Fifty River Concerts Q and A with Betty Burke

Our dear friend and collaborator Holly Andruchuk is doing great things with Fifty River Concerts. If you are looking for a great place to play in the Toronto area, get in touch with Holly and her pal Tim McKay to set up a show at the Imperial Pub as part of their Thursday Night Music series.

On the eve of our gig with Fifty River, Holly and Tim sent me a set of well-researched, thought provoking questions. If you want to know a little bit more about what's behind the songs we perform, have a look at the Fifty River site. On the same page you'll find a Phonemes Q and A, and a Kathleen Phillips piece.

In other news, the Keith Richards biography is finally here. I am getting my copy tomorrow. BB keyboardist and vocalist Sheila Sampath sent me a link to Liz Phair's review of the book, here, at the New York Times site.

It's just about that time now- time to pull on some slippers, and crack open a Kurt Wallander mystery. Before I go, let me leave you with a little music to sweeten your night, wherever you are. From Keith's friend Gram Parsons, and Emmylou Harris, here is "Love Hurts."


Good night and sleep tight.
MM

This Thursday! Special show, special guests

THE PHONEMES - Sunday Morning, Sacred Heart from Mitch Fillion (southernsouls.ca) on Vimeo.

Please join Betty Burke, The Phonemes, and Kathleen Phillips for a very special show at the Imperial Pub this Thursday. Presented by our sister Holly Andruchuk's 50 River Concerts and the Imperial, this will be a memorable evening.

Kathleen will do comedy, and BB and The Phonemes will sing and tap things (guitars, tables, keys.) You can see the Phonemes in the above video, performing the song "Sacred Heart." The video was done by Mitch Fillion as part of his Southern Souls project.

In addition to a surprise guest, BB's special guest performers include Sarianna Mileski and Stephanie Markowitz. Sarianna will be singing a new number called "The Prince," which is dedicated to all the mysteriously single Torontonians. You know what I mean- people who can't get a date in this town despite all kinds of amazingness.

Kathleen will kick things off at 9pm, followed by The Phonemes- our dear friends Magali, Stephanie Markowitz, and John Tielli- and then BB. It's an early one, friends, so don't delay in making your way over.

See you there!
xoxo
MM

A love song, or a moritat, for a stray cat

Bragging about being tough and dangerous has a long tradition in music. There is the moritat- a murder ballad of a dangerous character and his amazing misdeeds- Stagalee, Staggerlee, Tom Dooley, Magali, or one of the most famous examples, the Moritat vom Mackie Messer- Mac The Knife from Brecht and Weil's Threepenny Opera. But at what point did the "I'm so tough," rather than "he's so bad" version of the moritat come to dominate popular song?

When I was young, and even more lost than I am now, I heard a rumor that Bo Diddley is Jesus. He would never have said that of himself, but he did spend a lot of time explaining his fighting skills, his gunslinging ways, and even if he didn't originate the art of bragging about one's toughness, Diddley took it to a whole new level, when he bragged about having a chimney made from a human skull. In Bo Diddley, the murder ballad became something new; when Bo posed as a gunslinger for the album of the same name, an entire alter ego of danger was born. Hank Williams also transformed the murder ballad from mere song into a way of being, and resorted to recording under the pen name Luke the Drifter to release the spiritual songs that clashed with the popular image of a man adrift on the lost highway.

But whether it's Luke the Drifter or Bo Diddley the Gunslinger, cries of "get away, I'm dangerous" often have a tinge of 'wounded cat' about them. You know that cat- it very slowly moves into your house, into your heart, and one night you wake up to find it peacefully sleeping on your chest.

Here is a little tribute I wrote to wounded cats. Holly and I performed it as a twosome the other night at the Gladstone, at the Blocks Recording Club night:

"Suitcase Full of Trouble"

After our set, dreamy Michelle McAdorey played with a band that included Eric Chenaux and Ryan Driver, then The Phonemes took the stage. Magali was backed by John Tielli on kick drum, guitar and theremin, and Stephanie Markowitz on vocals and keys. Magali's new songs are amazing, and the Stephanie and John lineup brings out the other worldly quality, as well as the beat, in Magali's songs. I'm looking forward to the next Phonemes record with anticipation.

Now I'm off to see if that old stray cat is on the front steps again.

Q and A with Holly Andruchuk

Betty would call Holly Andruchuk Toronto's best kept secret, except that Holly doesn't belong to Toronto exclusively, she also belongs to a few corners of Alberta, Nova Scotia, and a little Hamlet in Nunavut. She's a great guitar player and, as for her voice, tired metaphors cannot describe it. There's a little interview floating around youtube in which Gram Parsons describes his first time playing music with Emmylou Harris; jamming with Holly gives you a sense of how Parsons must have felt at that moment. After spending the better part of a year (literally) with Holly, Betty realized there was a lot more she wanted to know about Holly Andruchuk, and that it would also be good to share some facts about H.A. with the world.

BB: You are from Standard, Alberta, formerly a town of 300. What was it like growing up in Standard? I hear you taught a lot of girls how to play guitar.

Holly: It's best to think of my developing years in 6's. 6 years in Winnipeg, 6 Years in Calgary, 6 years in Standard.

I was born in Winnipeg at the Grace Hospital. Moved to Calgary after my dad got a job as an industrial arts teacher on the Siksika Nation reserve east of Calgary. Moved to Standard, Alberta to be closer to the rez for dad's commute. Growing up in Manitoba and Alberta was home; big skies, lots of people with similar last names, traditional prairie food, country music and classic rock, countless drives on the No. 1 Highway.

As for the girls and the guitars, extra-curricular activities in Standard are simply referred to as "Hockey and Calving" in the winter and spring months and "Baseball and Harvest" in the summer and fall. A handful of moms approached me about teaching their daughters how to play guitar, and the customary thing to do is say "Yes, of course!" For me and the girls, it was a fun way to pass the time after school.

BB: Between leaving Standard, and settling down in Toronto in 2007, you lived in the Arctic, South Korea, and Halifax. Tell us, Dear Rambler, a little bit about this.

Holly: I think it's the Heinz 57 in me. Each German, Mennonite, Polish, Ukrainian, Czech, Irish and British-Loyalist gene in me possesses the same trait: The eternal quest for the New World. My ancestors traveled the world for farming, politics, religion, mission work, new beginnings, to flee cultural and religious discrimination, and most importantly opportunity. I ramble for the off chance I will stumble upon opportunity.

BB: When did you start playing guitar, and what was your inspiration? What music were you exposed to in Standard?

Holly: The guitar was first introduced to me when I was seven, after a biannual family trip to Winnipeg. My dad re-claimed his 1950s Jumbo acoustic Kay guitar while visiting with my cousins and aunt. On the drive back to Alberta dad tuned down the guitar to an open chord so I could strum and bar the frets. I wrote my first song, "When I First Moved to Cal-gary" and the dream and fantasy began - "I'll strap some wheels on my guitar, so I can be a big, big star...uh huh, ummm hmm, oh yeah."

Music was part of the family culture. You sing in choirs, listen to CBC radio in the car, LP's at home, Gordon Lightfoot on Saturday mornings, Moodie Blues and other rock doc's on TV, and just general excitement from parents and siblings about live music performances. Dad played piano like Jerry Lee Lewis, Mom liked to sing Doris Day's "Que Serra" and the score from "My Fair Lady", and the whole family loved Tom Petty & The Heartbreakers.

Music from Standard, was a mix of country, classic rock, and 90s alternative. My sister would take me to Tragically Hip concerts, and mosh at Metallica and Pearl Jam shows. The high school boys would blare CJ 92 Calgary radio in their trucks and Country 105 in their combines. And my folks would play vinyl at home: Doobie Brothers, Valdy, Beatles, The Band, Fleetwood Mac, Moodie Blues, The Rolling Stones, Stan Rogers and Gordon Lightfoot.

BB: What other bands do you play in?

Holly: In addition to Betty Burke, I play with the following bands:
The Booth Avenue Band
Benjamin Elliott
The Buffalo Builders
Holly Andruchuk & The Brothers Elliott

BB: Tell me about your guitars. Every time I go to a shop with you, you want to buy another acoustic- but you have seven already? What's on your gear wish-list these days?

Holly: Guitar's to Keep Forever:
1950s Kay Jumbo Acoustic
1994 Simon and Patrick Lauthier 12 string acoustic
1980s Norman acoustic 6 string
2000 Taylor 415 Jumbo 6 string acoustic
2000 Gretsch Junior Country Classic electric guitar 179 of 200

Gear Wish list:
Gibson 1950s acoustic auditorium
Gibson SG vintage or re-issue cherry top satin finish
Gibson Les Paul Standard Gold Top front Maple back
Gibson Explorer Dark Maple with white pick guard
3 more solid leather guitar straps
New Harps
Vox AC 30
Rat Peddle

BB: I've been learning a lot about folk and country music from you, but you also have a lot of the rock n roll and blues in your iPod- the Kinks, Elvis, Muddy Waters- so I know you have diverse tastes as far as listening goes, but playing in a more punk/rockabilly style is a change for you. What do you enjoy about this style of music?

Holly: Rambling in new music genres is educational and a wonderful exercise in co-writing and arranging. It also forces me to think about different voicings and concepts for songs. More importantly, I play with Betty Burke because Maggie MacDonald is one of my dearest friends and truth tellers. She is my muse, my artistic sister and mentor, my personal confidant and I really believe in her ability, efforts and contributions to the arts community!

BB: Maggie is one of your biggest fans actually, and you've improved her life a great deal. She told me herself. Oh happy day! Thank you for doing this little interview, Holly. We love you!!

Free show with Betty and Brian Joseph Davis at This Aint The Rosedale Library

On Wednesday, April 29th at 8pm there will be a special FREE show with Betty Burke and author/artist Brian Joseph Davis at This Ain't The Rosedale Library. This Ain't The Rosedale Library is a Toronto institution, run by father and son team Charlie and Jesse Huisken. Now in a new location in Canada's flaneur capital, Kensington Market, the UK's Guardian newspaper listed This Ain't as one of the top ten best bookstores in the world!

Brian Joseph Davis is an author and artist we admire for his work on paper, on stage, and at the DJ booth. He is involved in the venerable Blocks Recording Club, and ran a Parkdale gallery out of his home with Emily Shultz. One of our more memorable encounters with Brian was at a Republic of Safety show, at which he read from his book Portable Altamont, delighting us with a comedy poem constructed entirely from Canadian band names. This indulged the band's latent MC5 fantasies, hearkening back to the days when oratory and rock and roll went hand in hand to drive people to a frenzy.

Not long ago, Brian released an album version of Theodor Adorno's Minima Moralia (Reflections from Damaged Life). While the album is not easy to find, many Frankfurt School titles are available at This Ain't The Rosedale Library, along with independent books, art books, GLBT books, poetry collections, magazines (including some fun hard-to-find art magazines), and an amazing selection of books on music.

We hope to see you there on April 29th. Doors are at 8pm, thought the shop is open all day at 86 Nassau Street, next to Ideal Coffee.

XoXo,
BB

PS Today is Holly Andruchuk's birthday! Happy Birthday, Holly!