Sunday, July 31, 2011

Post Corus, Alan Cross is very much
Alive and Kicking

After a quarter of a century as arguably one of the best on-air personalities this country has ever seen, Alan Cross and Corus Radio have parted ways.

A restructuring and reorganization of the company’s online radio division is the basis for the Senior Program Director’s departure, best known for his Ongoing History of New Music program, and in recent years, the head honcho for Exploremusic.

What exactly does this mean for the guru of all things new music? Other than Corus no longer being his platform, not a heck of a lot. Since the apparent amicable separation, Cross has pretty much hit the ground running ever since. Not only are his Twitter and Facebook feeds constantly abuzz with current trending topics and facts, he also has a regular Friday column in the Metro News along with many contributions in publications nationwide just to name a few. He has also set up shop at the newly launched www.alancross.ca providing the usual music fix of everything you'd ever want or came to expect of the man is there.

There have been mutterings that Cross may work with Corus in the future on a freelance basis only, but will not longer be in the building. What that entails is anyone’s guess, but if presumptions are in order, the freelance involvement would be for Cross to remain submitting new episodes of the forever and wildly popular Ongoing History of New Music to air in its regular rotation. But like I said, this is just an educated guess.

On the flipside, what does this mean for Corus? That would all depend on who you ask of course. Speaking as a child of the 70s and 80s, the Spirit of the Edge began airing out of a tiny little house in Brampton all those years ago. It was second to none and unlike anything else heard across the airwaves . It was the only stop along the dial where it wasn’t uncommon to hear bands like The Smiths, Joy Division, New Order, Stone Roses, The Cure, etc. It was the station that identified with everyone from the geeks to the jocks and anyone in-between who wanted something innovative and different and outside of the typical top 40.

It wasn’t until the mid-90s and into the early 00s that we began to see CFNY’s music format slowly sway from the beloved Spirit of the Edge foundation making room for the new “New Rock” based content slowing leaving the station’s glory years to a fading memory. Along with the departure of many cherished on-air talent (leaving or being shown the door) making way for on-air personnel that correlate with today’s kids, the link connecting the Spirit generation to what the station had become gradually broke down. Other than Dave Bookman as the lone graybeard left from yesteryear who still broadcasts evenings on the station, and the dearly departed Martin Streek, Alan Cross was the last remaining thread that tied myself and whatever Spirit generation there was left to the station. But hey, that’s life. Time moves forward and the torch inevitably always gets passed, but for this listener who favored the earlier format to that of the later, the identity is just no longer there. It was a good 22 year run.

Cross personally told me in a conversation years ago that he enjoyed doing the Ongoing History of New Music so much so that he’ll do it until the day he dies. With the gift of being able to tell such captivating stories, holding the listener to every word, we’re going to hold him to his word. Hell, the man could read the dictionary and make it compelling.

As a true inspiration to thousands and a legend to most, only time will tell what the future holds and exactly where Alan Cross will turn up. But whatever and wherever that may be, as long as Alan Cross still breathes and has a pulse, a music world without his spellbinding wisdom and encyclopedia of a brain, is practically and unquestionably unfathomable.

Thursday, July 21, 2011

Live Review: Fleet Foxes
Massey Hall, Toronto, July 14, 2011

Photo by Sarah Rix

Sometimes you can’t fully appreciate a band’s talent until you’ve actually witnessed them live. Let’s face it, anyone can make an album with the help of a studio – just ask Smashing Pumpkins. But if there’s one thing Seattle’s Fleet Foxes have already perfected in their young career, it’s translating what they’ve cut to tape to the stage in an absolute flawless fashion. And what better platform to do so than Massey Hall?

Opening with “The Cascades” from this year’s critically acclaimed album, Helplessness Blues, this very bearded ensemble took the stage to a packed house in a very undramatic fashion looking as if they just finished a shift at a logging mill. When I say “undramatic”, band members doing their own sound check prior to curtain call doesn’t exactly make for the most climactic stage entrance come show time.

Amongst a barebones stage set and just a curtain for a backdrop, once the six-piece did kick-start the evening’s festivities, the mesmerizing tone was set from the get-go. In just the first song alone, four of the band’s six members played a minimum of two instruments each before the song concluded.

Other than front man Robin Pecknold’s soaring vocals, complemented by pitch perfect harmonies from drummer Josh Tillman and bassist Christian Wargo, the most fascinating member of the Fleets easily has to be the newly recruited multi-instrumentalist Morgan Henderson. Not only could he have passed for a street person panhandling outside the venue prior to the show, he had a revolving door of instruments in his hands the entire night. Starting with an upright bass and moving to guitar to flute to sax to maracas, needless to say Henderson is the jack of all musical trades.

Next to a near flawless start to a recent North American string of dates, the only drawback of the night was the 2-3 minute gaps between songs it took to tune the guitars that hindered the flow of the evening’s set. Whether an extra roadie or two had border issues getting into the country is anyone’s guess. With that being said, in recent memory, there isn’t a band that has had the capability of captivating an audience with such an array of talent and sound - a rarity far and few between.

Spanning their entire catalogue, evening highlights included, “Drops in the River”, “Battery Kinzie”, “Montezuma”, and the Robin Pecknold encore-solo delivered “Oliver James” with hand-clap help from the audience.

Thursday night’s performance was an absolute treat and an experience appreciating true talent at its purest. Massey Hall was built for bands like Fleet Foxes – plain and simple. Already compared to harmony-rich groups such as The Zombies and Beach Boys, just two full length albums into their career so far, is an incredible feat in itself. One can only hope the best is yet to come.

Next time the Fleets roll through town, especially in a theatre type setting, do yourself the favour and take in such an unforgettable experience. Guaranteed to thank yourself after.


Setlist:

The Cascades
Grown Ocean
Drops In The River
Battery Kinzie
Bedouin Dress
Sim Sala Bim
Your Protector
Mykonos
Tiger Mountain Peasant Song
White Winter Hymnal
Ragged Wood
Lorelai
Montezuma
He Doesn't Know Why
The Shrine/An Argument
Blue Spotted Tail
Blue Ridge Mountains

Encore:

Oliver James
Helplessness Blues

Thursday, July 7, 2011

Live Review: Soundgarden
Molson Canadian Amphitheatre, Toronto
July 2, 2011


One of the year's most anticipated shows made the Canada Day long weekend that much better, as Soundgarden launched their 2011 reunion tour right here in Toronto.

It had been exactly 14 years, 7 months, and 19 days since the grunge forefathers last saw these parts as a foursome, so needless to say their long awaited return was received with open arms packing a near capacity Molson Canadian Amphitheatre. For a show with as much hoopla as it had, surprisingly scalpers were cutting their losses by half, in desperation, trying to unload their extras at the door.

The last time Soundgarden played Toronto was back on November 13, 1996 at the dreadful tin-can of a venue, Varsity Arena. With very little stage chatter, fans could feel the tension ricocheting from the stage the entire night. Most notably, the severe temper tantrums bassist Ben Sheppard displayed while playing with his back to the crowd, eventually smashing his instrument and kicking over amps. The writing was on the wall as it was just a few short months later that the band inevitably self imploded.

Fast forward to 2011 and the difference between this and the '96 show were like night and day. Chris Cornell had even been quoted in recent years that a Soundgarden reunion "just didn't make sense". Maybe it was the money or Cornell's failed attempt at hip-hop to get the wheels in motion. Regardless, clearly all differences have been put aside leaving room for a group out to have fun. Smiles could be seen beaming from all four members faces the entire night. Cornell was not shy giving guitarist Kim Thayill a hug on stage during band introductions setting the tone for an all out lovefest.

Taking the stage right on cue, fog lights would have come in handy to cut the thick cloud of sweet leaf that began to rise even before Cornell had started the first verse of set opener, "Black Rain".

Cornell even had family in tow as he introduced his young son side-stage who was air drumming along all night to the decorated stickwork of the ageless time keeper and full time Pearl Jam drummer, Matt Cameron.

With a front loaded set list, the hits and fan favourites (along with a few obscurities) came one after another all night. A new album is apparently in the works for a release sometime next year, but nothing new or unfamiliar was represented giving the faithful everything they could have possibly asked for. The only questionable part of the evening might have came when the band left the stage before returning for the obligatory encore. Other than possibly "Pretty Noose" (which was surprisingly left off the set list), they left the audience in suspense of what could possibly be the nights send-off during the encore. In the end, not much was missed if you cut out early to beat the crowd.

Sounding completely polished and tight a band as ever, evening highlights began with "Spoonman", third song in, followed by "Rusty Cage", "Blow Up The Outside World" with Cornell letting the audience sing ending chorus honours, "Fell On Black Days", "Black Hole Sun", and hands-down, evening highlight, "Outshined".

With a mesmerizing video and light show from the stage, the audience was also treated to nature's lightshow as the rain came down with forks of lightning about half way through the night. Not an ideal situation if you had a lawn seat.

So now you know, Toronto went home mystified, looking California and feeling Minnesota.

Set List:

Black Rain
Searching With My Good Eye Closed
Spoonman
Gun
Rusty Cage
Blow Up the Outside World
Let Me Drown
Jesus Christ Pose
My Wave
The Day I Tried To Live
Outshined
Beyond The Wheel
Fell on Black Days
Ugly Truth
Burden in My Hand
Superunknown
Black Hole Sun
4th of July

Encore:
Face Pollution
Like Suicide
Slaves & Bulldozers