80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Colony Three/Brian Dickson

(c) Brian Dickson

I’ve had the enormous pleasure of being introduced to the delightful electronic music of Brian Dickson, a.k.a. Colony Three. I was asked to review a collection of 10 tracks titled ErgosphereWikipedia defines the word ergosphere as “…a region located outside a rotating black hole’s outer event horizon. Its name was proposed by Remo Ruffini and John Archibald Wheeler during the Les Houches lectures in 1971 and is derived from the Greek word ergon, which means ‘work.’”

This listening experience allowed me to take a remarkable journey that I look forward to revisiting time and time again; I know that I will hear more and experience different sensations with each opportunity.

The first five tracks lull us as listeners into a sense of peace and well-being—a journey that is both pleasant and without a hint of danger. Suddenly, with the opening strains of “Bad Gram,” the mood changes and we are thrust into a metropolis of sights and sounds that are both confusing and terrifying. As the music gathers steam, we are subjected to the aural awakening of the “fight or flight” instinct.

“Random Sparks” brings us back to a safe haven, giving us hope that there will be no other dangerous interludes until we reach the conclusion of our travels. But, just as suddenly as we feel that sense of calm, we are reminded by the dire melodies in “Collider” that the dangers we face are still all too real.

In the end, the pace of the excursion slows down, the dangers melt away, and again we begin to feel that perhaps this odyssey will have a positive completion after all. “Winds of Elysium Planitia” puts me in mind of The Man Who Fell To Earth when we are given glimpses of Thomas Jerome Newton’s suffering family back on his native planet. The final track, similar in scope by looking back on the previous tracks, evoke feelings of  both relief and sadness—relief that the trip is over and we are still breathing, and sadness, because of a nagging feeling that the world will somehow be forever different.

I am so pleased to have had a chance to interview Brian Dickson to provide some first-hand insight into the origins of this lush collection’s creation. I hope you will enjoy reading what I learned about this man and what he has to say about his exquisite music.

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MissParker: I can sit here and list all of the influences that I hear in this brilliant music—from Brian Eno to Gary Numan to Underworld to Jean-Michel Jarre…but my opinions would be irrelevant. Let’s hear it from you–who are your influences and why?
BD: I’d say my biggest influencers are Tangerine Dream and Jean-Michel Jarre. In the early 80s I lived in a very remote northern town so my exposure to music was mostly through the one local radio station that played top 40 pop and country music. One day, I was digging through my older brother’s stuff and came across a cassette of Force Majeure, and listening to it was a life-changing epiphany. I’d never had an emotional response to music until hearing this. It wasn’t the harsh “bleeps & bloops” synthesizers that I’d heard in so many b-movies and radio shows, but instead an incredible audio landscape that took me on a fantastical journey. I became obsessed with finding more music like this and pretty much anything that pushed boundaries.

Thanks to radio shows like CBC’s “Brave New Waves” with Brent Bambury and CFNY (under the tenure of David Marsden), a whole new world of musical influence was made possible. Listening to bootleg cassette copies of CFNY played a large part in me moving to Toronto.

MissParker: I’m terrified of flying, but I do it out of necessity. Listening to “Approach” made me smile because it actually reminds me of the airplane’s approach to the runway for a landing. What is the true meaning behind that song?
BD: First, I love hearing about how you interpreted this song as it was always a dream of mine to create something that sparks the listeners’ imagination.

Certain sounds or songs create a type of visualization for me.  When composing, I often start with a single sound and build on it, twisting and overlaying a few other sounds. At some point a scene forms in my mind and I often end up naming the track whatever was in this imaginary scene. In this case I had come up with the album name “Ergosphere” and thought it fitting that this song would be the approach into the Ergosphere and beyond.

MissParker: “Indifference Waves” has a lovely build-up to the brief spoken word segment. It puts me in mind of Gary Numan when he was

(c) Brian Dickson

experimenting with techno in the 90s and ended up keeping it as his signature sound. Then it takes off into a fabulous confluence of electronics and raw drumbeat. I love that combination. What inspired it?
BD: “Indifference Waves” was born of a sample from a 1964 episode of Danger Man in which John Drake (played by the outstanding Patrick McGoohan) finds himself in a surreal village called Colony Three. Many speculate that this episode was the precursor to the iconic science-fiction series The Prisoner which finds McGoohan imprisoned in a mysterious village where everyone is known only as a number.

“Indifference” describes my interpretation of The Prisoner, which is the importance of questioning the status quo. I’m finding that naming the songs is almost as much fun as making them!

MissParker: There seem to be very brief, if any, breaks between most of the tracks. Was this collection meant to flow like a single soundtrack, or are the songs meant to stand on their own?
BD: Some of Ergosphere was composed with no gaps between the tracks, but I’ve found that some streaming platforms or audio playback software inject small breaks between songs. Spotify seems to play the album “gapless” while others are hit and miss. I’ve noted that artists like Jean-Michel Jarre now release large single track “continuous play” version of their albums to avoid this issue. I personally love continuous play albums as they seem keep the listener’s imagination and mood flowing throughout.

MissParker: I played a lot of Jean-Michel Jarre in the late 90s early 00s when I was a corporate trainer. I used his music specifically to soothe my classes while they were testing on the stuff that I’d taught them. I hear some of his influence in “Flight to Tadoule.” What is your take on Jarre’s music? Did he inspire you to create your own version of electronica and how?
BD: Jean Michel-Jarre is influential on almost everything I produce. In my opinion, Jarre has found the precise balance of classical composure and technology. His bold approach to musical and performance experimentation is inspirational. I was fortunate enough to go to Jarre’s amazing 2017 performance in Toronto and it was better than I could’ve ever imagined.

Jarre inspired me to start simple and build on it. If I ever got the chance to speak with Jarre, I always imagine that his advice would be “There’s no wrong way to do it.” Sometimes when working on a track I will literally ask myself, “What would Jarre do at this point?” which always seems to get me past the block.

MissParker: “Clearwater” has a remarkable intro that flows seamlessly from the close of “Flight to Tadoule.” It reminds me of a DJ making the perfect segue between songs during a radio broadcast. Were the two songs created in tandem purposely?
BD: Unbeknownst to everyone (until now) “Clearwater” and “Flight to Tadoule” were composed in memory of my mother and father. My mother lived her final years in Clearwater, a scenic town in the interior of British Columbia, Canada. Her last years there were the happiest of her life and it was always a pleasure to see her so happy there. One of my fondest memories of my father was when he took me on a flight in a Cessna to a very remote northern community called Tadoule Lake. I felt it fitting to have these songs sound very different on their own but also be somewhat connected.

MissParker: Up until “Bad Gram,” the songs seem to have a laid back and dreamy quality to them. Then all of a sudden we’re thrown into a random foot chase with pursuers hot on our heels. The urgency carries over into “Influence,” although not as intense. What brings on this change of mood?
BD: I really enjoy your interpretation of “Bad Gram,” and I think I hit the mark on this one! As the song was being composed, I started imagining a scene from a Michael Mann movie, like some of the amazing instrumentals that Jan Hammer had done for Miami Vice. After the lulling jazz-bar sounds of “Daydream on Pacific Avenue” I wanted to create an unexpected spike of adrenaline for the listener to snap them back to the rest of the album.

MissParker: I mentioned in the introduction how some of this collection reminded me of David Bowie in “The Man Who Fell To Earth.” My only complaint about the film is that 45 years later, the soundtrack (which Bowie did NOT compose) presents as a bit “cheesy.” Your music on Ergosphere, however, is as timeless as space itself. That said, did you have a “movie” playing in your head when you created these tracks?
BD: That is another really big compliment on many levels! I didn’t set out with a movie in mind for the overall album, and I think the timeless aspect is a result of a personal preference I have for simplicity in both the composure and instruments being used. My good friend Rob Stuart (of SLAVE to the SQUAREwave) and I discuss this philosophy at length, that so many of the timeless classics were created using equipment that was greatly limited by today’s standards. I believe these limits are what ultimately demanded the most creativity and best performances from the artists at the time. I used to think that because I had a 16-track recorder, I needed to make use of them all. (Maybe to get my money’s worth?) Now, my studio has the ability to mix and record over 1,000 tracks, but I generally use 10 tracks for most songs, which encourages me to focus on melody and dynamics.

(c) Brian Dickson

MissParker: Is all of the writing and production solely yours, or do you have people that you collaborate with?
BD: For my first album, I made a conscious decision to go it alone as I ultimately wanted to own the outcome and find my own groove, so to speak. I did the writing and recording over the course of a few months. While the composing and recording was the fun and easy part, I was really struggling when it came time to master the album. Mastering is the final step in the process where the entire album is stitched-together and balanced for harmonics and volume levels. I’m thankful for being able to lean on Rob Stuart for advice during this journey as he has decades of experience in music composure and production. These great conversations turned have led to Rob and I collaborating on some new tracks.

It’s early days but we are both really excited about the outcomes and are looking forward to sharing them.

MissParker: Do you perform live? If so, where can people have the pleasure of being enveloped by your music in a live performance?
BD: I haven’t spent the time yet to research live performance in this genre…I’ve simply been having too much fun creating the music! I think my gateway into live performance would be through that previously mentioned collaboration. It would be the experience of a lifetime no matter what the venue.

Missparker: Where can people sample and ultimately purchase your music?
BD: For the latest information about Colony Three and to sample new music in the making, visit:

Instagram (@colony_three)
Facebook page (https://www.facebook.com/ColonyThree/ )

Colony Three music is available on all of the major streaming and download services including Amazon, Spotify, Apple Music, Google Play, and YouTube:

Missparker: Thank you so much for taking the time to share your music and your thoughts with us.
BD: Thank you for your support and for such a thought-provoking and fun interview experience!

I love your site and what you’re doing for all artists both new and established!

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80s Music Rules ~ Criminally Underrated Artists/ Bands ~ Rob Stuart is Back with Electronic Dream Factory (EDF)

Excellent music never dies; sometimes it just goes away for a while. And, like a treasured loved one, its return evokes strong emotions of joy, relief, and a reconnection with the universe. That’s what’s happening here, folks. And, I am delighted to be the bearer of the fantastic news.

Rob Stuart first graced Rave and Roll’s pages exclusively as a featured artist back in November 2009. Earlier that year, I had published an article about his Toronto-based band SLAVE to the SQUAREwave, followed by a review of their then-latest smashing release, The Money Shot. Earlier this year (Feb. 2014, to be exact), I was privileged to announce Slave’s return with a jaw-dropping, in-your-face collection of tunes called Asphalt, Sex & Rock ‘N’ Roll. Now, I am thrilled to deliver the trifecta: Rob Stuart’s long-awaited re-emergence featuring an entire catalog of synthesizer-driven musical goodness from his band, Electronic Dream Factory (E.D.F).

Rob agreed to be interviewed so that I can share with you all a little bit about the beginnings of E.D.F., its evolution, the inspiration for the music, and the reason for the decision to re-release the catalog.

When did E.D.F. make its debut in the world?

EDF studios circa 1983

EDF studios circa 1983

Originally E.D.F was and still is the name of my home recording studio. I stole the name from a small British synthesizer company called Electronic Dream Plant which built a very cool monophonic synthesizer called “The Wasp.” My earliest recollection of my first home studio was back in 1981. I decided very early on in my “music career” that rather than pay other people to record in their studios, that I would just build my own and teach myself how to record, engineer and mix.

I was only sixteen back then and gear was incredibly expensive, so my first studio was nothing fancy. I would work three summer jobs to save up enough money to buy studio gear. I still remember purchasing the first real synth I ever owned, a Korg MS-20 for $595.00 at Steve’s Music Store in Toronto. I was so proud walking home with that synth tucked under my arm that day. It was once I started writing original music when I decided Electronic Dream Factory would also serve as a good band name.

Who were the original band members?

Greg Fraser, Rob Stuart, Rob Tennant (1992)

Greg Fraser, Rob Stuart, Rob Tennant (1992)

There have been many incarnations of the “band”version of E.D.F. Version 1.0 is me alone as a solo artist . Long time friend/musician/ artist, Greg Fraser was the first person to become an official member. Our first full-length self-titled album was just Greg and myself. Version 2.0 included Rob Tennant, who was the live drummer.

We soon added Maxx on guitar. Version 3.0 included Emerich Donath on stick bass and Rude Van Steenes on electronic percussion and vocals. I knew Rude back from the Vis-A-Vis days as I was an original member of that band .

EDF Version 3.0

EDF Version 3.0

Why synthesizers and electronica vs. guitars and…?

I’ve always been a synthesizer nut. Ever since I first heard early synth-based music like Tangerine Dream, Kraftwerk, Pink Floyd, Jean Michel Jarre, Vangelis, Throbbing Gristle, David Bowie, Brian Eno, Gary Numan, John Foxx, and early Human League, I knew I wanted to get into synthesizers.

First of all, they looked so cool and they could make sounds that you’d never heard before. That was really the appeal to me. I would spend hours messing around with my MS-20, plugging in cables, twiddling all the knobs, to come up with unique and different sounds. I’ve never been a person who is comfortable jamming in a rehearsal studio or in a band situation, which is why I don’t really consider myself a musician. I still don’t play that well, but writing, recording, and producing came fairly naturally to me. Writing music always was and still is a personal journey for me, so when MIDI came along it allowed me to create all parts of the music by myself, which I thrived on.

Having said that, I’ve always been a guitar fan, so when I couldn’t fake a guitar part by myself or find the right guitar sample I’d have to bring in a guitar player. Of course nothing can replace the thundering sound and look of a live guitar player on stage. That’s where Maxx came in. He was a cool-looking dude with a great head of hair and a killer guitar sound which added to the live element and gave the studio recordings a little extra grit.

Was E.D.F. mainly a studio band, stage band, or both?

I’ve always been a studio guy, but you have no choice but to play live if you want to promote your product seriously. It’s a great feeling playing your own music live with 3 or 4 other people on stage with the lights, smoke, and (hopefully) crowds of people in the audience grooving to your tunes; however, I also derive immense pleasure spending hours in my studio just writing or playing music by myself.

That’s were the “other” side of E.D.F comes from, as I also record and release ambient, chill out, new age music which I never intend to play live. Our finest moment was playing at Pine Knob in Detroit, Michigan in front of 10, 000 people for a big end-of-summer music festival.

What or who inspired the music?

The “who” is endless. See all the bands named earlier. Inspiration can come from anything, really. It could be a unique industrial sample, synth patch, drum and bass groove or simply a nice chord progression. It’s piecing all of those elements together that makes it fun and challenging.

Did E.D.F. originally get the airplay it deserved, and if so, by whom?

The first E.D.F release was actually a cassette-only; but, believe it or not, we used to get airplay on the radio. CFNY 102.1 in Toronto was the first station to play our music. That station was a huge supporter of local independent music, led of course by the one and only David Marsden who still plays my music to this day on his new station http://www.nythespirit.com. With open-minded people like David and the good folk at CFNY, the song “So, What of Tomorrow” ended up being a winner on a CFNY talent search contest and was released on a compilation CD, which to us at the time was unbelievable.

Other places that would play our music would be University radio stations like CIUT (University of Toronto), CKMS-FM in Waterloo, and CKLN (Ryerson University) who were always great supporters of ours. Local DJs like Ronno Box and Craig Beesack would play us at clubs like Catch 22 and local promoter Billy X was also an early supporter of E.D.F

What’s it like to translate a concept in your head into music that you share with the rest of the world?

It’s fun at first, but it can quickly become frustrating when the business aspect kicks in. I won’t even talk about the music business these days as no one has a clue what’s going on; but back in the early 90s there were still labels you could shop your product around to. For our first album we had some interest from TVT Records which had just signed Nine Inch Nails. For the second album, “Drama Dream” we signed a deal with a label in Montreal, which went bad. For the album “Number 3” I had a distribution deal with Toronto’s The Record Peddler. Financially that was probably the most success I had with an EDF album as they managed to get distribution deals in quite a few different territories worldwide.

What made you decide to resurrect EDF?

One word: “Tunecore.”

Tunecore is a great service that distributes your music around the world to digital music stores and streaming stations. It’s really cheap and allows you to keep 100% of the earnings. They really do get the music out all over the world! E.D.F had a pretty strong following in its heyday, especially in Europe.

As I mentioned above, the album “Number 3” was released and distributed internationally by The Record Peddler. I used to get royalty cheques from airplay I received from places like Germany, Belgium, Sweden, Norway and many other countries. Over the past few years I decided to post some old E.D.F videos on YouTube and found that people were actually looking for the old releases. It seemed like a perfect opportunity to re-master and re-release the whole collection in a new package.

Hence “Industrial Catalogue:” All four E.D.F albums in one, 64 songs in total, reasonably priced at $8.99. I did the same with my ambient/chillout/down-tempo E.D.F music, as well. Four albums in one package under the title ˜Noise Control” with 60 Songs in total.

Are there plans for live shows, and if so, where?

At this point, definitely not. SLAVE to the SQUAREwave takes up all of my spare time with live performances and recording. The last time E.D.F played live was at a rave in the middle of a farmer’s field in Oakville, a suburb of Toronto. This was actually where I met Colin Troy from S2TSW, as we were both playing at the rave that night. I was performing my more “techno” E.D.F material while Colin was doing his Smokin’ Jehovah project, which was a mix of middle eastern music and house. Really cool stuff. We chatted through the night about our love for Bowie, Roxy Music, and electronic dance music. We became instant friends and SLAVE to the SQUAREwave was born.

Do you have any examples of E.D.F. music online that people can preview?

Here’s some of my ambient/chill-out music taken from “Noise Control”:

Will the entire catalog be available for purchase? Where?

“Industrial Catalogue” is available via Amazonmp3.

Picture-#-4.-EDF-Industrial

 

 

 

 

 

“Noise Control (Vols 1 to 4)” is available via Amazonmp3.

Picture-#-5.-EDF-Noise-Cont

 

 

 

 

 

Both albums are also on Spotify, Rdio, Shazam, iTunes, Google play, Wimp, Deezer, beats music and many, many more on-line stores.

Can folks buy single tracks?

Yup! Single tracks are the standard 99 cents.

Will this inspire you to go back into the studio and create new E.D.F. tracks?

E.D.F has never really stopped. It’s just come in many different shapes and forms over the past 32 years and will continue to evolve. I’m getting more and more into the chill-out/ambient stuff as I get older, so you can most likely expect some more music in that vein.

What’s next?

I’m considering releasing some music by a duo group I was in back in the mid 80s called “silent GREEN.” It was an ambient project where the music was ad-libbed and recorded live. I played synthesizer while Bruce Bentley played “ambient” guitar. Bruce and I also had a synthpop band called “Ear Candy,” which was another CFNY-supported band. Tragically, Bruce passed away last year, so I’m thinking of releasing it in his memory. Some of that music is pretty magical.

Thanks so much!

Thanks for your support. I love what you do. You don’t know how important things like this are to a band/artist. You’re really doing a great thing here and it is most appreciated. XOXO

80s Music (and sometimes 10s) Rules—Slave To The SQUAREwave Returns!

ASRR---CARAfter a long hiatus full of whispered rumors hinting at disbanding, retirement, everything Slave to the SQUAREwave fans absolutely did NOT want to hear, something very exciting has happened—a new album release and a hot party at the Hard Rock in Toronto on February 28, 2014 hosted by David Marsden. That sound you hear is the collective thud of gob-smacked jaws hitting the floor—hallelujah and praise the music gods!

The album—Asphalt, Sex and Rock ‘n’Roll—where to start? These Slave-starved ears were ecstatic with the long-awaited product of a flawless, long-standing, and highly successful collaboration between Rob Stuart and Colin Troy. If ever a duo were destined to create beautiful music together, this is it, folks. The result of long hours in the studio is a perfect, fun-filled collection of music that will both kick your ass and caress your soul.

What should you expect? Here’s my humble attempt to describe the pleasure trip this album delivers to its listeners. Strap yourself in, slide your headset on, and prepare to rumble—this is way better than the best road trip you’ve ever had in the mightiest muscle car.

If asked to describe the opening track Middle Finger in one word, “funkalicious” is the closest adjective that does it any justice.  It’s a combination of Max Headroom (without the stutter) meets the Funkateers that is the perfect warm-up for what’s in store along this welcome journey. Alive and Electric (Dedicated to Jodi) presents swelling synths and superb harmonies; it’s a truly pleasing blend of keys and strings that picks up speed and takes on a life of its own.S2TSW-Poster-01

Next up is Texan Thugs and Rock ‘n’ Roll, a play on words rife with fast cars, a thrumming beat, and tough-guy lyrics. Who could ask for anything more? Then, wafting through the headset is a slightly off-kilter intro to The Big South that lures the listener into a poetic bop-fest of beat-driven goodness.

Not for the faint of heart, Zombie charges off the starting line in a sheer frenzy. Anyone who can sit still while listening to the exceptional synths and snarling vocals of this party-in-your-ear track needs to check for a pulse because they just may well be a zombie. Then, when you think you have a handle on what’s feeding into your brain, the Dr. Who-esque intro of Poor Man’s Fight draws you smack-dab into the middle of the fray, while trippy, fun lyrics bind you up and hold you captive.

Who wouldn’t wish for a Seven Day Saturday Night? Here it is handed to you on a silver platter—the penultimate weekend escape, complete with kick-ass strings that transport you straight into the party-hearty environment that you crave. From there, the bass-heavy opening of Bump promises—and delivers—heart-stopping percussive goodness.

Early Stone Roses anyone? Montreal is another foray into trippy melodies, sexy organ, and seductive piano. After the shameless seduction has left you breathless, you are thrown in front of a revving engine like a beast out of control. Amazing Grace threatens to spin out wildly; miraculously, traction holds you firmly to the road and catapults you along the autobahn of life and love.

SLAVE-to-the-SQUAREwaveThe next track begs for Peace of Mind, but the direct and driven message is that it’s truly an elusive goal. To emphasize that point, Time is Running Out presents a frantic and breathless illustration that time for us is, indeed, running out. Perhaps we should stop and smell the roses?

Casino is a perfectly crafted analogy of love won and lost the hard way. Better luck the next time, baby. You see, everybody gets a little lucky sometimes. Destined to be a favorite, Alive and Electric (Rob’s Analog Electromix) would be ideally at home on any Ultravox collection. The vocals form a faultless partnership with synths that reach down into the soul and infuse a shot of divine life-sustaining energy.

Zombie (Sonix Mix) is a less-frenetic reprise of the un-dead anthem; a different spin on a great, rollicking song. Likewise, Texan Thugs and Rock ‘n’ Roll (Mad Flowers Mix) gives one last and different listen to what makes this collection a no-holds-barred masterpiece.

Slave to the SQUAREwave delivers raw, unbridled musical joy with each and every collaborative piece that they create. Don’t miss out on a chance to experience truly artistic genius at its very best, while Rob and Colin still have the passion to make it happen. And, if you are lucky enough to be in the greater Toronto area whenever the sun, moon and stars align in perfect combination, be sure to see the dynamic duo Rob Stuart and Colin Troy, along with supporting band members Doug Lea and Craig Moffitt, for a live performance.  It’s definitely on my bucket list.ASRR---Reel-to-Reel

A very limited supply of 200 Asphalt, Sex and Rock ‘n’Roll CDs will be available at the release gig at the Hard Rock Café (279 Yonge St, Toronto ON) gig on Feb 28, 2014. After that, an “Expanded Edition” will be added, which includes these outstanding bonus tracks: “India”, “Stereo Orthophonic High Fidelity Victrolis (SOHFV),” and “Alive & Electric (Kernel Chiptune Mix).” Also, for the first time, S2TSW are making The Money Shot (another absolute personal fave) available with all bonus tracks. Both albums are for sale starting Feb. 28, 2014 at the locations shown below.

Tunecore-Release-Availabili

80s (and sometimes 00s) Music Rules ~ Criminally Underrated Artists/Bands ~ Tim Langan

Time to meet a wonderful current artist who would have been vital in my favorite musical decade, as he is today. Tim Langan has a very full and impressive musical resume. He gave me the opportunity recently to get to know him and I’d like to share the experience with you. Be sure to take the time to check out Tim’s music on YouTube, as well as the various websites posted at the end of the interview.

Tim_bass_3Tell us about who or what (or both!) has influenced your music.

From the time I was very young, I have known that I wanted to be a musician. My very early experiences in grade 1 involved singing the National Anthem first thing in the morning.

My mother likes to recount a story of being called in to the school by the principle and being told that I had a very good voice and they were recommending that I be sent to a choir school, as they felt that I had a sense for music inside me. She and my father decided that I was a little bit too young to be travelling downtown on the subway every day for school, so they decided instead to get me involved in piano lessons.

What is your first significant musical memory?

The singing of the National Anthem was one of the very first things that I remember about my discoveries in music; however, there were a few other things that were to come that also stick out in my mind.

I was the youngest in my family. My 3 older brothers liked music a lot. They were between 11 and 16 years older than me. I remember for my eleventh birthday getting 2 vinyl records. One was Elton John’s Greatest Hits and the other was Paul McCartney’s Band On The Run. I was hooked. I also enjoyed sports as a kid and used to spend hours hitting a tennis ball against our garage door. My brother had a Volkswagen beetle with an 8-track player in it and I remember specifically listening to Jeff Beck’s “Wired” over and over again while smashing the tennis ball off of the garage door. I must have listened to that album 1000 times as a kid and still enjoy giving it a listen today.

CD CollageHow soon after that did you decide that’s what you wanted to do?

I have almost always had a sense of wanting to be a musician from a very, very young age. It has always seemed like the natural and obvious thing for me to do.

In fact, I have tried to make it “go away” on several occasions, but it just won’t seem to leave me alone.

What was your first group/band and what part did you play?

My first performance with a band was in grade 8 when I performed with 2 friends at our grade school. We played 3 songs together. I believe we opened with Elton John’s “Rocket Man” with myself playing piano with drum and guitar accompaniment. Then I switched over to bass guitar duties and we performed Edgar Winter’s “Free Ride” and Led Zeppelin’s “Stairway To Heaven” – I don’t recall whether any of us wanted to actually sing these songs, so we may have played them as instrumentals. I find it amusing that this still seems to be a trend for me in my own writing, as the vast majority of the music that I am involved with, somehow seems to bypass the urge to add vocal to the song.

The name of this band was “Jupiter” and my next door neighbor, who was 4 years older than us wanted to be our manager and went out and bought us matching bracelets that had “Jupiter” engraved on them. We used to joke, what could be stupider than calling a band Jupiter?

The drummer in that first group was my lifelong friend Sascha Tukatsch, whom I have had the privilege to write and record with on so many projects over the years, including our high school band, which started as Reign, which would later be released on CD under the name “The Harrison Fjord”

Do you prefer to perform in the studio or live? Why?

Tim_bass_1

I love both. The studio offers the very unique experience of capturing your ideas and how you were feeling at that exact moment for the rest of time. That is very special indeed.

The live experience is also very special, because there is a nervous energy and adrenaline that is created from performing in front of people, with the pressure of wanting to perform perfectly and put on the best show possible for all of the people who have come out to see you play.

What inspires you to write your best music?

This is a difficult question to answer. Inspiration is taken from so many potential sources. Music is also very subjective, so who can really say what is “best?”

My own compositions are so varied in style from one to the next that I have a hard time trying to define what it is that grabs me or guides me in a certain direction. Usually, I am just a conduit that the music flows through. Most of the music that I write happens very quickly, indeed. People, places and events are most often secondary to the writing process. In peak writing times, I just sit down and compose and usually at the end of the day/night I have a finished piece of music, whether it is a short pop ditty or a full orchestral score.

Tim_bass_2What was the best concert you’ve ever attended and what made it so special?

Concerts are a wonderful experience for me. I usually do not attend massive venues, as most of the musicians that I tend to be inspired to watch, are lesser known, virtuoso types of players.

While I have been to may rock shows in large venues, like Supertramp, Fleetwood Mac, The Eagles, Queen, Aerosmith and Rush in the late 1970’s, it is the acts that perform in the smaller venues that I truly cherish.

Performances by Al DiMeola, John McLaughlin & Paco DeLucia with Steve Morse as the opening act, The Pat Metheny Group, Frank Zappa, Weather Report, Return To Forever, Yes, Uzeb, King Crimson, Joe Satriani, Youssou N’Dour, Level 42, Adrian Belew, Marillion, Hugh Marsh, Manteca, Bela Fleck & The Flecktones, Alain Caron, David Sanborn, Marcus Miller, Steve Vai, Victor Wooten, Dream Theater, King’s X, Michael Manring, Fishbone, UK, Zappa Plays Zappa, Tommy Emmanuel, and Porcupine Tree are stand outs in my mind over the years; but probably one of the greatest shows that I ever saw was Andreas Vollenweider and friends on Oct 16, 1989. My reasons for liking this show specifically over all of the others is musicality. The inspiration that I drew from all of these shows is incalculable, but this one Andreas Vollenweider show was indeed something very special.

If you had a “do-over,” what would you do differently?

While I do read and write music, perhaps I would have tried to go to a “music” school to acquire a piece of paper with my name on it, although, I guess it is never too late?

What’s coming up next?

I have been quite busy this year adding my musical voice to many different recording projects. I have recently finished playing bass for a guitarist, singer, songwriter, named John Jamieson. I am hopeful that this CD will be completed and ready for release by the fall.

The Green Rain ProjectAlso, I have recently re-connected with a guitar player friend of mine that I worked with about 20 years ago. Her name is Irene MacKenzie and she is very talented indeed. Irene called me, asking if I would record with her and her son MacKenzie Coburn on a piece of music that she wrote for her Mother, who had passed away from pancreatic cancer 20 years ago, shortly before MacKenzie was born. I had always enjoyed working with Irene and given the music that she and her son were jamming on, I immediately agreed. We initially sent a bunch of ideas back and forth through the sky drive in a common email account over the internet and when we were ready, I drove out to their home studio to record my bass and keyboard parts on the CD.

We are currently in mixing and mastering for this debut CD and I am very anxious to get this one out. The CD will be released under the name “The Green Rain Project” and the disc will be entitled “ToRUTH” – Irene and I have talked a great length at working on many more CD’s together, as the music for this CD came together very quickly.

Another project that I have been recording and performing live with is “Lisa Smith’s Powerhaus” – I had been asked to join this band after Lisa Smith Powerhouse_4they had released their debut CD “Maze Of Souls” and we have been working to put the finishing touches on the band’s second CD – “612” – I am hopeful that this disc will be completed and released later this year. I am confident that this disc will be well received by fans and critics alike, as I feel the writing is very strong within the rock genre.

I have also been recording and performing with The David Bacha Band. This has been quite a long term project for me and I am hopeful that 2013 will be the year that we finally get this one to the market. We shall keep our fingers crossed.

David Bacha Band_2Lastly, I continue to write and record at my home studio, as this is just something that I have to do to maintain my sanity.

I have my entire musical catalog, (11 CD’s) which does not include the 5 CD’s that I was commissioned to do for a friend’s record company, that I am trying to get remastered and up for sale online. It would be a major achievement for me to get all of these up to CD Baby and iTunes this year, I remain vigilant in trying to complete this task.

What advice can you give to aspiring musicians?

Follow your dreams, work your butt off to be the very best you can be and don’t stop doing what you love for any reason.

Where can people listen to and purchase your music?

While some projects are currently available for purchase online (try Google to search out the band names) some are available through CD Baby or iTunes – (The Harrison Fjord – Machine Tree / Splub – Splub )

Most of my catalog is not currently available for purchase, although I am trying to rectify this problem.

Should you wish to check out a lot of my music and several of the bands that I have played with and currently am playing and recording with, I have over 100 videos, slideshows and music posted at my youtube channel, which can be found at:

http://www.youtube.com/TimsTunes/

Also, be sure to check out these related sites:

John Jamieson – http://www.johnjamieson.ca

The Green Rain Project website, which is still under development, but can be found here: http://www.greenrainproject.com

The David Bacha Band: http://www.davidbacharocks.com

Lisa Smith’s Powerhaus website: http://www.lisasmithspowerhaus.com

The Harrison Fjord website: http://www.theharrisonfjord.com

80’s Music Rules ~ Criminally Underrated Artists/Bands ~ Frozen Ghost/ Sheriff

Short-lived, yet talented–that’s what we’re all about here at Rave and Roll.  Frozen Ghost, a Canadian 80s new wave band founded by Arnold Lanni (vocals, guitars, keyboards) and Wolf Hassel (bass, vocals), is no exception, with one slight twist.  Lanni and Hassel were also previously members of another short-lived and talented band called Sheriff. The 80s was a decade of band-hopping and “six degrees of separation,” and Frozen Ghost fits right in with that scenario.

To make matters more interesting, Frozen Ghost and Sheriff became rock chart competitors. Lanni, who owned the rights to Sheriff’s name, benefited from both bands’ royalties, so it turned out to be a successful business venture for him. Unfortunately, this somehow watered down the drive to make Frozen Ghost a musical force, and they ended up disbanding in 1993 after a long-awaited and mediocre album release.

Check out the band’s first two album releases: Frozen Ghost (1987) and Nice Place to Visit (1988) to experience the essence of what Lanni and Hassel had to offer before the musical waters were muddied. This is Canadian 80s at its finest, and another example of how regional music was criminally underrated and under-promoted here in the states.

Frozen Ghost ~ Round and Round ~ via YouTube user frozenghostsongs:

Frozen Ghost ~ Should I See ~ via YouTube user kurdtss:

Frozen Ghost ~ End of the Line ~ via YouTube user frozenghostsongs:

80’s Music Rules ~ More from Retrospect CFRC-FM ~ The End of an Era ~ 5-15-12

It is with a very heavy heart that I write this last entry for Retrospect. Ed-FM is moving far from the CFRC broadcast booth for a work-related position. It’s a wonderful event for him, and a sad one for his listeners. We wish Ed-FM all the very best after giving more than 12 years to CFRC as Retrospect’s DJ, spinning countless 80’s gems that would otherwise never be heard over the airwaves.

I have known Ed for the past 4 years and he has added immeasurable light to my life through his friendship and his music. I predict we’ll be hearing him in some other iteration one of these days. Spinning fabulously obscure music is in his blood, and he won’t be able to resist the call of the turntable for very long. Godspeed, Ed.

CFRC-FM Playlist May 15, 2012

Basement of Carruthers Hall in Queens University, Kingston, Ontario
ED-FM ~ Retrospect
80’s Music That Doesn’t Suck

To listen to any shows that you may have missed, go to the CFRC website and look up the archives under the “Programming” drop-down menu. You can enjoy Ed’s previous shows in one-hour increments.

Men Without Hats – On Tuesday
Alexi Sayle – Didn’t You Kill My Brother?
They Never Sleep – Bite The Bullet
Yello – Metropolitan Meltdown (Part II)
Manufacture – As The End Draws Near (extended mix)
Flash & The Pan – Midnight Man (extended mix)
Vis-A-Vis – I am The Night (Colour Me Black)
David Bowie – Heroes/Helden
Slow Children – Spring In Fialta (extended)
Comsat Angels – You Move Me (One Good Reason)
Stranglers – No Mercy (extended)
Simple Minds – Glittering Prize (live)
Yello – Metropolitan Meltdown (Part I)
English Beat – Pato And Roger A Go Talk
Single Gun Theory – Open The Skies
New Order – Blue Monday

80’s Music Rules ~ More from Retrospect CFRC-FM ~ 5-8-12

Tonight was a nice mix of old friends and new – music we’ve been made aware of along with some lesser-known tunes. It was all good and made for two hours of absolute bliss. Thank you Ed-FM for all that you do to make the world disappear for 120 minutes. It’s greatly appreciated.

Tune in to Ed and his “more synthesizers!” 80’s Retrospect show on CFRC-FM from 8 pm until 10 pm on Tuesday nights. Ed takes requests by phone: (613) 533-CFRC (2372) or email: retrospectcfrc at yahoo dot ca. Indulge yourself in some “80’s Music that doesn’t suck.” I guarantee die-hard 80’s New Wave/post-punk fans will not be disappointed.

CFRC-FM Playlist May 8, 2012

Basement of Carruthers Hall in Queens University, Kingston, Ontario
ED-FM ~ Retrospect
80’s Music That Doesn’t Suck
If the “Listen Live” link on the CFRC Website doesn’t work, copy and paste this URL into your Windows Media Player: http://sunsite.queensu.ca:8000/
Join us in the Chat Room during the show – either click the link on the right menu under the Rave and Roll graphic, or here. Or, join us on Facebook.
To listen to any shows that you may have missed, go to the CFRC website and look up the archives under the “Programming” drop-down menu. You can enjoy Ed’s previous shows in one-hour increments.

Box – L’Affaire Du Moutier (tightrope mix)
Nails – Home Of The Brave
Gary Numan – My Jesus (John Peel Sessions)
Icicle Works – Shit Creek
Cassandra Complex – One Millionth Happy Customer
Rational Youth – Cite Phosphore
Tones On Tail – War
Simple Minds – Here Comes The Fool
Nash The Slash – Swing Shift (soixante-neuf)
Martha & The Muffins – Swimming
Cars – Moving In Stereo
Frankie Goes To Hollywood – Two Tribes (anihilation mix)
The The – December Sunlight (All Cried Out)
New Order – Ceremony
Maurice & The Cliches – Soft Core
Gowan – A Criminal Mind
Men Without Hats – Security (10-inch single)
Rockaderos – I Wanna Dance Like Fred
English Beat – Mirror In The Bathroom (dub mix)
Blancmange – Blind Vision (12 inch)
Department S – Is Vic There?