Another One – Song One, A Perfect Cliché

One despondent time, there was Another One.  You know the type—bilious, anxiously, aggravated—one of those incomplete tea-sets, all in his cups with no pot.  Let’s call him Geary Perfect.  Or Geary Cliché. Or whatever.  All things considerate, he was just another in a long list of them.  Our everyman, our Donkey Hotey…

another one


A Perfect Cliché -Passing the Collection Plate…

Music is not my career.  I would posit that it is my forté, although some would argue that smoking brisket might hold that title.  It is certainly my ‘passion’ for whatever that is worth… If, at any point after first hearing those chiming notes of ‘Sgt Pepper’s Lonely Hearts Club Band’ as a teenager up to this day in my late 40s, you gave me one choice of how I could actually make a living, my answer, with no hesitation, would be ‘rock star’. In the rearview mirror of my grown-up-ness, what that really means is to live, as much as is humanly possible, in a state of pure creative expression.  

Maybe a better name for what music means to me is to say that it is my ‘religion’.  I go to it for solace, for comfort, for meditation– I pine for it when I am away. I seek truth in it’s ephemera and lore, I find my community in congregations of fellow true believers…  

I did pursue a music career in earnest at one point– I had a high school punk band and I moved to Austin to ‘get the band back together’ in ‘92 or ‘93 or so.  After a few years of beer soaked bar gigs and countless hours of what definitely felt like wasted effort, that dream was slowly sucked out of my heart by the long sharp catheter of rent, bills, hangovers and regrets.  Eventually I burned every damn bridge I saw with a tune on it and moved to California.

Where music failed me, cooking carried me– by cooking, I paid bills and I found a creative outlet, travel, love, even a measure of success… But like any stiff, harsh shot of misdirected hopes and dreams, cooking always needed a chaser to make it palatable– for me that was with a connection to some core value… such as veganism (for a time), organics, craft, storytelling, and eventually even the stressful adventure of business ownership.  For much of my career, cooking was the road but not necessarily the destination.

In California, I kept the spiny monster of my musical dreams in a cage by going to bed every night with headphones on, listening to the indie rock cds I could finally afford to buy.  In those years, it was never in my own music that I found my peace — With a conscious, almost maniacal effort, I wrote no songs after I left Austin. I was determined to exorcise every last gram of musical hope from my twice shy soul.  

Then, ten years after leaving music behind, the monster escaped.  Almost by accident, I began writing songs again. Falling in love with music again.  I formed a new band, released a couple of records. The monster escaped and became my best friend.  My saviour.

Now there is a new record on the way… And if those first two records were me rebuilding the bridges I burned in Austin so I could come back across, this new record is me, arrived.  It is as if, instead of just collecting, I had been the one recording the indie rock albums that used to put me to bed every night on my headphones back in California…

When I started writing this record, I was coming in earnest into both fatherhood and sobriety, in a weird twist, I even left my business and my trade (for a time)… These changes shook me and made me question my identity in ways that I had never expected.  As a result, with this record, I honestly feel that I wrote something that is both powerful and important. These are the stories I need to share right now… these songs are at times angular and weird but also lush and beautiful. In over a year of recording sessions, Ben Mullin has gone above and beyond on instrumentation, arrangement and production– Brad Turcotte (‘Brad Sucks’) has pitched in on the mixing and mastering– (Juno winner) Keith Glass, Jon Dillabough, Amanda Giles, Doug Hendry and Josh Hofmann have all contributed with exquisite musical moments…  

About halfway through recording, I also realized that this album was more than a collection of songs, it was a ‘piece’ that could be presented as a story with a beginning, a middle and an end… At that point, long after the fact, I decided to craft a narrative of sorts to accompany it.  The sounds, the narrative, even the art I collected from my old notebooks to accompany each song, are all part of something new and different for me. Something that I’m proud of. Something that I absolutely believe has real, actual value.

So, speaking of value… We are in a weird place with making money or even recouping costs on recorded music right now; there is no longer a practical physical format (vinyl, cassette, cd) on which it can be sold — music is digital and more and more people, (and I include myself in this), are streaming and listening differently.  But by now, you’ve also all seen the stories of how those streams translate for folks like me– fractions of pennies adding up to nickels and quarters over months and years…I considered burning cds again this time but with the way things are going, I honestly can’t justify the cost. Also, my inner environmentalist feels a little weird making more plastic in a time when most of us might buy the hard copy for it’s visceral qualities, but only ever actually listen to the album in a digital library.

So my plan is to release it, well, here.  Wherever you are reading this.

So what does this mean?  Well, to begin over the next week or two I am going to roll out the eleven tracks of this album one song at a time using Bandcamp, a wonderful artist friendly platform that will give you the option to pay us as much or as little as you like and as you go.  There will be links on my website and each of my social platforms. Watch whatever space you are reading this message on and you will see a daily link to the song and the artwork with the story fragment. Once all eleven songs have been released here, I will put the whole album up on all the other platforms (Spotify, Amazon, iTunes…) where you are welcome to download to your digital library, purchase, or stream to your heart’s content…

So what can you do?  Here are the three things I would most like to happen, in order:

1. Listen

That is why I wrote this and why Ben and I laboured over recording it.  More than anything, I want folks to listen to the product we have created.

2. Share it, like it, tell people about it.

This is the true currency of our age– if streams are to be the only way to get paid over time then we need to spread the word and hope that more people hear about it.  It will also help drive more people to my live shows and help them make more sense.

3. Pitch in.

Since I won’t have a physical product to hand you, I will only have to hope that enough of you can come along with this idea and pitch in enough to help me cover the costs of producing it.  If paying Bandcamp weirds you out, you can also send me an etransfer (, mail me a cheque (Box 1502, Kemptville, K0G 1J0) , or even walk up to me on the street and hand me cash.  I also accept donations of food, clothing (size XXL) or even airplane toys for Abigail… Pay me what you like but by my calculation if as many people give me $10 (that’s less than $1 per song) for this release as gave me $20 for the last cd then I will be able to at least recoup the costs of recording, and for this, I will be immensely grateful… Pitch in more and I’ll play a tune in your living room… Even more and I’ll write you a song.  Name it, I’m willing to try it. If the price is high enough, I’ll even bring along a brisket…

Music is not my career, it is my passion, my ‘religion’.  And by that logic, this is me passing the collection plate.  I do believe that my music has value. I can only hope that you will listen and agree…


A Perfect Cliche

I’m Going Back to Church!

Hi folks– I’m going back to church after all these years!  …sort of…

I am proud to be opening for my friend Keith Glass, (and his band) also known as “Prairie Oyster’s Keith Glass” on Saturday, October 20th at the Merrickville United Arts Center— aka the United Church in Merrickville (on Sundays, I presume) that has recently started hosting live music events.  I’ll be playing a solo set to open the evening featuring  songs from my upcoming album, ‘A Perfect Cliché’, and I will also likely play ‘John’ to Keith’s ‘Paul’ for a Beatles tune or two… (Keith joined me last year in The Burntles, a ‘Burning Sensations’ tribute to The Beatles)

Keith is a world class songwriter– but don’t take my word for it, he has the Junos to prove it.  Over the last few years as he has moved from the possibly less visible but certainly important supporting role (songwriter/guitarist) of his popular, award winning band Prairie Oyster to center stage as an increasingly confident, funny, engaging front man.  The songs on the new record are as strong as ever, soulful, personal, (and, I’m sure you are aware that this is high praise from me…) even Beatlesque…

Come for the music, stay for the fun!

Here’s some more info:

More ‘What If’ Beatles Playlists: Dirty Mac and Here Come the Sons

In my continuing series of ‘What If’ album style playlists, I’ve taken on 2 impossible scenarios-

1. The Dirty Mac; Live 1969: this supergroup, fronted by John Lennon (and Yoko Ono) with Eric Clapton on lead guitar, Keith Richards on bass (!), and Mitch Mitchell on drums actually formed and performed as a one-off entity for the Rolling Stones ‘Rock and Roll Circus’ event late in 1968. This Playlist imagines a full live concert album follow up early the next year, featuring songs from each of the principals and is culled from live concerts from the time period (where possible) or at least using live performances of songs written (or covered) by the principals during or before 1968/69. To complete the lineup, I have included two appropriate Jimi Hendrix Experience live songs just to sprinkle in a bit more Mitch Mitchell flair – a Beatles cover and a Cream cover (nods to Lennon and Clapton) but otherwise the lead singers and songwriters all ‘could have’ performed these songs at a full length concert including all four players. What happens here is almost believable; sloppy, bluesy, fun, perhaps a bit loose (except for Clapton, obviously…) with just a little Yoko weirdness to spice things up… Click here and play and tell me what you think!

2. Here Come the Sons – Too Hard: this project was WAY more fun than I expected! My premise for this one was ‘what if the Beatle Sons got together and recorded an album as Beatles 2.0?’ I’ll admit that I’ve never dived deeply into the catalogue of these gents before this project (mostly I gave cursory listens like an obligated uncle) but this project has certainly changed that- in fact, I hope it does for you as well… a few notes: 1. Jason and Zak Starkey do not appear: basically I could not find a piece that fit. I almost included a tune by Zak’s side project Sshh, but it ultimately didn’t work (and Zak has also publicly poo-pooed this concept anyway, so, whatever.) 2. No Julian. Early versions included him, lots of him actually, but the sonic directions taken by Sean Ono Lennon, James McCartney and Dhani Harrison all started to dovetail together so well as I was collecting and selecting that eventually it became clear that Julian was the odd man out… if this was a ‘best of’ collection, he would clearly feature prominently, but that just ain’t what this is. Here’s my read, Julian doesn’t need these kids, you can listen to his albums on their own 😉. 3. There is only one true ‘Beatle Son’ collaboration here: Dhani and James worked together on the ‘title track’ Too Hard from James’ Blackberry Train album- that means that even though it sounds surprisingly coherent as an album, it is in fact a collection of solo works- I LOVE this- the fact that I have to check who is singing sometimes reminds me of some of my favourite Beatle qualities- that ‘where does one end and the other begin’ sort of thing. I hope this comes through for you as well. And 4. THIS IS NOT A BEATLE ALBUM, but it definitely plays as an album- a good one. If I had focused on Beatlesque performances, it would have been ‘Too Hard’ and a bunch of Julian tunes– this feels more like an Elliott Smith/Wilco/Mercury Rev joint- hip-hop, psych, electronic, indie, Fridmannesque soundscapes all flow freely, it is not Beatley, but it is lush, thoughtful, melodic, catchy and well produced like a Beatles album might of been, had they been, well, of a certain age, at a certain time… I really hope you’ll put on some decent headphones and listen to this one straight through, you won’t regret it… Click here.

Also, if you really prefer ‘Beatlesque’ here is a bonus playlist- ‘Lost Beatles Album’ my ‘best of Beatlesque’ collection. Click here.

The Beatles Never Broke Up – Introducing ‘The Ladders’

“I’ll be in a group with John and George and Klaus (Voormann) and call it the Ladders or whatever you want to call it, but I don’t think it would be called The Beatles…” (Ringo Starr in Melody Maker, 1970)

“After Paul McCartney announced his departure from the Beatles, rumors spread that the group would continue with the addition of Harry Nilsson…” (

For this edition of my Spotify ‘what if’ playlist series, I’ve created four ‘albums’ by an imaginary(?) band called ‘The Ladders’ that would have formed in early 1970 shortly after the Beatles officially called it a day, featuring John Lennon, George Harrison, Ringo Starr, Harry Nilsson and Klaus Voormann.

In some ways this was not a huge effort— John, George and Ringo frequently popped up on each other’s records in this time period– Klaus Voormann, a long time Beatle associate (from the Hamburg era, pre-fame) played bass on most of their solo outings in this period.  Harry Nilsson also frequently collaborated with each of the ‘Three-tles’ and also relied on many the same studio musicians, as well as producers and engineers, folks like Richard Perry, Jim Keltner, and, of course Klaus Voormann.   With all of this sonic synergy, there is a flow to the solo efforts of these four singers that almost makes it feel as if the band actually did form… In fact, with just a little imagination, it is pretty easy to believe that maybe, just maybe, the Beatles never really did break up…

Unlike my other playlists, I have put these songs in order, so be sure and hit ‘Play’ instead of ‘Shuffle’ for the full effect–

And, as always, I also gave myself some rules– For instance, I made every effort to find ‘time-line accurate’ solo material (for the most part) from each of the four primary players with a couple of notable creative exceptions.  For instance, I start the first album with Ringo’s ‘Early 1970’ primarily because the album would have been released in 1970 and the song fits the story-line so well– besides, we don’t when he actually wrote it, just that it was not released until 1973… Besides, this is all imagination anyway.  I also tried to focus first on performances with a clear record of collaboration between the ‘members’ of the ‘band’ with Klaus in the mix, this is fairly easy, he plays on the majority of songs across all four records–but what is surprising is how many times there are other collaborations as well– George appears on lead guitar frequently with all of the others, Ringo jumps behind the kit with each of the others as well, and occasionally more than three players appear (Harry Nilsson’s ‘Daybreak’ includes Harry, George, Ringo and Klaus; Ringo’s ‘I’m The Greatest’ includes everyone but Harry; John, George, Klaus and Ringo all make appearances on John’s Imagine album; John, Ringo, Klaus and Harry all appear on Harry’s Pussycats album…etc. etc.)  I’ve also put a few interesting ‘what if’ songs throughout the set where two Ladders each recorded separate versions of the same song (John’s ‘Isolation’ by John and Harry; Harry’s ‘Easy for Me’ by Ringo and Harry; George’s ‘That Is All’  by George and Harry…) for those, I just put the two songs next to each other and let you imagine them as a blended piece (a better producer than me could probably do more justice here…)

I also left out some stuff — notably cover tunes (for the most part) — this was sad as all of these folks are excellent interpreters; but my theory here was that there were too many good original tunes to choose from already.  I did make exceptions for a couple of items that fit the mix particularly well– such as John’s performance of ‘Bring it On Home To Me’ which includes a rare Klaus Voormann call & response vocal that I could not pass up… I also left out songs that I subjectively deemed to be TOO John, TOO George or TOO Harry– the theory here was that The Ladders was a side project for these folks; I’m guessing Lennon’s Yoko love songs, Nilsson’s novelties and Harrison’s Krishna prayers would  have been on the proper solo albums and that the more universal tunes would have been on the Ladders’ albums… there are exceptions here as well, but I gave it a shot.

Anyway; here are the records as I imagine them… I’d love your feedback.  I had a lot of fun with this and it would be a thrill to know that anyone out there enjoys listening to them half as much as I enjoyed assembling them:

1970:  ‘I Don’t Believe in Beatles’: this was the debut record from the new lineup– material here is drawn from Ringo’s Beaucoups of Blues, George’s All Things Must Pass (actually released in ’71, but we can assume songwriting was well underway as many of the songs that ended up on that record were floated and passed on for later era Beatles records) and John’s ‘Plastic Ono Band’ – Harry’s work during this period was scant but there are some sweet tracks from singles and his box set that probably would have made it to these sessions… Click here for a listen: The Ladders – I Don’t Believe in Beatles

1971: ‘Ladders Schmladders’: This was a peak creative moment for Nilsson– The Point and Nilsson Schmilsson both came out this year and represent some of his best (and most Bea… uh, Ladders-y material) John and George both hit high notes this year with solo career winners ‘All Things Must Pass’ and ‘Imagine’ both seeing release… Ringo was not producing much original material at this time but his George penned and produced ‘It Don’t Come Easy’ did come out as a single this year and Klaus Voorman arranged his Geroge Martin produced number ‘I’m A Fool To Care’ on his 1971 Sentimental Journey album, which becomes a nice closing number a la ‘Goodnight, Goodnight’ from the White Album.  Listen to it here: The Ladders – ‘Ladders Schmladders’

1972-3: ‘New York City’:  This is where my job got a little more difficult and I took a little more license- Nilsson’s output in ’72 included ‘A Little Touch of Schmilsson in the Night’, a schmaltzy album of orchestrated classics akin (but honestly superior) to Ringo’s ‘Sentimental Journey’ – John’s ‘Sometime in New York City’ was a mixed bag that heavily features Yoko– it has moments, but it just didn’t feel like The Ladders to me (with the exception of the title track…).  George was also still cruising on ‘All Things Must Pass’. In my mind, the fellas set aside a couple of toppers but waited to record in earnest until early 73 – this lets me draw from John’s ‘Mind Games’, George’s ‘Living in The Material World’, and Harry’s ‘Son of Schmilsson’, an uneven record, but certainly one with it’s moments… This was also return to Rock–John had some great rocking moments on ‘Some Time…’, Ringo released his thundering ‘Back off Boogaloo’ single and George’s ‘Living in the Material World’ (the song) has a solid backbeat as well… The album gets a little experimental on side two with Ringo’s Blindman (the b-side from his 1972 single) and some stony & philosophical numbers from the other three… I closed the album with Harry’s New York song ‘I Guess The Lord Must Be in New York City’, originally written for Midnight Cowboy (and released in 1969, well before this group would have formed) because, well, I liked it, it fit the theme, and Harry was also well known for re-visiting his own earlier material (see: Aerial Pandemonium Ballet).  Give this one a listen here: The Ladders – ‘New York City’

1974: ‘I’m The Greatest’:  (probably would have been a double album…) This album is the most convincing of the four (in my opinion) with more collaborations than the others and even production turns and co-writing throughout– there are almost no songs on this one without at least 3 of the five ‘Ladders’ participating, and it even comes with a ‘bonus track’ of Harry’s later years version of his Lennon co-write ‘Old Dirt Road’.  As source material goes, it is Ringo and Nilsson heavy, as those two both released collaboration heavy records in this year — Ringo’s ‘Ringo’ album kicks off with ‘I’m the Greatest’, a Lennon-penned post Beatles moment featuring the entire Ladders line-up (sans Harry) that sparked a wildfire of rumours at the time of a full-scale Beatles reunion. Lennon, Klaus and Ringo also all worked on Nilsson’s ‘Pussycats’ record this year as well.  Lennon’s output was notably stunted as this was at the peak of his year long ‘Lost Weekend’ drinking binge, but did include some nice moments from his surprisingly coherent ‘Walls and Bridges’ record.  Ringo’s ‘Goodnight Vienna’ was also a great source, with the Lennon inspired cover of ‘Only You (And You Alone)’ featuring both Nilsson and Lennon (check out the Youtube for a version with all three Ladders singing together).   George’s ‘Dark Horse’ also offers up some fine moments to this cohesive record.  I really like this one and I hope you do too!  Listen here: The Ladders – ‘I’m the Greatest’

Enjoy these and let me know what you think… Up Next… The Dirty Mac – Live!