Soul is the most powerful expression of American music—a distinct combination of roots, migration, race, culture, and politics packaged together for your dancing pleasure. But if you thought the sounds of Motown or Stax Records died along with 8-tracks and macramé, you’d be wrong. For two decades, Daptone Records has churned out hard funk and such beautiful soul that these records sparked a musical revolution.
With a collective of soul-obsessed producers and musicians, the Brooklyn-based independent label launched the careers of artists such as Sharon Jones & The Dap-Kings and Charles Bradley, while providing sonic support for the likes of Amy Winehouse, Bruno Mars, and Lady Gaga. Daptone’s records—and those of the larger soul revival scene—pay homage but never lip service to the original artists, proving that soul is still culturally relevant, and just as exciting as ever.
It Ain’t Retro charts this revival’s players, sounds, and tectonic shifts over the past twenty years, taking you from dingy clubs where soul-crazed DJs packed the dance floor, to just uptown where some of the genre’s heaviest musicians jumpstarted the renaissance in a basement studio, and all the way to the White House. This definitive tale of Daptone Records’ soulful revolution chronicles the label’s history, players, and sounds, while dissecting the scene’s cultural underpinnings, which continue to reverberate in pop music. The book also contains rare and unseen images of Daptone artists past and present, including Sharon Jones, Charles Bradley, Lee Fields, Antibalas, The Sugarman 3, The Budos Band, and more.
“Receptacle for the Respectable” is a song from the Super Furry Animals, on which Paul McCartney is credited doing “carrots and celery rhythm”.
From MTV (about the collaboration between McCartney and Super Furry Animals):
[…] A far stranger relationship developed between the Furrys and the former Beatle. The two forces first intersected in 2000 at an NME Awards ceremony in London when Furry keyboardist Cian Ciaran got drunk and found himself in the men’s room next to the music legend. Their bathroom conversation continued into the ceremony room, and by the end of the night Ciaran had convinced McCartney to let the Welsh band remix some previously unreleased Beatles music.
“One minute Cian is dragging Paul McCartney to a table, and within two weeks four boxes of original Beatles master tapes arrived in our office in Cardiff,” marveled Rhys. “We sampled chunks of John [Lennon] and Paul chatting, and we made loops of George’s guitar and Ringo [Starr]‘s drums. That was extremely surreal.”
The music came out last year on a record called The Liverpool Sound Collage and was used as background music for an installation by British pop artist Peter Blake at the Tate Gallery in London. Pleased by the collaboration, McCartney agreed to guest on Rings Around the World.The only problem was scheduling the time.
“He was always going to fashion shows in Paris and was always canceling on us,” grumbled Rhys. “Also, there was a lot of security involved. It was like trying to make a record with the pope.”
In typically perverse fashion, Super Furry Animals didn’t want McCartney to sing on their record. Instead, they asked him to chew carrots and celery into the mic on “Receptacle for the Respectable,” as he allegedly did for Brian Wilson on the track “Vegetables” from the unreleased 1967 album Smile.
“He claims that was his favorite moment of last year — chewing the celery and carrots to the beat,” Rhys said. “We just didn’t want him to strain his voice, and we didn’t want him to play bass because he’s done that so many times in his life. He’s probably sick of singing cameo roles.” […]
This fall, Montreal will come alive with a musical celebration at the OSHEAGA Get Together presented by Bell in collaboration with Coors Light, taking place between October 1-3, 2021 on beautiful Île Sainte-Hélène at Parc Jean-Drapeau. It will be a unique opportunity for fans to reunite and enjoy world-class live music in an intimate outdoor setting (with the stunning beauty of Montreal’s skyline as a backdrop for the two-stage setup).
The three-day OSHEAGA Get Together will feature moving performances from a wide array of festival favourites, with a focus on Canadian and local talent. Headlining will be some of this city’s top international exports, including Charlotte Cardin, the critical darling who just sold out 11 shows at Montreal’s MTELUS (scheduled for 2022) – that’s 24 000 tickets sold within a couple of days! The Montreal-born singer/songwriter, who is as comfortable crooning an intimate jazz tune as she is swimming in a sea of electro beats and pop sensibilities, takes the stage Friday, October 1st. The incredibly talented artist – who is an OSHEAGA favourite, having played the fest in 2016 – quickly made a name for herself as one of Quebec’s most notable talents and greatest exports, having amassed over 149 MILLION streams around the world! With her new album, Phoenix, burning up the charts, fans know that this will be an unforgettable show!
Saturday night, rising pop star Jessie Reyez will take the stage. With multiple Junos under her belt, including Breakthrough Artist of the Year (2018) and the following two consecutive years for R&B/Soul Recording of the Year (2019 & 2020), the Colombian-born, Toronto-raised singer will prove why she is considered one of the great ones by fans and critics all over the world. The Canadian gem has been shortlisted for the Polaris Prize twice already in her relatively short career, so far, and she’s worked on hits for the likes of Dua Lipa, Calvin Harris, Sam Smith and Eminem. Reyez also delivered a blistering set at the outdoor blowout event for the Montreal International Jazz Festival in 2018, and as anyone who witnessed that show will attest, this will be a can’t miss set!
The Sunday night headliners will be Half Moon Run – one of the most exciting young live acts who perfectly capture the essence of Montreal’s indie sound. With a new EP out, Inwards and Onwards, the group continues to make a name for themselves with unforgettable live performances that marry multi-layered harmonies with driving percussion and a catalogue of songs that always inspire impromptu singalongs from the crowd. The Juno Award winners will be turning heads full circle when they take the stage Sunday, October 3rd.
“We are keenly aware of how important live music is to our fans and our city, and how much everyone misses it” says Nick Farkas, Senior Vice President, Booking, Concerts and Events at evenko and founder of Osheaga. “We are thrilled about this announcement, because we promised fans that we would do everything in our power to get them to Parc Jean-Drapeau to be united by live music again as soon as possible, and we are going to make that happen!”
The OSHEAGA Get Together will follow all government recommendations and all on-site COVID-19 health and safety measures, which will be communicated at a date closer to the event.
Single day and weekend passes for #OSHEAGAGT will be available via pre-sale today and General Admission on sale Friday, July 23rd at noon at www.osheaga.com.
OSHEAGA GET TOGETHER PASS PRICES (taxes and service fees are included*)
GENERAL ADMISSION PASS – 1 DAY : starting at 85.00$
GENERAL ADMISSION PASS – 3 DAYS : starting at 245.00$
CASINO DE MONTRÉAL GOLD PASS – 1 DAY : starting at 135.00$
CASINO DE MONTRÉAL GOLD PASS – 3 DAYS : starting at 390.00$
GOLD Pass holders will have access to the Casino de Montréal OSHEAGA Terrace, a platform offering a premium view of the Bell River Stage and Coors Light Mountain Stage, with access to private washrooms, an exclusive beverage stand and fast-lane entry onto the event grounds.
National Bank is offering a $15.95 discount on the 1-day General Admission Pass. This offer is for a limited time and in limited quantities. Visit National Bank’s Facebook or Instagram page for more details. Also, National Bank will keep festival goers hydrated for a third year by offering water bottle filling stations on site. The Bank will also give back to the community by making a $10,000 donation to the evenko foundation to provide musical instruments to schools in need. To learn more about the foundation: www.fondationevenko.ca.
The team behind OSHEAGA Get Together presented by Bell in collaboration with Coors Light would like to extend a huge thank you to fans, numerous sponsors and public partners, including : the Government of Quebec through the Ministry of Tourism and the Secretariat for the Metropolitan Region for their continuous support.
The OSHEAGA Music and Arts Festival presented by Bell in collaboration with Coors Light official 15th anniversary mega celebration has been postponed to July 29-31, 2022, so the OSHEAGA team can pull out all the stops for that momentous occasion, but this special 2021 reunion will be an epic celebration of the power of live music to bring people together.
*$1 from every Osheaga Get Together ticket sold will be donated to the evenko foundation, via the Plus1 organization.
Alt-rockers The Reckless Famous let go of self-destruction and despair to say “Goodbye Sorrow” on this, their latest single — available now.
An instant hit plucked from the heart of modern rock, the song is fourth of five brand new tracks from the band’s sophomore eponymous effort, released in April 2021; the album The Reckless Famous is a follow up to their 2017 breakthrough LP, 10 Stories.
The track bursts out of the gates with a raging riff, and succinctly follows through with savoury vocals steeped in brilliant range. Mingling their influences of rock, blues, soul, funk, jazz, and even hip hop, The Reckless Famous have managed to carve out a unique place they can call entirely their own.
Hailing from the Treaty #6 Territories of Saskatchewan, The Reckless Famous is made up of Adam Jack – Makwa Sahgaiehcan First Nation, Kyle Wuttunee – Onion Lake Cree Nation, Jesse Fehr – Onion Lake Cree Nation, Harlan Blayne Kytwayhat – Makwa Sahgaiehcan First Nation, and Ray Pambrun – Onion Lake Cree Nation, Treaty #6.
As they explain, “Our individual origin stories in music are vast and have intertwined, whether realized or not and, ultimately, our collective stories leading down roads that have accumulated into the reckless dream that indigenous rockers from the prairies will be counted as our heroes.”
The group is proficient at blending intricate rock melodies, with velvet vocals and bleeding harmonies. Each layer of the soundscape is an independent entity — racing guitar solos and riffs, hankering percussion, pulsating bass — yet, swirls together in a musical kaleidoscope you find yourself getting lost inside.
“’Reckless’,” they reveal, “describes the unrelenting desire to transform the world using the power of music, and through focus, determination, and adaptability, this is accomplished. ‘Famous’ is a tribute to our predecessors whose music has changed society for the better, whose music served as a catalyst for inner-transformation; essentially, whose music inspired, and thus is our mission and our statement
“‘We stand to be counted among you, we are The Reckless Famous’.”
Though it may be the group that introspectively bid adieu to the feeling of desperation, failure and loneliness on this particular single, it’s the listener who truly gets to wave “Goodbye Sorrow” when The Reckless Famous floods their speakers.
“Goodbye Sorrow” and The Reckless Famous are available now!
In 1969, a promotional pitch reel was produced for the series that would become Sesame Street, starring the Muppets. The reel was intended as a sample to be shown to station representatives at NET (later to become PBS), as well as parents and teachers, and included some of the earliest cartoon and film inserts (the street scenes concept had yet to be developed or filmed).
Best part: “Hey these kids can’t read or write, right?” Then howzabout we call the show Hey Stupid?”
Strap in; there’s a “Storm at Sea” with experimental math-prog metal rockers Tsien and their newly released single (with its own tumultuous backstory) — available now.
A sonic soundscape hurricane that threatens to wreck you the longer you hang on for dear life, this United Kingdom-based band is no stranger to doom. And they’re providing a whole new round of it on their re-released offering of their seminal album, No Two People Are Not on Fire.
For the veteran six-piece that comprises of of Adam Strazzanti, Alex Baldwin, Tim Wilson, Sandy Strazzanti, Steve Neale, and Dave Hill, the making of No Two People Are Not On Fire was a laborious project birthed of over half a decade of songwriting between the members. Tsien would form in 2006, and remain active until 2011, but the recording of the album cultivated tension between the group, forcing them to split shortly after.
Now, with their hands on new equipment, new production techniques, and time to remaster the originals, the album is back in full throttle, ready to engage an entirely new audience with its melodic, industrial prog metal.
“We finally had the time, space, equipment and inclination to revisit them and polish them to a standard we’re happy with — considering how they were recorded in the first place,” the band explains. “So, the album has now finally been properly released a decade after it was recorded, and 15 years after some of the song’s first inceptions.”
Acknowledging songwriters Kieran Parnell, Daniel Gilks, and Matthew Atkins for their contribution to the album, No Two People Are Not On Fire is a cascading anthology of metal novellas — with each track clocking in beyond the five minute mark.
Each record is a deliciously designed paradox of instrumental enchantment, suddenly raging aggressively through strangled vocals and damned lyrics. What Tsien sets out to achieve is an absurdly hypnotizing foray into their ever-changing genre inspirations. As the band says, their “eclectic style fuses inspiration from across the whole musical spectrum; from metal, to funk, to jazz, to pure disgusting tonal noise — all condensed to make for an absurdist auditory experience.”
Their lead single off the album, “Storm At Sea” is an audio journey through dreamy vocals, heavy industrial guitar riffs, and smashing percussion. Infused with harmonic interludes featuring layered vox, Tsien invites the listener to walk through a cascading plea; the heartbreak of a toxic relationship falling apart, being unable to break free, begging for release and unable to stop the cycle.
From hushed tones of acceptance, to pulsating screams of resistance, “Storm At Sea” is as much a revelation as it is a surrender to the power of love gone peril. At nearly eight minutes, the track refuses to back down from its commitment to see through the longing, and the sadness; the acceptance and the fear of being unable to sever ties completely with a floundering former flame.
Once you’ve entered the world of Tsien, you’re imprisoned to their haunting tales of yearning and reluctance. The ride isn’t over until they say so.
Tsien, the band that had a local cult following, brought their brand of genre hopping, raw aggression to the digital realm. Recorded on a potato in a shoddy lock-up in central Birmingham with a budget of precisely nothing-at-all, treat yourself to a sonic experience like you’ve never heard before. Six microphones directly into a computer never sounded so weird.
“Storm at Sea” and No Two People Are Not On Fire are available now.
An emotionally charged power song for those finding strength to put one foot in front of the other, Saddle Lake First Nation, AB-based Indigenous blues singer/songwriter Donita Large unveils her empowering gospel-esque vocalizations and dynamic lyricism with “Going To Walk That Line” — available now.
That said, however, gospel does not define this Cree blues-inspired singer-songwriter. If anything, it’s more of the “line” Donita Large has walked in life.
With a singing career that started early on in life, and having so much Métis, country, and gospel music around her, Donita started singing at funerals and weddings early on. Learning how music could be a powerful tool in healing hearts, she decided it was time to branch out.
“I want to share my music, and belt my heart out,” she says. “I am ‘going to walk that line.’”
Going even further, the song “Going To Walk That Line” was born of a similar origin story…
Playing music with a powerful group of women, and feeling inspired by the warmth she felt afterwards from jamming — and everyone “singing their faces off,” as she recalls — Donita knew it was time to debut her inspirational message for women. “I wanted to say ‘get it done’ and ‘I hope you know your worth.’”
While the recent pandemic put the women’s gatherings at a stand-still, Donita Large knew people were hurting and needed inspiration. With that sentiment in mind, she reached out to multi-talented singer-songwriter Cindy Paul — who onboarded as Recording Engineer and Producer.
From there, she expressed her need for a “sweet, slide guitar player” that could give her the ideal slide guitar sound for her debut; Cindy Paul knew just where to go, calling on accomplished guitar player Gord Matthews. In the end, Cindy Paul’s Native American Music Awards and composition ability, combined with Gord Matthews’ run with the Reclines and extensive career as a slide guitarist, left Donita in great hands.
Before she knew it, Donita Large’s vision came to life. With the power of filesharing, she and Paul had session drummer Jaime Cooper create the fills and background percussion. From there, Winnipeg rapper and producer Osani Balkaran was tasked with the final mix and master.
The result is “Going To Walk That Line,” an Indigenous Blues inspired single filled with alluring country-blues style riffs and vocalizations, speaking to the power of women. Surrounded by people of Indigenous lineage, Donita Large is inspired greatly by her culture and people in this message, as well.
“It speaks to women’s tenacity of overcoming painful relationships and deciding what line they want to walk,” she adds.
When it comes to taking control of a room, Canadian folk-rock veteran Glen Foster is a master. And now, he’s got a brand-new live album to show just that; Feelin’ Alive is available now.
In late February, about a month before the ongoing COVID-19 pandemic shut down the world, Glen Foster and friends — known professionally as the Glen Foster Group — presented a full-throttle live concert to an intimate crowd of just over 150 people at the Christ Community Church in his homeland of Nanaimo, on Vancouver Island, in the West coast of Canada.
Now, as Canadians are quickly becoming fully vaccinated, Foster has released this epic, 80-minute concert as his first-ever live album. It features 14 live cuts spanning his entire back-catalogue, and two bonus tracks recorded from the studio floor — “Friends Like That” and “Three Man Band.”
Whether you’re familiar or not with Foster’s music, Feelin’ Alive is a perfect showcase of his talents and capabilities; his signature folk-rock sound paired with a mesmerising stage presence, his master songwriting abilities and the roar of a devoted and enchanted crowd are all the proof you’ll need.
Reminiscing on the performance quality of the gig, Foster says they had been working steadily. “My voice was in peak form and the band was playing great,” he shares. “It worked out perfectly that we had recorded that concert, and were due to release a new album soon.”
In Foster’s 40+ year-spanning career, he’s released not only this stunning new live record and singles like the aforementioned “Three Man Band” — which was written as a stirring tribute to CCR’s John Fogerty — but eight fully-original studio albums, which include: 2020’s Not Far Away, the Party Out There Tonight EP (2019) and his 1982 breakthrough, Walk into the Mirror, released with his former band, The Falcon.
Proud of his efforts and looking forward to getting back on stage, Foster says they’re “so glad to be back playing some live gigs this summer after the long COVID-19 layoff.
“We have (this) brand new-album and single to share, and I’m also releasing a Christmas album later this year…
“I don’t have time to not be busy,” he quips, in conclusion.
Foster is simply a “do-it-all-myself” kind of guy. Whether working the fretboard or the microphone, he makes it all look easy. Of course, easy is easier said than done; it only comes with decades of blood, sweat, toil and tears. Foster knows that first-hand.
For Foster, music is a lifelong labour of love. He grew up on a balanced diet of guitar bands like The Ventures and Santo and Johnny, pop icons like The Beatles and Beach Boys, and singer-songwriters like Bob Dylan, Neil Young and Paul Simon. He’s criss-crossed the country with countless bands, backing Ray Materick of Linda, Put the Coffee On fame and fronting The Falcon. He’s gigged with everyone from Lighthouse, Dr. Hook and Stan Rogers to Valdy and Sammy Hagar.
On top of playing gigs all across the world, he’s been an instrument repairman, salesman and a teacher — just to name a few of his day jobs. He was even a music student with two silver medals from the Royal Conservatory of Music.
Fans itching for more original music from this Canadian legend can also look forward to his upcoming Christmas-themed album, The Spirit of Christmas, due out this November — suitably titled after his best-selling 1986 holiday single of the same name.
And, in the meantime, Feelin’ Alive is available now!
Join us as we wander through Brian Wilson’s newly released online rarities, ponder how many miles of tape are still left in the vault, and listen to Darryl go “boooiiinnng … boooiiinnng … boooiiinnng.” Sonic Reducers: One topic. Two music nerds. Five minutes. Everything you need to know. Boooiiinnng …
Gord Downie’s Coke Machine Glow was released in 2001, in between Music @ Work (2000) and In Violet Light (2002), the ninth and tenth albums by his mighty band of brothers in The Tragically Hip. The first solo project by one of the world’s great wordsmiths, Coke Machine Glow’s sixteen painterly songs were released with an accompanying book of poetry, collectively emanating Downie’s heartrending stories, from the road as from home, in his signature quirk and complex, approachable wit. Twenty years since its release, Coke Machine Glow remains a teetering, charming body of work, never static, shot across its canvas in brilliant glowing embers and warm honey tones.
Now, to mark its 20th anniversary, Arts & Crafts announces a special expanded reissue that posthumously revisits the songs and poetry of this prolific period of Downie’s career. Entitled Coke Machine Glow: Songwriters’ Cabal, the triple-album features the original two-disc set plus a bonus record of twelve unreleased demos, alternate versions, and never-before-heard outtakes – carefully curated by Gord’s “oldest Toronto friend” Josh Finlayson and brother Patrick Downie with Arts & Crafts’ Jonathan Shedletzky – including the ominous “I Stand Before The Songwriters’ Cabal” and two opposing versions of the mysterious “Contact.”
The in-all 28-song collection presents a portrait of Downie with a rarely before heard intimacy, unrefined and dripping in the wildness of the moment. Elegant alternate studio takes of classics like “Vancouver Divorce” and “Lofty Pines” express the fluidity of the family band that comprised the Gas Station recording sessions in Toronto, that May of 2000; while home recordings dated November 1999, Carlaw Avenue, of “SF Song,” “Trick Rider,” and “Chancellor,” and more, spotlight Gord in close communion with his tape recorder and coffee machine. Produced by GD, Josh Finlayson, and Steven Drake, featuring Dale Morningstar, Julie Doiron, Kevin Hearn, Atom Egoyan, Dave Clark, Don Kerr, and more, Coke Machine Glow: Songwriters’ Cabal is a document of Gord at the precipice of his illustrious solo career.
Concurrently, Penguin Random House Canada announces the first ever Coke Machine Glow audiobook, a complete reading of Downie’s original book of poetry by family members, band members, and friends, like Sarah Harmer, Dan Aykroyd, Ron MacLean, Bruce McCulloch, Don Kerr, and many more, produced by Patrick Downie. (See here for the full list of readers.) Ultimately a book Gord wrote about the distances that bridge and separate us, Coke Machine Glow is bound by the dedication of those he loved and was loved by – a rich, haunting collection that reveals both the public and private selves of Gordon Edgar Downie. In poetry that is urban, gritty and political, romantic and nocturnal, nostalgic and whimsical, Downie allows us a glimpse inside his world, with loved ones carrying the gift of his words onwards.
Available via digital audiobook retailers, the Coke Machine Glow poetry collection will also be included on CD with A&C’s physical music editions. The Songwriters’ Cabal 3LP vinyl is presented in a beautiful embossed triple-gatefold package, limited to a one-time pressing of 2000 hand-numbered copies. In addition to the 3CD set, A&C is for the first time offering a Coke Machine Glow songbook for voice, guitar, and piano. The album, audiobook, and songbook are out on August 27, 2021. The Coke Machine Glow: Songwriters’ Cabal limited edition vinyl is expected to ship November 15, 2021.
That Coke Machine Glow did not sound like a record by The Tragically Hip was both not a surprise, and is still in every way a surprising work: Downie’s oblique yet vicarious poetry undressed of its electricity, redressed in a glorious other voltage. A snapshot of spontaneity, recorded but barely rehearsed – its arc of clandestine art pop clashing with the hum of collective stream-of-consciousness – Gord Downie’s Coke Machine Glow feels like a wild passage through listless places, burrowing in the magic of whatever delicate moment. Maybe Downie was the genius orchestrator of this Goddamned Band, or perhaps he was just always prepared with the right thing to say. You might have listened to this record for the last twenty years, and still not heard some of its finest details – that is the happenstance when onesome poetry is rightly crossed with collective improvisation. On Songwriters’ Cabal, the curtain is pulled back, as Downie rose from his kitchen table/hotel room desk, notebook in hand, and “stepped to the mic and sang, voice tinkling like a chandelier, until god or a reasonable facsimile appears.”
NOT included on either the music album or the spoken word audiobook is a bonus music edit of Rob Baker of The Tragically Hip’s reading of the poem “I Stand Before the Songwriters’ Cabal,” set to an instrumental snippet of the same titled song. Shared today, listen here:
Josh Finlayson on the Coke Machine Glow sessions (from the liner notes): “Having lived in Toronto for over 10 years, Gord wanted to make his first solo record in his adopted city,” co-producer and musician Josh Finlayson recalls. “He had met and befriended many artists in different disciplines and was keen to collaborate with that community. The Gas Station recording studio was located in an old warehouse district of Toronto close to the exhibition grounds near King and Dufferin. Located on the fourth floor, it was an open spaced room with 10 foot windows that had spectacular views looking south to Lake Ontario and east towards downtown. Owned and operated by Dale Morningstar and Don Kerr who after 10 years of operation were being evicted from this location. Coke Machine Glow ended up being the last session at the Gas Station from April 29-May 10, 2000.”
The one concrete idea we had going into the recording was that Gord would sing these songs quietly, as they had been written. The recording room was large (50’X25′) with high ceilings. The musicians were spread throughout this room facing the centre where Gord was sitting. Don Kerr (drums) and Kevin Hearn (piano) were only available for the first day of recording which was also our set up day. By late afternoon we were ready to start and their time constraints led to the decision that we were going to make a live off the floor record using an 8 track machine. In hindsight, this was a fortuitous decision as it created a structure that forced us to work within certain parameters. All the songs ended up being cut live, including Gord’s vocals. The only overdubs were done by guests who weren’t available at the time and had to add their parts later. For the remainder of the session Dave Clark took over on drums and Dale Morningstar who was assistant engineering, played several different instruments throughout the recording. There was little rehearsal time for anyone so in most cases the songs were run through once or twice and then recorded.”
The Coke Machine Glow 20th anniversary collection, including exclusive merchandise commemorating this landmark release in Downie’s career, is available for PREORDER NOW via Gordieland, Arts & Crafts and Penguin Random House Canada.
1. Starpainters
2. Vancouver Divorce
3. SF Song
4. Trick Rider
5. Canada Geese
6. Chancellor
7. The Never-Ending Present
8. Nothing But Heartache in Your Social Life
9. Blackflies
10. Lofty Pines
11. Boy Bruised By Butterfly Chase
12. Mystery
13. Elaborate
14. Yer Possessed
15. Every Irrelevance
16. Insomniacs of the World, Good Night
Songwriters’ Cabal:
1. Vancouver Divorce – Alternate Take
2. Trick Rider – Demo
3. SF Song – Demo
4. Contact – Demo
5. Down Down Down – Demo
6. Putting Down – Demo
7. Chancellor – Demo
8. The Never-Ending Present – Demo
9. I Stand Before the Songwriters’ Cabal – Outtake
10. Contact – Outtake
11. Mystery – Alternate Take
12. Lofty Pines – Alternate Take
Audiobook Readers:
Dan Aykroyd, Rob Baker, Andrew Cash, Dave Clark, Julie Doiron, Charlyn Downie, Clare Downie, Clemens Downie, Lou Downie, Mike Downie, Patrick Downie, Paula Downie, Willo Downie, Johnny Fay, Josh Finlayson, Sarah Harmer, Kevin Hearn, Dave “Billy Ray” Koster, Paul Langlois, Ron MacLean, Andy Maize, Bruce McCulloch, Dale Morningstar, Larry Murphy, Andrea Nann, Dr. Pee, Gillian Reiss, Damian Rogers, Gord Sinclair, Kaya Usher.
