As of this post, I appear to be able to pull “Si Bheag Si Mhor”, “Road to Lisdoonvarna”, “Swallow Tail Jig”, “Morrison’s Jig”, and “Banish Misfortune” out of my brain and into my fingers, at least on the piccolo, without resorting to sheet music. I can’t do them (well, the latter four anyway, as Si Bheag is played slowly) at speed, and I can’t do them reliably–but they’re in the fingers now. Practice will make them stronger.
“Blarney Pilgrim” is on the way. I’ve got the A part in my fingers, though I don’t have the B and C bits down yet.
I think my next direct targets are going to be “Apples in Winter” and “Cliffs of Moher”, as the latter is in Matt’s handy tunes PDF and the former, pulled off of TunePal, is frequently paired with session. Meanwhile, in terms of tunes I TOTALLY want to learn just because of all the Quebec music I’ve been listening to, “Jig of Slurs”, “Irish Washerwoman”, and “Atholl Highlander” are now all on my radar because La Volée does such an awesome set of them on their live album. And, I have discovered to my glee that several tunes of Quebecois derivation DO appear to be in the TunePal database–all I had to do was search for “le reel” and “reel du”, and I got several hits of tunes that are all over my La Bottine albums.
My advanced homework remains parsing the nameless tune of M. Demers’ in “Lanlaire”, though! :D And other advanced homework will be starting to try to think about not only what tunes I like the sounds of, but also which ones might go together amusingly in combination. One of our experienced session players is strongly in favor of not chaining too much E minor together, which makes me want to think about what transitions of keys are good. There’s also the question of figuring out if a jig-jig-reel combination would work. A lot of instrumental tracks in my collection do that and it would serve me well to emulate their example.
Book Log #16: Just the Sexiest Man Alive, by Julie James
My rating: 2 of 5 stars
The fine ladies at the Smart Bitches site periodically do a Save the Contemporary campaign featuring, as you might guess, contemporary romances. And not too long ago, they played up the author Julie James, who at that point had released a total of three novels. I was interested, so I went ahead and bought all three of the titles. Just the Sexiest Man Alive was the first of these.
And, unfortunately, it was the one I liked the least. I do not read as much comtemporary romance, in no small part because that’s the romance subgenre most likely to remind me that in many ways, I’m just not the target audience for the standard heteronormative relationship story. I need something else in the story to hold my interest, which is why I like historicals, paranormals, or romantic suspense more. In this particular case, we’ve got lawyer Taylor Donovan assigned to give legal coaching to the actor Jason Andrews for his upcoming courtroom thriller–and while I might have had fun with this as a plot concept, it fell over hard for me for one simple reason.
I.e., I found our hero Jason to be a self-centered jackass. More than once he pulls selfish crap on Taylor that made me want to haul off and punch him one, and left me wondering what she could possibly see in him. That he ultimately does something less selfish for her, supposedly a sign that he’s having a change of heart, doesn’t play well since I don’t buy that he’s genuinely learned from his mistakes. I never got any sense that he realized “I’m being a selfish prick here and I should stop it”, much less “I’ve got to tell her I’m sorry”.
It’s a shame, too, because James’ writing is not bad. I am happy to say that I did like the books after this one better. For this one, though, two stars.
Quebecois band recommendations: La Bottine Souriante!
Last but OH MY definitely not least in the slightest, we come to La Bottine Souriante!
Of all the groups I’ve been getting into, La Bottine is the oldest, and as near as I can tell they are pretty much the modern Quebecois trad version of the Chieftains. They’ve been around since the late 70’s, and became famous for taking the folk melodies and slapping a lively horn section on top of them. That, combined with the showmanship of lead singer Yves Lambert, made La Bottine a phenomenal live band during their earlier heyday. As I’ve posted before, I had the fortune of seeing them perform at the same Celtic concert where I first saw Great Big Sea, and I’m here to tell you–they WERE awesome. Monsieur Lambert had an amazing rich, round voice that hit my ears like 900-calorie cheesecake, and their horn section was laying down a wall of sound that steamrollered the audience.
So yeah, when it comes to modern Quebecois trad, La Bottine are the giants on whose shoulders everyone else after them are standing. If you want to get into this music at all, you cannot do wrong at all if you start with La Bottine. Even their name, “The Smiling Boots”, sums up why I love this music so much–not only because of the podorythmie, but because of the lively, upbeat energy. Well, that, and the aforementioned wall of sound from the horns, which do yea and verily ROCK.
Be aware that since La Bottine has been around for so long, they have gone through a huge number of membership changes over the years. This will therefore impact what level of awesome you get from one of their albums, depending on where in the discography you’re looking. I have only five of their many albums myself, and all of them are in the earlier stretch of La Bottine’s long range of activity: Chic & Swell, En Spectacle, Jusqu’aux P’tites Heures, Les Épousailles, and Rock & Reel (which has the distinction of being the only La Bottine album released in the States). Of these albums, I would most recommend either Rock & Reel or En Spectacle, which is a live album–either of these will give you an excellent introduction to the band’s canonical sound.
A big difficulty here though is that La Bottine’s albums are hard to find. Since Rock & Reel is the only one that was ever released in the States, and since a lot of the places that historically have sold music have been losing out to online distribution sources, even that one will be hard to find outside Canada. And very few La Bottine tracks, sadly, are available electronically! The US iTunes store, for example, has only a small number of La Bottine tracks, and all of them are single tracks on compilation albums. None of them are on the band’s own works.
The one electronic recommendation I can make is that La Bottine appears on the Chieftains collaboration Fire in the Kitchen. Great Big Sea fans will know this album well, since it’s got a GBS track on it, a take of “Lukey”. However, the La Bottine track on it, “Le Lys Vert” is very strong. This album IS on iTunes, and you should get it if you can–not only because of GBS and La Bottine being on it, but also because it’s a great overview of Canadian folk.
If though you want to find their albums, Amazon.com has them all (I think all, anyway) here. Amazon.ca represents over here. Archambault.ca, here (and they DO have La Bottine available as MP3 downloads, but again–only for Canadian customers).
YouTube-wise, there are a LOT of La Bottine vids of various quality, and most of them appear to be either older songs with static images, or else live performances involving the current-day members. Of these:
This one is the studio version of “Le ziguezon zinzon”, which goes clear back to the early album Chic & Swell, which is early enough that André Marchand–now over in the Charbonniers–is still in the band! And I think this may in fact be M. Marchand singing lead on this track; I’m not quite sure.
From Rock & Reel, I give you YoYo Verret, which is arguably one of the very first La Bottine ditties I ever fell in love with. The vid is static images only, and includes several of the modern lineup of members–so keep in mind that this is actually an older La Bottine song. I’m pretty sure that Michel Bordeleau, the other former La Bottine member now in the Charbonniers, has the lead here. And listen for the shiver-inducing deep harmony at the very end of the vocal section!
Off of En spectacle, here is “La Grand’ Côte”, one of the best tracks in the performance. There’s a stunning footwork solo towards the end–where the feet are flying fast enough that it sounds like machine-gun fire!
By contrast, if you search for “la bottine souriante 2011” on YouTube, you should be able to find several videos of the current lineup of the group. This one unfortunately has clipping issues on the sound, but you CAN see Éric Beaudry over on the side making with the footwork with a guitar in his lap, and the guys with the horns kick in fairly quickly. Of note as well is the dancer on the stage, Sandy Silva, whose primary function in the group does in fact appear to be dancing. This one is notable because I recognize what they’re playing–it’s “Landslide Village Medley”, a.k.a. “Medley des Éboulements” from Rock & Reel! And, this one is only a partial, but again there’s M. Beaudry there on the side, and Sandy Silva dancing all over the stage.
La Bottine remains an active band, although that’s a bit hard to glean from their website–the YouTube search is a much better indicator. AND! AND! I am seeing rumblings on their Facebook page that they do have a new album on the way. So I’d recommend keeping an eye on their site, and if you are Facebook-inclined, they have a group right over here as well as an actual fan page!
It’s greatly comforting to see that the band’s current lineup is continuing its long and proud tradition, and here’s hoping that the new album will enjoy some electronic release!
Book Log #15: So Cold the River, by Michael Koryta
My rating: 2 of 5 stars
I read Michael Koryta’s So Cold the River as a library checkout, since I’d never encountered the author before yet was in the mood to try a suspense-oriented horror thriller. And while I found it competently done in some ways, in others, it was ultimately kind of disappointing. This was an uncommon instance of a book I read and wound up not actually wanting to buy.
Eric Shaw was once an up-and-coming filmmaker, and now he’s slogging through his days by filming memorials for funerals while he avoids dealing with how he’s walked out on his wife Claire. A wealthy socialite, Alyssa Bradford, hires him to do a documentary about her father-in-law–and when Eric agrees to take the job, he comes to a town full of the obligatory layers upon layers of disturbing secrets. At the heart of them all lurks something evil, something Eric begins to see in visions once he starts taking drinks from an old bottle of Pluto Water.
At its core the plot wasn’t bad, I’ll happily give it that, yet some aspects of its execution rubbed me the wrong way. One big one was that while you initially are led to believe that drinking this old mineral water is what’s causing Eric to have visions, it comes up at one point that he has this ability anyway–and his wife actually has to remind him of an incident where he’d exhibited precognition. That yanked me RIGHT out of the story, because I found it impossible to believe that a person could forget something like that.
The other thing that bugged me was that a good deal of time is spent in the POV of the primary mortal antagonist. I acknowledge that this was necessary for the development of his character, and you do ultimately see where his character is going. But that said, more than once I found that character repugnant enough that I was almost driven away from the book.
On the good side, there were several genuinely creepy passages, and I had no issues with anything about Koryta’s prose; more, my quibbles were with aspects of his characterization and plot. In the end, though, this book didn’t seize me well enough to make it permanently into my collection. I’d recommend it as a library read, or if you need something to read on a trip, but nothing more than that. Two stars.
Quebecois band recommendations: Galant, Tu Perds Ton Temps!
It gives me ridiculous amounts of glee that a (mostly) female group has dived into the male-dominated Quebecois trad genre, and this is exactly what you get with Galant, Tu Perds Ton Temps! I tend to listen to male groups in general just because I’m a sucker for the sound of several guys singing in full round harmony, a thing of mine that goes clear back to Elvis and the Jordannaires–but if you give me a bunch of women doing the same thing, oh my yes, I’m there.
The Galant group is technically not 100% female–they do have one male member of the group, Jean-Francois Berthiaume, who does their footwork and other general percussion. However, he doesn’t sing–so all the vocals are in fact female. And yeah, the Galant girls meet and match their male colleagues in this genre with some kickass vigorous harmonies! I haven’t identified which girl is which yet in terms of ranges sung, but whoever’s got the lower ranges in particular is delivering some great contralto/tenor lines, and whoever’s got the highest soprano is notable as well.
They’ve got only two albums available to date, Fais-toi pas d’illusions and the self-titled Galant, tu perds ton temps, which is actually the newer of the two albums. To further confuse matters, the band gets its name from a song of the same name, and that song appears on the earlier album! “Galant, tu perds ton temps” translates roughly to “Suitor/lover, you waste your time”, which is another thing that makes me giggle and giggle. Especially given that my boys over in La Volée d’Castors have also covered this song.
So which album should you get? That’s a bit of a hard call. I’ve got a LOT of tracks off the newer one on my Favorites list, and that one does have the selling point of being a double CD so you get a lot of music for the money. On the other hand, the three tracks I’ve marked as favorites on the other album are in fact the ones I’ve recently played more often. So really, it becomes a question of which one you can find, and which one you feel like paying money for.
YouTube has a lot of videos of them up, though, so if you search for “galant tu perds ton temps”, you should be able to find them. Here’s one of them doing “Mary of the Wild Moor” in English, and the video quality is good, so you can get an excellent idea of their overall vocal style. And here’s a partial vid of them doing “Les promesses du galant”, which is one of my favorites off the newer album, and I’m desperate to find proper lyrics for it because I’m FAIRLY SURE they aren’t actually singing “Monsieur Pants” in there. XD This one is “Faites-moi un homme sans tête / Reel Bergerville”, which I like off the newer album as well!
They’ve got no links to buy on their site, so your only option (that I know of) is iTunes if you want their music electronically and you’re outside Canada. Archambault.ca has only the second, larger album available for download, and their downloads are only for Canadian customers. For physical CDs, Amazon.com, Amazon.ca, and Archambault.ca all have those, but as with my earlier rec posts, if you’re not actually in Canada, be on the lookout for large shipping charges and be prepared to double up your purchases to qualify for free shipping if necessary! Or, if you are so inclined, recruit a Canadian friend to buy albums for you and ship them to you!
Out of all the Quebec groups I’m following, in some ways I’m most delighted by this one because, well, girls. And I heartily encourage checking them out in particular, if nothing else to encourage them to put out more albums–and to encourage other female groups to jump in on this genre as well. Because I’ll totally buy them, if they are this awesome!
Quebecois band recommendations: De Temps Antan!
These guys are the newest of the (male) Quebec bands I’ve picked up, both in terms of how long they’ve been active as a trio and how long I’ve been aware of them. They are also proof of my newly learned truth that any Quebec band with a Beaudry in it will have my IMMEDIATE AND UNDIVIDED attention! Because once I realized that Éric Beaudry, the brother of the lovely Simon, is himself an awesome bouzouki player, I was all over pulling these guys’ albums down from iTunes.
Monsieur Beaudry is the main draw for me here, just because of my fondness for the bouzouki, and it’s great fun to hear one used as a primary rhythm instrument in a trio. But that said, the other two boys in the band, lead singer Pierre-Luc Dupuis and fiddler André Brunet, are not to be discounted either. M. Dupuis has a nice full, rich voice, and M. Brunet (who, I note, is the brother of Réjean over in Le Vent!) rocks him some fiddle.
Since there are only three members of the band, the instrumentation is accordingly sparser than the other groups I’ve been listening to, but this doesn’t mean there’s less vigor. In addition to M. Beaudry’s bouzouki, M. Dupuis apparently likes him some harmonica, and the combo of those with the fiddle works very well.
Like with this YouTube vid of their song “La turlutte du rotoculteur”, which is the first one of theirs that I seized on. The layering in of their vocals, then the footwork, and finally M. Beaudry going at it on the zouk, I said? SIGN ME UP.
De Temps Antan have only two albums available so far, À l’année and their newer one, Les habits de papier. Both are available on iTunes and Amazon MP3 downloads, and good news for those of you who are fond of buying from indie sites–the newer album is also available on CD Baby! Amazon.com, Amazon.ca, and Archambault.ca all have the newer album in physical form, but between Amazon.com having it at import prices and the likelihood of big shipping charges if you’re not in Canada, I’d personally vote for CD Baby first out of these.
Or! De Temps’ own site sells both albums directly, so really, you should try them first. :D (And oooh, they have T-shirts. This may well be Relevant to My Interests!)
Since there are only two albums to choose from, if you want only one, go with Les habits des papiers. That’s the one with the aforementioned “La turlutte du rotoculteur” on it, which I’ve been playing a lot. I also like “Pétipétan” (good showcase of M. Dupuis’ voice) and “Grand Amuseur du Filles” (good showcase of M. Beaudry taking the lead vocals) from that album.
There’s good stuff on the other one too, though. On that album, “Chère Léonore”, “Intrinifor”, “Duvons, Mes Chers Amis Buvons”, and “Les Pissenlits Bricoleurs” are my repeat play tracks.
Last but not least, recent Googling let me discover that De Temps were actually in Seattle last year! To which I say AUGH, if I had ONLY KNOWN. However, this raises the hope that they might come back sometime soon. If they do, I am THERE.
Quebecois band recommendations: Les Charbonniers de l'Enfer!
The Charbonniers stand out very, VERY strongly against the rest of my Quebec boys on the grounds that they specialize in the two big things that I love the most about Quebecois traditional music: the mouth reels, and the podorythmie! They are entirely a cappella, and so this is ALL these guys do. It’s like they are a concentrated blast of French Canadian AWESOME.
We’ve got five gentlemen here, a bit on the older side but all with very, very strong voices. Their two (and they have TWO!) podorythmie guys, Michel Bordeleau and André Marchand, have the distinction of being former members of La Bottine Souriante–and Michel in particular has a distinctive enough voice that I’ve pegged him now on earlier La Bottine tracks. All five of the Charbonniers take turns singing lead, so all of them get a chance to show off the character of their voices, though.
I’m a big fan of M. Bordeleau’s footwork, but I’ve got to say that of the various gents’ voices, I’m favouring Jean-Claude Mirandette’s the most. He’s got a beautiful tenor voice that is shown off to great advantage on several of the tracks on their live album, which I’m about to get to now!
Hands down and no contest, their live album, En personne, is my favorite of their work. They’re good in the studio and I have several of their tracks on repeat play, but they are an order of magnitude more vigorous in the live album’s performance. I’ve been playing the hell (AHEH–you did translate their name, didn’t you?) out of this album for weeks now, and they’ve been leading the charge in getting me more interested in translating Quebecois French lyrics so that I can try to understand them myself, as proper words rather than ‘pretty noises the nice men are making’, and sing along.
Three very excellent live vids from this performance are up on the LinkTV site: “Yes Very Well” (see previous commentary re: M. Mirandette, who takes lead on this one, and also note M. Bordeleau on the left making with DANGEROUS footstomping), “Sur La Vignelon” (where I believe Monsieur Normand Miron is taking the lead on this, and he too has a very distinctive voice), and last but MOST DEFINITELY not least, “Les Turlutes”, where the boys tear right through one gigantic chain of turluttes. XD I’ve posted about this last vid before–look in particular for the podorythmie stomp-off in the middle!
All three of those songs are among my repeat plays off of En personne, but the Turlutes track is very, VERY high on the list just because of how much the Charbonniers are getting into the performance in that video. They’re clearly having such great fun that I cannot help but enjoy watching them–and you can see glimpses of the audience really getting into it too!
I’m given to understand that the physical CD of this concert comes with a DVD, and I plan to order this ASAP. The album IS available electronically on iTunes, but it’s not on Amazon MP3–and I’d recommend you order the CD anyway so that you can get the DVD too, if at all possible!
The rest of the Charbonniers’ discography does also appear to be available on iTunes, though. Most of the tracks on En personne come off the album called Wô, and you can really tell, comparing them, how much more vigorous the live album is. So while that album certainly isn’t bad, if you wanted to get a studio Charbonniers album instead I’d recommend either À la grâce de Dieu or their most recent one, Nouvelles fréquentations. The more recent one is notable for having less of a trad emphasis; in fact, according to this link that went up on Facebook earlier today, it’s actually up for an award for Best Contempary for the 2011 Canadian Folk Music Awards! I like the other studio album better just because it has more of a trad bent, but this one’s good too; it very much reminded me of the Nylons, who y’all remember were the group that did that awesome a cappella version of “Kiss Him Goodbye” many years ago. Bonus LOLs on this album for having a French version of “In the Jailhouse Now”, which I know from the movie O Brother Where Art Thou?.
The Charbonniers’ site does NOT have links off to buy their albums that I can see, so if you want to order physical copies, your best bets are probably going to be Archambault.ca or Amazon.ca or Amazon.com.
Quebecois band recommendations: La Volee d'Castors!
I’ve gushed over Le Vent du Nord; now it’s time to show my love to La Volée d’Castors!
I found these guys, like a great deal of my Canadian folk favorites, courtesy of Great Big Sea! They were mentioned in a thread on the OKP along the theme of “if you like Great Big Sea, you’ll also like (fill in the blank)”. I remember thinking at the time that they had a very awesome name, and am now kicking myself soundly that it took me as long as it did to actually properly investigate them.
La Volée is not, sadly, quite as readily available as Le Vent is; all of their albums I quickly found on iTunes, but they’re NOT on Amazon’s MP3 Downloads site, and I’m seeing Amazon.com listing their physical CDs at import prices, which therefore means Expensive. Amazon.ca is somewhat better, with more reasonable prices, but they don’t have all of the albums available. Their own site has purchase links, though, so you might try going directly to La Volée’s discography page and try clicking off from there if you want to buy their albums and you’re not an iTunes customer. Alternately, try Archambault.ca, who appears to have all of their albums in stock. Be warned though that if you’re ordering from outside Quebec, mind your shipping charges!
Now let’s talk the actual music. What I like about La Volée is that of all the Quebec bands I’ve been listening to, their live performance comes closest to the rip-roaring vigor of a Great Big Sea concert. Their podorythmie guy, Frédéric Bourgeois, is excellent both with the footwork and the vocals, and I’m not just saying that because I’ve seen him drop me a couple of Likes on Facebook posts! M. Bourgeois can belt him out a song, and that he can do this while doing the footwork impresses me greatly. In the studio, they favor a lot of percussion and often have a bit of a Spanish flavor to their tracks as well, which is kind of cool. On their last studio album in particular, they’re rocking a horn section and get almost orchestral in places, which gives them a way to stand out against the other Quebec trad in my collection–even with the kings of the horns, La Bottine Souriante, to compete against!
Which album should you get? For my money, that’s easy: hands down, for the love of all that’s holy, GET THE LIVE ALBUM! It’s called Y’a du monde à messe, and it has the distinction of being the first non-Great Big Sea album since stuff by Carbon Leaf to break into the Top 40 Most Played playlist in my iTunes collection! The energy on this album does not stop from their opening “Fortierville” set to the big closing singalong.
Of the other albums, the only one I haven’t listened to yet is Temps des fêtes, and the only reason I haven’t picked that up yet is because it’s a Christmas album and I’m less inclined to listen to those. But I do have the rest of LVC’s studio work, and I do like all of it. It takes an album or two for their sound to really come together, but as of the third album, VDC, you can tell the mix is there. However, if I were to recommend a studio album, I would have to go no question with their most recent one, Le retour. This is the one with the rocking horn section, and the periodic almost orchestral tracks; it is therefore most musically interesting to me.
Here are my favorite LVC tracks:
- “Revenez donc toutes”, originally on VDC but shown to best advantage on the live album. This is one of the first Quebecois songs I started trying to learn the lyrics to and I’m still not quite sure what it’s about, past it involving a mill and the obligatory pretty girls. There’s a long reel at the end, and this is where some of their almost Spanish flavor comes in–especially on the live album, where they’re yelling out “Senorita” and such. Fun!
- “Belle, embarquez!”, originally on Par monts et par vaux, but again, best on the live album! I actually more or less translated my way through this one, and giggle over what it’s about: a guy trying to invite a pretty girl onto his boat, only she foists him off by claiming to be the daughter of the town executioner. And when he goes OH SHIT and shoos her off the boat, she goes HA HA and says she’s actually the daughter of the richest guy in town. Ha! Very fun performance, live.
- “Les coucous”, originally on Migration, but yet again, best on the live album. This is the song I turn to when I want serious, and I mean, SERIOUS stomping action. It always makes me want to jump up and boing around and belt out JE FAIS LARUDONDAINE! at the top of my lungs. :D
- “Le p’tit moine”, on the new album, Le retour. This is notable for the extended turlutte during most of the latter part of the song, where the mouth reel by the band is echoed by the instruments for one great big blast of awesome.
- “En héritage”, from Le retour. This is the track I most have in mind when I talk about the horns and orchestral sound on this album. It starts off sounding very much like dramatic movie music and I keep wondering what the Quebecois protagonist in my head is about to do when I hear this song start off. (I think he might be a spy!)
I have a selection of other LVC tracks I repeatedly visit off the previous albums, but these ones are the biggest!
Here’s LVC doing Revenez donc toutes live! And if you happen to be on Facebook, find their Facebook page; they’ve been posting recent vids there too.
Last but not least it is very worth noting that M. Rejean Brunet, now of Le Vent du Nord, actually used to be in La Volée! So he’s spread his awesome across two different bands, and helped make it very easy for me to love them both. :D
Quebecois band recommendations: Le Vent du Nord!
Tonight at session, my friend Ellen (sutures1 on LJ) asked me if I’d give her some recommendations about all of the various Quebec bands I’ve been listening to! Since I’m always happy to share fangirly love, and since I’m also newly of the conviction that it’s good for an Anglophone’s mental health to discover awesome bands in a language she does not speak and to therefore be inspired to learn that language, I’m going to oblige.
Which means, of course, that I must first and foremost cover Le Vent du Nord.
It has been a hard, protracted battle between these guys, La Volée d’Castors, and Les Charbonniers de l’Enfer for the position of My Favorite Quebecois Band. However, right now Le Vent is winning for a few important reasons!
One, they have Simon Beaudry! As y’all have seen me gush on previous posts, I’ve got a huge crush on this boy. He plays him a lovely bouzouki and guitar, and sings beautifully as well. He’s the secondary singer of Le Vent, but what songs he does sing lead on are among my favorites. Like, say, “Lanlaire”!
(And besides, Chibi!Simon Beaudry is just the most adorable little guitar player ever. Somebody drew him an awesome Facebook avatar!)
Two, Le Vent’s lead singer, Nicolas Boulerice, plays the hurdy gurdy–and Unusual Instruments FOR THE WIN. His voice has a very distinctive timbre to it, and he’s got a great dynamic range in his style of performance; of the tracks he sings lead on, he goes from lively crowd-stompers to haunting ballads and back again.
Three, as I’ve also gushed in a previous post, Olivier Demers was kind enough to answer an email I sent him with a question about one of their songs, and that right there is worth massive amounts of Awesome. More importantly, though, he is Le Vent’s podorythmie guy AND fiddler, and the various videos I’ve seen of him doing both at the same time are mighty impressive. Also, he apparently gets to do all the charming intros to various songs explaining them to English-speaking audiences. :D
Four, since I’ve said nice things about the other three Le Vent guys, I should also mention bassist and squeezebox player Réjean Brunet, who as far as I can tell so far gets a bit overshadowed by the other guys–but hey, Internets, a good bass player is the backbone of any band, am I right? I particularly noted M. Brunet in a live vid I found of Le Vent doing an a cappella performance, wherein he got to take his turn singing lead on something; he’s got a very nice voice too, and it ought to get more of a chance to stand out.
Now, all this said, let’s talk albums. Most of Le Vent’s discography is available electronically on iTunes’ US site and on Amazon.com’s MP3 Downloads site; the only album of theirs NOT available in either place is the awesome Symphonique live album I just finally picked up. A quick check of the Canada, UK, and Australia iTunes stores confirms for me that the same set of Le Vent albums are available there as well. So for most of you likely to be reading this post, you should find them reasonably well available.
If you want to avoid both iTunes and Amazon, Le Vent’s own site links off to their Borealis Records page, where you can apparently also order the same albums that are available electronically. Downloads appear to be available but if you explore this route, be on the lookout for downloads possibly being Canada-only. Likewise if you order Le Vent albums from Archambault.ca, the site of a big chain store in Quebec. Note on that latter link: if you order physical CDs from them, shipping charges for a single CD may be higher than the actual CD price, so you may want to consider ordering more than one CD at once.
Now, though, if you just want to get one Le Vent album, which one to get? It’s important to note that Le Vent’s current membership configuration settled into place only as of their previous studio album, Dans les airs. So if you want an album that most accurately reflects their current sound, you should get either Dans les airs or La Part du Feu. I’d be hard pressed to choose between the two. Both have several tracks I’ve been repeatedly playing.
Le Vent’s first live album, Mesdames et messieurs, is decent–and noteworthy for having guest vocals done by Bernard Simard, a previous member of the band, who did a lot of lead vocals on their first album Maudite moisson!. However, if you want to go with live Le Vent, find the Symphonique album if you can! Since it’s not available electronically, you’ll probably have to order it if you’re not lucky enough to live near a store likely to have it in stock. It’s available here and here. And for the sake of thoroughness, please to note my full review post for that album–I very much enjoy this album and have been playing through several of the tracks repeatedly.
And now, a handful of my favorite Le Vent songs:
- “Écris-moi”, on La Part du Feu. Sung by M. Beaudry, a lovely little song in 6/8. Both French lyrics and the English translation are available here.
- “Lanlaire”, also on La Part du Feu. Another Simon song, which has an excellent performance on the Symphonique album as well, and which has figured prominently in my Le Vent vid watching! Note also that this is the song with the chorus I discovered is a bit less work safe than you might expect, if you translate it properly. ;>
- “Cré mardi”, on Les amants du St-Laurent. This is hands down Le Vent’s best crowd-stomper, belted out with vigor by M. Boulerice, and with an awesome extended turlutte as the entire second half of the song. Great fiddle and footwork here by M. Demers as well. This one appears on both of the Le Vent live albums and is the closer on the Symphonique one.
- “Rosette”, on Dans les airs. This was the first of Le Vent’s songs to get my attention, and was the first to sell me on the strength of M. Boulerice’s voice and on the smoothness of all four guys’ combined harmony.
- “Le vieux cheval”, on Dans les airs. My fellow Great Big Sea fans will know what I mean when I say that this song is kind of Le Vent’s “General Taylor”. It’s a shanty, and the harmony on the choruses (as of the second verse) is seriously swoonable. I’m pretty sure that’s M. Brunet hitting those rumbly bass notes on the bottom of the chorus, too, if we want to talk other reasons to fangirl over the bass player. ;)
Last but oh my definitely not least, my entire YouTube Le Vent playlist is right over here! I’ve dropped notes on a lot of these calling out why I like them. The “Cré mardi” vid in the radio studio is particularly awesome, as are the casual videos where the band is playing in the middle of a relaxed bunch of festival-goers.
ETA: I have discovered, O Internets, that the aforementioned chibi!Simon pic was in fact the work of Mr. Kevin Bolk! It was commissioned by fellow Le Vent fan Susan Moseley, whose acquaintance I have made on Facebook, and who had him do all four members of the group. Mr. Bolk, it is vital for me to note, is also the artist who did the Star Trek parody webcomic Ensign Sue Must Die!, about which I have previously squeed on this blog. Y’all go visit Mr. Bolk’s site and say nice things about his work, s’il vous plait!
Book Log #14: How to Flirt with a Naked Werewolf, by Molly Harper
My rating: 3 of 5 stars
I have to admit, the blurb line of “Even in Grundy, Alaska, it’s unusual to find a naked guy with a bear trap clamped to his ankle on your porch” went a long way to seizing my interest in How to Flirt with a Naked Werewolf, by Molly Harper. So did the Goodreads header of “Northern Exposure”, which made me grin with the inevitable comparison, and the cartoony cover art. As to whether the book lived up to that promise? Mm, well. Kind of.
This is yet another one of those romances involving an out of town girl moving into a remote small town, having to get accepted by the locals, and solve a crime while resisting the inevitable advances of the local brooding hero type–but in this case, the local brooding hero type’s a werewolf. And given that this is a paranormal romance on the lighter and fluffier side, one has to avoid taking that notion too seriously.
I did very much like Cooper, the aforementioned broody werewolf, who’s an atypical alpha werewolf as alphas go–he very, very, VERY much does not want to lead his pack, and he’s got issues remembering what he does when he’s in wolf form. Problem is, something in wolf form–maybe Cooper–is going around killing people. (And this is what helped keep the plot from getting too goofy for me; towards the end, when enough serious things have happened, the main characters treat this with the gravity it deserves.) Mo, our heroine, has the usual modern romance novel heroine attributes to recommend her: she’s perky, she’s decisive, she’s willing to deal when she discovers werewolves are real. Nothing terribly unusual here, but Harper’s heroine fits the expected role entertainingly.
And, as is always the case with a romance novel, we have the obligatory character who starts off as a foil for the current protagonist and who is clearly meant to be the protagonist of her own later book. This time, it’s Cooper’s sister Maggie, who’s way more of a typical alpha wolf than he is. She is in fact one of the few rather cool aspects of Harper’s worldbuilding here–i.e., that the female werewolf is way more of an alpha than the male one is, something I still haven’t found much of in urban fantasy. The politics of the pack have the refreshing bonus of putting more emphasis on the werewolves being people than on them being wolves, too. So I’ve got to give the author high marks for that.
If you come into this expecting urban-fantasy-level worldbuilding, you’ll probably be disappointed. But if you don’t mind a lighter-hearted tale where none of the characters are terribly stupid, even the obligatory colorful parents, you’ll probably get an amusing read out of this. I did, and I’ve got Book 2 queued up to read, too. For this one, three stars.