Shindig!

Nick Lowe’s Christmas Show

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Nick Lowe and Los Straitjackets were on the CBS Saturday Morning TV show today, playing three songs from Nick’s classic holiday album Quality Street (here’s their performance of ‘Christmas at the Airport’). Quality Street is now 10 years old, and it will forever remind me of the Nick Lowe show I saw at Vancouver’s Vogue Theatre on December 19, 2015.

This was a memorable show for many reasons, not least of which was the excellent and exuberant music. It was also memorable because of the audience. This was my first time seeing Nick as a solo act – I had seen him in Vancouver in 1980, as part of Rockpile – but everyone I knew who had seen him on his own assured me that he was terrific. When my husband and I got to the venue and found our seats, it turned out Continue reading →

Shining On: Linda Hoover

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[originally appeared in Shindig! issue #129)

When Linda Hoover entered New York’s Advantage Sound Studios in 1970, she was an excited 19-year-old who had never been in a studio before. Little did she know the album she made, I Mean To Shine, would never be released. But the album became legendary as the first album to feature songs by Walter Becker and Donald Fagen, who were soon to become the linchpins of Steely Dan – songs that never appeared anywhere else. Not only that, but Becker and Fagen also played on the album, along with guitarists Jeff ‘Skunk’ Baxter and Denny Dias who also became part of the Dan. Now, after 52 years, I Mean To Shine is finally seeing the light of day.

The catalyst for the album Continue reading →

Robyn Hitchcock/Kelley Stoltz concert review

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[originally appeared in Shindig! issue #139]

ROBYN HITCHCOCK, KELLEY STOLTZ

Neptune Theatre, Seattle

Friday 16th March

Robyn Hitchcock’s career has outlasted many other acts from the North American “college radio” indie music scene in the ‘80s and ‘90s. This longevity is attributable not only to his brilliant songwriting, mixing whimsical wordplay with moments of genuine poignancy and a keen psych-pop sensibility, but also to his frequent collaborations with other artists.

The value that Hitchcock places on collaboration was demonstrated by his choice of bandmates for Continue reading →

Cry Cry Cry: ’96 Tears’

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[originally appeared in Shindig! issue #127]

Saginaw, Michigan, is an industrial city about two hours northwest of Detroit. In the mid-20th century, migrant Mexican-American farm labourers in the region, seeking greater economic security and stability, settled in Saginaw to work at its auto manufacturing plants. Mexican-American kids in Saginaw in the late 1950s and early 1960s grew up with the Mexican music that their parents loved and performed – mostly the Tejano style, with its rollicking accordion and guitars – but they also listened to Elvis Presley, Buddy Holly, and other pioneering American rock and rollers. Those diverse influences fueled ? and the Mysterians’ ‘96 Tears’ – which, since its 1966 release, has gone on to be recorded by more than 50 other artists, and has become a modern-day classic.

Speaking from his home in Saginaw, Mysterians guitarist Bobby Balderrama tells Shindig! that the group  – which took its name from a Japanese sci-fi movie they saw on TV –  started as an instrumental combo, “playing the Ventures, Duane Eddy, all the guitar stuff.” He and fellow guitarist Larry Borjes, along with drummer Robert Martinez, honed their craft in his parents’ garage. “It was a two-car garage, so my dad parked the car on one side, and we practiced on the other side. We had our equipment set up there all the time.” However, when they played gigs, Continue reading →

Deep Waters: ‘Wade in the Water’

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[originally appeared in Shindig! issue 115]

The graceful, emotional ‘Wade on the Water’ has been a stirring musical expression of faith and hope for more than a century. However, the oppression described in its lyrics is not just an artifact from the past. While this article was being written, two US state governments passed laws that will affect minority communities’ ability to exercise their right to vote, and a white US police officer is on trial for charges related to the murder of a Black man. ‘Wade in the Water’ is important not only as a classic piece of music, but as a representation of historical injustices whose effects still have not disappeared.

‘Wade in the Water’ originated in the southern US in the mid-1800s, as a spiritual sung by enslaved African-Americans. In those communities, spirituals were more than just expressions of religious devotion. Some spirituals would be sung to alert freedom-seekers when it was safest to escape, without slaveholders (“masters”) knowing that information was being communicated.  The lyrics of ‘Wade in the Water’ reference the Biblical story of the Israelites crossing the river Jordan, but the lyrics Continue reading →

The Count Five ‘Psychotic Reaction’

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[originally appeared in Shindig!  issue 114]

When Lenny Kaye’s Nuggets compilation was unleashed upon the world in 1972, it blew the ears and minds of many listeners who had no idea that so much great music had been lurking in the 1960s US pop charts. Among the rediscovered gems included on that anthology was ‘Psychotic Reaction’ by Count Five. With its repetitive rhythms, nasally vocals, wailing harmonica, and piercing fuzztone guitars, it epitomizes the garage-punk sound that Jon Savage describes as “pure noise and texture”.

Count Five hailed from San Jose, just south of San Francisco. According to historian Paul Kauppila, the Bay Area’s mid-60s music scene was “polarized”. South Bay bands had the same psychedelic influences as bands in the more prominent San Francisco scene, but their material was more

Continue reading →

Lost One Rainy Morn: Ian & Sylvia’s “The French Girl”

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[originally appeared in Shindig! issue 111]

‘The French Girl’ is the musical equivalent of an Impressionist painting: sparse lyrical images weaving together to create an intricately detailed world. Three silver rings, a dark-haired woman, a cozy room, glasses of red wine…..and then she disappears, and no one knows who she was or where she has gone. It’s romantic, but with an underlying and somewhat unsettling sense of unreality.

Ian and Sylvia Tyson wrote the song in late 1965, during what Sylvia described to their biographer John Einarson as “a very transitional period for us”. As the duo of Ian & Sylvia, they were stars on the folk rock circuit, and had already released four albums on the Vanguard label. Songs like Ian’s ‘Four Strong Winds’ and Sylvia’s ‘You Were On My Mind’ had brought them acclaim as songwriters. But they were well aware that Continue reading →

A Quiet Explosion: Deep Purple’s ‘Hush’

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(originally appeared in Shindig! issue #105)

More than 50 years after its creation, ‘Hush’ is a staple of bar-band playlists, ‘best of’ anthologies, and movie and TV soundtracks – and it damn well should be, because it’s so catchy. Who among us has not banged their head to its driving percussive beat, or joyously shouted along to a chorus of “na na-na na”? But as the past five decades have shown, ‘Hush’ is also a song that can flourish in many different types of interpretations and musical styles.

Joe South wrote ‘Hush’ in the mid-‘60s, but its origins may go as far back as Continue reading →

Gone But Not Forgotten: ‘Picture Me Gone’

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(originally appeared in Shindig! issue #103)

‘Picture Me Gone’ is a sassy, bold ‘60s tune, on the timeless theme of “you’re thinking about dumping me? Yeah? Well, think about me dumping you first”. The most recent version of it appears to have been released in ’92, which is a shame; this gem is just waiting to be rediscovered.

‘Picture Me Gone’ was written by Chip Taylor and Al Gorgoni in the early ‘60s, when they were working at a New York music publishing company based across the street from the renowed Brill Building. The first artist to record the song was Continue reading →

Procol Harum….in Canada: The Making of “Procol Harum Live: In Concert with the Edmonton Symphony Orchestra”

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(originally appeared in Shindig! issue #77) 

Ask a Canadian to describe the city of Edmonton, Alberta, and the two words you are likely to hear are “cold” and “boring”. Edmonton is the northernmost large city in North America, sitting on roughly the same latitude as Moscow – and, as your correspondent discovered while living there, Edmonton can indeed be cold. Very cold. Like “outdoor temperature of -35C and windchill” cold.

However, despite its nickname of “Deadmonton”, Edmonton is not boring. Its winters are long and dark, but many of its residents grew up in small Prairie towns where, if you were bored, you made your own fun. So when Edmontonians get an idea, instead of thinking of reasons why it won’t work, they figure out how to make it happen. That adventurous attitude of “hey, this could be fun” led to the ’72 album Procol Harum Live: In Concert with the Edmonton Symphony Orchestra – a significant milestone in Procol Harum’s career, and a huge influence on the city where it was recorded.

By the late ‘60s, the potential for crossovers between classical music and rock music had already been demonstrated by Continue reading →