Tag Archives: MP3

Bloomistry Live at Raw Sugar Cafe | 10.10.2009

Raw Sugar Cafe

Bloomistry live at the Raw Sugar Cafe, Ottawa, Canada. October 10, 2009

Audience recording. Dmitri Koev, bass; Simon Meilleur, drums; Terry Calder, guitar, b. vocal; Wayne K. Spear, guitar, vocal.

Bloomistry Raw Sugar 04

CBC radio’s Amanda Putz had just done a feature on our new album, To Be, so there was a bit of buzz in the air when we took to the stage in October of 2009. We were doing shows every week somewhere in town, which in retrospect was pushing things a bit into over-exposure.

This was a fun show. The audience was pretty low-key and sedate, but it was a good crowd and we were playing in a cafe, after all. This recording was made from the audience, and the quality is not great. Four of the songs we played were only partially recorded, and are not included. Yulia Teryaeva captured the evening in photos with her keen eye, as she did on many other occasions. I also asked a photographer named Jennifer Lapierre to come out to the show, which she did. It’s a funky and intimate venue, and we were really stoked to play this show. A lot of bands love Raw Sugar Cafe.

Set

1. The Wars
2. Trigger of Your Soul
3. A Crack in My Cup
4. Bitter Sense of Melody
5. Ragged Doll
6. River Wide Road
7. Late Bloom
8. Hook and Eye
9. I Guess I’ll Need A Miracle
10. North of Wasomee
11. Four Leaf Clover

Bloomistry, “To Be” (2015 Remaster)

To Be

For the 6th Bloomistry album I turned, as so often before and after, to the poets to get my ideas. To be or not to be, that was the question. And the answer was “Let’s be, and let’s make another album.”

But I didn’t want to make just another Bloomistry record. So I indulged every crazy idea, the crazier the better. I recorded twenty-minute songs, atonal compositions, and tunes with invented time signatures. I filled the studio with things that I banged together, in an attempt to make music without conventional instruments. Some of it was pretty interesting, at least to me, but other than Arrow of Time (which was my attempt to sound like the band Califone) the weirder stuff didn’t make it to the record.

Some of the songs, like Feet On the Mountain and Medley, were in fact ground-breaking for me. I don’t think there’s anything like it on the earlier records. And Never Gonna Nadia was the first Bloomistry song I could imagine hearing on the radio—and then one day, in Montreal, I did hear it on the radio. That and High Beam, a clearly Lennon-esque song—though I didn’t consciously intend that—were in college radio rotation for a time.

The 2008 recession was digging in, and To Be was a record about the rot of politics and rogue capitalism. The song Roses was dedicated to Anne Rogovin and its lyrics alluded to Rose Schneiderman as well as to the poem “Bread and Roses.” I was not very happy at this time, for a lot of reasons, most of them having to do with living in a staid bureaucratic city (as I saw it) where it seemed to be winter ten months a year. Maybe that’s why this record bogged down.

I’ve never been able to decide whether or not these songs are any good, or whether they work as a whole. The middle section—Wine and Women, On Top of the World, and To The Bottom—were taken from another project, Laketown. I call this section of the record the Tape Hiss Trio (listen and you’ll know what I mean) and it bothers me to this day that it’s there. Still, this is the most polished of my records, and I did a lot of interesting trickery in the studio to pull it off.

Simon Meilleur overdubbed the drums on Never Gonna Nadia and The Wars. I was never a strong drummer (I learned to play drums as I made these records!) so there was always timing issues. His contribution took things to a new level. And Edith Boucher’s artwork for this record was the first time I actually thought about such things in a serious way. So this is also my best-looking album.

On February 16, 2009, I started recording The Gutter and the Gut, as it was called. Phil Bova mixed the album on August 12–13 and we mastered on September 22, two weeks after I had mixed Laketown with Dave Draves. I took three songs off that record and substituted them on To Be. The rest is history.

Tracks.

1. High Beam
2. A Crack in my Cup
3. Four Leaf Clover
4. Wine and Women
5. On Top of the World
6. To the Bottom
7. Never Gonna Nadia
8. Feet on the Mountain
9. Broken (Medley)
10. Arrow of Time
11. Roses
12. The Wars

Bloomistry Live at Kaffé | 23.10.2009

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Bloomistry live at Kaffé 1870, Wakefield, Quebec. October 23, 2009

Audience recording. Dmitri Koev, bass; Simon Meilleur, drums; Terry Calder, guitar, b. vocal; Wayne K. Spear, guitar, vocal.

We did a bunch of shows at Kaffé 1870, a bar in the postcard-perfect, riverside village of Wakefield, Quebec, run by members of The Fiftymen. It was a great venue, and I remembered this being one of those beautiful, clear fall nights when the autumn leaves are at their peak and the air is crisp in a good way that makes you feel alive. But then I listened to the recording this week for the very first time, and in one of the songs I mention it’s raining outside! So either I was remembering the show I did a week earlier with Chris Page, or my brain is just making this all up.

The crowd that night was rowdy and ready. We were never a dance band, and I wasn’t prepared for a crowded dance floor—but when it happened, I loved it. My friend Flecton Big Sky shared the bill, joined by his band The Dreamcatchers, featuring Scott Terry on guitar and Tom Werbowetski on drums. Scott was my first drummer, and you’ll hear him heckling in good fun. As for The Dreamcatchers, I think this may have been the last time they performed together, but like my recollection of the weather I could be wrong.

We did a photo shoot with Yulia Teryaeva before this show in Mackenzie King Park and spent the day in and around the village. I don’t remember when we took the stage, but it was a long night. I went home exhausted but happy.

This recording is rough, but it gives you an idea of the night. The set list doesn’t exactly match the recording, but it wasn’t unusual for us to change things up on the fly. Or maybe I just didn’t read the set list properly. We played three songs that we didn’t often perform—What Might Have Been, The Wars, and Fountain of Light. I’ve always thought Fountain of Light was among my better songs, maybe because of how it happened. I was struggling with something in the studio, so I just took a break and went off to the side with my guitar to decompress. And in one uninterrupted go, out came this song, exactly like it is on the record. I recorded it right then and there. Creepy. That had never happened to me before, and it’s never happened to me since.

Set List

2009-10-23_Kaffe

Flecton Big Sky

Flecton Big Sky and The Dreamcatchers | Kaffé 1870 23.10.2009