Category: Music

My story about my musical year starts with a short term obsession about a song.
The CBC broadcast a story about the popularity of Leonard Cohen’s song Hallelujah in Britain on the National (TV news) on the Friday night before Christmas. The CBC was interested because the writer was a Canadian. The story was that two different versions of the song were topping the British charts in the week before Christmas. For the last few years, some kind of Christmas themed piece has topped the charts. There is no Christmas list as such, and the charts continue to track the popularity of modern popular music in Britain, on sales.
The only connection between Hallelujah and Christmas is that the word Hallelujah is used in some Christian prayers and songs, including some Christmas songs and hymns. There is a Hallelujah Chorus in Handel’s Messiah, which has become a Christmas concert favorite for choral performances. The oratorio is more of an Easter piece, and the Hallelujah chorus alludes to passages in the Apocalypse (Revelations as English speaking Protestants call it) rather than to King David, King Solomon, or Samson and Delilah. I found one artist, Allison Crowe, who had recorded the song on a Christmas album.
I listened to clips of the Alexandra Burke version that topped the British charts. I listened to several versions, including Cohen’s, John Cale’s, Jeff Buckley’s, and Crowe’s. Wikipedia has a clip of a cover by John Cale. I found a cover – vaguely techo – by Bono on a Cohen tribute album. I thought Allison Crowe did well, but Jeff Buckley’s version was better, perhaps the best. That young man was a great performer. Jeff Buckley understood what Cohen was writing about when he said that the song was dedicated to the orgasm, which one of the few things that provokes serious (as opposed to profane and vulgar) religious exclamations, and the closest thing to mystical ecstasy that people can credibly claim to have had.
Cohen sings the song as a song of memory and regret, sung by lovers who have exhausted the physical potential of their relationship without finding a way to stay in love. When Cohen sings it, you can smell the Scotch and cigarettes, and visualize the books by Camus and Sartre on the bedside table. Cohen celebrates and preserves the memory of the sexual relationship within the context of rationalizing the fact that the emotional intensity of relationship has changed, and that the ecstasy was temporary.
I heard a Victoria group, the Gruff, sing their cover at Spinnaker’s Brewpub last spring, and then a few more times at other venues in Victoria and at the Mission Folk Festival in July. For some reason, their version is less worldly and more optimistic and anticipatory.
My year in music was pretty quiet. I listened to Cohen, and some performers who covered him. I bought some old classic Fairport Convention. The high point of my year was travelling to Vancouver to hear the Oysterband at St. James Hall – the Rogue Folk Club’s principal venue . They were touring to promote their newest album. Their concert was amazing, and the new album is pretty good.
I wasn’t happy about the Vancouver Island Festival in Comox-Courtenay this year. It was hot, and the camping is crowded, leaving the hardy party folk drinking and carousing amid the families and people trying to sleep. I recall a couple of good workshops about calypso and Indian music, but the festival was disappointing. Michael Wrycraft was one of the hosts on the main stage. He was trying to pay a tribute to the great musician Oliver Schroer, who had died a few days earlier. The crowd was indifferent, which struck me as very sad. Folk fans like to fancy themselves as true patrons of the arts, bonded with the artists by love of the genre, but they are just fussy consumers. They know what they like, and they like what they have been groomed to listen to. The best that I can say about them is that they have stretched their tastes beyond mass culture to be listening to folk at all. I will stay away from negativity.
The Mission Folk Festival was small, quiet and well programmed. I enjoyed the Gruff, and Moira Smiley and Voco, Rani Arbo and Daisy Mayhem, and Nathan Rogers. I have caught Rogers at different stages in his career. His stage manner is respectful but a little manic. He performs fine covers of his father’s songs – some imitative of the canonical performances, others innovative. He has experimented with a song with throat singing. He caught me with a good cover of Into White, a song by Cat Stevens. I could have done without the all the extra stage time lavished on a Tibetan singing nun.
Over the rest of the year, I began to listen to Billy Bragg more carefully. I also have appreciated Richard Shindell, Richard Thompson, Joan Osborne. I went to Sheryl Crow’s concert at the Memorial Arena in Victoria with some of my friends from my Dragon Boat team. I know most of the songs, the production overwhelmed the music, and I realized that I didn’t have a clue about the way women from 15 to 50 felt about her songs.
I have been tending to read with the TV on, tuned to news, or soccer, or a bad movie, and not listening to music. That has started to change. So ends the year.

Vancouver Island was good. It must be one of the large folk festivals in Western Canada, with enough sponsors, grants and fan support to be able to get the performers that attract more fans. The Comox Valley Fairground is a good venue, with enough room for half a dozen stages, and camping. The camping is close to the performing area. It seemed quiet to me, but apparently some campers arrived with a sense that they could drink and party all night, which made security a minor challenge. The infrastructure was good. They had lots of portable privies, which were cleaned frequently. The camping was in an open paddock, which seems to have good drainage, and they kept lanes open for people to walk to their camps.
There was lots of music. During the day, if one stage wasn’t entertaining, there were other options. The weather was good. I enjoyed the sun, or found shade when the sun was too intense. The temperatures didn’t get above the mid 20’s, the sun was often broken by light cloud, and there were good breezes. I could take or leave some of the headliners. The last couple of main stage acts are for dancing and excitement, and I chose sleep.

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Sunday evening, July 8, 2007, I heard Don McLean and his band perform American Pie at the Vancouver Island Musicfest (aka Folk Festival). McLean, like Joan Armatrading, Los Lobos, and Bedouin Soundclash, was a headliner, who played one set during the evening concert at the main stage. The performance was professional and competent. McLean’s songs, apart from his version of Roy Orbison’s “Crying”, and his own song “Vincent” (“Starry Starry Night) were probably not that well known.

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It is Gordon Lightfoot’s week. November 5 – the anniversary of the Last Spike in the CPR, the inspiration for the Canadian Railroad Trilogy. Today, (November 10) the anniversary of the sinking of the SS Edmund Fitzgerald, which inspired The Wreck of the Edmund Fitzgerald. As the riots in the French urban suburbs continued, a fleeting thought for Black Day in July. A video clip on the CBC Web site – some US radio stations refused to play that song when it was first released.

Winnipeg Folk Festival, Sunday July 10, 2005. Another hot sunny day, carrying a forecast of possible severe thunderstorms. The storms seemed to arrive around 9:45 PM with strong winds, sending the mainstage crowd surging for the exits. The wind died down, we had some light showers, and made it through the rest of the evening. Many of the patrons who had retired to the campground came back. The crowd was smaller, probably only a couple of thousand people stayed to the end. It started to rain after midnight.

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Winnipeg Folk Festival, Bird’s Hill Park, Saturday July 9. There isn’t much to report. It was a sunny windy day, 32 degrees, humidex in the 40’s. I stayed home, visited my parents, shopped, cut the grass because it wasn’t raining and I was mainly in the shade, and didn’t visit the Festival until after 8:00 PM. I didn’t go backstage. I saw that the entrance path across Snowberry Field had dried up at one end, where the asphalt ends as the trail emerges onto the field, but there was still a bog where the trail goes into trees again. There was a lot of mud and standing water on the path towards Shady Grove and the backstage.
By the time I left for the site, the forecast had shifted to include a chance of a severe thunderstorm. When I got home this morning, I checked the radar again. There were storms that seemed to form over the corner of Manitoba, Saskatchewan and North Dakota and track northeast over the lakes, missing Winnipeg and Bird’s Hill. So far Sunday has been hot, cloudy and windy but the rain has stayed away.
I spent my free time at the Bur Oak stage, reading and then went on shift at Site West. There was still standing water in spots around the Bluestem stage, but it had dried out a lot. There was mud in the record tent and the family tent.
I spent my shift around the Firefly Palace which is the nighttime use of the family entertainment stage. During the day there are games, including hula hoops, juggling with clubs and plates, frisbees, soccer balls etc. The Family area crew had stored gear under a tarp but the evening patrons had hula hoops and juggling articles and were using them. There were some steel pegs in the field to secure some log stumps. I don’t know the daytime use but the logs and spikes were hazards in the dark. Fence-jumpers, damages fences drunks, lost kids/parents (usually can’t navigate back from the port-a-potties in the dark. Lots of activity, not boring. One of the shows was music played by a VJ against a Bollywood film for a video dance party.
Didn’t hear any other music, had a good time.

Friday July 8, 2005. Weather, site, a little music, mainly a rant about the way Festival management deals with the site.

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Thursday July 7, 2005, Winnipeg Folk Festival. My report on weather, site, music and whatever else I want to blog about.

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The Winnipeg Folk Festival starts today. I am again a volunteer on the Site Security crew. I have gone to the orientation meeting and to the T-Shirt evening. I have my pass and my schedule.
The Festival has become a personal event, perhaps a ritual of summer for me and for the majority of fans. It is a multi-layered event, bringing people into contact for a few days. I have come to believe that the music has become subordinate to the event – there is certainly none of the silence and reverent focus on the performer and the music that is found in concert settings.
The weather appears to be very good, generally sunny and hot, although the forecast for today includes possible thundershowers.
The site is soggy. Southern Manitoba has been pounded by rain and heavy rain last Wednesday basically led to huge surface flooding in many areas, as the saturated ground refused to take and more, and drainages were overwhelmed. The Festival site in Bird’s Hill Park is high and dry, on a sandy esker but the silty clay topsoil that holds down the grass on the festival site has been saturated. In other years, I have seen it turn to gumbo after a half hour of rain, but dry in a day.
I haven’t paid a lot of attention to the line-up; I trust that I will be entertained, and I look forward to some moments of joy and insight.