adversely affect your listening experience.

[mp3] Malajube - Casablanca























The SSOTW (second Song of the Week), although in no particular order, is "The Valley Town" by hometown boys (I'm from Toronto), Elliott Brood. It comes off of their newest album, Mountain Meadows. To be perfectly honest, I'm not quite sure what to make of this band. Their country-tinged rock stylings are impressively catchy at points, but at others, things just don't seem to click. In part, I think it's because lead singer Mark Sasso's gritty vocals don't jive with the type of melodic music the band produces. His throaty howls seem better suited to a more "hardcore" genre. That being said, "The Valley Town" is a wonderfully captivating, ukelele-driven ditty that'll have you snapping your fingers in no time. The singing is slightly more subdued on this one, and in a classic case of less is more, it adds to the song's tastiness. Bon appetit!

[mp3] Elliott Brood - The Valley Town

Mr. G's Song of the Week - "Emma Jane"

As I sit sleepily at my desk and contemplate the possible subject matter of another edition of Song of the Week, there are two things very much on my mind. The first: day camp is unbelievably exhausting. The second: what delicious tuneage do I want to close my eyelids to and use to help sail me into the dreamland I so cherish visiting every night? That's right folks - we're talking sleep music.

There is music for every occasion. There are party tunes, walking/jogging/working out tunes, marking tunes (fellow teachers know what I'm talking about), and yes, there are most certainly sleep tunes. Made-up scientists have proven that there is a direct correlation between the quality of music one listens to before sleep and the quality of one's sleep. Feel free to leave a comment below about which band creates your sonic sleep waves, but the one currently at the top of my naptime list is Texas-based band, South San Gabriel.

The track in particular is the first off of their 2008 album (co-created with Centromatic), Dual Hawks, and it is titled "Emma Jane". A gorgeous blend of soothing acoustic guitar, relaxing violin tones and heartfelt vocals, this delicate composition should by no means be used solely for the purposes of drifting off. In fact, it is just as good, if not better, while listened to in a state of total consciousness. But that being said, if you're looking for a serene auditory experience, perhaps one that will lead you into a state of such peacefulness and tranquility that a transition from wakefulness into sleep becomes inevitable, then Emma Jane is the song to take your mind to such a wondrous place. Until next week, zzzzzzzzzzzzzzzzzzzzzzzzzz.

[mp3] South San Gabriel - Emma Jane

Mr. G's Song of the Week "100 Days, 100 Nights"

In 1967, the late American soul singer Arthur Conley famously sang: "Do you like good music? That sweet soul music." Throughout the song, aptly titled "Sweet Soul Music," Conley pays homage to the who's who of soul singers from his generation. Spotlight on Lou Rawls, ya'll; Sam & Dave; Wilson Pickett; my personal favourite, Otis Redding; and of course, "the king of them all," James Brown. Which got me to thinking... what would a modern day "Sweet Soul Music" look like? To whom would such a song give "props"?

Perhaps it's my lack of expertise in the modern soul scene, but the names of current soul singers don't pop into my mind the way that countless past legends do. Raphael Saadiq is a young man who's smooth-as-butter vocal talent echoes those of past greats. I might include Mary J. Blige on that list, although I think she would be more accurately lumped into the "R&B/pop" category. But the other night, as I received my first ever taste of what the Toronto Jazz Festival has to offer, I found my modern soul queen at Nathan Phillips Square. Her name is Sharon Jones, and her formidable backing band is known as the Dap-Kings.

Good God! Sharon Jones & The Dap-Kings put on a tremendous show. Unfortunately, I arrived late to the ball and only caught the last 4 or 5 songs, but that was more than enough to blow my socks off. Not one person in the tent wasn't dancing their hearts out. The music was so swingin' one really didn't have much of a choice. I received first-hand accounts that things got so raucous earlier in the set that audience members were called onto the stage to shake their groove thing with the 53-year old, booty-bumping Jones herself. If you get the chance, SEE THIS WOMAN! But until then, enjoy the small fraction of her live soul/funk energy that is captured in her studio work. The title track off of her 2007 album, "100 Days, 100 Nights," should whet your appetite.

Sharon Jones & The Dap-Kings' next Canadian date is July 16th at the Cisco Ottawa Bluesfest.

[mp3] Sharon Jones & The Dap-Kings - 100 Days, 100 Nights

Mr. G's Song of the Week "The Thief & The Heartbreaker"

What ever happened to good, old-fashioned, straight-ahead rock & roll? No really, what happened? It seems like the vast majority of new bands out there today feel like they have to do something weird, innovative and different in order to set themselves apart from the cajillions of others like them. Otherwise, how are the "bloggers" going to pick who to write about and transform into the next musical internet sensation? So I suppose it's necessary, to a certain degree, for upstart musicians to take an unconventional route in their songwriting and production.

In many instances, the weirdness works wonderfully. One of my newest favourites, Alberta-based Chad VanGaalen (thanks to the R.O.B. for turning me on to this Canadian treasure) is uber-weird. And I absolutely love it!!! Perhaps the most popular band in the world, Radiohead, oozes weirdness into the ears of its listeners to their praise and unquestioning adulation. The list goes on and on. But today, in this blog post, I'm choosing to write about a band, and a song in particular, that demonstrates the qualities of good old-fashioned rock and roll.

"Hey, hey, my, my. Rock and roll will never die." Maybe it was bands like Alberta Cross that Neil Young was singing about in 1979, banking on future generations of musicians to continue the rock and roll tradition that he and many others carried on from the '50s and cemented in the '60s. If that was indeed Neil's call, then Alberta Cross has answered. This 5-piece band out of Brooklyn, New York produces soulful, musically delicious rock songs that, interestingly enough, are often compared to those of the aforementioned Mr. Young. This installment of Song of the Week features the rollicking first track off of, and shares its name with, the band's debut album, "The Thief & The Heartbreaker." As the electronic revolution continues to change today's musical landscape, and as more and more bands try to create a unique identity through strange sounds and over-artsiness, it's almost as if rock bands like Alberta Cross are the ones experimenting in weirdness.

"Let there be rock."

- AC/DC

[mp3] Alberta Cross - The Thief & The Heartbreaker

Mr. G's Song of the Week "Hold Your Head High"

In a rare Song of the Week moment, I have a band from whom I know I would like to select a song, I have the album from which said song will be picked, but I'm having a great deal of difficulty honing in on one particular track that I think stands above the others. Such is the dilemma one faces when confronted with a consistently good album from start to finish. And such is the description I will bestow upon "The Mountain," the third album from Cincinnati garage rock band, Heartless Bastards.

Aside from their awesome band name, this trio of talented musicians deliver a sound that is gritty in its reverb-soaked, blues rock moments, with an impressive ability to shift gears and slow things down. In fact, I think the selection for song of the week should be one that showcases both of these aspects of the band's musical personality. I've been listening intently to the album while writing this post and song number 5 strikes me as the best overall representation of the band's vibe. So it's decided; the song of the week is "Hold Your Head High," not to be confused with the 1972 classic rock beauty "Hold Your Head Up" by the English band, Argent.

As musically tight as Heartless Bastards are, the band is truly carried by the unique vocal stylings of front-woman, Erika Wennerstrom. In my estimation, she is like the female version of Nathan Willett, lead singer of California indie rockers, Cold War Kids. For those not familiar with the CWK, let me at least attempt a vocal description. Erika sings in a deep-ish warble that has a certain "je ne sais quoi," commanding attention and entrancing the listener. Vague description, I know. But it's a presence that takes the music to the next level, to the top of "The Mountain," if you will. And with "The Mountain" in mind, I humbly suggest that if you dig this installment of Song of the Week, check out the album in its entirety.

[mp3] Heartless Bastards - Hold Your Head High

Mr. G's Song of the Week "Bull Black Nova"

My plan was to show a great deal of self-restraint and wait until Wilco's new, self-titled album was officially released before commenting on any of the new tunes that can be found on it. But since everybody and their grandmother have heard the album which has been widely leaked on the interweb, and since Wilco themselves streamed the album in its entirety on their myspace page and official website, I'm throwing caution to the wind and proclaiming "Bull Black Nova" the Song of the Week.

"Wilco (the album)" finds the Chicago-based band playing it safer than some of their more experimental offerings from years past. There is more of a reliance on the pure genius of leadman Jeff Tweedy's songwriting ability than on creating weird and unusual sounds with which to surround those songs. As a result, "Bull Black Nova" stands out as the record's most innovative track, and in this writer's opinion, its best.

If ever there was a song created to represent the hysterical terror and unescapable frenzy that overwhelms someone driving with a dead body in their trunk while running from the boys in blue and generally freaking out; this is it. "Bull Black Nova" is the perfect musical representation of what it must feel like to endure a full-on panic attack. Pounding, repetitive piano propels the track forward, complimented by guitars that jump around and play off one another in classic Wilco fashion.

The song mirrors the emotional state of its narrator. It begins with a "hmm, I'm probably in a not-so-good situation at the moment," builds momentum into a "there's really no way out of this situation, I am totally screwed" until peaking into a feverish crescendo of "my life as I have known it is now over and I might as well crash this Chevy Nova into a tree and end it all." It's not for the faint of heart but I hope you enjoy the emotional rollercoaster ride that is "Bull Black Nova."

You can stream Wilco's new album at: http://wilcoworld.net
Edit: Its actually not streaming anymore, but, I suspect, you can find it elsewhere in the web; or, you could just wait to hear it until the end of the month.

Mr. G's Song of the Week - "Ten Women"

There is no shortage of Bob Dylan comparisons when one speaks of renowned indie singer/songwriter, Conor Oberst. Whether performing alone, with his band Bright Eyes, or with his current outfit, The Mystic Valley Band, the unique poignancy and poetic quality of his lyrics has often reminded listeners and critics alike of the one and only "Zimmy". Quite honestly, though, the likeness between these two guitar-wielding wordsmiths has always been lost on me... until now.

While listening to "Ten Women" for the first time I was immediately struck with a strong waft of Dylanism. Beyond the acoustic guitar and simple song structure, there are points where, without prior knowledge, one might swear up and down that Dylan was in fact singing. Such moments will become obvious to anyone with some auditory recall of Dylan's unique vocal style. From a lyrical standpoint, the song alludes to a lost love that was never meant to be, but one that "ten women" cannot replace. In Dylanesque fashion, the meaning of the song is never directly addressed but is instead danced around poetically.

But to devote this entire post to a Dylan comparison would not do justice to the singular talent of Conor Oberst. Although "Outer South" (the album to which "Ten Women" belongs) is not his best, due largely to the fact that he graciously shares song-writing duties with his bandmates, this song and a handful of others showcase the impressive talent of one of today's most talented young musicians. "Ten Women" is a gem amongst a collection of many that Oberst has written throughout his sparkling career thus far, and I hope you enjoy it as much as I do.

[mp3] Conor Oberst and the Mystic Valley Band - Ten Women

Mr. G's Song of the Week "Faerie Dance"

I tried to avoid choosing "Faerie Dance" by Montreal-based Plants and Animals for this installment of Song of the Week. I really did. I told myself that I should try to pick a song off an album that is more recent than the 2008 Polaris Prize-nominated "Parc Avenue," which came out over a year ago. Come on, Mr. G, there must be something more recent that warrants a shout-out in this blog column. You want your readers (I know you're out there) to think you're hip and with it. But try as I might, I simply could not escape the unadulterated epicness encapsulated in this grandiose track.

I found myself listening to it constantly. Found myself humming, as I walked down the street, the various melodies that make up the three distinct parts of the song: the sweet and soft beginning... the heavy, dark, and rhythmic meat of the song sandwich... and finally, the tasty "lalala" sing-along that sits in your brain for days and escapes from your lips with such regularity that your friends and loved ones have no choice but to ask you to kindly shut up.

Lastly, I found myself rocking out to "Faerie Dance" live at The Mod Club this past Thursday night as Plants and Animals performed to a packed house. As my head bobbed back and forth and my shoulders shimmied in distinct Mr. G fashion, it became clear to me that this song is as relevant and beautiful as ever. It's one of those musical masterpieces that you'll listen to 10, maybe 20 years down the road and find yourself dancing to with the same energy and enthusiasm that you did in your former youthful state. I'm thrilled to hear what this three-piece band has in store for us on their upcoming full-length release, but until that time comes, "Faerie Dance" should tide us all over just fine.

[mp3] Plants and Animals - Faerie Dance (live @ the Mod Club)

Mr. G's Song of the Week - "Hey, Snow White"

Hello and welcome to the inaugural "Mr. G's Song of the Week" post. Much thanks to the R.O.B. for welcoming me into his highly-touted blogosphere. I can only hope my contributions warrant an overall rating of Level 4+ (that's teacher-speak) and that you, dear reader, hold fast to the suggested listening material previewed here and live a healthier and more well-rounded life as a result.

You know a song is good when after one listen you begin frothing at the mouth and immediately set about to acquire that band's entire discography without so much as giving the song another listen. Such was the response elicited by The New Pornographers' "Hey, Snow White." Perhaps that places me behind the times a little, considering this band has been a powerhouse on the Canadian indie scene for some time now. Well so be it. The song and the band kick derriere whether you discovered them at their inception in 1997 or today.

Recorded for "Dark Was the Night," the newest of twenty compilation albums whose proceeds go towards the Red Hot Organization, a charity that raises funds and awareness for HIV and AIDS, the album is a who's who of indie rock superstars. But of all the fantastic contributions to the record, "Hey, Snow White," tucked away in the middle of the second disc of the two-disc set, stands out. An elegant rocker, complete with captivating melody and delicious harmonies, the song (in my humble interpretation) speaks to the crisis of today's economic situation and the importance of doing what you love to do when working for "The Man" doesn't quite work out. Because as the New Pornographers so eloquently state: "When the company goes public, you've got to learn to love what you want." Like much of their work, though, "Hey, Snow White" can be interpreted in a myriad of ways.

The song has great pace, moving from gentle, piano-driven sections to the rocking chorus and back again. There's even some glockenspiel thrown in for good measure. And where there is glockenspiel, one will find Mr. G's song of the week. Enjoy!

[mp3] The New Pornographers - Hey, Snow White