SXSW 2013 day four: a Waco afternoon turns into a Specials night

It’s been my tradition since first coming to the South by Southwest Music Festival to cross Town Lake to the South Congress neighbourhood and the Yard Dog Gallery for the Bloodshot Records party and margaritas across the street with the Waco Brothers. It’s a tradition that was continued this year and I don’t see it ending as long as all the involved parties are in Austin.

I arrived at the Yard Dog at 3 p.m., where I caught Lydia Loveless’ last song. I would have liked to have heard more, since I’m a fan, but luckily I caught her in Toronto a few months ago.

Luke Winslow-King

Lagunitas IPA was selling for three dollars, but it was just a buck if you kept your cup for refills, so I ordered my first beer while waiting for Luke Winslow-King to begin at 3:15 p.m. He sang and played guitar and was accompanied on vocals by Esther Rose (who added percussion with both a rub board and by striking a horseshoe with a screwdriver) and an upright bassist. The trio had a rootsy, folky, down-home sound that was nice, but not particularly inspiring.

I went inside the gallery to check out its great collection of folk art and then back outside to the Bloodshot merchandise table where I bought both a Bloodshot work shirt and bottle opener for just five dollars.

Waco Brothers

I then went to Guero’s and bellied up to the bar for margaritas and conversations with old friends, new friends and all of my friends in the Waco Brothers. I was going to briefly check out and go down the street to Jo’s Coffee to see The James Hunter Six, but Wacos drummer Joe Camarillo had already bought me another margarita so I stuck around and chatted more until just before 5:30 p.m. when the band left to take the Yard Dog stage.

I don’t know if you’ll find a more entertaining rock and roll band than the Wacos, and this set featured a fiery set of original songs and choice covers. Jo Walston from The Meat Purveyors jumped on stage for George Jones’ “White Lightning” and Jon Langford reciprocated by jumping into the crowd during Johnny Cash’s “Big River,” but the boys were generally better behaved than at past Bloodshot parties. And yet another Friday at SXSW tradition was upheld when Craig Laskey kept drinking my beer.

Green Day

I made a pitstop back at the condo before it was time to go to ACL Live at The Moody Theatre to see Green Day. You can read my Spinner review of that outstanding show here.

When Green Day had finally finished after playing for more than two hours, I dropped my laptop off at the condo and went across the street to The Ginger Man to see The District Attorneys. Some friends are working with the band, and they should because it’s really good. The relatively young Athens, Ga. group features two guitars, drums, bass and keyboards, plays melodic alternative rock, and goes down fine with a pint of IPA. I’d be happy to be in court with these guys.

The Specials' Terry Hall

The Specials were playing again at Stubb’s at 12:30 a.m., and I got there early so I could grab a tallboy of Lone Star and get right up front where hopefully I’d encounter more real fans of the second wave ska kings than I did the night before. A few people spotted my Skinheads Against Racial Prejudice T-shirt and waved me over to join them. It was a similar set to the previous night, with perhaps a few more songs thrown in, but I was too preoccupied with moshing and skanking to take notes. The Specials once again left me on a high on the walk back to the condo for the usual socializing and debriefing.

Amount of money spent on food during SXSW thus far: $0.

SXSW day three: Warm Soda, The Split Squad and The Specials

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Warm Soda

I elected to plant myself at The Side Bar for a few hours from 3 p.m. onward on Thursday to take in a bill of rock-and-roll that began with Warm Soda. This full-on, rockin’ power pop quartet is part of what seems to be an interesting music scene developing in Oakland, Calif. A number of friends had raved about the group, and they weren’t wrong — and many of them were in the front of the stage when I arrived for a set that included “Jeanie Loves Pop,” “Spellbound” and several other songs I’m still getting familiar with. There was a relatively small crowd on hand, but it was justifiably enthusiastic.

I moved from the bar’s inside stage with my pint of 512 Wit Bier to another one set up on a back patio to catch the final number from Minnesota’s 4onthefloor that was an up-tempo, blues-based rocker.

A pint of Austin IPA and Spider Bags took me back to the inside stage. The group members are punky, meat-and-potatoes, rock-and-roll practitioners who played very loud in the relatively small room. It was okay but didn’t live up to my expectations.

The Hounds Below

I returned to the glorious sunshine for The Hounds Below, a group I tried to see on Tuesday night but didn’t, which is fronted by Jason Stollsteimer from The Von Bondies. The band wasn’t as intense as Warm Soda or Spider Bags, but was definitely more melodic than the latter. A drunk dancing in front of the stage was attracting as much attention as the band, and I concluded that I prefer The Von Bondies over The Hounds Below. I felt like beating someone up and not talking about it when the group concluded with a cover of The Pixies’ “Where Is My Mind?”

I drank some of my FM966 Farmhouse Ale pint at the inside bar to catch a bit of Diarrhea Planet, which was better than its name and fit in with the sound and spirit of other bands on the bill.

Paws

Glasgow, Scotland’s Paws was another band I’d heard great things about. The young outfit plays perky power pop that packs a decent punch and abundant hooks. The aforementioned drunk dancer grabbed my pen and notepad and scribbled or drew something that a really loaded guy might create before he bounded off. While I was certainly impressed with Paws, I had to cut out with two songs to go see something else I was curious about.

I spotted Billy Bragg walking down Sixth Street by himself while on my way to Latitude 30 to see another young United Kingdom band, China Rats. The quartet plays and writes songs beyond its years, and its spiky, energetic, melodic mix of pop and rock is full of promise. A surfy, garage-y tune reminded me a bit of Van Morrison’s “Gloria,” and the band stopped it mid-song a couple of times for dramatic effect. Paws and China Rats should draw from the same fan base, and hopefully it will be a large one.

The Split Squad's Keith Streng

I didn’t realize that Patagonia was a clothing store and not a club until I arrived and was given a free slice of pizza and a bottle of sparkling cider on my way in to see garage rock’s new supergroup: The Split Squad. Bassist Michael Giblin from Parallax Project handles most of the lead vocals, and his peers have even more impressive resumes. Drummer Clem Burke is from Blondie, guitarist Keith Streng is from The Fleshtones, guitarist Eddie Munoz is from The Plimsouls, keyboardist Josh Kantor plays at Boston Red Sox games at Fenway Park and Scott McCaughey plays in too many bands to remember, but they include R.E.M., Young Fresh Fellows and The Baseball Project.

This was The Split Squad’s first show, but you wouldn’t have known it by the performance. The group’s debut album (which includes contributions from R.E.M.'s Peter Buck, Gang of Four's Hugo Burnham and The Figgs' Mike Gent) will be out this spring and you won’t get anything unexpected, considering the members’ pedigrees, and that’s alright. If you’ve ever seen The Fleshtones, you’d know what a dervish Streng is — spinning around, doing jumping scissor kicks, immersing himself in the audience and climbing on amplifiers, all while playing crisp guitar lines. Original power pop, garage and glam rock songs formed the backbone of the set and had people dancing, but covers including The Small Faces’ sparkling “Sorry She’s Mine” and a rawking encore run through Led Zeppelin’s “Communication Breakdown” shone a spotlight on both the musicians’ skills and music knowledge.

Chuck Mead and The Grassy Knoll Boys

I left the store on a high and returned to our condo to check a few emails, and a couple of breakfast tacos that had been given away this morning and refrigerated were thrust at me as I made my way out the door to see Chuck Mead and The Grassy Knoll Boys. Mead is the former frontman of the much missed BR549, but this very traditional country music combo he’s put together could go a long way to making people cherish his present and future as opposed to his past. The vintage ‘50s country and honky tonk sounds that came from Mead’s electric guitar and the three accompanying musicians on mandolin/steel guitar/harmonica, upright bass and snare drum infused the original songs and carried over to covers of Del Reeves' “Girl On The Billboard” and Little Willie John's “Leave My Kitten Alone.” I may not be as nimble as the couples that started two-stepping and spinning each other around on the dancefloor, but I was just as happy as they were by the time Mead and the boys left the stage — and that wasn’t just from my Red Hook Audible Ale.

Capsula is a rock trio from Spain that I’ve planned to see for the past few SXSWs, but haven’t been able to squeeze in. The group mixes late ‘60s hard rock and psychedelia and plays pretty loose, which perhaps makes sense considering its Stooges influences. The lead singer/guitarist vibrated his instrument against various ceiling and wall pipes to see what would happen and had a lot of energy, and I found the female bassist/singer sexy. But it wasn’t quite what I expected, which dampened my enthusiasm a bit. Capsula will record its next album in two weeks.

There were no nearby must-see bands for 10 p.m. on my list, and I had met friends at Capsula who I warmed to seeing Warm Soda, so I elected to order a second pint of Ziegen Bock and stick around to see the band for the second time today. It played many of the same songs again, which I was cool with, as this is definitely a band to watch out for.

I arrived at Hype Hotel at 10:40 p.m. and heard the last couple of songs from Beach Fossils, which I pretty much ignored -- but it let me know that things were running late and I’d have to wait longer than expected to see The Specials. But The Specials are worth waiting for and admission to the large venue included two free drink tickets and two free tacos — and my guile and charm got me four more free drink tickets that I quickly turned into more easy-drinking maple bourbon and colas. It made the wait go much easier.

I saw two members of unique Finnish punk rock band Pertti Kurikka’s Name Day in line to get in and again inside the venue and tried to talk to them and told them I had reviewed the documentary made about them last year, but they either didn’t understand or appreciate what I was saying. I also realized that a lot of people in the room didn’t appreciate The Specials, as a number of them walked up to me to ask who the band was when it came on stage. It made me miss my reserved skanking spot that was set aside for a few hardcore fans when the group played Toronto’s Sound Academy in the summerof 2010.

The Specials finally came on and launched into “Do The Dog,” but the backing vocals were mixed too low. Luckily, that problem was soon resolved. The absence of Neville Staple unfortunately wasn’t. His vocal and camaraderie contributions were missed.

“New Era” followed and, while most people were just standing around, I told them to give me some room to dance and sing along as I moved a bit closer to the stage. The hits came in quick succession, with “Gangsters,” “Monkey Man,” “Rat Race,” “Doesn’t Make It Alright,” “Concrete Jungle,” “Man at C&A,” “Do Nothing,” “A Message to You, Rudy,” “Nite Klub” and finally a closing run through “Too Much Too Young.”

By this time it was after 1 a.m. and I knew I wasn’t going to see anything better, so I walked back to the condo and stayed up until around 4:30 a.m. writing, talking, eating and drinking.

Amount of money spent on food during SXSW thus far: $0.

SXSW 2013 day two: Billy Bragg, Allah-Las, Thermals and Skatalites

Since I’m yet again endeavouring to make it through another South by Southwest Music Festival without paying for any food, my awesome host Tara King-Cohen made me a breakfast of scrambled eggs and brisket as I was typing away through Wednesday morning.

Billy Bragg

Music for me began at 3 p.m. at the Hangar Lounge with Billy Bragg. I interviewed him over the phone last Friday and had a few words with him in person at the bar before he did an on-stage interview and a four-song, solo acoustic set. A bee or a hornet or something stung my arm while I was sipping my Shiner 966 Farmhouse Ale, and it’s still slightly swollen and painful, but that didn’t draw my attention away from Bragg opening with two songs from his new Tooth & Nail album: “No One Knows Nothing Anymore” and the humorous “Handyman Blues.” He followed it up with his biggest American hit, 1991’s “Sexuality,” and ended with a cover of Woody Guthrie’s “My Flying Saucer” from 2000’s Mermaid Avenue Vol. II.

The Allah-Las were one of my priority acts to see here, so I caught a 3:30 p.m. set at the packed back tent at The Stage on Sixth. I couldn’t get that close to the young Los Angeles garage rock quartet, so I hung back by the bar enjoying a very nice, dry-hopped Red Hook Long Hammer IPA, and the band sounded great from there. The chiming guitars would fit perfectly on the Nuggets box set. The playing is strong and the lead singer has an edge to his voice without being close to out of control, and subtle backing harmonies rounded everything out nicely. The Allah-Las don’t have a lot of stage presence, but they certainly have songs and a sound that I totally appreciated.

I saw The Thermals for the first time down here three years ago, and the dynamic, spiky rock trio’s high energy left a big impression and prompted me to catch the 4 p.m. set at The Parish. I stood at the bar with a Stash IPA and listened to a set heavy on songs from the group’s Saddle Creek Records debut, Desperate Ground, which comes out on April 16. I loved the last album, 2010’s Chris Walla-produced Personal Life (via Kill Rock Stars), so I’m looking forward to this new one. The 25-set left me wanting more, but the Portland, Ore. group is playing several SXSW shows so I may catch another one.

I then made my dutiful appearance at the Canadian Blast party in Brush Square Park, where I heard Paper Lions playing on the other side of the VIP area as I ate free barbecued chicken and beans and drank a bourbon and cola while catching up with the lovely and talented Jennie Punter, who’s here from Toronto covering films for Variety.

The Skatalites

She accompanied me to The Ginger Man, where we drank nicely hopped pints of Bear Republic Racer 5 while grooving on the back patio to The Skatalites. Alto saxophonist Lester Sterling is the only founding member of the legendary ska group still remaining, but the nine-piece band still plays the old favourites, including “Phoenix City,” “Guns of Navarone” and even the Flintstones theme. Doreen Shaffer got up for Millie Small’s “My Boy Lollipop,” which increased the dancefloor action.

I was assigned to cover the Spinner showcase at the ACL for the entire night, so you can read what I wrote about Natalie Maines, Dawes, Iron & Wine, Family of the Year and Lord Huron while drinking free IPAs at ACL Live at the Moody Theater here.

I returned to the condo for beer, barbecue, conversation and writing until turning in at 4:30 a.m.

Amount of money spent on food during SXSW: $0.

SXSW 2013: Hanging with a legend and two new discoveries

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Maria Elena Holly slums it with me.

The South by Southwest Music Festival officially begins for me once I receive my first free drink at a bar, and this year it was on Tuesday at 2:30 p.m. at The Cedar Door, where I stopped in on the Fast Company Grill party while on my way to the Austin Convention Center to pick up my photo pass.

I’m not sure why I was invited, but I was given a Target-branded pair of sunglasses when I walked in and then bellied up to the bar for a stiff margarita. Outside in the sunshine, actor and 30 Seconds to Mars frontman Jared Leto was being interviewed about advertising, the Internet, film and the media. He directed a film called Artifact about the making of his band’s This Is War album and his ensuing battle with EMI over it, and it’s being screened in Austin this week. He said he was at NASA last week to launch the “Up In The Air” single from the group’s forthcoming album into space to join the International Space Station. Leto didn’t seem like the dick that I’ve read in a number of places that he apparently can be.

El Vez

I got caught up with my filmmaking friend Mitchell Kezin (look for his Jingle Bell Rocks! documentary on obscure Christmas music before the end of the year) over a couple of pints at Casino El Camino before we headed next door to Flamingo Cantina to see El Vez, the “Mexican Elvis,” perform a punk rock-themed show. Robert Lopez is a flamboyant entertainer and his thoroughly enjoyable set included multiple costume changes in just 40 minutes. His songs mix comedic moments with relevant socio-political commentary and always leave me with a silly grin on my face. El Vez is in Kezin’s film and, so far at least, so am I (as my Mexican wrestling Santa Claus “Santez” alter-ego). Those are two great reasons why you should see it, and here’s a third: Wayne Coyne.

I then had to rush off to a condo owned by my lawyer friend Stephen Easley for a poolside party he was throwing to announce two new prizes on behalf of The Buddy Holly Educational Foundation. I sat down and chatted with Buddy’s widow, Maria Elena, and you can read that interview on Spinner.ca once its posted. 

The party included heartwarming performances by Colin Boyd, Paul Burch, the reunited Wagoneers, 2012 Grammy Award nominee Seth Glier and Willie Nile that were heavy on Holly covers. I interviewed Burch last year about his collaborative Great Chicago Fire album with The Waco Brothers, and he released a Buddy Holly tribute album titled Words of Love in 2011. I never thought I’d get a chance to see the Monte Warden-fronted Wagoneers, so watching these Texas Music Hall of Fame inductees cover Holly’s “Well Alright” and “Maybe Baby” as well as new originals from the band’s forthcoming first new album since 1989’s Good Fortune was a special treat. Match this great music with delicious food, cucumber and hot pepper-infused margaritas, Shiner Bock and a worthy cause, and you had a great way to start an evening.

The Wagoneers

Austin’s Rainey Street neighbourhood has really taken off since I was here last year, with lots of houses being converted into bars with backyard stages. I’d planned on seeing The Hounds Below at one of them (Javelina) at 10 p.m., but was told upon my arrival that the music for the night had been cancelled. Luckily, Jason Isbell was playing less than a block away at Blackheart, so I caught the second half of his acoustic set while sipping a hoppy, microbrewed IPA.

I stayed there for another IPA and Spirit Family Reunion, a young band with its own take on bluegrass and traditional country that it calls “homegrown American music to stomp, clap, shake and holler with.” The harmonies were tight and the fiddle and accordion added flavour to the sounds coming from the acoustic guitars and rhythm section. This was my first happy discovery of SXSW.

My second one happened immediately afterward at Latitude 30, where young New Zealand native Willy Moon jumped on stage with attitude, a ‘60s meets ‘80s vibe and a look that harkened back to a youthful Bryan Ferry. A female guitarist and dancer were part of the band that knocked out energetic renditions of songs from his upcoming Here’s Willy Moon debut album, including covers of The Blasters’ “Shakin’” and Screamin’ Jay Hawkins’ “I Put A Spell On You.” This eclectic artist is playing several shows this week and is worth investigating.

I had planned to go up to Red 7 Patio to close the night off with The Polyphonic Spree, but ran into people at Latitude 30 and started talking, so I just stayed there to close out the night before walking back to our condo.

Steve McLean's favourite music of 2012

Albums

The top 10

1. Gentleman Jesse - Leaving Atlanta
2. Young Fresh Fellows - Tiempo De Lujo
3. Green Day - Uno!
4. Green Day - Dos!
5. Amy Gore & Her Valentines - In Love
6. Waco Brothers & Paul Burch - Great Chicago Fire
7. Archie Powell & The Exports - Great Ideas In Action
8. Redd Kross - Researching The Blues
9. The Stanfields - Death and Taxes
10. Sugar and the Hi Lows - Sugar and the Hi Lows

The next 10

The Royal Crowns - Volume Three
Little Barrie - King of the Waves
Chuck Prophet - Temple Beautiful
The Millwinders - Ladies and Gentlemen, The Millwinders
The Woolly Bushmen - The Woolly Bushmen
The Strumbellas - My Father and the Hunter
Bob Mould - Silver Age
Hacienda - Shakedown
Carolyn Mark - The Queen of Vancouver Island
Corb Lund - Cabin Fever

Honourable mention

Neil Young & Crazy Horse - Americana
Peter Buck - Peter Buck
Joel Plaskett Emergency - Scrappy Happiness
Boxer The Horse - French Residency
Jim Fidler - Up That River
Hospitality - Hospitality

 

 

Reissues, compilations, tributes, soundtracks, live albums and box sets (alphabetical order)

Blue Rodeo - Blue Rodeo: 1987-1993
Johnny Cash - Bootleg Vol. IV: The Soul of Truth
Donovan - The Essential Donovan
The English Beat - The Complete Beat
Firehose - "lowFLOWs" The Columbia Anthology ('91-'93)
Great Big Sea - XX
JD McPherson - Signs & Signifiers
Searching for Sugarman soundtrack
Various artists - A Tribute to The Monks Bad Habits
The Who - Live at Hull 1970

EPs

Michael Rault - Whirlpool
Stella Ella Ola - Stella Ella Ola EP
Stella Ella Ola - Stella Ella Ola 2

 

 

 

 

 

Concerts (chronological order)

Little Barrie, Charles Bradley and his Extraordinaires - Feb. 11, Lee's Palace, Toronto
Hacienda, Heartless Bastards - Feb. 20, Horseshoe, Toronto
Dum Dum Girls, Crocodiles - Feb. 23, Lee's Palace, Toronto
Les Sexareenos - Feb. 24, Horseshoe, Toronto
South by Southwest Music Festival - March 13-18, various venues, Austin
Canadian Music Fest - March 22-25, various venues, Toronto
Frank Turner, Joel Plaskett Emergency - May 18-19, Queen Elizabeth Theatre, Toronto
The Royal Crowns - May 26, Dakota Tavern, Toronto
Jon Langford with Burlington Welsh Male Chorus, Skull Orchard and The Sadies - June 2, Horseshoe, Toronto
North by Northeast Music Festival - June 13-16, various venues, Toronto
Joe Pernice and Norman Blake, Catl - June 22, Dakota Tavern, Toronto
Shadowy Men on a Shadowy Planet (with Dallas Good) - July 14, Lee's Palace, Toronto
Monks Bad Habits tribute - July 26, Horseshoe, Toronto
Bloodshot Bill - Sept. 8, Horseshoe, Toronto
The Raveonettes - Oct. 2, Phoenix, Toronto
JD McPherson - Oct. 9, Horseshoe, Toronto
Stella Ella Ola, Michael Rault - Oct. 19, Horseshoe, Toronto
Various artists for Jeff Cohen 50th birthday party - Oct. 20, Horseshoe, Toronto
Yellow Dubmarine - Oct. 24, Horseshoe, Toronto
Blue Rodeo and friends - Oct. 29, Glenn Gould Studio, Toronto
Julie Doiron, The Grapes of Wrath - Oct. 30, Mod Club, Toronto
Men Without Hats - Nov. 7, Lee's Palace, Toronto
Tom Fun Orchestra - Nov. 8, Horseshoe, Toronto
The Rezillos - Nov. 22, Lee's Palace, Toronto
Lydia Loveless - Nov. 26, Drake Underground, Toronto
Joel Plaskett Emergency - Dec. 14, Horseshoe, Toronto
Unknown band in unknown bar - Dec. 20, Oaxaca, Mexico
The Sadies - Dec. 31, Horseshoe, Toronto

Tasting what's brewing at Toronto's Indie Ale House

Indie Ale House opened earlier this fall in the formerly dry Junction neighbourhood, and the microbrewery/restaurant should become a destination for Toronto beer lovers.

I arrived at 6 p.m. on Saturday to meet seven other friends and, although the restaurant doesn't take reservations, we secured a table before more people started pouring through the door a short time later.

I split an order of three tasty samosas and then moved on to my main course, the Three Little Pigs Pizza ($15). The name comes from the thin crust pie's main toppings: house-smoked pork, wild boar sausage and Berkshire pork belly. It's one of the best pizzas I've had in a while and it should fill a hungry person pretty easily.

But the main reason I wanted to spend a night here was the beer. It had 10 on tap and I tried them all in two separate flights of five four-ounce glasses. Here's what's brewing at the moment:

Instigator India Pale Ale
This auburn-coloured IPA has a citrus aroma and a robust flavour that's decently hopped and carries a hint of grapefruit. This was the first one I tried and was probably my favourite, so I ordered a full pint afterward.
$6.50 for 20 ounces, 6.5% alcohol content

Great Lakes Karma Citra
This gold-coloured beer was from the guest tap, this time featuring one of Great Lakes Brewing's small-batch brews. This IPA also had a citrus bouquet and grapefruit elements from the citra hop it uses, but I wasn't as impressed with it.
$6.50 for 16.5 ounces, 6%

Barnyard Rye Pale Ale
This light amber-coloured ale definitely had a vague barnyard aroma and tasted a little grassy. It was okay, but I've never been a big fan of rye ales so perhaps I'm not the best person to judge.
$6.50 for 16.5 ounces, 6%

St. Crispin's Mild
This dark brown ale had little aroma and a malty biscuit flavour. It's made for session drinking, but I wasn't impressed and my sample was all that I wanted. It was also available from the cask, which I didn't try but perhaps should have.
$6.50 for 20 ounces, 3.5%

Broken Hipster Wit
This Belgian wit is straw gold and had little bouquet. It had a pleasant herbal flavour, but wasn't exceptional.
$6.50 for 16.5 ounces, 5%

Dark Wheat Rises
The first beer in my second flight was also my favourite of that batch, prompting me to order a full glass later in the evening. It had a lovely combination of being faintly hoppy and fruity, primarily blueberry.
$6.50 for 16.5 ounces, 7%

Breakfast Porter
This had a nice chocolate aspect from the dark roasted malt and was quite solid.
$6.50 for 16.5 ounces, 7.2%

Cock Puncher India Pale Ale
This dark orange ale had a decently hoppy aroma and was full-bodied and flavourful. It was certainly hoppy, but not overpowering. My cock didn't feel punched after drinking it, but my head might have if I'd kept ordering it. The high alcohol content didn't detract from its pleasantness to the palate.
$5.50 for 10 ounces, 11%

Spadina Monkey Belgian Sour
This pumpkin orange-coloured beer had a fruit bouquet and a lemon and grapefruit-based flavour that wasn't intensely sour.
$5.50 for 9 ounces, 5%

Jump The Shark
This American strong ale was brewed in collaboration with Amsterdam Brewery. It's black, tasty and worth jumping on.
$5.50 for 10 ounces, 9.5%

If you like anything well enough to take home with you, beers are also sold in 500-millilitre and 750-millilitre bottles and two-litre growlers. Kegs are available on special order. T-shirts, glasses and other souvenirs can also be purchased.

Indie Ale House is at 2876 Dundas St. W.

Gourmet Food & Wine Expo product recap

The annual Gourmet Food & Wine Expo made its way to the Metro Convention Centre again this month and provided me with two days of enjoyable exploration -- even more than my inaugural visit last year.

I pretty much leave the food to the foodies at these events and focus on beers, liquors and primarily white and sparkling wines that I haven't tried before.

Much to my delight, there were a lot more beers at this year's expo than there was last year. Here's an overview:

Mill Street Doppel Pils
With a seven-per cent alcohol content, this is the strongest Czech-style pilsner in the Canadian market. It's gold in colour, reasonably crisp in taste and is quite decent.

Mill Street Paradise IPA
This one is even stronger at 7.2 per cent and has a floral aroma and a medium hoppiness that makes it quite drinkable.

Nickel Brook Le Paysan Saison
This has a nice bouquet and offers a hint of orange and pineapple mid-taste, a bit of spiciness afterward and a nice finish. It's 5.7 per cent and is a very good, almost elegant, brew made with Amarillo hops that add just the right amount of bite.

Nickel Brook Pumpkin Ale
This is a dark orange/amber-coloured beer, as you'd expect, but doesn't provide much pumpkin bouquet or flavour. The 5.7-per cent brew doesn't have any spiciness or cinnamon either and I found it lacking.

Nickel Brook Bertwell AT Shilling
I don't normally drink a lot of Scotch ales, but enjoyed this wet-hopped version that was made as a single batch experiment. There's a slight citrus element to it and a subtle sweetness that would make the dark amber, five-per cent brew a nice dessert beer. It's made from hops only available in Ontario, so it's recommended for locavores.

Nickel Brook Bolshevik Bastard Imperial Stout
This black, 8.5-per cent, 65-IBU stout is aged in bourbon and pinot noir barrels and the roasted malt bears traces of chocolate and coffee flavours. I'd recommend this as a good bedtime beer.

Beau's And Boom Gose The Dynamite
This excellent unfiltered beer is brewed with sea salt and coriander that gives it an interesting sweet and sour appeal. There's a strong citrus bouquet and grapefruit taste in this straw-coloured, 4.6-per cent beer.

Beau's Dark Helmut
This 7.3-per cent German black lager has the definite roasted coffee and chocolate elements of a stout along with the crispness of a lager. It's a combination that works well.

Spearhead Moroccan Brown Ale
This has a mildly fruity bouquet and is brewed with dates, figs, raisins and cinnamon. It's unfiltered and offers a nice blend of hops and fruit. I'm usually not a big brown ale guy, but this six-per cent brew is really good.

Spearhead Belgian Stout
This unfiltered, six-per cent stout is brewed with Demerara sugar, orange curacao peel, coriander and Trappist ale yeast, and its flavour offers a mix of coffee and fruit.

Creemore Mad and Noisy
This is dark copper in colour and pours with a nice head. It's solidly hoppy and I like it.

Granville Island Hefeweizen
There's coriander in the ingredients and the flavour profile is banana and cloves. It has five-per cent alcohol and is one of my favourite Granville Island beers.

Granville Island Winter Ale
This dark amber, 5.5-per cent beer has a vanilla aroma and chocolate and vanilla flavours that complement each other well. It's very good.

Lake of Bays Crosswind Pale Ale
There's a bit of hoppiness in this ale, which has mild pear and apple elements. This five-per cent beer is solid but not exceptional.

Rickard's Oakhouse Winter Lager
This 5.5-per cent, oak-aged beer came out this month and will be available until the spring. The oak comes through and adds a hint of smokiness and vanilla, but I wasn't particularly impressed.

Railway City Black Coal Stout
This six-per cent offering pours black with a nice head and is on the bitter side of stouts, but is okay.

Railway City Honey Elixir
This St. Thomas, Ont. brewery (which is moving into a larger space) makes this 5.5-per cent lager with local honey, but it's not too sweet like I find some honey beers.

Wine was in the title of this show, so of course I had to enjoy my share. This isn't all of them, but a cross-section:

Anselmi San Vincenzo 2011
You can't drink a fresher white wine, as the process used to make it ensures that oxygen only gets into it once you uncap it. This extra dry white will appeal to Soave fans, and the well-bodied 12.7-per cent alcohol wine offers a vague pineapple bouquet. It sells for $14.95 at the LCBO.

Amalya Torrontes-Riesling
This extra dry, pale-coloured Argentinian riesling has peach and pear aromas, and the pear also comes through in the flavour of this nice 13.5-per cent product that retails for $10.95 at the LCBO.

Santa Margherita Prosecco
This sparkling wine is dry and not too sweet. It has 11.5 per cent alcohol and sells for $17.95 at the LCBO. It's okay, but nothing exceptional.

Cave Spring Riesling Dry
There's a slight sweetness to the finish of this very good VQA wine. It's pale yellow with hints of grapefruit and pineapple on the nose. It has 11.5-per cent alcohol and retails for $14.95 at the LCBO.

Open Sociable Sparkling VQA
There are apple and citrus aromas and a touch of sweetness to the flavour, which bears traces of apple and pear. It's refreshingly off-dry and has 12.7-per cent alcohol. This Ontario wine sells for $13.95 at the LCBO.

Muscedere 2011 Riesling
This is only available for $16 at the winery, near the southern tip of Canada just west of Leamington, Ont. It's a light-bodied, semi-dry white that wasn't particularly exciting.

Muscedere 2011 Rose
This light-bodied, off-dry wine is slightly sweeter than the Riesling and sells for $14 at the winery.

Dreissigacker Riesling
This 11.5-per cent wine comes from a Rheinhessen, Germany winery that doesn't have its products available in Canada yet, which is a shame because it has a full body and a citrus flavour with a nice finish.

Dreissigacker Bechtheimer Riesling
This is supposed to be a step up from the previous wine, and while it has 0.5-per cent more alcohol and a mellower character, I prefer the entry level version.

Yalumba Y Series Riesling
This pale straw-coloured, extra dry wine comes from Australia's oldest family-owned vineyard and is light-bodied with a grapefruit bouquet and flavour. It has a higher acidity and 11 per cent alcohol. It retails for $15.10 at the LCBO.

Hinterbrook Riesling
This medium-sweet product from an 18-month-old Niagara on the Lake, Ont. winery has a lemon aroma and a flavour that bears notes of apple, which adds a crispness to its finish. It sells for $18 at the winery.

Henry of Pelham Sauvignon Blanc VQA
This Niagara region winery makes my favourite Ontario riesling, which I prefer over this light, crisp and extra dry wine that has 12.5 per cent alcohol and retails for $14.95 at the LCBO.

Trumpour's Mill 2009 Semi-Dry Riesling
The name describes an aspect of this wine, which has a combination floral and citrus bouquet and some peach in its flavour before a clean finish. The LCBO sells it for $14.95.

Pelee Island Moscato
This fruity, medium dry Ontario wine is pale pink and medium-bodied with notes of melon and citrus. It has 12 per cent alcohol and retails for $9.95 at the LCBO.

Muskoka Lakes Georgian Bay Rose QC
This seasonal Ontario wine is made with apples and cranberries and is quite refeshing. It has 12.5 per cent alcohol and sells for $16.95 at the LCBO.

Muskoka Lakes Cranberry Blueberry Wine
This is a very good, 11-per cent alcohol, off-dry table wine that's nicely balanced with the two titular fruits. It also goes for $16.95 at the LCBO.

Aveleda Fonte Vinho Verde
This light and crisp wine is pale yellow with pear, apple and citrus aromas and flavours. It's easy on your head and your wallet with 8.5 per cent alcohol and an $8.95 price tag.


I also tried several liquors and liqueurs, including:

Tequila Tromba
This tequila has been in Canada for seven months and is made with 100-per cent agave that comes from the highest elevation of any tequila in the world. It's sweet and slightly citrus and is an easy-drinking, 36-per cent tequila that sells for $49.95 at the LCBO.

Buffalo Trace Kentucky Straight Bourbon Whiskey
This bourbon is made from corn, rye and barley malt and is aged eight years in oak barrels. There's vanilla in the nose and it has a complex but pleasing flavour that includes vanilla and toffee.

Crazy Uncle Blood Orange Rosemary Maple Punch
This is new to the LCBO, where you can purchase a litre-sized jug for $17.95. It's all natural, 14-per cent alcohol and reminds me of a mulled wine.

Mathilde Pear Liqueur
I was told that this is a big favourite of Kim Kardashian. It has 18 per cent alcohol content, but smells stronger than that. Luckily, the taste is milder and on the sweet side. It's made from French pears with no additives or preservatives.

Xante Pear & Cognac Liqueur
There's a subtle hint of vanilla and oak in this more rich offering, which is 17 per cent alcohol and has a bright harvest yellow colour.

Tequila Rose
This is an interesting combination of strawberry cream liqueur and tequila that's sweet and tasty and would make a nice addition to desserts or sipped on its own over ice.

Tag No. 5 Vodka
This 40-per cent alcohol, gluten-free vodka is made with corn in Oakville, Ont. It's distilled four times and filtered five times to produce a smooth flavour that I enjoyed both on its own and mixed with pineapple juice.

Lydia Loveless deserves more Toronto love

photos by Jeff Ross

Bloodshot Records sent me Lydia Loveless' Indestructible Machine in the summer of 2011, but it wasn't until I heard online friends talking about it towards the end of the year that I got around to listening to it. I'm glad I did, as it was narrowly edged out of my top 10 list.

I caught a snippet of the this young whippersnapper on stage during the Bloodshot party at the South by Southwest Music Festival in Austin, Texas in March, but wanted to hear more. That chance came on Monday night when the singer, songwriter and guitarist brought her rock-solid three-piece band (which includes husband and stand-up bassist Ben Lamb) to Toronto's Drake Underground.

These Columbus, Ohio cats play gritty, rocking country music with hooks. They respect the genre's roots, but add their own punky flair to songs about drinking ("Back on the Bottle"), drinking ("Wine Lips"), "creepy old men" ("Steve Earle"), sex dreams ("Head") and more drinking ("Do Right").

Loveless is tiny but has a powerful voice and comes across like Neko Case's spunkier little sister -- and Neko can be pretty damn spunky.

Want evidence?

"I haven't got my period on this tour yet," Loveless told the audience of just 25 people, almost all of whom were sitting on benches that shouldn't have been placed in front of the stage.

The band had almost no energy to feed off from the crowd and, while the musicianship was sharp and the songs held your attention, I couldn't help but feel that more enthusiastic reactions to each number could have spurred the quartet on to a higher level.

The 50-minute set also included "More Like Them," "Chris Isaak," "Jesus Was a Wino," "Learn to Say No," "Crazy" and "Can't Change Me." I was essentially there to hear Indestructible Machine, but it was good to get a few other songs, too. A couple of choice covers might have been nice to stretch things to an hour. But all in all, it was a satisfying show.

Loveless has a bright future, but she'll have to be patient in building her following. Landing a well-placed opening slot on tour with a like-minded but more popular act would be a good step to enabling her to expand a Canadian audience that I'm sure will appreciate her once they get to know her.

Rezillos weren't quite revved up in Toronto

Can't Stand The Rezillos was one of my most listened to albums at the dawn of the '80s when I was in my mid-teens, after the Scottish outfit had transformed into The Revillos and shortly before it disbanded.

I never thought I'd see The Rezillos, but it reformed in 2001 and I was lucky enough to catch it at the South By Southwest Music Festival in Austin, Texas in 2005. My youthful enthusiasm for the group's exuberant mix of punk, new wave and '60s pop hadn't diminished and witnessing it for the first time was truly something special.

The Rezillos are still touring and finally made it to Toronto on Nov. 22, and it was a show I was really anticipating. But the band came on a bit late, was using the opening act's equipment and didn't seem at the top of its game. Most of the people in the decent-sized crowd -- composed largely of old punks (this was one of the rare shows when I was probably in the younger percentile) -- likely hadn't seen the group before but seemed to realize that, while entertaining, The Rezillos weren't meeting expectations.

Founding members and co-vocalists Fay Fife and Eugene Reynolds still tried to look the part of their youth, with Fife wearing a latex-like green mini-skirt and Reynolds decked all in black -- including a leather jacket and sunglasses. Fife still go-go danced and shimmied and Reynolds occasionally picked up the guitar to augment the latest lineup, which also includes original drummer Angel Patterson, bassist Chris Agnew and guitarist Jim Brady, who was decked out in a Capt. Kirk Star Trek shirt.

The Rezillos opened with the solid new single "Out Of This World" before giving the crowd what it really wanted when it started cranking out old singles and Can't Stand The Rezillos gems, including "Flying Saucer Attack," "Getting Me Down" and "Cold Wars" before slipping in another more recent track, "Sorry About Tomorrow."

"Mystery Action" and "You're So Deep" took the 45-minute set to the halfway point before it continued with "It Gets Me," "Yesterday's Tormentor" and "Desination Venus." Momentum was gained down the home stretch when "Top of the Pops" deservedly got the biggest crowd response of the night to that point and "(My Baby Does) Good Sculptures" effectively followed it. A cover of "River Deep, Mountain High" and then "I Can't Stand My Baby" finished things off.

The set was so brief that an encore was almost certain, and The Rezillos quickly returned with old nuggets "Bad Guy Reaction" and the evening's biggest crowd-pleaser, "Somebody's Gonng Get Their Heads Kicked In Tonight."

The show ended on a definite high note, but the concert would have been even better had it been stretched out slightly to include "No," "2000 A.D." and The Rezillos' outstanding covers of "Glad All Over" and "I Like It" -- and perhaps even a couple of Revillos cuts.

Amy Gore and Her Valentines - In Love

I enjoyed singer/guitarist/songwriter Amy Gore's work with the Gore Gore Girls and was intrigued when I heard about her latest project, Amy Gore and Her Valentines.

After she played a one-off show backed by guitarist Jackson Smith (Patti Smith, Electric Six), bassist Leann Banks (The Von Bondies) and drummer Joe Leone, the Detroit musicians felt they had something special together and set about making an album. They worked with producer/engineer Al Sutton (Kid Rock, The Detroit Cobras) at Rustbelt Studios and invited guests including funk guitarist Dennis Coffey to assist in creating In Love, which was released last month through Space Lion Records.

Gore's garage rock roots are still very evident, but more power pop elements have been introduced -- particularly on "Diana" but pretty much throughout In Love's 12 tracks. There are 10 originals and covers of Shocking Blue's "Send Me a Postcard" and R. Wayne Davies' "You Won't Lead Me On."

"Drivin' Around" opens the album, was the first single and sets a rocking but melodic tone for what's to come. There's more emphasis on guitars on second single "Fine Without You," "Static" and "Baby In Your Arms." "I'm Addicted" features jangle and a big chorus, while the organ on "Static" and "Remember Me" adds more diversity.

Gore's sound comes across a little cleaner and safer than it did with Gore Gore Girls and may not reach quite as many high points as that band, but In Love is probably her most consistently high quality release yet.

Get caught in this Crossfire Hurricane

Rolling Stones 50th anniversary hoopla is in full swing, and director Brett Morgen's new Crossfire Hurricane documentary stands a good chance of being the most interesting part of it.

The band members agreed to be interviewed, but no cameras were allowed in the room, so Morgen and his team brilliantly used their words along with rare archival concert and behind-the-scenes footage as well as old interviews and news clips to piece together a film that chronicles many of the trials and tribulations of the Stones' first 20 years.

None of the group members were particularly erudite interview subjects, especially in the early days, but Jagger definitely comes across as the most charismatic of the bunch. 

We hear how they would take bets on how long early shows would last while watching scenes of fans storming the stage and mobbing the band or causing riots down in front.

Jagger and Richards talk about the afternoon acid trip they were on before returning to Richards' Redlands country mansion and being arrested for drug possession.

Things turn darker when the lads talk about guitarist Brian Jones' growing lack of involvement with the band because of his heavy drug use, which ended with his drowning death. That's followed by them recounting how fearful they were at the tragic Dec. 6, 1969 Altamont concert over harrowing images of whacked-out Hells Angels who provided brutish security and killed an audience member.

The film deals with guitarist Mick Taylor's entry into and departure from the Stones, which seemed to catch his bandmates off guard, but he explains that his growing involvement with drugs when the band was at its most hedonistic point in the early '70s scared him away. Not everyone has the constitution of Richards, who talks about his infamous Toronto heroin bust and quips, "I never had a problem with drugs, I had a problem with cops."

And guitarist Ron Wood was more than happy to take on the party boy mantle as Richards' musical and social foil.

Crossfire Hurricane ends in the early '80s, which was perfect for me because that's essentially when my interest in most of the Stones' music ended, but more recent performance footage is shown during the closing credits.

Crossfire Hurricane exceeded my expectations and provided an insightful and entertaining couple of hours. Americans with HBO can watch it at 9 p.m. on Nov. 15, while BBC Two will show it in the United Kingdom in two parts on Nov. 17 and 24. The film will be released on DVD and Blu-Ray in the spring.

You can watch the trailer here.

The Grapes of Wrath still make sweet music

I saw The Grapes of Wrath for the first time in more than 20 years when the reunited Kevin Kane and Tom Hooper played in front of a smallish audience at Toronto's El Mocambo as part of the pre-Juno Awards festivities in March 2011.

There was a considerably larger crowd on hand at Toronto's Mod Club on Tuesday night, when Kane and Hooper (with original drummer Chris Hooper back in the fold this time, along with another guitarist and keyboard player) took the stage on the 20th anniversary of the band's original break-up after a show at Vancouver's Commodore Ballroom.

Julie Doiron got folks warmed up with an enjoyable 45-minute opening set, and CBC Radio 2 host Rich Terfry announced that the concert was being recorded for a later broadcast before he brought the Grapes to the stage.

The set began with "O Lucky Man" and guitarist Kane and bassist Hooper showed that the harmonies that helped make the Grapes so popular in the '80s haven't gone anywhere in the succeeding years. It was followed by "Stay," and then it was time for the first of the guests who'd been lined up to perform with the group.

I'd seen Ron Sexsmith do the same thing the night before with Blue Rodeo, but this evening he also brought Doiron on stage to help the Grapes with "Backward Town."

"Good to See You," one of two new songs on the Grapes' just-released Singles collection that's also the first single from a new studio album scheduled for a February release through Aporia Records, sounded as good as anything from the catalogue.

The Grapes had never performed with a banjo player until Great Lake Swimmers' Erik Arnesen and Tony Dekker joined them for "The Most." "A Fishing Tale" brought the rock, "A Dream (About You)" kept the momentum going and the band kept on a roll through "Misunderstanding" and "I Am Here."

The other band members left Kane and Hooper alone on stage with acoustic guitars for another new song, "Take On The Day."

Whitehorse's Luke Doucet and Melissa McClelland, who had also played with Blue Rodeo the night before, kept the gentle vibe alive when they joined the other Grapes members who'd returned to the stage for "All The Things I Wasn't." Hayden was up next for "What Was Going Through My Head" and helped it excel, while the Grapes handled "Do You Want to Tell Me" just fine on their own.

Sam Roberts was the final guest of the night and took a co-starring role with the organ on an excellent "You May Be Right." The 65-minute set ended with a butt-kicking "Peace of Mind" that left the crowd wanting more.

The Grapes returned for a very solid "A Very Special Day" before ending the night with a well-executed cover of The Beatles' "If I Needed Someone."

The Grapes of Wrath probably wouldn't have become the next Beatles even if the group had stayed together, but it produced some of the best and most commercially viable jangly pop-rock songs to come out of Canada in its prime. And judging by "Good to See You," it could do it again.

Blue Rodeo welcomes musical friends on special night

Faced with a choice of watching CNN reporters valiantly clutching railings while talking about gusting winds and torrential rains or braving the less hazardous elements of a wet and blustery Toronto night to go to the Glenn Gould Studio to see a private silver anniversary concert by Blue Rodeo and friends, it was an easy choice. Piers Morgan and his colleagues could wait until I got home at midnight to turn on the television.

Blue Rodeo is marking the 25th anniversary of the release of its Outskirts debut album with the release earlier this month of its expansive Blue Rodeo: 1987-1993 box set, which includes remastered versions of the band's first five studio albums, unreleased music, studio outtakes and a new version of Outskirts remixed by singer/guitarist Greg Keelor. A tour of Spain follows in November, and a cross-Canada jaunt will take up the first six weeks of 2013.

But Monday was an extra special night, as members of Blue Rodeo's extended musical family joined them on stage during an intimate two-hour show.

Molly Johnson hosted part of the evening and she talked about the early days of Blue Rodeo when they were regulars at her stomping grounds, The Cameron House. She then introduced Cuff The Duke, which played "Five Days in May" with Blue Rodeo member Bob Egan on steel guitar.

Jim Cuddy

The other members of the guests of honour then took the stage and essentially acted as the house band for much of the rest of the night as their friends trotted out to cover their songs. Oh Susanna got things rolling with "Bad Timing" and Jim Cuddy's son Devon followed with "Rain Down On Me." The band members then pulled the old switcheroo, with Keelor sitting behind the drum kit, Glenn Milchem moving from drums to guitar and Cuddy making himself at home behind the piano to back Justin Rutledge's version of "Falling Down Blue."

You might not expect Ron Sexsmith to be the guy to get a show rocking, but he did just that with "Love and Understanding." Things mellowed out again when Whitehorse's Luke Doucet and Melissa McClelland reprised Blue Rodeo and Sarah McLachlan's "Dark Angel."

Great Big Sea presented the first big highlight when it joined Blue Rodeo for "Rose Coloured Glasses." The Sadies were given the stage to themselves for "Palace of Gold," a staple of their own sets over the years that never ceases to please me.

The uber-pleasant Andy Maize and his Skydiggers bandmate Josh Finlayson shone with the Blue Rodeo boys on "Hasn't Hit Me Yet" and Great Big Sea returned to get the relatively reserved audience to clap along to "What Am I Doing Here."

Blue Rodeo performed "Try" on its own and the crowd loved it. Devon Cuddy came back to play piano with his dad and his musical pals on an excellent "Til I Am Myself Again."

Dallas Good and Greg Keelor

Several of my friends cited the next song, an extended "Diamond Mine," as their favourite of the night. I'd have a hard time disagreeing. The Sadies added their signature twangy reverb and Travis Good (who was looking a bit like soon-to-be tourmate Neil Young) brought some serious feedback while Michael Boguski let loose on the organ during an extended jam.

All of the musicians crowded on the stage to take part in a major sing-along during the chorus of "Lost Together," which ended the show on a high note and added to the fuel for conversation at a casually engaging champagne reception in the venue lobby put on by the hard-working folks at Blue Rodeo's management company, Starfish Entertainment.

It was a memorable evening for the few hundred people in attendance, but CBC will share the wealth while broadcasting the concert over the next week or so on radio and online. Try to catch it if you can.

JD McPherson is the real deal

JD McPherson first came on my radar when a couple of friends started talking him up in February, and I planned on seeing him at the South by Southwest Music Festival in Austin, Texas in March.

I missed McPherson's handful of gigs at SXSW, unfortunately, but I finally got to see the former middle school art teacher turned rock 'n' roll revivalist on Oct. 9 at Toronto's pleasantly packed Horseshoe Tavern. He was suffering from a bad cold but, along with upright bassist/producer Jimmy Sutton and the other members of a very talented band, still put on a solidly entertaining show.

I finally listened to McPherson's Signs & Signifiers debut album (which was issued by Rounder Records in April after originally being released independently two years earlier) a few times this week, and it's a shoo-in for my year-end best-of list. McPherson and friends can cut it in the studio as well as on stage.

The record opens with the first song I heard from McPherson online earlier this year, "North Side Gal." It has all the makings of a rockabilly classic and the YouTube attention attained by its self-directed video (shot in Sutton's all-analogue Hi-Style studio in Chicago) was the first step in McPherson landing his deal with Rounder.

"Country Boy," one of the 12-song album's two covers, delves further into blues territory. "Fire Bug," appropriately enough, is smokin' hot and will force the shyest wallflowers to move to the groove at least a little bit. McPherson slows down on the title track, which is rich with his tremolo guitar.

"Scratching Circles" is a great jump blues tune with piano and saxophone. "A Gentle Awakening" is a slow and sinister song featuring violin and cello, but the fun factor returns on "Dimes for Nickels."

"B.G.M.O.S.R.N.R." is short for "big gold mine of sweet rock 'n' roll," which is an apt description of Signs & Signifiers. That point is driven home down the stretch with another jump blues number called "I Can't Complain" and a saxophone-infused cover of Joey Simone's "Your Love (All That I'm Missing)," which proved that it being one of the highlights of the Horseshoe show was no fluke.

"Scandalous," a honky-tonk rocker that would do Little Richard proud, ends the album on almost as high a note as it began.

The songs on Signs & Signifiers average less than three minutes each, which makes the album short enough that you'll want to hear it again as soon as it's over.

McPherson has the songs and the backing musicians that help bring them to life. Now I just want to see the Oklahoma native perform them at full strength so I can fully appreciate just how good he can be.