In celebration of the 21st anniversary of Frente’s Marvin The Album, Angie Hart and Simon Austin are heading out on their first full national headline tour since 1997.
Visiting Sydney, Melbourne, Adelaide, Brisbane and Perth and making regional visits to Castlemaine and Lismore, Frente will perform Marvin from beginning to end, as it appears on the original Australian release. The encore will also feature the US cuts and a selection of fan favourites. A double CD anniversary edition of the album will also be released on May 16 featuring a fully remastered version of the album plus the long-out-of-print Whirled and Clunk EPs and bonus tracks from the Marvin era.
Frente’s Marvin The Album 21st anniversary shows:
Thursday, May 22 – Playhouse, Arts Centre, Melbourne
Friday, May 23 – Playhouse, Arts Centre, Melbourne
Saturday, May 24 – Theatre Royal, Castlemaine
Friday, May 30 – The Basement, Sydney
Saturday, May 31 – The Basement, Sydney
Friday, June 6 – The Gov, Adelaide
Saturday, June 7 – The Astor, Perth
Friday, June 27 – Star Court Theatre, Lismore
Saturday, June 28 – Powerhouse Theatre, Brisbane
Source: Faster Louder
Since the release of their highly celebrated debut House of Ill Fame (2003), The Trews have gained a reputation as one of Canada’s most electrifying live Rock bands. Ten years, five studio albums and thousands of gigs in, the East Coast-bred, Ontario-based rockers are still going strong and are as willing as ever to break the mold, as their 2014 self-titled album, scheduled for release on April 22, 2014, proves without a doubt.
“This album is our thank you letter to our fans,” says Colin MacDonald, lead vocals and guitar. “We felt that we owed them a great record because without them we wouldn’t be able to do what we love to do, make music. We worked really hard on this new collection of songs and we are so proud of what we’ve built.”
The Trews blazing lead single “What’s Fair Is Fair” hit the ground running at radio and nabbed the #1 Most Added song at Canadian Active Rock radio (Mediabase) the week of February 24. The single was released via iTunes.ca on March 4 and the accompanying lyric video is currently on YouTube.com. To celebrate the upcoming release, The Trews will host an official launch party at the Danforth Music Hall in Toronto on April 26, 2014. Tickets to the show are available via Ticketmaster.ca.
Produced by Gavin Brown (Metric, Billy Talent, The Tragically Hip) and guitarist John-Angus MacDonald (The Trews, The Glorious Sons), The Trews (Home Music / eOne Music Canada), not only boasts a guest spot by Canadian songstress, Serena Ryder, but contributions from die-hard Trews fans on some tracks; just one of the perks available to fans who contributed to The Trews’ hugely successful PledgeMusic campaign. In addition to allowing loyal supporters unparalleled access to the band during the recording process and partially funding the record, the PledgeMusic campaign, which concludes on April 22, is an effort by The Trews to raise funds for Cystic Fibrosis Canada in honour of a friend who passed away from CF last year.
The blend of upbeat rockers and raw ballads on The Trews displays the foursome’s growth as songwriters and performers as never before, and nowhere more so than on “In the Morning” featuring Serena Ryder, and “65 Roses,” a song inspired by their close friend’s struggle with CF. The Trews will donate 5% of any additional funds raised during their campaign to Cystic Fibrosis Canada (Peel & District Chapter). To learn more about the PledgeMusic Campaign visit, http://www.pledgemusic.com/projects/thetrews.
The Trews have had 13 Top 10 singles on Rock radio, hitting #1 with “Not Ready to Go,” (the Most Played song of 2004 on Rock Radio) and “Yearning” from their 2005 sophomore album, Den Of Thieves. With two Gold Certified albums to their credit, they have cemented themselves as one of Canada’s most distinguished Canadian Rock bands. The band has won multiple East Coast Music Awards, the 2009 Annual Independent Music Award in the US for Best Rock/Metal Song, received numerous JUNO Award nominations and played well over 1,000 shows worldwide, both on their own and supporting legendary acts including The Rolling Stones, KISS, Robert Plant, Guns ‘n Roses, Kid Rock and Bruce Springsteen.
The Trews – Track Listing
1. Rise In The Wake
2. Age of Miracles
3. Permanent Love
4. The Sentimentalist
5. 65 Roses
6. What’s Fair Is Fair
7. Where There’s Love
8. In The Morning
9. New King
10. Living The Dream
11. Under The Sun
The good-time sounds of the Lovin’ Spoonful made the quartet a fixture during the golden age of Top Forty radio.
Over a period of two years in the mid-Sixties, the New York-based group charted a string of ten Top Forty hits, seven of which placed inside the Top Ten at a time when the competition included Motown, the Beatles and countless British Invasion bands.
The Lovin’ Spoonful’s tuneful, poppy singles have stood the test of time and at least one of them, “Do You Believe in Magic,” remains a defining rock and roll anthem.
The four original members–singer/guitarist John Sebastian, guitarist Zal Yanovsky, bassist Steve Boone and drummer Joe Butler–came together in Greenwich Village. The folk-music scene was in full swing, but the electrified sounds of the Beatles and the other pop bands of the day had also caught their attention.
Retaining their folkie roots while exploring new directions, the Lovin’ Spoonful adapted folk-style fingerpicking to electric instruments. Their folk-rock hybrid was particularly evident in the unusual combination of autoharp and electric guitar on “Do You Believe in Magic.”
What really set the Lovin’ Spoonful apart from the mid-Sixties pack of one-hit wonders was their daring eclecticism. No two singles were written in the same style. Between 1965 and 1968, they tackled jug-band music (“Good Time Music”), ragtime (“Daydream”), country (“Nashville Cats”), folk-pop (“You Didn’t Have to Be So Nice”), hard rock (“Summer in the City”) and orchestrated pop (“She Is Still a Mystery”).
The consequences of a 1966 arrest of two band members led to the band’s gradual dissolution, with Yanovsky leaving in 1967. Sebastian, the group’s founder and leader, quit in 1968.The group’s final album featured only Joe Butler from the original group. John Sebastian launched a successful solo career that found him giving one of the more memorable performances at Woodstock in August 1969.
Many years later, in 1980, the Lovin’ Spoonful came together one more time to perform a cameo in Paul Simon’s film One-Trick Pony. In 1991 a long awaited settlement with their record company inspired Joe and Steve to contact Jerry and start up The Lovin’ Spoonful again.
On March 6, 2000 they were inducted into the Rock And Roll Hall of Fame.
Even under normal circumstances, an interview with Joe is a wonderful moment. He’s always been animated and vibrant. In the middle of another year-long tour might put strain on anyone, forget a 72-year-old. I needn’t have worried – he was talkative, funny, with a brilliant stream of consciousness that I had no qualms following his lead.
How are you today?
I’m fine. I’m fine, Eric. Having a great time. Freezing like everybody from the Arctic… the polar… I forget what the heck they call it, something.
It’s the polar vortex.
I was a weatherman in the Air Force for four years. I never heard of it. But there’s lots of new things under the sun since I served.
Do you like the cold, or are you like most people now, and just sick of it?
We just finished playing on a ship with a number of acts from the 50s, and one of them was Lesley Gore who, of course, when she sang ‘You Don’t Own Me.’ And then while I’m on the ship with Lesley and made friends because she had done some favours for a couple of women’s groups for me, except the third time I called her, say what do you want now, Joe? Oh nothing, just seeing how you were doing. I didn’t ask her the third one, but she… there was someone at the same time that was news all over this woman that killed her husband because he was abusing her, and she handcuffed him to a radiator and beat him with a hammer and stabbed him till he was dead. And the attorney said well, what were you thinking all this time? She said, all I could think was You Don’t Own Me. You Don’t Own Me. And my God, I’m in this ship with Lesley, two cabins down. I got chills up my spine, like…
Well, once you put a song out there, you really don’t own it anymore, and it’s up to everybody’s kind of interpretation.
There you go.
What do The Beatles have to do with that maniac, that sick twisted moron? Nothing.
That’s true, but who would have ever guessed THAT song, right? From 4 lads from Liverpool? Tell me about your time in Long Island, the day before that you actually hooked up with the rest of the guys in The Lovin’ Spoonful. What were you doing?
I had bands, very successful bands out in Long Island, working bars and supper clubs and twist clubs and gay bars, and migrant worker bars, and Herb McCarthy’s Bowden Square, five-star restaurant. We were working all over because there were just not that many bands and not that many good cover bands. So I’d always been working. I brought my band in the Village, and we were actually doing really well because so many folk songs had become hit songs. You know, ‘Lemon Tree’ and Peter, Paul and Mary songs. And we knew them all. So we were really the first rock/folk rock band to hit the Village. We were called The Kingsmen, and then The Sellouts when we brought it to the Village, as if we were a folk act or a folk band selling out by playing rock and roll.
And John and Zally kept coming down and visiting me. They were looking to put a band together. I had signed a deal with Mercury Records, and my manager was the same manager, Herbie Cohen, that was managing many of the acts: Judy Henske, Jerry Hester, wound up managing Frank Zappa. He managed a lot of people, and there were people on the streets looking to make a deal. I was being produced and I had songs and I was almost writing better songs than what they were giving me to record. They were ‘I’ll Tell You Who I Love,’ ‘I’ll Tell You Who I Adore.’ I was all… it was just bad.
And I appreciated John’s writing, but it was Zally from Toronto the Good that was hypnotic on stage. He was the kind of person you just wanted to be around. It was a constant surprise. As I look back in many of my memories, Zally is… the ones that are really worth remembering are connected in some way to Zally and his amazing, special, unique and sometimes crazy and very endearing character.
Was Zal one of the best players that you saw?
Yeah. He was exquisite. Yeah. And he could play any style. He could hear something once and he could play any style. He could play like Floyd Cramer played piano. He could play like Chuck Berry. He could play like Bo Diddley. He could play like the folk artists who were picking different folk styles. He could play like Muddy Waters. He could play like Lightin’ Hopkins. He could play anything. As a matter of fact, we had a song that Steve Boone wrote that I sang, a single vocal called ‘Butchie’s Tune’ about a gal that was in the Albert Hotel that… Well, she has a long story, but the point being that it was basically a duet between my voice and Zally playing guitar, all these wonderful little country licks, you know?
Zally, he had an amazing ability to express himself on guitar, a direct emotional connection that was… I was a good lyrical drummer in that I was always a singer and a drummer. So I was good in terms of knowing when to be clean, fast and accurate, but not get in the way. And so I appreciated Zally’s ability to be right on the mood of the song.
Zally had an amazing gift for feeling and getting it in that guitar. And he had many fans, besides Clapton and Jeff Beck and a lot of people. He was kind of unsung in a way because he was not as appreciated as he should have been. He certainly was one of the genius… I was very, very good, and Steve was very good. John had his own of genius, but Zally was definitely a genius, and maybe the most musical person in the group.
The successful bands from the 60s practiced so much and hard. When it was time for recording, they were ready.
Yeah. The suits were on the street, but unless you were delighting audiences or at least being interesting or entertaining, you were not going to get recorded. I had had years, from the time I was 13. And so we were relaxed in front of audiences. What you saw was what you got. What we were able to put on those records we were able to pretty much replicate.
So after seven albums in four years, all your first seven singles went Top 10. That’s still a lot of material being released in such a short period of time, even though you were ready.
Yeah. And the pressure really was on, and we never realized one penny from any of that work, except the writers got some publishing money till 1991. Not a nickel, not a dime, not a dollar, not a penny. Not a statement because we get a statement, there’s fraud. It was amazing. We weren’t the only ones that got hosed. Everybody got burned. We needed to express ourselves, but it would have been nice if some of the dream that end came true, you know? We didn’t expect to be covered for life, so to speak, but it was nothing.
But certainly at the time you could have looked at all of the charts and the sales and then wonder where the money was actually going.
Well, yeah. We kind of knew the guys that got it first, and nobody else saw it after that. I was just happy to play and not have to go back to Vietnam. There was not a lot of social stuff, plus we were poor. I had a paper route from the time I was almost 10 and sold subscriptions to newspapers. Always won the turkey and the trips and the orchid for my mother on Mother’s Day and all that stuff. But we were always working. After school I worked in the A&P. I played football for a little while.
Is that where a lot of your work ethic comes from?
Sure. Oh, yeah.
Where did that come from? Did that come from your parents?
Yeah. Needless to say, Jewish people has always been very enterprising and had tremendous respect for education and what could be done. And yeah, I think some of that rubbed off, although I was kind of fine in high school. I had to turn my back on it. I didn’t think I was going to go to college. So we just skated through. I had my band, my music and working in the A&P. I liked working. I liked it.
But I’ll tell you it does come in handy when you’re doing a Broadway show or any show where you’re doing it eight times a week, and the days where you have to do it twice, and man, you’ve done it. Hair was like playing football with a smile, and singing.
So having done that and having studied, I just had a lot of underpinnings and once I started doing it I realized I had a facility for at least song and dance stuff and musical stuff. And I got better at it and wound up learning the craft, studying method and really learning it. So my play is getting a lot of attention from some people. I thought it’d be just this little thing and do up, you know, this little theatre with 160 seats, that workshop, you know. But it’s starting to get attention because the songs are solid.
When you started doing Broadway and theatre work, were you always ‘Joe from Lovin’ Spoonful?’
Yeah, but I earned their respect. I had to do the show, you know? I went on two times just to try it before I opened as Claude. Did the nude scene. See, the trick was there was no director. There was no way to learn the show. The cast, by that time, had done so much improvisation, they were way off the book. I had to set up a screen and learn it from like storytelling, being told to me over and writing it down myself in my own hand, which I always do with a part; a lot of actors do.
Hair is such a symbol of an entire decade.
How relevant do you think Hair and The Lovin’ Spoonful’s messages are today?
Well, I’m still working. I’m still doing the songs. So the Spoonful lives through me every time I’m up on the stage. Nobody will ever do them that well. I don’t get tired of it. It’s almost like Groundhog’s Day where you finally give in, and you say well, I got a chance to do something good. Maybe I can really make it… Or maybe I can touch somebody. I mean, in the signing lines there are people that blush and say oh, we made love to this the first time or some guy will grab your hand and he said, man, you got me through Nam, man. And he holds onto your hand. What are you going to do, you know?
It was a connection with America, you know, and he means it. You can’t just go on to the next person and say oh yeah, and sign his wrist and you know… Some of it has meaning and it’s a chance to reach out once again and really sing to somebody about something, you know?
Do you remember the first time that somebody came up to you and said that their song meant something more than what you could ever hope for?
Oh, yeah, yeah. That happened early. That was first fame. That happened early on. People would say that. But in the latter days… I still love to play and talk to the audience. We just got off doing two cruises a week apart. I mean, a week each and several dates before that, and we’re going out tomorrow.
Is the travel during touring a vacation for you now or is still work?
Travelling is a pain in the ass. There’s no way to say it’s not nice. There’s no way to say it. It’s in the pain buttock, it’s a pain in the bottom, it’s a pain in the tuchus, it’s a pain in the butt. I’d do it on a broom. I’d paint my face green and climb a broom if I could. But I love to play. That’s where my theatre technique helped me. I’ve learned so many things about relaxation, and I still do them.
The four S’s. I created it. I also studied yoga for a number of years. But the four S’s: I wipe my hand across like with my fingers the demarcation zone and I pretend I’m on a beach, and I go sand, sea, sky, sun, making left to right motions and point to the sun. I feel it on a nail and I talk it through my body like liquid gold so it’s streaming out of my pores and under my toenails and my eyelids and out of my mouth. And I go through this thing where I calm down.
On stage, that’s my space. I start from the centre of my body and I fill that space. Then I fill the space of the stage, which is where I’m playing. Then I let that presence fill the auditorium so I’m aware of where I am, and how far back the people are, where they are. I also then remember that when I’m speaking and singing in a microphone I’m up against someone’s ear. I can achieve intimacy at 200 yards away. All these things I learned, but I go through them to centre myself so I can do a good job for people. They deserve to see somebody do a good job.
A singer in a rock and roll band is still the greatest job in the world, isn’t it?
It is. And it’s an honourable job and a good job to help people have a laugh and sing along and get away from their troubles. All these songs are life affirming. They thought that was lightweight, but I think that’s wonderful that that’s what they are. They’re a pleasure to sing.
The Lovin’ Spoonful 2014 Dates:
February 7 Milwaukee, WI – Potawatomi Casino
February 9-16 Carribean Cruise R&R Oldies Cruise
February 17-23 Carribean Cruise R&R Oldies Cruise
March 7 – 8 Niagara Falls, Ontario – Fallsview Casino
March 28 – 30 Kissimmee, FL – Walt Disney World/Epcot
May 17 Miami, FL – Magic City Casino
July 20 Manteo, NC – The Lost Colony
Matt Dusk, nominated for a 2014 JUNO Award for his “My Funny Valentine – The Chet Baker Songbook” in the Best Vocal Jazz Album category, unveiled a tribute to the other nominees in a medley exclusivly on YouTube today.
The mashup contains hits by Serena Ryder (“What I Wouldn’t Do”), Drake (”Hold On We’re Going Home”), David Miles (“Inner Ninja”), Robin Thicke (“Blurred Lines”) and Matt’s own “All The Way” was an idea Matt came up with during a late-night session.
“I’ve always loved a great song, it didn’t matter who sung it, or the style of music it’s in,” says Dusk. “The JUNO Awards have an incredible line-up of nominations and performers this year, and I just wanted to honour them in some small way.”
As an alum of St. Michael’s Choir School who studied under legendary jazz pianist Oscar Peterson at York University, Dusk hit it big with two certified gold albums: 2004′s Two Shots and 2009′s Good News, and three number one radio hits: “Back in Town,” “Good News,” and “All About Me”, the later making Dusk the first male jazz singer to ever top the pop charts in Canada.
In 2013 Dusk returned to his jazz roots and released his fifth full length studio album entitled, My Funny Valentine: The Chet Baker Songbook . It features an eighty piece orchestra and numerous special guests including: GRAMMY award-winner Arturo Sandoval, JUNO award-winner Guido Basso and JUNO Award-nominee Emilie-Claire Barlow. The album pays homage to one of the most popular musicians of the twentieth century, trumpet player and singer Chet Baker.
The 2014 JUNO Awards airs live from the MTS Centre in Winnipeg on CTV and CTV GO on Sunday, March 30 at 8:00 PM CT/9:00 PM ET in Manitoba and all markets East, and at 9:00 PM locally in all markets West of Manitoba.
From Drowned In Sound:
How different is the process of composing a classical piece of music, compared to writing a song as part of a rock group?
I always say that I’m the same musician, regardless of what I’m doing; whether it’s rehearsing with the band or I’m at home working on a piece for a more classical setting. The difference is that with the National, we’re very collaborative, so we bring simple songs or sketches of songs to the band and then the process of writing, developing, and recording them is the work of five people. With the classical stuff I’m doing, there’s a couple of things that are different; the way I generate music and think about it, whether that be improvising with the guitar or using the piano or whatever, is similar, but the process of making the work is quite different – I do 90% of the work myself, where I’m working to notate scores, so I really have to think through all the details on my own. There is a bit of collaboration that goes into the performance side and recording – with André, we were both very involved in shaping the music, and even in some cases editing it. And with certain ensembles, like Kronos Quartet, there is collaboration that happens as well. I would say that the inspiration for music and the way that ideas come is quite similar, whether it becomes a classical piece or a rock song, but then the actual process of making it is different; the National writes in the studio, and we really use recording as part of our process, but with my classical music I really focus on notating the music and making sure the score is really clear, so the musicians can read and understand it.
Do you find that classical composition gives you a greater sense of liberation and freedom when it comes to writing? It seems far less constrained that the traditional structure of rock music, or a rock song.
Formally, I’m able to do more ambitious things in my classical music, and it’s a really healthy counterpoint to rock songs, which tend to have an economy about them, and a stripped down immediacy. That’s really important, and classical musicians can learn a lot from rock songs and from rock musicians. I’ve really learned so much from spending so many years writing rock songs that when I’m composing longer pieces, I still try to keep that kind of energy in them. But ultimately, you’re not constrained by radio format, or thinking about what it would mean for a vocalist to follow, so I’m able to explore more adventurous sonorities – ‘Raphael’ is almost 20 minutes long – and can develop some of the ideas further in such long form works.