Sunday, February 28, 2010

Happy To Be

As the Olympic flame goes dark in Vancouver tonight, and after a thrilling gold-medal win by Canada’s men’s hockey team, commentators are trying their very best to summarize these games. So far a popular thought has been that these Olympics gave citizens of this country a chance to shout from the rooftops – and medal podiums – that we are proud to be Canadians. Yes, us modest, calm Canadians can finally show pride unabashedly.

Don’t get me wrong. I was literally on the edge of my seat during overtime today, and I stood and clapped at more than one medal ceremony. However, my need to grab a red and white flag has been decreasing quietly but steadily for quite a while now, and with it my need to fist-pump my chest at my being Canadian.

I am fortunate to live in this country. I have never known extreme poverty. The horrors of war have never come close to my doorstep. I live on no fault lines which threaten to bring the bricks and mortar of my old apartment building down on me. Accessible health care is a mere five-minute walk away from where I live.

So why, in the face of all of this, is my national pride waning? It is because of this: National borders, as it is with so many other kinds of boundaries, begin to weaken when faced with the strength of love.

There are no boundaries which love cannot overcome. Between Canadians and Americans, between Liberals and Conservatives, between Christians and Muslims. Love meets and dances its way through and between men and women, rich and poor, gay and straight, the able-bodied and those with mobility challenges. Nothing that faces love can meet it and not be changed.

Love brings us together. So more than being proud of being Canadian, more than feeling fortunate about anything else, I am just happy to be here. I am happy to be here in this moment, in a place where I have been met by Love. When everything is filtered down, it is all that remains.

And Love is more than enough.

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Friday, February 26, 2010

Butch Walker-Chicago Fan Request Show Review 1/8/10 (Concluding Butch Walker week on antiMusic)

Butch Walker
Schubas Tavern-Chicago, IL
January 8th, 2010
Night #4 of 4, Fan Request show
Photos by: Billie Jo Sheehan
By Anthony Kuzminski

We conclude Butch Walker week over at antiMusic with a completely fresh review never published from his fan request show on January 8th, 2010:

I have watched bands with a slew of top-forty hits not muster a tenth of the energy Walker can. The relationship between artist and fan is a sacred relationship. There are ways to cater to your art and the fan’s needs simultaneously and these shows were prime examples of what one can pull off. Walker has an innate ability to always make his crowd a part of the performance and not mere spectators. On the evening’s finale, “Take Tomorrow”, there was no microphone and it was Walker, his acoustic and a series of conjoined hushed voices bringing the series of shows full circle where Walker and the crowd became one. The most important thing for an artist to accomplish between themselves and their audience is a connection. I can say without hesitation that Walker does this better than anyone else on the road at this given time. You can manipulate someone to buy your record but you can’t force them to follow you, be a fan or admire you. He has created his own paradigm built on the relationship he has with his fans.

Read the rest of the review here.

Thursday, February 25, 2010

hot pics of charlie sheen











Butch Walker Week over at antiMusic ('Sycamore Meadows' Chicago January tth 2010)

Schubas Tavern-Chicago, IL - January 7th, 2010
Night #3 of 4,
the ‘Sycamore Meadows' show
Photos by: Billie Jo Sheehan


The evening's high spot was "Ships in a Bottle", done on electric guitar with barely a hint of echoy reverb, adding to the sensation of the lingering vocal. His delivery was wrenching as if he was wrestling with a demon right on the stage in front of us as he painted broad and vivid pictures. This was without question, his greatest vocal performance of the entire four night stand. Whether the delivery of the material was straightforward or not, it didn't matter. The songs leapt out at you waving you down to take notice. Of the three complete albums Walker performed, this was his most recent and as a result, it houses emotions and stories that are still raw. These songs aren't distant memories, but feelings he can still reach out and touch with little issue.

Read the rest of the review here.

Butch Walker Week over at antiMusic ('The Rise & Fall...' Chicago January 6th 2010)

Schubas Tavern-Chicago, IL - January 6th, 2010
Night #2 of 4,
the ‘The Rise and Fall of Butch Walker and the Let's-Go-Out-Tonites' show
Photos by: Billie Jo Sheehan
In a day and age of musical surplus, if an album doesn't connect it might not get the same number of spins it would have two-decades ago. As a result, The Rise & Fall… never made an overpowering impression on me and was a record I admired more than loved. That changed at Schubas. This was the one show I wasn't looking forward to, but it turned out to be my favorite as Walker defied my impressions of this record with a pure and illuminating performance. Unlike the previous evening, Walker had his electric guitar plugged in for a large part of the evening, which he made a point of pointing out by saying "Electric guitar meet Chicago", and right from the opening chords of "Hot Girls In Good Moods", he seemed to be in high spirits. As Walker explained to the crowd, he was in a good place when he wrote and recorded the album and it didn't produce his most brooding and contemplative songs, but some of his most muscular.
Read the rest of the review at this link.

Album Review: Butch Walker and The Black Widows - 'I Liked It Better When You Had No Heart' (on antiMusic)

Butch Walker week over at antiMusic continues today with my review of his latest record, I Liked It Better When You Had No Heart. (Buy here)

Here's a piece of the review:

The album's most expressive song is also its most stark. With a lone acoustic guitar, Walker delivers "Be Good Until Then", in a graciously affecting approach that imparts a compelling poignant punch to the heart. Written for his son, Walker created a song that swells your eyes without being flashy. The one verse that moves me most is;" You don't have to try so hard/ To be the best. Just know you are/And that's all that'll matter to me". Beneath the tattooed rocker is a man with heart and soul and these words will not only be heard by his son, but by his listeners as well, who, if they're lucky will take heed to his words of wisdom. The melding on influences on this record is absorbing and with each listen, each song proves to be not just revealing but truly stirring. Boogie-woogie piano blues, introspective acoustic musings, strings descended from ELO and ultimately is houses passion that is one hundred percent Butch Walker.

Read the full review here

Tuesday, February 23, 2010

Butch Walker Week over at antiMusic ('Letters' Chicago January 5th 2010)

I'm doing my full in-depth reviews of Butch Walker's four night Chicago stand over at antiMusic. These articles are different from the ones that appeared here on the blog.
The first evening was a look back at his second solo record, Letters...

One of the key's to Walker's success is the intimacy and personal touch he elicits in concert. You feel his art, you sense his wonder and you dive deep into his psyche. This past winter, Walker did something truly unique for his followers; he performed albums in their entirety in small and intimate shows. Walker is an artist always moving forward never wanting to live in his past, so these shows (performed in New York, Los Angeles, Atlanta and Chicago) provided the fans with a rare glimpse into the past and after witnessing all four Chicago shows let me tell you what a journey it was. Arriving on stage in a hat, flannel shirt and jeans, Butch Walker began his four night stand at Schubas night club in Chicago by teasing with the crowd how the opening track on his 2004 album Letters was nothing more than a bunch of overlapping high pitched vocals…before he nearly replicated "Sunny Day Real Estate", a twenty-six second intro to his illuminating Letters record. This is something the core fans salivate for and Walker is doing it with great imminence but even better, he's conveying the songs with intense believability.

Read the rest of the article here



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