You know a dog lover. Share this with them. They’ll go “Yup, I know, and why is it so dusty here of all of a sudden?”
Pop Superstars ABBA Teaming Up With Simon Fuller And Universal Music Group To Launch New Digital Experience
Nearly 35 years after their last public performance together, the members of ABBA are preparing to give their fans around the world what millions of them have long dreamed of but considered impossible: a new entertainment experience.
World-renowned entertainment entrepreneur Simon Fuller, the members of ABBA, and Universal Music Group are partnering together in a groundbreaking venture that will utilize the very latest in digital and virtual reality technology. The aim is to create an original entertainment experience with the Swedish pop superstars that will enable a new generation of fans to see, hear, and feel ABBA in a way previously unimagined.
Simon Fuller has been at the cutting edge of social and technological change for three decades, using his insights to transform popular culture. For the past several years, his businesses have been quietly investing in virtual reality technologies and developing hyper-realistic digital humans in the field of entertainment. The collaboration with the four members of ABBA, who first formed in Stockholm in 1972 and who remain among the most iconic and enduring talents in the world, marks a key “ahead of the curve” step towards fully realizing the possibilities of virtual reality-and in the process transforming the face of popular entertainment.
The members of ABBA will be involved throughout the creative process, maintaining the authenticity and integrity of the band’s original vision within this exciting new realm of entertainment possibilities.
Benny Andersson: “We’re inspired by the limitless possibilities of what the future holds and are loving being a part of creating something new and dramatic here. A time machine that captures the essence of who we were. And are.”
Frida Lyngstad: “Our fans around the world are always asking us to reform and so I hope this new ABBA creation will excite them as much as it excites me!”
Simon Fuller, Founder and CEO of XIX Entertainment: “The creativity and ideas flowing from the members of ABBA over the past few months have filled me with great excitement. We are exploring a new technological world, with Virtual Reality and Artificial Intelligence at the forefront, that will allow us to create new forms of entertainment and content we couldn’t have previously imagined.”
Sir Lucian Grainge, Chairman and CEO of Universal Music Group: “Having the privilege of working closely with the band for over two decades, I can comfortably say there are few recording artists who like ABBA bring together their mastery of craft, a high level of professionalism and enormous commercial success. I’m thrilled to be involved in this innovative new project that will introduce the band who are responsible for some of the greatest songs and melodies in pop music to a new generation of fans.”
SoundExchange Submits Rate Proposal For Sirius XM, Music Choice And Muzak To U.S. Copyright Royalty Judges For 2018-2022
SoundExchange has submitted its rate proposal and direct testimony in the SDARS III rate proceeding. In that proceeding, the Copyright Royalty Board (CRB) will set rates for the years 2018-2022 for Sirius XM’s satellite radio service as well as for the cable/satellite TV music services provided by Music Choice and Muzak.
Based on the analysis of its experts, SoundExchange has proposed a rate that is the greater of (i) 23% of revenue and (ii) per subscriber rates starting at $ 2.48 per subscriber per month in 2018 with moderate annual increases. The current rates for Sirius XM’s satellite radio service are 10.5% of Sirius XM’s “Gross Revenues” as the CRB’s regulations define that term) in 2016 and 11% in 2017. For Music Choice and Muzak, SoundExchange proposed a per subscriber per month rate starting at $ 0.019 per subscriber per month with annual increases. The current rate for Music Choice’s and Muzak’s cable/satellite TV music services is 8.5% of Gross Revenues in both 2016 and 2017.
SoundExchange is proposing meaningful increases in the royalty rates, and has submitted robust testimony from economists, other experts and representatives of recording artists, major labels and indie labels in support of its rate proposal.
This initial round of testimony is one of several steps in the rate proceedings. SoundExchange and the other parties will now be able to examine each other’s rate proposals and testimony and submit rebuttal testimony by February 19, 2017. The CRB will hold a hearing beginning April 19, 2017, which will last several weeks. After final briefing by the parties, the CRB will issue its rate determination by December 15, 2017.
SOCAN Achieves 2016 Music Ally Digital Music Award For Innovation In Publishing
SOCAN has won an award for Innovation in Publishing, at the 2016 Music Ally Digital Music Awards on October 26th at the Café de Paris in London, England.
SOCAN was honoured for acquiring the state-of-the-art technology firms MediaNet and Audiam and the launch of our Royalty Guru anlytics software, fueling our continuing transformation to a full-service music rights organization.
“Achieving the Music Ally Digital Music Award in Publishing is a proud testament to our determination to lead the global transformation of music rights,” said SOCAN CEO Eric Baptiste. “We’re assertively moving forward to find new ways to serve our current and future members and expand the scope of our business and technologies.”
For a list of 2016 winners, click here. The Music Ally Digital Music Awards showcase some of the most inventive artists, startups and people in the digital world, with Google Play as the lead sponsor for this second annual edition.
Music Ally’s mission is to explore ways that the two worlds of music and technology can work profitably together. The organization seeks to help re-shape the music business so that it’s fit for purpose in the digital age, representing the new breed of empowered artists and managers, helping build sustainable careers in a fairer system.
Music Industry Contributed $484 Million To New Zealand GDP In 2015
The report commissioned by Recorded Music NZ, APRA AMCOS and The NZ Music Commission with the support of NZ On Air, Te Mangai Paho, Creative NZ, Independent Music NZ and The Music Managers Forum was conducted by PwC.
It reveals the New Zealand music industry in NZ contributed $484 million and 4,508 full time equivalent jobs (FTEs) in 2015. It was a year of total growth and four out of five market segments grew.
The two largest contributors were music radio broadcasting and live music performance. Music radio broadcasting contributed $214.5 million and live music performance (primarily driven by a number of international heritage acts touring NZ in 2015) contributed $157.8 million, which collectively amounts to 77 per cent of the music industry’s 2015 total GDP contribution.
Music retailing – the physical and digital sales of music, including traditional and store-based retailing, online stores and payments for online music streaming services – generated a total economic impact of $78.9 million and the equivalent of 407 full-time jobs.
This is an increase from 2014’s $71.2 million, boosted by the growing popularity of streaming services nationwide. The gross output from online streaming almost doubled between 2014 ($18.6 million) and 2015 ($36.8 million), indicating consumers have moved towards an on-demand consumption preference – especially as the popularity of services such as Spotify, Apple Music and Pandora continue to grow.
Communication and public performance contributed $28.9 million to the economy and the equivalent of 352 full-time jobs. The subsector includes royalties derived from music played on radio, television and the internet as well as music played in public such as at retailers, hospitality outlets, education facilities and gyms.
Synchronisation, referring to the royalties earned from licensing music for use in advertisements, games, films and television programmes, contributed $4.1 million and the equivalent of 50 full-time jobs to the economy.
Paul McCartney’s Isolated Bass Guitar From The Beatles’ “Drive My Car”
The Beatles’ “Drive My Car” was recorded on October 13, 1965 during the Beatles’ first recording session to extend past midnight. Paul McCartney worked closely with George Harrison on the basic rhythm track, the pair playing, in author Ian MacDonald’s description, “similar riffing lines on bass and low guitar”, respectively, as per Harrison’s suggestion. Harrison had been listening to Otis Redding’s “Respect” at the time and, as a result of this influence, “Drive My Car” contains more bottom end than previous Beatles recordings, mimicking the bass-heavy sound in Redding’s Memphis studio. Listen to how McCartney plays the bass line of the chorus differently, sometimes even within the same chorus.
NPG Records and Warner Bros. Records Announce Expanded ‘Purple Rain’ Reissue and ‘Prince 4Ever’ Greatest Hits Collection
Today, NPG Records and Warner Bros. Records announced two new Prince releases that will celebrate the iconic artist’s music and introduce fans to previously unreleased material from his legendary vault. This will mark the first Prince recordings released since his passing on April 21st of this year.
Released on November 22nd in the U.S. and November 25th around the world, Prince 4Ever will bring together 40 of Prince’s best-loved songs, including the blockbuster hits “When Doves Cry,” “Let’s Go Crazy,” “Kiss,” “Little Red Corvette,” “Purple Rain,” “Raspberry Beret,” “Sign O’ The Times,” “Alphabet Street,” “Batdance,” and “Cream”.
Prince 4Ever includes “Moonbeam Levels” — a previously unreleased song originally recorded in 1982 during the 1999 sessions and later considered for the never released Rave Unto The Joy Fantastic album. Prince 4Ever will also arrive with a 12-page booklet of never-before-seen photos by acclaimed photographer Herb Ritts.
In addition, early next year will see the release of the much-anticipated remastered, deluxe version of Purple Rain, plans for which were agreed with Prince before he passed away. The remaster of the classic Purple Rain will arrive with a second album of previously unreleased material. More details will be revealed closer to the release date.
The track-listing for Prince 4Ever is as follows:
1. 1999
2. Little Red Corvette
3. When Doves Cry
4. Let’s Go Crazy
5. Raspberry Beret
6. I Wanna Be Your Lover
7. Soft and Wet
8. Why You Wanna Treat Me So Bad
9. Uptown
10. When You Were Mine
11. Head
12. Gotta Stop (Messin’ About)
13. Controversy
14. Let’s Work
15. Delirious
16. I Would Die 4 U
17. Take Me With U
18. Paisley Park
19. Pop Life
20. Purple Rain
21. Kiss
22. Sign ‘O’ The Times
23. Alphabet Street
24. Batdance
25. Thieves In The Temple
26. Cream
27. Mountains
28. Girls & Boys
29. If I Was Your Girlfriend
30. U Got The Look
31. I Could Never Take The Place of Your Man
32. Glam Slam
33. Moonbeam Levels
34. Diamonds and Pearls
35. Gett Off
36. Sexy MF
37. My Name Is Prince
38. 7
39. Peach
40. Nothing Compares 2 U
60 Questions In An Hour With Rogers #LifeIn4K
Because of my degree in English and Mass Communications, I ask my daughter, Hannah, a number of specific questions a day for help in truly surviving. I’m sure it’s an exhausting, somewhat bewildering experience for her to truly be the head of the household. From school to play to watching movies and sports on our Rogers 4K TV and NextBox, I’m really starting to feel unsteady in the simple tasks everyone else seems to master, like actually turning on the TV on a day of no school. Good thing my wife Candace lets me pretend I’m the man of the house. Evan if I have to call Rogers for help. This is an actual conversation from last week.
1. How was school?
2. What do you mean there was no school?
3. Why was there no school?
4. Today is Saturday?
5. How many bowls of Fruit Loops is enough to get my daily need of Vitamin B?
6. Why should I stop reading the side of the cereal box?
7. Can you turn on the TV?
8. Umm, should it take longer than 2 seconds to turn on the TV?
9. On a scale of 1–10 how awesome is the Rogers 4K TV?
10. I don’t think eleventeen is a number, is it?
11. How do I find the baseball game?
12. Should I be concerned there are too many baseball games for me to watch?
13. Are there other teams other than the Toronto Blue Jays even worth caring about?
14. No, that’s not a rhetorical question. Or is it?
15. Why is the TV making a soft, gentle noise?
16. How do you know that’s Adele playing instead of the TV?
17. Oh. How did you know that was my computer playing instead of the TV?
18. Why is there peanut butter on the back of the couch?
19. What did I just say?
20. What do you like best about me?
21. Why is that a silly question?
22. Uh. Oh. Who broke the TV?
23. I didn’t break it. Or did I?
24. Where’s the number to the TV people?
25. Where’s that instructions manual?
26. Where’s my phone?
27. What’s the wi-fi password?
28. Really?
29. How do you spell that?
30. How come there are no vowels in that word?
31. It’s ringing, I think?
32. Can you turn down Adele for a moment?
32. Hello?
33. HI! It’s Eric Alper, and I broke the TV I think?
32. The model number?
33. Samsung’s 4K SUHD TV I have the Rogers NextBox. Is that correct?
34. Which button?
35. The red one?
36. Yes, I think I see it?
37. Hit it?
38. OK, now what?
39. It should come on?
40. Hannah, did the TV come on yet?
41. It worked! Are you a genius?
42. Want to come over and watch the game?
43. You can’t?
44. Got it. Talk to you soon?
45. Hannah, I think the TV is working?
46. Who’s playing?
47. Is that grass on the field?
48. How many blades of grass are there are on the field?
49. I don’t know, 75,000?
50. Why would I want to count them?
51. Can you pass the popcorn?
52. What do you mean you finished it?
53. Can I make more?
54. Of course I can make more! I can make my own food, can’t I?
55. Candace?
56. Can you make some popcorn?
57. Don’t you remember the last time I used the oven?
58. Weren’t those firemen cute?
59. Wanna watch the game with us?
60. Why are you laughing?
In all seriousness, you don’t even have to speak to another human being over the phone if you don’t want to – ever again! There are many ways to reach out to a Rogers’ rep if you’re ever experiencing issues with your cable box. You no longer have to sit on the phone with a rep at any time – there’s Facebook chat, Twitter support, MyRogers App for instant support, but if you did want to talk to a real, live person, you don’t even have to wait for them – Rogers will even call YOU when you’re next in line.
For those that have yet to experience #LifeIn4K with Rogers 4K, I have had the best summer catching our boys in blue in all of their 4K glory (the replays alone make it worthwhile and crispy clear) thanks to my TV provided by Samsung and 4K set-top box provided by Rogers. The best is yet to come, with the hockey season gearing up and home games being shown through this immersive 4K experience.
And that means, no question, #LifeIn4K gets better and better.
Tears For Fears’ Curt Smith performs ‘Everybody Wants to Rule the World’ at Ted Yoder’s house
Ted Yoder is a truly talented hammer dulcimer player, who performed a brillant version of the Tears for Fears song “Everybody Wants to Rule the World“. As a result of the popularity of the video, TFF singer Curt Smith and drummer Jamie Wollam traveled to Yoder’s Arkansas home where all three musicians performed the song together.
I just saw TFF over thw weekend, and they are still thrilling, after all these years. Can’t wait for their new album in 2017.
Here’s the original version Ted released on YouTube.
David Clayton-Thomas Releases Studio Album ‘Canadiana’ Paying Tribute To Rush, Neil Young, Joni Mitchell, Leonard Cohen
David Clayton-Thomas, the endlessly prolific singer, Canadian Music Hall of Fame, Songwriter’s Hall Of Fame, and Canada’s Walk Of Fame inductee will release ‘Canadiana’ (ILS Group/Universal) on Friday, October 13th.
In this fresh collection of interpretations, David’s grasp of pop, jazz, and blues is second to none, with sparkling interpretations of songs Rush, Gordon Lightfoot, Joni Mitchell, Neil Young, Leonard Cohen and more.
Working again with producer George Koller, David sings some of Canada’s best-loved songs, carving out the melodies and the memories of the decades, with his soulful voice at the helm. “George’s musicality and his gentle leadership, his organizational skills and his incredible bass playing were essential to the success of this very complex project,” David says.
“To pay tribute to the songs of Canada’s most well-loved songwriters was a task I did not take lightly. To give each song its own identity while honouring the intent of the writer would be challenging. The contributions of Canadian writers to popular music is enormous. We began with a list of over 100 songs. Our hardest job was determining which of the great songs on this long list NOT to record.”
The star-studded guests on ‘Canadiana’ include Grammy Award winning drummer Larnell Lewis of Snarky Puppy, and includes duets with Laila Biali and Genevieve Marentette, alongside the brilliant jazz playing by Guido Basso and Russ Little. One highlight of many are the cutting edge string arrangements by Aaron Davis framing Shauna Rolston’s moving cello obligato on Sarah McLachlan’s ‘Angel’ and Laila’s pure angelic voice on Joni Mitchell’s ‘Both Sides Now.’
David is perhaps one of the best-suited singers to record “Ophelia” by The Band as he considers the group one of his contemporaries. David states, “I’ve known The Band since we played the same bars when they were The Hawks. I consider them to be the greatest rock and roll band ever. I wanted to pay tribute to my old friend, Levon Helm. I knew him well and he was a helluva nice guy.”
David didn’t want to simply cover these tunes. He took daring and satisfying liberties when it served the song, giving it a fresh new sound, and was thrilled with the in-the-moment contemporary takes in the studio. “Who knew how a Neil Young song would sound as a reggae? A Lightfoot song with a funky Memphis groove or a Rush anthem played Afro-Cuban? We had a ball recording this album and I hope that comes through in the music. I hope it brings a smile to the faces of all the songwriters represented here.”
David continues, “The songwriters are what this album is all about. Canada has produced some of the most prolific and influential songwriters in the world. The true poet laureates of Canadian culture. From the stark imagery of a Leonard Cohen lyric to the simple Newfoundland honesty of a Ron Hynes tune, our songwriters in so many ways define our identity as a nation. As we approach our county’s 150th birthday I hope this album brings a glow of pride to every Canadian. Our country has contributed mightily to the arts and particularly to the art of songwriting.
“It was a joy to pay homage to these gifted songwriters who have given so much to music lovers around the world.”
‘Canadiana’ track list:
1. Ophelia (The Band)
2. Angel (Sarah McLachlan)
3. Sonny’s Dream (Ron Hynes)
4. Early Morning Rain (Gordon Lightfoot)
5. Far Away Places (written by Alex Kramer and Joan Whitney)
6. Both Sides Now (Joni Mitchell)
7. Heart Of Gold (Neil Young)
8. Up Where We Belong (written by Buffy Sainte-Marie)
9. Suzanne (Leonard Cohen)
10. I’ll Never Smile Again (written by Ruth Lowe)
11. Spinning Wheel (Blood, Sweat & Tears)
12. Closer To The Heart (Rush)
13. Something To Talk About (written by Shirley Eikhard)
DAVID CLAYTON-THOMAS and the making of ‘CANADIANA’ in his own words:
Ophelia (The Band)
I’ve known “The Band” since we played the same bars when they were “The Hawks”. I consider them to be the greatest rock and roll band ever. Although The Band’s version featured a horn section, we wanted to take Ophelia back to the sound of the Hawks as I first heard them at Le Coq D’or on Yonge Street in1964. Piano, organ, guitar, bass and drums. For drums we chose Lowell Whitty, a Levon Helm fan, who plays very much like him. He gave the song that unmistakable Levon groove. Although it’s a Robbie Robertson composition, I always considered this to be Levon’s signature song and I wanted to pay tribute to my old friend. I knew him well and he was a helluva nice guy. This vocal was easy – first take, live in the studio and never changed. I know this song by heart, saw them play it live dozens of times. I sing this song in the shower.
Angel (Sarah McLachlan)
Sarah’s song really moved me having spent many years on the road in “cold dark hotel rooms” myself. We needed a way to build on the song and give it its own sound without losing the naked honesty of Sarah’s original solo piano version. The answer came in the form of a collaboration with two people. My dear friend, Shauna Rolston, Canada’s premier concert cellist. Fiery and inventive with incredible technique Shauna is indeed a national treasure. Aaron Davis, a brilliant, cutting edge string arranger. Shauna’s emotional cello obbligato and Aaron’s avant-garde strings provide the perfect setting for this interpretation of Sarah’s powerful lyric dealing with drug abuse and the lonely isolation of the artist when the show is done.
Sonny’s Dream (Ron Hynes)
I’ve always wanted to record a Ron Hynes song but there were so many to choose from. He was known as “the man of a thousand songs”. But this one had a personal meaning to me. Not only was “Sonny” my nickname as a kid, but I knew all too well the feeling of coming from a small town and dreaming big dreams and being told by everyone that you’d never amount to anything because no-one from Willowdale ever had. Eric St Laurent’s beautiful acoustic guitar work and the soulful harmonica of Roly Platt give this track the down-home Newfoundland feel that was the hallmark of a Ron Hynes song. Add to that the rich vocal harmonies of Omar Lunan and the Levy sisters and the track was complete. Ron Hynes had a knack for crafting the most intimate, deeply personal stories with deceptively simple lyrics that touched the heart of everyone.
Early Morning Rain (Gordon Lightfoot)
No collection of Canadian songs would be complete without Lightfoot. I hope Gord will forgive me for turning his song inside out, changing the order of the verses to give the song a fresh new narrative. The story begins with a man alone at the airport without the price of a ticket and ends with “Hear the mighty engines roar” as the plane takes off without him. We also chose to give to song a funky “Memphis” sound with Lou Pomanti playing Wurlitzer piano and Hammond B3. Quite different from Gord’s folksy acoustic guitar original but played with total respect for this iconic songwriter.
Far Away Places (written by Alex Kramer and Joan Whitney)
We felt it was important to give this album a historic sweep encompassing the long tradition of Canadian songwriters. We researched many different versions of this song from Perry Como to Sam Cooke and they all were done as slow ballads with lush string arrangements. We opted for a hard-swinging jazz waltz, relying on Ted Quinlan’s traditional jazz guitar style and Guido Basso’s elegant flugelhorn to give the song a feel never before heard on previous renditions.
Both Sides Now (Joni Mitchell)
Joni Mitchell’s “flow of consciousness” lyrics have always touched me, going back to our days of playing the coffee houses in Toronto’s Yorkville district. I adored Joni from afar. She was this incredibly beautiful, blonde folk princess with her acoustic guitar, delicate lyrics and diaphanous gowns while I was a leather-jacketed punk, who played telecaster in a brutally loud rock & roll band. She totally ignored me, ha! In later years we had both gravitated toward the jazz world and had many mutual friends. Jaco Pastorius and Don Alias played with Blood, Sweat & Tears and later with Joni Mitchell. In 2007 we were both inducted into The Songwriters Hall Of Fame, we hung out backstage and I must confess I still have a crush on Joni Mitchell. When conceptualizing the string arrangement with Aaron Davis, he observed that on the first half of the verses, the lyrics were light and whimsical and very feminine in nature and on the second half the words became more masculine. A perfect setting for a “boy girl” duet. Laila Biali’s angelic voice on the first half of the verses contrasts perfectly with my more cynical, world weary readings on the second half. Then we join forces for a true duet on the choruses and it all comes together. Aaron Davis’ daring string arrangement makes this one of the most ambitious tracks on the album.
Heart Of Gold (Neil Young)
Neil Young is another artist who shared the Yorkville-era with me. We both left Toronto around the same time. Neil for California where he teamed up with Stephen Stills and company to form CSNY and me for New York where I joined Blood, Sweat & Tears. I have loved reggae music for years. In the 70’s I produced a Jamaican band in Toronto called “Ishan People”. When George Koller and I chose this classic Neil Young tune for the album we were looking for a “sound”. Something different from Neil’s original recording.
One day, just jamming on my Martin in my living room with George and Eric, I fell into a reggae groove and it made everyone smile… it just felt right. So that’s the way it went. When we got to the studio we brought in Grammy Award winning drummer Larnell Lewis (Snarky Puppy) and the track came to life. Lou Pomanti’s B3 and Eric St Laurent’s guitar put the final touches on this funky reggae track. My experience with Ishan People had taught me how to speak a little Jamaican patois and you’ll hear a taste of that at the end of the song. A totally fun track.
Up Where We Belong (written by Buffy Sainte-Marie)
Originally recorded by Joe Cocker and Jennifer Warnes for the soundtrack of “An Officer And A Gentlemen” This Buffy Sainte Marie song is one of the great boy girl duets of all time. Genevieve “Gigi” Marentette had already recorded a duet with me on the Combo album, “The Glory Of Love”, and she is a dear friend and I knew we sang well together. Her sexy, soulful, Detroit sound goes well with my R&B influenced vocal style… we share the same roots. We decided to “go big” with this arrangement and I asked Lou Pomanti to write a powerful big band horn chart that would really lift the singers over the top. He did, and “Gigi” and I responded, live in the studio, face to face the way a great duet must be recorded.
It’s a daunting task to follow two of the best singers in the business singing a song that they made internationally famous but Gigi and I felt that if we approached the song with our own voices and gave the track it’s own personality we could pull it off… We did.
Suzanne (Leonard Cohen)
What more can be said about the lyrics of Leonard Cohen? His genius for stark imagery exemplifies what makes the Canadian writer unique. Highly literate and impressionistic, he is indeed the poet laureate of Canadian songwriters. The challenge of interpreting a Leonard Cohen song is one of bringing an understated reading to a deeply emotional lyric. No-one does it better than Cohen with that voice that sounds like it comes from the bottom of a well and lyrics that tug at your heart. Less is more with a Cohen song. A simple acoustic guitar track by Eric St Laurent with a little help from the Levy Sisters on the choruses was all we needed to bring this one home.
I’ll Never Smile Again (written by Ruth Lowe)
This is Frank Sinatra’s favourite song. Written in the 1940’s by Toronto’s Ruth Lowe. Sinatra’s rendition with The Tommy Dorsey Orchestra is a classic. We wanted to evoke the spirit of the 40’s and went very retro with this track. Featuring The Willows, three girls whose specialty is recreating those beautiful Andrew Sisters style vocals. Hall Of Famer, Russ Little’s trombone adds the perfect Dorsey touch and the mood is set.
Spinning Wheel (Blood, Sweat & Tears)
It had been suggested by the record company that I should include one of my own songs in this collection. “Spinning Wheel” was an obvious choice. Inducted into The Canadian Songwriter’s Hall Of Fame in 2007 and recorded by dozens of other artists over the years and earning a Grammy as Song Of the Year in 1970. Co-producer George Koller and I discussed many ways to make this track special, including scaling it down to a bare bones jazz trio. We finally agreed that “If it ain’t broke don’t fix it”. I had heard many big bands interpret the song – Maynard Ferguson, Buddy Rich, Woody Herman, so we beefed up the horn section and expanded Fred Lipsius’s original four horn chart to six horns. His brilliant horn arrangement has become integral to the composition as has Lew Soloff’s fiery trumpet solo. As a tribute to my late friend, I asked Jason Logue to transcribe Lew’s solo note for note. He said “Are you kidding… Transcribe it… I know that solo by heart, it’s one of the first trumpet solos I ever learned”. Add to that Koller’s cheeky bass solo and Lou Pomanti’s Monkish piano voicings and we had a different sounding Spinning Wheel without losing the spirit of the original.
Closer To The Heart (Rush)
I have always been a huge Rush fan. They are completely unique in the history of Rock & Roll. Progressive and creative, always intensely musical. Geddy Lee singing Neal Peart’s lyrics can’t be topped so we had to find a new approach. I noticed that Alex Lifeson’s guitar line with a little rhythmic shift could become a great salsa piano line. So I called on Cuban piano giant Hilario Duran to write a chart and as long as we were going Cuban bring in musicians who were born to this music. The result is a crazy twist on a Rush song. Hilario’s piano and the intricate percussion tracks played as only native Cubans can, along with Elmer Ferrer’s electric guitar make this one of the most exciting tracks on the album. I know Geddy and the boys will love this interpretation.
Something To Talk About (written by Shirley Eikhard)
Bonnie Raitt is one my favourite blues singers. Her “bottleneck” guitar and soulful vocals never fail to impress me. I didn’t know there was Canadian connection until one day in the studio I ran into singer Debbie Fleming and I learned that Bonnie’s biggest hit had been penned by Shirley Eikhard from Sackville New Brunswick. I listened to Shirley’s original recording of the song and it was virtually identical to Bonnie’s Grammy Award winning hit. Bonnie had the good sense NOT to mess with perfection so we followed suit. We stuck pretty close to Shirley’s original but replaced Bonnie’s inimitable slide guitar with blues harp virtuoso Roly Platt. Omar Lunan and the Levy sisters did a great job with the backing vocals and Lou Pomanti’s B3 work is outstanding throughout. A great, fun, funky, R&B romp to close out the album.