Boat cruise, Yonge Dundas Square and The Great Hall wrap up NXNE

Saturday meant not going to my office and a full day to partake of the North By Northeast Music Festival. And since it was a beautiful day, why not spend three hours of it cruising Toronto's harbour aboard the Captain Matthew Flinders soaking up sun and suds, chatting with folks and enjoying some rock-and-roll below deck.

My invitation aboard the "Bruise Cruise" from M for Montreal came with a free Moosehead beer, which I sipped while wandering around the ship and checking out DJ Jonathan Toubin spinning some great vintage pop, rock and soul 45s, which created a smooth transition for Hooded Fang's performance.

Hooded Fang

The Toronto band's Tosta Mista was my seventh favourite record of 2011 and made my initial ballot for the 2012 Polaris Music Prize to choose Canada's top album. The 25-minute live set lacked some of the subtle exotica lounge charms of the record, but the group's pop hooks and garage rock licks were irresistible.

I went on the deck to talk to friends and have a beer in the sunshine while admiring the view, and I missed Teenanger's performance and the first part of Mac Demarco's set. I wasn't familiar with the artist or his band, but I enjoyed their rootsy rock so much that I was whisked away from a conversation with a lovely woman to take part in a "gay dance party."

Bleached

Bleached was the headliner and I liked the partial set I caught of the three-woman-fronted, garage rock-influenced, pop-punk act in March at the South By Southwest Music Festival in Austin, Texas. The vocals were mixed too low, but that didn't stop lots of people from dancing. "Think of You" from last year's Searching Through The Past was my favourite, but a new song also caught my attention and a cover of The Ramones' "Today Your Love, Tomorrow The World" was a fitting closer for the Los Angeles combo.

I made a beeline for the LCBO after disembarking and picked up a couple of cans of Denison's Weissbier for my walk up to Yonge Dundas Square to see Hollerado. It's been more than a year since I've seen the band and I was due. I arrived mid-set to hear a new song played in front of a good-sized crowd, which clapped and sang along to "Got To Lose." Singer/guitarist Menno Versteeg shot off a lone confetti cannon in honour of headlining act Flaming Lips, who he called the pioneers of the prank. "Americanarama" and an extended "Do The Doot Da Doot Doo" ended things on a major high.

Hollerado

I wasn't familiar with Oberhofer, so I used the opportunity to go across the street to the Eaton Centre for some delicious Indian food from Amaya and to the LCBO for two more cans of band-watching provisions, and still made it back in time to hear some Oberhofer. The quintet leaned to the enjoyable rather than pretentious side of indie rock, so I was satisfied.

Some of Of Montreal's recorded material had left me wanting, but I thoroughly enjoyed a set in Austin a number of years ago, so staying at Yonge Dundas was the best 7 p.m. option. Flamboyant frontman Kevin Barnes and his collection of psychedelically theatrical bandmates show their rock influences more live than on their records, which I feel can tend to be too artsy and precious. And having a number of dancers who made repeated costume changes enhanced the spectacle considerably (one of them crowd-surfed over us from the stage and we were around the midpoint of the square for the set).

The playfulness and music made Of Montreal a good fit for Flaming Lips, and a song list that included "Miss Blonde Your Papa is Failing," "The Party's Crashing Us," "Forecast Fascist Future," "Plastis Wafers," "Id Engager," "Helmdalsgate Like A Promethean Curse" and more ensured everyone in the ever-growing audience had a good time.

I only had fleeting knowledge of Portugal The Man from a few songs I'd heard online, but the music had a quality roots rock edge to it live. One song segued into The Beatles' "Helter Skelter," which was welcomed and was my favourite part of the performance. I feel no need to acquire any albums or see the band again, but it certainly wasn't a waste of 40 minutes. I like Portugal The Man much more than Portugal the annoying car horn-honking soccer fans that plague my neighbourhood every Euro Cup soccer tournament.

The crowd had filled in the closed down Yonge Street when I made one last trip to the LCBO at 8:25 p.m. Where there was no lineup in the store 90 minutes earlier, I waited for almost a half-hour on this second sojourn. I found out about the stage collapse that killed a man and injured others at the Radiohead concert that was supposed to take place at Downsview Park earlier in the day, and it seemed that many of the more than 40,000 people who had purchased tickets for that show squeezed themselves into Yonge Dundas Square as a consolation prize after that gig was cancelled.

Flaming Lips arrived late and each member came out individually starting at 9:30 p.m., with fur collar-clad singer Wayne Coyne bringing up the rear in his signature giant clear inflatable bubble in which he rolled over the crowd. Once he made it back to the stage, he shot off a confetti cannon, picked up a megaphone and watched the release of giant balloons that were kept aloft by fans throughout the show. It was a rock-and-roll circus.

Female dancers in school girl outfits graced the stage for a brilliant run through "She Don't Use Jelly," and things didn't let up with "The Yeah Yeah Yeah Song (With All Your Power)."

Coyne then acknowledged the Radiohead tragedy and directed good karma to the man who died and those who were injured, as well as the band. "Peace be with these hearts tonight," he said before a song that sounded a bit like Radiohead's "Karma Police."

"Waiting For A Superman" and some slower and mellower songs with no on-stage antics followed. Coyne seemed to be quite affected by the day's events, which may have drained him and the performance of a little of the normal exuberance seen at Lips' shows, taking away from the spectacle aspect that most Lips shows possess.

After Coyne made another heartfelt tribute to the people at the Radiohead concert, the set ended with "Do You Realize?" and more of a party vibe again as confetti cannons went wild. There was no encore.

A streetcar was waiting at the corner when the show ended at 10:50 p.m., so I hopped on because I thought it would be the best way to get across town to The Great Hall at Queen and Dovercourt. It took an hour because of all the traffic, so I could have made it just as fast by walking all the way.

Teenage Head

The delay made me miss the Celtic punk drinking songs of The Mahones, but I was right in front of the stage when Teenage Head came on and ripped into "Let's Shake." Pete MacAulay is now fronting the band after singer Frankie Venom's 2008 passing and, while he lacks some of the charisma of the band's founder, his voice could handle the band's garage punk material well. He was joined by guitarist Gord Lewis, bassist Steve Marshall and drummer Jack Pedler.

"Picture My Face" was followed in quick succession by "Wild One," "Top Down," "Take It," "Teenage Beer Drinkin' Party," "Bonerack," "Lucy Potato" and "Infected." It's been 35 years since some of these songs were written and they still sound great, and a lot of us old punks were totally in thrall to them. "Disgusteen" was on the set list, but unfortunately wasn't played. I'd seen Sadies bassist Sean Dean on the cruise earlier in the day and he also made it here. I'm glad he shares my fine taste in music.

The Nils

The crowd thinned significantly, but old school ska on the sound system kept me happy until another vintage Canadian punk band, Montreal's Nils, took the stage at 1:10 a.m. Bassist/singer Carlos Soria (who formed the band with his late brother Alex) said he was 15 when he first played on a bill with Teenage Head, and he just turned 50, and then called the Hamilton, Ont. outfit the best band in the world.

There was no classic after classic like with Teenage Head, but The Nils' brand of punky power pop was enjoyable until it abruptly ended just 20 minutes after the band began. The group returned quickly, however, which was a relief since this was the first (and probably last) time I'd see it. But I was shocked and disappointed that the quartet didn't play what's perhaps its best known song, the timeless "Scratches and Needles."

It was almost 2 a.m. and though there were some other bands I wouldn't have minded seeing playing at other bars until 4 a.m., it had already been a full day and I was a 10-minute walk from my house, so I think I made the right decision in ending my NXNE and going home.

Quality over quantity during NXNE's Friday

My baseball team lost 5-4 and the game meant that I couldn't attend any North By Northeast shows until midnight on Friday, but quality instead of quantity was the order of the night and made the sting of the loss a little easier to take.

I've seen both Andre Williams and The Sadies in a variety of incarnations over the years, but the two of them together is a deadly combination. The 75-year-old singer was pimped out in a red satin suit and red fedora and added new elements to his look with earrings and a beard. He may have looked like an aging ladykiller, but he was behaving like a person a quarter of his age with his come-ons to the young women in the audience.

Andre Williams with The Sadies

Things got hot right off the bat with "Agile, Mobile, Hostile" and then his 50-year-old hit, "Shake a Tail Feather," with The Sadies' Dallas and Travis Good providing a wall of guitar in accompaniment. Upright bassist Sean Dean and drummer Mike Belitsky kept a solid rhythm and Williams' manager added to the ensemble by playing keyboards. Perhaps he felt he had to keep a close eye on his artist, who has a long history of substance abuse that was documented in the 2007 film "Agile Mobile Hostile: A Year with Andre Williams."

Things continued with selections including "I Wanna Be Your Favorite Pair of Pajamas" and a slow doo-wop version of Williams' 1957 hit "Bacon Fat" before he left the stage to "take a pee." The Sadies filled in ably by performing "Pussy Stank" on their own, while accompanied by some sultry burlesque dancing by Caitlin Veitch.

Williams returned wearing a white jacket and fedora and Travis picked up his violin for "She's a Bag of Potato Chips" from 1999's Red Dirt. That was Williams and The Sadies' first album together, and they finally followed it up this year with Night & Day. "Jailbait," another vintage favourite, was followed by "Bad Motherfucker" -- and you have to know that the man was, and still might be, what the title proclaims. Williams and Veitch left the stage, leaving The Sadies to take the song to its conclusion.

You can see a video of Williams and The Sadies performing "I Can Tell" in this video recorded at the show by Matzoh Ball.

Greg Cartwright (The Compulsive Gamblers, The Oblivians) had been quietly sitting backstage during the set, but there was nothing reserved when he took the stage with his garage punk combo Reigning Sound at 1:15 a.m. and opened with "Your Love Is A Fine Thing."

Reigning Sound

The club was packed, and had a long lineup outside, and Cartwright rewarded fans with a blazing hour-long set of soulful rock-and-roll that included "Everything I Do Is Wrong," "Debris," "If You Can't Give Me Everything," "Bad Man," "Time Bomb High School," "I Don't Care If You Ever Come Back Now," "Funny Thing," "If I Can't Come Back," The Compulsive Gamblers' "Stop and Think it Over" (which you can see in this video by Matzoh Ball), a great cover of "Stormy Weather" and more.

I'd seen The Deadly Snakes' Max Danger (who'd worked with Cartwright in the past) backstage, but he was soon on it and urging everyone to demand an encore. It came with a one-two punch beginning with "Drowning."

Cartwright was in fine voice throughout the performance and his band members became a united force to be reckoned with and exemplified what good old rock-and-roll is all about.

No Sinner

Vancouver's No Sinner had the difficult task of following Reigning Sound at 2:30 a.m. Singer Colleen Rennison seemed to be going for a sexy white trash look, and her powerful blues-rock voice combined with the competent musicianship accompanying her gave the performance a Janis Joplin  vibe. The group still needs more in the way of songs, but there's some potential there.

The Good, the Bad and the Alright on NXNE Thursday

Good Riddance is one of those punk bands I've listened to a bit, but paid little attention to, so I thought I'd give its 8 p.m. set at Yonge Dundas Square a shot.

The tattooo-covered Fat Wreck Chords veterans' music was reasonably melodic in places and more hardcore at other times. The crowd wasn't overly enthusiastic and I felt no urge to leave my perch at a stool and table beside the Moosehead booth in the fenced off licensed area, where I could see the stage on a video screen. Tall cans of Magners cider for $7 were the best alcohol option from both a taste and value standpoint.

"Shadows of Defeat" and "Mother Superior" were the best the California band had to offer.

I have more Bad Religion albums and like a lot of its stuff, but it's always been a group that I felt I didn't impact me as much as my music tastes indicate it should. Case in point: this was my first time seeing Bad Religion (though I sang The Ramones' "Sheena is a Punk Rocker" on stage with guitarist Greg Hetson as part of "Punk Rock Karaoke" at Lee's Palace three years ago).

The port-a-potty line became much longer than the booze lines, but at least I got to hear "21st Century (Digital Boy)" as my bladder expanded uncomfortably. While that was my personal highlight, Bad Religion has built an impressive catalogue over the past 33 years and showed it off by performing "Anesthesia," "Dearly Beloved," "Los Angeles is Burning," "Let Them Eat War," "New Dark Ages" and "Suffer."

I left before the extended set ended so I could grab a couple of pizza slices and walk to the small Kensington Market club, The Detour Bar, to see  a young local band named Alright Alright. The quartet squeezed on to the tiny stage and banged out a set of short, snappy, melodic and energetic tunes that evoked thoughts of the first Strokes album, The Libertines and good, old-fashioned rock-and-roll that rode a surf wave at the end. I'll elevate Alright Alright to Very Good Very Good and will definitely be on the lookout for it in the future.

Alright Alright

I'm a big proponent of Michael Rault and have been singing his praises since I heard his Ma-Me-O debut album in 2010. I saw him for the first time three months ago during Canadian Music Fest and needed to again, though a lineup outside The Dakota Tavern prevented me from seeing his whole set. The young man has a great throwback rock-and-roll sound that brought out some '60s dance steps in the audience and I'm not overstating things by saying his songs stood toe-to-toe with a set-ending, kick-ass cover of Them's "Gloria." Rault's performance reinforced my view that he's one of the most criminally overlooked artists around.

I wrote the bio for Nash and his debut solo album, The Death of Reason, last year and saw him and his like-named pop band for the first time during March's Canadian Music Fest. I was taken with his set and wanted to see him again. Nash is a vibrant performer who appears to enjoy what he's doing and the diminished audience was treated to "Broken Down Satellites," "Super Symmetric," "Good to Go," "Sad Robot Harmonies," "In a State of Mind," "Friendz R Drugz" and "Suit Up."

Nash

One buff audience member systematically threw down his possessions and then stripped off his shirt and started dancing until a security member made him put the shirt back on -- to the chagrin of some of the ladies in the club.

The 2 a.m. slot at The Dakota was billed as "Special Guest" and, when it turned out to be The Elwins, I elected to stick around since I'd liked the few songs I'd heard and hadn't seen the band before. The quartet's melodic, '60s-influenced power pop was jangly and danceable, and some songs were ballsier than others.

The Elwins

Nash was dancing to The Elwins' cover of Beyonce's "Countdown." I've never heard the original, but I'm pretty sure that I'd still prefer The Elwins' version more if I had. The set lasted for a few more songs and I was happy I stayed for it. The Elwins are another local band I'd see again.

Hayes Carll saves first night of NXNE

Nothing on the North By Northeast Music Festival schedule for the first part of Wednesday particularly grabbed me, but I wanted to get out before Hayes Carll's midnight show at the Horseshoe Tavern so I took a chance on young Kingston, Ont. quartet Vorasek at The Hideout.

Vorasek

The bar no longer has Blanche de Chambly on tap, so things were already off to a disappointing start before the alternative rock band even took the stage in front of maybe 50 people. One of the guitarists was white and had dreadlocks. That's rarely a good look, and it wasn't in this case.

Vorasek played "Noise Complaint," which the bassist said they'd received a few of at parties over the years. My complaint was against the group's mediocrity. The lyrics didn't offer as much as the band seemed to think they did and "Bolder," the one song I'd heard previously from the NXNE website that attracted me to it, didn't do much more for me than the other material when performed live. The Yankees-Braves game on the television above the bar was more interesting.

The Parkdale Hookers had been a mid-level choice for the past several Canadian Music Fests and NXNEs, but I'd never made it to a show, so the slim pickings in competition made 11 p.m. on June 13, 2012 the time to finally do it. The Toronto-based, suit-wearing power trio drew about 20 people and started somewhat promisingly with a cover of the Dead Boys' "Sonic Reducer." The band covered New Order's "Blue Monday" later in the set and I enjoyed the remakes more than the Hookers' originals, which were pretty much comprised of straight-ahead rock with elements of '60s garage and punk. I finally saw The Parkdale Hookers, and now I never have to again.

I noticed Dodge Fiasco's name on the sign outside The Cameron House as I walked by, but since the front bar performance wasn't part of NXNE, I was previously unaware of it. I walked in and the old favourite, which doesn't play too often anymore, had just finished its first set. I thought there might be a chance to return and catch a few songs after Carll's set at the Horseshoe, but that wasn't in the cards.

Carll, who I feel is one of the best songwriters around these days, opened the set with acoustic guitar and accompanied by a steel player for "Beaumont." He followed it with a cover of Tom Waits' "I Don't Wanna Grow Up" before another guitarist, bassist and drummer came on stage. It was a pick-up band of Canadian musicians, including talented guitarist Stuart Cameron, but you wouldn't have known that they all just got together for the first time that afternoon. Carll dubbed his new country-rock group The Canadian Cowboys.

Hayes Carll

"Bad Liver and a Broken Heart" segued briefly into "I Fought The Law" and "KMAG YOYO," the Dylan-esque title track from Carll's excellent second album for Lost Highway Records, was a fine follow-up. Carll told an entertaining story about chickens before performing his Ray Wiley Hubbard co-write, "Drunken Poet's Dream." The momentum continued with "Little Rock," "Hard Out Here," "Stomp and Holler" and "The Lovin' Cup" before the stage was reduced to two people like at the start of the show again.

Carll slowed things down for "Long Way Home" to end the set, but the healthy-sized and knowledgeable crowd demanded and received more. The encore began with "Live Free Or Die" and ended with a second song I didn't catch much of. Carll was the last performer of the night and it would have been nice to hear a longer set, but it was still longer than the average music festival gig so I was able to live with that.

Friends who were at the Dodge Fiasco show came by the Horseshoe and, while we were chatting, James "Cricket" Henry gave me his new Millwinders album (I haven't listened to it yet, but I look forward to it) and Teddy Fury bought me a Las Vegas Manhattan. It's not as exotic as it may sound, but it was a nice nightcap.

Royal Crowns remain kings of Canadian rockabilly

I sang on stage with the Bopcats at a show I snuck into 30 years ago, booked the Rock Angels into my high school two years later, have been drinking at Toronto's Horseshoe Tavern for almost a quarter century and was a regular at the club's biannual Living Elvis Karaoke nights for several years. So I've felt at least a small connection with singer, songwriter, drummer and bartender Teddy Fury for about two-thirds of my life, and a big part of that has been because of The Royal Crowns.

Teddy Fury

I confess that I've let my devotion slide a bit over the past couple of years, but I couldn't miss The Royal Crowns' launch weekend for the new Volume Three at Toronto's Dakota Tavern. I'd been listening to the album for a few weeks and its rockabilly sounds -- with hints of surf, jump blues, country and jazz slipped in -- charmed me as much as when I first heard the group's 32 Miles From Memphis debut a dozen years ago.

Founding members Fury and singer/songwriter/guitarist Danny Bartley are still the heart of The Royal Crowns, and upright bassist Jason Adams has fit in well since joining two years ago. They aren't doing anything revolutionary on Volume Three -- which was produced, recorded and mixed by John Critchley (13 Engines, Elliott Brood, Dan Mangan) at his Green Door Studios in Toronto's Parkdale neighbourhood -- but sometimes I'd just rather dance than overthrow a government anyway.

Danny Bartley

There's something to be said for all 15 songs, and they spring to life wonderfully on stage. Bartley sure knows his way around a Gretsch, while Fury and Adams provide a solid rhythm behind him.

The intimate Dakota was sold-out both nights last weekend, and I was happy to catch up with other longtime Royal Crowns fans and former members at Saturday night's show. There were also two brides-to-be (decked out in cowboy hats with veils) and their pals on hand for the first of the evening's two sets, and I talked to other younger patrons who had no idea who the Crowns were but heard that the Dakota was the place to be that night -- and they didn't leave disappointed.

The performance was obviously weighted heavily in favour of Volume Three material, and with standouts like "Butterball Baby," "Could It Be," "Please Stop," "3 Dollar Cologne" and my favourite, "Johnny's Sister," there was no reason to complain. But some older gems from 32 Miles From Memphis and 2005's After Dark -- most notably (for me at least) "Caveman Boogie" and "Greasy Corpse" -- made it a well-rounded night on the town that I look forward to repeating again soon.

Jason Adams

Volume Three was just released and, with the 2012 Polaris Music Prize contender cut-off date being May 31, I've just found the last addition to my initial ballot to reward the best Canadian album of the year.

Frank Turner and Joel Plaskett make great tag team

Frank Turner and Joel Plaskett Emergency, perhaps the best double bill that will hit Toronto this year, should have left no-one disappointed after Friday and Saturday night's performances. Even my friends who had people puking in the row in front of them at the Queen Elizabeth Theatre had a great time.

Turner filled England's Wembley Arena last month and is a bona fide star in his homeland while he continues to build his following around the world. His Toronto fan base is definitely growing and is undeniably loyal.

Frank Turner

Turner bounded on stage at 8:10 p.m. on Friday, admitting he didn't know what time it was since he'd just arrived from Australia to complete the last two nights of a lengthy world tour. He was on his own with his acoustic guitar and no band, but he has more than enough charisma on his own to compensate.

The set began with "I Knew Prufrock Before He Got Famous" and continued with 12 more songs from the breadth of much of his catalogue. People were singing and clapping along to most of them, including "Long Live The Queen" -- which I'm convinced is one of the best songs of this century.

Turner should be back at home in England by now and will soon start working on his next album. He previewed two songs that could be on it on Friday. The first was just finished that day and was getting its debut performance. It's still untitled, but is a relatively gentle song with lots of lyrics. The second newbie was "Wherefore Art Thou Gene Simmons?," a bittersweet yet humorous number about the KISS bassist's long, catalogued and photographed list of sexual conquests.

There were too many people in the theatre lobby during Turner's set, but I'm sure that he must have made believers out of a good portion of the Plaskett fans who might not have been familiar with him before. The man may have the worst tattoos in rock and roll, but he wears them proudly. I look forward to his Toronto return.
 
Joel Plaskett Emergency opened Canadian Music Fest with an invite-only gig high up in Toronto's CN Tower in March, and I thought that it was the most rocking and animated performance I'd seen from the group out of the dozen or more I've taken in over the years. There were certainly elements of that present on Friday night, but this was a much longer and varied set that also included a solo acoustic interlude where drummer Dave Marsh and bassist Chris Pennell got to take a break.

Joel Plaskett Emergency

Fans rushed the stage early in the set and almost all of the 1,200 people in the theatre were on their feet throughout the 110-minute performance. The loyalty and familiarity was evident with all of the singing along that went on, from "Tough Love" at the beginning to "Come On, Teacher" at the end.

I think I've probably thought of Plaskett as a songwriter first and foremost, even though I've never left one of his shows without having a good time. But this past weekend's shows reinforced that he's also a great guitarist and -- at age 37 and with seven studio albums to his credit since 1999 after the demise of former band Thrush Hermit, which released its first EP 19 years ago -- has become a complete entertainer who can totally charm a large audience.

Marsh and Pennell have combined with Plaskett to make the Emergency more muscular than it's ever been, and having "monkeys on a switch pedal" and a fedora-wearing bust of Wayne Newton on amplifiers near the back of the stage didn't hurt the entertainment value either.

Monkeys on a switch pedal

Both Turner and Plaskett knew that a lot of people would come to both the Friday and Saturday shows and they think enough of their fans that they changed their set lists so that if there was a favourite song you didn't hear one night, there was a good chance you probably would have heard it on the other night.

I was chastised for paying too much attention to my note-taking and photography on Friday night and not enough to the young hotties who were dancing beside and in front of me, but I'm pretty sure that the days of women half my age being interested in me are gone. Still, I elected to leave my tools of the trade at home on Saturday just in case I had one more kick in the can left in me. And what happened? I spent the night standing beside a young woman who I made cry about six years ago when she interned for me at ChartAttack.com and thought I was too tough on her performance assessment. So, needless to say, I didn't score that night either.

Joel Plaskett

But I attended a post-show party at the home of promoter Jeff Cohen (who was basking in his self-described "Bill Graham moment") and his hostess with the mostest wife Tara (my computer's auto-correct just changed mostest to moistest, but I thought I should change it back to avoid any potential gossiping). Turner didn't make it back to the house, but Plaskett and his crew and a lot of other friends did for hours of food, drinks, fellowship and falling into swimming pools. I took a traveller for my walk home and thought about how special the two nights I'd just experienced were until I arrived at my place at 5 a.m.

Here are the set lists from Turner and Plaskett's May 18 performances at Toronto's Queen Elizabeth Theatre:

Frank Turner
"I Knew Prufrock Before He Got Famous"
"Try This at Home"
"Peggy Sang the Blues"
"Wessex Boy"
"I Am Disappeared"
"Substitute"
New and still untitled song
"Long Live the Queen"
"If Ever I Stray"
"Wherefore Art Thou Gene Simmons"
"English Curse"
"I Still Believe"
"The Road"
"Photosynthesis"

Joel Plaskett

Joel Plaskett Emergency
"Tough Love"
"Waiting to be Discovered"
"Deny, Deny, Deny"
"You're Mine"
"Heartless, Heartless, Heartless"
"North Star"
"You Let Me Down"
"Harbour Boys"
"Beyond, Beyond, Beyond"
"Love This Town"
"Face of the Earth"
"Nowhere With You"
"Lightning Bolt"
"Work Out Fine" with interlude medley featuring Lee Dorsey's "Rain Rain (Go Away)," April Wine's "Oowatanite," The Rivieras' "California Sun," Manfred Mann's "Doo Wah Diddy," Sam Cooke's "Cupid" and Eagles' "New York Minute"
"Through and Through and Through"
"Maybe We Should Just Go Home" with interlude medley featuring Bo Diddley's "Who Do You Love?"
"Extraordinary"
"I'm Yours"
"Rollin', Rollin', Rollin'"
"Come On, Teacher"

Marley stirs it up

Today marks the 31st anniversary of Bob Marley's death. It was a huge loss back then and is still felt today. And although he's been the subject of several books and movies, a revealing new documentary titled Marley delves further and focuses on more people to create an enlightening and entertaining film that doesn't seem nearly as long as its 145 minutes.

Academy Award-winning director Kevin Macdonald (One Day In September, The Last King of Scotland) was thorough in his research and talked to about 60 people close to the man most responsible for popularizing reggae music around the world, including: wife Rita; children Ziggy and Cedella; other relatives; musicians Bunny Wailer, Jimmy Cliff, Lee "Scratch" Perry and Aston "Family Man" Barrett; Toronto-born girlfriend, former Miss World and mother of Damian Marley, Cindy Breakspeare; baby mother Pat Williams; Wailers artistic director Neville Garrick; Island Records founder Chris Blackwell; former Jamaican prime minister Edward Seaga; Marley's lawyer; Gabonese dictator Omar Bongo's daughter, who fell in love with Marley; the German nurse who looked after him in his final days of battling cancer; and people close to the man in his younger years, including former roommate Dudley Sibley.

While Marley and his music were known for bringing people together, the film reveals he wasn't very close to his children and his well-known womanizing (he fathered at least 11 children with at least seven different women) comes into even clearer focus. The man wasn't a saint.

I have a lot of Marley music in my collection and it, along with the messages contained in many of the man's songs, has prompted two pilgrimages to Jamaica to visit his birthplace in Nine Mile and his later home at 56 Hope Rd. in Kingston. But whether you're like me and have invested time and money in the man who's become an icon since his death at age 36 or are one of those people who know little more about him than you enjoy a song or two of his when you hear it at a restaurant, you'll come away with a much better understanding of Marley.

Marley screened at the Hot Docs Canadian International Documentary Festival last week and will play at Toronto's Bloor Hot Docs Cinema from May 18 to 31. You can watch a trailer for the film here.

The Queen of Versailles: Let them eat McNuggets

The 2008 global recession affected a lot of people in a variety of different ways, but one of the more intriguing "riches to rags" stories revolves around time-share king David Siegel and his former beauty queen wife, Mrs. Florida 1993 Jackie Siegel.

And director Lauren Greenfield tells the tale in a very entertaining way in The Queen of Versailles, a 100-minute film shot over three years that had three screenings at the Hot Docs Canadian International Documentary Festival last week.

Siegel became a billionaire as the founder, chief executive officer and sole owner of the biggest private time-share company in the world, Westgate Resorts. Convinced that their 26,000-square-foot Florida mansion isn't big enough for them, their eight children, numerous servants, a menagerie of pets (and a few stuffed dead ones), the Siegels designed and started building the largest house in the United States based on the Versailles palace outside of Paris that housed French royalty in the 17th and 18th centuries.

Plans for the 90,000-square-foot lakefront home on 10 acres near Orlando, Fla. include: a ballroom that can accommodate 500 people; a wine cellar with room for tastings and 20,000 bottles; a giant aquarium made by the folks behind Sea World; 13 bedrooms; a couple dozen bathrooms; 11 kitchens; a separate wing for the children; a stage; two movie theatres; a two-lane bowling alley; a video arcade; a roller-skating rink; an indoor pool; a fitness centre; a spa; staff quarters; a half-acre deck with three pools, a waterfall and a rock grotto; a boathouse; a guardhouse; a sandy beach; a formal garden; a full-size baseball field that doubles as a parking lot; and two tennis courts, one with stadium seating.

Yes, it's ridiculous.

Siegel seems to be on top of the world as he keeps opening more resorts through the first part of the 21st century, including his crown jewel in Las Vegas. He even takes credit for getting George W. Bush elected president in 2004, but won't divulge details because it may or may not have been done legally.

When the global financial crisis hits, however, credit dries up for both Westgate and the customers who were buying vacation time at its properties with money they often didn't have. Construction halts on Versailles when it's only half-finished, Westgate is forced to lay off thousands of employees as all of its non-core assets are put up for auction and sell for much less than market value. Bankers order Siegel to sell Versailles for $15 million after he's already sunk $75 million into it, and the 52-storey Planet Hollywood Towers by Westgate property in Vegas may be pushed into foreclosure.

The Siegels lay off 19 staff members from their "modest" existing house, leaving them with four nannies, a housekeeper, dog poop everywhere and a starved to death lizard that one son didn't know they owned. Jackie, who'd become accustomed to spending $1 million a year on personal shopping, is still a compulsive spender -- but her sprees are now at Wal-Mart and McDonald's as the family tries to cut back and save money.

David, 76, tells Greenfield that his marriage to Jackie, 46, is like having another child. He keeps her in the dark about Versailles going into foreclosure and the magnitude of Westgate's financial woes to the point where she says, "I'll have to watch the movie to find out what's going on in my life."

David grows distant from Jackie as he locks himself away to try and figure out a way to get out of his hole and avoid declaring bankruptcy, and it's at this point where it becomes clear that Jackie is no gold-digger and that she deeply loves her husband.

Siegel was forced to sell the Vegas tower last November and one of the final scenes of The Queen of Versailles shows the lights going out on the Westgate logo. The company is now about half its former size, but is making about $125 million in profits annually and David claims he'll be totally out of debt in three years. And yes, the Siegels have hung on to Versailles and plan to finish it.

But while Jackie attended the world premiere screening of The Queen of Versailles at the Sundance Film Festival earlier this year and signed autographs afterward, David has called the documentary a terrible portrayal of the family even though he hasn't seen it yet.

The Queen of Versailles is a film that should be seen. It's enjoyable viewing and for those with less than a firm grasp on economics, you can also consider it a Dummy's Guide to the Perils of Debt Financing.

The Final Member: Would you join this club?

Even the most clinical of documentaries is bound to elicit a few chuckles when the subject at hand is the search for a human penis to be the climactic exhibit in the world's only museum dedicated to the phallus. But The Final Member (which had three screenings at last week's Hot Docs Canadian International Documentary Festival) doesn't go for cheap and obvious laughs but instead strikes a pleasing balance among humour, poignancy and science.

The film by directors and Upper Canada College graduates Jonah Bekhor and Zach Math revolves around a quest by Sigurdur Hjartarson to acquire a human penis -- which would complete his collection of mammalian specimens -- for the Icelandic Phallogical Museum that he's built over four decades of collecting. Two men emerge as prime candidates: Páll Arason, an Icelandic adventurer who claims to be the country's most prolific lover, but who's nearing the end of the line at age 95; and Tom Mitchell, a patriotic American who calls his penis Elmo, has the stars and stripes tattooed on the head of it, dresses it in costumes and wants to create a comic book with Elmo as the superhero star.

One more thing about Mitchell: he wants to donate his penis to the museum while he's still alive.

Hjartarson would prefer Arason's penis to be the first since he's a national celebrity in Iceland, but age is taking its toll and it's starting to shrink. And in this case, size really does matter since Icelandic folklore stipulates that the "legal length" of a penis is five inches.

Arason went through a disastrous (and unintentionally hilarious) plaster casting of his penis years earlier, but it was destroyed almost as soon as it was created. Mitchell, meanwhile, has very specific plans for how he wants his penis presented once he has it removed. But Hjartarson finds him too demanding, and their phone and email relationship grows as frosty as a winter morning in Iceland.

With Arason lasting longer than a guy who swallowed a case of Viagra and Mitchell making Elmo into somewhat of a prima donna, Hjartarson comes to terms with his own failing health and mortality so he pledges his penis to the museum upon his death. The race, as odd as it seems, is on.

While Mitchell meets with doctors and consults with scientists about removing and preserving Elmo, he seems to be a lot of talk with little action. And when Arason finally passes away and carries through on his promise to donate his penis, it looks like he'll be the first human inductee into the museum. But the suspense rises when Hjartarson receives the member and has to examine it to see if it qualifies to appear on one of the museum's shelves.

Was 95-year-old Arason the legal length? I won't give the answer away since I'm sure you'll enjoy sitting through this 75-minute film enough to find out for yourself.

Tchoupitoulas is easier to watch than pronounce

Tchoupitoulas tells the story of nine-year-old William and his two teenaged brothers from the portion of New Orleans on the west side of the Mississippi River called Algiers who take a short ferry ride across to the famous part of town and become immersed in the French Quarter for what turns out to be a very long night.

The sights and sounds are vivid as the boys and their dog Buttercup negotiate the streets and encounter some of the colourful characters that are hard to avoid in The Big Easy. I spent five days in New Orleans in November, which helped make so much of Tchoupitoulas seem familiar to me and added to my enjoyment of the film.

A theme of seeing the city and embracing it with child-like wonderment runs through much of the film, which has a pretty loose narrative owing to directors Bill and Turner Ross spending eight months and shooting hundreds of hours of footage in New Orleans before stumbling upon the boys and electing to make them their focus.

Aside from the city itself, William is the star of the show and there are brief and sometimes touching interludes in the film taken up by his amusing and unscripted monologues. And while the story arc of Tchoupitoulas (named after a major New Orleans street) is supposed to be limited to one night, a few continuity issues had me questioning its legitimacy.

The Ross brothers (who have potential as an acerbic comedy duo if they ever decide to leave the film business) fessed up in a post-screening interview that while about 80 per cent of the material featuring the boys in the film were shot on the initial evening, they got together twice more after that and used a few of those scenes. Other shots could have been taken at any point during the brothers' stay in the crescent city.

There's nothing groundbreaking about Tchoupitoulas, but it should be an enjoyable film for anyone thinking of visiting New Orleans or interested in rekindling memories of time spent there in the past.

Tchoupitoulas premiered at the South By Southwest Film Festival in Austin, Texas in March and will be shown again at Hot Docs at 10 p.m. on May 5 at TIFF Bell Lightbox 3.

Jeff depicts different sides of a serial killer

Jeff. The simple title could easily be affixed to a family comedy about a precocious eight-year-old and the innocent mischief he gets in with his pet guinea pig.

But Jeff, which played the Hot Docs Canadian International Documentary Festival in Toronto on Sunday night, is a film chronicling the heinous crimes of American serial killer Jeffrey Dahmer. It's early incarnation was as a fictional feature wherein director Chris James Thompson created scenes of things he imagined the Milwaukee, Wisc. resident did while not murdering, dismembering and snacking on young men. But when Thompson's friends yawned at an early rough cut screening, the young filmmaker knew he had to take a new approach.

You'll be glad he did. Some of those re-enactments (which feature no blood or gore at all) have been kept in to show how relatively mundane Dahmer's life often was. But news footage from the days following Dahmer's July 22, 1991 arrest reveals some of the sickening details of his crimes and how they impacted not just his victims and their families but an entire city.

It's three recently filmed interview subjects (okay, maybe just two of the three), however, that take Jeff to the next level up.

Pamela Bass lived across the hall from Dahmer in an apartment building in a poor black neighbourhood and uses the term "friendly but introverted" to describe him. "He was kind-hearted. He would share what he had with you," she goes on to say, before adding later on in the film that she became terrified that human remains could have been in a sandwich that she innocently accepted from him. Bass also reveals that she was offered $50 by a stranger in exchange for simply sitting on a couch that Dahmer had given her.

Police Detective Patrick Kennedy spent six weeks interrogating Dahmer after his arrest and probably came to know him as well as anyone ever had. While he became a minor celebrity for his role in bringing the killer to justice, the bushy moustached cop admits that being so close to such horrors took a toll on his personal life and played a role in ending his marriage.

The least compelling of the interviewees is Milwaukee medical examiner Jeffrey Jentzen, whose clinical detachment makes his recollections seem less compelling than his two counterparts -- even when he describes opening Dahmer's fridge and finding little else but a human head and condiments inside it.

Thompson and Kennedy were on hand to answer audience questions after the Hot Docs screening I saw (the film's first official screening was in March at the South By Southwest Film Festival in Austin, Texas), and their insights helped make the film come to life even more. You probably won't have the same opportunity to interact with the two men, but I still recommend the film to anyone interested in seeing how the banal and the horrifying can often jarringly co-exist with each other.

Jeff's final Hot Docs appearance will be at 9:45 p.m. on May 4 at TIFF Bell Lightbox 2.

Shut Up and Play the Hits

LCD Soundsystem was a group on the periphery of my awareness. I liked the songs I heard, and loved the video for "Drunk Girls," but I never acquired an album and didn't see the band perform.

So I was surprised to find out just how popular the James Murphy-fronted electro-dance-rock act had become over the course of three albums when the singer announced that the group was disbanding last year and would play its final show on April 2 at New York City's Madison Square Garden. The storied arena sold out instantly, and it's that final performance and the moments leading up to it and after it that are the focus of Shut Up and Play the Hits, a documentary directed by Will Lovelace and Dylan Southern that played at the Hot Docs Canadian International Documentary Festival on Tuesday night.

The film goes back and forth between scenes of Chuck Klosterman interviewing Murphy and footage from the concert. The sound and cinematography are both excellent and really bring the LCD Soundsystem live experience to life, and backstage scenes with special guests Arcade Fire enhance the aura of this being a special event.

Murphy was in his mid-thirties by the time LCD Soundsystem released its self-titled debut album in 2005, and he cites the aging effects that touring had on him as a major reason for dissolving the group at the height of its fame when he was 41. Later, when asked what the band's biggest failure is, he replies that he's not sure yet but thinks that it might be ending it.

Murphy comes across as a thoughtful and likeable person, but he shows his vulnerability towards the end of the film when he breaks down and cries when he's alone with LCD Soundsystem's equipment and instruments following the final show.

Tears were also streaming off some fans' faces at that last concert. And while LCD Soundsystem's break-up meant little to me when it happened, Shut Up and Play the Hits successfully conveys the band's impact and helped me understand why its demise was a major event for many.

And playing Soft Cell's "Say Hello Wave Goodbye" over the closing credits wraps things up perfectly.

You can watch the trailer for Shut Up and Play the Hits here. You can see the entire film at Toronto's TIFF Bell Lightbox 1 at 9:30 p.m. on May 3 and at TIFF Bell Lightbox 2 at 6:30 p.m. on May 5. The documentary will receive a wider release this summer.

She Said Boom: The Story of Fifth Column

I first became familiar with Fifth Column in the mid-'80s when I started playing the thought-provoking song "The Fairview Mall Story" from the band's 1985 To Sir With Hate debut album on my campus radio program. 

I then discovered the "Boy/Girl" seven-inch and gave quite a few spins to the group's swan song 36C album that came out in 1994 (and I'm playing it again as I write this). I saw Fifth Column a couple of times toward the end, but didn't follow the all-female outfit closely enough to consider myself an avid fan.

So She Said Boom: The Story of Fifth Column both brought back memories and filled me in on a lot when I saw the film's world premiere as part of the Hot Docs Canadian International Documentary Festival this past Friday.

The 64-minute film by director Kevin Hegge features recent interviews with group constants Caroline Azar and G.B. Jones, as well as some of the  many other musicians who passed through the often fractious lineup over the years. Jones was quite involved in Toronto's independent film scene, shot Super 8 movies and became friends with controversial gay filmmaker Bruce LaBruce, who acted as a go-go dancer for Fifth Column in the early days.

LaBruce offers his thoughts on Fifth Column, as do two people who were fans from a bigger distance: Bikini Kill and Le Tigre founder Kathleen Hanna; and homo-core punk pioneer Vaginal Davis.

Hanna helped launch a zine called riot grrrl in 1991, and it spawned a label that was affixed to numerous aggressive female rock bands of that decade -- including Hole, L7, Sleater-Kinney, 7 Year Bitch and Bratmobile. These groups owed an obvious debt to Fifth Column, which mixed punk, psychedelic and other rock forms and adapted a take no prisoners attitude on stage. The group garnered feminist and lesbian followings because of all this, but I was aware of that.

What I didn't know, just like with films, was how involved the members of Fifth Column were with the burgeoning zine scene of the '80s that Davis was also part of and helped create the underground queercore movement. These other forms of expression helped enlarge the group's musical audience and, although Fifth Column never received the credit or attention it deserved, Melody Maker made 36C's "All Women Are Bitches: Repeat!" its single of the week when it came out.

Vintage photos and film and video footage of Fifth Column add a lot to the modern interviews and help put pieces of the puzzle together -- especially for people who may have heard the band's name but never saw it perform. They also add to the appreciation of how  ahead of its time Fifth Column was.

You don't have to own a Fifth Column album to enjoy She Said Boom because, as the film made me realize, these women were always about much more than music.

She Said Boom: The Story of Fifth Column plays tonight (May 1) at 9 p.m. at Toronto's Cumberland Four (theatre two) and at 7 p.m. on May 4 at the Fox Theatre as part of Hot Docs.

Finnish punk rock with a twist

Pertti Kurikka's Name Day

Pertti Kurikka’s Name Day formed just three years ago, and the four-member Finnish punk band already has a film about it in Canadian theatres.

It's not because the group is set to become the next Clash or Green Day, but because of its interesting story. Singer Kari Aalto, guitarist Pertti Kurikka, bassist Sami Helle and the youngster of the band, 27-year-old drummer Toni Valitalo, all have developmental disabilities.

They have temper tantrums, threaten to quit the group and fill rooms with expletives. But so do a lot of bands.

Pertti Kurikka

Few, however, have a guitarist who claims he has a poisonous vest that has killed 400 people or a grey-haired singer who's about to get engaged but still doesn't know how babies are made. But Aalto's very aware that he hates pedicures when he sings:

"Why doesn't anybody understand that they always force me/To hang out with these bastards and go for a pedicure/Fuckin' pedicurists/They all suck big time/They just take care of your feet/They don't understand/Why the hell do pedicurists exist?/That's something I never figured out/They force me/They force me/It sucks that they force me to get a pedicure/I don't understand."

Kari Aalto

Of course, all the words are sung in Finnish, as is all the spoken dialogue in the 85-minute The Punk Syndrome which makes its North American premiere on April 28 and receives two more screenings as part of the Hot Docs festival. But the subtitles keep your attention as you wait to hear what lyrics will come next, perhaps something along these lines: "It was a Sunday/I went to church/I had coffee/I took a dump."

But the plight of what the band members have faced in their lives comes to the forefront in other songs, and shows that the rebelliousness and anti-authoritarianism that the Sex Pistols spit out at the world 35 years ago can still resonate even with people who aren't fully functional on their own in society. "Decision-Makers Are Cheaters" is a prime example:

"Decision-makers lock people up in closed rooms/But we don't wanna be in those rooms/Nobody looks after us/Nobody comes to visit us/What's going to happen to us orphans in those rooms?/Decision-makers cheat/Cheaters make decisions/They don't give a shit about us disabled."

Sami Helle

Saying that the singing and playing is far from polished would be an understatement, but Pertti Kurikka’s Name Day has developed a bit of a cult following after playing shows in its homeland and Germany and releasing three EPs. I don't know whether people who go to the band's shows genuinely like the music or they're being patronizing, but the joy you see in the four members' faces when they leave the stage can't leave you feeling anything but good for them.

“The film tells about Pertti Kurikka’s Name Day … so it’s about one retard who sings punk and three retards who play punk," says Aalto. "You should watch it and think about whether you should hate disabled people or love and respect them.”

Toni Valitalo

The characters aren't necessarily loveable, and you may sometimes find yourself laughing at them, but in the end The Punk Syndrome enables you to establish the respect they're looking for.

Watch the trailer here.