NXNE Saturday: a day in the sun and a night at the Shoe

Michael Rault

My fourth and final day of the North by Northeast Music Festival took advantage of the sunshine and warm temperatures with several outdoor sets.

The first was by Toronto's Michael Rault, who I'd fallen hard for on his 2010 Ma-Me-O debut album and 2012 Whirlpool EP. His seven-song Living Daylight comes out this week and, while I like it, I don't find it as much fun as its predecessors. While he's still playing short love songs, the sound is a little more straight-forward rock than the '50s and '60s-influenced material that attracted me to him. I felt the same way about this performance at the St. James Park Gazebo, but will spend more time with the record and see Rault again the next time I get a chance.

Beach Day

Florida's Beach Day was my favourite discovery of last year's NXNE, so I was delighted when the quartet fronted by singer/guitarist Kimmy Drake took the stage after Rault. The set opened with an instrumental and the rest of it was filled with '60s-influenced girl group pop and garage rock that captured the park's summery vibe perfectly. The performance was nicely balanced between songs from the Trip Trap Attack debut ("Walking on the Streets," my favourite "Beach Day," "Boys") and those from the forthcoming Native Echoes ("The Lucky One," "I'm Just Messin' Around," "All My Friends Were Punks") before ending with a rousing cover of Bobby Freeman's "Do You Want To Dance."

I'm not really into the sand and surf lifestyle, but I'd be happy to make almost every day a Beach Day.

I stopped at Banh Mi Boys for a braised beef sandwich and kimchi fries that I took in with me to the patio that had opened on the street beside The Cameron House for the day. The delicious food was washed down with a recently released and not as tasty Brickworks Batch: 1904 cider.

Ferraro

Ferraro's Cosmo, Gianni, Tally and Tom Ferraro provided my dinner soundtrack with a set that incorporated covers (Little Richard's "Tutti Frutti," Michael Rault's "Let Me Go Out," The White Stripes' "Hotel Yorba,"   Dion's "Runaround Sue," The Chords' "Sh-Boom") with originals that slid in easily among them. Cameron House sound man Frank joined the young band for an entertaining rendition of his namesake Frank Sinatra's hit "That's Life."

A drunk punk who danced himself out of his pants and exposed his butt outside the fenced-off area kept hopping the railing and was very forcibly removed a couple of times by being thrown back over those same railings to provide a bit of drama before the next set started. I got a taste of Sam Cash on Thursday night and got the full experience with his three-piece backing band The Romantic Dogs at his label's party outside the Cameron House. 

Sam Cash

The group performed tunes from its Stand Together, Fall Together debut and quite a few new numbers in a 15-song set full of catchy, upbeat, well-written roots rock. Cash reprised "Steal My Car" from Thursday, showed off his whistling skills in "Fall Together" and proved overall that he's more than capable of producing songs that should be commercially viable. Again, like on Thursday, Cash was joined on stage by Cameron House Records artist Whitney Rose for a run through Bruce Springsteen's "Hungry Heart" to close things off.

I'd planned to see a couple of acts at The Paddock, but a friend inside the club caught my attention and I ended up chatting with him while sitting at the bar over a few pints while listening to a surprisingly eclectic-sounding set by Toronto rock act Zeus outside as background music via a nearby open window.

I'm a longtime Rheostatics fan, but haven't been as enamoured by former singer/guitarist Dave Bidini's Bidiniband project, although I like the songs live more than on record. I was also quite happy to hear him perform his old group's "Horses" when I arrived at the Horseshoe Tavern near the end of the set.

Joel Plaskett

I think Joel Plaskett is a national treasure and I've written about him frequently over the years. A group of friends share my affection, so we got together to sing along to almost every song from the frontman and his backing band The Emergency. The club was packed as the extended set opened with "A Million Dollars," and the momentum never waned through: "You Let Me Down;" "Precious, Precious, Precious;" "Penny For Your Thoughts;" "Deny, Deny, Deny;" "You're Mine;" "Through and Through and Through;" "Natural Disaster;" "Park Avenue Sobriety Test;" a solo acoustic "Harbour Boys;" "Rollin', Rollin', Rollin';" "Work Out Fine" mashed up with Lorde's "Royals," Manfred Mann's "Doo Wah Diddy" and Sam Cooke's "Cupid;" "Love This Town;" "Nowhere With You;" "Extraordinary;" and an encore composed of a new song and "Wishful Thinking."

If you like clever lyrics and irresistible hooks, but you've never seen The Joel Plaskett Emergency, I'm telling you to remedy that situation as soon as you can.

The Felice Brothers

The crowd thinned out considerably for a 1:20 a.m. performance by The Felice Brothers, who were supporting their new Favorite Waitress album, but those who remained were quite enthusiastic. My friends bailed and my energy was flagging, but I stuck it out because I've enjoyed the New York City quintet's take on folk, roots, rock and Americana every time I've witnessed it before. Violin and accordion were sometimes added to guitars, bass, drums and keyboards, there were some audience sing-alongs, and a couple of slower numbers were offset by some more kick-ass tunes to keep spirits raised.

The Felice Brothers were called back for an encore that included my favourite song of theirs, "Frankie's Gun," and a favourite of countless bands who I've seen cover it: Neil Young's "Rockin' In The Free World."

The bar was still serving, but I'd had my fill, so it was a walk home and then bedtime. While a handful of clubs were hosting bands on Sunday, my NXNE had come to an end.

NXNE Friday begins with Pizza and ends with Spoon

The Pizza Underground

It takes a lot for a band to get a journalist out to see a band play at 10:30 a.m. when clubs had extended their liquor licences until 4 a.m. the two previous nights. It takes a lot less to piss people off. The Pizza Underground managed to do both on Friday.

Home Alone child star Macaulay Culkin and friends Matt Colbourn, Deenah Vollmer and Austin Kilham (Phoebe Kreutz didn't make the trip, so Toby Goodshank filled in) have formed a band that performs Velvet Underground and Lou Reed songs, but with the lyrics changed to be filled with pizza references. As a huge VU and Reed fan who likes pizza, and was curious about the Culkin factor, I had to check it out.

But the promised 10:30 a.m. start turned into 11:40 a.m. for reasons that weren't explained to the 100 people who showed up at The Edward Day Gallery. Things took so long that the group's giant pizza slice backdrop fell down, but the stage crew had time to rig it back up again well before the group appeared. Luckily, there was free Panago pizza and Vitamin Water to quell any possible revolt.

Once things got rolling, they were pretty much as expected. The tunes were recognizable and the changed lyrics were pretty sophomoric. Medleys allowed the band to fit a lot of songs into a small time frame and not drag on the joke for too long. And several jokes were told between songs to fill time. The comedy quotient was turned up a notch when Goodshank dressed up as Kurt Cobain to sing Nirvana songs in the past tense. It was fun, but the novelty again wore off quickly.

Odds with Steven Page and Chris Murphy

The delayed start time threw off my work/play schedule for the rest of the day, which I wasn't happy about, but I had time to vote in an advance poll for the upcoming federal by-election in my ward on the way to the Horseshoe Tavern to see a 3:50 p.m. set by Odds as part of the Hidden Pony Records fifth anniversary party. I was a big fan of the group's power pop and it had significant success from 1987 until it went on hiatus in 1999. The band reformed in 2007 to play occasional gigs and has released an album and two EPs that haven't resonated with me like the earlier work.

A healthy crowd was on hand to hear old favourites like "Make You Mad," "Write It In Lightning" and "Eat My Brain" as well as a few less familiar newer songs. Former Barenaked Ladies member Steven Page came on stage to join the group for a mash-up of BNL's "It's All Been Done" and Odds' "It Falls Apart." He stayed on stage when Sloan's Chris Murphy and Jay Ferguson came up for a mash-up of Sloan's "Underwhelmed," Odds' "Someone Who Is Cool" and The Beatles' "Hey Jude." The Pursuit of Happiness' Moe Berg was also in the crowd, but we were denied a chance to hear "I'm an Adult Now" mixed with "Jack Hammer" as the entertaining set came to a close.

Congratulations to Hidden Pony founder "Parkside" Mike Renaud on the first five years, and thanks for the beers and burrito.

I moved on to the M for 159 Manning house party so see Death Hymn Number 9, but the group's basement performance was so packed that I couldn't see anything and decided to head further west to the SOCAN-SESAC mixer at The Edward Day Gallery. I chatted with several friends and had a free beer and hot dog before it was time to hit the clubs for more music.

Boyhood

I'd never been to the Smiling Buddha Bar before, but it was hosting acts I was interested in so I made the trip. The venue seemed a bit sketchy, but it had a decent selection of Ontario craft beers to put me at ease.

Ottawa's Boyhood came on at 8 p.m. The quartet utilized two keyboards, guitar, bass and pre-programmed beats, but I was most attracted to the female singer's austere vocal delivery that fit the band's minimalist approach. Unfortunately most of the songs sounded too similar for my tastes and I ended up bored through much of the set.

Tess Parks

Toronto's Tess Parks, fronting three other musicians, performed dark and mysterious-sounding film noir guitar music. I'd compare it to Mazzy Star, but with more oomph and a heavier psychedelic element. I would have liked to have heard more, but Parks played an extra short set and told me as she was walking out the door that she was off to see Spiritualized at Massey Hall. That connection makes sense.

My preferred 10 p.m. shows didn't fit well with the rest of my schedule, and I had planned on being at The Garrison for a couple of hours anyway, so I went early and saw Brooklyn, N.Y. duo Weeknight. Guitar, synthesizers and pre-programmed backing tracks produced a dark and brooding sound that wasn't bad but wasn't my cup of orange pekoe.

Beliefs

The crowd had filled in significantly by the time Beliefs came on at 11 p.m. to hear songs from the Toronto band's self-titled debut album from the Hand Drawn Dracula label. Guitarists Josh Korody and Jesse Crowe shared lead vocals on songs that built to big crescendos in an impressive set that  had a lot of energy and wasn't mopey like some bands of this ilk can be. Slowdive and My Bloody Valentine are influences, and this performance prompted thoughts of a less experimental Sonic Youth.

Crystal Stilts

I've enjoyed past performances by Brooklyn's Crystal Stilts and took advantage of another opportunity to see the Jesus and Mary Chain-influenced group. It's dark but not as brooding as some might expect, as more upbeat numbers were mixed in with slower ones that my friend compared to Joy Division. That verve shone through on one song that was even a bit reminiscent of Sigue Sigue Sputnik's "Love Missile F1-11."

The Marvelous Beauhunks

 
A rather lengthy walk got me to Rancho Relaxo after The Marvelous Beahunks had already started its 1 a.m. set. The Oshawa, Ont. band formed in 1990 and reformed in 2010 after an 18-year layoff, and it plays a mix of power pop and old school punk. There was a bigger audience than I expected, so folks are obviously happy that the group is back, and I'd like to catch more of it sometime in the not too distant future since what little I heard was right up my alley.

The Horseshoe was the final stop of the night for a 2 a.m. "secret" performance by Spoon that wasn't advertised ahead of time. The word must have got out, however, as the club was packed. The critically acclaimed Austin, Texas indie rock band was headlining a free public show in Yonge-Dundas Square on Saturday night, but it was much better to see it in an intimate club with friends since I'd seen it play larger venues before.

Spoon

The Britt Daniel-fronted group showcased songs from its long-awaited eighth album, They Want My Soul, which will be out in August. But older fan favourites including "Don't You Evah," "I Turn My Camera On" and the set-closing "Black Like Me" drew the biggest responses. The crowd demanded and received an encore and went away happy after hearing "The Underdog."

NXNE 2014: Thursday rockin' on the 501

Shannon and The Clams

I've unfortunately missed Shannon and The Clams on past visits to Toronto and during the South by Southwest Music Festival in Austin, Texas, and I didn't expect that I'd be riding a streetcar the first time I caught the Oakland, Calif.-formed group.

MiO, which makes liquid water enhancer, enhanced its marketing by commandeering one of Toronto's streetcars and taking it back and forth along Queen Street. The customized 501 "Squirtcar" is inviting bands and fans to take a ride for three nights during the North by Northeast Music Festival, so I hopped on for a round trip.

Shannon and The Clams is a trio that masterfully blends doo-wop from the '50s and girl group pop and garage rock from the '60s while giving them a 21st century spin. It's a testament to a band's concentration if it can play nine songs while rolling along without missing a beat, and Shannon and The Clams pulled it off. Bassist Shannon Shaw and guitarist Cody Blanchard (who's also a member of Hunx and His Punx) shared lead vocals and infused a playful spirit into their tunes. While it was almost as much fun to see the reactions of pedestrians and motorists as they gawked, pointed, waved and snapped photos as we drove by as it was to watch the band, I definitely want to see it again in less cramped quarters.

Bloodshot Bill

I'm a fan of Montreal one-man band Bloodshot Bill and his mix of rockabilly, garage and surf rock. I last saw him open for Catl two months ago, and from his opening cover of The Rivieras' "California Sun" through nine more mostly original songs until  the ride came to an end, he was as entertaining as ever. His vocal gymnastics and guitar work, augmented by foot pedal-powered drum and cymbals, would make any commute a lot more fun. Bill asked for a cold beer, which I would have appreciated as well, but I was content with free bottled water and MiO.

The Demos

Beer was waiting at Hideout, where I arrived just after The Demos had begun their 11 p.m. set. The young Rochester, N.Y. band's "Nervous" is a perfect piece of summertime power pop that deserved to be a hit. Nothing else in the repertoire lived up that high, but it's brand of melodic, straight-ahead rock and roll and classic '70s power pop (with one Strokes-like tune thrown in for good measure) would make me want to see it again as an opening act. I'd just recommend making better use of the keyboards, which were under-utilized until the closing number.

Gay Nineties

I'd heard good things about Vancouver's Gay Nineties and think that its new "Letterman" single/video is another summertime song that should be getting widespread exposure these days. If you like Hollerado, you should like this song. I was surprised to see that the lead singer/guitarist had long hair and was wearing a bandana. That didn't fit the mental image I had of the band. Five songs into the set, I realized that the group's other songs weren't doing anything for me so I hit the Rivoli exit.

I've seen Alejandro Escovedo a number of times, but I'm unsure if I can add one more show to the list after walking in on the Austin-based singer/songwriter/guitarist's last song with Poi Dog Pondering violinist Susan Voelz at the Horseshoe Tavern. Oh well. I'm sure I'll see him again.

Whitney Rose

I stayed at the Shoe for a set from what Six Shooter Records founder Shauna de Cartier called "the future of Americana" in her introduction. It featured three young singer/songwriter/guitarists performing three of their own songs each while joining a talented back-up band that included under-appreciated guitarist Nichol Robertson.

Whitney Rose is small but has a very big and dynamic voice that at times can sound as sultry as she looks. Her music has an air of classic country about it and it would be great to see her succeed in the modern world.

Joe Nolan

Joe Nolan is a roots artist that Six Shooter is big on, seemingly for good reason based on what little I've heard.

Sam Cash is the son of former L'Etranger member (and now Member of Parliament) Andrew Cash, and he's definitely the most rocking of the three. He fronts a band called The Romantic Dogs that I look forward to catching soon.

The three of them took turns singing lead on a spirited cover of Bruce Springsteen's "Hungry Heart" to end the night. 

Sam Cash

I don't know if Rose, Nolan and Cash are the future of Americana, but I'd be happy if they played a decent role in the future of Canadiana.

Bryce Clifford opens NXNE with a flourish

The North by Northeast Music Festival got underway on Wednesday and, although there wasn't a full slate of venues participating, there were enough to ease my way into things.

The Hot Karls

 The Dance Cave, that "bad decision bar" above Lee's Palace packed by drunk and dancing young people on Friday and Saturday nights, has recently started booking bands to try and fill a void earlier in the week. It threw a party from 6 to 9 p.m. to help bring that to people's attention and, while it was sparsely attended, I caught up with some friends and the free Collective Arts Brewing Rhyme & Reason Extra Pale Ale and make-your-own tacos from Big Fat Burrito were delicious and kept me happy.

The same can also be said for the event's entertainment: The Hot Karls. This three-piece band is the much less pedigreed, Guelph, Ont. version of Me First and the Gimme Gimmes. The group plays fun and energetic versions of familiar songs and the opening set I caught before moving on consisted of covers of:

The Beatles' "I've Just Seen a Face;" Tommy James and The Shondells' "I Think We're Alone Now;" The Supremes' "You Can't Hurry Love;" The Bangles' "Walk Like an Egyptian;" Gloria Jones' "Tainted Love;" Depeche Mode's "Just Can't Get Enough;" The Pixies' "Where Is My Mind?;" The Clash's "Should I Stay or Should I Go;" Weezer's "My Name is Jonas;" Blink 182's "Please Tell Me Why;" The Presidents of the United States of America's "Lump;" Third Eye Blind's "Semi-charmed Life;" Wheatus' "Teenage Dirtbag;" Blink 182's "What's My Age Again?;" Backstreet Boys' "I Want It That Way;" and The Village People's "YMCA."

Olivia and The Creepy Crawlies

I strolled down to Rancho Relaxo to see London, Ont. sextet Olivia and The Creepy Crawlies at 9 p.m. The frontwoman played ukulele and about 50 people enjoyed a set that varied in tempo, with the quieter numbers having less of an impact. The group put a cute, rustic spin on The Strokes' "Last Nite" that certainly didn't lack for energy, and the set ended on a high note with a song that had a spirited second half.

The only band I had highlighted for 10 p.m. was a fair hike away and I had planned on being at Rancho for the next slot, so I elected to stick around for Bella's Bartok, a Northampton, Mass. outfit that incorporated acoustic and electric guitars, drums, trombone, trumpet and occasional accordion into its eclectic sound that mixed elements of klezmer, folk, roots rock, Balkan and Gypsy music. The first song was pretty annoying but most of the succeeding numbers were luckily a little less so. It seemed that they were going for something like Gogol Bordello so masterfully achieves, but they fell far short.

Bella's Bartok

Bryce Clifford cut his teeth musically in Ontario, but has been living in Austin, Texas for several years. It's easy to get overlooked in the "live music capital of the world" -- which is filled with talented singers, players and writers -- but Clifford proved that he deserves to be on the city's A-list even if he doesn't become one of the songs he performed: "Country Star." He's an exceptional guitarist and his two-piece backing band, Brother Superior, lived up to the second part of that name in driving the rhythm. 

Bryce Clifford and Brother Superior

Considering Rancho's location, "College St." was an appropriate choice in a set that fused roots rock with punk energy in a lot of songs, but also dialed things down a bit in places. While keeping pretty true to the originals, Clifford added his own variations to The Clash's "Rudy Can't Fail" and Smokey Robinson and The Miracles' "The Tracks of My Tears" (which I had heard The Arkells perform three nights earlier during its Motown set at the MuchMusic Video Awards after-party at The Horseshoe Tavern) before closing with another original.

Clifford excels in music as much as his brother Brad does in brewing, and his beers will be taking over the taps at Toronto's Get Well tonight (June 19) as part of Ontario Craft Beer Week.

I've never been a big fan of Har Mar Superstar's dance-rock, but I'd heard the man born Sean Tillmann puts on entertaining shows and my schedule was light, so I returned to Lee's Palace to check him out. He emerged wearing a cloak of many colours, accompanied by a guitarist, drummer and pre-recorded backing tracks. He soon changed into another sparkly cape for a song that had James Brown influences and showed me that I prefer his more '60s R&B and soul-oriented material over the more in your face pumpers. 

Har Mar Superstar

I would have enjoyed Har Mar Superstar more if I was with a group of somewhat buzzed friends who wanted to let loose and dance a bit, as it seemed like most of the 200-or-so people on the floor appeared to be. And I couldn't get the image of a younger and shorter Ron Jeremy out of my head as I watched, which was enough to make me bail after 25 minutes.

I arrived at The Paddock just after 1 a.m. to see young Calgary blues artist Mitch Belot's solo set. He alternated between electric and acoustic guitars while also playing a kick drum and showed off a rough-hewn voice that belied his age and fit his songs well. Almost half of the 20 people in the audience seemed to know him personally, as he attends Humber College, but he deserves wider exposure. He can play, has some real songs and a lot of promise. Belot and his friends Robyn and Maddie joined me for a drink after his set, and it was a warm and friendly way to end the night.

Nudie - Stompin'TomConnors.com

Booze Bombs are best of Canadian Music Fest's opening night

The Booze Bombs

Canadian Music Fest got underway on Tuesday night and got off to a relatively slow start in terms of participating venues, audience size and quality of talent I caught.

I don't have populist music tastes, but the small crowd numbers showed that either: a) people don't go out to see live music on a Tuesday night; b) the musical options weren't inspiring; or c) my music tastes are even less populist than I thought, and I'm definitely not a snobby, Pitchfork-worshipping hipster.

The evening began at The Cameron House with nattily attired Toronto singer Buddy Black and his four-piece backing band, The Ghost Umbrellas. Black's voice showed a raspy quality in the opening number and he spoke-sung other songs in the set, which offered a difficult to pigeonhole mix of roots, blues, rock, punk, rockabilly and country. Black added harmonica to the ensemble for one song and seemed to be going for a bit of a Nick Cave meets Tom Waits vibe, but the performance seemed a bit forced (particularly by guitarist Dayne Polny, who jumped into the small audience and writhed around at the end of the gig). Buddy Black? Colour me not impressed.

The band I was most looking forward to was a German rockabilly outfit called The Booze Bombs, which took the stage at the Bovine Sex Club. Singer Annie Leopardo fronted the group, comprised of guitarist/vocalist Lucky Steve, upright bassist King Eric and drummer Rockin' Bende. Leopardo's voice was well-suited to the material, complete with the genre's requisite yips, and she was comfortable with both singing and addressing folks between songs in English. The band didn't live up to its name drinking-wise, though it played the title track from its Hangover Blues album as well as "Rooster in the Hen House," "Midnight Train," "If You're Gonna Shake It," "Gone Away," "All Night Long," "I Still Cry" and "I'm In The Mood." The set was very enjoyable, but not over the top great like I was hoping for.

Barbudos

It was then on to The Hideout for Niagara Falls quintet Barbudos, which showcased songs from its self-titled debut LP. The band was generally at its best when dabbling with '60s psych and garage rock sounds, though forays into '70s power pop and roots country territories weren't unsuccessful. I'd consider seeing Barbudos again and, even though there were less than 100 people in the room, that made it the most popular act I saw all night.

I planned on staying put to see Clumsy, and had purchased another pint to pass the time during what is normally a short transition between acts. But as the scheduled 11 p.m. start time turned into 11:30 and there was still no sign of the band, I asked a crew member what was happening and he said that the London, Ont. punk band was a no-show. An announcement from the stage stating that much earlier would have been appreciated. There was no other act that I wanted to see within a short walking distance during the time slot, but it was still frustrating.

We Were Heads

I closed off my night at Cherry Cola's Rock N Rolla Cabaret, and was instantly disappointed when told that it no longer serves draft beer. I bought a tin of Strongbow cider and settled in for a midnight set by We Were Heads, an experimental rock trio from Toronto that drew maybe 50 people. That number decreased as the group's math rock and noise displayed lots of rock and roll spirit, but a lack of musical talent.

Here's hoping for better things on night two.

Super Duper Alice Cooper: the band, the man and the double life

I'd characterize myself as a casual Alice Cooper fan. I was too young to be part of the '70s frenzy which shot the band and its lead singer to stardom, and haven't been wowed by any of the records I've heard over the past 30 years. But I have a strong affection for The Alice Cooper Show, a 1977 live album that includes almost every song from the group that I feel I need to have (outside of "Clones," of course).

My appreciation of Alice Cooper hasn't increased after seeing the new Super Duper Alice Cooper documentary directed by Reginald Harkema, Scot McFadyen and Sam Dunn -- who increased my appreciation for Rush with their 2010 film Rush: Beyond The Lighted Stage. But knowledge is power and -- even though I interviewed Vincent Furnier (who legally changed his name to Alice Cooper during an era when his ego and lifestyle drove away his longtime bandmates) several years ago -- I now know a lot more about him than I did last week. I consider that a good thing.

The filmmakers cleverly interject the film with black and white clips of 1920's classic (and public domain) horror film Dr. Jekyll and Mr. Hyde, which parallel the on- and off-stage lives of Furnier/Cooper and how they can tragically intersect.

There's Vince, the son and grandson of preachers with a moral compass who had never even had a beer until he was out of his teens and went to Los Angeles to pursue his dream of rock stardom. And there's Alice, the mascara-wearing, doll-butchering, snakehandling, fake guillotine victim of a frontman for one of the most explosive -- and probably the most controversial -- rock bands of the early and mid-1970s.

It's when Alice takes control of Vince -- plunging him into a life of booze and then cocaine addictions that almost cost him his family and his life -- that things get ugly.

Alice Cooper went from being in a talented but struggling rock band that was run out of L.A. because people didn't know what to make of its bizarre look and sound to becoming one of the biggest rock stars of a generation, putting on the most theatrical performances ever seen in the genre to that point, topping the album sales charts in multiple countries, scoring top 10 singles with "School's Out" and "You and Me," and appearing on a variety of television shows. But the frontman's lifestyle of excess was killing him.

He kicked his alcoholism after being institutionalized, but then got hooked on coke. He eventually battled his way through that, too, and successfully separated his two personas. The film ends (aside from brief text explanations of what the main characters in the film are doing now) with a triumphant return to the stage after a five-year absence at a sold-out Joe Louis Arena in Cooper's hometown of Detroit, Mich. on Hallowe'en 1986.

Whenever Furnier hasn't been on the golf course, Cooper has been writing, recording and performing steadily ever since. It's a triumphant story with a happy ending.

Although it bears the hallmarks of those VH1 Behind The Music shows where artists discuss their highs and lows, the 86-minute Super Duper Alice Cooper was obviously made by talented and caring filmmakers who put the time and effort needed to take the movie to a higher plain. Lots of research obviously went into the film and getting clearances for the wide array of film footage, photographs and songs used in it must have been a painstaking process.

It was worth it. The early musical years, especially, are an area of Alice Cooper's career that a lot of music fans (myself included) don't know much about. The film's insights into this era were the catalyst that hooked me like an eight ball and compelled me to see how things would play out -- even if I pretty much already knew what would happen.

Watch the Super Duper Alice Cooper trailer.

Super Duper Alice Cooper will be screened in Toronto as part of the Hot Docs Canadian International Documentary Festival at 9 p.m. on April 28 at the Scotiabank Theatre. The star and its directors will be on hand to answer questions afterward and the event will be simulcast into 46 Cineplex theatres across Canada. Visit www.cineplex.com/events for the other venues.

The film will be shown again during the festival at 9:50 p.m. on April 29 and at 11 a.m. on May 3 at the Bloor Hot Docs Theatre.

Documentary offers a look at the man inside the Big Bird costume

I Am Big Bird: The Caroll Spinney Story opens with Spinney appearing on To Tell The Truth, a popular television show from the 1970s where celebrity panelists had to guess which of three guests is actually who they claim to be. Forty years on, and despite being responsible for one of the most iconic characters on the planet, probably 99 per cent of the population still couldn't tell you who this man is.

I Am Big Bird will change that, as it tells the story of the man who has helped entertain and educate generations of children while portraying Big Bird and Oscar the Grouch on Sesame Street. Through interviews with Spinney and numerous colleagues, we learn about a man who can be both simple and complex and who's fully deserving of the time in the spotlight that this documentary gives him.

The offspring of a loving, supportive and artistic mother and a distant and sometimes abusive father developed an interest in puppets as a child and that, combined with his feminine-sounding name, made him a target for school bullies. And as Spinney's relationship with his father further deteriorated, he enlisted in the air force and spent four years there before returning to civilian life and his passion for puppetry.

Spinney's big break came at a 1969 puppet festival where he met Muppet creator Jim Henson, who invited him to join his team on the fledgling Sesame Street. He didn't fit in well at first and almost quit the show, but it wasn't long before Big Bird and Oscar started playing bigger roles, which led to a dizzying and event-filled career that Spinney shows no signs of relinquishing even at age 80.

The film follows Spinney around the globe as Big Bird becomes one of the most recognizable characters in the world, but also delves into the personal life of the man in the yellow, feathered costume. There have been a lot of lows counteracting all of the highs he's experienced, including a painful divorce, the passing of several co-workers (including Henson in 1990 at age 53), the murder of a woman on his property and narrowly missing being on the Challenger space shuttle that exploded shortly after takeoff.

But Spinney's deep love for his second wife Debbie, his puppeteering work and the drawing he's done all of his life have kept him grounded and enabled him to press forward and create a happy separate life outside of the surreal Muppet world that has defined him to the public.

Many of us grew up with Sesame Street, and it's a treat to go behind the scenes of the program and meet many of the people responsible for getting it off the ground and pushing it forward for so long. But even if your life wasn't somehow touched by the show, you should be touched by this film.

Here's the trailer for I Am Big Bird. 

I Am Big Bird will be screened in Toronto as part of the Hot Docs Canadian International Documentary Festival at: 6 p.m. on April 27 at Bloor Hot Docs Cinema (which will feature Spinney speaking to the audience after the film); 11 a.m. on April 28 at Isabel Bader Theatre; 1:30 p.m. on April 30 at TIFF Bell Lightbox; 1:30 p.m. on May 1 at TIFF Bell Lightbox; and 4 p.m. on May 4 at The Revue.

Archie Powell & The Exports - Back in Black

Archie Powell & The Exports' first two albums -- 2010's Skip Work and 2012's Great Ideas in Action  -- were among my favourites of their respective years, so the new Back in Black was eagerly anticipated.

I was a little unsure after the first listen since it veers away somewhat from the previously established blueprint, but repeated plays have pretty much assured this record of a similarly exalted status.

"Everything's Fucked" opens with a Powell scream and sets the tone for an album that's more aggressive and ragged than the past two power pop thrillers and bears more of a resemblance to the Chicago quartet's high-energy performances.

"Tattoo on My Brain" is more like the earlier more hook-laden material and reminds me of another favourite modern power pop purveyor: Gentleman Jesse. 

There are more screams and Powell's strained voice sounds so strained that it could give way at any time on the Nirvana-ish "Lean."

"Scary Dream" is heavy and discordant, while the melodic guitar riffs and sing-along chorus of "Holes" are offset by a harsher synthesizer sound.

"Electrocute My Heart" starts quietly and builds, with piano, guitar, synth and drums all playing key roles in pushing things along.

"Rodeo Crush" is softer and more sparse and sticks out from the rest of album.

"I'm Gonna Lose It," a song of lost love and yearning with doo-wop vocals, sounds like a rougher-edged Weezer cut.

The lyrics are more spoken than sung on the dark "Jump Off a Bridge," which comes across as the Butthole Surfers trying to make a dance record.

Just as you shouldn't confuse this album with AC/DC's biggest seller, even though they share the same title, the incomprehensible words and musical chaos of "Mambo No. 9" are a clear indication that it's definitely not Lou Bega's claim to fame.

Back in Black ends with the five-minute "Everything's Cool," a mid-tempo, melodic pop-rock number that shows Archie Powell & The Exports are still willing and able to return to their roots.

The intent of the group and producer Jonathan Alvin (Surfer Blood) was to capture the sound and spirit of a live performance. They achieved it, and I recommend that you see their great ideas in action for yourself if Archie Powell & The Exports play anywhere near you.

Need more zombies in your life? Check out Doc of the Dead

The 1932 film White Zombie introduced the zombie to popular culture. While going through different waves of popularity since then, fittingly, the phenomenon couldn't remain dead.

Zombies have never been more popular than they are today. The Walking Dead is the most popular show on cable television and there are zombie walks, zombie runs, zombie weddings, zombie obstacle courses, zombie conventions, zombie commercials, zombie video games and more being lapped up like brains by a ravenous public. Hell, an international zombie strategy was even discussed in the Canadian House of Commons last year.

Doc of the Dead, an 82-minute documentary directed by American Alexandre Philippe, examines the rise of the zombie through interviews with the likes of the head of the Zombie Research Society, zombie authors and scholars, scientists, the Toronto zombie walk founder and even a sex therapist. Zombie film and television show actors, actresses, directors and producers -- most notably Shaun of the Dead star Simon Pegg and genre king George Romero -- also talk about the phenomenon. Some even share their zombie survival strategies and engage in the slow versus fast zombies debate.

There are clips of director Romero's classic films -- Night of the Living Dead (1968), Dawn of the Dead (1978), Day of the Dead (1985) and Land of the Dead (2005) -- as well as discussions of them. But we also see and hear about other zombie and zombie-related movies, including I Walked With A Zombie (1943), Invisible Invaders (1959), my longtime favourite Plan 9 From Outer Space (1959), Return of the Living Dead (1985), Re-Animator (1985), Dead Alive (1992), Army of Darkness (1992), 28 Days Later (2002), Resident Evil (2002), Shaun of the Dead (2004), The Infected (2009), Contagion (2011) and World War Z (2013).

You don't have to have worn tattered clothes, covered yourself in goop and makeup and shuffled awkwardly down the street (which is something Romero says he can't see the pleasure in), or even visited Haiti (where turning people into zombies is part of the criminal code) to appreciate Doc of the Dead.

Zombies have seeped into pop culture so much that you can't escape them, no matter how slow they may lumber along. So while there's no need to hoard supplies or build a bunker to ward off a zombie apocalypse, there may be a desire to be mildly entertained while learning more about why the phenomenon has become so widespread. Doc of the Dead can provide that.

Watch the Doc of the Dead trailer. 

Doc of the Dead will make its international premiere and be screened in Toronto as part of the Hot Docs Canadian International Documentary Festival at: 11:59 p.m. on April 26 at Bloor Hot Docs Theatre; 9:30 p.m. on April 27 at Hart House Theatre; and 9:45 p.m. on May 3 at The Royal Cinema.

The strange and sordid tale of The Iron Sheik is told in documentary

Even if you weren't a wrestling fan in the 1980s, you were almost no doubt aware of Hulk Hogan. But "Hulkamania" probably wouldn't have existed if it wasn't for the pivotal role played by Hossein Khosrow Ali Vaziri.

Before you wear your finger nails down too much from the head scratching that will accompany your puzzlement from that name, Vaziri was -- and somehow still is -- better known as The Iron Sheik. And a new documentary illustrates that this man has a story to tell, and the creators have even provided subtitles in case you have difficulty understanding his sometimes broken English.

Vaziri was born poor in Iran in 1942 and became an amateur wrestling champion and a bodyguard to the Shah before, fearing for his life due to the complicated political and social situations in his homeland, he moved to the United States. He was the Amateur Athletic Union Greco-Roman wrestling champion in 1971 and went on to become an assistant coach for two U.S. Olympic teams later that decade.

Professional wrestling legend Vern Gagne invited Vaziri to turn pro, but he was also forced to train other wrestlers, drive trucks from city to city, referee and set up and tear down the ring in addition to grappling. It wasn't easy, but things started taking an upward turn when he adapted the Iron Sheik persona and became a hated heel -- which wasn't difficult considering the Iran hostage crisis of the era and Vaziri's constant insults of the stars and stripes.

Vaziri defeated Bob Backlund, who had held the World Wrestling Federation title for six years, to capture the championship belt. He lost it a short time later to Hogan. "Hulkamania" was born, pro wrestling became a phenomenon, and stars like Vaziri lived like rock stars.

While Vaziri continued to fight on his own, he increased his villain status by teaming up with "Russian" Nikolai Volkoff under the tutelage of manager "Classy" Freddie Blassie. Waving Iranian and Soviet flags, and Volkoff singing the Soviet national anthem before bouts, raised the heat against them and death threats from overzealous fans weren't unheard of.

Things came crashing down in 1987 when Vaziri and "Hacksaw" Jim Duggan were pulled over by New Jersey police, who discovered that they were drinking and high on cocaine, and marijuana and coke was found in the car. But the drugs didn't seem to be the primary concern of WWF president Vince McMahon. He was more upset that the public now knew that these two in-ring enemies were actually friends. The curtain had been removed from the heavily scripted world of pro wrestling.

Vaziri was dropped from the WWF and while he later made a brief comeback with the organization (as Colonel Mustafa) and continued to wrestle wherever he could, his days of Iron Sheik action figures and stardom had passed. The same couldn't be said for his drug and drinking habits.

Vaziri used his "medication" to ease the pain from his many ring injuries and the murder of his oldest daughter, but it also put a huge drain on his finances and relationships with his wife, two remaining daughters and many others.

It's around this point that Toronto twins Page and Jian Magen enter the picture. Their father and Vaziri had been friends in Iran and the boys were big Iron Sheik fans. When they found out how troubled their hero was, they travelled to his home in Atlanta, Ga. to try and help him. It was hard to break through to the stubborn wrestler but, even if they couldn't completely free him from his demons, the two entertainment promoters were able to launch another career for him.

Vaziri became a social media favourite with a variety of YouTube videos and outrageous tweets that have attracted 419,000 Twitter followers. He's become a popular guest on Howard Stern's radio show, makes a variety of personal appearances and even made headlines by appearing at Toronto City Hall to mock Mayor Rob Ford last year.

The next step in re-establishing Vaziri's place in the public's mind is The Sheik, which deserves credit for showing the man's dark side and doesn't just act as a promotional tool even though it was produced by the Magen brothers. A crowd-sourcing campaign raised more than $40,000 for the film, which includes interviews with wrestlers Dwayne "The Rock" Johnson, Jake "The Snake" Roberts, Mick Foley, The Road Warriors, Bret Hart, Koko B. Ware, "King Kong" Bundy, The Nasty Boys, Sunny, Bob Orton, Jimmy "Superfly" Snuka, Hogan and Duggan, as well as managers Brother Love and Jimmy Hart and WWF announcer Jim Ross. Actors Jack Black, Mos Def, Seth Green and Ron Jeremy also make appearances.

While familiarity with pro wrestling from the '80s will give you a good background on The Iron Sheik, I don't think it's necessary to enjoy this film about the up and down life of a man who can, in turns, be hated, appreciated and pitied.

Here's the trailer for The Sheik. 

The Sheik will make its world premiere in Toronto and be screened as part of the Hot Docs Canadian International Documentary Festival at: 9:15 p.m. on April 26 at Bloor Hot Docs Cinema; 4:30 p.m. on April 27 at TIFF Bell Lightbox; and 6:30 p.m. on May 3 at Bloor Hot Docs Cinema.

Love Me goes behind the scenes of international matchmaking services

Love Me opens by asking several men what love is, and it turns out that they think the way to find it is through the mail-order bride business.

This documentary, directed by American Jonathon Narducci, profiles five American men and one Australian from a variety of places and backgrounds who use the international online matchmaking services A Foreign Affair and Elena's Models to find wives from the Ukraine, where there are just 87 men for every 100 women. The major similarity among them is that they've become frustrated and claim they can't find compatible women in their countries. And most of them seem to prefer younger women.

A Foreign Affair has offices around the world and invites men to sign up on its website and then pay to send messages to women in other parts of the world. It also offers "romance tours" to male clients, where they're often outnumbered 10 to one by women at organized social events.

Love Me follows the trials and tribulations, the successes and failures, of these men and the women they fall in love with from a distance and then in person. These guys have spent thousands of dollars to find the woman of their dreams, and it sometimes seems like they're living more in a dream world than the real one.

There are two success stories, where Ukrainian women Vitalina and Inna form a bond with their American suitors and move to the United States and marry them -- hopefully to live happily ever after.

Another man finds the Ukrainians unfriendly and insincere and vows not to use these matchmaking services again. He later says that the experience helped give him a greater appreciation of local women and he ends up involved with one of them.

We're also introduced to A Foreign Affair founder John Adams and former mail-order bride and now Elena's Models owner Elena Petrova. They both seem like decent enough people who believe they're providing valuable and legitimate services that can bring happiness to men and women around the world. But I can't help but feeling that there's an underlying sleaziness to them and their business practices.

The most interesting stories, to me at least, are the relationships that don't go as planned. They show the desperation of the men and portray the women as either manipulative opportunists or confused damsels who maybe aren't sure what they want.

Michael travels from Australia to Kiev to meet Svitlana and her two daughters. He thinks he knows her well from their correspondence and, after seemingly enjoying their time together, he proposes and she accepts. A wedding in Bali is planned, but before that he receives an ominous email from the Ukraine that claims his bride to be is scamming him. The wedding goes ahead anyway, but the marriage isn't consummated and she cuts off communication with him after they return to their respective countries.

Svitlana admits to the camera that she has similar relationships with other men while she decides the best options for herself and her daughters. Michael doesn't give up, however, and returns to Ukraine to find out what's gone wrong. Svitlana says she doesn't love him and that the wedding was a mistake. He asks for his ring back and she walks out the door and out of his life.

Wisconsin farmer Travis falls for a woman just after meeting her in Ukraine, but he has to return to the U.S. and plans to keep the relationship going from a distance. He heads back to Ukraine three months later to ask her to marry him and, while something doesn't seem right, he thinks it will turn out okay. But when men show up to her apartment demanding $4,000 they claim she owes, he gives them the $200 he has with him and heads to the airport without proposing. The romance ends, but her online demands for money don't.

Bobby spent almost $10,000 on sending messages to a beautiful Ukrainian woman and flies there to see her. He's stood up at first and believes he may have been scammed, but meets her a day later. With a translator provided by A Foreign Affair, they talk, but he has doubts that it's the same person he's been communicating with online. But that doesn't stop him from asking her if she wants to move to the U.S. and marry him at that first meeting. Bobby believes that she's agreed and returns home thinking he's engaged.

But responses to the overweight and reclusive Bobby's messages are vague and he gives up hope. She's removed from the A Foreign Affair site because it's unclear if she was legitimate, but he was still out all of that money and went into state of depression and stopped his attempts at online dating before admitting to trying A Foreign Affair one more time. We're shown photos of a beautiful brunette and left with the feeling that he'll be heartbroken again.

Watch the trailer for Love Me. 

Love Me will make its international premiere and be screened in Toronto as part of the Hot Docs Canadian International Documentary Festival at: 9:30 p.m. on April 25 at Scotiabank Theatre; 1 p.m. on April 26 at Scotiabank Theatre; and 7 p.m. on May 2 at Fox Theatre.

Old 97's - Most Messed Up

I've dug the Old 97's since first hearing the Dallas, Texas-formed band's Wreck Your Life album almost 20 years ago. There may have been some minor lulls since then, but not enough to make me lose interest. Still, I wasn't prepared for how consistently excellent the group's new Most Messed Up album is. There may not be a "Victoria" or "Timebomb" ear worm here, but, from start to finish, it's the best Old 97's album yet.

Most Messed Up opens with the almost six-minute "Longer Than You've Been Alive," where guitarist/lead singer informs and entertains while exuberantly chronicling the band's career. And things don't let up from there.

Miller, bassist/vocalist Murry Hammond, guitarist Ken Bethea and drummer Philip Peeples hold little back, musically or lyrically, resulting in a rockin' record with tales of sex, booze and reckless living sprinkled with a handful of F-bombs.

This aura of rock and roll excess is given a distinct air of authenticity by the appearance of Tommy Stinson. This guy's been a member of The Replacements and Guns 'n' Roses, so he knows a thing or two about depravity. The musician joined the quartet while it was recording in Austin, Texas and played guitar on several tracks, adding an extra edge to the proceedings.

Though some of the words are dark, they're shrouded by joyously upbeat and up-tempo tunes that should be a hoot to hear live. Even "This is the Ballad" isn't.

I thought Old 97's showed a strong return to form on its two The Grand Theatre albums, but Most Messed Up illustrates that this group is now at the height of its powers.

Dex Romweber Duo - Images 13

I liked the guitar and drums-pioneering Flat Duo Jets and enjoyed Dex Romweber Duo's three previous albums, but I think I've fallen in love with the new Images 13.

Okay, the cover looks a bit amateurish and is kind of ugly. But beauty is only skin deep and it's the music, not the packaging, that wrapped me in its arms.

Romweber has made a name for himself over the years as a man who knows how to cunningly combine Americana, surf, blues, rockabilly, pop, punk, country and garage rock elements and envelope them all in eerie darkness. He doesn't veer far from the formula here, but, with older sister (and former Let's Active member) Sara providing focused percussive support on the snare drum, he's done it better than he ever has before. And that's saying something for a guitarist/singer who's been a professional musician for more than 25 years.

The album opens with lead single "Roll On," a dark and smouldering blues rocker infused with surf licks that sets the tone for the next 11 songs. "Long Time Coming" offers a bluesy shuffle and you'll hear some '60s pop in “Baby I Know What It’s Like to be Alone” before coming to a happy surprise: a cover of The Who's "So Sad About Us," complete with jangly guitar and an upbeat sound that belies the title and lyrics. Southern Culture on the Skids' Mary Huff contributes vocals to the track, adding to a SCOTS connection established by Images 13 being recorded at Rick Miller's Kudzu Ranch studio in North Carolina.

The foreboding "Prelude in G Minor" is the album's first instrumental, followed directly by "Blackout!," which alternates crashing drums with a "Peter Gunn Theme" vibe but showcases guitar mastery throughout. "Blue Surf" is a frantic surf rocker and the final instrumental is album closer "Weird (Aurora Borealis)," a more experimental number featuring Melissa Swingle (Trailer Bride, The Moaners) on the saw.

The record is rounded out by: "I Don't Want to Listen," where Dex displays some deep, '50s doo-wop crooning; the acoustic but still edgy "Beyond the Moonlight;" the '60s pop-influenced "We'll Be Together Again," which was written by Eddie Cochran's girlfriend Sharon Sheeley after he died in a car accident; and the country-ish "One Sided Love Affair."

Jack White and Exene Cervenka have professed their admiration for Romweber. After hearing Images 13, you probably will, too. This is bound to remain one of my favourite 2014 albums when the end of the year rolls around.

Johnny Cash - Out Among The Stars

The 1980s was probably the least successful decade of Johnny Cash's long and storied career, but his only album from that era in my collection until now -- 1987's Johnny Cash Is Coming To Town -- held up well then and still does. And the only time I saw the man in black perform was in the mid-'80s, and I thought he was great.

So I'm not as surprised as many other people seem to be by the quality of the recently released "lost" Cash album, Out Among The Stars. Its 12 songs, recorded in 1981 and 1984 and originally produced by CBS Records Nashville A&R head Billy Sherrill, are definitely of a high enough grade that they should have been released 30 years ago. But, had they been, there's no way that they would have had the same commercial impact as they have now -- with Out Among The Stars debuting at #3 in the U.S. and #2 in Canada.

Cash parted ways with Columbia Records after 25 years in 1985 and he hadn't had an album chart in the top 100 since 1971. It wasn't until 1994, when he began his association with producer Rick Rubin with the first in the series of American Recordings albums, that he started registering with consumers again.

While Cash may have been largely ignored in the early '80s, he was by no means a has been. And Lost Among The Stars proves it.

"Baby Ride Easy" sits easily alongside the classic duets Cash recorded with his wife June, and she can also be heard on "Don't You Think It's Come Our Time?" Waylon Jennings joins Cash on the Hank Snow hit "I'm Movin' On," which predates their teaming up in The Highwaymen but which would have fit well on one of that group's three LPs.

Cash's familiar speak-singing style adds depth to "She Used To Love Me A Lot," which is on the album twice -- in its original version and as a bonus track produced by Elvis Costello. You should definitely check out the recently created video for the song, made by film director John Hillcoat. While it may not be as moving and powerful as the clip for "Hurt" that was shot shortly before his death in 2003, it packs a punch and vividly captures Cash's legacy.

Cash's penchant for story songs is shown on "I Drove Her Out Of My Mind" and "Tennessee," which features a children's chorus. The playfulness of past hits like "One Piece At A Time" and "Boy Named Sue" shines through on "If I Told You Who It Was," which features a cameo from fellow country legend Minnie Pearl.

And if there was ever any doubt, Cash proves he's equally comfortable in his "Rock and Roll Shoes" as he is writing and singing gospel numbers like "I Came To Believe."

Cash was originally backed on these tracks by some A-list Nashville session musicians, and the restored versions also include contributions from the likes the likes of Marty Stuart on guitar and mandolin, Buddy Miller on guitar, Jerry Douglas on dobro, Sam Bush on mandolin and Carlene Carter on harmony vocals. The musicianship is as solid as you could want and is further proof that this project wasn't just a slap-dash attempt to cash in.

I don't know if John Carter Cash will find any more previously unreleased material of this magnitude in the family archives, but this will suffice if he doesn't. It's always nice to have Cash on hand.