All Things Must Pass, George Harrison. (Part One)

Rock's first triple disc LP. Personally, I think its the best of its kind. While that may provoke a heady debate, I think it could be agreed on that no other triple disc LP has been so eloquently compiled. It also prevails as the most momentous solo Beatles album released to date. While John Lennon and Paul McCartney occasionally knocked out near-perfect productions, and even Ringo getting a catchy single in once and again, none have rivaled the brilliant eccentricity, genuine passion, and unwavering diversity of All Things Must Pass. Had any of these songs been given the Beatles treatment, they would undoubtedly be standouts in the catalog. Many of these songs had been rejected by the Beatles, dating as far back as 1966. Alas, its the uplifting sounds of George Harrison coming into his own that contributes to this album's splendor. He didn't need the other Beatles, and he wasted no time gathering some of his most talented cohorts, to make for legendary sessions. George Harrison proved that he could sufficiently stand on his own, and the fact that he had never relied on the others to aid him in writing proved to be a blessing. They is an unrestrained flavor throughout all six sides -- complete with throaty vocal performances, lush productions (courtesy of music's premier kook, Mr. Spector), jam sessions, and various instruments popping up randomly in each track, but none sounding out of place. Bobby Whitlock, of Derek and the Dominos, claimed that Harrison was incredibly collaborative and that he "included everyone on everything he did because there was enough for all." Its an album that seems like an obscurity, yet I always seems to stumble upon random people who are equally infatuated. After purchasing the album -- all discs present, perfect condition with the exception of a worn out corner on the cover box -- for a DOLLAR (Oh, the Bay Area. I fucking love you), a girl saw it and said something like, "That George Harrison record is so fucking cool." Then once I was at a party and I was introduced to a guy named George. I said, "I can remember that because George is my favorite Beatle." George replied, "Really? He is my favorite too. His solo records are awesome." More recently, before interviewing Ross Halfin, I chatted with his assistant, Steve (I think his name was), and he told me of how he went along with Ross on the tour of Japan with George Harrison and Eric Clapton. He told me of his adoration for All Things Must Pass, and I graciously bragged about my Bay Area bargain. (Which then branched into a conversation about rummaging for records.) I always thought I was one of few who had unearthed this gem, but apparently even strange men named George at dumb, random parties are into it. But that's marvelous, I love when good music gets the credit it deserves. With an album so massive, and material so rich, some songs take longer to seep in, and it certainly takes multiple listens to fully comprehend the album in its entirety. The remarkable musicianship comes courtesy of all of Derek and the Dominos (sans Duane Allman), Gary Wright (most famous for "Dream Weaver"), Bobby Keyes (laid down classic sax on the best Stones records, and tossed a television out the window with K. Richards), as well as Jim Price (another Stones vet), Ringo, members of Badfinger, Al Aronowitz (introduced the Beatles to Bob Dylan, who introduced the Beatles to pot), Peter Frampton, John Lennon, Dave Mason of Traffic, Gary Brooker of Procol Harum, every one's favorite loon Ginger Baker, Klaus Voormann (friend of the Beatles in Hamburg, artist of Revolver cover, bass player), Alan White (soon to be of Yes), Billy Preston (no intro necessary?), even a young Phil Collin makes an appearance, among many others. The album itself opens with a longing number, co-written with Bob Dylan, "I'd Have You Anytime". I deem All Things Must Pass a stunning record, one of my favorites, because it passes my general "magnificent album" rule: each song is a THRILL. Each a different kind of thrill -- yet all uniquely and unanimously a thrill. With that said, "I'd Have You Anytime" is not at all a bad song, the lead guitar is quite tasteful. Still, it never proved to be a favorite. But it is followed by a string of BRILLIANCE, a string of "What the fuck is wrong with John Lennon and Paul McCartney, why did they push these songs aside?" brilliance. Beginning with "My Sweet Lord", the album's crowned classic. When I was in Buenos Aires, floating about my favorite flea market in the entire world, Hare Krishnas were dancing to this song. Incredible! During a whirlwind summer, in which I felt like an utter outsider, music DID prove to be the universal language. Yes yes yes. While I can't say I necessarily get down with the religious bit, I don't mind it at all. Perhaps it even provided a bit of much-longed-for passion. The celestial chorus and contagious rhythm make for an exciting listening experience, and coupled with that previously mentioned unrestrained passion -- its genuine. More so than any Beatles track George Harrison ever sang. But oh oh oh, it just gets better. "Wah-Wah" is DELICIOUS. I am so grateful that Paul McCartney was such a whiny bitch that George Harrison felt urged to write a song about it! That wall of sound is ever affective. Ugh, just the sweet sounds exploding at every moment. That momentous riff! It is all magical, totally and completely magical. And he is right! He didn't need Paul McCartney. Following the album's arguably best track is the first version of "Isn't It a Pity". You know what IS a pity? I'm just assuming that this is GH longing for his gap-toothed wife (whom Brian Epstein apparently thought of as really dense, which I in turn think of as really entertaining), WHILE SHE WAS SEDUCING ERIC CLAPTON. Cruel! Though if she did inspire such a tune, I'm sure GH would deny it. Didn't he say that "Something" was inspired by Ray Charles? Even so, the entire theme of "Isn't It a Pity" is incredibly uplifting. In short: See the beauty around you, and treat others kindly. When I first became utterly obsessed with this record, I really dug "Isn't It a Pity", but now it isn't quite a favorite. But I am no less infatuated with the sound of this record. The glorious musicians, the ENERGY, and yes, even the echo-laden Phil Spector touch. This record never gets boring (even though disc one doesn't exactly hide its superiority to disc two). If "Isn't It a Pity" failed to move you, then "What Is Life" will literally MOVE you. Get up! Move! Embrace the horns! The ever-present slide! (George was no slouch.) "What Is Life" is just a great song. One of the best off a glorious album. Its catchy, its danceable, its got everything a good song needs. Simple yet explosive, ethereal and perfect. Next, "If Not for You". Sweet, delicate. Bob Dylan, you have a heart. Bobby D penned this one for his then-wife Sara, an obvious fountain of inspiration. This take on "If Not for You" is one of those rare instances in which someone totally identifies with the words another wrote. The jangly guitars dance tenderly around Harrison's delicately affective vocals. This is followed by another love-driven ballad (is there any other kind?), this time penned by Harrison himself. Kind of like Led Zeppelin's "Tangerine" and "That's the Way", "If Not for You" and "Behind That Locked Door" have always been partners in my library. I rarely listen to one without the other. I think if pressed, "Behind That Locked Door" would prevail as the better of the two. I'm a huge fan of steel guitar, when done tastefully. It can bring so much warmth to a song, and it truly does not fail here. "Let It Down", yet another momentous tune, complete with Harrison's inability to say 'hair' -- he pronounces it as 'hurr'. He prevails as an imaginative lyricist; "Let your hair hang around me. Let it down, let it down. Let your love flow and astound me." And it continues, "As you look so sweetly and divine, I can feel you here. I see your eyes are busy kissing mine." I like. The song which closes disc one is "Run of the Mill". Strangely, not a favorite when I first discovered the album, it has since developed a fondness when it comes on random. This fondness mostly stems from the endlessly wise lyrics.

"Everyone has choice, when to and not to raise their voices: it's you that decides; which way you will turn, while feeling that our love's not your concern; it's you that decides.
No one around you, will carry the blame for you
No one around you, will love you to day and throw it all away
tomorrow when you rise
Another day for you to realize me; or send me down again; As the days stand up on end, you've got me wondering how I lost your friendship, but I see it in your eyes.
Though I'm beside you I can't carry the lame for you; I may decide to get out with your blessing, where I'll carry on guessing; How high will you leap? will you make enough for you to reap it? only you'll arrive at your own made end, with no one but yourself to be offender; it's you that decides."
-- As printed on the All Things Must Pass sleeve.

"The Led whaat?"

This is neat. Here is a 1970 interview with John Bonham & Robert Plant. They discuss the "death of the personality cult" and the revolution in popular music that Zeppelin was a catalyst for.

Now, lets move from revolution talk to evolution talk. Here is what prehistoric Wax Romeo looked like. Creepy, right? Thank God for Darwinism.

Also, at the long overdue request of DJ Pat Chez, here is me dressed as Mandeep a couple Halloweens ago.

Smalltown Best:09 Mix

The "Best of 08" podcast was a smashing success and the feedback was awesome, so here is the follow up. What great year it was for music, this mix is about some of the non-dancefloor and not-club tunes which were on heavy rotation this year. The great cover art was designed by our homie Jonathan at Rollout. Thanks for listening.

SMALLTOWN DJs BEST:09 MIX

*edit: Neoteric was kind enough to upload a version with tracklist & artwork embedded HERE


BEST:09 TRACKLIST

1) While you wait for the Others - Grizzly Bear feat. Michael Macdonald
2) Just ain't Gonna Work Out - Mayer Hawthorne
3) Stillness is the Move - Solange Knowles
4) Dominoes - The Big Pink
5) Nothing to Worry About - Peter, Bjorn & John
6) No You Girls (Grizzl Remix) - Franz Ferdinand
7) So Insane - Discovery
8) The Sticky - Black Moth Super Rainbow
9) Lizstomania (Classixx Remix) - Phoenix
10) Psychic City - Yacht
11) Blood Bank (Skinny Friedman edit) - Bon Iver
12) Home - Edward Sharpe and the Magnetic Zeros
13) Animal (Mark Ronson Remix) - Miike Snow
14) Shelter (Them Jeans Remix) - The XX
15) Cruel Intentions - Simian Mobile Disco feat. Beth Ditto
16) Walking on the Moon (U-Tern's Kris Menace blend) - The Dream
17) Bulletproof - La Roux
18) One Life Stand - Hot Chip
19) Rain Dance - The Very Best feat. M.I.A.
20) You Got the Love (The XX Remix) - Florence & The Machine
21) Night by Night (Skream Remix) - Chromeo
22) Pursuit of Happiness - Kid Cudi feat Ratatat & MGMT

Nicaragua - A good purpose

After a few weeks in Europe Pete and I returned home to Calgary just in time to welcome a -37 Blizzard. With 10 days on the calender with no scheduled work I decided to head to Nicaragua and within 2 hours me and my trusty travel mate/girlfriend Joanna were on a plane.

With 3 hours of sun on the first day I received a pretty brutal sunburn.
Which if you have ever spent time in the waves in Nicaragua is somewhat
unavoidable and common. It gave me a few days to work on a new track
heavily inspired by the Spanish/Latin influences in the area. The view from my Nica studio was amazing.


After a few days out of the sun we were back on the beach just in time to hit a nice groundswell that was just the right size for a landlocked Calgarian Surfer. Justin from Liquidglass was out with his water camera and hooked me with a few shots from that afternoon.

That evening our good friend Johnny G was Djing at a fund raiser for The Barrio Planta Project. This is where the good purpose comes in.
The BP Project is a community development program that gives a positive outlet and opportunities to Nicaraguan children and adults.
Activities such as sports, theater and art help foster focus and teamwork while creating confidence and purpose to the individuals and the community. A small donation goes a very very long way.
Click here to View a short video.
Click here to learn more about the Barrio Planta Project.

With only 8 non travel days in Nicaragua we barely got over our sunburns before we had to throw our winter jackets back on and head home. Much thanks to Johnny G, Pete, Marty, Curtis, Yaosca, Elliot, Jamie, Bambu, Los Cardones, Izic, Charlie, Shaun, San Juan C21 and Sanjuansurf.com for the good times. Well see you again soon.

METAL BABY

Video of kid imitating the sound of his dad's music. Hilarious.

BAAAAAAAAAH!!

Wednesday Covers - "Sweet Jane"

Hey everybody, it's Wednesday, how neat. For our cover today we have the standout hit from Velvet Underground's final album, and the mopey cover by downer Can-rockers Cowboy Junkies, which old Lou himself described as "the best and most authentic version I have ever heard". Without further adouche, here's "Sweet Jane".

Synth Jams

Let's put on a couple jams to get fired up then we'll rage this weekend. Who's with me?

The Clash: Evaluating Their Place in Rock and Roll History (And Deciding to Say "Fuck Everybody Else" and Open My Mind)

Anything you read about the Clash either proclaims them as utter heroes -- exciting, explosive, daring, and revolutionary. Or, men who have been over-excitedly labeled, and usually the question is asked, "How can anyone live up to that?"

Still, the thought of the Clash being so highly lauded leaves me a little dizzy. When I began my savage musical obsession with "The Only Band That Matters", I was surprised to read that they were thought of as so important. Yeah, I knew the Clash were regarded a pioneer punk band. But even my damn know-it-all self didn't know that London Calling was such a 'classic'. I thought they were remembered as just being another group from a exciting time musically, maybe a little above average. I had never even entertained the idea that they were regarded as one of rock and roll's most celebrated acts. Am I living in a bubble? Is that what their reputation is?

Maybe this idea never reached me because I've been spinning in my own world. A world where I am surrounded by people who are anxiously awaiting this Clash phase to be over. A world in which they are a 'footnote'. But as I sit here with "Charlie Don't Surf" on repeat (and I NEVER put singular tracks on repeat, it tends to be a bore), I've come to the conclusion, "Fuck everybody else, I love the Clash!"

Its a weird admission, because simply, I don't do punk. But they aren't just punk. Before I actually listened to the Clash, I closemindedly thought of them as a PUNK band, with little brains and faces of pubescents, lacking credibility. Well, maybe not. I don't think I ever thought about it so much, actually. What the words 'the Clash' bring to people's minds, and what it all actually is are two different things. You have to give it a chance to be able to figure it out, but if you're already convinced that they're an overrated punk band, well duh, you won't figure it out!

The Clash are one of the first bands that I've really been into that are SUCH a take it or leave it group. You either loathe them, adore them, or don't know enough to care. As such, saying you like the Clash can either provoke intense respect or strange stares.

Discovering the Clash has taught me that if you don't want to like something, you won't. If you have an open mind, you might dig what you find. So sometimes I feel a little foolish when somebody says (or thinks), "Why... are you listening to the Clash so much?" (The play counts on London Calling are exceeding one hundred, and I'm only slowly removing them from my playlist because I'd hate to overdo it and spoil the splendor!) But foolishness, schmoolishness. I've got an open mind, bitches!

Its also taught me that you can't judge ANYTHING until you try it. I'm officially done given poorly thought out judgments of bands (and everything, generally) that I think I don't like. So do it, ask me about Bruce Springsteen or U2. I'll say, "I don't know enough about them." I think Bono looks silly with his ever-present glasses (FUCKING TAKE THEM OFF!), but musically, I can only critique so much.

Even though this entire Clash phase has been a constant, everyday pleasure, it also brings forth the message: Who gives a shit about what people like? Or what people think about what you like? Not because of any philosophies Joe Strummer is humming in my ear, but because, that's just the plain truth. It isn't really anything the Clash are preaching in particular, I've just happen to come to this conclusion during this phase. Despite what I may have previously believed, musical tastes reflects nothing but... musical taste. ASTONISHING! Somebody's collection of music is not their entire character mapped out. Its just the albums they prefer.

I go through musical phases in two ways, usually: One being utter, encompassing obsession. This includes devouring as many books, films, albums, photos, Google searches, and Wikipedia entries as humanly possible. I'm gonna know when each damn album was released, what they went through to make it (i.e. foregoing royalties on Sandinista! to sell the triple-LP for a little above the price of one), and whatever other personal hoopla surrounded the little slab of plastic. Its either that, or a constant mash-up of wildly assorted artists. But within that pile, I'm just searching for the next artist to temporarily warp my world and allow me to entertain the idea of promoting them to 'all time favorites'.

As I bummed over the fact that everyone in the Clash is old/ugly/boring/doing coke with Kate Moss (or dead), I wondered, "Why is this provoking more bummage than the fact that say, half the Beatles are long gone?" BECAUSE, quite a bit of the Clash's allure is just that -- allure. They were young, and their whole get-up was, "We're just normal dudes!" They were the best damn dressed rock and roll band since the Stones, and they had that unwavering optimism. So yeah, the Clash didn't just rely on musical brilliance to cause a stir. I mean, I basically gave the Clash a try because Paul Simonon proved himself to be such a damn late Seventies babe, that I thought, "I can't JUST dig his style, that's too lame of me, I have to make something of the music!" The thought of being intrigued by his unabashed attractiveness, but knowing nothing about the Clash left me cold. It was either, remove that damn good photo from your desktop background or appreciate what it stands for. And victoriously, the background still stands! Had the Clash not tickled my fancy, then sayonara Paul Simonon looking so very striking alongside an immensely beaten up Pete Townshend. What I was initially getting at with this bit is that, whoaaaa, you don't always need crazy amazing musical talent exploding at every minute to have a decent band!

The fateful photo that adorned my desktop.

Here's what I do know: Even though I really revel in the fact that I could win endless battles of musical trivia... I mean, FUCK, I know random facts about every little thing. The other day I impressed somebody by knowing what YEAR Let It Be was released, and I just wanted to say, "Really? Would you like me to awe you with the fact that I could go on for HOURS giving you a detailed history of the Beatles and each of their respective lives, dating from boyish days in Liverpool, to at the very least the highlights of their individual solo careers?" (Ringo's history would stop in 1970, haaaaa.) I've read SO MUCH about rock and roll music that it definitely crosses over to ridiculousness. (Ridiculousness/awesomeness, that is.) But yeah, even though I find that all really amusing, I don't think any of it matters. Just because I know it, doesn't mean it matters. Its like in school when you think, "When am I EVER going to use this in life?!??!" Its just interesting tidbits of information. That's what rock and roll history is to me. The history only has so much to do with the music. I don't care what you fucking do with your personal life. Rock and roll stars aren't required to be geniuses. They aren't my heroes, or my idols. That would require them to be heroic, and for me to idolize them. Nay. That's probably a surprising thing to hear me say, because I'm the one who is constantly gushing about the musical brilliance of these people, and the transcendent feelings they provoke in me. But that IS what matters: the music! It doesn't matter what drugs you take, who you fuck, how you look, or where you come from... If you can play, and make me feel all sorts of foreign emotions, then that's what I'm after. I'm obsessed with music, not musicians.

As I listened to "Charlie Don't Surf", I thought, "I'll have this forever." You're capable of finding those gems in so many random places! If I hadn't insanely decided to listen to Rolling Stone's 500 Greatest Albums of All Time, then I would have never listened to London Calling. But it wasn't until I wanted to give London Calling a chance that I actually began to like it. The first time I listened to it, I dully sat, awaiting its end, focusing on anything but the music. Well obviously it didn't fucking register. Pay attention, be in tune! Those lucky numbers which make you effortlessly happy and instantly together, they're floating in mysterious locations!

It makes me want to listen to vastly different genres of music. Mystical and elusive artists that I know nothing about, but am taking a wild chance on because maybe they'll be my new obsession.

So where do the Clash sit historically? Are they important? Revolutionary? Influential?* The Only Band That Matters? Answer: It doesn't really matter. Those big titles don't mean anything to ANYBODY, really. The only thing that actually means anything is whether or not YOU dig it. As for me, I say, "Fuck everybody else, I love the Clash!"

* 'Influential' is a naughty word. It usually implies that they ejected a million little brats off their couches and provoked them to pick up guitars. NOW, what is rarely EVER taken into consideration is if those little brats aspired to anything decent. Sure, you've heard of them, but are they actually good? Influential could be a bad title, if they inspired a bunch of talentless fucks to clog up the stations. And thinking about it, nothing too mind-boggling followed in the vein of the Clash, so perhaps we'll eliminate the world 'influential' from my musical vocabulary. I never focus on who bands influence anyway, because it has little to do with the music.


Post script; Its strange that music journalism is mostly about trying to convince people that what you like (or dislike) is relevant. The job basically implies that people should give a damn about what you have to say about a specific album. I'm not trying to convince anyone, and frankly, the relevance of my opinion on a given piece of music ends with me. That's rather perplexing. I just want to write about it the best that I can, purely because I love it. Frankly, I always went after what other people liked, and now I realize, its bullshit. Go after what you like, and if you don't quite know what it is, wander aimlessly until you find it. You will.

TOP BILLIN - PLAYBOY ANTHEM

So we just recently did a remix for our Finnish pals, Top Billin. You can scope the details here . There's a vocal and a dub, so buy 2 of each.


Also, my pal Jer (who claims to have once bought a pack of Willy Wonka Bottle Caps , and got all fucking root beer ones. I call bullshit.) put me on to a wonderful Shit Robot mix for xlr8r from back in the summer. It's super groovy. Grab it here .

Tracklist:

01 Shit Robot - "Simple Things (Work It Out)" (Todd Terje remix) - (DFA)
02 Chicken Lips - "Feast of Freaks" (Kotey’s Tape Edit) - (Lipservice)
03 Suburban Knight - "The Groove" - (Transmat)
04 Black Meteoric Star - "Death Tunnel" - (DFA)
05 X-Ray - "Let’s Go" - (Transmat)
06 Crazy P - "Love on the Line" (Unabombers Remix) - (20:20 Vision)
07 Bangkok Impact - "Premature Ejaculation" - (Crème Organization)
08 Joris Voorn - "Sweep the Floor" - (Rejected)
09 Cobblestone Jazz - "Traffic Jam" - (Wagon Repair)
10 Crazy P - "Stop Space Return" (Unabomber Dub) - (20:20 Vision)
11 Shit Robot - "Simple Things (Work It Out)" - (DFA)

Euro Tour Recap

Holy moly - what a time. Mike and I went to do some shows in Europe & the UK at the end of November, and Dawn came with us! It was a big success.

We got in to Paris on Thursday with a night off - and our homies Nadastrom were playing in town that night with Brodinski, Primary 1 and Boombass from Cassius & La Funk Mob.

It was great to see Dave and Matt tear up the club in Paris, and also Boombass who has been a hero of mine forever. He played a classy and fun set and the Parisien kids were going off.

The next day we met up with DJ Ayres (Quasimodo) who was playing with us at Casino Noveau that night, and went walking around town. We headed for the APC store and bumped into Mehdi of Ed Banger:

Looking super French.

This is where Ayres (the hunchback of Park Slope) lives:
It was nice of him to let us see his house.

That night at the club was so much fun. The Beat & Juice crew took great care of us. And the club was jamming. Thanks Paris!


Next it was off to Helsinki, where we basically headed straight to the club - we were playing at Siltanen with Fiskars, Flipperi, J Laini, & TaneLee. It was part of the Lifesaver Records 10 year anniversary - and one of the funnest nights we've had in a long time. We felt really honoured to be a part of it. They were all playing awesome vinyl, so we felt bad playing Serato but oh well.


"My brother Fiskars" - that sounds like the name of a sitcom.


The next day the homie DJ Anonymous took us too see Helsinki, and eat some Finnish food. I had herring:


And I also ate Reindeer! Santa's sled might be a wee bit slower this year.


Ayres & Nadastrom kept following us around:


So after the great time in Helsinki we headed to London where Jo met up with us and we had a couple days off to check out classy things like museums & art:


We felt really lucky to be back at Fabric on Friday night again, playing with Ali B & Mat The Alien. The Alien killed it and we got to play afterwards - it's such a legendary club that it's surreal to play there even the second time. In the booth:


Then we got to play the legendary funk night on Saturday at Paradise. A ton of Calgary folks came down - it was so awesome.


Maya!


Claire!


We had the best hosts in London: Ali, Dre & Dee - and it really made all the difference. THANKS GUYS! So that was the trip! A total blast and I can't wait to go back. Until then I leave you with this: