Steve Poltz Dreamhouse
By Jennifer Cooke

He keeps it real by releasing his efforts on his own 98 Pounder imprint and recording and selling each and every live show he plays, which is nothing to sneeze at, considering the man is on the road at least a third of every year. Standout tracks on Dreamhouse include “License Plate Eyes”, “Wish the Wind” and an arresting and non-ironic take on Streisand’s “The Way We Were”.

Steve Poltz Dreamhouse
By Brian Baker

Steve Poltz’s success with The Rugburns on the band’s 1996 college radio hit Taking the World by Donkey was like a cherry bomb compared to the megaton attention that mushroomed around the singer/songwriter when he co-wrote the worldwide hit “You Were Meant for Me” with his friend Jewel. Poltz parlayed his hit status into a solo Mercury contract but he only pushed out one album, 1998’s One Left Shoe, before extricating himself from the label in order to self-release a series of off-kilter masterworks, including Answering Machine (a collection of 56 songs clocking in at less than a minute that had served as Poltz’s outgoing messages), Live at Largo’s, Chinese Vacation and a live DVD. After a nearly five-year gap, Poltz returned with a pair of CDs that drifted just slightly away from the serious smartass direction of much of his catalog; 2008’s Traveling (distributed through regular channels) and Unraveling (sold only at shows).

On Poltz’s latest, Dreamhouse, he continues in the sonic and stylistic vein of Traveling/Unraveling, working a groove that straddles ’60s Pop, ’70s Folk Rock and contemporary Indie Pop. Poltz has also found a nice balance of comedy and gravity on Dreamhouse, from the Harry Nilssonesque Pop lilt of the title track and the Todd Snider funny Folk roll of “Killin’ Myself (To Be With You)” to the Jimmie Dale Gilmore-meets-Jorma Kaukonen waltz of “Dreams #23” and the jazzy Loudon Wainwright III-channeling-Willie Nelson dream Folk of “A Dog in Bosnia.” He even pulls off a magnificently spartan and completely unironic reading of “The Way We Were.”

Poltz typically has a masterpiece on every masterpiece and Dreamhouse is no exception. “License Plate Eyes” plays like a Sgt. Pepper outtake reimagined by Jon Brion while touching on many of the aforementioned reference points. It’s hard not to go overboard on the superlatives when talking about Steve Poltz, and Dreamhouse is simply the next in a series of great albums by a singer/songwriter who should be lionized with Hall of Fame fervor.

Steve Poltz Dreamhouse
By Joshua Kloke

Steve Poltz is a hell of a busy guy. He is spending the summer of 2010 playing shows just about anywhere that will have him, whether it means playing major festivals events such as the Ottawa Bluesfest or at the Petite Riviere Vineyards in Crousetown, Nova Scotia. And actually, if you take a peek at his schedule on his website, he is also playing numerous house parties over the course of the summer as well. Clearly, when it comes to spreading the gospel of his music, no reasonable offer is off limits.

“I’ve been on the road since 1992. I don’t know why it hasn’t gotten old yet,” Poltz says.

The fact of the matter is, Poltz has been making music for the better part of forever. In all seriousness though, his first band The Rugburns released their debut record in 1994, their second record in 1995 as well as a couple of EP’s before disbanding when Poltz left the group to pursue life as a solo artist.

Those aspirations would produce his memorable folk-influenced solo debut One Left Shoe, released in 1998. Signed to Polygram Records at the time, Poltz was being hailed by Rolling Stone Magazine as the “next big thing”. Not bad for a guy born in Nova Scotia and raised in California.

Just months after One Left Shoe hit store shelves however, Poltz was dropped by Polygram leaving One Left Shoe dead in the water but remains philosophical about his fleeting major label experience, even to this day:

“I ended up selling what would be a lot for an indie label but just not up to major label sales standards,” Poltz says.

Speaking with The MusicNerd Chronicles after a sound check in Jacksonville, Florida, Poltz goes on to say:

“The experience was a lot of fun. Plus the whole Rolling Stone thing was great for my ego,” he laughs. “Once I made peace with the fact that the music business is a brutal business, I look back on the experience fondly.”

Thankfully for us, Poltz continued chasing his musical aspirations, happily making music for anyone who cared to give him the time of day.

In 2008, Poltz returned to his birth province of Nova Scotia and was performing a show when part-way through, he noticed the one and only Joel Plaskett in the audience. Calling the artist up for a take on Plaskett’s own “Light Of The Moon”, the spur-of-the-moment duet marked the beginnings of a friendship that would ultimately lead to Plaskett being in the producer’s chair for Poltz’s newest record, Dreamhouse.

“Joel was a great contributor to my new record. In fact, I don’t feel as though the record would be what it is without him.”

Asked what specifically Plaskett brought to the table, Poltz is quick to offer a number of positive attributes:

“First and foremost, Joel helped keep things organized and together. He was able to sift through the songs and was able to put them together in a cohesive package. He was incredibly patient and had a lot of great suggestions to offer.

“We ended up forging a really strong friendship in the end.”

Even though mass commercial success has eluded Poltz’s solo career to date, he remains confident about his career choice:

“On the road, you truly never know what you’re walking into from one night to the next. There are some nights that you are treated like a king, getting a great dinner and great accommodations and then the next night, you aren’t given the courtesy of free water.

“All of these experiences teach you something though. At the end of the day though, you just gotta enjoy the ride, no matter what cards you are dealt. There’s nothing worse than a bitter musician.”

Steve Poltz Dreamhouse
By Joshua Kloke

The comfortable, seemingly nonchalant sway of Steve Poltz’s latest, Dreamhouse may very well be a nod to East Coast singer-songwriter Joel Plaskett, long one of Canada’s undiscovered strumming charmers. After all, not only did Plaskett produce Dreamhouse, he played six different instruments and provided backing vocals. But maybe Plaskett simply adds fuel to Poltz’s fire. Both artists share an affinity for the casual, down-home sort of finger-picking that reminds you of home, no matter how far away you are from your home.
Many of the tracks on Dreamhouse, including the dreamy “License Plate Eyes” would figure well in a road-trip soundtrack, provided that those travelling don’t take themselves too seriously. While “License Plate Eyes” is a gracious, feel good track, there remains nothing daring or even slightly inventive about it. And that goes for most of Dreamhouse. “Dreams #23” is as one might imagine, a terribly comfortable lullaby that will indeed put you to sleep. Dreamhouse should be renowned for its patient, gorgeous subtlety. Yet likewise, “Digging For Icicles” sounds like an awful rip-off of an even worse Jack Johnson track. This, unfortunately is the sort of legacy that talented songwriters like Poltz and Plaskett ought to leave. It’s a little curious that this meeting of talents didn’t breed better results. Then again, if you’ve never heard of either of one of them, you’ll probably be pleasantly surprised by Dreamhouse.

Steve Poltz Dreamhouse
By Michael

Once again, I have found an album with a very fitting title. This is Dreamhouse by Halifax-born Steve Poltz. I had honestly never of Poltz before listening to this, and after listening to the record a few times I realized that I had missed out on a truly talented musician.

According to the press release for this album, Poltz apparently plays more than 220 shows a year, which is a hell of a lot. It’s the kind of work ethic that reminds me of when Dan Mangan was touring relentlessly in promotion of his spectacular sophomore album.

As if this work ethic wasn’t enough to make Poltz’s new album attractive, it was also produced by Joel Plaskett, who needs no introduction. Not only did Plaskett produce the album, but he also played a lot of instruments on it. In addition to Plaskett, other talented musicians also appear on the record including Jenn Grant and David Myles.

From Poltz’s music you can really get the sense of the troubadour in him, Many of his songs mention places far off, such as Kosovo, Bosnia and Mexico. He sings about these places with such beauty that you can almost feel yourself right there.

Listening to Dreamhouse in its entirety is like falling asleep and having a really picturesque dream. This feeling is especially evident in one of the album’s best tracks, “License Plate Eyes.” In it there is a dreamy guitar, and begins with “If it’s a dream/It’s not what it seems/Depends on your point of view/It’s always the same/You can be floating on a puffy white cloud/With daisies blowing below you lost in the wind.” Normally I don’t quote songs at length but I thought this example was particularly poignant.

The album can almost be divided into two- the first five songs are more positive and upbeat songs, while the other six are slightly more melodic and almost mournful. Whether it is the instrumental storytelling of “A Song For Kosovo” or the sad imagery of “A Dog in Bosnia” the album packs a more emotional impact as it draws to a close.

Poltz’s vocal style also makes his songs more inviting to listen to. In a few of his songs, like “Digging For Icicles” he sings almost as though the song is a nursery rhyme. That song’s drums will also have you gently swaying from side to side.

This album is really a bit of a hidden gem. You won’t necessarily see a lot of reviews for this album, but trust me, it is worth a few listens.

Steve Poltz Dreamhouse
By Babysue

Steve Poltz – Dreamhouse (CD, New Scotland, Pop)
Wow. This is one of those cases where all the pieces fit together just right. Dreamhouse will definitely end up being one of our top favorites albums of 2010. Steve Poltz is just so…good. We could come up with all kinds of reasons why and comparisons to give you an idea of where he’s coming from… But the important thing to remember is that Steve Poltz is a truly great artist whose music will most certainly stand the test of time. To say we’re blown away by the songs on Dreamhouse would be a vast understatement. These songs aren’t just good. They are…incredible. Not much more to say…except get your hands on this one. Eleven cuts here…with our initial favorites being “Dreamhouse,” “Digging For Icicles,” “License Plate Eyes” (this one is so beautifully resilient…!), “Wish the Wind,” and “The Way We Were.” We can’t recommend this one highly enough. An easy and obvious TOP PICK. Wow, wow, wow, wow, WOW…

Steve Poltz Dreamhouse
By Dave Hayden

On La De Da, Joel Plaskett sang about being on the road, writing songs and recording with friends for the love of the process, not for the money. The song ‘Natural Disaster’ is also a song about the security of home in the face of oncoming uncertainty, which is a theme Steve Poltz explores frequently on the Plaskett-produced Dreamhouse (‘Wish the Wind’ and ‘Love What You’ve Done with this Place’). This is essentially a companion piece to La De Da, considering Poltz, a Nova Scotian who now lives in the States, has made a road record—also adorned with Rebecca Kratz’s gorgeous woodburn—in Plaskett’s Dartmouth studio. With flourishes of Jenn Grant and Plaskett’s production and guitar work, Dreamhouse is a gorgeously lyrical record. Poltz’s trademark charm and whimsy is here, but there are also more difficult sentiments too (‘Dreams #23′, ‘A Dog in Bosnia’). See Steve Poltz live, May 9-11 at The Carleton.

Steve Poltz Dreamhouse
By Valentina D’Aliesio

The name “Steve Poltz” might not be immediately recognizable, but chances are, you’ve heard his work one way or another.

Apart from being an ex-member of ’90s alternative rockers The Rugburns, his most well-known work lies in his past musical collaborations with American songstress Jewel, a union that had him co-write her 1996 hit “You Were Meant For Me.”

Poltz returns with his eighth effort, a charming, emotionally loaded collection of songs.

Dreamhouse sees some familiar faces lend a hand in its creation. The record was produced by Joel Plaskett, who provides backing vocals in addition to playing drums and bass on the 11 tracks. Halifax singer/songwriter Jenn Grant also contributes her talents by providing stunning backing vocals to a number of tracks.

Naturally, traces of Plaskett bleed through here and there, particularly on the melodic and twangy standout track “Digging For Icicles.” Some might find the material overly heavy-hearted, but Poltz’s undeniable talents draw the listener into his world regardless of the bummer trip.

Poltz’ shining moment is his decision to close the record with a powerful cover of “The Way We Were,” where he demonstrates an ability to lay the same amount of emotion into words that are not originally his. He can consider Dreamhouse another worthwhile addition to his lengthy musical career.

Steve Poltz
Dreamhouse (New Scotland)
By Carla Gillis

At 50, Steve Poltz has been in the music game for decades, yet there’s an undeniable youthfulness to his newest album, which might finally make him a household name. (If you’re a Jewel fan, perhaps you already know of him. Poltz co-wrote You Were Meant For Me on her debut, a song that rode the charts for over 14 months.)

Dreamhouse showcases the Halifax-born, San Diego-based singer/songwriter’s melodic knack, ability to craft idiosyncratic yet classic-sounding tunes and guitar virtuosity. The dreamy title track perfectly balances all these things – upbeat melodies sung gorgeously overtop an intricate web of guitar plucking. Later, License Plate Eyes emits Traveling Wilburys breeziness.

Joel Plaskett as producer gives the album a bright polish and small sonic surprises at every turn. (Plaskett possibly also influenced Poltz’s penchant for rhyming lyrics). Jenn Grant’s elegant backup vocals glam up the album’s first half.

With undying enthusiasm and zest for life singer-songwriter Steve Poltz is coming to Kingston with a new record that promises to inspire
By Ally Hall

It would be insufficient to say singer-songwriter Steve Poltz is a well-traveled man. His last few decades in the music industry have stroked his affinity for exploring uncharted territory taking him everywhere from your Uncle’s living room to the lush land of Australia.

Bouncing from city to city telling tales of triumph and delighting audiences with his memorable live performances, Poltz took some time to talk to me over the phone from San Diego about breaking bones, The Ramones and staying creative.

Though Poltz may not be a household name to all, chances are you’ve heard one of the longest running tracks on the Billboard Hot 100—“You Were Meant For Me”—a track that Poltz co-wrote with his then-girlfriend, Jewel. The 1995 smash hit has marked Poltz’s career ever since, providing a backdrop for his story to be told.

“Prior to that I was in the Rugburns,” Poltz said. “Along the way I meet Jewel and we write a bunch of songs together. I like all my songs, they’re like my little kids … but the Jewel song is one that went out and won the lottery.” After his departure from the California outfit the Rugburns, Poltz adopted a more spiritual and purposeful outlook on his life and creation.

“We were young crazy fools, we just loved playing rock and roll … we were kind of drunk every night,” Poltz said.

Though memories of the Rugburns may be hazy, one show will forever remain in the forefront of Poltz’s concert cranium catalogue—when they opened for The Ramones.

“That was really fun, the crowd went nuts,” he said. “Their promoter came in before the show and said, ‘Don’t be offended when people throw stuff at you.’ A true rock and roll moment.”

Things have changed considerably for Poltz since then, a heavy dose of maturity and know-how guiding his evolution as an artist. Releasing more than eight albums since 1998, his fountain of inspiration and drive is seemingly endless. He proved it last February by powering through riffs despite a residual broken hand from a skiing trip. “It was a lesson I had to learn. I had to learn to say no. I shouldn’t have gone down the run I went down with the guy I went down it with … I should’ve been stronger,” he said with a laugh.

A soul who lives and breathes music, Poltz doesn’t have to look far to be inspired.

“I used to think you needed to drink and smoke pot to be creative. Now I don’t even really like drinking. I like being totally open to creativity, looking at life when I can really think. Health is a great thing—our bodies are amazing.”

With this outlook it’s no surprise that Poltz confirmed his famed affinity for yoga, a lifestyle that helps him avoid the all too common loathing result of years on the road with only the company of the same old songs.

“When it gets like that, you shouldn’t do it,” he said. “You’ve lost your purpose. Otherwise you’re not living a purpose-driven life and that would be very sad.”

If purposes in life are required, Poltz could easily make traveling his. The list of towns, cities and countries he’s visited comprises a small novel.

“It’s seriously insane how many places I’ve been,” Poltz said.

“I should do a better job of keeping track but I’m more of a looking ahead kind of person.”

It’s evident that the spaces and places Poltz occupies influence his sound.

“I don’t feel like I live anywhere. I like everywhere I play though” Poltz said. “There’s always a new adventure. I’m influenced without really thinking about it … it comes out of me like a sponge and definitely affects me.”

This absorbent approach to creative production has proven successful for the Nova Scotia native who despite his success, both mainstream and independent, exudes the most envious of relaxed energies and down to earth vibes.

Perhaps Poltz can credit his entrepreneurial label, 98 Pounder Records with relieving some of the stress other artists might face through loss of creative control throughout the longevity of their careers.

“When I got dropped from my label I thought, ‘You know what? I’m going to release myself, then I can be a independent artist and have complete freedom,’” he said. “I love it. I’m in charge of everything. It’s just so fun to create, it keeps me kind of child-like.”

Poltz’s latest release marks a decidedly different direction for the artist. Produced by fellow East coast treasure Joel Plaskett, Dreamhouse came together organically through a musical dissection process that was natural for the two musicians.

“It was a really quick process. I really did love it,” Poltz said. “He’s fun to be around and we have these really great conversations. It was filled with a lot of laughter—we worked hard and we laughed hard.”

Becoming a part of the produced-by-Plaskett family provided a change of pace from Poltz’s usual recording process. Listeners are given a small glimpse into Poltz and Plaskett’s playfully collegial relationship in the video for Poltz’s “License Plate Eyes.” In addition to providing a more rigid recording schedule for Poltz to adhere to, Plaskett introduced old world charm into the process by recording everything on 2-inch tape analog. With no computer screens in the room, the two artists kicked it old school, providing a refreshingly charming tone to the aptly named dreamy record.

This old-fashioned approach to recording is mimicked in Poltz’s performances. An avid storyteller, concert attendees next week will find it hard not to be captivated while Poltz entertains with his “old and lost art,” always stressing the importance of never letting the truth get in the way of a good story.

Steve Poltz plays The Living Room on The Mansion’s second floor Thurs. May 20. Tickets are $10 and are available at the door.

Review
By Kyle DeCoste

Nova Scotia-born and San Diego-raised Steve Poltz is no rookie when it comes to the craft of songwriting, in fact, he co-wrote the longest-running song on the Billboard Top 100- Jewel’s You Were Meant For Me to be exact. Drawing influence from an eclectic and humourously random assortment of life experiences, Poltz has forged his character and his craft and secured his place in the songwriting landscape as an honest and amiable chap.

His newest offering, Dreamhouse, is produced by Joel Plaskett whose influence can easily be heard on songs such as Digging for Icicles where the percussion loop reminds me of Plaskett’s latest album Three or License Plate Eyes where reverb-drenched whispers create a dream-like soundscape like on Plaskett’s Down At The Khyber. License Plate Eyes is about as big as the sound gets throughout the entire album with most of the songs being quite stripped down with plenty of acoustic guitar and for the most part just some drums, percussion, bass and electric scattered here and there for good measure.

Poltz’s melody-writing is certainly something to be admired. He has created melodies that are completely original and from what I can hear borrow little to no motifs- a feat in itself. Although his melodies are far-separated from anything you’ve probably ever heard before, they somehow manage to maintain a certain catchiness which seems completely unique to his songs. In songs like Dreamhouse and Dreams #23, ascending diatonic melodies run all over the place and sound quite nice in context. The interplay between guitar and vocals throughout the album is really quite impressive and truly shows that Poltz has been at this songwriting thing for quite some time. Overall, the guitar parts don’t follow the vocal line enough to impose upon its space nor do they double the vocals exactly to create odd pop-influenced monophonic medieval music; they simply complement each other superbly.

Poltz’s songwriting tends to capture moments in songs rather than ideas which is a concept I am quite fond of. One of these songs that captures a moment perfectly is Dog in Bosnia, a beautiful song that captures a rainy day in a small town in Bosnia through the eyes of a dog. Another song that needs to be mentioned is Digging for Icicles, a song about love found by means of a car crash in a snow storm. One of my favourite lines of the entire album is from the title track and it summarizes Poltz’s infectious good cheer in stating “We’ll travel across the world because it’s spinning in our hand”. The mentioning of deep sea fishing in Mexico and a rainy day in Bosnia paired with an instrumental by the name of A Song for Kosovo would lead me to believe that Poltz has quite an affinity for traveling and there is a certain international flair to his songs which goes beyond just his dual citizenship.

For a nice and quaint dose of seasoned songwriting check out Steve Poltz’s latest offering Dreamhouse. It’s a fantastic album and I think everyone could use a bit of Steve Poltz in their daily life.

Expat Halifax native teams with Joel Plaskett for Dreamhouse
By Ben Rayner

As any expat Maritimer can tell you, the East Coast exerts a peculiar magic over its scattered sons and daughters — one that peripatetic singer/songwriter and Halifax native Steve Poltz recently experienced for himself.

Although he departed Nova Scotia for California as a toddler, Poltz still has relatives aplenty scattered between Cape Breton and Halifax/Dartmouth and friends like ex-MuchMusic VJ Mike Campbell to keep him abreast of musical goings-on back in his hometown. And so it was that during a trip to H-Town in 2008 Campbell introduced Poltz first to Joel Plaskett’s music and then to Joel Plaskett himself, hatching a friendship that would result in Poltz returning to that part of the world last year to record an entire album with the tireless former Thrush Hermit frontman.

The result is the succinct, sweet-natured folk-pop effort, Dreamhouse, a wistful effort just released in Canada through Plaskett’s own New Scotland Records that’s arguably Poltz’s most likeable work in years. The record — which features extensive contributions from producer Plaskett and fellow Haligonian Jenn Grant — is also a handy way for the veteran troubadour to reintroduce himself to Canadian audiences who, for the most part, likely don’t know much about him beyond the fact that he wrote a bunch of songs for ex-girlfriend Jewel, including her massive 1996 hit “You Were Meant for Me,” back in the day and then pretty much bailed on the entire mainstream music industry after an incredibly unpleasant experience making One Left Shoe for Mercury Records in 1998.

The Star caught up with Poltz before he was to play a pair of shows at Betty’s earlier this week.

Q: You and Joel Plaskett seem a very logical pairing. You even sound a bit like each other.

A: It was a real natural fit, you’re right. It was strange. It just worked out. Without it sounding too weird, I kinda knew it was going to. When I first heard his stuff, I really liked it and I thought, “I wanna meet that guy.” This friend of mine, Mike Campbell, played me Joel at his tiki bar and then we were at the Carleton, this bar that he owns in Halifax, and he had Joel come by and Joel really dug the live show. Like you said, there are a lot of similarities. And then I saw that he recorded to analogue, two-inch tape on 16-track, and I thought it would be really fun to go back and do an album that way.

Q: Dreamhouse gives off this really honest, unpretentious and kinda spontaneous vibe. Was it as much fun to make as it sounds?

A: It was. We laughed and just had the best time. It was so organic, it just happened. We made the record in two weeks. I had the songs road-tested and ready to go, so it was fun for him, too, because a lot of times, I think, he works with bands who are still learning the songs that they came in with and they’re doing a million takes. It’s not Pro Tools and you’re not doing a lot of overdubs so it helps if you know your songs. I’d already been out on the road and he said “Let’s make a record” so we just looked at our schedules and he said “How about two weeks from now?” The whole time I was just thinking, “This is the easiest record I’ve ever made.”

Q: Plaskett’s a pretty good connection to have in Canada, too, if you want to curry favour with the locals.

A: I told him that. When I came in, my guitar somehow got held up at customs. I don’t know what the problem was. They asked me “What are you doing out here?” And I said, “I’m making a record with this guy named Joel Plaskett.” And they were, like, “Oh, we love Plaskett!” The guy said “I’m supposed to be off work right now but I’m gonna go find that guitar.” And he did. It was locked in some other flight. I told Joel dropping his name in the Maritimes was like being tied in with the Mob. All of a sudden stuff started happening.

Q: It seems like you’ve hit upon a good way to record and travel and make a living at this singer/songwriter stuff the way you want to do it, without any of the hassles of the “industry.” I know you didn’t have the best experience with that stuff.

A: I’m really glad I got to see that part of the record business in the last days, at the waning end. It was like the last days of Pompeii. I got to see it all and be a part of it and watch a record label order a $1,000 bottle of wine because it was what Julio Iglesias drank with them the week before. I watched them order it and I remember thinking “This is cool” and the guy next to me leaned over and whispered: “You know this comes out of your account, right?” And I said: “I don’t care. Nobody ever recoups. I’m just gonna take the whole plane down with me.” So that was pretty fun. I’d talked to enough people in the industry then that I knew nobody ever recoups. Nobody ever recoups. Unless you’re Jewel. She recouped. But I didn’t.

Thrush Hermit Reunites Ahead of Box Set Release
By Pete Nema

When Thrush Hermit announced they were planning a reunion tour, the shrieks of indie-rock excitement from New Brunswick, Nova Scotia, and Ontario could probably be heard country-wide.

Thrush Hermit

Although Thrush Hermit has more than enough material to fill a show, the band only produced two full-length albums before breaking up. The split occurred shortly after their 1999 release of Clayton Park, the album that, without a doubt, contained their best work. And now over 10 years later, Lee’s Palace was packed to capacity on a Friday night for the first sold-out Toronto show, filled with fans, many who had likely come of age during the 90’s. I suspect another large portion was made up of Joel Plaskett (vocals, guitar) fans who had the initiative to discover his previous work.

The set list was designed to be a crowd pleaser, with material from Sweet Homewrecker making up the majority of the first half of the concert and the Clayton Park tracks largely saved for the latter half of the show. Songs like “These Violent Dreams” were extended with appropriately heavy rocking out. If you weren’t stuck firmly near the front, you could see that some of the less-loved material was used for bathroom breaks. The proper set closed with “The Day We Hit The Coast”, the song that was stuck in my head all day before the show, and as a result I drew a blank thinking about what they were saving for the encore. They returned to stage, and when Rob Benvie (guitar, vocals) hit the first note, it was obvious I had foolishly forgotten that we hadn’t yet heard “From The Back Of The Film”. For that song, Plaskett grabbed a double-headed handheld light and shone it at himself, the other band members, and the crowd while he and the band worked through the excellent rendition we all were hoping for when we arrived. There was absolutely no shortage of singing-along.

There was more to the show than was immediately obvious. The band had apparently dressed as they did back in the 90’s, and little hints of their past could be found if you looked around. I never saw Thrush Hermit play in the 90’s, so I wasn’t sure what Ian McGettigan (bass) was wearing around his shoulders and neck (in addition to his shirt, see the photos) or why the keyboard had a piece of tape with the word “Situation” written on it. I do know the band members were into Springsteen, so at least understood why Plaskett had a Bruce Springsteen ticket from a 1985 concert taped to his guitar, although I was surprised to see it was for Wembley Stadium in the U.K.

We were all there for the same reason: To celebrate some of our favourite music of the past with its creators. In terms of musicianship, we couldn’t have asked for more — full and heavy guitar riffs, vocals as sharp as when the songs were recorded, and good interplay between the band members. Although not every song in the Thrush Hermit repertoire is a hit, there was something to be said for getting to see and hear the band play even the less famous songs.

The two dates scheduled for Toronto turned into three when they added a dry all-ages show on the Sunday afternoon, bringing the total number of reunion shows to nine. I was curious how Sunday concert was going to turn out given the time of day and the lack of alcohol, but if my Twitter feed can be trusted, it was just as satisfying. The tour completed just one day before the release of their discography, The Complete Recordings, on March 29th. The package contains a mind-boggling amount of material, including demos, outtakes, and two DVDs filled with video content.

Flush with Thrush
By Carla Gillis

Thrush Hermit’s The Complete Recordings box set (New Scotland) includes eight discs and a 32-page booklet with illuminating liner notes by Rob Benvie.

Disc 1 • Clayton Park
The band’s 1999 full-length swan song, recorded at Toronto’s The Gas Station by Dale Morningstar. “I think we got the best of our abilities and influences on Clayton Park,” Joel Plaskett says.

Disc 2 • Sweet Homewrecker
The 1997 by-product of Thrush Hermit’s short-lived relationship with Elektra. “That was a dark time,” Benvie says.

Disc 3 • Smart Bomb and The Great Pacific Ocean, EPs from 1994
Of the Steve Albini-produced GPO sessions, Benvie recalls: “There was a big painting on the wall of a naked woman. You pressed her nipple, a bookshelf automatically rose and stairs led up to the attic where the control room was. It was pretty amazing.”

Disc 4 • All Technology Aside
Outtakes, B-sides and unreleased songs.

Disc 5 • Hits And Giggles
Singles, EPs and unreleased songs.

Disc 6 • Embarrass Ourselves Awake
Tunes by pre-Hermit incarnations Nabisco Fonzie and the Hoods plus Thrush Hermit’s superb side band, the Tim Robbins Experience.

“It’s next-level embarrassing shit,” Benvie says.

“Like, prank phone calls to my mom,” adds Ian McGettigan.

“If we had a long overnight drive on tour, we’d listen to our old tapes because they’d make us sweat and cringe and embarrass ourselves awake,” Benvie says about the name.

Disc 7 • Learn To Party DVD
1999 documentary, plus tour footage and Edgefest 95.

Disc 8 • Damage For Damage Done DVD
Footage from 1990-1999, including the band constructing bunks in the yellow shortbus they used to drive.

NOW | March 24-31, 2010 | VOL 29 NO 30

Best vinyl – Joel Plaskett, Three
by Sue Carter Flinn

To say that response to Joel Plaskett’s ambitious 2009 triple album Three is positive is as big an understatement as Lady Gaga’s lightning- bolt headpiece. Shortlisted for the Polaris Prize, Plaskett now has a bunch of ECMAs and Best of Music awards to add to the mantle too. Recorded with “talented family and friends,” Three is the magic number—a spell of personal storytelling, easy-breezy harmonies and Westerbergian rock.

It’s hard to imagine but Plaskett says, “I knew it was a bit of risk.” Another future Canadian classic, Three has struck a chord with new audiences, too. “This album has taken me into different places—at the shows I see young kids and virtual seniors.” He admits to being a bit overwhelmed by the opportunities, and even though the phone doesn’t stop ringing, he says, in his own Plaskett-like way: “I feel kinda blessed.”

This summer will see the launch of Joel’s Plaskett’s independent label “New Scotland Records”. New Scotland Records was born of Plaskett’s desire to develop production work and make great recordings with friends. Says Plaskett “I enjoy producing and want to build on the experience I’ve gained making my own records by working with people whose music I admire. I am excited that NSR will have the opportunity to help promote the work of some of the very talented artists in my musical community.” Plaskett’s most recent production credit is Two Hours Traffic’s latest release “Little Jabs”. Called “one of the catchiest records of the year” by the National Post, Little Jabs has garnered great reviews across the country.
Distributed by Fontana Music, New Scotland Records will launch with the release of Dave Marsh’s “The True Love Rules” on July 29th. As drummer and a founding member of the Emergency, Marsh’s debut recording is a natural choice to kick off the new label. Musical soulmates, Marsh and Plaskett co-produced the 14 track recording with guest appearances by long time collaborators and friends including original Emergency bassist Tim Brennan, Cool Blue Halo’s Paul Boudreau, Peter Elkas and The SuperFriendz.

A Nova Scotia rock record that rolls like a modern classic, “The True Love Rules” rings bells like David Bowie, The La’s, Guided By Voices, The Stooges, The Four Tops and Willie Nelson. From the discordant nostalgia of “Backstreets Thread” to the tuneful and mature confidence of “I’ll Let Them Know You Were Here”, Dave’s songs are ferociously honest no matter what musical vein he’s mining. Both optimistic and reflective, his lyrical playfulness and unique voice are what make this record special in today’s overly polished musical climate.

The Joel Plaskett Emergency’s Dave Marsh releases his quirky debut solo effort, the first release on Plaskett’s new label, New Scotland Records.

The record is interesting. It comes across almost like a scrapbook of songs that weren’t necessarily written or recorded together with the intent of releasing them as an album. They range in length from a minute and a half up to nearly four minutes and they run the gamut from the punk-leaning “The Way We Live Today” and garage rock of “Move You Around” to the mellow, funky title track, the dreamy pop of “I Know Nothing Anymore”, moody acoustic number “Got No Kids Of Our Own” and the just plain odd “Nav Com Tav.”

Marsh has quirky lyrics, a diverse batch of songs and sound that overall isn’t too removed from the Emergency’s own material. A few of the songs here could have been pulled from Emergency albums, such as “Backstreet Thread” and the excellent ’70s pop of “Forsaken By The Beautiful People” and “The Smoke Easy.”

The record was produced by Marsh and Plaskett and the Emergency frontman plays a lot of the instruments on the record.

This is a thoroughly enjoyable record by a talented songwriter stepping out from the shadows of his full-time gig.

Dave Marsh is a gifted songwriter and his fixation on edgy pop rock has yielded the best record from Halifax’s over-30 set in years. Sitting behind the Super Friendz and the Joel Plaskett Emergency as a solidly inventive drummer, Marsh is more than an unsung sideman and, on rare occasions, his distinctive compositions have snuck onto records by these aforementioned bands. The True Love Rules is Marsh’s first opportunity to stretch out and explore a crossroads that finds punk, glam rock, new wave and folk colliding beautifully. He invites past and present collaborators to help his shape infectious compositions, many of which celebrate Halifax. The big rock of “Backstreets Thread” is a fun roll call for local cronies, while traces of ’70s era Bowie are all over “Darling You, Nothing Else Matters” and “Move You Around.” There’s a cool kind of passion on The True Love Rules, a thoughtfully layered bit of cocky rock’n'roll by Dave Marsh. (New Scotland)

-By Vish Khanna / Exclaim Magazine

After having spent many years behind the drum kit anchoring fellow Halifax artists like The Superfriendz and Joel Plaskett, Dave Marsh enlists many of those very people to make musical contributions to The True Love Rules, his first solo record.

As expected, Marsh draws from his musical history on much of the record, including the trio of opening tracks (Backstreets Thread, The Way We Live Today and True Love Rules) which could very well compliment some of his peers’ best works. The same pop quirkiness which Joel Plaskett brings to his own tunes is found on many of these tracks, which isn’t a negative thing by any means. With Plaskett assuming production duties for this record, he only seems to fuel the simplicity which seems to be the common theme running throughout each song on The True Love Rules. It’s a trait that suits Marsh’s music and the record as a whole extremely well.

-By Ken Kelley

Anxiously awaiting Joel Plaskett’s follow up to the EMCA record-setting Ashtray Rocks? Don’t forget it’s a band, the Joel Plaskett Emergency, not just Joel. While the group wasn’t conquering Canada, the U.S. and Australia last year, Joel took time to help timekeeper Dave Marsh produce his first solo disc The True Love Rules (Fontana North).

While the Joel Plaskett Emergency continues to ride the wave of ‘Ashtray Rock,’ drummer Dave Marsh, centre, released his first solo disc, ‘The True Love Rules.’ It’s also the first release on Plaskett’s own label, New Scotland Records. As evidenced by his work with P.E.I.’s Two Hours Traffic, Plaskett knows how to produce great-sounding pop. With Marsh, though, he’s not guiding a youngster. Dave’s been at this for two decades, through The Superfriendz and the Emergency, and his alternative rock roots are the same as Plaskett’s. So Joel’s role here is more co-conspirator than mentor.

You do get fully formed pop gems that would fit well on any Emergency disc, including Backstreets Thread and True Love Rules. But Marsh is also keen on experimenting, so there’s the fascinating Move You Around, which features surf guitar and Eddie Cochran rockabilly, as it would have sounded on David Bowie’s Low album. Nav Com Tav is a sailor chant-meets-Disney Halloween number. The whole middle section of the disc is made up of short, quirky song ideas, each as enjoyable as the next, little chocolate miniatures that give you full flavour but not too much sugar.

Marsh doesn’t have the strongest voice, but he’s in tune and stays within his range, letting all the fine melodies shine. While there are plenty of pal guests here, including Plaskett and other Emergency and Superfriendz colleagues, Marsh has handled almost everything himself, including guitar, piano and mandolin. This makes up for the money I blew 30 years ago on Who drummer Keith Moon’s solo album Two Sides Of The Moon.

It’s very fitting that the first release of Joel Plaskett’s new label, New Scotland Records, is a musical journey that pays homage to the greats that have influenced us for decades. Joel received critical acclaim for his voyage back to high school and the tales of two friends starting a band and now it seems Emergency drummer and solo artist, Dave Marsh is happy to reminisce as well.

But unlike Joel, Dave isn’t looking back on those formative, awkward, angst filled years (although Backstreets Thread and The Way We Live Today definitely hit on the same era, just without the smiles) through narratives. Instead he plays with the sounds of the musical greats like Bowie, Strummer, Iggy, Bell/Chilton, Davies. It’s easy to see the influence they have on Marsh’s song writing, but with the flourishes from modern peers like Joel Plaskett, Peter Elkas, and Matt Murphy, the mix of old and new helps Marsh’s work evolve into much more than another dusty rehash.

They say you have a lifetime to write your first record and Marsh, who has been playing rock n roll for over two decades, uses his debut as a melting pot for the styles and inspirations he’s picked up on his wild ride. Whether it’s a Bowie-esque melody and delivery on Forsaken By The Beautiful People or the cocksure swagger of The Way We Live Today you can’t help but picture Marsh on stage wearing a huge smile. Consequently, True Love Rules is a perfect retrospective for so many music geeks. Ten years ago, would I have focused on the delicate AM radio undertones on the beautiful I Know Nothing Anymore? Without question the answer is no, but the subtle sunshine grabs my ear as much as the infectious bounce of Darling You, Nothing Else Matters.

Over the course of the fourteen songs, Marsh lets his lover know that “nothing else matters” and admits that no matter what anyone else thinks,”true love rules.” I know he says both in a romantic context, but Marsh could easily be talking about his relationship with music. Being a full time touring artist is a lot of blood, sweat and tears, and often means watching the odometer turn on long drives after tiny club shows in no name towns.

The thing that keeps you going is the music and the need to create and after spinning Marsh’s new record, his love of music can never be questioned. There are no fake messages or trendy effects or layers, and Marsh’s sincerity that shines through. As a result, The True Love Rules is a collection of songs that are fun, deep, diverse and seem like they’ve been always been a crucial part of who you are.