Just a quick one this week. It’s been busy and this is my second attempt to upload after finishing a full draft and seeing everything wiped out 😦

Things have been busy again at ManCave Studio. While it’s not my goal at this point to produce radio-ready recordings, it still hope to produce quality demos that clients (and I) can use to secure shows or realize a fully produced song. As such, I’ve made some enhancements as shown below, which include a better storage system, a new cheap and cheerful set of matched Apex 185B microphones for drum overhead recording (and using the ORTF configuration which I have just learned about), and a spiffy new recording desk which you can see better below, and makes for more ergonomic and airier setting.

 

With that as a preamble, and some recording sessions looming, I will be starting a new series on the blog hopefully next week, and will feature songs already recorded here by other artists pending SOCAN registration. Thanks in advance to the artists for going along!

The blogs will talk about the process of recording, the choice of instruments, some technical details, and production choices. A final mix will of course be included.

So please come back and check it out. Until then, be well!

Thanks to Fraz Milne for that title and the poster above he prepared for our combined show at the Linsmore this past Tuesday for their Indie Music series. I won’t say a lot this week on the blog, as Canadian Thanksgiving preparations are a priority, but there are a few people who deserve a special thanks.

First of all, to Mary Elizabeth Gilbert for her trust in putting this show together (it isn’t the first time either), for her tireless promotion of independent artists and the videos posted below. Thanks as well to the aforementioned Fraz, along with Sal Indigo for agreeing to do this show. Finally, and most certainly not least gratitude to my superb rhythm section, Neil Morris and Chris Bender who worked the whole evening for only modest compensation. Kudos to Sal for having the inspired thought as an experienced busker of putting his case out for tips. It helped a lot!

Hats off too to everyone who made it out and for the nice words after the performance.

Here is a sample of the night from each of us. We must have been loud as the phone that recorded this is a bit overdriven, but still worth a listen.

---

Fraz Milne

---

Sal Indigo

---

Félix and the Cats

 

Our next performance is October 27, 2018, back at the Dock on Queen. The last few shows there were acoustic, but for this next one, we are fully plugged in so it should be rockin’ fun!

Happy Thanksgiving and be well!

In this case, the title of this week’s blog does not refer specifically to the creepy greeting from The Handmaid’s Tale. Rather, it describes how I felt playing last night and earlier in the week for two of my favourite songwriter friends, Michael Sheen Cuddy and Jody Ferrer.

---

Relish Show: September 29, 2018

After a week of working trough the songs, I was as well prepared as could be to do justice to Michael’s challenging yet fun songs, but still felt the pressure to do well, given that many of the song recordings I used to prep were produced by and featured guitar work by the great Tim Bovaconti, which I was hoping to satisfactorily emulate. On top of that, playing with Paul Brennan (drums), and David Macmichael (bass), two players whose taste and ears I massively respect, further drove the need to excel. It did not make things easier when another superlative guitarist, Cam McInnes of Cadre renown walked in and sat a metre away from me. Still, I think I held my own, certainly enjoyed the night, and I’d love to do it again as I’ve learned the material now!

---

Leadfoot Studio Session for Jody Ferrer: September 26, 2019

Recording for Jody Ferrer (Jody and the Friendzone) last Wednesday turned out to be more of a challenge than I expected. Although I had prepared for it, with charts and a mockup recording to work out the riffs, for some reason I could not get through a full song without making a flub somewhere along the line. Hopefully, digital recording magic and patience from engineer Mike at Leadfoot Studio should fix things. We’ll see…

---

Three Guys – One Rhythm Section

Looking for a fun night this coming Tuesday, October 2? Make it down to the Linsmore Tavern for a great evening of original music (and some covers) by friends Fraz Milne and Sal Indigo, and with the Cats and me. As you can see from the poster, drumming and bass will be shared amongst the three acts, ably performed by Chris Bender and Neil Morris respectively. Can’t wait!

Until then, be well!

 

Back in the big smoke now, and the first order of business was Long and McQuade‘s Attic Sale on Friday morning just past. After a 3 hours wait, finally got in and nabbed a used MOTU 8pre eight-channel ADAT preamp to replace the Focusrite OctoPre I had been renting all summer. Officially ready now for 12 simultaneous channels of recording fun!

---

Out and About

Friday night was the occasion to catch some fine music in the clubs and I wasn’t disappointed. First off was Mimi O’Bonsawin‘s excellent set at the Dock on Queen, complete with a preview of her latest video. Mimi and suitcase kicking percussionist and partner Ryan Schurman delivered a catchy and eclectic mix of original songs (and one cover) to a small but enthusiastic crowd, closing off a summer of extensive touring and sightseeing in Northern Ontario.

Next up was the weekly Blues Jam at the Salty Dog, where the Sons of Rhythm were featured. Host Mike Sedgwick sat in with this virtuosos trio, further raising the bar, bit follow-up Sal Indigo did not disappoint. I only regret not being able to stay later but a morning commitment loomed.

---

Nova Scotia Highlights

Those who read last week’s remote blog will know I was travelling in Nova Scotia. Beautiful place and lots to relate, but let me just focus on a few oddities.

First was this guitar shown below made from the type of coal shovel as was employed early last century by miners in Cape Breton. This one, signed by George Jones, is on display at the Miners’ Museum in Glace Bay. By the way, once you visit this place, Merle Travis‘ Sixteen Tons takes on full and concrete meaning.

Another intriguing guitar that I played briefly at Fortress of Louisbourg. The gentleman who allowed me to pick it up explained it was a reproduction of an 18th century guitar. I do not have the expertise to say one way or the other. The guitar was set up with paired strings (like a twelve-string), but without the low E pair. Very Keith Richard!

Finally, not sure if any comment is required regarding the following photograph. This is just outside of North Sydney.

---

Special Gig Alert

I have the great pleasure to be guesting with Michael Cuddy this coming Saturday, September 29, 9:30 PM, at Relish Bar and Grill. I am a big fan on Michael’s songs, and very much want to do them justice.

On top of that, his latest recordings feature guitar work by Tim Bovaconti, who regularly performs with Ron Sexsmith and Burton Cummings, as well as leading his own excellent group. That’s who I am supposed to cover for!

Piling on, the rhythm section is David Macmichael on bass and Paul Brennan on drums (honorary Cats btw!), some of the best and most tasteful musicians I have ever played with.

So I have my work cut out for me but it will be an inspiring challenge. Please come down to see how well I do, but mostly to hear Michael Cuddy’s eclectic and superbly crafted songs!

Looking forward to seeing you on Saturday!

Be well!

Ace blues guitarist and host of the highly successful Friday Night Blues Jam at the Salty Dog Mike Sedgewick recently posted on Facebook some thoughts about musicians’ complaining about poor turnout. It’s worth taking a moment to read what he suggests.

I hate seeing posts from musicians who get angry that people don’t go out to their shows or that the live music scene is dead. I never hold it against anyone who doesn’t make it out and I always try to make a point to thank people that do come out, especially those that I always see at venues who constantly support live music. If you want people to make it out to shows try doing things like:

1. Make it a better experience for the listener. Have an act that gives reason for someone to spend their night/money at a venue. Make it exciting. Have appropriate sound levels! It’s great fun to blast through classic rock covers at rock concert volume but it’s an attack on the senses on people who would otherwise enjoy the music for a longer duration. There’s only so long anyone can handle deafening volume. It’s exhausting. Also, don’t think that because your band can competently get through tired covers or your original material it makes for a good show. If you are on stage disconnected from the audience just going through the motions then what reason do people have to not just stay at home and listen to the radio?

2. Engage the audience. I always make a point on breaks to go around and say hi to strangers or friends at tables and thank them for their patronage. It might seem silly but it makes people know they are appreciated and only serves to make a night more memorable when they can talk to the musicians they see on stage. Be approachable. I always see people walk by and you can tell that they want to talk/say hi so I make sure that I at least acknowledge them and look friendly so they have that opportunity.

3. Realize that the live music scene HAS changed immensely from what it used to be. But it is not dead. Be grateful that it still exists. There are plenty of great local acts who constantly pack venues. Obviously they’re doing something right to consistently draw and I doubt anyone would leave these gigs thinking “oh the live music scene is totally dead now why bother”.

4. Don’t take yourself too seriously and try to have fun. If you’ve been toiling for years to write groundbreaking original material that’s gonna change the world and finally are ready to debut the masterpiece, realize that a lot of people are just out to have a few beers and chat with their friends. The next day they’ll remember the night before as “that was fun to get out and see live music”.

Rant over. That’s just my perspective. I’ve been lucky to have had some grassroots success with some of the things I do and when asked why it works I can only guess that the above points have something to do with it. Also I’m sure some great musicians who I respect a ton may have issue with some of these points and would love to hear any feedback as to what I’m missing or got wrong.

At the time of this post being written, there were 60 comments following his “rant”, and all positive. Mike just may be on to something!

Happy reading and be well!

The first item in this week’s episode will be a distillation of some thoughts on tipping the band. It’s driven by the experience of nine months at the ABC for my songwriters’ circle, which improved tips considerably.

I apologize in advance if this comes off as ranty and cra$$. I hope you can see it as a way to support all performers who too often pay-to-play. There is a considerable investment in time, talent and hard costs involved in performing (yup, we chose to do this, and we do enjoy playing, but for free?), but more importantly an entertainment service is provided. After all, people pay for many other enjoyable things, so why not live music?

The fact that some people will walk out of a club where live music is performed without dropping anything in the tip jar is more likely due to misunderstanding (and a bit of thoughtlessness occasionally) about how the music scene in clubs now operates.

Let me lay it out for you (musician readers will know this already, but you may choose to inform your attendees at shows).

Payment for live bands/artists generally falls into the following categories.

1. The club pays the band a full wage for the show. This was common when I started playing in clubs in the 70s, when the Union set scale and agencies handled most bookings, but is essentially no longer happening in smaller venues, or even larger ones, which brings us to…
2. The club may pay a base honorarium, often far less than minimum wage. This is the reality of budgetary constraints for clubs due to competition and heavy overhead costs. Therefore, artists must either…
3. …charge a cover at the door. While this is fine for people who have come to see the band, some clubs are restaurants also, and those customers are not there for the band, just a meal which can get awkward.
4. …collect a small percentage of bar revenues during the performance, usually 10%. This is a safe compromise.
5. …pass the tip jar. Sometimes, that’s the only option.

The challenge for the audience, even knowledgeable musicians attending a show, is that it can be hard to tell which scenario is in play. That’s why I always try to make it unambiguous for everyone when I perform.

The safest bet for attendees is to think of live musicians like bar and restaurant servers: if you enjoyed the show in any way, leave a tip, just as you would after a meal or a few drinks. Adjust accordingly to your level of enjoyment. Really disliked the music or weren’t there for entertainment anyway? Then $0 is fine, your call.

Finally, if have no cash for the tip jar, try this: leave a slightly larger tip on the payment machine, and ask the server to pass on whatever amount you choose to the band. Worth a shot, right?

Rant over.

---

Show Report

The band had a blast last night at Relish! Thanks go out to Joanne Clayton for giving a slot once again, the entire staff for making us feel welcome, and to the audience for such a great response.

Thanks as well to Meghan Eleftherios for pictures and videos, one of which is below and features the tail end of Movin’ and Shakin’ the World.

Rumour has it Meghan (aka Bonnie Memphis) may be performing at Tony Oldland‘s Acoustic Open Mic at The Beach House this coming Wednesday, possibly backed by FatCats drummer and birthday boy today Chris Bender!

Our next show is October 2 at the Linsmore as part of a special “Chris and NeMo back everybody” night with Sal Indigo and Fraz Milne. I may be also playing another unusual show in September…more on that as the plot thickens.

Until then, be well!

This completes this short series of bilingual posts. However, I’m expecting it may happen again from time to time, subject dependent.

---

Lac Pelletier

Nous voici enfin à l’épisode final de ce trio de blogs. Pendant ma visite récente au Témiscouata, j’ai rencontré des cousines, deux étant filles de mon oncle Georges et ma tante Georgette. Ils vivent tous prêt du domaine parental, à quelques kilomètres du village de Packington, autour d’un petit lac artificiel que mon oncle avait créé il y a bien longtemps. Voici un panorama des environs. La maison fut le point rassemblement pour de nombreuses soirées canadiennes, et un petit musée d’instruments de musique que j’ai toujours trouvé fascinants.

---

Lake Pelletier

While in Témiscouata a few weeks ago, I spent some time with a few cousins, two of which are daughters of my uncle Georges and aunt Georgette. They live just outside of the village of Packington, and very near and artificial lake my uncle created long ago by damming up a creek than ran through the property. A panoramic photo is included above. The house was the site of many happy kitchen parties and a bit of a musical instrument museum, which I think led to a lifelong fascination.

---

Quick Birthday Shoutout

Last Thursday was Gary Edward Allen‘s birthday, and he celebrated at Legends Sports Bar, at the open mic he hosts every week. A lot of regulars showed up, and at least one surprise with friend Gavin O’Sullivan (on the right) coming in from Hamilton to further liven up the evening. I think everyone had a good time. Gary along with all the other musicians in town who host open mics do a great service to the community where gigs are hard to come by. Happy Birthday, Gary!

---

Gig Alert  

This bunch of Cats are at Relish Bar and Grill on Saturday, September 8, 2018 for a fun evening of catchy and quirky songs. It will be our first show there with newly minted Cat Chris Bender. Things kick off at 9:30. Come for the food, stay for the music!

Looking forward to the show and seeing you there!

Be well!

 

This continues a short series of bilingual posts, which makes sense given the context.

---

Tel que mentionné dans mon plus récent blog, j’ai rendu visite à mon père à Rivière-du-Loup, où il habite depuis un peu plus d’un an. C’est là d’ailleurs où j’ai trouvé la guitare décrite dans le blog du 30 juillet 2017.

Cette fois ci, pendant mon temps libre, j’ai exploré RDL un peu plus et découvert un jolie microbrasserie, Aux Fous Brassants, et dégusté leur produit. Par pur hasard, j’ai fait la connaissance de Keven Lemieux, un musicien local, et on a jasé un peu des défis que pose essayer de trouver des gigs. Keven a partagé avec moi que les musiciens de RDL avaient formé un organisme coopératif, Rainbow Submarine, pour développer les opportunités artistiques dans la région. Voici comment le groupe décrit sa mission, et qui se manifeste par des show de cuisine, des concerts spéciaux et des soirées musicales dans les clubs, tel qu’Aux Fous Brassants.

Rainbow Submarine est un organisme de diffusion alternatif, ayant pour mission d’offrir une scène à Rivière-du-Loup aux projets musicaux québécois et émergents sous plusieurs formules alternatives : alternatives dans le lieu, la structure du spectacle, son accessibilité, ou encore sa mise en scène. Notre objectif premier est de faciliter l’accès à cette culture émergente en mettant sur pied des événements rassembleurs, multidisciplinaires et uniques, afin dans un second temps d’offrir une fenêtre sur l’importance de ces projets, sur le besoin de les soutenir et sur les retombées qu’ils provoquent dans le monde culturel québécois.

Suivant cette rencontre révélatrice et encourageante, j’ai pris une belle marche à l’hôtel que je partage avec vous ci-dessous.

This slideshow requires JavaScript.

---

As written in last week’s blog, I was recently in Rivière-du Loup, Québec to visit my dad who has been living there for just over a year. That is the town where I found and purchased the Dano Pro I described in my July 30, 2017 blog.

No new purchases this year, but during some free time, I wandered around and chanced upon a great microbrewery called Aux Fous Brassants where I started chatting over the delightful home brewed product with Keven Lemieux, a local musician. We commiserated over the challenges posed in finding gigs, whereupon he shared with me that in RDL, ever-resourceful local artists have founded a cooperative group called Rainbow Submarine whose aim is to develop performance opportunities. What follows is a rough translation of their of their goals, made manifest through house concerts, special concerts and club dates at venues like Aux Fous Brassants.

Rainbow Submarine is an alternative promotion organization, whose mission is to offer a scene in Rivière-du-Loup to up-and-coming Québecois artists and groups through several alternative formulas: alternative venues, show structures, accessibility, or staging. Our main objective is to facilitate access to this emerging culture by bringing together and showcasing multidisciplinary and unique events, and highlighting the importance of these projects, the need to support them and the impact they have on Québec’s cultural world.

Buoyed by this encouraging news, I enjoyed a lovely walk back to my hotel, aspects of which I share with you below.

This slideshow requires JavaScript.

---

Next week will be the final instalment of this mini-series.

Until then, be well!

This will be another rare but worthwhile bilingual post, and part of a short series. You’ll understand why shortly. 

---

In memoriam

C’est avec regret que j’ai appris que mon cousin Phillippe Pelletier est décédé au début d’août, à l’âge de 79 ans. Né d’une GRANDE famille musicale et étroitement liée, Phillippe sera toujours un des plus mémorables de mes cousins. Même si la distance nous séparait et mes visites étaient rares, j’ai de bons souvenirs de lui pendant mes visites estivales chez mon oncle Georges et ma tante Georgette, dont j’ai écrit dans un blog antérieur. C’est cette famille sans aucun doute qui m’a donné le goût de la musique, et pour ça j’en serai toujours reconnaissant.

Je reviens d’une visite au Témiscouata avec mon père et on a eu la bonne fortune de nous retrouver à une cantine au lac Jerry (aussi référé dans le blog lié ci-haut) pour un lunch entre deux visites parentales. Il se trouve aussi que Phillippe y avait sa maison aussi. Le hasard fait bien les choses.

Phillippe était bien reconnu pour ses talents de violoneux, et en hommage à ce qui le rendait toujours heureux, le voici qui joue le reel du lac, accompagné par Gaétan Lavoie à la guitare et Jacqueline Pelletier au clavier.

---

In memoriam

It’s with sadness that I recently heard that my cousin Phillippe Pelletier passed away in early August, aged 79. Phillippe will remain one of my most impressive cousins—and there are a lot of them! Despite the distance and the rare visits, he holds a special place for me and I have fond memories of him when visiting my uncle Georges et my aunt Georgette’s LARGE, tightly knit and musical family during summer holidays as a kid, and which I wrote of in an earlier blog. This is the family and household that awoke in me a lifelong passion for music, and for that I will be forever grateful.

I have just returned from Témiscouata for a family visit along with my dad, and as luck would have it, we found ourselves at a snack bar at lac Jerry (also mentioned in the aforementioned blog linked above) for a quick lunch. It was there also that Phillippe lived.

Phillippe loved playing the fiddle, and his home by the lake. In recognition of that, here he is playing the Reel du lac, accompanied by Gaétan Lavoie on guitar and Jacqueline Pelletier on keyboard.

---

Keep your family close and be well!