We are very pleased to announce the two winners of the 2010 Independent Music Hall of Fame:
1. Shadowy Men on a Shadowy Planet (Toronto) 2. Sloan (originally from Halifax, Nova Scotia)
The jury completed their votes last week and these two icons emerged as our first ever winners. In the coming weeks you will see in depth features on both these bands right here on the Independent Hall of Music website/shrine.
To give you a taste of the jury debate on these winners, here are few excerpts from the original nomination proposals made by members of the jury:
1. Shadowy Men on a Shadowy Planet - nominated by Frank Yang:
"For a few years they were maybe the most-heard independent Canadian act anywhere, even it was just one song, and basically soundtracked the best cultural export we've had, as a country, in ages." - Frank Yang
" When this band started in 1984, they fired their singer after only a couple of practices. They then felt that they could do anything. Always outsiders in the Toronto--and by extension, Canadian--scene, Shadowy Men were true independent pioneers who never had a manager, always released on independent labels and indie distributors, didn't even have a booking agent until their final years. They invested time (not money) into innovative packaging for their singles. They made clever videos on budgets from $50 to a whopping $500. They made valuable connections to the American underground, especially K Records in Olympia and Steve Albini in Chicago, but always took the time to play in every corner of Canada. They defined a time in Canadian independent music that flourished with the help of Og Records (Shadowy Men were on all five It Came From Canada comps), Brave New Waves, campus radio and MuchMusic (all were huge supporters). Even though their music was very welcoming and accessible, they found kindred spirits in bands like proto-riot-grrrls Fifth Column and other "art" bands, rather than the rock'n'roll bar circuit. All their records still stand the test of time, with or without the Kids in the Hall association, and their influence can still be heard in bands like the Sadies and anyone else who embarks on cinematic instrumentals (including, say, Broken Social Scene)." - Michael Barclay
2. Sloan- nominated by Chuck Molgat
"The most successful and influential band to emerge from the squalid ghettos of Halifax since April Wine, Sloan has remained true to its creative integrity and independent roots over the course of two decades of recording and performing. Along the way, the band's beloved indie label,murderecords , has played a key role in fostering the careers of numerous noteworthy and critically heralded Canadian artists. Despite being signed to major record labels in Canada and the U.S., and routinely humiliated by the organ-grinding staff ofMuchMusic , the members of Sloan have - quite remarkably - managed to avoid selling out... except maybe to Future Shop. And like Neil Young (who, come to think of it, is probably a natch future ZIMHOF nominee) Sloan enjoys the distinction of being widely recognized and respected by both mainstream and alternative-minded music fans." - Chuck Molgat
Stay tuned for more on these bands in the coming weeks.
Tuesday, January 12, 2010
Zunior Independent Music Hall of Fame 2009 Inductee: Eric’s Trip
Like the Velvet Underground decades earlier, the success of Zunior Independent Music Hall of Fame inductees Eric’s Trip has never been gauged by album and ticket sales, but rather by the number of bands, and the volume of art, inspired and influenced by the trailblazing Moncton quartet.
Formed in the summer of 1990, Eric’s Trip comprised the principal members of Moncton punk band The Forrest (guitarists Rick White and Chris Thompson), drummer Ed Vaughan (replaced two years later by local music scene veteran Mark Gaudet) and charmingly shy budding songwriter Julie Doiron. The band took its name from track five of Sonic Youth’s influential 1988 LP Daydream Nation – an early indication of the group’s self-effacement and lack of pretension.
Whether due to Moncton’s relative isolation, its anemic underground scene or the peerless style of the band’s music, Eric’s Trip didn’t make its live debut until April, 1991. By that time, however, the group had already recorded and released a pair of cassette EPs (Eric’s Trip and Catapillars) and had another (Drowning) in the works. In classic DIY style, the tapes (composed on borrowed four-track recorders in band members’ family basements) featured gorgeous original artwork by the band, along with extensive and poetic liner notes. A fourth independent release, the Warm Girl EP, followed in January of ’92.
The arrival of a solicited copy of Warm Girl upon the desk of Halifax music scene impresario Peter Rowan set in motion a chain of events that would propel Eric’s Trip from a Maritime basement project to a North American indie-rock institution. Rowan (who, at the time, managed Sloan) became manager of Eric’s Trip. A CD EP (Peter) was released on Halifax’s murderecords label and within months Eric’s Trip became the first Canadian band signed to highly regarded Seattle record label Sub Pop. (Although the band has long eschewed any inferred membership in the Halifax music scene, Eric’s Trip remains widely regarded as a pioneering element of that city’s “Seattle North” distinction of yore.)
Love Tara, the band’s first full-length release, was issued by Sub Pop in November of ’93. Given the album’s wide release, Love Tara represented an introduction for many listeners to what White described as, “sappy melodic pop music on top of thick distortion.” Most mainstream critics scratched their heads and bemoaned the album’s lo-fi qualities, while those same elements were enthusiastically celebrated by members of alternative-friendly media outlets. Thematically, much of Love Tara’s lyrical content was inspired by the end of White and Doiron’s romantic relationship. The resulting amalgam made for a highly original style presenting sonically heavy music with vulnerable, at times naively confessional lyrics, softly delivered by both male and female voices.
Even after inking the Sub Pop deal, Eric’s Trip maintained the ability to release singles via numerous smaller indie labels including Cinnamon Toast, Sonic Unyon, Derivative and Summershine. In 1994, Eric’s Trip issued its second full-length Sub Pop effort, Forever Again, spawning a minor hit with the song “Viewmaster.” Two years later the album Purple Blue followed. The group disbanded in 1996, mere months after joining fellow Zunior Independent Music Hall of Fame inductees Rheostatics on the road as part of the Tragically Hip’s Another Roadside Attraction cross-Canada tour. As evidence of the band’s widening appeal at the time of its split, Hip frontman Gord Downie immortalized the group in his ’96 song “Put It Off,” singing “I played Love Tara/by Eric’s Trip/on the day that you were born.”
Since first reuniting for a Canadian tour in 2001, Eric’s Trip has performed a handful of live shows including annual appearances at the Sappy Records Festival in Sackville, N.B., and a showcase at the 2007 Halifax Pop Explosion festival. A live CD called Eric’s Trip: Live In Concert, Nov. 4, 2001 was issued by White’s label Great Beyond Recordings in 2002.
The members of Eric’s Trip have remained prolific and creative since the band’s original breakup and over the course of subsequent reformations. White has released several albums of psychedelic rock under the auspices of Elevator to Hell, Elevator Through and simply Elevator. He also has a number of solo discs to his credit, has performed and recorded as a member of The Unintended and has produced albums for various other artists including The Sadies, Orange Glass, Joel Plaskett and Julie Doiron.
Doiron, meanwhile, has enjoyed considerable success as a solo artist, initially under the auspices of Broken Girl. In March 2000, the artist was bestowed a Juno Award for her work on the CD Julie Doiron and the Wooden Stars. Her many other collaborations include those with Shotgun & Jaybird, Phil Elverum, Calm Down It’s Monday and Okkervil River.
Chris Thompson remains busy with his solo project Moon Socket, which he has been working on since prior to Eric’s Trip’s demise. Thompson’s other ongoing musical projects include Orange Glass and The Memories Attack.
After several years collaborating with White in Elevator, Mark Gaudet has rekindled his old 1980s punk band, The Robins. A new album (produced by White) has been recorded and is awaiting release.
-Chuck Molgat
Eric's Trip Discography
Eric's Trip EP - 1990 - Self-released Catapillars EP - 1991 - Self-released Drowning EP - 1991 - Self-released Warm Girl EP - 1992 - Self-released Peter EP - 1993 - murderecords Songs About Chris EP - 1993 - Sub Pop Love Tara - 1993 - Sub Pop Gordon Street Haunting EP - 1994 - Sub Pop Forever Again - 1994 - Sub Pop Purple Blue - 1996 - Sub Pop Long Day's Ride 'Till Tomorrow (compilation) - 1997 - Sappy Records The Eric's Trip Show - 2001 - Teenage USA The First Album - 2001 - Great Beyond Live In Concert Nov. 4, 2001 - 2002 - Great Beyond Warm Girl, Belong - 2002 - Great Beyond Bootleg LP - 2007 - (no label)
Other
Belong 45 (b/w Mirror/Red Haired Girl/All I Want to Do) - 1992 - Self-released Julie And The Porthole To Dementia 45 - 1993 - Sappy Records Opening Song 45 (b/w Trapped In New York/Float) - 1993 - Summershine Warm Girl 45 (b/w Window/So Easier Last Time/My Chest Is Empty Part 1/The Future) - 1994 - Derivative Eric's Trip/Sloan split 45 (Eric's Trip: 1994/Laying Blame b/w Sloan: Stove/Smother) - 1994 - Cinnamon Toast * * The Road South 45 (b/w Smoke/I Exist) - 1995 - Sonic Unyon Eric's Trip/Moviola split 45 (Eric's Trip: Pillow (Red) b/w Moviola: Pay Day/Don't Speak/The Horse) - 1996 - Metoo!
Rheostatics’ induction into the Zunior Independent Music Hall of Fame ought not to come as a surprise to anyone with a pulse and a passing knowledge of the Canadian music scene over the past two-and-a-half decades. Prior to disbanding in early 2007, the pioneering quartet carved its place in the figurative shield of Canadian music lore, logging countless thousands of kilometres on the Trans-Canada Highway, and inspiring as many fans with music at once contemporary yet unconventional, eccentric yet accessible.
But don’t just take our word for it.
“For well over 20 years,” writes Zunior Independent Music Hall of Fame voter and web forum poster carolelarson, “Rheostatics played their way back and forth across the country, released 14 albums, and supported, worked with and influenced countless other musicians, from Barenaked Ladies to the Weakerthans. They are a major part of the foundation of the independent music scene in Canada.”
Formed in 1980 in the Toronto suburb of Etobicoke (a neighbourhood so tough residents don’t even pronounce the “k”), the band played its first gig under the auspices of Rheostatics and the Trans-Canada Soul Patrol. Though shortened to Rheostatics soon thereafter, the discarded elements betrayed what would become the unit’s noted tendency for looking well beyond the primer grey horizon of southwestern Ontario, and out into the varied and various heartlands of Canada at large.
Numerous tours followed. And albums, beginning with the band’s self-effacingly titled debut, Greatest Hits (1987). Melville (1991) and Whale Music (1992) spawned numerous campus radio staples from Victoria to Halifax. Videos for such tracks as “The Ballad of Wendel Clark” and “Aliens (Christmas 1988)” saw the Rheos become one of the first independent Canadian bands to enjoy regular spins on fledgling cable TV station MuchMusic.
Though largely ignored by mainstream music-biz tastemakers, commercial radio and major labels, many others were taking notice and taking Rheostatics seriously. Counter-inspired by the band’s 1992 album Whale Music, celebrated author Paul Quarrington invited Rheostatics to score the cinematic version of his novel, the lush results of which were later released as Music from the Motion Picture Whale Music (1994). The following year saw hugely popular Canadian rock band Tragically Hip embrace Rheostatics as the opening act for a national tour. Meanwhile, the National Gallery of Canada commissioned the band to compose music to accompany its 75th anniversary retrospective of another highly original and definitively Canadian combo, the Group of Seven. A dozen tracks of the mostly instrumental material (co-written with Kevin Hearne of Barenaked Ladies) comprised the band’s CD Music Inspired by the Group of Seven (1995). Many comparisons have since been drawn between those celebrated visual artists and the similarly dynamic, highly original and definitively Canadian Rheostatics.
Following those high water marks, Rheostatics issued three additional studio albums, The Blue Hysteria (1996), Night of the Shooting Stars (2001) and 2067 (2004). The band also issued three live recordings (among them 1997’s critically acclaimed Double Live), a full-length disc of CBC Radio recordings (1998’s The Nightlines Sessions) and a children’s album, The Story of Harmelodia (1999), written by guitarist Dave Bidini, narrated by musician (and Bidini’s wife) Janet Morassutti and scored by the band.
Throughout Rheostatics’ career and travels, the band made a point of supporting and encouraging emerging independent acts, routinely sharing stages, resources and whatever advice was asked of its various members.
“Not to mention Green Sprouts Music Week, which gave young up-and-coming musicians (including some of my friends) the opportunity to play shows with the Rheos during their residencies at the Horseshoe Tavern in Toronto,” wrote Zunior Independent Music Hall of Fame voter and web forum poster loweeda. “This recognition and support of Canada's music scene (from the grassroots up), coupled with their amazing music, means the Rheos deserve to [be inducted]!”
Rheostatics performed their final live concert on March 30, 2007 at Toronto’s venerable Massey Hall.
Further testament to Rheostatics’ boundless creativity is the fact each former member of the band continues to produce a variety of artistic output. Guitarist/vocalist Martin Tielli has released a pair of solo albums and has emerged as a renowned visual artist. Bass player/vocalist Tim Vesely fronts the Violet Archers. Dave Bidini remains an active solo musician and is also a noted author with several books to his credit. Drummer Don Kerr continues to play with Ron Sexsmith, and is a regular studio producer, too. Original Rheostatics drummer Dave Clark is involved in a variety of artistic pursuits, including artist’s collective The WoodChopper’s Association. Meanwhile, long time Rheos producer (and the band’s last drummer) Michael Phillip Wojewoda continues to work his magic in recording studios near and far.
-Chuck Molgat
Five questions with Zunior Independent Music Hall of Fame inductee Rheostatics:
It seems Melville, Whale Music and Introducing Happiness are most often cited as Rheostatics’ best albums. In retrospect, where do you rank them in the band’s catalogue?
Don Kerr: I love Introducing Happiness. It's always been my favourite. It's the pinnacle of Rheostatics’ production and songwriting. Melville is great as it's so simple compared to everything else, and I've never loved Whale Music as much as every one else who loves is so much.
Tim Vesely: I think about the Rheostatics catalogue in terms of individual songs, not albums. And not necessarily recordings either. Some songs I identify with live versions more than album versions. For instance, if I think of The Blue Hysteria, I think of playing the song “A Mid Winter Night's Dream.” Or Night of the Shooting Stars, I think of all the times we played the song “Mumbletypeg”, or “PIN” live. Or with Whale Music, the way “Self Serve Gas” and “California Dreamline” go together, or when we recorded “Self Serve Gas” and made up the reprise ending on the spot. Albums are more like arbitrary markers on a timeline continuum. I don't think making albums was our ultimate goal. We were more about crafting songs, playing them live, letting them evolve and enjoying it.
If possible, can you name your three favourite Rheostatics songs?
Dave Bidini: It's hard to pick three because a lot of songs were recorded or sequenced in these big swaths of music, “King of the Past” into “RDA”, “Self Serve Gas Station” into “California Dreamline”, “Earth” into “Digital Beach” and almost all of Harmelodia. And live, it became even more about these big moments, where songs would kind of smash against each other, endings would become beginnings and one riff would appear in another song. I also guess I like the songs where everybody's playing and singing together: “Horses”, “Shaved Head” and “Song of the Garden”, that sort of thing.
Don Kerr: “Fan Letter to Michael Jackson.” The sounds perfectly match the song's lyrical content. “When Winter Comes” because I love a good epic song. And “Introducing Happiness.” Pure joy channelled into a perfect pop song.
Tim Vesely: I wouldn't say "It" from Melville is one of my favourite songs, but I do remember vividly playing that song for the first time live at the Silver Dollar in Toronto and feeling like, "Wow, we're onto something here." It was a departure from what we had done previously and it made me feel like more good stuff was to come.
I feel strongly about “A Mid Winter Night's Dream” too. I remember that song as the first we arranged with our "new" drummer at the time, Don Kerr. I had that same sort of feeling that we were onto something good. I also vividly remember playing that song at our farewell Don show in Ottawa at the Tulip Festival in the pouring rain. One more pick, eh? Can’t decide.
What are you up to these days, creatively or otherwise?
Tim Vesely: I'm starting to think about recording the next Violet Archers record. We've been playing a bunch of shows and it's feeling good. I'm recording and producing a record for my friend Jane Gowan's band Shade. I just played bass on the next Great Aunt Ida record and I've been busy for the past couple of years writing and recording music for television.
Don Kerr: Actually playing and recording a lot with Dave Bidini, Paul Linklater and Doug Friesen as Bidiniband. Also producing a lot of songwriters and young rock bands in my home studio. And my prized creative project lately has been a rooftop garden. It has taken off wildly, providing my family with lots of food and great times.
What is the greatest difference between your creative process now and that of your old Rheostatics days?
Don Kerr: More variety of songwriters now, but I miss the three hour shows every night.
Tim Vesely: I get to record and produce my own recordings, so my songs these days end up sounding way closer to the way I hear them when I write them. As far as bringing it to the people live, I'm much more responsible for it now and I like the challenge. It's been inspiring. In the Rheos, there was always someone to hide behind. You could do your thing for a song or two and then fall back or goof off or just disappear.
Do you think it’s easier or more difficult to be an independent artist these days as compared to a decade or two ago?
Tim Vesely: I would say it's both easier and harder. It's obviously easier to make your music available on the Internet. And it's way more affordable to make good sounding recordings with new digital technology. But there's just way more stuff being put out there. And the idea of actually selling your recordings is becoming more and more remote. In the end, though, the best stuff tends to rise to the top no matter what.
Don Kerr: I think it's got to be either the same or easier with the Internet as a publicity and sales tool. Plus, live music still has huge cultural value, even if there's not a lot of money in it.
We are very pleased to announce the two winners of the 2009 Independent Music Hall of Fame:
1. Eric's Trip (originally from Moncton, New Brunswick) 2. Rheostatics (Toronto)
The jury completed their votes last week and these two icons emerged as our first ever winners. In the coming weeks you will see in depth features on both these bands right here on the Independent Hall of Music website/shrine.
To give you a taste of the jury debate on these winners, here are few excerpts from the original nomination proposals made by members of the jury:
1. Eric's Trip - nominated by Carla Gillis:
"Thoroughly D.I.Y. – in their case, homemade artwork and everything."
"Spearheaded the East Coast “Halifax is the Seattle of the north” movement in the early 90s."
"Totally original sound that mixed sludgy heaviness with vulnerable, highly personal soft-sung lyrics sung by a guy AND a girl."
"Never signed to a major."
"Influenced almost as many U.S. bands as Canadian ones, and many younger contemporary bands."
2. Rheostatics - nominated by Michael Barclay
"They combine the best elements of Stompin’ Tom, Jane Siberry, Max Webster, Mary Margaret O’Hara and Neil Young. They were incredibly eclectic and yet you always knew it was the Rheostatics."
"They were singular and unique; no other band in the world sounds like them, to this day."
"Deadly serious and downright goofy; operatic art rock and bare-bones punk rock; grand ambitions and self-sabotage—it’s all there."
"10 official releases (counting off the top of my head); one of them on a major label, the rest done to varying degrees of indie-ness and DIY. 29-year career (1979-2008)."
Stay tuned for more on these bands in the coming weeks.
For the past two weeks, the jury has been engaging as a group to define:
a) Considerations - the elements that matter when picking a winner. b) Nominees - possible winners.
Key considerations include elements such as the national scope of the artist, the number of independent releases and a consideration of overall impact. As a next task, jury members made a case for their nominee in light of these key considerations.
We are just in the process of finalizing the short list and picking our winners. The two winners of the 2009 Independent Music Hall of Fame will be announced this Saturday at the Zunior 5th Anniversary Show in Toronto.
Welcome to the nominations for the Zunior Independent Music Hall of Fame. Our goal is to award the prize every year to two Canadian independent artists that helped form the foundations of independent music culture in Canada.
There are two stages to the process:
Stage 1 - Public Nominations - Anyone Can Vote
Anyone can vote for the best Canadian independent artists of all time. The rules are simple. The artist you submit must:
1. Be Canadian 2. Embody the spirit of independent music. 3. Have put an album out on an independent label.
Once nominations close, the jury will deliberate for two weeks. The two winners for 2009 will be announced on June 27, 2009 at the Zunior 5th Anniversary show in Toronto.
Prizes
The two winners for this year will receive in-depth profiles on the Independent Music Hall of Fame website (coming soon), Zunior prizes and independent rock infamy.
Stay tuned for updates and details as we get closer to the event in June.
The Independent Music Hall of Fame is presented by Zunior.com. It is an award presented every year to two Canadian independent artists that have been a) nominated by the public and b) picked by the jury.
To be accepted into the Hall of Fame, winners must:
1. Be Canadian. 2. Embody the spirit of independent music. 3. Have put an album out on an independent label.
If you have questions about the award, please contact the curator at daveATzuniorDOTcom.
