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'I found solace in my difference': Coeur de pirate writes touching essay after Orlando shootings

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Quebec singer Coeur de pirate has written a personal essay in response to the shootings in Orlando at Pulse nightclub, where 49 people were killed last weekend.

In an op-ed published on Noisey, Coeur de pirate, born Béatrice Martin, writes of being in Paris and learning of the shootings while still reeling from the shock of the death of former The Voice contestant Christina Grimmie, who was also shot to death in Orlando last weekend in a separate incident. "I feel sick, I feel powerless," Martin writes.

Citing the "wonderful" response to the shootings on social media with hashtags like #gaysbreaktheinternet and the existence of North Carolina's HB2 bill, Martin writes she feels like a hypocrite because of her own experiences, revealing that her first romantic thoughts were about a girl when she was around six years old.

"That's why I'm coming out as queer today," Martin writes. "I can no longer be scared of what people might think about me. I can’t be scared that someone will stop listening to my music, or that parents might not want their kids listening to me because of the fact that I want to love whoever I want to love."

Martin acknowledges her decision to come out publicly is not easy, but hopes it can help others.

"I’m sure that if you’re not in a big city, and that you feel scared to come to terms with who you really are, what happened in Orlando can scare you to become the person you were meant to be. This is my message to you, as someone that was terrified as well, that I found solace in my difference."

Read Coeur de pirate's entire essay here.


The Montreal Symphony Orchestra’s new octobass has arrived

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The Montreal Symphony Orchestra just announced that it has acquired an octobass, the largest and lowest-sounding instrument of the string family, becoming the only orchestra in the world to have this rare instrument in its ranks.

“For many years, we at the OSM have strived to present performances of great 19th-century repertoire inspired by the perspectives offered by recent scholarly research,” said music director Kent Nagano in a press release. The orchestra takes a step closer to that goal by the addition of the octobass, long missing from the modern stage and advocated by many composers, notably Hector Berlioz.

Standing 12 feet 8 inches tall, the octobass comprises hundreds of parts and a system of levers that make it possible for an experienced musician to play with a bow.

The instrument, a faithful reproduction of the original built by Jean-Baptiste Villaume, will first be heard on Oct. 20, 22 and 23 in concerts featuring Schumann's Cello Concerto, Strauss's Ein Heldenleben and a new work by José Evangelista. Double bassist Eric Chappell will specialize in its performance.

MSO's new octobass
Posing with the MSO's new octobass are, from left: Mr. Roger and Mrs. Huguette Dubois (benefactors), double bassist Eric Chappell and music director Kent Nagano. (Supplied by the MSO)

Violist Teng Li hosts This Is My Music

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Teng Li hosts This Is My Music

Toronto Symphony Orchestra music director Peter Oundjian calls Teng Li “an extraordinary talent that everyone recognizes.” Li earned the principal viola position at the TSO at the tender age of 21. Since then, the orchestra has featured her as a soloist many times.

Born in Nanjing, China, Li started playing viola at the age of five. She progressed quickly to the Beijing Central Conservatory and by the time she was 16, Li was attending the Curtis Institute of Music in Philadelphia, studying with teachers Michael Tree and Joseph DePasquale and Otto Werner-Mueller.

Now Li is a teacher at the University of Toronto and the Conservatoire de Musique de Montréal, in addition to her TSO duties. As well, Li has given recitals across North America, and is an accomplished chamber musician as well as a member of Toronto’s Trio Arkel.

This week, Li is the host of This Is My Music. 

My Playlist: Jully Black shares her favourite music

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My Playlist with Jully Black

Jully Black is one of the finest R&B performers in the country, but really, that’s just a starting point. Her work is constantly evolving, weaving influences from hip hop, rock, reggae and dance into her musical arsenal. She’s collaborated with Kardinal Offishall, Choclair and Saukrates. She’s written music for film and television.

For Black versatility is key, not just in her music but in her career choices too. She appeared in both the the TV series and stage versions of Da Kink in my Hair, has been a correspondent on Canadian Idol and a celebrity reporter for E-Talk.

In 2010, Black headlined the opening ceremony for the Winter Olympics in Vancouver. Later that year she performed at the Canada Day celebrations in London, England and sang for the Queen.

In 2013, CBC Music named her one of the top 25 Canadian singers - ever.

On this edition of My Playlist, the one-and-only Ms. Jully Black shares her favourite music.

First Play Live: Ria Mae

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Ria Mae really made a name for herself with her hit single "Clothes Off." It was officially released a year ago and was nominated for a Juno for single of the year. Mae took another year to release the full album that "Clothes Off" is from, but the wait has been worth it. She teamed up with Classified, who produced the album, and the two are a great team (watch Classified and Ria Mae in action).

Mae played five songs from her new, self-titled album at the CBC Music Festival. The weather was beautiful, and it felt like the first day of summer in Toronto. As Mae played her opening song, fans streamed over from other parts of the park and by the time she played her latest single, "Gold," the audience was dancing and singing along.

Watch Mae play songs from her self-titled album here:

Watch Hey Rosetta! cover the Tragically Hip’s 'Ahead by a Century'

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"We're all for Gord. This one's for Gord," said Tim Baker, the lead singer of Hey Rosetta!, about halfway through their set at the 2016 CBC Music festival.

There was no doubt who the Gord in question was. Days prior to the concert, it was announced that Tragically Hip frontman Gord Downie was diagnosed with brain cancer, so Hey Rosetta! took their moment to shine a light on the legendary Canadian band. What followed was a note-for-note cover of "Ahead by a Century," from the Hip's album Phantom Power. Watch it below. 

Related

CBC to broadcast final show of the Tragically Hip's Man Machine Poem tour

CBC to broadcast final show of the Tragically Hip's Man Machine Poem tour

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If you are among the many disappointed fans who could not get your hands on tickets for the Tragically Hip's summer tour, we have some exciting news for you.

On Saturday, August 20, the Hip will put a cap on the Man Machine Poem tour with a hometown show at Kingston's Rogers K-Rock Centre, and CBC will be there to broadcast it to all of Canada, commercial-free, across our television, radio, social and digital platforms.

Here's the official release with full details:

CBC and The Tragically Hip have partnered to celebrate the band’s historic Kingston, Ontario tour stop and make it available to all Canadians and audiences around the world in a live, commercial-free, all platform broadcast on Saturday, August 20. The iconoclastic Canadian rockers return to their hometown for the final stop of their Man Machine Poem tour. CBC is broadcasting and streaming this monumental event live at 8:30 p.m. ET across CBC Television, CBC Radio One, CBC Radio 2, CBC’s YouTube channels, and cbcmusic.ca. The Kingston performance will be the culmination of a multi-week national celebration of Canada’s unofficial poet laureates.

The 15-date sold out cross-Canada tour coincides with the release of the band’s 14th studio album, Man Machine Poem. The final stop on the tour sees Gord Downie, Paul Langlois, Rob Baker, Gord Sinclair, and Johnny Fay perform at Rogers K-Rock Centre in what is sure to be a celebratory and moving night.

“The Tragically Hip’s enigmatic sound, their poignant and witty lyrics, and the unique, special relationship they have with their fans have helped define and influence our identity as Canadians,” said Heather Conway, executive vice-president, English Services, CBC. “It’s hard to overstate the importance of this tour. CBC and The Hip are so happy to be able to share this event with all Canadians and bring audiences across the country and around the world together to celebrate the moment.” 

Formed in Kingston in the mid-80s, The Tragically Hip have sold millions of records worldwide, managing to enjoy both mass popularity and critical acclaim. The group released their first album in 1987, and have since released 14 studio albums, earning two diamond certifications and 20 #1 hits. The Hip has won 14 Juno Awards and was inducted into the Canadian Music Hall of Fame in 2005. They have also received the Governor General’s Performing Arts Award, as well as honorary degrees from the Royal Conservatory of Music and most recently Queen’s University.

 

Related:

The Tragically Hip's 12 albums, ranked

25 things you didn't know about the Tragically Hip

The Tragically Hip's '50 Mission Cap' in comic book form

True and tragic Canadian stories behind Gord Downie's best lyrics

Is the Tragically Hip really the most Canadian band ever?

Rear-View Mirror: The Tragically Hip’s "Wheat Kings" and the True Story of David Milgaard

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Each week on Rear-view Mirror, Rich Terfry and the Radio 2 team look back at a great song from the good ol’ days. Today, Talia Schlanger steps in for a story about the Tragically Hip's "Wheat Kings."

Before there were TV shows about cold cases... Before everyone at the office water cooler was talking about true crime stories like Serial, or Making a Murderer - there was the Tragically Hip’s 1992 record Fully Completely, and the true crime story song "Wheat Kings." 

LISTEN

Talia Schlanger shares the true story of David Milgaard, the subject of the Tragically Hip's "Wheat Kings."

Gord Downie and the Tragically Hip invite you to lie down - right in the middle of a field in the Paris of the Prairies - Saskatoon. Before you know it, you’re staring out at stunning farmland and endless Saskatchewan skies - and you’re singing along. So completely wrapped up in Gord’s musical blanket that you’d be forgiven for missing the ugly story behind the pretty things. so here it is…

In 1969, David Milgaard was your typical 16 year old hippie, driving West on a road trip with his buddies. They made a pit stop in Saskatoon to pick up a pal, on the morning of January 31 1969.

On that very same morning, in that very same area, a young woman was raped and murdered.

A month later, David Milgaard was a suspect.

By May, he had been charged with murder.

A year later, David was sentenced to life in prison.

Canada was horrified. David’s mother was devastated. She orchestrated appeals. She helped find fresh evidence. More appeals. A new suspect. Appeal, again. No matter. David Milgaard was behind bars. 22 years passed, 5 different Prime Ministers held office. Until finally the Supreme Court heard new evidence and held a new trial. April 16, 1992. And that night, all of Canada heard Peter Mansbridge on the nightly news:

"In legal terms, it's called a stay. But today David Milgaard didn't stay anywhere. He left prison, a free man." (listen to the audio version of Rear View Mirror to hear archival clip)

Here's David speaking 22 years later:

You could hear the gasp roll across the Prairies, and across Canada in April of 1992…
David Milgaard was innocent. He was free. Or at least free from prison. Free to start a long process of recovery, including the trip he took the following year to meet the Tragically Hip; where he shook Gord Downie’s hand, and then stood in the crowd at a Hip concert, as they dedicated the song they wrote about David to David. This song. Wheat Kings by The Tragically Hip on Rear View Mirror.

Here are some other great editions of Rear-view Mirror:

Simon & Garfunkel - "So Long, Frank Lloyd Wright"

Steve Miller Band - "The Joker"

Stevie Wonder - "Big Brother"

Bob Marley - "Night Shift"

Python Lee Jackson - "In A Broken Dream"

Roberta Flack - "Killing Me Softly With His Song"

Prince - "When Doves Cry"

Wanda Jackson - "Hard Headed Woman"

Al Green - "Love and Happiness"

Darrell Banks - "Open the Door to Your Heart"

Stevie Wonder - "Superstition"

Bob Marley - "Redemption Song"

Dexy's Midnight Runners - "Geno"

Richard Berry - "Louie Louie"

The Beatles - "Strawberry Fields Forever"

Maggie Thrett - "Soupy"

Freda Payne - "Band of Gold"

The Beatles - "A Day in the Life"

Michael Jackson - "Billie Jean"

David Bowie - "Heroes"

The Kinks - "Waterloo Sunset"

The Rolling Stones - "Gimme Shelter"

Bruce Springsteen - "Fire"

Buddy Holly - "That'll Be The Day"

Johnny Cash - "Walk the Line"

Bob Dylan - "Like a Rolling Stone"

George Harrison - "My Sweet Lord"

Lynyrd Skynyrd - "Sweet Home Alabama"

Bobbie Gentry - "Ode to Billie Joe"

The Beach Boys - "Never Learn Not to Love"

Johnny Cash - "Ring of Fire"

The Kinks - "You Really Got Me"

The Beatles - "Yesterday"

Al Green - "Let's Stay Together"

Simon and Garfunkel - "The Boxer"

Smokey Robinson and the Miracles - "Tracks of my Tears"

Elvis Presley - "Heartbreak Hotel"

Bruce Cockburn - "Lovers In A Dangerous Time"

The Doors - "Light My Fire"

Bob Dylan & Jimi Hendrix - "All Along The Watchtower"

The Clash - "London Calling"

Phil Spector and the Ronnettes - "Be My Baby"

Os Mutantes - "Ando Meio Desligado"

The Diamonds - "Little Darlin"

Captain Beefheart - "Yellow Brick Road"

Elton John - "Bennie and the Jets"

Hank Williams - "Long Gone Lonesome Blues"

R.E.M. - "What's the Frequency, Kenneth?"

Tom Waits - "Jockey Full of Bourbon"

Neil Diamond - "Sweet Caroline"

The Who - "Pinball Wizard"

Buffalo Springfield - "For What It's Worth"

Five Man Electrical Band - "Signs"

Band Aid - "Do They Know It's Christmas"

John Lennon - "Imagine"

The Ugly Ducklings - "Nothin"

Bob Dylan - "Tangled Up In Blue"

The Beatles - "Norwegian Wood"

The Pursuit of Happiness - "I'm An Adult Now"

Bruce Springsteen - "Born To Run"

Arcade Fire - "Wake Up"

Gnarls Barkley - "Crazy"

Big Joe Turner - "Shake Rattle and Roll"

Martha and the Muffins - "Echo Beach"

Wilson Pickett - "In The Midnight Hour"

The Band - "The Night They Drove Old Dixie Down"

Fleetwood Mac - "Go Your Own Way"

The Animals - "House of the Rising Sun"

Ian and Sylvia - "Four Strong Winds"

James Brown - "Please Please Please"

John Cougar Mellencamp - "Pink Houses'"

Leonard Cohen - "Suzanne"

The Ramones - "I Wanna Be Sedated"

Blue Rodeo - "Try"

The Guess Who - "American Woman"

U2 - "I Still Have't Found What I'm Looking For"

Janis Joplin - "Me and Bobby McGee"

Gordon Lightfoot - "If You Could Read My Mind"

The Byrds - "Eight Miles High"

Simon and Garfunkel - "The Sound of Silence"

Bill Haley and his Comets - "Rock Around The Clock"

The Velvet Underground - "I'm Waiting For The Man"

Johnny Cash - "Folsom Prison Blues"

Bobby Fuller - "I Fought The Law"

Big Star - "September Gurls"

The Hollies - "Bus Stop"

Joy Division - "Love Will Tear Us Apart"

Booker T and the MGs - "Green Onions"

Jimi Hendrix - "Hey Joe"

Neil Young - "Rockin' in the Free World"

Dolly Parton - "Jolene"

The Left Banke - "Walk Away Renee"

Lou Reed - "Walk On The Wild Side"

James Taylor - "Fire And Rain"

The Clash - "Should I Stay or Should I Go"

Marvin Gaye - "Sexual Healing"

Radiohead - "Paranoid Android"

M.I.A. - "Paper Planes"

The Animals - "We Gotta Get Out of this Place"

Dusty Springfield - "Son of a Preacher Man"

Screamin' Jay Hawkins - "I Put A Spell On You"

Cheap Trick - "Surrender"

Mott The Hoople - "All the Young Dudes"

Beach Boys - "Sloop John B"

Amy Winehouse - "Rehab"

New York Dolls - "Personality Crisis"

Modern Lovers - "Roadrunner"

George Jones - "He Stopped Loving Her Today"

Bruce Springsteen - "Born in the USA"

The Beatles - "With A Little Help From My Friends"

Rolling Stones - "Miss You"

The Coasters - "Run Red Run"

Elvis Costello - "Alison"

James Brown - "Hot (I Need to be loved loved loved)"

Inner Circle - "Tenement Yard"

Ray Charles - "I Don't Need No Doctor"

Curtis Mayfield - "Freddy's Dead"

Gang Starr - "Beyond Comprehension"

Bo Diddley - "Bo Diddley"

Aretha Franklin - "Rocksteady"

Creedence Clearwater Revival - "Have You Ever Seen the Rain'

Howlin' Wolf - "Smokestack Lightning"

Bobby Womack - "Across 110th Street"

Roy Orbison - "In Dreams"

Foggy Hogtown Boys - "Man of Constant Sorrow"

Pink Floyd - "Wish You Were Here"

Neil Young - "Cortez The Killer"

Bob Dylan - "Subterranean Homesick Blues"

Little Eva - "Loco-Motion"

Elvis Costello - "Watching the Detectives"

Jimmy Cliff - "The Harder They Come"

The Verve - "Bittersweet Symphony"

R.E.M. - "Radio Free Europe"

Radiohead - "No Surprises"

Led Zeppelin - "Ramble On"

Rolling Stones - "Beast of Burden"

Glen Campbell - "Wichita Lineman" 


Meat Loaf recovering from onstage collapse in Edmonton

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Meat Loaf collapsed onstage last night while performing in Edmonton, Alta. According to fans, the 68-year-old singer was performing "I'd Do Anything For Love (But I Won't Do That)" when he fell to the stage.

Meat Loaf fan Angus Monroe told CBC News what he saw.

"It was slow, he just kind of rolled over, it almost looked like it would have been part of the show," said Munroe. "There was sort of a pause in the crowd and the music stopped."

Meat Loaf had postponed Canadian shows in Moose Jaw, Sask., and Calgary earlier this week.

In a post to his official Facebook page, Meat Loaf's collapse was attributed to "severe dehydration."

"His vital signs are stable and normal — he's responsive and recovering well," the statement reads. "He extends his heartfelt thanks for everyone's support and well wishes, and is expecting a speedy and full recovery. Any concert postponements/ rescheduled dates will be announced at a later time."

Meatloaf, born Michael Lee Aday, is best known for his 1997 multi-platinum album Bat Out of Hell.

This ‘80s version of Justin Bieber’s ‘What Do You Mean’ is shockingly great

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Justin Bieber wasn’t alive in the '80s but his music has found a new home in the synth-pop balladry of that decade.

A YouTube user who goes by the name TRONICBOX has reimagined Bieber's 2015 hit “What Do You Mean” as an '80s ballad complete with drum machines, a signature sax solo and even photoshopped artwork to make Bieber look like John Stamos.

Hit play below and prepare to transport to an alternate universe where Bieber rocks a mullet. 

Listen to White Lung cover Guns N’ Roses’ ‘Used to Love Her’

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Vancouver punk band White Lung is known for its ferocious songs live and on record, but at a recent Sirius XMU session, the band slowed things down with an acoustic rendition of Guns N’ Roses’ 1988 song “Used To Love Her.” 

White Lung’s latest album Paradise has been long listed for the Polaris Music Prize. This is the second time the band has made the long list; their 2015 album Deep Fantasy also made the cut. 

Listen to the cover of “Used To Love Her” below.

Radio 2 Top 20 June 17: Five fresh tracks storm the chart and fan favourite Dylan Menzie hits #1

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Click here to vote on next week's chart!

LISTEN

Listen to this week's #R220

Say hi to your host Emma Godmere

The number 1 song in the nation: 

Prince Edward Island singer-songwriter and CBC Music Searchlight finalist Dylan Menzie has captured the most online votes for three straight weeks — and now, thanks to your fan support, he reaches the #1 spot this week:

Cool new video:

The Strombo Show hosted this week's #2 artist (and former #1) Hannah Georgas in a midnight living room session a few weeks back. Hannah shared some new tracks off her forthcoming album with a handful of lucky fans in attendance:

One to watch:

Check out Jadea Kelly's highly personal lyric video for her song "Make It Easy," which debuts on the chart at #16 this week:

 

Radio 2 Top 20 for June 17th, 2016

1. Dylan Menzie, "Kenya"(NEW #1 + Most Online Votes)

2. Hannah Georgas, "Don't Go"

3. Red Hot Chili Peppers, "Dark Necessities"

4. Fake Shark, "Something Special" 

5. Chantal Kreviazuk, "All I Got"

6. TUNS, "Mind Over Matter"

7. Oh Pep, "Doctor, Doctor" 

8. Julian Taylor Band, "Set Me Free" (High Jumper, Up 10)

9. Andrew Bird, "Are You Serious"

10. Escondido, "Apartment" (NEW)

11. Mayer Hawthorne, "Get You Back"

12. Case/lang/Veirs, "Honey and Smoke"

13. Sara Hartman, "Satellite"

14. Robyn Dell'Unto, "Call Me"

15. Samm Henshaw, "Our Love"

16. Jadea Kelly, "Make It Easy" (NEW)

17. Roxanne Potvin, "The March"

18. Arkells, "A Little Rain (A Song for Pete)" (NEW)

19. Michael Kiwanuka, "One More Night" (NEW)

20. Peter, Bjorn and John, "Breakin' Point" (NEW)

Follow us on Twitter: @CBCR2Top20

LISTEN

Listen to CBC Music's Adult Alternative stream

Watch A Tribe Called Red's 'Stadium Pow Wow' video

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A Tribe Called Red debuted their new song, "Stadium Pow Wow," a couple of weeks ago and now the group has released a visual clip to accompany the song.

The song features the Quebec drum group Black Bear and is being released ahead of a slew of tour dates for the group across the country starting June 25 in Winnipeg.

Watch the video for "Stadium Pow Wow" below.

 

 



 

 

Rerun: watch k.d. lang play Jam or Not a Jam

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“I’m gonna say not a jam because the intro’s too f--king long already.”

Earlier last year, k.d. lang visited the CBC Music studio to play our addictive Jam or Not a Jam game. In honour of the case/lang/veirs takeover today, we’re pulling this video from the archives so you can enjoy lang’s reactions all over again.

What does she think of the Frozen soundtrack, Fetty Wap and Shania Twain? Watch below.


More from the case/lang/veirs takeover:

Life Lessons: Neko Case, Laura Veirs and k.d. lang

First Play: case/lang/veirs, self-titled, plus track-by-track guide

Judee Sill: the woman behind case/lang/veirs' beautifully sad new song

5 songs you need to hear from D.C.'s Beauty Pill

Life Lessons: Neko Case, Laura Veirs and k.d. lang

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A trio that includes Neko Case, k.d. lang and Laura Veirs is a songwriting dream come true. Lyrical and harmonic, with their voices beautifully intertwined, the album that came out of their collaboration, case/lang/veirs (June 17), is everything you hoped it could be.

We’ve fallen in love with the musicians’ works individually, and now that case/lang/veirs are one unit, we asked them to take over our homepage for one day, June 20.

As part of that takeover, you can read a track-by-track guide to the album with Veirs (including the only feature interview with Case so far), and take a deep dive into the life of Judee Sill, the woman behind the trio’s beautifully sad new song. You can also learn about "how cool and smart [the band] Beauty Pill in D.C. are," at Case’s suggestion. And you can revisit k.d. lang playing Jam or Not a Jam.

As Case, lang and Veirs bring decades of experience to the table, spanning two hometown countries and blurring genres, we asked each of them for a lesson they’ve learned along the way. And as you would expect from two scorpios (lang and Veirs) and one "soft little marshmallowy virgo" (Case), their answers vary in every way.

Neko Case

“There’s this weird myth in entertainment that you’re lucky to be here, that whole thing, which is total bullshit. That particular myth spawns this sort of culture of ‘It’s me or them.’ [But] you really don’t have to work with assholes to do really well. You don’t have to get the meanest manager; you don’t have to f--k anyone over. It’s not sports. It’s not a competition. Don’t treat people like shit. If people wanna start adopting the ‘I’m important so I can bark at other people’ thing, or just feeling really entitled with stuff — it’s ugly. It looks bad. It makes you feel worse. … So it’s like, just try not to treat everyone like shit. Work hard at it. Say please and thank you. Acknowledge people. Say hello. Just don’t act like a dick. You just don’t have to. And you don’t have to put up with other people acting like dicks, either.”

Laura Veirs

“Learn from the children around you. They can teach us much about being in the moment, being brave, being unselfconscious artists and expressing affection freely. I love and sometimes envy the inner freedom of my kids. They help me be more free, less judgmental and more alive.”

k.d. lang

“Quite honestly? Every minute of every day.”
 

More from the case/lang/veirs takeover:

First Play: case/lang/veirs, self-titled, plus track-by-track guide

Judee Sill: the woman behind case/lang/veirs’ beautifully sad new song

5 songs you need to hear from D.C.'s Beauty Pill

Rerun: watch k.d. lang play Jam or Not a Jam


5 songs you need to hear from D.C.'s Beauty Pill

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As part of case/lang/veirs’ homepage takeover, we asked each artist if they wanted to shine the spotlight on any other bands or artists. Neko Case wanted us to focus on “how cool and smart Beauty Pill in D.C. are.” While the band was unavailable to speak at the time (leader Chad Clark has fallen ill recently, and Beauty Pill has had to cancel a number of shows in the U.S.), we forged ahead on five essential songs from the band.

Beauty Pill only has two full-length albums (and two EPs) to its name, but the Washington, D.C., band, led by Chad Clark, has been together for 15 years. While the early 2000s proved to be a productive time for Beauty Pill (three of the group's four releases came out between 2001 and 2004), there was an 11-year gap between its debut release, The Unsustainable Lifestyle, and last year’s long-awaited sophomore album, Beauty Pill Describes Things as They Are.    

In that time, Clark underwent open-heart surgery for a rare heart condition, which slowed him down but ultimately didn’t stop him from completing another fantastic collection of songs with collaborators and bandmates Jean Cook, Basia Andolsun, Drew Doucette, Abram Goodrich and Devin Ocampo. The band has continued to morph and evolve its sound from one release to the next, borrowing its foundations from '90s-influenced indie-rock (the band's original label was famed independent punk label Dischord Records) but building on that with sonic influences from all over the world and experimenting with electronic sounds in addition to guitars. 

Below, we've picked out the essentials that are required listening for new and old fans alike. Hit play on the best Beauty Pill songs below.

1.  'Ann the Word'

Beauty Pill found success on MySpace in 2005 with this track. The six-plus-minute track marked a sonic change for the band, from its indie-rock roots to a more experimental, electronic sound that embraced samples and more varied influences. In an interview with the Washington City Paper, Clark responded to the supportive fan reaction to this song: "'Ann the Word’ has changed my life.” A decade later, the track would find a home on the record Beauty Pill Describes Things as They Are

2. 'Such Large Portions!'

Although Beauty Pill’s music never neatly fit into the category of indie-rock, a song such as “Such Large Portions!,” off of The Unsustainable Lifestyle, makes a case for Clark as one of the genre’s most overlooked icons. The song toggles between a loud storm of distorted riffs and a more subdued space, marked by a rhythmic backdrop where vocalist Rachel Burke’s voice takes centre stage.  

Listen to "Such Large Portions!" here.

(Beauty Pill/Facebook)

3. 'The Cigarette Girl from the Future' 

One of Beauty Pill’s most compelling aspects is the trade-off of vocal duties between Clark and female vocalists. On “The Cigarette Girl from the Future,” from the band’s debut EP of the same name, Clark and Joanne Gholl go back and forth painting a dispassionate image of the future over dizzying instrumentals.  

4. 'Idiot Heart'

We are ushered in with the hopeful sounds of a lush harp but are quickly dragged back down to reality with a stomping beat and guitar riff as Gholl devastatingly tells you, “The devil won’t greenlight your project,” and the killer line, “The bad news is there is no hope/ the good news is there never was.”

5. 'Afrikaner Barista'

A song that illustrates a conversation between Clark and white Afrikaner coffee shop owner, Beauty Pill is best when it creates vivid imagery that's not afraid to parse politics. In this case, Clark touches on history and apartheid, but is determined to forge ahead, singing, "Origin is not destination/ we gotta move on somehow."  


More from the case/lang/veirs takeover:

Life Lessons: Neko Case, Laura Veirs and k.d. lang

First Play: case/lang/veirs, self-titled, plus track-by-track guide

Judee Sill: the woman behind case/lang/veirs’ beautifully sad new song

Rerun: watch k.d. lang play Jam or Not a Jam

Judee Sill: the woman behind case/lang/veirs' beautifully sad new song

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LISTEN

case/lang/veirs
"Song for Judee"

Struck by case/lang/veirs’ beautiful “Song for Judee,” we were compelled to get to know a bit more about Judee Sill, the remarkable musician who inspired the track.

Judee Sill lived her whole life in the shadow of death. When the “country-cult-baroque” folk musician fatally overdosed (acute cocaine and codeine intoxication was the official cause of death) in 1979 at the age of 35, living in a candle-strewn, black-draped apartment, she had no immediate family left to mourn her passing.

Sill’s trauma was a second skin. Born into addiction — both her parents were alcoholics — her father died when she was eight years old. Her mother remarried another alcoholic, an allegedly violent and abusive animator for Tom and Jerry. Sill left home and fell in with a bad crowd, started using drugs, and was involved in a series of armed robberies before eventually getting caught and sent to reform school. Her only brother died, and then her mother, all before Sill turned 22.  

She tried to exorcise her demons — the guns, the robberies, heroin, prison — and chase a different life. She turned to songwriting and composing, and she was good. In the heady, early days of Sill’s career, her name tumbled around alongside the likes of Joni Mitchell and Judy Collins. She had friends and a label and two records that tangled together themes of love, Christianity and esotericism. In 1972, she garnered a major feature in Rolling Stone. Seven years later, she was found dead with a needle in her arm, escape in her veins.

Since then, Sill’s life has become something of a cautionary tale, at least for those who remember her. Every few years, like a flare gun lighting up the dark, her name resurfaces and Sill makes another headline, stories that reference “the lost child” and  the “mystic” who walked among us, a cobbled-together tally of the “tragedy and triumph” of her “mysterious life.”

The particulars make for a hell of a story: a forgotten genius ripe for rediscovery; crime sprees and prostitution; jail and addiction. Sill’s whole tortured and tragic existence endemic of the now-cliched, ’70s-era Laurel Canyon music scene: sex, drugs, and a host of beautiful, young artists with money, power and egos as big as their visions. But an actual person lived through all of those things. A young woman whose sensitivity and ambition spilled loose and wild from her heart and into her songs — songs that took years to write and arrangements that took just as long to perfect.

Her music is generous and bold, weird and complex, so specific to her sprawling intellect and its numerous influences that nothing quite like it existed before or since. Sill released her eponymous full-length debut in 1971, the first record from David Geffen’s then new label, Asylum. She followed that up with Heart Food in 1973, her second and last release. Both albums are full of wondrous contradictions, mapped perhaps by her two stated biggest influences: Bach and Ray Charles. The songs are dense, esoteric and dreamy, full of brittle grace and hope, even in their darkest moments. The clarity of her voice, as a songwriter and a singer, is evident from the very first track, “Crayon Angels.”

Here are five Judee Sill songs everybody needs to know. 



‘Crayon Angels’

"Phony prophets stole the only light I knew,
And the darkness softly screamed.
Holy visions disappeared from my view,
But the angels come back and laugh in my dreams."



‘Jesus Was a Crossmaker’

"One time I trusted a stranger,
Cuz I heard his sweet song.
And it was gently enticin' me,
Tho there was somethin' wrong.
But when I turned he was gone,
Blindin' me, his song remains remindin' me.
He's a bandit and a heartbreaker,
Oh, but Jesus was a cross maker."



‘There’s a Rugged Road’

"Come on, the light is gone, hope's slowly dyin',
Tell me how you come ridin' through.
Still surveyin' the miles yet to run,
On the long and lonely road to kingdom come."



‘Lady-O’

"I've been tryin' hard to keep from needin' you,
But from the start my heart just rolled and flowed.
I've seen where it goes,
And still somehow my love for you grows,
Lady-O."



‘The Kiss’

“This song is about the union of opposites that we all have, and ‘The Kiss’ is a symbol of the union.” — Judee Sill

Hang out with me on Twitter: @_AndreaWarner 


More from the case/lang/veirs takeover:

Life Lessons: Neko Case, Laura Veirs and k.d. lang

First Play: case/lang/veirs, self-titled, plus track-by-track guide

5 songs you need to hear from D.C.'s Beauty Pill

Rerun: watch k.d. lang play Jam or Not a Jam

The R3-30: Radio 3’s top 30 songs for the week of June 20, 2016

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Have you guys heard about Tuns yet? It's the new band comprised of Chris Murphy of Sloan, Matt Murphy (no relation) of Super Friendz and Flashing Lights, and Mike O'Neill of the Inbreds. Their sweet jam "Mind Over Matter" is the highest debut on our chart this week. We also have new music from Basia Bulat, Hot Hot Heat, Plants and Animals and Operators on the countdown, making this chart the most all-star edition we've had in 2016. At the top, White Lung surges to number one with their rocker "Kiss Me When I Bleed."  

LISTEN

Listen to our top 30 songs as a playlist.

30. David Vertesi, “Forever Young”
29. Adam Strangler, “Exposition”
28. Basia Bulat, “La La Lie”
27. Le Trouble, “White Knuckles”
26. Don Vail, “Personal League”
25. Woodpigeon, “Faithful”
24. Hot Hot Heat, “Kid Who Stays In The Picture”
23. The Besnard Lakes, “Towers Sent Her To Sheets Of Sound”
22. Supermoon, “Witching Hour”
21. Plants And Animals, “No Worries Gonna Find Us”
20. AA Wallace, “Shake It Out”
19. Operators, “Blue Wave”
18. Jay Arner, “Crystal Ball”
17. Rae Spoon, “Written Across The Sky”
16. Tuns, “Mind Over Matter” *highest debut*
15. Suuns, “Un-No”
14. Navet Confit, “Ton Voyage”
13. Adrian Teacher and the Subs, “Victory Square”
12. Black Mountain, “Florian Saucer Attack”
11. The Bandicoots, “Could You Get Me To Tomorrow?”
10. Lab Coast, “Bored Again”
9. Darcys, “Miracle”
8. Bestie, “Bae”
7. Wolf Parade, “Automatic”
6. Repartee, “Dukes”
5. July Talk, “Push + Pull”
4. Programm, “Jukai”
3. Ludo Pin, “Les Moyen Du Bord”
2. Wake Island, “Never Entirely There”
1. White Lung, “Kiss Me When I Bleed”

What's your favourite song on our chart this week? Which song deserves to be #1 next week? Let us know in the comments below or tweet us @cbcradio3. 

Cheap Trick visits the House of Strombo

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LISTEN

The Strombo Show: Cheap Trick, Laura Sauvage & The Range (June 19, 2016)

The Strombo Show ran the gamut this Sunday night, keeping the spirit of radio alive by delivering the best records in the best order. It's a show for music lovers by music lovers, ranging over three hours of commercial-free music to honour both old and new.

Cheap Trick has sold more than 20 million records, was inducted into the Rock and Roll Hall of Fame and is in the midst of a late-career renaissance with more than 150 live dates this year. The Clown Prince of Rock and Roll, Rick Nielsen, and bassist Tom Petersson sit-down for an intimate conversation to reminisce about their lasting influence on grunge culture, working with George Martin, John Lennon, their early days of struggle, Bun E. Carlos's letter and more. 

The Range is a moniker derived from mathematical studies by electronic musician James Hinton. His latest release, Potential, is a record steeped in histories of its characters, constructed of break beats, piano chords and vocal samples from the outer reaches of YouTube. We'll transform the House of Strombo's kitchen and unleash the smoke machine. The Range delivers several cuts from the record, including a feature with Rome Fortune. 



Also, Montreal's Laura Sauvage strums a few of her grunge-drenched songs from her debut album, Extraordinormal. Her slacker style has begun to share the stage with bands that she listened to in high school, such as Julie Doiron and Patrick Watson. She discusses the solo shift from former band Les Hay Babies, her grandmother's advice, the catnip death of a neighbourhood lady and her Beck appreciation.

You know what to do: Lock it. Crank it! Join the collective. 

Playlist

Refused, "New Noise"
Niney The Observer, "Boiling Water Dub"
Band of Horses, "Solemn Oath"
Emmylou Harris, "If I Needed You"
The Verve, "Bittersweet Symphony"
Laura Sauvage, "Nothing To Something And Visa Versa (Strombo Session)"
Laura Sauvage, "Rubber Skin (Strombo Session)"
Laura Sauvage, "Cyanide Breath Mint (Beck Cover) (Strombo Session)" 
Wanda Jackson, "Fujiyama Mama"
Avalanches, "Frankie Sinatra"
Fatlip, "Here Comes The Lip"
Jay Z, "30 Something"
BB King, "How Blue Can You Get"
De La Soul, "Pain (Ft. Snoop Dogg)"
Radiohead, "The Numbers"
Radiohead, "Burn The With"
Nirvana, "Moist Vagina"
Sebadoh, "Fire Of July"
Dumb Numbers, "Girl On The Screen"
Ensemble Faiz Ali Faiz & Rehmat Ali, "Rang"
A Tribe Called Red, "Stadium Pow Wow"
Peaches, "Close Up (Ft. Kim Gordon) (Nocturnal Sunshine Remix)"
White Lies, "Death"
The Strokes, "Oblivious"
The Range, "Florida (Strombo Session)"
The Range, "Copper Wire (Strombo Session)"
The Range, "Paid Back Loans (Ft. Rome) (Strombo Session)"
Linda Ronstadt, "Blue Bayou"
Parachute Club, "Rise Up"
Tom Waits, "Midnight Lullaby"
Cheap Trick, "Heart On The Line"
Cheap Trick, "I Want You To Want Me"
Cheap Trick, "When I Wake Up Tomorrow"
Leonard Cohen, "One Of Us Cannot Be Wrong"
Air, "Cherry Blossom Girl"
The Streets, "Dry Your Eyes"  

For further musical exploration with George Stroumboulopoulos, tune in to The Strombo Show every Sunday night on CBC Radio 2 or CBC Music from 8 to 11 p.m. for three hours of uninterrupted music for music lovers.   

Watch conductor accidentally knock soloist’s Amati violin flying

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This violinist's dream quickly turned into a nightmare on June 11 at Sao Gonçalo Church in Amarante, Portugal.

Rómulo Assis was performing Tchaikovsky's Violin Concerto with Orquestra do Norte when a gesture by conductor Nuno Côrte-Real accidentally knocked the violin from his hands and sent it crashing to the floor.

The horrified musicians of the orchestra immediately stopped playing while Assis rushed over to assess the damage. The 17th-century Nicolo Amati violin sustained enough damage that the soloist was required to resume the performance with the concertmaster's instrument. The audience applauded because, well, what else could they do?

Watch below.



Prince Be of P.M. Dawn made it 'OK to be weird' while countering '90s hip-hop orthodoxy

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Prince Be of P.M. Dawn, born Attrell Cordes, died Friday of renal kidney disease. He was 46 years old. Cordes' death in a hospital in Neptune, N.J. was confirmed by his wife. Cordes had been suffering from diabetes for many years and had a stroke in 2005 that left him partially paralyzed.

Along with his brother, Jarrett, known as DJ Minutemix, Prince Be was the MC in the duo P.M. Dawn who were best known for their 1991 song "Set Adrift on Memory Bliss." Sampling U.K. new wave group Spandau Ballet's 1983 hit "True" and featuring random pop-culture referencing lyrics like "Christina Applegate/You gotta put me on," it was the first hip-hop single by a black act to reach number one on Billboard’s pop singles chart, the Hot 100. 

The group also had a significant hit with the ballad "I'd Die Without You," featured on the soundtrack to the Eddie Murphy film Boomerang and their sophomore record, 1993's The Bliss Album…? (Vibrations of Love and Anger and the Ponderance of Life and Existence). With that song's heartfelt singing and Prince Be's soft-spoken introspective raps, they were very different from the popular hip-hop groups of the time that were immersed in harder beats and samples, largely eschewing the emotional vulnerability in P.M. Dawn's music.

Given hip-hop's current willingness to incorporate melodic and esoteric acts in 2016, P.M. Dawn were ahead of their time. "Set Adrift on Memory Bliss" and the group's debut album Of the Heart, of the Soul and of the Cross: The Utopian Experience arrived at a time when the sonic rivalries between the East and West coasts was beginning to gather steam.

However, in the early '90s, the West Coast was already under the thrall of the influence of N.W.A. with Dr. Dre's G-funk about to claim ascendance. The East Coast had taken a decidedly jazzy sonic turn, digging in the crates for obscure samples, eschewing the use of easily recognizable songs like Spandau Ballet's "True."

Hailing from Jersey City, PM Dawn were definitely closer to the sounds emanating from the East Coast and were clearly disciples of Long Island's De La Soul and their 1989 classic 3 Feet High and Rising. However, by 1991, De La had already killed off the hippie tag that had been placed on them with their bristling sophomore effort De La Soul is Dead. In short, P.M. Dawn's rigidly bohemian approach did not fit into either sonically dominant coastal camp and the group were easy targets for ridicule and ostracization.

The most jarring indication that P.M. Dawn did not fit in with the prevailing order of hip-hop of the 1990s came when widely acknowledged legendary hip-hop artist KRS-One of Boogie Down Productions interrupted a 1992 P.M. Dawn show, pushed Prince Be off the stage and grabbed the microphone to perform one of his own songs.

The incident stemmed from an interview with Details magazine where Prince Be made some comments about Krs-One, crystallizing around the comment "KRS-One wants to be a teacher, but a teacher of what?"

The larger context was P.M. Dawn's overall vision of a utopian worldview that negated the significance of race, but the KRS-One comment was what garnered the most attention. The group's reputation never really recovered from the event and each of their following releases was met with increasing indifference.

However, with artists like Kanye West, Kid Cudi, Drake and A$AP Rocky notably incorporating wider notions of hip-hop masculinity and ambient soundscapes in their music today, P.M. Dawn's willingness to do this in the early 1990s when these perspectives were not quite as widely accepted should be noted.

The underground strain of hip-hop called "cloud rap" that has gained traction in recent years, yielding groups like Main Attrakionz and Flatbush Zombies, can definitely trace an aesthetic debt back to P.M. Dawn.

Speaking to Rolling Stone in 2011, Doc G, Prince Be's cousin and recent member of P.M. Dawn, spoke of the group's influence.

"Kanye West, T-Pain, Outkast ... but you can't mention P.M. Dawn without mentioning De La Soul, and you can't mention Arrested Development without mentioning P.M. Dawn," he said. "Everybody begets somebody. We had the weirdness. Now it's okay to be weird; it's okay to wear bizarre things."


What will 2016's song of the summer be?

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It's officially summer, which also means it's time to attempt to predict the official song of the summer, which is not really an actual thing but it's fun to think it is. The SOTS is the song that will, ideally, soundtrack all of your beautiful stereotypical summer activities and Instagram videos, and you'll hear it everywhere you go, overflowing from patios and the passing cars as the temperature rises.

Below, CBC Music picked over 20 songs we think have a good chance of earning the completely made up but no less important title of 2016's Song of the Summer.

'Boyfriend,' Tegan and Sara

This is the ultimate pop Trojan horse: a fun, seemingly frivolous, super amped-up, dance floor-ready, mainstream jam that’s not heteronormative in any way, shape or form. It’s thoroughly modern and packs way more musical muscle than most people realize on first listen, and it presents a love triangle rarely (if ever) seen in the pop landscape. Plus, did I mention it’s super fun? Listen to it a few times and it will live on repeat in your heart and head for the next two months. — Andrea Warner 



'Love as a Weapon,' Little Scream

"Push your man to the side/ fall down to the floor./ You pick yourself back up again/ and you walk right through the door." Little Scream's falsetto couples a rebound plan with dance instructions, and there's no better sway-along single for a midsummer night's unrelenting heat. "Love as a Weapon" could easily fit into a St. Vincent record, and that is never not a compliment. — Holly Gordon

'Miracle,' The Darcys

The new single from the Darcys — the first since their excellent but criminally underrated 2013 album Warring— sounds like sitting on a patio late into the summer evening. It’s musically complex, which is what the Darcys do best, but it’s been brightened with enough electronic drum fills and effects to take it out of the art rock realm and straight to that mystical place where the smoothness of synth-pop meets the undeniable groove of electro-funk. — Jesse Kinos-Goodin

'That Justin Timberlake Song'

You’re probably trying to think of the name of this song right now but it doesn’t matter. Your children love this song. Your co-workers probably like this song. One of your relatives definitely bought this track on iTunes. Enough people have liked this song to make it a hit on the Billboard charts. This is Justin Timberlake after all; why would you hate a song by Justin Timberlake? So just give in and admit defeat as the sounds of this joyous Gap commercial of a song washes over you like a blinding ray of sunshine. You can’t stop the feeling. — Melody Lau

'Dukes,' Repartee

Dramatic pauses, a giant chorus, and a great melody, “Dukes” is the sing-along, hook-happy song that’s instantly familiar yet totally exhilarating in its bright flashes of brilliance. Also, it’s a total feminist summer jam, a dance party thriving with thought-provoking lyrics like: "They tell us when we're little/ it's better to be quiet and to not cause trouble/ sit pretty, keep everybody happy/ and don't speak up, you don't wanna be bossy." – AW


'Wild Things,' Alessia Cara

"We have no apologies for being/ find me where the wild things are." This single, off Alessia Cara's debut album on Def Jam, didn't hit as big as her breakout hit, "Here," but its drum beats and rallying calls make it a clear choice for song of the summer. An anthem for the rabble-rousers, another middle finger to all the conformers in the crowd. What better way to do summer than by doing you? — HG


'This is What you Came For,' Calvin Harris feat. Rihanna

"You, oh, oh, you, oh, oh," are the lyrics you'll be singing over and again once you listen to "This is What you Came For." Undeniably a hit, the catchy house-influenced track features Rihanna's iconic voice, which gives it that special factor. In collaboration with Calvin Harris, this is the third time the duo have paired up, following their international hit records "We Found Love" and "Where Have you Been." Third time's a charm. Does their new song live up to the hype? I think so. — Kiah Welsh



'Cake by the Ocean,' DNCE

“Cake by the Ocean” came out last October but has somehow maintained its position on the charts throughout 2016 proving people really like sweet treats, bodies of water and/or hilariously bad analogies for sex. But, regardless of its ridiculous lines like, “Funfetti, I’m ready/I need it every night,” that bass line has become an instant earworm and it’s easy to understand why people would play it on a loop all summer. — ML


'All the Way Up,' Fat Joe and Remy Ma feat. French Montana

The reedy horn sample from producers Cool and Dre fuelling this banger indicates Fat Joe still has an ear for underground beats when he wants to. It’s a great foundation for Remy Ma to reassert herself on, to give us “Lean Back” flashbacks. Even French Montana’s marble-mouthed chorus refrain can’t ruin this. — DFC

Editor's note: strong language warning.


'One Dance,' Drake

The unofficial soundtrack to summer in Toronto, based on the fact that if you’ve walked along Queen Street at any point since the warm weather arrived, you will have heard Drake’s afrobeat and dancehall-infused sunny blast of a single from his recent album Views. It’s also Drake’s first solo single to hit number 1 on the charts, where it’s been planted for five straight weeks and counting. — JKG

Listen on Apple Music

'Work,' Rihanna feat. Drake

If you've recently found yourself at a fête, this song is sure to have you buss a whine. Sampled from Richie Stephens and Mikey 2000's "Sail Away," the track's smooth and tropical vibe hits all the right notes. Rihanna’s "Work" also broke Michael Jackson's Billboard Hot 100 record, surpassing the King of Pop for the third-most number 1 songs of all time. — KW


'Lite Spots,' Kaytranada

Digging in the crates to marry Brazilian singer Gal Costa’s “Pontos De Luz” to one of his undeniable instrumental concoctions, Kaytranada presents irreversible proof of his impregnability right now. 99.9% is one of the albums of the years so far and when the beat drops on this track you know why. — DFC

'Kiss it Better,' Rihanna, Kaytranada remix

Kaytranada took Rihanna’s down-tempo ballad and gave it the dance remix we didn’t know it needed. It’s proven to be one of the most popular songs to cover from her Anti- album, with everyone from Father John Misty to Miguel tackling it — but no one has done it justice as well as Montreal producer Kaytranada. — JKG

'Good as Hell,' Lizzo

An anthem should be freeing. It should make you feel your fiercest, fullest, most powerful self. But it’s all too rare that an anthem — an honest-to-goodness, hands-in-the-air, strut-on-with-your-fine-self anthem — is also a bangin’ party-starter. Lizzo’s “Good As Hell” is hype music as manifesto and it’s not just a summer jam, it’s also one of the most exciting songs of 2016. — AW 

'No Problem,' Chance the Rapper

Chance the Rapper’s defiant, anti-label anthem contains everything you want in a song of the summer: buoyant production complete with sped-up Kanye-sque chipmunk soul, one of the catchiest choruses of 2016 — “You don’t want no problem, want no problem with me.” — verses that can be captured in 140 characters or less, and guest features from heavyweights 2 Chainz and Lil Wayne. Bring on the Grammy. — JKG

Editor's note: strong language warning.

'Neon Experience,' Júníus Meyvant

Iceland-based artist Júníus Meyvant released this R&B track in April but it’s all summer when you press play. Turn this song on when you have friends over on the back patio, celebrating the beautiful evening weather and thank me later when everyone asks you who’s playing. — Matt Fisher

‘Never Forget You,’ Zara Larsson feat. MNEK

This song is almost nine months old but it finally picked up heat when the weather got nicer and was recently the number one1 dance song in the United States. A high energy pop song that’s bound to get stuck in your head, and if it doesn’t, not to worry, your Top 40 station will play it over and over again for you. – MF

'Panda,' Desiigner

If you’ve ever caught yourself mumbling “panda, panda, panda” under your breath for no reason, you can blame Brooklyn’s Desiigner, the first rapper from New York to top the Hot 100 since Jay Z’s "Empire State of Mind" back in 2009. Aggressive, really catchy for about 50 seconds (just long enough for Kanye West to sample it on "Father Stretch My Hands Pt. 2") and painfully simple, you can’t forget it if you try. — JKG

Editor's note: strong language warning.

'Work from Home,' Fifth Harmony feat. Ty Dolla $ign

If the idea of having “cake by the ocean” seems like too much of a hassle to you, may we suggest working from home instead? In another summer jam about sex, Fifth Harmony offers up one of its best songs yet, a plea for a lover to stay at home where they’ll “make it feel like a vacay, turn the bed into an ocean.” It’s a finger-snapping, hand-clapping hit that will make you want to do nothing but stay at home and dance to this on repeat. — ML

'Tearing Me Up,' Bob Moses

What was a slow start for this track quickly turned to be in the running for song of the summer once Ellen Degeneres heard it on the radio and promptly requested the Cancon duo perform on her show. Since then, they’ve played Coachella, Glastonbury and are set to play Austin City Limits later this year. Don’t miss this groove heavy track that’s bound to make your playlist this summer. – MF

'Sorry,' Beyonce 

Summer is the time to be unapologetic, to put those middle fingers up and just live your best life. Follow Beyoncé’s lead on “Sorry” and let it be the song to guide you through the next few months. — ML



'Be Alright,' Ariana Grande

Dance floor. Driver's seat. Last five minutes of a spin class, near-barfing. Wherever you need it, Ariana Grande's got a perfectly upbeat, finger-snapping track for you with "Be Alright." It was a tough choice — singles "Into You" and "Dangerous Woman" are close contenders from Grande this summer —  but this one is a pure pop delight. — HG

'Stadium Pow Wow,' A Tribe Called Red

The new song from the Ottawa DJ trio sounds built specifically to fill a stadium full of athletes and sweaty, over-hyped fans (you listening, Olympics?). Taking vocalizations from First Nations powwow group Black Bear and mixing it with testosterone-fuelled synths and a beat that anyone who's ever been to a baseball game will recognize, it’s bold, aggressive and perfectly suited to those summer days where you’re seeking an adrenaline rush more  than a cool drink in the shade.— JKG

 


A jazz-lover’s guide to the 2016 Montreal International Jazz Festival

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Like many other Canadian jazz festivals, the Montreal International Jazz Festival (MIJF) has been filling out its programming with artists from a mix of other genres in order to draw larger crowds. While some protest that this takes away opportunities to see core jazz acts, this year's edition of the MIJF boasts a promising variety of concerts for the jazz lover.

For those looking to travel to Montreal to attend the festival, the indoor, seated shows at venues such as the Maison symphonique, the Gesù and Upstairs Jazz Bar & Grill often offer the strongest selections for jazz-minded individuals. If you're looking to do your own research, the festival's program can be filtered by venue to make your planning easier.

To save you from wading through the big-name R&B artists and singer-songwriters on your own, we've assembled a list of genuine jazz performances in the gallery above — from intimate shows by Montreal-based musicians to big blowouts with global stars — that are on our must-see list.

The 37th edition of the Montreal International Jazz Festival runs from June 29 to July 9, 2016.

Watch Selena Gomez and James Corden’s rollercoaster Carpool Karaoke

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Selena Gomez joined talk show host James Corden for the latest Carpool Karaoke segment as the duo took a detour from the road to hit an amusement park.

As well as visiting a McDonald's drive-thru, the duo also sang a few Gomez songs including "Same Old Love," "Come and Get It" and Taylor Swift's "Shake it Off."

Watch Gomez and Corden in Carpool Karaoke below.

5 things you need to know about Toronto artist Twist

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You may not know who Twist is but you’re about to hear that name a lot this summer. Toronto artist Laura Hermiston has been a staple in the local scene for the past few years, performing and working with other musicians, but for her latest project, performing as Twist, she's gearing up for her first release under burgeoning powerhouse label Buzz Records and we think it’s just a matter of months before Twist becomes a staple on your playlists.

Her ‘80s-influenced brand of guitar-led pop gems are instant earworms, simple yet so addictive with each play. Just listen to her two tracks “Slums and Seaports” and “Soaked” for a taste of what’s to come. CBC Music sat down with Hermiston recently to talk about collaborations, being a Buzz act and what we can expect with her debut album. Below: five things you need to know about Twist.


 

1. Hermiston was in a band called the BB Guns

Before Hermiston focused on her solo efforts as Twist, she performed in a band called BB Guns. The Toronto four-piece paired infectious ‘60s girl-group harmonies with psych-rock grit and put out two EPs in 2013 and 2014, both produced by Holy F--k’s Brian Borcherdt. As time passed, Hermiston began writing songs that didn’t fit BB Guns’ sonic mold (“I wanted to experiment more with synths and drum machines,” she said) but she continued to bring her ideas to Borcherdt, building a new working relationship outside the band.

2. She calls Holy F--k’s Brian Borcherdt her mentor

While Borcherdt originally played in Twist’s live band, he has since migrated to just producer duties, which includes credits on Twist’s upcoming debut album. “He’s one of my best friends and kind of like a music mentor,” Hermiston said. “We’ve now been working together for like six years, it’s a really nice partnership.”

(Twist/Instagram)

3. She chose to sign with Buzz Records for a great reason

Local label Buzz Records is still relatively young compared to other Toronto establishments but in that short period of time, it has created a lot of, well, buzz with its impressive roster which includes bands like Weaves, Dilly Dally, Greys, Fake Palms and Anamai. When asked why she chose to sign with Buzz, Hermiston said she was very proud of the label’s strong representation of women, adding, “I didn’t feel like it was a token to be a female; they were like, ‘We just like good music.’”  

(Buzz Records)

4. She loves to collaborate

Last month, Twist released a new song called “Soaked” which included percussion and guitar contributions from San Diego garage pop band Crocodiles’ Charles Rowell. The two first met when BB Guns opened for Crocodiles in Toronto, after which Rowell offered to play guitar on her songs if she ever wanted him to. “I was like, I’ve got to write a song so I can work with him because he’s one of my favourite guitar players,” she said, explaining how “Soaked” ended up in his inbox. “As soon as I sent it to him I thought, 'f--k, I shouldn’t have sent that sh-tty demo to him, but he liked it!'”

In addition to Rowell, Hermiston also teased collaborations with musician Jennie Vee (Courtney Love, Lana Del Rey) and, surprisingly, her dad. “My dad plays bass on a song,” she revealed. “I love collaborating with people, I like branching out.”  

5.  Twist’s debut album is coming very soon

While an official release date hasn’t been announced just yet for Twist’s debut album, Hermiston can confirm that the 10-track LP will be out soon. What can we expect from this release? “The first half is more poppy and the second half has newer songs,” she explained, of the album which has been a year-plus in the making. “They’re all pop songs, I love hooks. That’s what makes me happy.”

Nova Scotia government Twitter account accidentally broadcasts the Cure concert

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An employee using the Nova Scotia government Twitter account mistakenly broadcast a concert by the Cure on Sunday.

The user was using the Periscope feature of the social media tool at around 12:20 a.m. AT on Sunday and briefly broadcast around two minutes of The Cure concert taking place at Madison Square Garden in New York.

According to government spokeswoman Tina Thibeau, the post was deleted as soon as the issue became known.

The Cure wrapped up its three-night stand at Madison Square Garden last night.

 

 

Pianist Darren Creech ‘queers the classical stage’ to honour Orlando shooting victims

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"My response has come in waves of emotion," confides queer classical pianist Darren Creech via email, reacting to the recent mass shooting at Pulse night club in Orlando, Fla. "Many queer individuals live under the daily fear of violence ... but it’s a sobering and fear-inducing event when something happens on this scale in North America."

Creech recently completed his master's in piano performance at the University of Montreal and was a two-time finalist in CBC Music's Piano Hero contest. This week, he's part of the lineup at Nuit Rose, the annual festival of queer-focused art and performance that takes place June 25 as part of Toronto Pride.

In the Orlando shooting aftermath, he realized his performance would take on an added dimension.

"I had already selected the repertoire before the shooting, and titled the concert Resilience, but as I was processing and reflecting on the situation, I was struck by how my program speaks directly to what unfolded in Orlando, and the strength and resilience that queer communities have always embodied. It seemed a necessary and timely response to my community’s grief to dedicate the performance to the victims and their communities."

Steinway Piano Galleries of Toronto has come forward to sponsor Creech's performance and provide a grand piano, since the venue (The 519 on Church Street) did not have a suitable instrument.

Upheaval, foreboding, recovery

"My performance opens with The Currents by American composer Sarah Kirkland Snider," explains Creech. "She based the work on a line from poet Nathaniel Bellows’ cycle of poems, Unremembered, that is 'But like the hidden current/ somewhere undersea/ you caused the most upheaval on the other side of me.' This sentiment seems to be a poignant way to open the concert."

His concert continues with the Piano Sonata by Leoš Janáček. "Written in memoriam of a protester killed in the streets, it takes the listener through two movements, Foreboding and Death. This musical representation of the emotional experience of death in the streets is ... moving and unsettling, and is the emotional crux of the concert."

That's followed by Alexander Scriabin’s "Black Mass” Sonata, which Creech says represents the devastation following an event such as the Orlando shooting. Next, Prokofiev’s Sarcasms "explores the use of sardonic wit and humour to recover from such a traumatic and terrible experience."

"And finally," says Creech, "Argentinian composer Alberto Ginastera’s joyful set of dances, Suite de danzas criollas, closes the evening with nostalgia and joy, as we all emerge 'Resilient.' I was glad to finish with a Latino composer, given that it was primarily the Latinx community that was directly affected by this tragedy."

'Politicizing the space'

Creech's Nuit Rose concert shows his belief in a new potential for the classical concert stage. "The established concert format has unwritten prescribed rules as to what is acceptable to wear and do onstage," he observes. "I see it as a rather conservative approach, and would like to see greater diversity and meaning in how we communicate with the audience based on how we present onstage.

"This is why I cover my hair in glitter, and carefully pair what I wear with the narrative arc of a specific performance. Presentation is one example of re-thinking the concert experience, but I’m also interested in politicizing the space and creating a narrative arc. I want to clearly lead the audience through a journey, and am not afraid of contextualizing works in their own history, re-contextualizing them in today’s and lending emotional and political meaning in the way they’re presented."

His message to other young LGBT classical musicians? "Don’t give up on your dreams of bringing what you have to say to the stage. I want to see it, and many others do as well! Though the institutions and gatekeepers of classical music may not always be supportive, find communities of people who are, and be inspired by their support. Feel free to reach out and say hi to me — I’m always looking to connect with others who want to politicize and queer the classical stage."

Creech presents Resilience on Saturday, June 25, at 8:30 p.m. at the 519 (519 Church St.) in Toronto. For more information, consult the Nuit Rose website.

Darren Creech
Darren Creech received a master's of music degree from the University of Montreal earlier in 2016. (Anthony Chung)

Related

'I found solace in my difference': Coeur de pirate writes touching essay after Orlando shootings

Noel Gallagher on Brexit referendum: 'I might be busy that morning'

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When Britain goes to the polls this week to decide whether to leave the EU, don't expect Noel Gallagher to be first in line. 

"Do I think we should leave? I don't think we should be given a vote," the forthright former Oasis mastermind tells CBC Music.

"I see politicians on TV every night telling us that this is a f--king momentous decision that could f--king change Britain forever and blah, blah, blah. It's like, okay, why don't you f--king do what we pay you to do which is run the f--king country and make your f--king mind up," he continues. "What are you asking the people for? 99 percent of the people are thick as pig shit." 

Though his music has remained unpolitical, Gallagher himself is no stranger to politics. The musician was instrumental in getting the Thatcher conservatives out of power, rallying the youth vote at the height of BritPop. A decision he later regretted when the consequent ruling Labour party, led by Tony Blair, took Britain into the Iraq war. 

A decade on, ghosts of that decision still haunt the 49-year-old. 

"They [politicians] didn't f--king ask us for a referendum when they were going off to war, did they?" he points out. "No, f--king assholes." 

As for how or even if he'll make his voice heard come Thursday, Gallagher says though he finds the name amusing ("I like the fact that it sounds like a cereal; a bowl of Brexit!"), he's still weighing his options.  

"I'll decide to vote on the morning," he offers. "I might be busy."

First Play Live: Tanya Tagaq

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Tanya Tagaq is a Polaris Prize winner from Cambridge Bay, Nunavut. A primal and powerful storyteller, Tagaq describes herself as "a servant to sound," with improvised performances that force you to live in the moment as she captivates and commands the audience.

Famous for bringing the art of Inuit throat singing to the world stage, Tagaq shared her latest work with us on the CBC Music Festival stage. Check it out in the video above. 


A Tribe Called Red release mini-documentary, announce Canadian tour

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A Tribe Called Red has released a new mini-documentary entitled The Manawan Session. Filmed in May 2014, the 7-minute clip shows band members 2oolman, Bear Witness and DJ NDN working in conjunction with Quebec drum group Black Bear on their Juno-nominated project Come and Get Your Love.

A Tribe Called Red's latest track "Stadium Pow Wow" released a few weeks ago is also a collaboration with Black Bear. The band's third album is due for release this fall.

"Their tribal spirit and grass roots were infectious; we clicked right away," said A Tribe Called Red member Bear Witness in a statement talking about collaborating with Black Bear. "It was a real tactile experience; we were able to be interactive with the group, exchange ideas and not just sample their music. For us, we’re often in the right place at the right time, and this was just that.”

The group also announced a series of dates for an upcoming Canadian tour starting on June 25. 

Watch the Manawan session mini-documentary below.




'I think he's getting old... We're going to be 30!': Kids review Lukas Graham's '7 Years'

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We rounded up some opinionated kids to review Lukas Graham's chart-topper "7 Years." Watch what they have to say in the video above.

For more hilariously adorable kids reviewing the latest from Drake, Rihanna, Bieber and more, check out the playlist here:



5 records that changed my life: Kamasi Washington

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Kamasi Washington's The Epic was one of the most critically acclaimed albums of 2015. It was also one of the longest. The tenor saxophonist's cosmic and spiritually infused album clocked in at just under three hours, introducing jazz to new audiences while reverentially referring to the jazz of the past.

For Washington, who has been honing his craft as a musician since he was a child, the sudden acclaim he has been receiving comes after years of grinding out gigs as a side musician with other accomplished childhood friends like Thundercat.

“Everybody knew us and everybody knew about us but people didn’t just look at us as artists," Washington told CBC Music. "We were just people who played with a lot of people.”

In addition to The Epic, Washington's saxophone and string arrangements on Kendrick Lamar's Grammy-winning To Pimp a Butterfly also increased his profile.

Given the eclectic range of his music, it's interesting to explore the music that inspired Washington's own sprawling album. CBC Music caught up with Washington as he played Canadian shows in support of The Epic (he plays the Ottawa Jazz Festival on June 22) to find out the five records that changed his life.

1. 'Transition,' John Coltrane 

"Just as a saxophone player for sure, the record that influenced me the most in the way I play saxophone in my approach to the instrument was this John Coltrane record called Transitions. That record for a long time was like the only thing that I listened to. [Laughs] Not the only thing I listened to, but it was something I listened to every day for a long time 'cause the sound I heard in my head and wanted to sound like it was so close, it wasn't exactly it, but it was so close to it. It was very impactful for me, in particular the song 'Transition,' he takes both solos. That album, definitely. It's just like what really impacted me on the saxophone."

2. Symphony of Psalms, Stravinsky

"For The Epic in particular, when I was thinking of the sound of the strings and the choir, it was really Stravinsky's Symphony of Psalms — that is really the sound I was really thinking of. It was like, 'Man, if I could put that sound on top of Transitions' and then add some other stuff. People like Fela [Kuti] and Marvin Gaye. So it was like a mixture of a whole bunch of stuff for me. There's a record, Stravinsky conducts Stravinsky, that was really impactful for me on that level."

3. 'Nancy Jo,' Gerald Wilson 

"Amazingly I was into so much of his music before I played with him. In high school I was in this band called the Multi School Jazz Band and we played one of Gerald Wilson's arrangements and I was like, 'Woah.' Like, 'People make big-band music like that?' So then I got to UCLA and he was a teacher there. [Wilson] asked me to come to New York with him and that's really when I really learned from him. He brought me to his house to learn some songs and I just started asking him questions and he was just, 'Oh that is this and this is that chord' and 'This is how you make nine-part harmonies with horns and sound good.'  

"And talk about someone who was a major contributor to the creation of jazz, basically. He used to babysit Count Basie's dog. He was friends with John Coltrane and Eric Dolphy babysat his kids. He was friends with Duke Ellington. Just getting that kind of history first-hand gave me the confidence to be myself because Gerald's whole thing was about individuality. If you told Gerald Wilson that he sounded like anyone, even though he was in his 90s, you might have had to have a fight and that really impacted me.

"It's like 'Oh, it's not about who I sound like anymore. It's about 'What do you have to say? What are you talking about?' And I learned that from Gerald Wilson first-hand."

4. When Disaster Strikes, Busta Rhymes

"When I was a kid I was really into hip-hop. West Coast gangster rap was my thing. Dr. Dre, NWA, I was really into it. About 11 or 12 I started playing saxophone. I got really into jazz and had a little bit of a jazz  snob era in my life where I only wanted to listen to jazz. That was my thing. When I got to high school I had a friend, Robert Miller, who was a drummer. He gave me this Busta Rhymes record When Disaster Strikes and that's what brought me back to hip-hop. I was like, 'Dang!' I hadn't been listening to any East Coast hip-hop, it was all West Coast. Then I got into [A] Tribe [Called Quest] and Nas, but it was that Busta Rhymes record When Disaster Strikes that really brought me back to hip-hop."

Editor's note: strong language warning

5. Legacy, Ali Akbar Khan 

"When I got to UCLA, I got exposed to a lot of music from around the world and that was one of the most expansive things. To realize that music doesn’t just come from the U.S. Music comes from other countries. Really? [Laughs] And there was an artist called Ali Akbar Khan. I was in a class and it was like they would give you these CDs with different artists on it and you get to study each one and he was one of those artists on those discs and I loved his music. I went out to try and find his records and I found this record called Legacy. And yeah, that record, it really kind of brought that love of Indian classical music [by] studying it on my own and it just opened my mind. And now when I go to Amoeba Records, I mosey over to the 'world' section and flick through those records."

Follow me on Twitter: @vibesandstuff

Related:

How Kendrick Lamar is influencing the shape of jazz to come

'I will make decisions without any fear': How Hannah Georgas conquered her anxieties on For Evelyn

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On the opening track of Hannah Georgas’s third full-length album, For Evelyn, the Toronto-based artist is met with a crisis in the middle of the night. She wakes up, perhaps paralyzed with fears and anxieties, wondering if her best moments have passed her by and if the foreseeable future is in fact just a ride back, a slow steady decline.

But there’s a warm glow emitting this whole time, a saxophone that beams us into “Rideback” and continues to hum throughout the track as a gentle sound, a reassurance, that these negative thoughts are just that. That sax  is hope — though Georgas will later shatter this picturesque image in our conversation by telling me that she wrote it on a keyboard pre-set called the “blow sax." That sax is the faith Georgas reaches for from deep within her to bat away the uncertainty. And while those worries don’t just melt away — the following track is the gorgeously heartbreaking single, “Don’t Go” — by the time she reaches her mission statement on “Evelyn,” we know that Georgas has zeroed in on her goal in life and in her music: to not be afraid anymore.

For Evelyn, out June 24, was named after Georgas’s Newmarket, Ont., native grandmother, a woman who is the singer's symbol of strength and fearlessness. While the 11 new songs don’t address Evelyn directly, it is clear that Georgas’s faith is partially constructed from the love she gets from her family and that everything — from her decision to move home to Ontario after being in Vancouver for over a decade, to devoting an entire record to tackling and conquering her fears — bears personal and familial ties. By drawing from her deepest, rawest well of feelings, For Evelyn flourishes. It is undoubtedly the best work Georgas has ever produced, one of the best Canadian records of the year so far.

CBC Music sat down with Georgas to talk about family, moving and her secret tip for tackling anxieties.



Your new album, For Evelyn, is named after your grandmother. What about her inspires you the most?

She has been such an important figure in my life as far as never seeing her lose her patience with anything. She always puts everybody before herself and almost to a fault. She’s just so selfless. The record’s a lot about me and my anxiety and getting to a place in my life where, one day, I will make decisions without any fear and I see my grandma as somebody who has kind of been there, done that. The record isn’t about my grandma but it’s an acknowledgement of her.

Has she listened to the album?

I don’t think she has listened to the full thing, no. But I think she knows I acknowledged her. She still lives in the house that she grew up in, in Newmarket, and my aunt takes care of her. My aunt talks about me to her all the time. I visit her frequently now, now that I’m back living in Toronto. I always feel a little weird when we talk about music; it’s a weird thing I don’t know why.

Do you have a musical family?

My dad was very musical; he was an amazing blues piano player. My mom wasn’t very musical. One of my siblings is really musical. It’s a split.

What was the music like in your household growing up? What did your parents listen to?

I grew up listening to my dad a lot. He was really into a type of music called boogie-woogie. He was really into artists like Pinetop Smith and Brook Benton, Elvis and Spike Jones. My mom’s more like, easy listening, the Bee Gees ... she loved her Meatloaf! My sisters were really into dance music and hip-hop. So there was a wide range of things going on in my family. I loved R&B and Michael Jackson, and then I went into this female singer-songwriter phase. Music was always prevalent for sure and everybody had different tastes.

Did you know back then that you wanted to get into music?

Oh yeah, I knew when I was like, five. I really loved music. I started writing music when I was five because my mom put me into piano lessons when I was really little and as soon as I could figure things out I started writing songs.

Do you remember what your grandmother was like at your age?

Oh, wow, good question. I think my grandma really was the caregiver. My grandma and grandpa had their own dry-cleaning service in Newmarket, on Main Street, and she ran the shop and took care of the homestead so that was one thing that she did.

As you mentioned, you live in Toronto now but you’ve spent the past decade in Vancouver. Was family a huge motivating factor for you to return to Ontario?

Yeah, my mom was a big reason. I think that was the biggest reason. I moved out to Victoria for school 12 years ago and, at the time, I was like, I’m outta here! But then it just changed. My dad passed away five years ago and after that I developed a whole other relationship with my mom and we just became very, very close. I just realized they’re getting older and life is short so I felt that urge to come closer. But also, I do feel like, in terms of what I’m doing musically and the people I’m working with and what’s happening in Toronto, it feels like the right place to be right now.

Did your feelings about Vancouver change as well?

It did. At one point in my life, I thought it was my forever home. When I made the move this past summer, it was like my heart kind of broke because I have friends out there that I love dearly and still talk with on the phone every day. But in the last couple of years it started to switch for me like maybe this chapter is going to end. At least right now I didn’t feel like I should be there. I really love how beautiful it is there and I don’t take that for granted but I did feel just a little bit of an empty feeling. 

And impressively, you made the move in four days. That sounds crazy.

I highly recommend not doing it! My mom was like, "Are you crazy, what are you doing?" and I said it’s fine, it’ll be easy! I had a party, I moved to my place in three days, I was just on autopilot and then I crashed real hard. When I got back I just cried.

Did any of that anxiety from moving make it into the record?

I wrote the record before I made the move. Anxiety comes in moments for me, it depends on what’s going on in my life. But I did feel a bit of anxiety weeks after I got back and I had anxiety making the record too. I think I’ve always dealt with it but never really realized how much I had it until I got older.

Does it normally take this long to record an album for you?

We spent a lot of time on the record and we took breaks. I went back and reworked things and changed things. I think you forget, when you make a record, it’s such a process. It’s a great process but it’s also an insane process too, sometimes. I got to a point where I was satisfied. There was a time in there where I thought I was never going to finish but it’s weird how all of a sudden you’re like, oh I’m done!

The record opens with a beautiful sax part and the sax makes a couple of appearances throughout the record. Can you tell me a bit about those little touches?

I have this keyboard that has a pre-set called the “blow sax” pre-set. [Laughs] I wrote a lot of songs with that pre-set and that’s how I wrote “Rideback,” playing those parts on my keyboard. Then we got a sax player to put those parts to sax and not fake sax.

That’s great! But how are you going to recreate that live?

I’m playing those parts on my keyboard!

Amazing! Another thing I noticed throughout the album are these reoccurring themes of angels and praying — are you a religious person?

I was raised Christian and I went to a Christian private school for nine years of my life. I went to church every Sunday, but I’m not religious. My family is really religious. I question things a lot. I’d like to think I question things in my music, too. I have faith in things and I think there are all kinds of different practices and I think that’s beneficial. I think I have my own way of making things work for me but I’m definitely not religious.

Is that faith you have something you draw on to get you through tough times?

Yes, of course. I find hope is such an important thing to have. Whatever way you need to find that and make it work is good. My mom is very religious but she’s happy and it works for her so I’m happy for her.

Are there other things you do to deal with anxieties or tough times? When someone is down, it can be so easy to just stay in bed for days.

Well, I do that! But also, I know how to tap into the things that can get me out of it. My friends help me out of it. Getting out of my bed and going for walks or exercise is something that helps me through any kind of depression that I have. Honestly, exercise is like my saving grace. Or just running, it flushes out any crap that’s in my head.  

Watch the Tragically Hip perform to tiny crowd on Canada Day, 1989

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Before the Tragically Hip were Canada's official house band, it was five kids just trying to get their music heard. In a recently posted archival video, dug up from the Hipbase website by YouTube user Darrin Cappe and tweeted by The Strombo Show, you can see the band, featuring a long-haired Gord Downie, performing to a Canada Day crowd of about 20 in London, Ont.

The band starts with "She Didn't Know," a track from the album Up to Here, which would be released two months later. Check it out below.

The Tragically Hip will be going on a Canadian tour this summer to support its new album, Man Machine Poem. The final concert in its hometown of Kingston, Ont., on Aug. 20 will be broadcast across all CBC platforms, including CBC Music. 

Below, watch Downie's very first appearance on The Hour with George Stroumboulopoulos.

Watch Broadway for Orlando’s touching ‘What the World Needs Now is Love’ performance

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Actors and singers on Broadway have come together in the wake of Orlando's mass shooting under the umbrella of Broadway for Orlando.

Featuring headlining performers such as Audra McDonald, Lin-Manuel Miranda, Sean Hayes, Whoopi Goldberg, Sara Barielles among many others, the collective has come together to record Burt Bacharach and Hal David's 1965 song "What the World Needs Now is Love."

The song is available from Broadway Records and iTunes and all proceeds are going to the GLBT Community Center of Central Florida.

The group came together to sing the song on Martin Short and Maya Rudolph's show Maya & Marty last night.

Watch the video of the performance below.

Watch Andrew Huang play his song 'Hi Fi' using only a balloon

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If you haven't seen Andrew Huang in action, you're missing out. The talented musician from Toronto makes music out of any object you can imagine — everything from a wine glass to a bag of frozen vegetables to a G-string. He literally plays Bach's "Air on the G string" on a real G-string — thankfully not while wearing it. And Huang is prolific, releasing new music on his YouTube channel almost on a weekly basis.

Some of Huang's music videos require a lot of editing, as he builds songs with the percussive sounds of various objects ("Hotline Bling," for example). But in the video you see above, Huang plays and mixes the whole song live, using just a balloon and a loop pedal. The results are amazing!

Watch Huang play "Hi Fi" using only a balloon in the video above and see more from the musicians in our YouTube Stars series below:


Rear-View Mirror: Gene Vincent’s Borrowed Ideas Make a Hit

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Each week on Rear-view Mirror, Rich Terfry and the Radio 2 team look back at a great song from the good ol’ days. Today, it's "Be-Bop-A-Lula" by Gene Vincent.

LISTEN

Rich Terfry explains how Elvis, Little Lulu, and borrowing from blues hits led to a hit for Gene Vincent

In 1956, Gene Vincent made his way to the top ten of the pop charts by borrowing ideas from Elvis, an obscure blues singer and the cartoon character, Little Lulu.

Vincent came along at the right time. In '56, Capitol Records was looking for a young rock and roll singer to rival Elvis Presley, who was just rising to prominence. Vincent came to their attention and they gave him enough money to record a song called "Be-Bop-A-Lula", which he had been performing in clubs.

In the studio, Vincent worked with some young musicians including drummer Dickie Harrell who screamed in the background as tape rolled. Asked why he screamed while he played, Harrell explained that he wanted to make sure his family would hear him on the record.

Gene Vincent claimed that he first came up with the melody and then wrote the lyrics after a night of hard drinking and reading Little Lulu comics. But the melody he said he wrote is an almost exact copy of the Drifters' song "Money Honey", which was a hit on the R&B charts three years earlier. And the iconic chorus bears a striking resemblance to that of a song called "Be-Baba-Leba", recorded by teenage blues singer Helen Humes in 1945.

Nevertheless, the song became an instant hit, reaching #7 on the Billboard pop chart and selling two million copies. 

Here's the classic song that was cobbled together with bits and pieces of 40s and 50s pop culture - this is "Be-Bop-A-Lula" by Gene Vincent and His Blue Caps" on Rear View Mirror.

Here are some other great editions of Rear-view Mirror:

The Tragically Hip - "Wheat Kings"

Simon & Garfunkel - "So Long, Frank Lloyd Wright"

Steve Miller Band - "The Joker"

Stevie Wonder - "Big Brother"

Bob Marley - "Night Shift"

Python Lee Jackson - "In A Broken Dream"

Roberta Flack - "Killing Me Softly With His Song"

Prince - "When Doves Cry"

Wanda Jackson - "Hard Headed Woman"

Al Green - "Love and Happiness"

Darrell Banks - "Open the Door to Your Heart"

Stevie Wonder - "Superstition"

Bob Marley - "Redemption Song"

Dexy's Midnight Runners - "Geno"

Richard Berry - "Louie Louie"

The Beatles - "Strawberry Fields Forever"

Maggie Thrett - "Soupy"

Freda Payne - "Band of Gold"

The Beatles - "A Day in the Life"

Michael Jackson - "Billie Jean"

David Bowie - "Heroes"

The Kinks - "Waterloo Sunset"

The Rolling Stones - "Gimme Shelter"

Bruce Springsteen - "Fire"

Buddy Holly - "That'll Be The Day"

Johnny Cash - "Walk the Line"

Bob Dylan - "Like a Rolling Stone"

George Harrison - "My Sweet Lord"

Lynyrd Skynyrd - "Sweet Home Alabama"

Bobbie Gentry - "Ode to Billie Joe"

The Beach Boys - "Never Learn Not to Love"

Johnny Cash - "Ring of Fire"

The Kinks - "You Really Got Me"

The Beatles - "Yesterday"

Al Green - "Let's Stay Together"

Simon and Garfunkel - "The Boxer"

Smokey Robinson and the Miracles - "Tracks of my Tears"

Elvis Presley - "Heartbreak Hotel"

Bruce Cockburn - "Lovers In A Dangerous Time"

The Doors - "Light My Fire"

Bob Dylan & Jimi Hendrix - "All Along The Watchtower"

The Clash - "London Calling"

Phil Spector and the Ronnettes - "Be My Baby"

Os Mutantes - "Ando Meio Desligado"

The Diamonds - "Little Darlin"

Captain Beefheart - "Yellow Brick Road"

Elton John - "Bennie and the Jets"

Hank Williams - "Long Gone Lonesome Blues"

R.E.M. - "What's the Frequency, Kenneth?"

Tom Waits - "Jockey Full of Bourbon"

Neil Diamond - "Sweet Caroline"

The Who - "Pinball Wizard"

Buffalo Springfield - "For What It's Worth"

Five Man Electrical Band - "Signs"

Band Aid - "Do They Know It's Christmas"

John Lennon - "Imagine"

The Ugly Ducklings - "Nothin"

Bob Dylan - "Tangled Up In Blue"

The Beatles - "Norwegian Wood"

The Pursuit of Happiness - "I'm An Adult Now"

Bruce Springsteen - "Born To Run"

Arcade Fire - "Wake Up"

Gnarls Barkley - "Crazy"

Big Joe Turner - "Shake Rattle and Roll"

Martha and the Muffins - "Echo Beach"

Wilson Pickett - "In The Midnight Hour"

The Band - "The Night They Drove Old Dixie Down"

Fleetwood Mac - "Go Your Own Way"

The Animals - "House of the Rising Sun"

Ian and Sylvia - "Four Strong Winds"

James Brown - "Please Please Please"

John Cougar Mellencamp - "Pink Houses'"

Leonard Cohen - "Suzanne"

The Ramones - "I Wanna Be Sedated"

Blue Rodeo - "Try"

The Guess Who - "American Woman"

U2 - "I Still Have't Found What I'm Looking For"

Janis Joplin - "Me and Bobby McGee"

Gordon Lightfoot - "If You Could Read My Mind"

The Byrds - "Eight Miles High"

Simon and Garfunkel - "The Sound of Silence"

Bill Haley and his Comets - "Rock Around The Clock"

The Velvet Underground - "I'm Waiting For The Man"

Johnny Cash - "Folsom Prison Blues"

Bobby Fuller - "I Fought The Law"

Big Star - "September Gurls"

The Hollies - "Bus Stop"

Joy Division - "Love Will Tear Us Apart"

Booker T and the MGs - "Green Onions"

Jimi Hendrix - "Hey Joe"

Neil Young - "Rockin' in the Free World"

Dolly Parton - "Jolene"

The Left Banke - "Walk Away Renee"

Lou Reed - "Walk On The Wild Side"

James Taylor - "Fire And Rain"

The Clash - "Should I Stay or Should I Go"

Marvin Gaye - "Sexual Healing"

Radiohead - "Paranoid Android"

M.I.A. - "Paper Planes"

The Animals - "We Gotta Get Out of this Place"

Dusty Springfield - "Son of a Preacher Man"

Screamin' Jay Hawkins - "I Put A Spell On You"

Cheap Trick - "Surrender"

Mott The Hoople - "All the Young Dudes"

Beach Boys - "Sloop John B"

Amy Winehouse - "Rehab"

New York Dolls - "Personality Crisis"

Modern Lovers - "Roadrunner"

George Jones - "He Stopped Loving Her Today"

Bruce Springsteen - "Born in the USA"

The Beatles - "With A Little Help From My Friends"

Rolling Stones - "Miss You"

The Coasters - "Run Red Run"

Elvis Costello - "Alison"

James Brown - "Hot (I Need to be loved loved loved)"

Inner Circle - "Tenement Yard"

Ray Charles - "I Don't Need No Doctor"

Curtis Mayfield - "Freddy's Dead"

Gang Starr - "Beyond Comprehension"

Bo Diddley - "Bo Diddley"

Aretha Franklin - "Rocksteady"

Creedence Clearwater Revival - "Have You Ever Seen the Rain'

Howlin' Wolf - "Smokestack Lightning"

Bobby Womack - "Across 110th Street"

Roy Orbison - "In Dreams"

Foggy Hogtown Boys - "Man of Constant Sorrow"

Pink Floyd - "Wish You Were Here"

Neil Young - "Cortez The Killer"

Bob Dylan - "Subterranean Homesick Blues"

Little Eva - "Loco-Motion"

Elvis Costello - "Watching the Detectives"

Jimmy Cliff - "The Harder They Come"

The Verve - "Bittersweet Symphony"

R.E.M. - "Radio Free Europe"

Radiohead - "No Surprises"

Led Zeppelin - "Ramble On"

Rolling Stones - "Beast of Burden"

Glen Campbell - "Wichita Lineman" 

How Gregory Porter spreads the gospel of jazz

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You may have recently encountered Gregory Porter's smooth, honeyed voice on dance music duo Disclosure's recent single "Holding On," which is not exactly the first place you'd look for a jazz singer.

While a decidedly more jazz-oriented version of the song is featured on Porter's just-released new album Take Me to the Alley, he's very comfortable with his music being aligned with differing genres. Many tracks from his Grammy-winning 2013 album Liquid Spirit were also remixed and repurposed for the dancefloor and different audiences.

Discussing his appearances at European music festivals, Porter states that he'll regularly be slotted "in between One Direction and some massive pop band." For his upcoming slate of Canadian dates starting on June 28, however, Porter will stay within conventional realms, playing jazz festivals in Toronto, Montreal, Victoria and Edmonton.

"I'm approaching all the music as a jazz singer, but not in the sense that, 'OK, now I need to show you I'm a jazz singer,'" he says. "But in the sense of my phrasing, pushing and pulling the lyric, the timing – I'm thinking about those things. Deviating from the melody on a repetitive line. But I don't really care about the title of being a jazz singer. Ultimately it's the story. It's what it is that you are trying to convey to the audience. That's paramount to me."

Given the big tent goal of his music, it's not surprising that the title track from Take Me to the Alley– what Porter calls the emotional centre – is all about reaching out to people. Its roots are firmly tied to his own gospel tradition and the influence of his mother.

"You know she would drive around the city in search of people in need of help" says the Los Angeles native about his mother. "So I learned how to sing on the streets, literally. We had a storefront church and she would pull the microphone and amplifier out on the streets, so people could hear me just walking down. People who were addicted to drugs, prostitutes and everyday people is who I learned how to craft my songs with."

Porter's ties to the community remain on Take Me to the Alley. On tracks like "Fan the Flames," he is inspired by recent issues like the protests in Ferguson, Missouri following the death of Michael Brown, and ties them to the historical struggle for civil rights.

"You can lose the validity and sanctity of your argument by violence because they can dismiss you if you raise your hand in violence," he says. "So I say, 'Stand up on your seat with your dirty feet/Raise your fist in the air/But be sweet.' It's just poetry and an homage to the great non-violent protest in the '60s led by Dr. King."

Porter's willingness to address contemporary issues coincides with jazz's resurgent prominence today with artists like Kamasi Washington and Robert Glasper – as well as himself – garnering more attention than jazz artists did a few years ago. Porter cites the will of the audience being a crucial factor.

"I was feeling like people were gonna come back to a more soulful expression to something a bit more meaty," he says. "Now, there's a genius in pop. I'm not dismissing any form of music, but there's something grounded and soulful and moving, maybe about love, maybe about the planet. I think people are gonna come back to that and I think that's just what's happening and I don't think it's the artist trying to pander to open up to audiences, this is the experience we come from. It's a living music."

Cognizant of the fact he'll be conveying his growing audience through the lens of a storied jazz history as well as through contemporary avenues, Porter is nevertheless committed to the principles of the music.

"It's a tough, but fun place to be in because you have so many different directions you can go in because the umbrella of jazz is so wide and so large," he says. "I think the new jazz artists are trying to open up the expressions even wider and that's alright. Freedom, ultimately."

Follow me on Twitter @vibesandstuff

 

Robyn Phillips discusses David Lynch, gender equality and her band, Vallens

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After being an active member of the Toronto music scene for the past few years, guitarist and singer-songwriter Robyn Phillips has finally branched out on her own with Vallens, which releases its debut full length Consent this week.

Removed from any one genre, the album is a confident experiment in shoegaze pop noir. Recorded by both Josh Korody (Beliefs, Nailbiter) and Jeff Berner (Psychic TV), Consent is layered in a cloudy haze of dusky guitars over mysterious melodies, dreamy synthesizers seemingly taken from the lost tapes of a David Lynch film score, and shadowy, post punk grooves. 

Phillips fearlessly takes on heady subject matter through her lyrics, confronting everything from sexual assault, eating disorders, addiction, and the experience of being a woman without sugar coating it for easy consumption.

We caught up with Phillips to explore the inspiration behind Consent, the idea of persona and what happened to gender equality in the music industry — if it was ever really there at all.

You've been an active player in the Toronto music scene for many moons now. What sparked the inspiration to finally release a solo record?

When I started playing around Toronto when I was 19, I was just too shy to front my own band and show people my own songs. It was always my goal to eventually start a project like Vallens [which features Colin J Morgan, Marta Cikojevic and Devon Henderson]. I just needed to build confidence and territory.

Your guitar playing is top notch, and a huge part of Vallens' sound. What's your set up, and who are your guitar heroes?

[My] set up is forever changing, but currently I am using my JC 90 amp religiously. I try to not play a show without it because I find it so essential to the sound I'm into at the moment. I am ever-changing my pedals but currently I'm using, in order after TC Nano Tuner, Cusack Tube screamer (with Fuzz mod), DBA Fuzzwar, Dual Rat, Space Echo, Line 6 Space Chorus, Phase 90, Joyo Tremolo, EHX Freeze, and TC Nano Ditto Looper! Believe it or not I actually use them all at some point through an entire set, ha!

Given that your songs not only have a strong lyrical backbone, but also intricate sonic arrangement, what comes first for you, lyrics or music?

I would say I more so go through phases where the lyrics come first or where the music comes first. It depends on what I am being inspired by at the time.

You recently contributed to an article in Vice's Noisey on the lack of gender equality in Canadian Music, specifically the media's apparent obsession with adding on the "girl band" tag to female artists. How do you think this problem can be fixed? What do you think needs to be done to bring more females to the front and centre?

It's a mentality that the industry has to change. Something I think is very important is language, and dropping gender from all genres, bios, etc. for female identifying folks' art projects and bands. I think in order for more females to come front and centre, wherever they want to be in this industry, women need to continue to not take any shit in any way that makes them feel unequal. Some misogynists have critiqued myself and most likely others that feminism has become trendy. I find this very frustrating. I don't believe its possible for equality to be a "trend." For it to be labelled a trend or used as "clickbait" is actually a huge problem that belittles us. I hope that this conversation keeps going and changing the trajectory. 

Can you talk a bit about the idea of the persona in music? Yours being a Lynchian inspired character?

The name came from the character in my favourite movie, [Dorothy Vallens in] Blue Velvet. I liked her mystery, darkness, and flicker of fear. That feeling never really went away when I sat down to write stuff. Initially it was much more clear to [me] that I was taking on a persona. Especially in the early writing stages, it gave me the confidence to be more outspoken. 

Should you find yourself locked in The Black Lodge for life, what record would you play out into eternity?

Oh wow, my first reaction is Nina Simone Sings the Blues, and a Roy Orbison compilation, and the song "Hurt" by Timi Yuro.

Consent is out now on Hand Drawn Dracula.

'We weren't afraid to keep trying different things': Hot Hot Heat bids farewell with final album

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After 17 years, Victoria, B.C., indie-rockers Hot Hot Heat are calling it quits. The band, which has put out four albums and numerous hits throughout its career including “Bandages,” “Talk to Me, Dance With Me,” and “Middle of Nowhere,” will cap off its run with one final, self-titled album.

Hot Hot Heat’s fifth album marks its first in six years, a process that saw the band attempt to finish the album not once but twice, and they are very proud of the results, adding that this is the high note the rockers want to leave things on.

The album draws from the band’s best strengths: energetic melodies and infectious pop hooks. Lead single “Kid Who Stays in the Picture” is a mélange of swirling synths, echoing guitars and lead singer Steve Bay’s soaring vocals; “Magnitude,” is a saccharine piano number. Closing track “The Memory’s Here” is a touching send-off in which Bay repeats a mantra of sorts: “The memory’s here it won’t go away/ the memory’s here it won’t fade away.”

CBC Music talked to Bay recently to discuss the band’s new album and the decision to end the band. 



You wrote this last album between 2011 and 2014, is that normally how long it takes you to write and record an album?

Normally I’d say it takes us two years per record…. Well, it depends. It depends on how much touring you’re doing. Some bands can write on the road whereas we were never really able to write on the road that much. So much of how long it takes to make the record just depends on how united you are creatively. Often it takes a while. With this record, we wrote so many songs before we finally had 10 where we were like, here are 10 songs that we’re not arguing about so let’s put these out.

We wanted it to feel good and upbeat and still have the Hot Hot Heat thing, which I think just provides you with energy when you listen to it. It’s entertaining and energetic and exciting, it’s not asking everyone to turn down their energy levels. A lot of records, they want you to emote in a dark way and that’s just not the kind of music I listen to, you know?

How did the recording process go?

We made the record twice. The first time was after I had been working on a lot of my side project Fur Trade where it was written very methodically so I thought, oh let’s make the Hot Hot Heat record like we did the Fur Trade record. So we wrote a lot of the songs in my studio but it just didn’t feel like it sounded like a Hot Hot Heat record and we all kind of drifted apart, separated and worked on other things.

And then I did the Mounties record where we wrote and recorded everything in two weeks and that was just such an inspiring process. Creatively, the ideas felt very fun and different and it didn’t feel like anything I would’ve done if I was writing and recording in a traditional way so I said, OK why don’t we finish the Hot Hot Heat record? Take the songs that we did the first time and reinterpret them, re-record them in the same studio we did the Mounties songs in with all the same gear and we’ll get [Mounties member Ryan Dahle] to co-produce it. So we kind of just copy and pasted the approach but the results were totally different but it meant that we were able to finish the record and put out a record that was recorded live with all analog synths and live drums.

You mentioned you wrote a lot of songs for the record, so what will happen to all the other songs you wrote?

I don’t know. I think there’s a folder of about 35 unused songs from over the years, it would be nice if somebody leaked them or something!

I mean, you can leak them.

If I did, I’d probably get sued by Warner Bros. or something! But if somebody else did it, it would be like, "Well what do you know!"

At what point in this whole process did you decide that this would be the end for the band?

I guess while we were in the studio, there was a feeling of, OK this might be the last one but we never really like to say that out loud. We took a rule from the Beatles rule book, which was to never say the words "break up." You don’t think about it, you don’t talk about it.

But after the record was done, we started getting asked by management to promote it and tour it, and I was working on so many exciting things that I just never really woke up and thought, OK today’s the day I want to start planning the tour. There was no definitive point where we decided to break up, to tell you the truth, we all just faded in different ways. Eventually, I just said I’d love for this record to come out but I don’t see us continuing to do this because we’ve all grown in different directions creatively.

At the beginning, we lived together in multiple houses and at one point it was four of us and a cat in a two-bedroom apartment. We were always such a tight gang but after 17 years of being in a band and slowly growing apart it just seems like the best thing would be to go out on a high note because we all really like the record and we’re really proud of it. We never wanted to be the band that was basically told we should end it after putting out a string of bad albums. We stand by each record and love every song we’ve put out and I’d rather try and go out on a note of us all being proud of our last record.

When you announced your final album, there was an emphasis on your live shows in your statement. Is that something you were particularly proud of with Hot Hot Heat?

I do like when I run into people that have seen the band live. It’s always a really excited conversation. It was always a party and an energy: we came from the punk scene where if people weren’t moving or freaking out then your band sucked! So we were just obsessed with having people move and then that kind of evolved from people moshing to people at least kind of bobbing their heads.

We weren’t afraid for it to be entertaining for people. We wanted it to be fresh and new and something that we really hadn’t heard before. We weren’t willing to copy and paste the template of whatever was trendy at the moment and it almost felt like whenever people started to figure out what our sound was, we would try and change it because we never wanted to paint ourselves into a corner. And that may have been to our detriment but I’m proud of the fact that we weren’t afraid to keep trying different things.

Were there any shows that stood out for you over the years?

We played this one show in L.A. called the KROQ Inland Invasion and it was just all the biggest bands from the ‘80s. We went on third to last, before Duran Duran and the Cure, and before that was Echo and the Bunnymen, Devo, just bands that I grew up with. It was just an exciting time. It felt like we were kind of getting thrown into this ‘80s punk revival thing and I didn’t really like the labelling but I was just glad that the ‘80s were a thing again. I was just so burnt out on the ‘90s. So much of early Hot Hot Heat was, I think, just us rebelling from all the music that we grew up listening to in the ‘90s, which just felt so depressing.

The album ends on a nice note, with a song called “The Memory’s Here.” Can you tell me a bit about that track and how that came together?

We improvised on the last day of recording and that song was just one take. We thought we would do a lot of improvising on the record but in the end that was really one of the only ones that made it on the final record. I didn’t really think of it as anything at the time. I mixed nine of the songs and Ryan mixed this track. He was like, "Hey, I don’t know if you guys remember jamming this," but it’s actually kind of a poignant moment. You know, last song on the album, last song we recorded. It just has a really nice nod to the nostalgia of ending the band so I credit Ryan for that one but it’s nice that it kind of wrote itself.   

Watch the trailer for Yannick Nézet-Séguin's new Marriage of Figaro recording

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"It's love, it's sex. It's fun, also." That's how soprano Sonya Yoncheva describes Mozart's Le Nozze di Figaro (The Marriage of Figaro) in the trailer for Deutsche Grammophone's new recording of the opera, conducted by Yannick Nézet-Séguin, due out July 8. And you know what? She's right!

Watch the trailer above; pre-order the album here.

Yoncheva, who sings the role of the Countess, is part of a cast of singing stars rallying around Nézet-Séguin and tenor Rolando Villazon for this, the fourth in their series of seven Mozart operas for the renowned German record label. Rounding out the cast are:

– Luca Pisaroni, Figaro.
– Christiane Karg, Susanna.
– Thomas Hampson, the Count.
– Angela Brower, Cherubino.
– Maurizio Muraro, Bartolo.
– Anne-Sofie von Otter, Marcellina.

The operas in this series are produced in collaboration with the Chamber Orchestra of Europe and the Baden-Baden Festspielhaus, where the recordings take place.

"Of course, it's a farce, it's a comedy, it's people hiding from each other," says Nézet-Séguin, explaining why The Marriage of Figaro is so popular. "And yet, underneath, in the orchestra there's always this woodwind and there's always this violin line which breaks your heart."

Related

Watch a 10-year-old Yannick Nézet-Séguin conduct Ravel's Bolero

Listen to Joel Plaskett’s tribute to Gord Downie

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Joel Plaskett has turned a poem he wrote for Gord Downie into a song. The Halifax singer-songwriter posted "Just Because (for Gord Downie)" on his Soundcloud page.

"Here's a poem turned song I wrote and recorded called 'Just Because (for Gord Downie).' Crank it for the man with love," Plaskett wrote.

In addition to posting the audio for the seven-minute song, Plaskett also posted the lyrics. 

Listen to "Just Because (for Gord Downie)" below:

 

 

Listen to the new Ghostbusters theme song featuring Missy Elliott and Fall Out Boy

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Out with the synths and in with the pop-punk: the new Ghostbusters theme song is here. The new version, performed by Fall Out Boy and Missy Elliott, will serve as the theme for the upcoming Ghostbusters reboot (out July 15) starring Kristen Wiig, Melissa McCarthy, Kate McKinnon and Leslie Jones.

“Ghostbusters (I’m Not Afraid)” very much stays in the guitar-heavy pop-punk realms of Fall Out Boy’s sound, but a nice nod to the original theme recorded by Ray Parker Jr. is the “Ghostbusters!” chant in the background. Listen to the full track below.


Led Zeppelin cleared of stealing ‘Stairway to Heaven’

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Led Zeppelin have been cleared by a Los Angeles jury of stealing the opening riff to their 1971 song "Stairway to Heaven."

Guitarist Jimmy Page and singer Robert Plant were cleared of lifting the riff from "Taurus" by Spirit, a band that often played with Led Zeppelin in the early '70s.

"We are grateful for the jury's conscientious service and pleased that it has ruled in our favor, putting to rest questions about the origins of 'Stairway to Heaven' and confirming what we have known for 45 years.  We appreciate our fans' support and look forward to putting this legal matter behind us," said Page and Plant in a joint statement.

The lawsuit was brought on behalf of Randy California, the writer of "Taurus" in 2014. California, who was also known as Randy Wolfe, died in 1997 while attempting to save his son in the Pacific Ocean.

In the complaint, filed by trustee Michael Skidmore, it is alleged that California taught Page the chords to "Taurus" in 1969. Spirit played a number of concert dates with Led Zeppelin in 1969.

"Stairway to Heaven" is listed at number 31 on Rolling Stone's 500 Greatest Songs of all Time.

Listen to "Stairway to Heaven" by Led Zeppelin, "Taurus" by Spirit and a YouTube video comparing the two songs, below.

Soprano Wendy Nielsen hosts This Is My Music

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LISTEN

Wendy Nielsen hosts This Is My Music

Wendy Nielsen has spent more than 25 years in opera houses and concert halls all over North America, Europe and Asia. She's performed great works by composers old and new: from Handel to Beethoven to Britten, Penderecki and many others. Nielsen can name famous conductors like Kurt Masur, Jeffrey Tate, James Conlon, Charles Dutoit and James Levine among her colleagues.

Yet Nielsen has always remained in touch with her Canadian roots. She was introduced to classical singing by her Grade 3 music teacher in Harvey Station, NB. Later on, Nielsen earned music degrees from the University of Lethbridge, and UBC in Vancouver. Next stop was Toronto, where Nielsen took classes with the Canadian Opera Company Ensemble. 

Her first major role was with the COC, as Fiordiligi in Mozart's Cosi fan tutte. A few years later, Nielsen performed that same role in her Metropolitan Opera debut.

Since 2012, Nielsen has devoted herself to teaching. She accepted a dual appointment working with the COC and teaching voice at the University of Toronto's Faculty of Music. In the summer, Nielsen returns to her home province, directing the St. Andrews Summer Opera Workshop in New Brunswick.

On this edition of This Is My Music, Nielsen shares her favourite selections and the stories behind her choices. 

This Is My Music can be heard on Radio 2 on Saturdays at 10:00 a.m. ET.

CBC Radio 3 Podcast with Louise Burns featuring Daniel Romano, Repartee and Nick Thorburn

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Summer is upon us friends!

But...

To be frank, I'm not the biggest fan of the summer. I'm often left with an overwhelming feeling of guilt as I turn down opportunities to camp, hang at the beach, attend outdoor festivals with port-a-potties, the list goes on. I simply don't know what to do with myself in the dog days of the year.

But, I suppose there is something to be said about perpetual sunlight and a high dose of Vitamin D, so with that, let's celebrate the quieter side of summer. 

This month includes an album of epic melodramatic songwriting (Daniel Romano), some existential psychedelia (Quest For Fire), a shimmer of pure pop bliss (Repartee), and an interview with Nick Thorburn, indie music pioneer and future rock star ikebana practitioner. We're also featuring music by Yu Su, who is on Genero, an all female electronic music label based out of Vancouver. 

Happy listening,

Louise

Subscribe to the Radio 3 podcast in iTunes or listen to the stream below.

LISTEN

Listen to the CBC Radio 3 podcast featuring Daniel Romano, Repartee and Nick Thorburn.

 

First Play Live: Weaves

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Weaves' heavily hyped self-titled debut album came out last week. The band has been working at a feverish pace over the past couple years, playing showcases filled with influential tastemakers - like NPR's Bob Boilen and the New York Times' Jon Pareles - and recording the songs for this album. 

We invited the Toronto-based band to do a First Play Live session with us, but rather than record them in our studio, we asked them to pick the location. The band suggested the Allan Gardens Conservatory, a beautiful greenhouse in one of the oldest parks in Toronto. We didn't even know if it was possible to record at the Conservatory, but after several permit forms were filled out, the process was easier than expected. The staff at the Gardens were incredibly accommodating, leaving their spring show intact an extra week so that Weaves could perform among the hydrangeas.

During Weaves' enthusiastic performance, Bines fell right into the flower bed while thumbing his bass on "One More." Burke's reaction is perfect, as the band doesn't miss a beat.

Watch Weaves rock five songs from their new album surrounded by the verdant foliage of the Allan Gardens Conservatory:

Special thanks to the staff at the City of Toronto and Allan Gardens for making this session possible.

My Playlist: The Trews’ John-Angus MacDonald shares his favourite music

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My Playlist with John-Angus MacDonald

No question, The Trews are Canadian rock royalty. They play it hard and they play it loud and that’s the way their fans like it. A dozen top ten radio hits over 13 years, a fistful of East Coast Music Awards and a Juno Nomination provides further proof (if needed).

But John-Angus MacDonald, one the band’s founding members, has a more nuanced side too. He shares both in his fun stint hosting My Playlist this week.

There’s everything from Joel Plaskett and the Emergency, to Will Hodge and Nathaniel Rateliff and the Night Sweats. 

 

Bluegrass pioneer Ralph Stanley dead at 89

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Bluegrass pioneer Ralph Stanley has died at the age of 89, following complications with skin cancer. Stanley's death was confirmed by his publicist and his grandson Nathan Stanley, also a musician, who often toured with his grandfather. Nathan posted a heartfelt message on his website.

"My heart is broken into pieces. My papaw, my dad, and the greatest man in the world, Dr. Ralph Stanley has went home to be with Jesus just a few minutes ago," Nathan wrote. "He went peacefully in his sleep due to a long, horrible battle with skin cancer. I feel so lost and so alone right now. He was my world, and he was my everything."

Ralph was born in Stratton, Va., in 1927 and began playing with his brother Carter in the 1940s. Ralph became known for his distinctive voice as a singer. His biographer, John Wright, once described Ralph's voice as "[giving] this old-time mysterious flavor to the singing. The voice sounds like it's coming out of the past, like a ghost or something like that."

After his brother's death in 1966, Ralph continued playing with his band the Clinch Mountain Boys and became particularly known for the recordings "Man of Constant Sorrow" and "O Death." Both songs received a revival thanks to the 2000 Coen Brothers film O Brother Where Art Thou. Ralph received an honorary doctorate of music from Lincoln Memorial University in 1976 and was inducted into the Bluegrass Hall of Fame in 1992, while continuing to tour and record into his later years.

"My Papaw was loved by millions of fans from all around the world, and he loved all of you. If he was singing and on stage, he was happy," wrote his grandson Nathan Stanley in his statement. "That's why I did so much to make it possible for him to travel in the last two years. Because he wanted to. Please keep me and my family in your prayers. This is the hardest thing I have ever had to face in my life."

Toronto electro-pop artist Lowell returns with new single 'High Enough'

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It’s been two years since Toronto electro-pop artist Lowell released her debut album, We Loved Her Dearly, which we named one of the best Canadian albums of that year. Now Lowell is back with a new EP called Part 1: PARIS YK (out in August) and a brand new single called “High Enough.”

The minimal electronic number was produced by Zale Epstein, who most notably worked on Kendrick Lamar’s 2015 album, To Pimp a Butterfly. The music video for the track is colourful and pop art-inspired, featuring Lowell performing in a lace suit as she sings, “You’re all in my head/ you’re all in my mind./ Am I good enough?/ Am I high enough?” Watch the full video below. 






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