Tough Age play songs from their new Mint Records release, Shame, and talk to Vish for a live session at CFRU 93.3 FM. Sponsored by Pizza Trokadero, the Bookshelf, Planet Bean Coffee, Grandad’s Donuts, Freshbooks, and Hello Fresh Canada.
Marisa Anderson is a gifted musician who hails from Sonoma, California but currently calls Portland, Oregon home. Though somewhat under the radar, Anderson is renowned as one of the finest guitarists in the world. Emerging as a lively interpreter of Delta blues and Appalachian folk music, Anderson has been embraced by free and improvised music aficionados for the history of guitar styles and techniques that flow through her fingers. Her latest album is bolstered by electric piano, pedal and lap steel guitar and finds Anderson exploring the west, as it sits and as it stands in a contemporary, border conscious America. The record is called Into the Light and it’s one of the finest records of 2016. Marisa has been touring extensively since its release in July and she recently played Guelph so I invited her over to our home for pizza and a far-reaching conversation in our living room about her frequent visits to Guelph, playing Hamilton, Ontario and the Hamilton controversy and confusion, research and misinformation, bubbles, implied and overt threats, identity politics discourse, Patton Oswalt on nomenclature and content, broad brush finger-pointing, missed messaging and selective hearing, fear and outspokenness, communicating thoughts and ideas as an instrumentalist, spiritual and Christian music, church-y and state-y, growing up queer in a religious household, splintered identities, a childhood in Sonoma and wine country, working in the service industry, music and swimming, rebellion and recorder, getting into guitar, Bill Monroe, John Denver, Rush, Sousa marches, guitar reverence and understanding it as a shape-based instrument, Appalachian folklore and story songs, words and country sounds, Chet Atkins, guitar styles, sustainability, many sounds and one pair of hands, writing and singing at one point, “The House Carpenter/Demon Lover,” “Johnny I Hardly Knew Ye,” folk traditions and definitive versions, intangible histories and empirical art, instrumental music as “cinematic,” Into the Light as the soundtrack to a non-existent film about the concept of feeling or being alien and migration, border psychology, belonging, music as an idea and emotional processor, contextualizing mysteries, gentrification in Portland, Oregon, urban growth boundary, distance and fodder, new work, coming back to a new America after time away, the vote recount, local levels, an uprising of common decency, the song “He Is Without His Guns,” a happenstance recording, self-quality control, and then it was into the night.
Related links: marisaandersonmusic.com vishkhanna.com
Scott Merritt is a very talented songwriter, musician, singer, and producer who lives in Guelph, Ontario. He has been creating and occasionally releasing inventive pop music for close to 35 years and has collaborated with people like Daniel Lanois, Adrian Belew, Willie P. Bennett, and Fred Eaglesmith among others. He also keeps himself busy on other people’s projects in his studio, the Cottage, which might be one reason why he hasn’t released a new album since 2002’s stunning The Detour Home. On Thursday September 11, Scott headlines an Eden Mills Writers’ Festival event dubbed ‘Taste and Transmission’ at the Ebar in Guelph. On his back deck a couple of days ago, Scott and I talked about the Cottage, leaving Brantford for Guelph for his son/my friend John, the Barmitzvah Brothers, ages and grades, John’s Cafe at the top of the stairs, imaginary worlds, banning kids’ music in favour of the music you actually like, Van Morrison, the Beatles, Dean Martin, Ramones, my parents put me in tennis lessons, pie plates and elastic bands, his first musical mentor Stanley, “Foxy Lady” and “Manic Depression” by Jimi Hendrix, fantastical and observational lyrics, strange sounds, if you can say what it is, don’t do it, fussy exploration, my obsession with Wayne Gretzky’s Brantford and sprinklers at the Woolco, Alexander Graham Bell, the manufacturing sector of the 1970s and 1980s, seeing Rush, Max Webster, and Breathless play at his high school, Spalding might’ve made basketballs in Brantford, giving music a try instead of going to school, parental guidance, playing better, garage bands and blood donor clinics, Max Rat, Leo Kottke, the record store in the mall, Bitter Grounds in Kingston and other coffee houses for songwriters, pay or play in Hamilton and a life-changing night, making Desperate Cosmetics, Duke Street Records, labels and DIY hardship, I.R.S. Records and Miles Copeland, making Violet and Black, making Gravity is Mutual with Roma Baran, Adrian Belew’s chaos management in the studio, Scott’s first new album since 2002, which he finished just last Friday, the new song “Everwill” and the idea of a parade that has no beginning or end, and then this podcast with a beginning also has its end.
Related links: maplemusic.com/artists/sco/default.asp edenmillswritersfestival.ca vishkhanna.com
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