Category Archives: Music

Music Sundays | Angus and Julia Stone | Sibling Folk

June 2, 2019A & E, fixin to die rag, Jude and Megan, Music, VanRamblingsRaymond Tomlin

Julia Natasha Stone was born on the 13th of April 1984 in Sydney Australia.
Julia’s parents, Kim and John Stone, were both well-regarded Australian folk musicians who played locally. Two years later, on April 27th 1986, her brother Angus was born. At family gatherings, it was not uncommon to see the two siblings perform — all was well until, in 2000, their parents split.
After finishing secondary school and while on a holiday with her brother in South America, Julia was impressed by her brother’s musical talent, “Angus was writing amazing songs … he had shown me how to play guitar when we were traveling in Bolivia, and those songs had gotten me through that year (Julia had, earlier that year separated from her boyfriend, from all reports a turbulent relationship, which left Julia emotionally devastated)”.
Within a year, in 2004, Julia began writing her own songs.
By 2005, and back in Sydney, Angus and Julia began to play gigs at open mic nights, with Angus performing backing vocals for Julia, as in time Julia did for Angus, on the songs he wrote. Finally, in 2006, the two formed a duo, Angus and Julia Stone. In March of that year the pair recorded their début extended play, Chocolates and Cigarettes, a remarkably chill amalgam of songs written and recorded live at home.
The EP, released in August, went on to win the ARIA (Australian Recording Industry Association) 2006 Best Album award, with Angus and Julia also taking home the Best New Group prize. The rest, as they say, is history.

Chocolates & Cigarettes directed by Angus and Julia Stone — from their 2006 début EP.

Angus and Julia Stone’s second album, Down the Way (March 2010), débuted at number one on the ARIA Albums Chart and was certified 3x platinum in 2011, It was the highest-selling album by an Australian artist for 2010. At the 2010 ARIA Music Awards the duo won ARIA Album of the Year for Down the Way and ARIA Single of the Year for Big Jet Plane, attaining the number-one position in the Triple J Hottest 100 in 2011, as voted on by radio station listeners across Australia.

Angus and Julia Stone last played in Vancouver on November 28th 2017, to a sold-out audience of 1280 fans at The Vogue.

Music Sundays | Regret | Blue Nile

May 26, 2019fixin to die rag, Jude and Megan, Music, Stories of a Life, VanRamblingsRaymond Tomlin

In the early 1970s, I attended Simon Fraser University. Early on in my student career, I met the head of Medical Services at SFU, Dr. Ed Lipinski, one of the most impressive men I’ve ever met. He asked if we might meet from time to time, that given my various political involvements of the day, he said he found me “fascinating”, and would like to get to know me better.
Now, as it happens, Dr. Lipinski was a psychiatrist, a dedicated and gifted therapist, for a long period of time the head of the World Psychiatric Association, and someone that every person of influence, in administration and among the student body at SFU, saw on a regular basis.
Ed made things happen.
For me, that meant bursaries and scholarships, and paving the way for whatever I needed. In addition, as a journalist / editor at the student newspaper, The Peak, Ed Lipinski ensured that I had access to senior administration officials, who almost inevitably became “unnamed sources” for a series of provocative articles I wrote over the years.
Had Ed not died in a car accident along the Algarve in Portugal in 1981, my life would have been much different. Ed was 100% on my side, he had influence with the Courts, and in the political, banking, and corporate worlds — apart from being a first-rate psychiatrist, Dr. Ed Lipinski, British Columbia’s first forensic psychiatrist knew how to connect influential people to get things done. Dr. Lipinski was, then, our province’s trusted figure.
In 1972, as was occurring more frequently, Cathy and I were experiencing one of several episodes of turbulence in our marriage — I was giving serious thought to leaving her, calling it quits. Here’s what Ed said to me …

“Raymond, imagine that you’re 63 years of age, it’s 3 a.m. on a chilly winter’s morning, and you’re lying in bed all on your own. You’ve been on your own for awhile now. No marriage. No relationships with women who you love. No one to share your life with, just you taking responsibility for yourself. Ask yourself, ‘Do I want to be alone as I approach the latter third of my life, or do I want to share my life with a woman I love?’ Raymond, should you leave Cathy, is that a decision that you will regret? Do you honestly want to face the prospect of lying their at 3 a.m. alone, with no one to turn to, and no one with whom you can share your life?”

The impact at the time of Ed asking me those questions was to return home to Cathy, and make a renewed effort to preserve our marriage.
Now, of course, I am just shy of 69 years of age, and alone. But not lonely.
Would I prefer to be in a relationship with a woman I love? Yes, I would — and you only have to know me to know that for me, hope reigns eternal. I am an optimist about love, as I am about my political involvement, and almost every aspect of my life. When I reflect on my life now, I believe I am, overall, satisfied with my life.
Still & all, when I’m lying in bed at 3 a.m., I think back to that conversation with Ed Lipinski in 1972, and reflect on the fact that I am alone.
In respect of the matter of regret, up until 1997 I was, every moment of the day, as I had been for years, filled with regret and, as it happens, self-loathing. There was so much that I regretted about my life, things I wished I had done differently. Fortunately, I had another gifted therapist, Max, in my life who was able to present to me a logically consistent argument as to why I should look forward and not back, that the decisions I had taken in the past that I had come to regret were things I could do nothing about.
What I could do was each and every day work towards becoming a better, more sensitive and thoughtful, more whole and more generous person.

Glaswegian Paul Buchanan, lead singer and founder of the Scottish trio, Blue Nile.

Still and all, I do reflect from time to time on the regrets of my life, and the better decisions I might have made. As such, the music of Glaswegian Paul Buchanan and his two band mates in the 90s Scottish trio, The Blue Nile, speaks to me in the early hours of the morning, and when I am feeling in a melancholic mood, the song Regret speaks to the deepest part of my soul.

Music Sundays | Early ’60s | Phil Spector | The Wall of Sound

May 19, 2019A & E, Music, Pop CultureRaymond Tomlin

Growing up in the ’60s, in the era of Phil Spector and the Wall of Sound, The Beachboys, The Beatles — and all the groups who were a part of The British Invasion — was to feel vibrant and alive, hopeful for a better world for all, within a revolutionary era of societal change that spanned the globe.
Music served to awaken a younger generation to the possibility of change, to define an era for themselves, and be moved to work collectively for the betterment of society. And as anarchist Emma Goldman was wont to say, “If I can’t dance, I don’t want to be part of your revolution.” There was no music better to dance to than the music of Phil Spector’s Wall of Sound.

An excerpt from Danny Tedesco’s very fine 2008 documentary, The Wrecking Crew, in which Cher, American record producer and recording engineer, Bones Howe, bassist Carol Kaye, drummers Hal Blaine, and more, exclaim about Phil Spector and the Wall of Sound.

To attain the Wall of Sound, Spector’s arrangements called for large ensembles (including some instruments not generally used for ensemble playing, such as electric and acoustic guitars), with multiple instruments doubling or tripling many of the parts to create a fuller, richer tone.
For example, Spector would often duplicate a part played by an acoustic piano with an electric piano and a harpsichord. Mixed well enough, the three instruments would then be indistinguishable to the listener.
Additionally, Spector incorporated an array of orchestral instruments (strings, woodwind, brass and percussion) not previously associated with youth-oriented pop music. Reverb from an echo chamber was highlighted for additional texture, which he characterized as “a Wagnerian approach to rock & roll: little symphonies for the kids”. The intricacies of the technique were unprecedented in the field of sound production for popular music

Imagine being 12 years old, turning on the radio and hearing Darlene Love and The Crystals, The Ronettes, Smoky Robinson and The Miracles, The Beatles, Marvin Gaye, The Zombies, The Righteous Brothers, The Kinks, The Beach Boys, Diana Ross and The Supremes, Mary Wells, The Drifters, Chris Montez, Dionne Warwick, Martha and the Vandellas, Otis Redding, Roy Orbison, Ray Charles, and more, so much more — in the early ’60s, the hits really did ‘keep on comin‘, Vancouver’s CKLG part of the musical revolution.
Today on VanRamblings, a musical tribute to Phil Spector’s Wall of Sound, which in an era of one track studios embodied a revolutionary approach to the recording of music, setting a standard that prevails to this day, in the complex arrangements of your very favourite progressive bands and artists.

Music Sundays | Allison Moorer | Transcending Tragedy

May 12, 2019A & E, fixin to die rag, Jude and Megan, Music, Pop Culture, VanRamblingsRaymond Tomlin

Sisters & country musicians Shelby Lynne (l) & Allison Moorer share the pain of tragedy

When Allison Moorer was but a young strip of a girl, just turned 14 years of age and in Grade 9 at Theodore High School in Mobile, Alabama, and her older sister, Shelby Lynne, who was at age 17 preparing for the prom and her upcoming graduation, their estranged father, Vernon, an itinerant musician and English teacher at the girls’ school, turned up at their home.
Outside the house, he and the girls’ mother, Laura Lynn Smith — who had long had an intensely loving yet troubled relationship with Vernon — became involved in a heated squabble. Vernon wanted to return to the family home, a prospect Laura Lynn told him she was unwilling to consider.
Meanwhile, with their mother ordering the two girls to stay in the house, with Shelby and Allison now cowering inside their home just by the bay window looking out onto the front lawn, Vernon pulled out a gun and shot their mother dead, turning the gun on himself and taking his life, as well.
It’s the kind of horrifying loss that, as Moorer has said, some teenagers might not have survived. But Moorer and Lynne did more than survive. Both went on to successful careers in the music industry, becoming huge names and best-selling progressive artists most closely associated with the country music genre, each with their own, distinctive & stellar solo careers.

Allison Moorer, 46, is hardly the first artist to emerge from Nashville with songs defined by darkness and desperation; one recalls the brief lives of Hank Williams, addicted to painkillers & booze, dead at 29; and Patsy Cline (‘Oh Lord, I sing just like I hurt inside’) who at 30 died in a plane crash.
With the help of her grandparents and her sister, Allison Moorer completed high school, going on to attend college at the University of South Alabama, where she graduated with a B.A. in Communications in June of 1993.
Having grown up in a musical family, where she started singing harmony as early as age 3, throughout her time at university Moorer earned tuition and living expenses by working as a backup singer to various Nashville artists, along the way meeting and falling in love with a guy, Doyle “Butch” Primm, who became her collaborator, co-writer, co-producer, and husband.

In 1998, with Doyle producing, Allison Moorer recorded her début album, Alabama Song, which went on to become the best-selling progressive country album of the year, the first song released from the album, A Soft Place to Fall, chosen by writer / director / actor Robert Redford as feature song on the soundtrack of his Oscar-nominated film, The Horse Whisperer.
Subsequently, the best-selling A Soft Place to Fall went on to a receive an Academy Award nomination for Best Original Song, with Moorer singing her hit song on the Oscar telecast in March 1999, trying not think about the then one billion people who were tuned in to watch the Academy Awards.
Over the years, both Allison Moorer and Shelby Lynne have found a place of significance in my music collection, for nigh on 20-plus years now.